#december 2021 entry

[kentsjohnson91]

KJ RUN DOWN

for my lovely friend @cupidbedsy (and anyone else who wants to know more about kj)!

- born october 18, 2002 (22)

- grew up in port moody, british columbia

- he is half finnish! his mom was born in finland, but moved to canada at a really young age. his middle name is kalevi, which translates to “ancestor of the finns.”

- grew up a canucks fan, but cites johnny gaudreau as his inspiration → "i was obviously a canucks fan, but there was one playoff series where i was just loving it because johnny was dominating, and they beat the canucks. i was like, 'man, this guy’s unreal.’.”

- “gaudreau was small in comparison to most nhl players. generously, he was listed at 5 feet 9, 165 pounds. johnson, who is 6-0, 180, grew up as the smallest player on the ice before he turned 14 and shot up “about three inches a year” over four years.”

- “before those growth spurts, johnson firmly believed he'd be gaudreau’s size. it created a chip on his shoulder and fueled his drive.”

- "johnny was obviously a great player, but kent had a real connection to john because he was really small," jay johnson said. "he was, by far, the smallest kid on his teams. he was good when he was little, so he made the bantam aaa team when he was only 90 pounds, when the average kid might’ve been 120 or 130, and some way bigger. so, he had that connection to johnny. he just loved how he played hockey, and he told me at some point, ‘if johnny gaudreau can do it, i can do it, too.’ "

- “you know how it is with small guys,” kent johnson said. “it”s like, ‘can they do it in the playoffs?’ obviously, i hated hearing that, and i loved seeing johnny prove those guys wrong. so, i would study his game a lot. there’s some little things i do now that i feel like i got first from watching him.”

- he played junior hockey for the trail smoke eaters of the bchl. in the 2018-2019 season, he scored 20 goals and had a total of 26 points in 57 games. in the 2019-2020 season, he won the brett hull trophy as the league’s leading scorer with 41 goals and 60 assists in 52 games!

- he was named bchl first-team all-star, bchl most sportsmanlike player, bchl mvp, and canadian junior hockey league forward of the year!

- played college hockey at the university of michigan for the 2020-2021 and 2021-2022 seasons

- drafted 5th overall by the columbus blue jackets in 2021

- scored the golden goal for canada in the wjc gold medal game to beat finland

- signed an entry-level contract with the blue jackets on april 8, 2022

- as of december 9, 2024, he has 14 points (8 goals, 6 assists) in 13 games played during the 2024-2025 season

- he is on pace for 94 points this season

[st4rg1rl-16]

━━ ✶✶˖° 𝗪𝗜𝗞𝗜𝗣𝗘𝗗𝗜𝗔 𝗣𝗥𝗢𝗙𝗜𝗟𝗘 | 𝗡𝟰𝗦.

𝗽𝗮𝗶𝗿𝗶𝗻𝗴(𝘀) ━ 2019 to 2023!f1 grid x driver!female oc

𝗮𝘂𝘁𝗵𝗼𝗿 𝗻𝗼𝘁𝗲 ━ english is not my first language, I know I already said it but just in case hshshsh also I know there are some things that may not be accurate but let’s pretend they are for the sake of the fic 😙👌🏻

𝘁𝗮𝗴𝗹𝗶𝘀𝘁 ━ @namgification @burberryfilms

ARABELLA TORRES GONZÁLEZ

Spanish racing driver

Arabella Torres González (born May 26 2000) is a spanish racing driver. In 2016 and 2018 she won the Formula Two championship. In 2019 she acquired a place in Formula One with Scuderia Ferrari, in 2021 she signed an eight-year contract with Mercedes.

Name                  Arabella Torres González

Nickname(s)     La diabla, Bella Donna, Speedy

Born          26 may 2000 (age 21) Leganés, Madrid, Spain

Nationality 🇪🇸 Spanish

Relatives Oliver Torres (brother)

Teams                 Ferrari, Mercedes

Active years      2019 —

Car number 9

Wins              18

Podiums              41

Career Points    859

Pole positions 13

Fastest laps      8

First entry 2019 Australia Grand Prix

First win 2019 Spanish Grand Prix

Last win 2021 Turkish Grand Prix

2021 position        2nd (393)

Website arabellatorres.com

She is known for being the only woman to be an official Formula One driver since Giovanna Amati in 1992 and the second female driver with points since Lella Lombardi in 1976, thus creating history in the world of motorsport. At the 2019 Spanish Grand Prix she took her first victory, becoming the first woman in history to win a grand prix.

After a competition against Valtteri Bottas with whom she remained tied in terms of points during the last three races of the 2019 season, she won the title of sub champion in the drivers' world championship giving Ferrari the second place in the constructors' world championship.

In 2020 she suffered a horrible accident that made her unable to finish the Tuscan Grand Prix, after that race her results during the last eight races went down.

In the 2021 Abu Dhabi Grand Prix she returned to the podium (and in the championship) in second position after a close competition against Max Verstappen due to losing control of her car causing both of them to almost collide, but she managed to regain control and finish the race without no harm.

Her younger brother, Oliver Torres, is a Moto GP driver for Yamaha Motor Racing.

𝗕𝗜𝗢𝗚𝗥𝗔𝗣𝗛𝗬 ↓

Arabella was born in Leganés, a Madrid’s municipality, on 26 may 2000, as the eldest of two siblings: she and her little brother, Oliver Torres. Since she was a little girl she grew up with Formula 1 at home, as her father was a big fan and never missed a race although she was not too interested in the motor world of until one of her uncles gifted her brother a mini kart for christmas that she ended up using it, which sparked her curiosity about cars.

Her interest in cars began to grow, she began to watch Formula 1 with her father and her uncle, she noticed car brands and models and was passionate about car movies. She has mentioned several times that the Fast And Furious saga is one of her favorites.

From December 2018 to December 2020 she resided in Monte Carlo, Monaco. In 2021 she bought an apartment in London, England with her partner, the spanish football player Hector Bellerin. She currently lives between Monte Carlo and London.

𝗖𝗔𝗥𝗘𝗘𝗥 ↓

Torres began her racing career in karting at the young age of 9, competing in different categories. She won the Spanish Championship in the novice category in 2009, won the cadet category in 2010 and two more consecutive times. In 2013, in the KF3 European Championship she had a horrible accident when she reached second place, thus being the only race that she has not finished, a tire on her car burst causing her to fly several meters until she crashed into a fence in front of the stands. She had several spinal injuries and had to undergo surgery several times so she had to retire for a year, losing the opportunity to be signed by the Red Bull Junior Team.

At the age of 14, a year after her accident she returned to the world of motorsport in Formula 3 with Prema PowerTeam, finishing in sixth position in the FIA Formula 3 European Championship, in 2015 she finished on the podium in second position.

In 2016 she signed with the Ferrari Driver Academy and entered Formula 2 where she won first place in the 2016 and 2018 seasons.

Two years later, in 2019, she was announced as a driver for Scuderia Ferrari for Formula 1 alongside Charles Leclerc. During her contract with Ferrari she raced 38 races of which she won 9 and came second in the 2019 drivers' championship.

On December 13 2020, during the race in Abu Dhabi, Ferrari announced that Torres would not be part of the team for the following season and a week later it was announced that she would be replaced by Carlos Sainz Jr. On March 2 2022 during the presentation of their new car Mercedes announced, after almost three months of confusion about Arabella's future in Formula 1, that the driver had signed a contract with them for a duration of eight years, that is, until 2029.

𝗥𝗘𝗦𝗨𝗟𝗧𝗦 ↓

𝗥𝗘𝗖𝗢𝗥𝗗𝗦 ↓

𝗣𝗨𝗕𝗟𝗜𝗖 𝗜𝗠𝗔𝗚𝗘 𝗔𝗡𝗗 𝗔𝗖𝗛𝗜𝗘𝗩𝗘𝗠𝗘𝗡𝗧𝗦 ↓

𝗢𝗧𝗛𝗘𝗥 𝗩𝗘𝗡𝗧𝗨𝗥𝗘𝗦 ↓

𝗛𝗢𝗡𝗢𝗨𝗥𝗦 𝗔𝗡𝗗 𝗔𝗖𝗛𝗜𝗘𝗩𝗘𝗠𝗘𝗡𝗧𝗦 ↓

𝗡𝗢𝗧𝗘𝗦 ↓

𝗥𝗘𝗙𝗘𝗥𝗘𝗡𝗖𝗘𝗦 ↓

𝗘𝗫𝗧𝗘𝗥𝗡𝗔𝗟 𝗟𝗜𝗡𝗞𝗦 ↓

[rivalsforlife]

pardon me if you’re tired of discussing this but. we know aa7 is on capcom’s radar on some level. and now they’ve rereleased every game right?? they’ve finally run out of backlog material after almost yearly releases since 2019…. Not to put the clown wig and nose back on too early but do you think we’ll actually get news about, or get to see, aa7 next year?

Never tired of discussing this!! This is right around the time of year where I'd be preparing to make my yearly AA7 Speculation Post anyway so this is great timing. (TGS, my enemy, is approaching.)

So just to make sure everyone's on the same page, here's a quick recap of where we're currently at:

In November 2020 we got internal Capcom leaks which included a calendar from 2019 with the roadmap for the AA series the next couple of years. This included:

DGS1&2 collection, which I did not think was going to happen ever, releasing April-June 2021

AA7, releasing around October-December 2021, right around the 20th anniversary.

Through late 2019-mid 2022, reconsider porting 456

We got DGS1&2 (a bit later than in the plan, but by like a month), we got the 456 ports, we got bonus AAI ports, we have nothing for AA7 nearly three years after it was supposed to come out. The pandemic is an obvious feature that could contribute to its delay, but at this point with 456 ports out I think we can safely say that this was not the only cause.

Some other things that may or may not be contributing to AA7's delay include:

Yamazaki, the previous main writer for 5&6 and the AAIs, left Capcom in 2020. If he was involved in AA7 at all, that could throw a wrench into things, but I recall hearing he intended AA6 to be his last AA game (I AM STRUGGLING TO FIND THE SOURCE THOUGH SOMEONE PLEASE HELP ME), so I don't think this contributed very much. It does, however, mean that we're unsure about who the next main writer is - depending on what Takumi's up to or if they had to bring someone new on, there could be complications related to that.

I think TGAA did way better than anyone expected, which I covered in this post. It's possible that this could have shifted Capcom's priorities to porting more old games / porting to all modern consoles. It may have made people at Capcom think "damn everyone loves Takumi" so they tried to lure him back to AA7, and I have no idea how well that would have gone or if Takumi is even interested in continuing mainline AA right now. (I do think this at least contributed to the Ghost Trick ports.)

In my first ever AA7 speculation post I talked about how the ending of AA6 kind of wrote them into a corner re: how to continue with the series and which protagonist to use. I still stand by that argument even if a lot of that post aged badly.

Console ports! Previously new AA games were for whichever Nintendo handheld is out now (GBA, Nintendo DS, Nintendo 3DS). But now that the series is doing really well on all consoles, they may have decided to try to make their next mainline entry on all consoles, which would take more development time. Adding to this is that the Switch is near the end of its lifecycle with the Switch 2 (or whatever the successor will be) being announced soon - meaning that, if AA7 is coming out soon, Capcom is in the position of "do we try to squeeze this into the end of the Switch's lifecycle" (which, I'll need to find sources for this, is speculated to be some of the reasons behind why AAI2 and DGS2 sold badly when they were first released, and they can't make the same mistake thrice... right...?) or "do we try to time it with the release of the Switch 2"?

Also, a lot of this depends on how far AA7 was into development whenever it was derailed. If it was derailed from the pandemic, then according to the calendar, it would likely have still been in the prototype stage. It may be early enough that they would have had to start from scratch whenever they picked it up again. I don't work in the gaming industry so I have no idea how long it takes them to make a game or how easy it would be from what stage they're in.

One thing we can compare to is some of the comments about the recent AAI ports: in this interview, Shunsuke Nishida, the producer of the AAI collection, says that development on the collection began in 2022. He also mentions that this began once development on 456 was concluded. This leads me to believe that (contrary to my previous assumptions) 456 and AAIC were not developed concurrently (or if so, had very minimal overlap), and that the process of upscaling graphics, porting, and localization took them... about a year, maybe? So that takes time, even without taking into consideration how long it would take to come up with a new idea + write the script + the bulk of the programming that would have to be done that isn't considered with porting + probably way more than I can think of because again I do not work in the gaming industry.

There's also the question of why 456 and AAIC weren't developed concurrently. The calendar from 2020 shows that TGAA and AA7 were meant to be developed at least somewhat concurrently, and the staff from TGAA would eventually merge into working on AA7. Once again, we don't know what happened to the staff that were supposed to be working on AA7. It's possible pandemic complications meant they got shuffled onto other projects. It's possible the AA-related team is smaller now than it was in 2020, so they only have enough people to work on one project at a time. It's also possible that there's a team that was working on ports, and a team that was working on a new game, and now the "port team" is freed up to work on the "new game team".

Either way though, pretty much every interview with the staff for the 456 or AAI ports are all saying "look forward to the future of the series", which is definitely Corporate Speak, but unless they're bringing the ports of the Layton crossover (fingers crossed) that can only mean one thing. (AAI anime?) Plus, like I've discussed in this post, AA is having fantastic sales in general. They've seemingly either hired a new social media manager or changed the strategy so there is much more engagement on twitter. And AA is getting on bigger and bigger announcements - though AA trilogy ports were announced at TGS (at an AA-specific panel), TGAA duology ports were announced unceremoniously on twitter. Afterwards, 456 ports got announced at the Capcom Showcase during Summer Game Fest. And now AAI collection got announced at a Nintendo Direct, which I imagine is even more expensive, so the series must be going in a good direction for them to think that's worth it!

That's a lot of rambling for me to say I definitely think it's coming.

When are we going to see it though!!

Coming up in September is my eternal enemy Tokyo Game Show. Since AAI collection is being released at the beginning of September... it might be a bit too soon to announce a new game, but who knows. They might think it's profitable to ride the hype they're building now for AAI collection to announce a new game. Or they might let it sit for a while.

With AAIC getting announced at a Direct, I'm thinking they'll want to make AA7's announcement a) big and b) global. AA6 was announced in Famitsu, but the problem with that is that it's a mostly Japanese audience, and some interviews have been talking about how AA's global audience is particularly contributing to how big it is right now. So I'm expecting AA's next announcement to be at something major and something that will get attention from overseas audiences.

If they have been working on AA7 concurrently -- and honestly I do think there has at least been some progress on it since 2019 -- we could definitely see an announcement within the next year. I was also saying this in 2020, though, so don't take my word for it. There's been two year gaps between ports up until the AAI collection, and they seemed pretty proud about releasing 456 and AAI in the same year, so... maybe they'll want to keep it going and announce AA7 within the next year, especially if they'll have a longer announcement -> release period than they normally would for ports.

Potential candidates include:

Tokyo Game Show: As previously stated, it's very close to the AAIC release, so I don't think it's the best timing for it. I would not want my favorite AA game overshadowed by whatever the hell they're going to do with AA7. Likelihood: depends on how fast they want to follow up on the hype.

The Game Awards: is the next major gaming event, but that's already massive in terms of the type of games that get announced there, and it's expensive! Nintendo Direct is one thing since AA has always been a Nintendo-first series, but I don't think it's big enough to justify putting in a Game Awards ad. and I already have my clown wig on for persona 6 there. Likelihood: pretty low tbh

Next Year's Summer Game Fest-related Shows: I think this is the most likely, considering both the 456 collection and the AAI collection were announced around this time. For AA7 I'd say a Nintendo Direct to get lots of eyes on it, especially if AAIC sales pay off. Likelihood: pretty high!

Which leads me into my wildcard answer:

Switch 2 Announcement Stream: If Capcom decides to go in and make AA7 one of the first games for whatever the switch successor would be, it could be announced here. I regret to admit that I am a very bad gamer and only like two things, and therefore have not ever been present for one of these things to know how many games get announced as launch games for a new console, but, like, it's possible.

In the above scenario, I'm not necessarily saying that AA7 would be a Switch 2 exclusive - because I think that would be stupid after so much of the support they've gotten from the ports has been from playstation and steam - but I am definitely the kind of person who would buy a console for one video game. Shoutout to me buying a switch in part anticipating that aa7 would come out on it and that is not looking likely

Anyways, that's my speculation!! Reminder that this is mostly uninformed and that I have no knowledge of anything related to sales or marketing or video game development, and as a result of that, I have been wrong (aside from the one time I accurately predicted AAI ports as a joke) for four consecutive years.

[chickenmetenders]

2021-2023 mamiya art I never posted here. I thought i'd drawn other characters, but it's mostly just natsumiya.....

SPOILERS for the entire game + additional doodles below the cut

design sheets for the gals

ayano girl!mamiya drawing i did in 2021 that i liked but could never figure out how to frame to look interesting

the following is evidence that I can draw characters who are not natsumiya:

ok back to natsumiya (and one more mina). umineko au

ryoukiteki high school life

beach episode outfits. these ended up being a prototype for my entry in the summer zine. natsume's wearing an asuna t-shirt (don't you think he'd be a HUGE kiriasu shipper??). sao aired in 2012... but the first season only finished december 23 2012, so he missed the last few episode. aw:(

although i heard the second part of sao s1 is bad, so maybe it's a good thing he missed it? lol

looking back at all this art, this sure is a lot of natsume and girl!mamiya, huh...

i HAVE drawn ryou and keito, okay. you can see it in the summer zine and also the white day zine!

[remembertheplunge]

So, why do I write then?

Above is a photo of my December 8, 2021 journal entry. The typed version of the entry follows:

12/8/2021. 1:09pm Upstairs. Preservation Coffee House

So, why do I write, then? It's really not about you, future reader. It's more about embracing the phenomenon of basic being--catching existence on the fly. Any point in time, any "now"---is a potential integration opening.

[itzynabi]

warnings: swearing; mention of sex, fainting, disassociation

an: this was released on march 4 2024

eve’s masterlist // articles

Dispatch Publishes Exposé on ITZY’s Eve’s Fight With JYP Entertainment

There is one main antagonist

Back in January of 2024, ITZY member Eve filed a lawsuit to terminate her exclusive contract with JYP Entertainment. In March, she was granted a preliminary injunction. Today, Dispatch released a damning exposé on Eve’s feud with JYP Entertainment. In the article, Dispatch released texts between Eve and Director A.

The article begins with a text that Eve sent to Park Jinyoung (also known as JYP) in December of 2018.

Hello, PD-nim,

Thank you for adding me to the lineup of ITZY! I know I didn’t do as well as you hoped on Produce 48, but thank you for giving me this opportunity. I’ll make sure to be an artist that gives her all.

Eve has revealed that Park Jinyoung told her that her performance on Produce 48 would determine whether or not she would debut in ITZY. This text displays Eve’s gratitude at being in ITZY despite not making it to the final debut group of Produce 48 – IZ*ONE. When it was revealed that Eve was rigged out of IZ*ONE in favour of other idols, Eve found out that Director A already knew and had left her to feel insecure about her performance. This lack of communication would be a common theme in Eve’s career going forward.

In early April of 2021, Director A sent Eve a message about her appearance on a variety show that he had arranged without her knowledge. The show they were discussing is believed to be Sea of Hope.

In September of 2021, Eve was talking with fans on Bubble when a fan asked her about her solo schedules. “I’m an employee, so I just do whatever the company tells me to,” Eve said.

In 2022, Eve had her solo debut with the mini album ‘diary entries’. The album was released a few weeks before ITZY had a comeback, and Eve reportedly displayed hesitance at how close the two releases were. During an episode of I Live Alone, Eve told her brother, SHINee’s Key, that her schedule was so full that she had a panic attack.

The next text exchange is from July of 2022. Eve told Director A that she wasn’t feeling well and asked to sit out of a performance. Based on the timing of this conversation, it is believed to be the night before Eve fainted during ITZY’s pre-recording.

Dispatch then alleged that Eve was treated differently to her members. It can be seen in an Instagram live that Eve and Yeji did in October of 2023.

Comment: Have you seen your families recently?

Eve: I’m not allowed to.

Yeji: What do you mean? We are.

Eve: I’m not allowed to.

Yeji: (Whispering) Director?

EVe. (Nods)

That sentiment was repeated when Eve went on Amazing Saturday to promote her latest solo album ‘until spring’ and said she hasn’t seen her parents since early 2023.

The next text exchange between Eve and Director A echo the same issue once more. This exchange was from November or 2023 when Eve’s mom was in Seoul. Eve mentions the fact that she wasn’t allowed to go home during Chuseok.

On a phone call between the two in December of 2023, Director A was talking to Eve about the comeback that she’d be having in February of this year.

Director A: This will be an anticipated album so do well

Eve: Why do I keep having solo schedules when I’m not a soloist?

Director A: Because the fans like it

Eve: No, they don’t. They keep swearing at me for all of these schedules. Isn’t it time for one of the other members to debut?

Director A: Don’t worry about that.

EVe: It’s like you want to work with me until I die from all of this. Just give me a break. I’m busy preparing for two comebacks right now.

Director A: Just like a real professional. Well done.

Fnas and non-fans alike have pointed out how JYP Entertainment doesn’t do much to protect EVe from hate that was sent her way, instead using her as a shield from criticism.

In early January of 2024, the two conversed again. Director A was scolding Eve for missing schedules. It is unsure what schedules he is referring to.

He made the same complaint in February and Eve went on to list how Director A continuously failed to do his job in a way that makes it easy for employees to carry on their duties. He threatened to sue her.

Eve mentioned experiencing symptoms such as fainting and disassociation due to her busy schedules, which were seen earlier this year in her The Manager episode and her ‘until spring’ album documentary. Fans have also noticed that Eve has lost her usual excitement and energy, instead constantly looking tired and worn out. Eve herself has said that she doesn’t enjoy performing anymore, she just enjoys being with her members and seeing fans.

Dispatch sent Eve a list of questions when they heard of her lawsuit against JYP Entertainment. Here are Eve’s answers.

Q: Did you know there was an issue with the way you were being treated?

Eve: Yes.

Q: What moment gave you the push to end your contract?

Eve: It wasn’t like there was one specific moment. It was just moments piling on each other. People can only endure for so long before they fight back.

Q: This must have been a shock to the people around you.

Eve: Not really actually. Talking about it with my members was encouragement to go through with it. A few staff members said they were sick of the way I was being treated and wanted me to leave the company and go to a better one. When I told my family, they didn’t even pretend to be shocked, they just asked me what I would like as a treat to myself.

Q: Some might say that you treated Director A in a disrespectful manner.

Eve: That was my intention.

Q: Did you know he was the one pulling the strings in your career?

Eve: Yes, I did. At first I thought it was PD-nim because he would be the one to tell me things, but then I realised he’s not bold enough to do something like that and I realised that every time I didn’t listen to him, he’d look a bit worried. When I found out that Director Park was just telling PD-nim to do these things to me, I felt bad for PD-nim. Being disrespected in the company you started is kind of loser behaviour if I’m being honest.

Q: How did your members take the news?

Eve: I talked to them about it after I started considering leaving the company. I told them what was going on in my head and things like that, and they told me that they would support me no matter what. In fact, I was concerned about how this would affect them and ITZY’s career, but they told me that I should focus on being happy. With their encouragement, I was able to do this.

Q: JYP Entertainment argued that you were rude to the staff. Is that true?

Eve: I’m not one to be rude without reason. If you are rude to me, then I will act the same way towards you. If I was rude towards a staff member, they know what they did to deserve it.

Meanwhile, K-Netizens have already started reacting to the article:

“Wah, Kim Nabi is really amazing”

“Can she come talk to my bossㅜㅜ”

“Is Dispatch expecting me to be on the company’s side???”

“From what I can see, she’s right to want to leave the company”

“Kibum wasn’t joking when he said that she can be mean when she wants toㅋㅋㅋ”

“Well done Evie-yah!!!!!!!!!!!!! You did the right thing”

“They kept her from seeing her family…. Aren’t they just shameless”

“ㅋㅋㅋ She told his wife that he’s cheating”

“The fact that she stayed in the company because of her members proves how much she loves them”

“She’s so good at swearing”

“People can’t call her disrespectful because she at least called him ‘saekki-nim’ㅋㅋㅋ”

“It must have been hard for her”

“And I hope all of those fools that were cursing at her feel stupid now. They should repent”

“Princess-nim, we’re on your side!!!”

“For her to be fainting almost every day… Eve, it’s okay now!”

“Shouldn’t JYP just let her leave now ㅋㅋㅋ before more information comes out”

“Just imagine how much stress she must’ve been under”

“Why does it sound like Dispatch is on the company’s side?”

“We should also applaud the members for looking out for her and staying by her side”

“San and Eve are dating?”

The conflict between Eve and JYP Entertainment seems to be another case of companies taking advantage of their artists.

©️ kim nabi

[riddlebirdweek]

Welcome to January everybody! Who's ready for some statistics? My peeps, you absolutely knocked it out of the park.

I made this year's comparison with the numbers from the first year we ran the event, which up until now had been the high point. Those figures are the ones in blue (light for art, dark for fics) and as you can see they start out higher. However, they dropped significantly in 2021 while 2024's, in pink for art and purple for fics, remain far more consistent. In total this year we had 112 entries whereas the best total previously was 80.

This has been such a successful year, beyond what I could possibly hope, and I owe it all to you fabulous creators and the eager audience who shared and promoted the event. In fact, I have been so buoyed by this that I am launching an additional two events during 2025, one focused on the Riddler and the other for the Penguin. Check out @riddlerweek or @penguinweek if you'd be interested in supporting either (or both) of those. And of course expect another riddlebird week next December!

[jonmartinweek]

Jonmartin Week is Looking for Moderators

Hello all!

This is your moderator (@littlecactiguy) speaking. I started this event in 2021 to celebrate Jon and Martin following MAG200. Since then it has grown exponentially. To the point where now it is getting to a size where honestly I could use some help ensuring it continues to be a fun event in our fandom for years to come. Ergo, I’m searching for 1-2 people to join me as the moderator team.

Below I’ve listed out general expectations and responsibilities of what a Jonmartin Week Moderator will do. If you’re interested, please read through them and answer the questions on the linked form. I cannot guarantee you will be chosen to become a mod, but you will be considered.

General Expectations

18+ years of age

Accepting that all other Magnus ships are valid and not bashing them

You recognize that this blog is not a platform to be used for anything other than its direct purpose. There are a lot of things happening in the world right now, but this blog is not the place for them. It was established and remains a space to create and find joy in the jmart ship. Attempting to use it for anything other than that purpose could see your removal as mod.

If you reveal yourself to be racist, queerphobic, antisemitic, or prejudiced against a group in such a way, you will be removed as a mod.

If you are chosen, you will be made a member of the Jonmartin Week blog, but not an admin of it. What this means is that you will be able to reblog to Jonmartin Week, but you won’t have access to backend settings or blog editing control. After your first event as a mod, this could change, but not before.

Responsibilities:

The Prompt Submission/Voting Process

Prompt Submissions and Voting are decided through Google Forms. At this point, the process is fairly well-established and runs smoothly. Prompts are collected over a period, placed in an alphabetized list, and then presented for voting, where people have the opportunity to choose their top 14. If there is a high enough number of prompts submitted, there could potentially be multiple voting rounds.

Submissions generally take place Late November/Early December, with Voting following in Late December, and the Official Prompts Announcement generally happening by January.

A Mod will:

Aid in organizing the submitted prompts for voting and remove any submissions that don’t qualify (ex. a repeat of one of the past year’s prompts).

Discuss and decide which prompts will be paired with each other, and on which days those prompts will be placed.

Mods have access to the event prompts before their official announcement. The expectation will be that you share them with no one outside the mod team prior to the announcement going out.

During the Event

Jonmartin Week sees submissions in the form of both Tumblr posts and postings to the AO3 Collection.

Mods are responsible for reblogging event submissions to the event blog with organizational tags:

Event Year (ex. Event Year: 2024)

Type (ex. Type: Fanfic, Type: Fanart, etc.)

Day & which prompt was used (ex. Day 1 Prompt: First Kiss, or Day 1 Prompt: Season 1).

On AO3, mods are responsible for reading through fic submissions to the AO3 Collection and approving their entry into it.

The Magnus Protocol

This past year (2024) content relating to The Magnus Protocol was not allowed in the event. We will potentially be revisiting this topic again prior to the 2025 event. A mod will be expected to help lead the discussion along in a firm, but respectful manner.

Link to Moderator Application

[valtionrautatiet-official]

An introduction to VR multiple units, part 5: Sm6

The Sm6 Allegro. When I started this series about our multiple units, I first thought I would cover the Sm6 in the "operated for others" -series, then thought I would leave it out altogether... but events overtook my plans and now I'm introducing them as VR's own multiple units, although they are not yet in operation as VR trains.

An Sm6 unit on the Kerava-Lahti line, currently the only bit of high-speed rail in Finland, 2011. Teemu Peltonen, Vaunut.org.

Since the 1990s, two daily return trains had been operated between Helsinki and Saint Petersburg, Russia: the Sibelius, which used VR carriages, and the Repin, which used RŽD carriages. In 2006, the two rail operators decided to replace the locomotive-hauled trains, which took five hours to make the trip, with jointly-owned high-speed trains. For this purpose, a new jointly-owned subsidiary Karelian Trains was established.

Two Sm6's during pre-service entry test runs at Vainikkala, the border station between Finland and Russia, with the locomotive-hauled St. Petersburg train Sibelius on the right. Lari Nylund, Vaunut.org.

After a round of tenders, Karelian Trains opted for the Pendolino design (already used by VR in the form of the Sm3) from Alstom in 2007, with four units to be delivered in 2010 (there was also an option for two additional units, which was never taken up). Although the exterior design of the new Sm6 units was almost identical to the Sm3, in terms of technology they feature numerous improvements compared to the older class, and were outfitted to operate both on the Russian and Finnish electric systems. Due to the small difference in gauge between the two countries (Russia uses 1520 mm but Finland 1524 mm) the trains were given near-unique gauge of 1522 mm.

Interior of the Sm6's first-class carriage as delivered. Otto Karikoski, Wikimedia Commons.

Branded Allegro, the new Sm6 units begun operations in December 2010, cutting the travel time between Helsinki and St. Petersburg to 3½ hours. In addition to services offered on Sm3 units, the Sm6 has (or perhaps more accurately had) a space for the border patrol to use, as passport control was done en-route on the train, and a kid's playroom. The original grey-dominated interiors were replaced by new, more colourful blue designs in 2018-2019.

The new interiors were not in use for long before the Covid-19 pandemic caused for passenger train services between Finland and Russia to be suspended in March 2020. The Allegro services were restored in December 2021 (the Helsinki-Moscow sleeper train Tolstoy, however, was not), and ran for less than four months until closed again in March 2022 after Russia's invasion of Ukraine. (VR subsequently stopped freight traffic to Russia too - other Finnish rail operators continue to serve freight to and from Russia, however).

Second-class carriage in the post-2019 look. VR.

After March 2022, the four Sm6 units languished at VR's Ilmala depot in Helsinki, without maintenance as RŽD refused to make any payments for their share in Karelian Trains (which, although jointly Finnish-Russian owned, was registered in Finland). In March 2023, when Finnish prime minister Sanna Marin visited Kiev, Ukrainian Railroads requested the Sm6 units be handed over to them, but nothing ever came of this. Instead, in December 2023, when Karelian Trains was on the brink of bankruptcy due to RŽD not paying their share of the company's bills, VR bought out Karelian Trains and took over the Sm6 units.

The trains will be given a thorough technical refit, which will include removal of the systems to operate with Russian electrification, and will enter services on routes within Finland in 2025. How they will be branded is unknown, though a VR representative said in an interview they will not be called Allegro. Presumably this will make the Sm6 the first VR rolling stock class to be fully painted in the new livery.

[black-arcana]

IN THIS MOMENT: We 'Will Now Be Stepping Away To Take A Break And Create The Next Chapter Of Music

Grammy Award-nominated act IN THIS MOMENT has thanked fans for their support during the band's just-completed headlining tour across North America, featuring special guests KIM DRACULA, NATHAN JAMES and MIKE'S DEAD. "The Godmode Tour Part 2", which continued the celebration of the release of IN THIS MOMENT's 2023 album "Godmode", saw the band perform at arenas and amphitheaters across the country.

Earlier today (Thursday, December 12),IN THIS MOMENT released the following message via social media: "ITM just wants to thank everybody for all of their overwhelming support for this last 'Godmode' album cycle. We appreciate you all more than words can even express.

"ITM will now be stepping away to take a break and create the next chapter of music."

"Godmode" arrived in October 2023 via BMG. The LP was produced by Kane Churko (ROB ZOMBIE, DISTURBED, PAPA ROACH) and Tyler Bates. Bates produced, wrote songs for, and played multiple instruments on albums by MARILYN MANSON, BUSH and ALICE IN CHAINS guitarist Jerry Cantrell. He is best known, however, for scoring the box office smash "300", the Emmy Award-winning Showtime series "Californication", the "Guardians Of The Galaxy" and "John Wick" film franchises. IN THIS MOMENT's song "I Would Die For You" appeared on the soundtrack for "John Wick: Chapter 4", for which Bates wrote the score.

With a Grammy nomination ("The In-Between", 2021),platinum and gold record sales, multiple Top 25 entries on the Billboard Top 200 ("Black Widow" and "Ritual"),hits including "Whore", "Blood" and "Adrenalize" and career streams of more than 1.3 billion, you'd think IN THIS MOMENT might rest on their laurels. Instead, they've created "Godmode", 10 dynamic songs that mark a new high for the quintet, further cementing their legacy in the heavy music world. Proof positive is in "Godmode"'s first single, the industrial-heavy yet ultra-melodic "The Purge", and its darkly cinematic video directed by Jensen Noen (BRING ME THE HORIZON, DEMI LOVATO). From the portentous start of the '90s-tinged "Godmode" with Maria Brink's powerful primal scream to the pitch-perfect cover of Bjork's 1995 "Army Of Me" to the impassioned pain to partnership in "Everything Starts And Ends With You", "Godmode" is a cut above.

IN THIS MOMENT, a touring juggernaut who've slayed stages worldwide at Ozzfest, Warped Tour, Download, Knotfest and Rocklahoma, put out "Mother" in 2020, during the pandemic, giving fans something to hold on in during that bleak time, and earning "The In-Between" the band's first Grammy nod. It was 2021 when Howorth and Brink first wrote with Bates on "I Would Die For You". Following that collaboration, the duo were writing organically, for pleasure, not focused on the next album. As the pandemic waxed and waned, Howorth learned programming, and created music around synthwave sounds, which Brink leaned into. Her lyrical ideas arose both from soul-searching and "humanity and so much crisis and so many heart-wrenching things in the world. That negativity and darkness is how songs like 'The Purge' came about," Brink explained.

Photo credit: Joe Cotela

[foxes-that-run]

Two NYE ago means 2015 NYE right? Since Harry was with that girl, and she was pretty mad at that time, maybe she was reminiscing about their time together and hoping to find someone who'd stay and then after meeting Joe she repurposed it because she thought she found that love she was searching for with Joe. I think most of reputation is her repurposing songs/ideas that were about something/someone else. And Joe just fit but some songs definitely has part Joe in them too. So I guess she succeeded in that bait and switch thing

That video, (which Taylor Nation has cut at 24:38 from their version) is from Chicago 27 June 2018, so she is referring to NYE 2016/17. (side note: Harry was also in Chicago 30 June 2018. In his next show he changed the Lyrics to MMIH to 'running with thieves you'... a few weeks before Hamille ended due to cheating......)

We have been told a few things to tell us she was with Joe then:

In 2018 the Reputation magazines included photos from Stella McCartney's farm in Bishampton (on the pages adjacent to NYD) and in January 2016 Joe posted a photo of himself woods that also had trees... not the same trees, but OK... I guess.

In 2019 in promo for A Christmas Carol Joe told interviewers he swims in Hampstead Heath every christmas, which many linked to Paper Rings, along with a very natural photo of Taylor painting a literal wall. And maybe he does, just him, his family and (long time lcy swim enthusiast) Harry Styles and by chance no one ever photographed or spoke about it.

Then on 30 December 2020 Taylor was hacked and the only photos they got/leaked was 7 (rather odd) images of Taylor and Joe getting ready on that new years eve. Amazingly they had access to Taylor Swift's camera roll and only leaked 7 PG images that placed her with Joe the at the time of a story Taylor Nation edited out of one of their videos about an icy swim on NYE, almost on the anniversary of when they were taken. (The 7 Photos were in 2 drops, the proper (non-mirror) selfies leaked October 2021.)

So why do I doubt this? Any alternative version is pure speculation we don't know where Taylor was NYE 16/17. But the edited video is weird, and I find the above odd.

FIrstly New Year's Day seems like an 1989 outtake to me, the story also fits the NYE 2012/13 Haylor Kiss that did involve hardwood floors, a Taxi in which to squeeze hands, a lobby girls could carry shoes in and an insane crowd that did make it hard and probably made them feel lost. And she looked ready to cry performing it while she was dating Joe?

Where was Harry on New Years Eve 2016/17?

Well he was spotted with Taylor on 28 December 2016 in Liverpool. Within a few days, one of his friends signed a record for Taylor to gift Austin Swift. Austin thanked the band who replied "when someone asks you to sign a record for their "friends little brother' and the friend turns out to be Taylor Swift."

After being missing for a few days he was next seen taking photos with fans in Holmes Chapel (1.5 hours drive from Stella's farm) on New Years Eve.

But wait! Taylor said she and Joe had been together for 3 months in the Lover Journal? What she said was "we" maybe that was Joe and we didn't find out for another 5 months. Or maybe she was with someone else.... in this entry shaped like a butterfly.

Updated with more.. so I question adding this and need to cavet that haylorsecrets was an account that claimed to have inside info from Taylors PR office and lost the inside connection (in hindsight after Taylor fired her publicist before Tree in 2014) they then had a friend who fed them some info. It may have all been made up, but they were right about some things. Looking for another post I saw these where she posted in February 2017 that Harry and Taylor had been together at christmas. (x, x)

[unioncolours]

The 5th Majsasaurus Year

Today is the 22nd of September, 2024. As per tradition, I have written a reflection of the year that has passed since September 22nd 2023, a public diary entry of sorts. Not only is Sept 22nd Shikamaru’s birthday, but also Majsasaurus as a member of the Naruto fandom’s birthday as well. This date marks five years since I posted my first fic in the Naruto fandom. You can read my first reflection from 2020 here, the second from 2021 here, the third from 2022 here, and the fourth from 2023 here.

It's been five years guys! Half a decade of making a fool out of myself online!

I have to be honest, this year has not been the best when it comes to fandom. While not as depressing as the worst year of 2021, it’s been challenging for sure. Before I go into this year and personally reflects all its quirks and events, I’ll start by introducing my nickname that’s been used on me online; Bex.

When I got social in the Shikatema fandom spheres back in late 2019 I asked people to call me a different name, a name I chose. My back then friends said the name I chose was too long and didn’t want to call me that, so they gave me the name Bex. I accepted the nickname without whining, because there I was, new in a server, and I just followed their lead. So I became Bex online. This is important for later, hence why I told this backstory.

And now onto the fifth year of being this persona online. Keep reading if you’re interested in my year.

I finished my last review of my year by announcing to you, my followers and friends, that I was expecting a child, a theme which was very visible in the fic I published 23rd of September 2023, we hold galaxies.

Since I knew that I’d obviously would have to cut down my time spent online very drastically after my baby would be born, I planned to write one more Shikajin fic with the aim of it being around 30k long, hoped to publish it in December and then be on a longer break. However, it’s… not always that easy being pregnant haha! What I didn’t realise then but realised later was that I suffered from brain fog and that made writing challenging.

What did cherish my days was that dear SpicedGold, who I for a longer while have been close to, sent me a giftbox literally from across the globe. In that giftbox she included two homemade plushies, one of Inojin and one of Shikadai and I had never been so surprised in my life. Now two plushies of them is decorating my shelf above my computer by which I write fics! My friend @clumsydragon28sent me from another corner across the globe another gift box to me as a Christmas gift, where I got even more plushies! Those were of Rowlet from Pokémon and Fyodor from BSD and both plushies decorate my living room. The gifts were truly cherished.

However, because I had rather forcefully decided that I WILL write a final pre-motherhood fic and had a deadline if I wanted it published before my baby was born, it meant I stuck with the first idea I had that sounded mediocrely interesting. Yeah, I should not have forced myself at that point, but wanted to go on a break with a bang and wanted to give my readers something to chew on before giving birth.

And I had very strong faith in myself that I could make it.

For months I battled through writing a plotline my heart didn’t love and my due date got closer and closer and all I could see was plot holes and words that refused to form. I realised 30k would not be enough for whatever I was cooking, and I had now strayed very far from my original plan.

I started to procrastinate and, because I had gained 60 user subscribers on AO3 (if you’re one of them, thank you so much), I decided to host a silly bingo with prompts. I received a few prompt-asks and wrote mini fics for them, all around 600-800 words. It was a wonderful way of procrastinating. You can read my mini fics here: Jinchuuriki Temari part one and two, TemaTen modern au, a fluffy Shikatema, and a Witcher AU.

Not even when my maternity leave had begun before the due date had I made any significant dent in my primary fic and I failed my quest to publish it, even if I by then had a good idea of what to do of the story.

After my child was born and when I had healed form the birth the brain fog vanished immediately. With zero sleep and a tired body I once more had a vision for my fic, and I banged through the rest of it like a madwoman. I had inspiration once more!

TERRORISE, the Shikajin fic, was published at the end of March 2024 and ended being 56k long. It is definitely not my best fic by any means, and there are at least two or even three places where I know I could have added a subplot to up the word count to my trustworthy 90-something thousand words to make a deeper and more profound story, but at that season of my life I could not write a better story than what TERRORISE ended up being. The missing subplots were the lie Inojin told, and Chocho and Sarada’s common backstory, which were only mentioned and alluded to, but not explored like they could to have made a better story. The final chapter was published by the beginning of May, and I have not re-read anything of it.

I had already decided before my baby was born that my project when they were here would be to re-edit To go down with the Sun, my first long fic from 2019. I had often thought about re-editing it finally, since before 2019 I had never written something vast that in English before. That meant my fics at the beginning of my career had language errors that I couldn’t see then, but now was aware of. I started re-editing in May, thinking I would change and add to a good amount of scenes, but in the end, I only added a little bit to one scene aside from correcting and re-editing the rest, which honestly surprised me, even if I so boldly stated in my previous official diary post that there would not be anything to correct. That my bold claims were true did surprise me after all.

Beside that I also added more scenes to three chapters from no one cries for unknown soldiers, my Shikatema WWII fic from 2022, just because I could and I had wanted to do it for a longer while, since that fic would have benefited from having a longer editing period than what I allowed it to have two years ago. So I did! It was fun and lovely to dive back into one of my favourite projects of all of my time in fandom.

In the middle of re-editing Sun I was struck by very sudden and intense inspiration to write about Saiino. In my ‘giving birth’-projection fic with Temari I waxed poetics about the wonders (and horrors) of biology when it comes to childbirth and ended the fic on a very powerful and positive note, but now felt inclined to write a fic which featured a mother who did not have a wonderful start of her motherhood and who fell ill to postpartum depression instead of having a lovely baby bubble.

As if possessed I smashed on my keyboard and crunched to get the fic done in time for Mother’s Day 2024. I made it, and the Ino-centric fic to grow a bed of flowers was published late that evening. I even rushed my ending a bit to make it but even with a rushed ending the entire atmosphere of the piece of so bittersweet and lovely! Postpartum depression is also such a hidden or even taboo topic that I think it was very needed in our fandom to have a description of that.

I could then go back to To go down with the Sun, and I had even commissioned the skilled and wonderful @keijidraws to make a poster for the fic, which I felt like that fic deserved. Over these five years that has passed since I wrote the first words of this fic (if my memory isn’t failing me, I think it was 10th of October 2019 I started writing Sun), To go down with the Sun has given me so, so much. My most kudos and hits, many friends, online crushes, *fans* even if I dare to call them that, soulmates, it all, all started from that fic. It deserved getting reborn and loved again. It was a rather easy job banging through published chapters and just edit them. I had finished everything the final week of May and was really proud.

By the beginning of June I was planning to write an InoTema fic, and was musing between two different settings and plots when I learned that the way I was perceived in what was part of my fandom circle was not a positive one and, being my own fault for how I behaved or was, or not, it affected me badly. Being online caused me panic attacks, I got problems with my sleep, and I had nightmares. And because of that I started to hate the person I was online. I hated Bex and I hated Majsasaurus. I hated the way I was that had led to me being perceived that way and if I hadn’t known better and counted down from ten, I would have nuked myself off the internet out of shame and hatred.

I would have deleted this tumblr you are reading this post from. I would even have deleted my discord server I have loved and nurtured since 2021 without the blessings of the other mods, just nuked it, leaving them shocked and detached from the group of friends we had. I would have ruined it all. I would have deleted everything but my fics on AO3. No, deleted wouldn’t have been enough, in my hatred for my own persona, for Bex, this person that was given to me all those years ago, I wanted to kill her.

I constantly planned suicide letters in my head to post here online. Not killing myself in real life of course, but online. And killing Bex would mean to kill my love for Naruto the series and ShikaTema and Shikajin. How does one kill a hyperfixation?

I started working on it, on killing her. I created a new tumblr and a new nickname and logged out of this one. I hid my twitter account. I decided to never write a Naruto fic again. As you can see, it got very bad very fast. Some of you might think I overreacted at words on a screen and that it all was my own damn fault and I should have reacted or gone about it differently, but it just got like this.

The entire month of June and July I spent in darkness when it came to fandom. It felt like Shikajin would be the only thing keeping me tied to Naruto again and in a desperate attempt to cheer myself up I began editing To dance above the Stars, the sequel to To go down with the Sun, and my true favourite out of the trilogy it belongs to. To try to force myself to not give up, I asked my dear friend Soverel6 if she wanted to make me a poster and she happily agreed, without knowing I was one click away from deleting myself away from her.

Then I began editing sometimes in June. I thought the fic sucked when I re-read it this time around and rather than adding, deleted a lot of the content. Most of the content I deleted was unnecessary preaching for a cause I ran in the fic, and I toned down that theme a lot. After 4 chapters I was ready to give up, to just not bother anymore with this fandom crap and leave for good, when Soverel6 surprised me with an almost finished poster. For her sake, I could not give up. I could not fail the trust she had in me, and I kept fighting for my joy within the little world of the fic.

After a month of sulking and feeling awful I managed to once more spew fun ideas for @notquitejiraiya's sequel fic to her masterpiece Grandmaster, which we jokingly call GMJ (the real name is Piano Man haha). SpicedGold also got to know I was feeling bad and to cheer me up started writing the sequel, When Waterlilies Waken, to the fic that originally made us friends, Let Wildflowers Grow Free. I felt so honoured she got around to do this, after me talking (pestering her) about a potential sequel for a long time. During this time I had reached my favourite parts of the fic, To dance above the Stars, I was editing, and thanks to the support I received from friends when talking about it I finally managed to find it fun to work with a fic again. I was still greatly offline from Naruto spheres, and when I sometimes logged into this tumblr just to check I was very careful to never reblog anything and often logged out again with a pending panic attack.

I uploaded the edited chapter of To dance above the Stars onto AO3 when it was finished in August along with Soverel6’s poster and finally dared to show my face on twitter again. Twitter felt safer than tumblr for some reason.

By this time, two months since I began hating being part of this fandom, I finally started feeling hope again. I decided that, before taking the ultimate decision to actually leave, I must write one final long fic of ShikaTema. I mused different prompts, all of them long and angsty and bloody of course per my brand and what I love to write the most. I mused different plots and it was between yet another historical au which would take place during WWI, another historical au which would take place during the 1700s and focus on witch-hunting, or a fantasy au which would be my Witcher AU, which I have mused for a bit and am really fond of.

I decided in the end to attempt at the Witcher AU.

However, I didn’t start writing it, and started writing this text instead already in late August. Then, after knowing I had received so much love on the WWII-au from 2022, one of my best fics to be honest, in the spur of the moment I decided that I will record the entire fic as a podfic. I begged my dear friend Becks to make me a new poster for the fic’s re-launching as a podfic and since she luckily agreed, I promised myself to do it. I, Bex, would try something completely new! And dauting. And tough. Recording wasn’t a problem in itself, I love reading things out loud, but the chapters were longer than I thought when reading out loud, and the software I downloaded for the editing was not as easy to manoeuvre as I predicted.

Then the fatigue hit again. I got stuck. I have not given up and I will finish it, but the deadline is maybe by 2025, haha.

When I got stuck with recording myself, I managed to scrape together a will to finally, after three months of practically deciding to never write any fic ever again, write a one shot. That one shot ended up being a second chapter to we hold galaxies, my projection fic I published exactly a year ago on Shikadai’s birthday 2023. I first thought of making it a one shot, but ultimately decided to add it as a chapter instead, and I was pretty satisfied with how it ended up being.

Now I am facing what to do next. I still had that promise of a long ShikaTema fic, but the Witcher AU didn’t feel as good as it once did. The hype inside me waned at the same time as new ideas spurred. New ideas. Did you hear that, “new ideas”? That is the sound of me almost being healed from the intense hatred I felt towards my Naruto online persona during the summer.

One of the new ideas is for example connected to Inojin’s canon fate in Boruto the manga, during which chapter he ‘died’ I was not feeling good. I was already trying to strangle my love for him and then he DIED on me. I cried. Yeah, no, judge all you want, but I was not exactly mentally stable enough to witness that. Now, however, I am luckily having fun with engaging with canon once more, since Inojin survived, and we got some good food from the chapters. I had fun in my safe space with other people who were engaged with his fate.

I am now brooding an intense and angsty Shikatema canonverse long fic. Canonverse! It’s almost like going back in time to when I thought I only could (and wanted) to write canonverse, back in 2020 and 2021. I also have a wlw idea again, after deciding to trash all the InoTema ideas that were ruined due to my anxiety in June, so it feels… normal again. It feels like I normally feel like in fandom, in a place where my imagination can run free and I can be the antithesis of a dude bro: the silly bean sister.

I find it ironic how I every year say I have learned to deal with fandom grief, but this year proved once more that I will never learn. But I think I will have to learn to accept that I won't learn.

Now we are here again, at the 22nd of September. Five years has passed since I uploaded the first chapter to my first fic, and I have 950 000 words uploaded on AO3. Earlier this year I promised myself to beat the delicious one million word count before 2025, and I know I realistically still can do it if I start writing tomorrow and stick to it.

But I will not retire until I have that sweet one million words on AO3. It would be too much of a failure to do so. So, dear sixty something subscribers, followers and other lurkers, expect at least 50k more of Majsasaurus fic in the future.

And yes, you can call me Bex. I don’t want to kill her anymore. I asked her forgiveness for being so angry, especially when I proudly bought a Temari Funko figurine in September. I don’t think I can kill this hyperfixation just yet. I don’t think I even want to kill it.

I can, with confidence, say, that there will be a 6th Majsasaurus Year in 2025, at least in some capacity.

Thank you to those who stopped me from deleting everything.

Majsasaurus Bex

[ericleo108]

Blog Navigation 2023

“The nation's greatness can be judged by how it treats its weakest members.” - Gandhi

Blog Navigation List: 2022, 2021, 2020, 2019

Last Updated 12/29/2023

Summary

I make these navigation posts at the end of the year to give a wrap-up and a look back on the year. I post a long-form Update every sunday to YouTube that ends up being in my Friday song release blog post. (You can find the Sunday Update YouTube playlist here.) My book “108 The Story of Discovering Earth’s Consciousness” is still fundamental in understanding my story, perspective, and the content I talk about here in the blog. I put the cosmic luve log first this time because I think it’s the most relevant. If you actually understand what I’m saying about how these celebrities are reflecting me and I think the coincidences are how Gaia is communicating using them as a vessel, you get it. The only real new treatise editions are to FarmingHumans.com where I came out with a new rendition for the “American Inequality” song release and the “Corporate Rule” album expands upon the public reaction to this in an aggressive tone.

2023 Cosmic Luve posts: (In Chronological Order)

In Last year’s blog navigation (2022), I listed all the cosmic luve entries since the very beginning. This year, I will begin where we left off and the last entry about Taylor Swift’s Folklore.

CosmicLuve.com April 2023 - Sun: In this entry, I give more of a personal update and set goals while relating it to the semantics I’ve been experiencing and previously mentioned. 

CosmicLuve.com July 2023 - The Main Thing: In this entry, I talk about how Emma Watson is the main thing and the reason for all my aspirations, so we can become friends. I talk about her posts on Instagram and relate them as a response to my poem in the Hope Sept 2022 entry. 

CosmicLuve.com August 2023 - Orange: In this entry, I talk about how it appears as if Gaia got me a taco for my birthday. I came to this conclusion after getting semantics from Selena Gomez and Connor Price. 

CosmicLuve.com September 2023 - Bam: In this entry, I introduce Janelle Monae as a cosmic luve and explain how Blue has diabolical plans against Big Carbon. 

CosmicLuve.com November 2023 - Cosmic Bros: In this entry, I induct Connor Price as the first cosmic bro after relating new semantics to the previous entry, Slender Man, Connor’s new “Thrillin” video, and new Hailee Steinfeld reflections. 

CosmicLuve.com December 2023 - Deer: In this entry I give a prophecy by identifying semantics from Gaia that come from Emma Watson being referenced by a deer, a tree, the color purple, etc.

Media and Treatise List:

Sociology:

🏚️FarmingHumans.com 2023 - This was the “American Inequality” song officially released this year and posted as the official Farming Humans 2023 edition. In this post I talk about what socialism is, how money is speech, and how corporations are legal persons and farming humans for labor and money (through consumption).

🎃Corporate Rule Album - The “Corporate rule” album expands upon the information outlined in the “American Inequality” song. The album is a response to that assault on democracy with an Immortal Technique approach. The blog post expands upon how there is a conspiracy of the corporate rich working in unison (using far-right tactics) because it serves their self-interests.

🧾NouveauEconomics.com 2022 - In this post, I talk about how the economy needs to account for what the environment does naturally and give it a monetary value. A start is how certain parts of the environment, like Lake Erie, are being granted personhood. This will be updated semi-annually and can be found at NouveauEconomics.com

🍱 The Psycho Consumption Cage 2021 - In this treatise, I talk about how it’s hard to see environmental degradation that is not added to our economics, how you should be using your buying power strategically, how apex species need economic and congressional representation, some solutions, and examples of psycho tendencies from Christmas and hip-hop.

🏳️‍🌈 Gender Equality 2021 - In this essay, I break down gender equality into six categories: LGBTQ, Phobic, Sexual, Mental, Feminist, and Economic. To properly show the subject of gender equality I reference the 6 Netflix documentaries and linked and discuss related videos from Ellen, HeForShe, TED, Jordan Peterson, The World Bank, and the UN.

🏁 Dark Racism 2021 - In this treatise, I explain the science of racism, how it’s an arbitrary distinction that is socially constructed. Black people do have it worse due to institutionalized racism and white privilege. However, I talk about how black people create their own in-group morality around the word “nigga,” and my presented solution.  

🌎👣 Earth: Sustainability, How To Save Our Planet - If you want to know how to save our planet this post is the summation. Taking from the featured WWF video, I focus on a carbon tax and the three ways to save the planet. Along the way I discuss how it relates to The Psycho Consumption Cage.

🌲Marijuana Treatise 2021 - Published on April 20th and introduced with a discussion of my personal use, in this essay, I wrote about the versatility of hemp, the immorality and failure of the war on drugs, and the medical benefits of cannabis. 

Philosophy: 

🌍108 The Story Of Discovering Earth’s Consciousness (post) - This book is fundamental to understanding me and stands as the foundation in which I build my artistry. The book is nonfiction and autobiographical and about celestial consciousness, my personal story of struggling with schizoaffective disorder, atmospheric consciousness, sustainability, and eugenics, and finishes with what the number 108 means for the origins of life on Earth.

🚸🚜 Knhoeing 2020 -  The information is broken down into celestial consciousness, atmospheric consciousness, sustainability, and eugenics. Knhoeing states the planets, stars, and atmosphere are alive, and how humans can understand that through sustainability and eugenics. Knhoeing has to do with understanding your position in the universe and expresses and addresses human purpose through a eugenics goal. To survive & thrive as a species, we must support ourselves through healthy sustainability and breed to understand higher dimensions. 

🙏Sentientism 2022 - This post contains insights into my mind and the voice in my head, Gaia. Sentientism explores the belief (whereas knhoeing is the knowledge) that Gaia is conscious and communicating. I explain how sentientism is the religion of Gaia where you worship through action and create dogma through science and philosophy. If the planet earth is conscious how would she try to communicate considering she has no mouth or ligaments? How would Gaia try to communicate? I postulate and explain how Gaia could be communicating through a kind of telepathic randonauting.

📐 Expanding on Plato’s Philosophy: Forms and the Tripartite Soul (2020) - In this treatise, I explain how Plato’s forms are stored and strived for by Gaia and how Plato’s theory about the tripartite soul is similar to my theory about the will.

♟️ Logic - This post is a short introduction to logic. I use quotes and pictures of pages from the book “How Philosophy Works.” The content includes deductive, inductive, and abductive reasoning, fallacies, and formal logic. I have also embedded a couple of CrashCourse videos.

Releases

🕸️New Release Blog at EricLeo.org - Over the last year I have been releasing at least on the 1st, 3rd, and if there is a 5th Friday of every month if not every week. Each release has its own post in my new release blog which is constantly being updated. The same posts are also here on this Tumblr blog as I post them at the same time. A list of releases is cataloged as follows:

2021

Read 108 - about my book

Vibe on the Wave - catchy intro

Eat The Mind - intellectual rap

Bump This Banger - party music

Cloud 9 - about recreational drugs

2022

Who’s Hip-Hop - my perspective in hip-hop

Black Lives Matter - support for the cause

Smoke Blunts - high intellectual bars

Flossin - dance track

Hey Emma - dance track, made for Emma’s everywhere

Champagne and Chocolate - romance track

Just Us Two - expression on evolution and companionship

Make It Hip-Hop - Homage to favorite artists

My Word - Celebrating 10 years

Gaia and Blue - Expands on “108” book

Love the Mission - the purpose of my music

Hit Me with the Download - a great tune

Talk to Me - romance track about wanting more

Cunnilingus - dating life experience track

Just Dance - dance track

Just Like You - happy expression 

We Dance - play when dancing is a protest

Come On Dawg - what my music stands for

The Villain - playing the role of the villain

Rage - subjects will put you in a rage

Bounce with This - party music inspired by Charlotte

Take Your Medication - Kayne Diss

2023

Gold Shaw Farm - about Morgan and Alyson’s farm on YouTube

Betsy - about the character from Hulu’s “Dopesick”

Bo Peep - political rap about America

Atheist Raps - self-explanatory, rebuke’s Christianity 

Blow Me Up - asking for help with exposure

Michigan Love - romance track about love in Michigan

I Got You - Letter asking for help from my fans

Breaking Bad - Eminem and Dr. Dre homage

Bleed - heartfelt plea about ending mass shootings

Going Gaga - fun romance track with Gaga Gaga-inspired hook

Funk You - response track to Olivia Rodrigo’s “good for you” and “deja vu”

What Now - 6 track EP about and inspired by other artists

Bong Hits For Jesus - about how when you smoke, you smoke with Jesus

Up Wasted - subjects and getting “fucked up wasted”

God Damn - fun and energetic track showing skill

Love You Mom - A thank you to my mother for being a good mom

American Inequality  - about how America is an oligarchy

John Wick - gets out aggression toward sex traffickers

Philosophy 101 - based off Cornel West’s Introduction to Philosophy Masterclass

Yeah We Bang - about American imperialism

Legend - about my feelings toward the music industry

We Make The Party - Party music with global warming bars 

Freaky Naughty - emulating Dr. Dre’s sound with global warming bars

With You - Cmadd feature about riding with your girl

Vulnerable - Selena Gomez response to her song with the same name.

Mitten Kingz - a song with artists representing Michigan

Soldier For Love - a message to keep going out of love

Our Love - a break-up and get back together song

My Everything - how your lover is your everything

Be My Dream - how I want Emma Watson to be my dream come true,

Reputation - A response to Taylor Swift's reputation 

Karma - about your fate in terms of civilization

Corporate Rule - 8-track album in Immortal Technique style

Earth - my hit and best representation of my music

Back to Life - Hailee Steinfeld response and homage. 

Process, People, Product - about Marcus Lemonis 3 P’s business philosophy 

All Homo - An edgy and controversial take on support for the gay community

Cosmic Luve Brownies - A response to Taylor Swift’s Lover album

Praises - a sexually charged song from artists from Kalamazoo Michigan 

…

Chalice Mixtape side note: “Talk to Me” (2022), “John Wick,” “Be My Dream,” “Reputation,” “Karma,” and the “All Homo” ep, were all remakes from ‘The Chalice Mixtape. “Charlotte’s Web” drops April 15 2023 and the remake for “I Love You” is in production. I will probably never remake “Listen Alice,” “Loyal,” “Problems,” or “The Profit.”

Already uploaded and scheduled to drop in 2024:

Kyle Beats Collective EP - 6 tracks made with free beats from Kyle Beats. Jan. 5th

Check it out - track from the (unofficial) party politics era/album Jan. 19th

Kato & Wysh Album - 7 tracks made with Kato and Wysh beats. Feb. 2nd

The Industry Album - 12 tracks with 14 features some with big names over Anno Domini beats. March 1st

Sun poem - spoken word track I recorded from the Cosmic Love Sept 2022 hope post. March 19

Charlotte’s Web - Emma Watson-inspired track released on her birthday. April 15th

Westside Connection Album - 7 tracks with big name features over Anno Domini beats. May 3

YOU - Song based on John Gottman’s 7 principles for making marriage work. June 7th

Can You Hear Me? - Rap song about global warming and summer heat. June 20th

[gyeomsweetgyeom]

all Taeyong imagines can be found here personal favorites are marked with ☆

last updated December 3 , 2024

[1:16 pm] posted January 7, 2021

Taeyong does your nails

[7:05 pm] posted January 3, 2022

Taeyong still gets shy when you tell him you love him

[10:38 am] posted September 18, 2022

Parent!Taeyong just can’t say no even when you already have said no

[10:57 pm] posted August 5, 2023

idol!reader breaks up with Taeyong after the hate becomes too much when your relationship is revealed

[12:22pm] posted November 16, 2024

You come across your old diary and read your husband some old diary entries.

[hassibah]

In December 2021, the US government passed the Uyghur Forced Labor Prevention Act, which treats goods from Xinjiang as being tainted with forced labour – and therefore banned from the US – unless an importer can prove otherwise. To date, the legislation has resulted in more than $500m (£397) worth of goods being denied entry to the US.

The report’s researchers said: “This is a sea change that only legislation could have made happen. Companies are now subject to investigation of their entire supply chains, which has encouraged more due diligence and more visibility in what were previously incredibly opaque relationships.”

But the EU has no such stance on goods from Xinjiang, something the researchers said needed to change.

[mariacallous]

As Iranians head to a run-off presidential election this week to replace the late leader Ebrahim Raisi, one key—and unusual—electoral issue continues to grip the country.

While previous elections focused largely on the issues of civil liberties, women’s rights, and fraught relations with the West, immigration has also featured prominently in this year’s debate. Almost every candidate in the tightly controlled showdown touched upon the influx of asylum-seekers from Afghanistan and the socioeconomic ripple effect that it has created in Iran.

Discrimination and racial prejudice against Afghans have recently been on the rise in Iran, especially as economic hardships take a toll on citizens squeezed by corruption and poor governance at home and the burden of international sanctions from abroad.

According to the country’s latest census in 2016, more than 1.58 million Afghan nationals lived in Iran—making up roughly 90 percent of the country’s migrant population. Following the Taliban takeover of Afghanistan in 2021, the latest United Nations figures now put the number of Afghan refugees living in Iran at 3.7 million.

In its 2023 country report on Iran, Amnesty International cited “barriers to education, housing, employment, health care, banking services and freedom of movement” as the major cases of discrimination against Afghans. Roughly half of the country’s 31 provinces are regions that Afghan nationals aren’t allowed in by executive mandate. These include either the more economically advantaged provinces or those at the heart of acute ethnic fault lines in Iran.

Afghanistan is one of the only three Persian-speaking countries, meaning that there is no major language barrier between Afghans and Iranians. In religious terms, Islamic practices have tied the two nations for centuries. Culturally, commonalities are manifold and the two peoples’ admiration for such relics of a shared past as the Nowruz festival or the poetry of Rumi and Ferdowsi remains ironclad.

Against this backdrop, it’s shocking that the public discourse among Iranians about Afghans fleeing the Taliban’s tyranny has become so toxic. In preserving its imagined sociopolitical boundaries, Iran’s clerical establishment has reproduced negative clichés about a vulnerable community, making it more convenient for disgruntled masses to blame them for their country’s mishaps.

A succession of hate crimes and violent acts targeting Afghan migrants, often provoked by the irresponsible rhetoric of politicians and state media, testifies to an overtly unwelcoming and intimidating environment for the desperate asylum-seekers. Security forces mistreating Afghan nationals at ports of entry and public venues through physical abuse, verbal aggression and other forms of humiliating behavior has become routine.

In the absence of accountability for the state, ordinary Iranians have also become complicit in a pattern of villainizing and mistreating Afghans. Last April, an upscale shopping center in Tehran banned Afghans from entering the mall for four days. In October, a video circulated online showing a group of men in the city of Sanandaj beating a young Afghan refugee. And last December, following the killing of a 17-year-old Iranian from the city of Meybod, an angry mob attacked a housing estate hosting Afghan refugees, setting several apartments on fire.

The teenager was reportedly killed in a street fight that implicated an Afghan migrant, and his death reignited anti-Afghan sentiments that erupt in Iran from time to time. The second-largest city of the province of Yazd, Meybod hosts nearly 12,000 Afghans; after the incident, local authorities said that they would enforce restrictions on the living conditions of the “alien residents,” including walling their housing complexes off from the rest of the city.

Iranians are economically frustrated, seeing the government as unable to address their basic needs. In a petroleum-rich and relatively wealthy country, the World Bank has reported that 28 percent of the population is living under the poverty threshold and a further 40 percent is on the verge of falling into poverty. The youth unemployment rate stands above 22 percent, and the inflation rate is over 37 percent—higher than that of war-torn Yemen, for example.

The proliferation of anti-Afghan sentiment in the public domain was reinforced by the hostile rhetoric of the Raisi administration, which weaponized a mix of nationalism and religious zeal to rally a base of conservative loyalists around an anti-immigration platform. A hashtag in Persian that reads “expulsion of Afghans is a national demand,” now trending nationally, has been promoted by hardline sympathizers of the government, who have spoken ill of Afghan migrants as manipulating Iran’s demographic makeup and usurping job opportunities.

“I think Iranians have a long history of Persian chauvinism toward Afghans, Arabs, and other regional neighbors,” said Sahar Razavi, director of the Iranian and Middle Eastern Studies Center at California State University in Sacramento. “The chauvinism obscures, for so many Iranians, those shared cultural, linguistic, and historical aspects between Afghan and Iranian societies.”

While mirroring the predispositions of far-right European parties and the U.S. Republican Party in their aversion to so-called out-groups, Iran’s hard-liners have not been shy about their denigration of Afghans as an inferior racial identity.

In last week’s presidential debate, former U.S. President Donald Trump made the demonization of migrants to the United States his key talking point. A similar dynamic can be seen playing out in Iran.

On Persian-language social media, stereotyping of Afghans as drug addicts, smugglers, violent criminals, and sexual predators is prevalent. In September 2021, when Iran’s state television aired a series called The Neighbor, the show’s producers received criticism for detailing the plight of Afghan migrants and humanizing their stories.

Spurred by lingering economic woes, the Islamic Republic insists it doesn’t have the resources to host more Afghans. According to a report published by the Danish Refugee Council, Iranian authorities have deported more than 1 million Afghan refugees since 2022. Some deportees have complained about facing maltreatment at the hands of law enforcement officers. Newer Afghan arrivals are likely to face an uphill battle as well.

“Despite their claims of liberal-mindedness and cosmopolitanism, many Iranians exhibit popular prejudice and condescending attitudes not only toward immigrants but also minority ethnic groups such as Kurds, Arabs, and Azeris,” said Mehrzad Boroujerdi, an Iran expert and Dean of College of Arts, Sciences, and Education at Missouri University of Science and Technology.

Still, Boroujerdi says there are other factors that fuel anti-Afghan hostility, such as a perception that the Iranian government recruits impoverished Afghans into militia groups in exchange for economic and social rights for them when they settle.

As in other host societies receiving large numbers of asylum-seekers, the fear of vanishing jobs or declining social mobility because of new border arrivals continues to animate anti-immigrant stereotypes. What is idiosyncratic is that in a homogenous country reeling from chronic isolation, and where the plurality of the citizens may spend their lives interacting only with other Iranians, accommodating Afghans as the only external presence has become such a daunting task.

In the absence of prudent leaders to bring reason to the debate, the Iranian public—often self-assured about its progressivism—is negating its self-styled image of hospitality and displaying the unseen contours of its racial tolerance.