#i was worried that my i initial interpretation and resulting loss of my mind was just

[leapinarmadillo]

why write Bad. like why do that.

[lucysweatslove]

Trigger warning for the readmore because body/weight talk. Also: relative weight changes (no exact weight talked about but like, +/- x lbs), weight bias in medicine, my prior ED history.

I've restarted this kinda-journal entry multiple times trying to convey what I mean without rambling too much... idk if this is going to be any different.

For background: A month ago (literally 4/17), I realized I was 13 weeks from school orientation and 14 weeks from when school started. I wanted to establish some better habits, feel better in my body, etc etc, so I set up some actionable desires (eg, eat more vegetables) and turned that into a complex system to bribe myself for specific actionable tasks (eg, rewards for eating 40g of vegetables, brushing my teeth, flossing, going to bed on time, engaging in hobbies, exercise, etc). Although weight was not part of this, I had expected that these habits/tasks would lead to some weight loss. I usually start to lose some weight around this time of year because my normal eating habits transition to more fresh food and lower fat anyway (just my preferences changing with the weather), and being more intentional about water, fruits and veg, protein, exercise, etc usually also results in some weight loss.

Well, after it didn't seem to lead to weight loss the first two weeks, I got worried about health stuff, so I spent another two weeks being more meticulous about tracking so that I had ~DATA~ to back up my concerns, if they were still there and I needed to see my doc.

Monday, I weighed in and had "gained weight" from the week prior (initially up 1.2 lbs from the past week- then after I was awake for a little bit longer I had to use the bathroom and "lost" 0.6lbs from that, so I had "gained" 0.6 lbs in a week). This lead to spiraling of both health concerns and concerns for how my body will be perceived for two main reasons: one, how I look in business casual clothing (if you don't think there are higher standards for a fat person to "look respectable" under societal rules, you have been living under a rock), and two, if my ED will be invalidated in the minds of my preceptors.

Here's the thing with that second one. I wrote about my eating disorder in some essays for my applications. I didn't expect to even get interviews, and there is a "hush-hush" culture in medical education for anything related to mental health. I was very frustrated by this- my mental health history has played major roles in my scholastic history and in how I relate to medicine as a field. So I said fuck it and wrote about it. Now, this has been shared with my preceptors.

Nobody has seen my body, just my face, and this terrifies me. I think they are expecting maybe a slightly fleshy but overall "normal weight" woman- not somebody who is categorically "obese." Part of what I wrote about, and the biggest part of my story honestly, was not being taken seriously because of how I looked. I wasn't thin; my ED was atypical anorexia, which isn't actually atypical but alas, bigger bodies with restrictive eating disorders have been routinely ignored in medicine. I didn't get appropriate treatment. I quite literally had to educate myself, learn to interpret my own labs through the eyes of my ED. I learned how to read EKGs and monitor my blood pressure and quite literally medically manage my own self through my recover. And I had very little psychological support too. It was hell and I am always terrified people will say "you didn't require any support so you never had an eating disorder" just as much as I'm terrified they will say "you are fat, so you couldn't have actually had a restrictive ED. Are you sure you have this right? That you actually are binge-eating and think normal eating is disordered?" (answer to all of that: yes I had atypical anorexia; yes I am sure this is right; no I do not binge eat; no, diet culture is disordered).

So basically, I'm worried about reliving all of that trauma. And because of this, I am having a hard time with the idea that I'm not losing weight "fast enough" to be at a weight/body size that will afford me more privilege in the healthcare space (or at least, being less stigmatized).

When I sat back and thought about it, because of how bodies fluctuate, I have no idea how much weight I've actually lost. I didn't actually weigh myself on "Day 1," 4/17, because the goal wasn't weight loss- I just assumed I would lose weight, if that makes sense. I did step on the scale on 4/13, and then I weighed myself again on 4/21. And these two numbers differed by like 2.8 lbs. I also keep comparing my weight from one weigh-in to the next, rather than looking at it from a whole.

Here's a chart showing weight change from the prior weight in (blue curve, what I've been looking at) and overall change in weight over the last month (orange). "0" is the start date, and the first entry is 4 days before then (the 4/13). The giant drop you see at the end? That's the difference from Monday to today. There will probably be another rise soon too, because bodies fluctuate normally and that's just that.

In essence, I am losing weight just fine, but in my head it's not fast enough and not consistent enough because it will never be fast and consistent enough for me to not be worried about weight bias in medicine- both how I'll be perceived as a patient and as a future provider.

[cheri-translates]

[CN] Gavin’s Divination Date

🍒 Warning: This post contains detailed spoilers for a date, 占卜之约, which has not been released in EN! 🍒

[ Released on 16 September 2021 ]

MC: Gavin, I’ve been way too unlucky recently! I fell down while riding a bicycle, the water supply was cut halfway during a shower, and last week, three flights were delayed by more than two hours within the span of three days... Sob sob, life is so difficult...

It’s a Saturday, and Gavin has come over to my house to kill time as usual. The moment we meet, I can’t help but wail about how I painstakingly got through the week. 

As though he’s comforting a small animal, his palm gently covers the top my head.

Gavin: You’ve already told me these things.

He pulls me over to sit on the sofa, then leans over to look at my knee. Knowing his intentions and feeling afraid that he’s genuinely worried, I hurriedly wave my hands.

MC: Actually, it wasn’t a serious fall, and my skin didn’t tear. There were a few red cuts, but they're gone now.

Even after confirming the veracity of what I said, Gavin doesn’t straighten up. His fingers rub my knee, conveying his belated consolation.

After a while, he rests an arm on the sofa while turning his head towards me.

Gavin: Want to drink milk tea or eat cake? Didn’t you say that with these two things, even the worst of moods can be turned into the clearest of skies?

With this reminder, a location instantly flashes past my mind.

MC: Let’s drink coffee!

I reach for my phone on the coffee table. Tapping on my saved searches, I show Gavin a shop.

MC: This one - Witch Café. The name’s a little outdated, but it’s really popular recently. I’ve seen many people checking in on Moments. 

MC: The manager of this shop knows divination, and the reviews mentioned that she’s really accurate... 

MC: Also, if the results from the divination aren’t that great, she could help turn my fortune around. 

MC: The shop sells lots of objects used for changing one’s fortune, such as crystal rings and bracelets. 

MC: I think what I need most right now, aside from you... would be a change of fortune!

Gavin bursts into a laugh, then lifts his head to look at me.

Gavin: It’s my fault for not learning divination to change your fortune for the better. Otherwise, you’d only need me.

Gavin’s quick wit causes me to do a thumbs-up.

MC: Wow. Your logic... makes a little bit of sense.

He scrolls down my phone screen, taking a casual look at the café’s introduction.

Gavin: Mm, it looks really interesting and isn’t very far.

MC: It’s really nearby. It’s only a few kilometres away, and there definitely won’t be a traffic jam at his hour. But it’s the weekend, so I’m not sure if we’d need to queue.

Gavin takes my phone from my hand, then pushes me on the back gently.

Gavin: Get changed. I’ll give them a call to make a reservation.

I immediately get up, giving him a deliberately formal bow.

MC: Understood.

-

The internet-famous café is even more popular than I imagined. Although it isn’t time for afternoon tea yet, the shop is already fully packed.

Fortunately, we’re seated in a relatively quiet corner next to the window. However, we can still hear a few ladies from the neighbouring table fervently discussing the results of their divination.

I tug on Gavin’s sleeve from across the table.

MC: Gavin, you’ve never believed in such things, have you?

Gavin: Divination?

Gavin nods frankly, then suddenly chuckles.

Gavin: I initially wanted to say that I didn’t believe it. But I suddenly remembered that an Evolver who can predict the future is sitting right in front of me.

MC: ...that’s true?!

Realising this, I sink into a deep contemplation. Gavin reaches out to scratch the tip of my nose.

Gavin: I meant that as a joke. It’s impossible to meet a second Evolver with a precognition ability.

I glare at Gavin angrily. He shifts his gaze, looking at the manager who is currently talking to patrons.

Gavin: But she is an Evolver.

MC: Really? 

I turn my head to look. The manager is wearing a black apron, and she’s bending down as she patiently explains the divination symbol to a patron, her smile warm and amiable.

She exudes an aura which makes whatever she says very believable.

Just as my anticipation is hooked, Gavin stifles it with his words.

Gavin: But it definitely isn’t related to precognition.

MC: I see...

When Gavin sees that my anticipation has dampened, he pushes a blueberry cake in front of me.

Gavin: Don’t feel disappointed yet. Divination has never needed to rely on Evol. You’ll know if it’s accurate after giving it a try.

He digs a small piece of cake with a spoon, then brings it over to me. Munching on it, my eyes widen as I look at him.

MC: Incredibly! Delicious!

The cake exceeded my expectations. Thinking that the coffee might be pretty good too, I quickly lift the cup of coffee from the table.

In the meantime, Gavin picks up the explanatory card the manager had just brought over, and starts reading from it.

Gavin: It says that once you’ve finished drinking the coffee, you have to press the bell to call for the manager. The manager will obtain the divination results after observing the shape of the coffee sediments. 

Gavin: Before the divination, you could think of the contents of the divination first.

Gavin: If you have a ring or another token, you could prepare it beforehand. Place it at the bottom of the cup afterwards to increase the effectiveness.

After reading this, he rests his chin against his hand while chuckling softly.

Gavin: It’s almost the same as the tarot cards we tried the last time.

I take the explanatory card from him. Opening it up, I give it a sweeping glance.

MC: ...so it’s tasseography. I did research on it when we were playing with tarot cards the last time. Afterwards, I realised how complicated it is to interpret the divination results, so I gave up on learning it.

Finishing the rest of the coffee in one gulp, I press the copper bell at the corner of the table.

Upon hearing the bell, the manager looks up and shoots me a smile while washing a coffee cup. After wiping her hands, she walks over to us.

Manager: Are the both of you done with your coffee?

Seeing me nod in anticipation, she picks up the serving tray on the table, placing it next to the coffee cup.

Manager: May I know how I should address you?

MC: MC.

Manager: MC, lift the coffee cup and sway it gently while contemplating on your divination question. Once you’re done, place the cup upside down onto the tray.

I follow her instructions.

After a short while, she uncovers the cup, displaying the shape of the coffee sediments inside it.

Manager: Based on the results, you seem to have been going through a rough time lately, and your mood hasn’t been great. Is this correct?

MC: !!!

I immediately look at Gavin, thinking that this is far too accurate.

The manager seems to detect an affirmation from my expression. She sets down the coffee cup, then retrieves two wrapped chocolate cookies from her apron.

Manager: I made them this afternoon, and they’re for you. Based on the shape of the coffee sediments, although you might have experienced some rough moments recently, all the unhappy moments have already passed. Over the next few days, you’ll receive good news in succession, and you’ll be happier.

While saying this, she leans over, her slightly curled hair exuding a floral fragrance which refreshes the soul, causing me to be left in a mild daze.

Gavin suddenly speaks up.

Gavin: You’re using Evol.

The manager pauses in fright. For a moment, she’s at a loss, and has no choice but to bow slightly with her hands by her side.

Manager: I’m sorry, have I offended the both of you?

Seeing her frantic expression, I hurriedly shake my head.

MC: I-it’s fine... we don’t discriminate against Evolvers. And I’m sure you didn’t have malicious intentions.

The manager’s shoulders slump in resignation, admitting her “little magic” to us candidly.

Manager: ...I just wanted to send a flower into your memories.

MC: Send a flower?

Seeing that I didn’t understand what she meant, she explains patently.

Manager: Sorry, that’s a phrase I use in the shop.

Manager: Through tasseography, I can truly tell that you haven’t been in a good mood recently. But it’s very difficult to change your future fortune. 

Manager: In order to lift the spirits of patrons who do divinations, I use my Evol to alter their memories slightly.

Manager: However, my Evol has its limits. The only thing I can do is add something small that’s worthwhile of happiness into their unhappy memories, such as a flower. 

Manager: Are you willing to give it a try?

Considering how frank she is, I can’t find a reason to refuse. Furthermore, no incidents will occur with Gavin around.

MC: Mm...

The manager’s hand gently glides across me. Although I feel as though nothing happened, she signals that she’s done. Gavin stares at me curiously.

Gavin: Are there any changes to your memories?

I inexplicably recall the time when I fell off the bicycle, and images beginning from the moment I fell surface in my mind -

The path in front of me is tilted, and I can’t control my plummet towards my left side. 

These images are exactly the same as what actually happened, but in the very last snippet -

In an unremarkable corner of the crosswalk, a blue wild flower sways along with the breeze.

MC: A flower? There’s really a flower!

For some reason, seeing this flower enveloped in sunlight causes my emotions to become much more composed, reducing the annoyance I felt about the fall.

The manager releases a joyful sigh, then continues her soft explanation on why she does such things.

Manager: People often have a deep impression of negative things, while happy moments are fleeting. Unhappy memories linger much longer in memories.

Manager: So I thought - if I could add an element of happiness into the unhappy memories of patrons, such as a flower, or a ray of sunlight...

Manager: Their unhappy memories may become a little brighter. On a subconscious level, their mood would naturally become better.

Manager: With a good mood to lift them up, they’d focus on the positive aspect of things the next time they face something else. That’s why they’d find that their fortunes have truly turned for the better.

After saying this, the manager looks at the both of us before apologising again softly.

Manager: Even though I use Evol on patrons, I don’t have malicious intentions. Could you be magnanimous and not report me?

I toss a glance at Gavin, hoping that the Captain would close an eye this time.

After pondering for a moment, Gavin nods calmly at the manager.

Gavin: I won’t report you, but don’t use Evol on patrons in the future.

He looks at me from the side, then reaches out to grab a tissue before wiping it gently against the corner of my lips. Lowering my head, I spot blueberry coloured cream on the white tissue.

Gavin: I believe that your coffee and snacks are enough to bring patrons happiness.

The manager grabs my hand in relief, thanking me repeatedly.

Manager: Thank you both for liking my coffee and cakes. I’ll give another present to the both of you.

-

By the time we leave the café, it’s still early. Gavin and I aren’t in a hurry to go back. Holding hands, we take a stroll beneath the shade of trees.

We can’t help but bring up what happened in the café earlier.

MC: It turns out that it’s so simple to change one’s mood. Adding an element of happiness into unhappy memories is enough.

Surrounded by the chirping of cicadas, even Gavin’s voice reveals a refreshing and carefree touch of summer.

Seeing his slightly sweat-damped fringe sticking to his temples, I retrieve a tissue from my bag and wipe it for him.

Gavin: I remember that you once mentioned that the secret to maintaining a happy life is to focus on the positive side of things.

While saying this, Gavin takes the tissue in my hand and stores it into his own pocket.  

MC: Mm, that’s right! Actually, such forms of self comfort are pretty effective. 

MC: Even though I fell while riding a bike, I told myself that it was fortunate that it wasn’t anything more than a fall. 

MC: When the water supply was cut while I was showering, it only happened because I didn’t pay attention to the announcement by the property management... 

MC: I’d just learn from this experience and check the announcement board more often. 

MC: Also, the flights were delayed due to torrential rain. It was an objective reason, and nobody could have expected it.

MC: A lady from the airline company even gave me orange juice and a small gift.

Gavin chuckles leisurely, meeting my gaze from the corner of his eyes.

Gavin: Many things may not have happened according to how you wished over the short span of a week. Immersing yourself in the state of mind that everything wouldn’t go smoothly made you forget to look at the positive side of everything.

MC: Mm, but I can’t help it... Maintaining an optimistic outlook is really difficult. It’s inevitable to feel discouraged.

While saying this, I tighten my grip on his hand.

MC: But now, I know that if I face any unhappy moments in the future, I just have to search for a flower.

Gavin stops in his footsteps, lowering his eyes and giving me a smile.

Gavin: Have you thought of a new method to cheer yourself up?

I release a matter-of-fact “mm”. Pulling his collar, I give him a gentle peck on the chin.

MC: Whenever I face an unlucky incident, all I have to do is tell you immediately, and I’d immediately be comforted by you... 

MC: That way, I’d no longer be unhappy.

Gavin is taken aback momentarily. Then, he smiles faintly while looking at me.

MC: Whether it’s a fall or a delayed flight... The moment I share these things with you, the moodiness in my heart vanishes like smoke. The reason why I specially complained to you today was just to play coy.

I draw closer to him, swinging our interlaced hands.

MC: In the café earlier, I didn’t take the crystal bracelet she offered to change my fortune for the better... 

MC: I already have a bracelet which can bring me the greatest luck in the world.

I lower my head. Fragments of sunlight fall onto the ginkgo bracelet, refracting resplendent and exquisite faint light.

MC: This ginkgo leaf makes me happier than any other flower. No matter when, simply looking at it lifts my mood instantly.

Gavin doesn't release my hand. Instead, he pulls my hand to his back, bringing me into his arms gently.

The verdant trees and chirping of cicadas intertwine. The clean fragrance of shower gel from the side of his neck causes me to wrap my arms around him tightly.

Gavin: I knew that you were playing coy. Trivial matters have never influenced your mood. You’re always very good at comforting yourself and seeing the positive side of everything. But the bracelet alone isn’t enough. The next time you come looking for me, I’ll definitely do something that’d make you even happier.

After saying this, he can’t help but release a resigned chuckle.

Gavin: ...even though I haven’t thought of what I’d do.

I burst into a chuckle, then bury my head into his embrace completely.

Gavin: But there will definitely be things that I can do to add an element of happiness into your unhappy memories.

Dense green hues and shadows fall on his shoulders. Lifting my head, I see faint light riding the wind through crevices of large clouds in the faraway sky.

Leisurely and carefree ants pass by the slabstone road, winding around a fallen green leaf, and I can’t tell if they’re taking a stroll or scavenging for food.

Summer is flourishing, and this moment is incomparably tranquil.

My heart is filled to the brim with contentedness and happiness. Even my tone is relaxed and at ease.

MC: Gavin, you have to promise me one thing. If you’re unhappy about something in the future, you have to tell me about it immediately, okay? I can add many, many elements of happiness into your memories so that you wouldn’t even have half a second of unhappiness. I can guarantee that.

I lift my head to look at Gavin. With our close proximity, I can see his amber eyes reflecting large swathes of lush branches and leaves belonging exclusively to midsummer.

The gentleness flowing from these eyes aren’t stingy at all as they land on my face.

MC: We have to be the ever-fresh and blooming flowers in each of our memories, forever swaying in the wind.

Gavin releases a soft “okay”. He rests his chin on my shoulder, tightening his grip around my waist.

He murmurs at my ear.

Gavin: There’s no need for a guarantee. Your existence has always been the most brightly-coloured flower in my memories.

[ MOMENTS ]

Gavin’s Post: Different flavours of sodas seem to be really popular this summer.

MC: In order to clear the existing stock in the fridge, it’s time to have supper!

Gavin: Pick between mala crayfish and barbecue?

-

Gavin’s Post: Different flavours of sodas seem to be really popular this summer.

MC: Soda is always the best!

Gavin: Although that’s true, it’s best to drink fewer cold beverages.

-

Gavin’s Post: Different flavours of sodas seem to be really popular this summer.

MC: Pick between white peach and tangerine!

Gavin: I’ll pick the one you like less.

☕ Call: here

☕ Support the café (not the one mentioned in the date) by dropping by the tip jar!

[alfredosauce50]

The anatomy of the obsessed artist [2p! Italy x reader]

Synopsis: You have the golden opportunity to display your art at a newly opened gallery. Nobody stops to look at your work until an eccentric connoisseur praises it, even asking you if he can buy it. Touched and fascinated by his personality, you agree to meet him over coffee. Now that he’s no stranger, he keeps inviting you over to his lavish estate until he realizes it’s not the art he’s so obsessed with. It’s the artist. Wordcount: 3, 686 The reader is referred to as she/her. “Nihilism represented a crude form of positivism and materialism, a revolt against the established social order; it negated all authority exercised by the state, by the church, or by the family.” - Encyclopedia of Britannica

“It's hideous.” He murmured, his eyes narrowed with contempt. They were a hot magenta hue, quick-moving and critical of everything they fixed on. How much he wished to say he was standing back to admire a masterpiece. Tossing his paintbrush into the kitchen sink with a sigh, he sauntered to the couch and plummeted down on it.

A loud clang was heard, but it never fazed his companion, who barely dodged the trajectory of the brush. “Oh, really?” They snorted. “It looks the same as every other painting you've done.”

He whipped his head to him and glared.

“Like you'd have an eye for these things, Lutz.”

Said man gave a shrug. This was probably the hundredth time they had this conversation, so he could practically predict what Luciano was about to say—and how he would wind up listening unwillingly to his passionate spiels.

“Just listen to me speak for once.”

Lutz scoffed and poured himself a hot cup of coffee. “Here we go again...” He grumbled with a distinct droop to his features.

Rolling his head back to the pristine, white ceiling, Luciano threw his hands up in emphasis. “It's the only damn thing that gives this room some color. I need to do better, Lutz. Otherwise, I'll tear this whole place down!” Even then, his animated movements were minuscule compared to the tall walls that surrounded him.

The other sipped on his mug. “If you're so stuck—” He smacked his lips. “—how about going to the new art gallery downtown? Anything to get you to shut up.” Lutz grinned at that, half-expecting him to launch a few throwing knives his way. But he never did. Instead, he jumped up and extended an index to point at him accusingly.

“You think you're so smart, huh, cazzo? Well, I might just go. Just to prove you wrong.” Grabbing his coat hanging over the couch, he threw it on and marched downstairs. As the echoes of his footsteps faded, he gave one final reckoning. “You can't rush art, dumbass! I'll turn the place upside down, and I still won't find anything worth my time.”

The volume of his thoughts had never been so loud. It was the only thing he heard in this quiet institution during its downtime. Nobody was around, save for him, but that allowed him to ramble to himself--whatever he was staring at, it was everything he had been looking for.

“This was definitely worth my time.” He muttered with a pistol grip on his chin. As he scanned over the canvas to take in the brushstrokes, he shook his head. “I hate to think he said something smart for once.” They were so violent, yet so gentle. A unique balance of nihilism and faith. Reaching up to his dark maroon hair, he dug through it and laughed in awe. “This is magnificent. Bellisima!”

“I hope you mean what you say, sir. That means a lot to me.” He turned to the voice ended up gawking at a woman. As he processed the words, he was at a loss for his own.

“Oddio--you don't mean you painted this, do you, signorina?”

She nodded coyly, much to his delight.

“Mhm. The name on the label is mine.”

At the sound of that, he gleamed and took both her hands into his own. “How much?”

She blinked, unsure of whether she heard him correctly. Was he offering to buy her work? “Sorry?”

“How much do you want for your painting? I'll pay you handsomely. One grand. Ten grand. However much you desire! I just need this in my living room. Whatever you ask for, it's a done deal!”

In your short career, you never imagined capturing someone's attention so passionately with your work. Your initial impression of the man was a rich art collector of some kind--an eccentric enthusiast--and not a connoisseur by any means. He even dressed the part, having adorned himself in a loose, silky blouse with a coat tied around his waist. His fashion was flashy and exuded confidence, though nothing else could have suited his personality.

As you talked to him over a coffee, however, it became clear to you he was much more than that.

“I've never seen somebody use color like that! You must've done lots of practice to get that good, eh?” He mused, watching you light up at his praise. There was no denying the sincerity in his voice, so you couldn't help being drawn to him and his zeal. “I'll be honest with you, bella. I'm not letting you run off before we settle on something.”

He could tell from the way you leaned in so subtly, never once breaking your eye contact as you listened to him. And knowing this did wonders--he slowly found himself drawn to you.

“Thank you, Luciano. I'm really flattered, but I can't just sell it to you. It's part of the gallery now.” You smiled gently, curling your fingers around the cup handle. Even as you sipped on your beverage, your gaze on him never faltered. And before you could catch any disappointment on his part, you waved your hands at him.

“I don't mean anything by it, honestly. I'm glad that you understand what I'm trying to say--like, you could've interpreted it completely differently. I wouldn't be able to stop you, either. But the fact that you didn't...” He followed you attentively with those sharp and mysterious orbs, but you were strangely comfortable under his scrutiny.

“Maybe we have similar minds.”

The man had been studying you as you spoke. While he did, this one, singular thought occurred to him. There was nothing in the world he loved more in the world than being heard.

“Hearing you talk is the same as being listened to,” Luciano admitted with a small laugh. Deep inside, he knew Lutz always listened. Unwillingly, that was. But being heard and understood was another story. “You take the words right out of my mouth, bella. I don't know how you do it, but you have to stop reading my mind. It's invasive.” He darted his eyes over your expression that morphed into dumbfoundedness--which served as a prelude for embarrassment.

So he couldn't help but smile flirtatiously. “Take me out to dinner first. Only then will I let you finish my sentences.”

You furrowed your brows together, but his smile was far too contagious to be staved off. The end result was an endearingly stupid face that was a cross between a frown and a grin. “Does lunch count then, you impossible little man? I mean, it's around noon.”

He shook his head, amused. Luciano expected you to pull away, but it seemed like he bit off more than he could chew. You were a handful. He was never a fan of handfuls or really anything that required his energy, but he'd be damned if this was the last time he saw you.

“But seriously, (F/N). I need your paintings. And it doesn't have to be something you've already painted.” Standing up at that, he neared your side lowered himself to your level. He settled a hand on your shoulder, much to your surprise. But you never tried to pull away. “I want you to paint for me at my place. I'll do whatever it takes. I'll drink my weight in this mediocre coffee if I have to.”

With his intoxicating personality, all he needed was a few more espressos to do the convincing.

“I can tell from your taste that you're pretty nihilistic.” You commented with a hint of disbelief. “But this is just crazy! What do you even do for a living?” All the expensive decor and extravagance of his stupidly large mansion must have costed a fortune! Lifting your head to take in the sheer size and height of his living room, you then shot him an incredulous look. “Well? I'm curious.”

Luciano leaned against the couch and folded his arms. “Oh, you don't want to know, trust me.” He grinned devilishly.

“What, are you in the mafia or something?” You joked.

He craned his head from right to left.

“Eh. Something like that.”

You blinked, not expecting him to be so frank. Then, you laughed sheepishly, suddenly feeling as if you've walked right into a trap. “... Are you serious?” The man sensed your uneasiness and walked over promptly. Before you could react, he held your arm, but it was much too gentle to stir any panic.

“Don't worry. Nobody would go after an artist I hired.” He leaned in to keep you hostage to his piercing eyes. The close proximity only heightened the tension you didn't know existed. What he said next, however, would have you blushing like a bride. “To have a target on your head means you're a liability. So unless we were an item--”

He smiled contently at the sight of your reddening cheeks. “--nothing will happen.”

Fortunately, your mortification was short-lived as you remembered your circumstances. Giving him a light shove, you walked off to his hallway. While your back was turned to him, he bit back a sharp grin, but to no avail. Man, were you feisty.

“Stop being such a womanizer and show me your studio, Luciano.” You mused, pausing in the doorway to glance at him over your shoulder. Was that playfulness he saw in your eyes?

“It isn't very professional.”

He hung his head and threw his hands up. Being scolded and ordered around was his worst pet peeve. But when you did it, he was only more compelled to misbehave.

“Mi dispiace. But I was only kidding. If I was part of the mob, my windows wouldn't be this big. Nor this abundant.” Making his way to your side, he walked with you to the said studio.

“And Luciano is a bit of a mouthful, no? You call me Luci.”

Unbeknownst to the two of you, someone else had entered the kitchen to pour themselves a drink. And boy, were they in for a show.

“You got it, boss. You call the shots.” A voice spoke in a gravely-exaggerated mobster accent.

“You're milking it...”

“I'm just joking, Luci. Let me have this moment.”

“Fine. Maybe I should've kept pretending. That'll get you to be a little more obedient.”

“And where's the fun in that?”

“Hmph.”

Lutz narrowed his eyes once the voices faded into silence. And he thought he hated being called Luci.

A mischievous smirk plastered across his face.

“Looks like somebody's found their inspiration.”

A few hours later, he appeared in the studio with a canned beer in hand. Even in such a lavish estate, no form of entertainment could beat pestering an old friend. Waltzing inside like he owned the place, he grinned toothily at what he saw. You and Luciano were busy working on a painting. But rather than using brushes, you both used your fingers.

“Hey.”

Luciano glanced at him and immediately felt the beginnings of anger simmer inside. “What do you want?”

Lutz laughed breathily. “Heh. No knives today?”

“If you don't get out, there will be!” The other whisper-shouted.

You stopped painting and turned to the newcomer with nothing short of curiosity. “... Hi. Are you Luci's henchman?” The joke was probably long dead, but you couldn't resist. Not when the stranger was built on six feet of pure muscle. “Nice to meet you.”

So this was the mysterious artist who managed to tame the bastard, huh? Lutz flattened his lips thoughtfully. “... In a way.”

“No, he's not. Now, get out. Your presence is ruining the mood... And killing my brain cells.” At the sound of that, you exploded into a burst of hearty laughter. Seeing Luciano push him out and leave colorful handprints on his tank only intensified those laughs. Once he managed to get his henchman out of the room, he whipped his head to you with a flustered glare.

“What's so funny?” He frowned. For one, he was rather taken aback at how he wasn't annoyed at you. At all. If someone like Lutz pushed their luck by teasing him, there would be more than one scar marring that punchable face of his.

“Nothing, nothing. I just thought... Maybe we could ask for his top and sell it. That was definitely a masterpiece.” You sighed, catching him off guard yet again. “It's the best work you've done today...”

The blush on his face deepened. A comment like that should've ticked him off, but he only found himself thoroughly infatuated. But that was preposterous! He was only letting this slide because you weren't that German bastard of a bum. That had to be it. But no matter what you did, he didn't have a single mean bone in his body for you. And he was about to test that theory.

“If you thought that was a masterpiece, I'll make you some more.” Marching over and undoing your apron, he wiped his fingers all over your once crisp white shirt. Looking down with a gasp, you weren't prepared for him to clap your cheeks and leave two brown handprints.

“You bitch!”

In his whole life surrounded by the worst potty-mouths, himself included, he'd never heard somebody cuss with so much sincerity. So the most logical reaction was to return the favor, if not be a little annoyed. But even as you ruined his blouse, which happened to be more expensive than everything in the room, he was cackling hysterically.

By the time you both calmed down, he had settled his chin atop your head and wrapped two arms around your neck. The paint on his face was drying up, but he was in no hurry to wash it off. Giving you a squeeze, he leaned down and pressed his cheek to yours. “You're coming tomorrow, aren't you?”

“Mhm.”

“And the day after that?”

“I don't see why not.”

“Then what about the day after that?”

You faced him and pinched his cheek affectionately, but he never complained. “If I was, what's the point of leaving, hm? I have something on that day, but I'll update you.”

Standing up at that, you felt his arms slide off of your shoulders. Luciano pulled away reluctantly, and as you left his studio, he found himself trailing after you against his own will. As quiet as he was, inside, he was tearing himself apart, torn between asking you to stay in the guest room and driving you home. But in the end, he got in the car.

Once he arrived outside your house, his body acted out unexpectedly when he shot his hand out to grab yours. The sudden contact startled you, though you could only gleam at his paint-smeared face that stifled back a thousand words. “What, do you miss me that much already?” You chuckled, much to his pleasure.

“You're just missing me too less.” He closed his eyes for a satisfied look. When he opened them again, he added this. “I'll pick you up here. Same spot. 9 am. If you don't show up in five minutes, I'll break inside and pull you out of bed.” Only then did he let you go.

“You got it, boss.”

With that said, you waved at him and made your way inside. Once the door clicked shut, he returned his gaze to the dashboard and shook his head with a defeated smile. “Oh my god.”

When he climbed the flight of stairs to appear next to the kitchen, the hiss of an espresso machine was heard. Rolling his head to it absently, he dropped his keys on the island and dug his hands through his sticky hair. Without addressing the blonde, who took an obvious interest in his disheveled appearance, he sauntered to the couch and flopped down on it.

“... Luciano.”

“What do you want?” He muffled his voice into the cushion.

Lutz walked over with a mug in hand and sipped it. Pointing to his own face, he swirled his index in circles. “You have a little something there.” When the other rolled his head to him, so did their colorful face.

The next two days saw steady progress in the project he paid you to do. While the painting moved closer to completion, he cared less and less about the finished product. At the same time, his eagerness for you to come grew exponentially. He could never admit it, but that didn't mean Lutz couldn't see right through him.

A single glance at him working in the studio was more than enough to deduce the conclusion that he was hopelessly head over heels for you. For one, it wasn't right to say he was even working anymore. Instead, he was staring at you, and sometimes, for twenty minutes or more if you were particularly immersed in your art.

This was only confirmed in due time.

Trotting downstairs to the cellar, he discovered that over ten bottles of wine had disappeared. And the culprit promptly made an appearance when he returned to the living room. Luciano was holding an empty bottle when they bumped into each other, the contact on his shoulder causing him to drop it. When it shattered on the marble floor, so did his patience.

“What the fu--watch where you're going, you fucking idiot!” He hissed, giving the other a strong shove back.

Beer fizzed out of the can and splashed onto his white tank. Lutz couldn't care less about ruining his clothes, but wasting beer? He pulled back with a growl. “I could say the same for you. I'm not the stumbling drunk here cuz' I can actually hold my weight.”

Luciano rolled his eyes and inhaled a deep breath.

“You know what, just leave me alone.” He huffed, kicking the shards on the ground. Once he scattered the glass all over the hall, he stormed off to his studio. Letting out a frustrated string of colorful words, he tore through more canvases than he cared to count. Punching a hole in one, then using another as target practice, half of the artwork was completely destroyed by the time Lutz showed up.

“I don't get it! Why am I so angry? Why can't I paint something like this?” Luciano exasperated, gesturing forcefully to the painting you were working on. Then, he marched up to the man and gripped the front of his tank. “Am I just that shit? But that can't be!”

At this point, Lutz was done with arguing.

“... You know what I'm about to say.”

Luciano threw his hands up as they chorused the same line simultaneously. “It looks the same as every other painting you've done--yeah, I know! I didn't really expect you to give me any useful advice. I just wanted you to listen to me.”

“Don't I always listen to you?”

“No--”

“Wasn't it me who suggested for you to go to that art gallery?”

“Yeah, but it's not like--it's not like you knew she was gonna show up! (F/N) being there only happened once in a blue moon. You were just lucky, so don't think you're a genius or anything, ha!”

Lutz scoffed, but his unimpressed expression quickly morphed into a shrewd one. “Accept it, liebling. You're down bad. Down astronomically. Just invite her over, and when she comes, you'll know what I mean. It's not the paintings you're making a fuss over.” He watched Luciano's hair spike up like a cat, then him light up like a Christmas tree. That little man was many things, but an honest person was not one of them.

“You think you're so smart, huh, cazzo?” Luciano pointed at him accusingly. “Well, I might just do it. Just to prove you wrong.”

When he left, Lutz clicked his tongue with raised brows.

“That's what you said last time...”

And invite you over he did. When he spotted a silhouette on the other side of the blurry glass, he sprung up from the couch and swung open the door with great gusto. There you were, as effortlessly charming as he remembered, and a little startled. You never had the chance to knock, nor process his scruffy appearance.

“Luci--hey! You look... A little more tired than I remember.”

Without a shred of hesitation, he grabbed your hand and pulled you to his bedroom. Yet again, his body was acting against his will, but perhaps, this was what he wanted in the first place. He just never admitted it. As he slowly came to terms with it, his eyes widened to dinner plates, and his heart pounded obnoxiously in his chest.

“Hey, what're you--”

He pointed wordlessly to the bed.

You shook your head, unable to figure out what he meant. “What do you want me to do?”

Luciano glowered at you, but it served as a stark contrast to the softness in his voice. “I'll pay you. As much as you want. Just stay there.” Seeing that you had yet to go along with his requests, he marched over to you and laid you down. Before you could object, he threw the blanket over you and tucked you in.

Sliding himself in from the other side, he scooted in and coiled his arms around your stomach. “Now, sleep.”

Breathing out a soft sigh, you rolled to him and brushed his mussy bangs back. “For someone so straightforward, you're not very honest, are you?” Sitting up to unzip your jacket, you proceeded to take your shirt off. When you stripped down, blood rushed to flush his cheeks as he came to realize he was completely love-struck.

“... Holy shit.”

Climbing onto his lap, you laughed over his lips and squeezed his neck. “You're really bad at hiding things. But like you said, I can read your mind.”

Luciano knitted his brows together. Then, he leaned in and pressed a kiss to your mouth. “And it's very invasive. Please stop it.”

“Only if you promise to pay me in the morning.”

“... You're not a prostitute.”

“Oh, but you are one too. We're all whores, if you think about it. We just sell different parts of ourselves.”

“Go to sleep, idiota.”

“Yeah, yeah.”

[the-insomniac-emporium]

Mia Deserved Better: An Analysis of RE8's Themes/Symbolism

Foreword: I would like to thank @lepusrufus for posting about both Mia and Miranda, and at one point directly saying that Mia deserved better, which is a large part of what caused me to start examining her role in the canon story. Now, I will say that this post, like some of my previous explorations of Village (such as my attempt to determine Donna's age), will not be the best organized. My ADHD makes such things rather difficult for me. However, I have tried more than usual, and have broken up this "essay" into several distinct sections. Still, I am worried that my thoughts will not be as concise or coherent as they were inside my head.

Under read-more for length and spoilers for RE8: Village.

Introduction:

Village is, inarguably, about parenthood. Is it a horror game? Yes. Is it also science fiction? Also yes. But is it still, at its core, a story, and therefore contains imagery, symbolism, and themes? Yes. Now, you may be wondering what this has to do with Mia deserving better. My proposal is as follows: While Village is overall about parenthood, it is more about motherhood than fatherhood. Furthermore, Mia's background + actions from the previous game tie her story directly with Mother Miranda's, making their potential interactions massively important to the story... and could have served the theme beautifully. The missed potential in her involvement in the story is honestly a little bit absurd.

Now, let's examine each of the Four Lords + their sections, as the beginning of analyzing the game's theme.

Lady Dimitrescu + Castle:

Ah, perhaps the clearest (albeit unimportant) bits of theme within the whole game. We are immediately presented with another parent, with three daughters she loves very, very much. Initially they work as a team to capture Ethan, easily overpowering him. When they do split up, each still has dialogue regarding their family members. Each of the daughters expresses a desire to be like their mother/make their mother proud. Lady Dimitrescu herself gets very upset every time one of her daughters perishes, and delivers some important dialogue about this in her final confrontation with Ethan.

To paraphrase, Lady D says that Ethan has done something unforgiveable, caused damage that can never heal, and deserves to die before his daughter. That last part is interesting, in the sense that Lady D seems to believe that outlasting your own child is a fate so terrible that she would not wish it upon anyone, including the person who killed her daughters.

Throughout her dialogue and actions, Lady D serves as an important figure of a living mother. What do I mean by that? Well, the only other mothers we see in game are Mia and Miranda. The former doesn't show up until almost the end of the game (seeing as the "Mia" at the start is not actually the real Mia), while the latter does not have a living child, and her behavior has (presumably) changed quite a bit since that loss. As Ethan goes through Castle Dimitrescu, he watches (he causes) Lady D to go through what Miranda did all those decades ago. When we see her loss, when we experience her loss, it is something we connect with, even comparing it (as Lady D does) to Ethan's loss of Rose.

For the more visual side of symbolism, we can turn to Lady Dimitrescu herself. She is very tall, is visibly older than the majority of the Village cast, and has a fairly classic (old-school) motherly look. Everything about her reinforces her position as an example of a mother, especially when she's with her daughters and becomes such a strong figure of protection. Her height allows her to seem the caretaker for her children, even though they are scary/intimidating in their own right.

Donna Beneviento + Waterfall House:

Yes, the baby/fetus/monstrosity is part of this. No, it is not the only bit of thematic work in this section of the game.

To begin, you can find out that Donna is officially the adopted daughter of Mother Miranda. Her birth parents are dead, implied to be from especially tragic causes (more than is the norm when it comes to "orphan making"), and she has suffered greatly from it. We see that she has been seemingly neglected by Miranda, and is incredibly isolated. The tragedy of her loss, along with the consequences presented by it, are something to keep in mind further down the road, when we inevitably deal with Ethan's own death.

One of the consequences of the environment Donna was raised in is, arguably, her reliance on Angie. While interpretations of their exact relationship (aka how much control Donna actually has at any given point) vary, the two very clearly have something akin to a mother/daughter vibe. Alternatively an older sister/younger sister sort of thing. This shows in the way that Donna holds/carries Angie, as well as the contrast in their demeanors. Moreso, the fact that Donna gave a part of herself to create Angie is almost enough to make the symbolism nonnegotiable.

We also see that Donna has a strong understanding of family/family dynamics, through the way that she uses her powers to manipulate Ethan. She dissects his connections to Mia and Rose, taunts him with the lengths he's willing to go to save his child, then shows him a grotesque version of parenthood: The aforementioned fetus monster. Does the monster represent Ethan's fears, or Donna's?

What if the monster is how Donna sees herself, in some way, perhaps thinking that it's her fault her parents died? Bit of a stretch, but it's not a keystone of my theory, so I'm just throwing it out there. We could, however, go a step further and ask ourselves if Donna has noticed the way Miranda neglects her, and the fetus monster is how Donna thinks Miranda sees her. A baby, true, but grotesque, so terribly imperfect compared to her "real daughter" (Eva, obvs).

Regardless, the monster presents an ugly side of parenthood. It shows us the blood, the hunger (with the way it repeatedly attempts to swallow Ethan whole), the wailing. If Lady D shows us the love of parenthood, the bond, Donna in turn shows us the hate, the misery. Everything that one must endure to reap the rewards of family.

Lastly, we get one last bit of symbolism with Donna's death: We play a game with Angie. A childhood classic, hide and seek. Ethan chases her down repeatedly, stabbing away, seemingly only hurting the doll. But what happens when he kills Angie? It turns out that he killed Donna. You kill the child, you kill the parent. A reinforcement of the connection that comes with parenthood, along with another notch in Ethan's family-murdering belt (not saying that he's the "true antagonist" or anything, just keeping track for one of my later points).

Moreau + The Reservoir

Let's get the worst possibility out of the way: Moreau, weakest and sickest of the four lords, lives in a reservoir, where he is relatively safe. To defeat him, you have to drain the water, forcing him onto dry(ish) land. Paired with the main ideas of his section (which I will detail after this nightmare), one could theorize that he's meant to represent birth itself. Again, he's safe in his ("womb") water, and becomes vulnerable when he leaves (like a fragile newborn). Kinda gross, in my opinion, and also not a strong enough connection for me to care much about. It was merely an interesting (albeit horrifying) enough thought that I felt it warranted sharing.

Moving on to the big stuff with Moreau: He's a baby. Evidence: Whiny, has difficulty moving around, struggles to adapt to his growth, throws up a bunch, loves his mother very much, cries for his mother when he's in trouble, etc. Although Mother Miranda does not care for him, he clearly cares for her, and plays yet another role of an abandoned child (like Donna). Without Miranda there to protect him, he perishes terribly, crying out for someone who does not care to answer.

Hearing him cry out for Miranda, over and over, only for her to continue ignoring him is a key piece in the build-up to our confrontation between Ethan and Miranda. The game, in many ways, centers around the comparison between the two. In my humble opinion, Mia should have been involved in this comparison, as opposed to supplying the solution to the result of said comparison. Yes, I know that was a lot of words that don't mean much yet, but trust me, I'm getting there.

Heisenberg + The Factory

Ironically, of the four lords, Heisenberg is the most similar to Mother Miranda. In his massive factory, he is alone except for his numerous experiments, the results of decades of playing God. In comparison to Ethan + Mia, Heisenberg represents artificial parentage, or more accurately, the artificial creation of "life". While the others Lords also performed experiments, they used living subjects. Heisenberg instead chose to use corpses, which he then "brought back to life" with cybernetics + his powers, a somewhat futuristic version of Dr. Frankenstein.

Together, Miranda and him show a rotten side of parenthood (whereas Donna + Moreau showed us the uglier side of the children themselves). To put it simply, they are bad parents. They throw their "children"/experiments into the fray, uncaring, using them as pawns for their own greater gain. The most important part of this is that Heisenberg offers to "help" Ethan: By using Rose as a weapon. In his act of refusal, Ethan demonstrates one of several important distinctions between himself and Mother Miranda. Where she is willing to use her "children" (read: lives that she is responsible for) as tools, he is not.

Miscellaneous Symbolism/Imagery:

The old hag is one of my favorite parts of Village. She's seemingly nuts, has a crazy old lady laugh, wears bones that make soothing bone noises when she moves, and she draws lots of symbols in the dirt. If you look closely (I can provide screenshots if anyone desires, but it will take a bit of work to get them onto my computer), she's drawing one of the most iconic images in the titular village: The winged unborn. This symbol acts as the key you build up after every fight with a Lord, understandably called the Unborn Key (which turns into the Winged Unborn Key). Whether this counts as foreshadowing towards the hag's identity reveal is technically irrelevant, but I like to think it does.

In essence, you build up the key, this depiction of an infant, to progress in the game. The more wings it gains, the closer you are to your goal of rescuing your child.

The cadou itself is very clearly fetus-shaped. Furthermore, the only place within the human body that we know it ever gets implanted is in the "tummy" (thanks Moreau), aka roughly where someone's womb is/would be. Every infected person we see presumably had the Cadou implanted there (though I think it would be interesting if implanting it in different spots caused different mutations. of course, that is a discussion for another day). To become immortal, you have to "bear" a "child". Does it get more direct than that?

Mother Miranda gained her immortality in part for her grief at the loss of her child. She embodied the despair that Lady D spoke of, becoming an eternal source of anguish. Just as the loss of a child is a wound that lasts forever, so too would Miranda last forever (well, until Ethan comes along).

Mia is a loving mother, who puts up with the BSAA making her move across the world, deals with the complications of having a mold husband and mold baby, and has proved herself (see her section in RE7) to be an immense badass. Previously I had forgotten that, and even embarrassed myself in the comments of another person's post by implying she wasn't a tough, ass-kicking machine. Y'all remember feral Mia? People talk about "poor Ethan's arms", but sometimes we forget that Mia was one of the people who did a number on them. Furthermore, she's one of the only living people (from outside the village) to have any connections (pun intended) to Mother Miranda. They worked together, although possibly not directly, on Evelyn. If anyone in Village has a chance of really understanding Miranda's plight, or knowing the truth behind it, it would be Mia. Yet we don't see them interact a single time. Which leads me to the next section...

Conclusion On Theme + Missed Potential:

Okay, okay, so it's pretty obvious at this point that, as previously stated, the game's theme is parenthood. Every section has its symbolism, the story is very obviously about a man trying to rescue his daughter, etc, etc, but what's the point? Is there a lesson, or a more focused interpretation of the central theme? Let's take one last step back, and focus on something I've mentioned a few times now: The comparison between Ethan and Mother Miranda.

Recurring dialogue from Ethan, Alcina, and Mother Miranda all point towards the developers acknowledging that the characters are similar, but there's nowhere near as much conversation about it as I would like. Several times we have the antagonists ask Ethan how he's so willing to kill someone else's child, or prevent them from (essentially) doing what he's doing (aka saving his daughter). While Ethan responds with a mix of "well you started it" and "aghhh fuck-a-you, bitch", there's a much more solid, unspoken difference: Mother Miranda sends her underlings to kill, so that she may revive her daughter. Ethan kills (read: does the work himself) to get his daughter. The difference is much bigger, and more important, at the end of the game, when we realize just how far it goes. Ethan dies to save his daughter. Time and time again Mother Miranda has killed others for her work, but in the end she is stopped when someone willingly dies to stop her.

Where does Mia come in? Mia, the badass mother, the one who once worked alongside Mother Miranda, should have been the nail in the coffin. She is the one who survives, who lives on to raise Rose, she is the silent solution to Ethan's sacrifice. Miranda, you fool, what could you have accomplished if you had held onto your makeshift family? Through Mia (and Chris, to a lesser degree), his "loss" becomes a victory. There's a certain poetic justice that comes with Rose's full family being instrumental in saving her, when Miranda so readily spurned her own family.

Mia could have had an actual conversation with Miranda, their history giving the latter a reason to actually listen. I'm not saying that Miranda would have changed her mind/plans, but the conversation would have been a well-needed contrast to Ethan's "arggg what the fuck is happening, I only have two reactions to things. agg fuck you". Additionally, I feel that Mia (who was captured and had to endure who-knows-what) deserves the opportunity to be the one who points out Miranda's mistakes, who delivers the final "fuck you" to her. More than that, she's the one at the end who can say that hey, maybe she can understand some of what Miranda did. Was there anything her and Ethan wouldn't have done to save Rose? As much as Ethan is a foil to Miranda, Mia could (and should) have played a similar role.

When so much of the story and symbolism revolves around Miranda's experience as a mother, it only would have been fair to shine a light on her equivalent. Her better.

There's more I wanted to say/feel like I didn't properly get across, and I might add more to this at some point, but it's 5:40 AM right now, and I'm starting to feel like my brain is slowing down, so... Feel free to reblog/comment and add your own thoughts!

[celticcrossanon]

BRF Reading - 27th of September 2021

This is speculation only

Cards drawn 23rd September 2021

Question: How is Her Majesty the Queen?

Note: This reading was done before the NYC pseudo-royal 'tour'.

Interpretation: She is at the end of a cycle, reviewing her life, and stressed about current and future situations within the monarchy.

Card One: The World. This is one of two major arcana cards in the reading, and a dominant energy of the reading. The world card is about being at the end of a cycle, looking back to review the work done to reach this place, and taking time to celebrate before you step into the future. This is what Her Majesty is doing.

Her Majesty is reviewing her entire life as a monarch, with all the successes and failures, and reflecting on everything she has learnt and done that has brought her to this point in time: on the verge of celebrating her platinum jubilee. She is taking a moment to review and reflect on the past before she moves into the future, starting with the celebrations next year. She knows that she no longer has 60, 40, or even 20 years ahead of her, and she is using this time to reflect on her life as Queen and to try and distil what she has learnt into advice that she can give to her successors.

Card Two: The Six of Wands. This is card about the success of a project and celebrating that success. It can be the success of a project or achieving an important milestone. The card shows Jason holding triumphantly aloft the goal of his quest, the golden fleece.

In this reading the Six of Wands is the Jubilee celebrations for next year, a milestone celebration for Her Majesty. The Queen is looking over the Jubilee plans and giving her input for the public celebration of her years as a monarch. The energy here is of an activity that is relaxing and relatively stress free, so I think she is enjoying the planning.

Card Three: The Seven of Wands. This is a card of conflict, and the cards before and after it show what the conflict is about - the Jubilee and Harry (the Hermit card). The Seven of Wands can be about holding your ground or your position against threats to it. The picture shows Jason and his followers fighting with the supporters of his usurper uncle.

This card shows conflict, and the conflict is between HMTQ and Prince Harry. It concerns the Jubilee celebrations. Her Majesty has taken a certain position on this - most likely concerning Harry's involvement - and is fighting to hold her ground against the supporters of Prince Harry/Prince Harry himself, who most likely wants a greater involvement (like Jason's usurper uncle wanted to keep ruling the kingdom, Prince Harry wants to have his old place in these celebrations).

Card Four: The Hermit. This is the second major arcana card of the reading, so it is the second strong energy of the reading. The card shows the god Kronus, also known as Saturn, who we see today in the figure of Father Time.

This card has two energies. The first, minor energy is that of a sun-sign Virgo, as the Hermit is the card of Virgo. Prince Harry is a sun-sign Virgo. This energy of Prince Harry is tied into the previous card of conflict.

The second and stronger energy of this card is that of being alone, as the Hermit is alone, and of age and approaching death, as per the figure of Kronus/Saturn/Father Time. Her Majesty knows that she is at the end of her life, and the celebrations for next year may very well be the last major celebrations of her reign. She feels alone, bereft of support, as Prince Philip is no longer with her, and she misses him. This energy is of age, the death of loved ones, and mourning for them. I feel that her parents and her sister are also in her thoughts. Her Majesty is the last one left of her family 'group' - her parents, sister, and husband have all gone before her, and this makes her sad. She would have liked at least one of them to be with her for her jubilee celebrations (realistically Philip or Margaret), but that was not to be.

Card Five: The Nine of Pentacles. This is the card of someone who has worked hard and who is contemplating the fruit of their labour. The card shows the craftsman Daedalus standing and contemplating the result of his lifetime of work - the golden pentacles at his feet.

This is what the Queen is doing - looking over her lifetime of work and contemplating her legacy, soon to be celebrated as her Platinum Jubilee. However, the Nine of Pentacles is also a card about being single, and Her Majesty is recently widowed. The energy here is threaded through with sadness and loss. In the midst of preparing for her jubilee, HMTQ feels the loss of her husband keenly. She is reminded that she is once again alone, without the man who has been the rock of her long reign, and she feels this keenly.

Underlying Energy One: The Four of Cups. The card shows Psyche sitting between her sisters, as they gossip with her about her marriage and her husband. The gossip makes Psyche discontented with her married life, as she never sees her husband and gossip says that he is a monster.

The Four of Cups is a card of emotional dissatisfaction. It can mean being disappointed in something, or feeling disillusioned with life in general. In this deck, the suggestion is that those feelings arise from listening to gossip. It can also be a time when you are reevaluating things internally, and not taking any new opportunities because you want to be sure within yourself that they are the right thing to do before you pursue them.

This is how HMTQ is feeling underneath it all. She is aware of gossip, which here is coming across as public opinion/what people are saying, and it is bothering her. She is dissatisfied with how things are going or how they have turned out. She is rethinking or reevaluating her decisions as she is no longer sure that they are correct, and she doesn't want to proceed any further along a set path until she has worked out the right thing to do.

Underlying Energy Two: The Eight of Swords. This card shows Orestes trapped in a semi-circle of swords. On one side are the Furies, beings that torment him for murdering his mother, and on the other side is the god Apollo, who laid on Orestes the task of murdering his mother to avenge his father.

The Eight of Swords is a card of feeling very stressed and trapped, but that feeling is only in your mind. If you look at the situation carefully, there is a way out, as Orestes could walk backwards out of the semi circle of swords and run away from the Furies, but usually the person can't see the way out of the situation.

With respect to the dissatisfaction in the Four of Cups, HMTQ feels trapped and extremely stressed. She knows that the situation is causing people to feel very upset and vindictive (the Furies), and that this anger is directed at the BRF (the god Apollo). She can not see a way out of the situation, and that is the cause of her stress. The way out is likely to involve going backwards in a situation, and here the energy is of rescinding something that she has said, or taking back a gift that was made, and she does not want to do that as it is against her precepts of good behaviour, so she is blind to that solution as it is something that one just does not do in her eyes. The situation most likely involves someone or someones who HMTQ sees as trapped by their behaviour (as Orestes is trapped in the semi circle of swords), and she is unable to influence them into better behaviour (Apollo is looking very stern but Orestes is so stressed that he is not listening to Apollo), and so the anger at their actions falls on the BRF as a whole as well as on that person or persons.

Underlying Energy Three: The Three of Wands. This card shows Jason standing on the shores of a river. he has lost a sandal, and by that sign is identified as the rightful king. The usurper king, his uncle Pelias, kneels before him and offers him the crown.

The Three of Wands is a card about initial success in a venture. A project has been started and so far things have turned out well. More opportunities are available to you, and they will enable you to expand your current venture, but you have to go looking for them and that may involve venturing out of your comfort zone.

In this deck, the Three of Wands is my card for the line of succession - the passing down of the crown to the next legal inheritor - and it is this energy that is coming through here. HMTQ is worried about the line of succession. It is not an energy of confidence, but one of concern. This could just be a mother worried about how her son will cope with the responsibilities of a new position, but the energy feels like more than this. HMTQ is worried about what sort of king Charles will be, and how his reign will affect the future of the BRF. She has genuine concern about his ability to be a ruler and not second in command. I'm not getting that she thinks he is unfit to rule, but rather that she thinks his judgement is questionable at times, and that she thinks that he may make decisions that will not be in the best interests of the country and those decisions will come back and damage the monarchy, to the detriment of the future heirs, William and George.

Underlying Energy Four: The King of Cups. This is the card of a water sign person, particularly a Scorpio, and here it stands for Prince Charles, who is a sun sign Scorpio. Taken with the card before it (the Three of Wands), this tells me that Her Majesty's concern with the line of succession is focused on Prince Charles in this case, and with the future of the monarchy as represented by her heir.

Major Arcana Cards: The World and the Hermit. Her Majesty is aware that she is at the end of a cycle, and she is reviewing her life as Queen and looking at the results of her life of service. She feels very alone as she does this.

Dominant Suit: Three of the nine cards are wands, the suit of PR and of creative energy. In this reading, wands are coming across as how the actions of individuals within the line of succession are affecting the stability of the monarchy through their affect on the public perception of the monarchy, both now and in the future.

Conclusion: Her Majesty is at the end of a cycle, and she is looking back over her past in preparation for what is to come - the celebration of her Jubilee and, eventually, the end of her reign. She is enjoying planning the milestone celebration of her Jubilee, but with this comes conflicts with Prince Harry. She feels very alone and very single as she reviews her life's work and contemplates it from the perspective of being at the end of her reign. She is missing Prince Phillip very much in all of this. Underneath it all, she is dissatisfied, worried and stressed about the positions of various members of the family, and she is reviewing her actions with respect to those people. She also has concerns about Charles's judgement as future king and how that will affect the monarchy.

[commentaryvorg]

Digimon Data Squad Dub Comparison Episode 5 - Digital World, Here We Come!

This is a companion to my commentary on the original Japanese Digimon Savers! Reading my commentary on the original version of this episode (which you can find here) is recommended before reading this dub comparison.

Original name ~ Dubbed name

Masaru Daimon ~ Marcus Damon

Yoshino Fujieda ~ Yoshino “Yoshi” Fujieda

Tohma H. Norstein ~ Thomas H. Norstein

Captain Rentarou Satsuma ~ Commander Richard Sampson

[Since several characters share the same name between the original and the dub, quotes from the dub will always be in italics, while quotes from the original will not, in order to distinguish them.]

A fun thing the dub does with recaps is that the narration is done by one of the characters, commenting on the events of the episode in-character. This time, it’s Thomas. (It’s actually usually Thomas, far more often than it really ought to be, but it makes sense for this one.)

Recap Thomas: “Marcus couldn’t take orders if he were a waiter in a restaurant.”

The in-character-ness of these recap lines helps add a little more flavour to the recaps than the original has, which I appreciate.

Recap Thomas:  “So in order to clean up Marcus’s mess, I took it upon myself to disobey orders…”

Thomas definitely did not do this out of believing this was solely Marcus’s mess and he was simply being gracious enough to clean that up for everyone. But, it does make a lot of sense that he might frame it that way when describing the situation to somebody else rather than admit that he felt like he’d failed, so I don’t mind this at all.

Agumon: “Quiet as a sleeping mime!”

Agumon how do you know what a mime is

Yoshino:  “What are you doing.”

~~~~~

Yoshi: “What are you doing?!”

Alas, Yoshi’s delivery of this line is very much loud and frustrated, rather than delightfully deadpan at their terrible stealth skills.

Masaru:  “Tohma did a Digital Dive? Damn it, he got away before us!”

~~~~~

Marcus: “Thomas did a Digital Dive?! I’ll teach him to be sneakier than me!”

He was definitely sneakier than you, Marcus.

Yoshino:  “Before?”

Agumon:  “Nothing, he’s just talking to himself.”

~~~~~

Yoshi: “Huh?”

Agumon: “Aw, don’t be jealous.”

Though I enjoy the “sneakier” line, as a result we do lose the fun bit where Masaru accidentally pretty much told Yoshino his intent to follow Tohma, and Agumon awkwardly tried to cover for him (and Yoshino didn’t really notice anyway because she was too busy worrying about Tohma).

Yoshino:  “Doing a Dive when the equipment hasn’t even been tested on humans…”

~~~~~

Yoshi: “What was Thomas thinking, going into a Digital Dive when it hasn’t even been tested on humans yet?”

Yoshi isn’t mentioning this specific equipment and appears to be saying that any Digital Dive has never been done with humans before. …But then again, she probably doesn’t know any better.

Masaru:  “I’m just going there to settle my fight!”

~~~~~

Marcus: “I’m not gonna let Thomas finish the fight that I started!”

Marcus brings up the notion that this is partly about not wanting Thomas to steal away his fight a little bit earlier than Masaru does. (Even though this can’t have always been about that, because he didn’t even know Thomas had gone over there too until Yoshi told him.)

Yoshino:  “You’re just going to make things worse!”

~~~~~

Yoshi: “You’re just gonna make things worse for me and everyone else at DATS!”

The dub apparently had some extra lip-flap for this line and filled it with Yoshi making a pretty relevant point about who’s going to have to clean up their mess.

Agumon: “I’ll help you break it ‘til it’s fixed too, Boss!”

Here’s some fun oblivious dub-Agumon snark-that-isn’t-snark.

Yoshino:  “Return to where you first entered by 0500. That’s where I’ll bring you both back.”

~~~~~

Yoshi: “Make sure both of you are back to your port of entry by 0500. Otherwise I won’t be able to bring you back.”

In the dub, apparently the time limit is for Yoshi being able to bring him back at all, rather than the implication I took from the original that this is mostly about her not wanting Satsuma to learn that this ever happened. I guess it could be reasonable to think that the return-transfer without any actual equipment on the Digital World side has to happen within a certain time window after the initial Dive or the signal’s too weak?

Masaru:  “Bah, it’s like having a curfew.”

~~~~~

Marcus:  “Oh boy, it’s like havin’ a curfew again.”

Heh, that added “again” makes it even clearer that Marcus has definitely had curfews before.

Agumon:  “Aniki, I’m kinda nervous…”

Masaru:  “Don’t get scared now, idiot.”

~~~~~

Agumon: “I’m getting’ kinda scared, Boss…”

Marcus: “N’agh, don’t be a big baby.”

Bah, the dub loses the interesting nuance of Masaru calling him an idiot for getting nervous and instead turns this into a very simplistic and derogatory “being scared is for babies”.

Agumon:  “You sure this is okay?”

Masaru:  “You think I know?”

~~~~~

Agumon: “You sure this is safe?”

Marcus: “Let’s find out.”

I am also sad at the loss of Masaru letting slip a tiny hint that he isn’t sure about this at all. Marcus’s line does have a non-enthusiastic, very firm “shut up and stop trying to make me freak out” tone to it, which is better than it could be, but still.

Agumon:  “Aniki… You’re the one who’s upside-down.”

Masaru:  “I knew that.”

~~~~~

Agumon: “Boss, you’re the one who’s upside-down.”

Marcus:  “I see.”

The dub goes with the “I see” translation of what Masaru said in Japanese rather than how the subs interpreted it, and I approve.

Masaru:  “So this is the Digital World…”

~~~~~

Marcus: “Wow… My first time in the Digital World!”

You… you talk like you’re planning on making coming here a regular thing, Marcus. (I mean, he will be, but he shouldn’t have any reason to believe that right now.)

Agumon:  “It’s my first time seeing it too.”

~~~~~

Agumon: “It’s mine, too.”

…Though I guess this was just so Agumon could say the same thing about it being his first time here despite having less lip-flap to say it with.

The BGM cue is weirdly sinister leading up to Agumon telling Marcus to come over and see something… because it’s about to go to a commercial break. Cut back from the commercial break and Agumon’s just pointing out some perfectly non-threatening Digital World weirdness. The troubles of having to fit in more commercial breaks than a show was originally written to have.

Agumon:  “Look, Aniki! They’re here, too!” [some Airdramon fly past in the sky]

Masaru:  “They’re flying!”

Agumon:  “And them!” [some Tsunomon bounce past nearby]

Masaru:  “They’re bouncing!”

Agumon:  “And them!” [some Pyokomon walk by]

Masaru:  “They’re walking!”

~~~~~

Agumon: “Look, a flock of flying dragons!” [some Airdramon fly past in the sky]

Marcus: “You don’t see that every day.”

Agumon:  “Or them, either.” [some Tsunomon bounce past nearby]

Marcus: “Wow, they’re cool!”

Agumon: “What are they?” [some Yokomon walk by]

Marcus: “Walking plants!”

The original bit here always struck me as weird, the way Masaru was just excitedly exclaiming “they’re verbing!” at each Digimon. Possibly it sounds more natural in Japanese somehow? But either way, the dub did well to change this to remarks that are a lot more sensible for Marcus to make.

Yoshi: “‘Forget him. Let him figure out how to get back on his own.’ I mean, what’s stopping him from just saying that?”

Yoshi actually tries to do an imitation of Marcus’s voice for this bit. And she gives it quite the moody tone, because she is understandably rather frustrated at the thought that Marcus might really just ignore finding Thomas. It’s pretty great.

Lalamon:  “You’re over-thinking it.”

~~~~~

Lalamon: “Marcus would *never* say that!”

Lalamon in the dub is somehow way more sure of this and sounds like she’s trying to defend Marcus, which doesn’t really seem right.

(Marcus does in fact then deliver the line with a bit more pointed emphasis than Masaru, who was just being unbothered and nonchalant, so I guess Yoshi was somewhat right to imitate him saying it like that.)

The BGM while Marcus and Agumon explore the Digital World is not remotely equivalent to the original’s Main Theme that evoked the sense of discovery and exploration. Instead this BGM just seems to want us to feel like this is ominous and alien (even though the Digital World really isn’t that alien at all).

Agumon:  “I feel like I’m having déjà vu, Boss.”

Marcus: “How would you know what that means?”

Exactly, Marcus! Agumon knows way too many terms that he shouldn’t know; apparently the dub finally felt like lampshading it for once. (Though honestly, déjà vu is more reasonable than most, because it’s not an inherently human concept.) This isn’t going to stop them having Agumon continue to do this, of course.

Sampson: “What are you doing?”

Yoshi: “Just helping the hopeless. Why does this stuff always happen to me?”

I approve of Yoshi complaining even more about always having to be the one to clean up after those idiots.

Kudamon:  “Looks like you are searching for something, but just what are you searching for?”

Yoshino:  “Um… A rich bachelor! …Just kidding… La… Lalamon…”

Lalamon:  [slowly backing away] “I think I’ll stay out of this…”

~~~~~

Kudamon:  “It looks like you’re searching for something. What exactly?”

Yoshi: “It’s, umm… mm… An earring! That’s… it…! Right… Lalamon…?”

Lalamon: [slowly backing away] “I think I left my bathtub running…”

I approve of the dub changing this joke to not be about Yoshino apparently looking for romance (although, since she was joking, that doesn’t necessarily mean that she actually cares about finding a rich bachelor just because she’s a woman). Lalamon’s bathtub comment doesn’t make any sense, of course, but it doesn’t need to since this is just a comedic excuse.

Masaru:  “Doesn’t matter where this is! Let’s go, Agumon!”

~~~~~

Marcus: “Now’s our chance! Let’s go!”

Lost that line in which Masaru is either still straightforwardly ignoring the terrain, or only trying to tell himself to ignore the terrain and the fact that Drimogemon is at a huge advantage here.

Agumon:  “Aniki!”

Masaru:  “Idiot, don’t get scared over something like this!”

~~~~~

Agumon: “We’re done for!”

Marcus: “Don’t get all melodramatic on me now, Agumon!”

The dub takes away the fun nuance of Masaru’s opinion about getting scared again… but at least this dub line is still perfectly reasonable in its own right.

Agumon:  “At least we had these soft rocks to break our fall.”

This sounds like another obliviously-not-snarky Agumon line… but surely he has to know that the rocks aren’t actually soft? (Maybe this is just the dub writers taking a shot at the fact that they somehow didn’t get badly hurt from that fall, which is fair.)

Masaru:  “What’s this? Does that mean the same thing happened to you?” [he and Agumon burst out laughing] “I see, you’re just like us!”

~~~~~

Marcus: “Hold it. So basically, you were outsmarted by a giant gopher.” [he and Agumon burst out laughing] “Get a load of the ‘genius’!”

Ugh, nope, I don’t like this version. Masaru’s line made a really clear point of him realising that Tohma is just the same as him. He’s not shying away from the fact that he fell into Drimogemon’s trap as well, and he’s not looking down on Tohma; he just suddenly finally feels on the same level. But Marcus completely avoids mentioning that he and Agumon met the same fate, and instead this is all a mocking “ha ha, look at the genius being an idiot”, trying to drag Thomas down and feel above him.

In the original, Tohma’s leg injury was visibly bleeding, but the dub edited the blood out because I guess even a small patch of blood was too much for the dub’s censors. It’s still reasonable that Thomas could have some kind of non-bleeding injury like a sprain, but it does mean that the shot focusing on his perfectly unhurt-looking leg as Marcus realises he’s injured looks kind of silly.

Tohma:  “Stop that. I don’t need you to help—”

Masaru:  “When you’re a man… When you’re a man, there are some things you just have to *do* despite yourself.”

~~~~~

Thomas: “Let go. Whatever help you have to offer, I don’t need—”

Marcus: “Yes you do. Wake up. Put aside your stubbornness for once and let us help you.”

Don’t really like this either. If the dub had removed the manliness mention like it insists on doing and otherwise kept Masaru’s general sentiment intact – he’s putting aside his stubbornness because this is the right thing to do – I’d have been basically okay with this. But instead, this is putting the focus entirely on Thomas needing to put aside his stubbornness. It comes across like it was easy for Marcus to help Thomas without any kind of hesitation, almost like he didn’t even have any stubbornness of his own to put aside in the first place.

(And this is despite the fact that Marcus was being more of a dick to Thomas than Masaru was just a moment ago.)

The change in sentiment also doesn’t quite fit Masaru’s expression, which is one of firmly declaring his manly principles. When he’s making a point of offering help like this, I’d have expected Marcus’s expression to be something a little softer.

Agumon: “You’re making me cry, Boss!”

Agumon’s moved response to this – exactly the same as in the original – also doesn’t fit quite as well here when it’s not in response to any kind of manly principles and making compromises to do the right thing on Marcus’s part.

Masaru:  “Let’s get outta here first. Then we can think about other things.”

~~~~~

Marcus: “First we need to get out of here. After that, we can start arguing again.”

Marcus bringing up the arguing is fine, I guess, since that is definitely what he’s thinking, but I did really like how Masaru didn’t even outright bring it up while they were in this truce situation of needing to work together.

Masaru:  “It’s that way.”

Tohma:  “No, it’s this way.”

Masaru:  “Why?”

Tohma:  “I’m not like you. If we move around randomly, we’ll never get out of here.”

Masaru:  “But why?”

~~~~~

Marcus: “Let’s go this way.”

Thomas: “No, that way.”

Marcus: “How come?!”

Thomas: “Don’t argue with me. If we go with your no-plan method, we’ll never get out of here.”

Marcus: “Just say how come!”

In the original, Masaru was genuinely just wondering why, but in the dub, Marcus’s tone is notably angry and argumentative. Thomas’s “don’t argue with me” is also harsher, but then it’s kind of called for with Marcus’s tone.

Masaru:  “Hey, you’re pretty smart!”

~~~~~

Marcus: “Hey, maybe you are a genius!”

This is still Marcus acknowledging Thomas’s intelligence for the first time, but I like it less because he mentions the genius thing. For one, it really doesn’t take a literal genius to think to mark their path with something, and this is just making Marcus seem stupider for him to think it does. But mostly, I really liked how Masaru acknowledged Tohma’s smarts on a regular down-to-earth level that he himself could understand and relate to, which doesn’t work when Marcus still makes it about him being a genius.

Tohma:  “As I said, I’m not like you.”

~~~~~

Thomas: “Compared to you? Believe me, it doesn’t take much.”

This and the earlier part of the argument loses the bit with Tohma still trying to make the point that he’s not like Masaru despite Masaru having started to see them as similar earlier, because the dub messed up that part earlier. Instead, Thomas is still just implicitly calling Marcus stupid.

Agumon:  “Aniki… When are we gonna get outta here?!”

Masaru:  “Don’t worry! Keep up your spirits and we’ll use it to work this out somehow!”

Tohma:  “Spirit has nothing to do with it, but we *are* heading up.”

~~~~~

Agumon: “Boss… When are we gonna get outta here already?!”

Marcus: “Stop complaining and think positive! We’ll get outta here soon!”

Thomas: “Being positive has nothing to do with it. However, we *are* heading towards the surface.”

This is almost exactly the same – “spirit” and “positivity” mean basically the same thing in this context. But I did like Masaru saying that keeping their spirits up will help them to escape in and of itself, which Marcus didn’t say. Masaru’s not wrong to say that! If they didn’t believe it was possible to get out, it’d be a lot harder for them to do so.

Masaru:  “You’re really unbearable.”

Tohma:  “You too.”

~~~~~

Marcus: “You know, you really are a downer sometimes.”

Thomas: “You too.”

The original made sense as both of them agreeing that the other’s opposite attitude can be frustrating for them personally. But Thomas agreeing that Marcus is also a downer kind of completely contradicts the part where Marcus was literally just encouraging them to stay positive.

Satsuma:  “Hurry!”

~~~~~

Sampson:  “No excuses, just do it! Hurry!”

This is as Miki and Megumi are trying to find Marcus and Thomas’s Digivice signals but are struggling because there’s too much static. Which isn’t an excuse; it’s a legitimate reason why this is taking so long. There’s no way they’re deliberately slacking off and making excuses to do so, so Sampson comes across as a lot more unreasonably harsh here. It’s still easy to read it as him only being harsh because he’s worried, but still. Chill, Sampson, they’re doing their best.

Masaru:  “Hey, are you okay?”

~~~~~

Marcus: “Hey, what’s the matter *now*?!”

As Tohma tries to walk back from the opening to the big cavern without Masaru but stumbles due to his leg injury, Masaru is just checking if he’s okay – but Marcus is being a jerk and acting like Thomas has been constantly making up reasons to complain. As if Thomas wouldn’t have been stoic and refusing to complain about the pain the whole time, and as if Marcus wasn’t just willingly helping him with this exact problem. Geez. Dub, stop making Marcus more of a jerk, especially when it doesn’t even make any sense among the rest of his actions here.

Thomas: “Earth to Marcus! Didn’t you hear me when I said the caves are unstable?”

I do enjoy this English-specific way for Thomas to get across his frustration at Marcus ignoring how it’s dangerous to fight in here. (And implying that he lives on a different and very fighty planet to everyone else is fun too.)

Masaru:  “I’m not gonna run or hide! A man takes his fights head-on!”

~~~~~

Marcus:  “A real champion doesn’t run and hide! Let’s meet the enemy head-on!”

Since the dub insists on removing the manliness, changing it to “champion” and keeping the rest of the sentiment intact is just about the most adequate thing they can do here. But it still loses that delightful connection this kind of thing has to all of Masaru’s other manly principles (such as helping out people who need it even if you don’t really like them!), and it makes it seem like his fighting thing is just about winning rather than that it’s connected to this concept of being a good person in his head.

Gaomon:  “Master!”

~~~~~

Gaomon: “Thomas!”

Sometimes Gaomon yells “Master!” on its own with no other dialogue, and since that’s two lip-flaps, the dub can’t replace it with “Sir!” – so instead they have to have Gaomon use Thomas’s actual name in these instances, which gives a bit of a different feel.

Masaru:  “Yo.”

~~~~~

Marcus: “…Hi there.”

Marcus’s line as he reaches the Drimogemon’s head is a lot more nervous in delivery, which is less fun than Masaru’s audaciously bold “Yo.”

Thomas has a comment specifying that the colosseum is made of ice. Its composition is never actually stated in the original and I assumed it was crystals, but I guess ice works, too? …Maybe not, though, because you’d expect GeoGreymon’s attacks to melt it, and they aren’t shown doing so. And digging through ice would probably be a lot easier than crystals and maybe still possible for Drimogemon.

…Oh dear, they cut out the brief moment of impact when Marcus punches Drimogemon. Apparently that’s too violent or something, a guy punching a huge cartoon mole. While I think this is the first time this has been done so far (unless I wasn’t paying attention in the earlier episodes), this will be happening a lot. It’s really quite bewildering to me why the dubbers have been required to cut the punching out of this anime which is a lot about its main character punching things. If the execs don’t want punching in their anime, why the hell are they licensing this anime for their channel?

Unlike in the original, the dub’s evolution music does play while they evolve their partners. Rather than being used to highlight triumphant moments, it feels like just an obligatory fanfare of evolution. It even essentially plays twice, starting in the exact same way as each of them begins their DNA Charge – though in fairness, the second loop of it has some extra elements and layers added to the music so that it isn’t completely repetitive.

Thomas: “Wait!”

Marcus: “What now?”

Marcus’s delivery of the “what now?” is amusingly deadpan and sounds so Done with Thomas constantly coming up with new reasons why he can’t just fight the thing, and damn it, it made me chuckle.

Thomas: “Marcus! Do you remember the last battle?”

Marcus: “The last *what*?!”

Marcus’s response here is weird. Why would the mention of a battle be the part that he’s questioning? Since that doesn’t make any sense, the only way to read this is that he’s being pointlessly argumentative again.

To make up for the dub’s unyielding insistence on only using the evolution music for literal evolutions rather than triumphant moments, at least they use Probably Marcus’s Theme for the actual victory moment, which has a similarly triumphant sort of mood. However, it does kick in a bit later, only when they begin to attack, rather than as soon as Tohma decides to try the Masaru-like strategy, which is a bit of a shame.

Tohma:  “Their combined powers enhanced each other and became amplified to more than before!”

~~~~~

Thomas: “With their powers combined, I wonder how much the strength of their attacks increased by?”

Since Thomas phrases his line as a question, it reads a lot less like a metaphor of him and Marcus working together. I… don’t know if the dub writers actually realised this was a metaphor in order to keep the line sounding like that.

Masaru:  “Did you see that?!” [he starts laughing]

~~~~~

Marcus: “He’s an egg!” [he starts laughing]

Masaru is laughing out of exhilarated excitement at their win, but Marcus meanwhile just sounds like somehow the fact that Digmon is now an egg is the most hilarious thing ever. Uhhhh? You’ve seen Digimon turn into eggs when they’re defeated before?

This also has a bit of a different tone in the dub because the triumphant music has ended and there’s no BGM here, while Believer is still wrapping up at this point in the original.

Speaking of BGM, the heartwarming acoustic guitar version of Probably Marcus’s Theme plays during this scene where he and Thomas officially become friends, and it’s cute.

Masaru:  “Nah, that was just spirit!”

~~~~~

Marcus: “Nah! That was absolutely pure luck!”

It wasn’t pure luck, though! There was deliberate strategy involved of directing Drimogemon towards the surface and then towards the colosseum – he even mentioned that he was looking for a suitable battleground. It wasn’t something he had planned from the very beginning when he jumped down and was instead improvised as he went along, but calling it luck is completely wrong. Masaru’s a lot more appropriate to call it “spirit” – he used his spirit to make those in-the-moment decisions!

Marcus’s laugh here again sounds like he finds something weirdly hilarious, rather than that he’s just being an excited dork.

Thomas: (How do you make the illogical logical?)

Come on, Thomas, the illogical is logical! All you gotta do is make it so! Obviously Marcus doesn’t even worry about how, that’s completely the opposite of the point there.

Agumon:  “Aniki’s got himself another follower!”

Gaomon:  “Master is no follower!”

~~~~~

Agumon: “Looks like the Boss has got himself another employee!”

Thomas: “Let’s not push our luck.”

I am sad that they took this sentiment away from Gaomon. Let him be a good dog who can’t see his Master ever not being a master!

Satsuma:  “As members of this organisation, you must uphold the rules!”

[pause; everyone looks ashamed; Satsuma turns his back to them]

Satsuma:  “You four… Well done in returning.”

~~~~~

Sampson:  “As members of this organisation, you must follow the rules! I have only one more thing to say to you two!”

[pause; everyone mumbles in nervous anticipation; Sampson turns his back to them]

Sampson: “…Well done. It’s good to have you safely back home.”

I like the presentation of this moment better in the dub! The added angry-sounding “I have one more thing to say,” like he’s about to reprimand them even more and then subverting their expectations works well to make the sudden praise and concern for them hit harder.

Overall differences

This one’s very similar! A lot of the stuff I pointed out here is really quite minor stuff, and some of those minor changes – not all, but a higher proportion than usual, I think – were lines I actually kind of liked a little more in the dub. Wow. (Though there are of course still some minor things I like less, such as the usual Marcus being more of a jerk.)

The only real significant differences I want to note are the changes to Masaru’s “You’re just like us!” and “When you’re a man, there’s some things you just have to do despite yourself” lines. Those are some of the most important lines in this episode in showing why Masaru begins to bridge the gap between him and Tohma, and the dub watered down that interesting nuance quite a bit.

[ouyangzizhensdad]

Ok, I've been sitting on this awhile (mostly because I worry that my reaction stems from personal feelings, rather than the content of your actual post) but while I agree wwx's arc is not ABOUT trauma, I do think he IS traumatized. Like, he has a literal phobia of dogs due to childhood trauma w/ dogs??? And I take issue with the idea that someone cannot be simultaneously traumatized and resilient/always smiling. I mean, refusing to process and deal with negative experiences and emotions because if you can choose to be happy, why would you choose to be anything else can actually be worse for you than just letting yourself be sad for a little bit. People are supposed to feel the full emotional spectrum and refusing to acknowledge sadness doesn't make someone not actually sad. As someone with a sunny personality who almost always let's things roll off my back, that doesn't mean I don't have trauma to deal, it just means it presents itself in different ways than someone with a different personality. Everyone is entitled to their interpretation of characters, so I'm not trying to say yours is inherently wrong, my point is more that it's not a guarantee that having a happy personality = not traumatized, especially when there are other things to point to them being traumatized.

Hi anon,

I think it’s important to consider the context in which I addressed fandom’s discussions on “WWX’s trauma/ptsd,” which in this case was a response to people explaining many of his behaviours during his first life, from the Sunshot campaign onwards, as resulting from trauma. I never meant to suggest that WWX could not experience trauma, at all, especially since in an earlier post about my thoughts regarding the trauma argument I did highlight that we get in the narrative an example of how WWX reacts when faced with trauma through his cynophobia (although I can’t find that post because it I can’t remember exactly when I shared it 🤷‍♂️). It was more to oppose the ideas that (1) events are inherently traumatic and thus that because these distressing things happened to WWX, WWX must be carrying trauma from them (because if we’re going to use psychology/psycho-analysis for literary analysis, it might be good to consider that the perception of trauma in psychology is not that) and (2) that there are no other narrative or character explanations for those behaviours that are not rooted in trauma. 

In this case, I think the novel makes it clear that while WWX is of course affected emotionally by the events, the things that people point to as resulting from trauma are actually tied to his cultivation methods and him losing control. I do feel like that interpretation is coherent with the authorial intent, which seems to be confirmed in one of MXTX’s interviews. To share here the most relevant possage:

[WN killing JZX] was perfectly an example of how Wei Wuxian was losing control. The more he lost control over his demonic cultivation, the more likely he was going to receive a backlash.

Of course, authorial intent is not the end-all-be-all of everything, and, certainly, there exists probably as many interpretations of a text as there exists readers (or, in the case of MDZS, we should also probably include all the people who haven’t read it but still have an opinion on its content). However, my brand of meta focuses on reading the text closely and challenging interpretations that are floating around in the fandom space against the text itself--the narrative, the characterisation, the themes, the symbolism. To say, ‘perhaps some people tend to associate a certain behaviour with a specific thing (ie, emotional volatility with a traumatic response to a distressing event), however does it seem like the text wants to lead you toward this interpretation? Does the text provide other story-specific explanations, some of which might actually be more cohesive and coherent with the narrative/characterisation/themes (ie, emotional volatility in this specific instance is a side-effect of the influence of modao on WWX and his loss of control)?’ That doesn’t mean I’m always right, of course I’m not. But I also do not prescribe to the belief that every interpretations are equally credible. That is, I do believe that people are entirely free to interpret a text however they choose, even if it means reappropriating the text and completely ignoring parts of it or mentally rewriting parts of it; all the same, I do not think these interpretations are particularly helpful when it comes to understanding and analysing the text itself (though they are interesting in that they help understand how a work is received by certain demographics). So, yes, sometimes I will write posts that aim to contrast certain popular interpretations with what can be gleaned from a close reading of the text. 

In addition, let me clarify that when I contrasted “resilience” with “trauma”, it was not in terms of personality trait so much as a reference to terms used in psychology: where how a person processes a distressing event through a trauma response or through resilience. 

As for the “smiling thing”, I think it is important to remember the context of the discussion, where I cited the novel:

Jiang Yanli said that he was born with a smiling look. No matter what unfortunate thing happened, he wouldn’t cling on to them; no matter what situation he was in, he would be happy. Although it sounded a bit heartless, it really was not bad.

In the original post, I did reframe this quote by acknowledging that yes, smiling is not an inherent proof that someone has never experienced trauma.

To me, this is a clear move from MXTX to position WWX as the kind of protagonist who can face a storm and keep his smile on his face. I can imagine that some people take it perhaps as a subversion, as the text telling us that WWX is weathering it all with a smile but underneath it all he is just a bundle of unaddressed trauma. And that’s certainly a possible interpretation, but it’s not mine. In this case I think the text is being straightforward. What we see of WWX also seems to support that: the way WWX just rolls with being brought back from the death, how easily he finds a way to adapt to things, etc.

That was more of an acknowledgement that wrt this topic, the novel seemed to have chosen a very straightforward approach or, in other words, to choose to not be That Deep. The smiling disposition here is not part of a psychological diagnosis, but simply a story/characterisation shorthand. I also never suggested that this meant that WWX is not affected by events: “ My point is not that WWX is unaffected by the things that happened to him or the things he’s done during this portion of his life: of course he is! Especially as they are happening to him, or when he is still stuck in a very difficult situation. But I don’t think his character and his arc is about trauma”. I think that nuance is important. 

At the end of the day, I do not want to force people to change their minds. I only use my free time to over-analyse a novel and sometimes try to challenge people to reconsider their initial interpretations of the text or their approaches to literary analysis more generally. 

[k-s-morgan]

I am sure that this was said before but Alana/Margot is not in any way healthier than Hannigram, that Alana is as dark and as much of a monster as Hannibal and Will, and had a 'becoming' like Will has. Like, what she did to Hannibal, that's illegal isn't it? And she has shown that she is willing to suspend whatever her morals are whenever, and has adopted the ends justify the means idea? It's why want to see Hannibal go after her, because they became equal. In my opinion.

And then there is Margot, who had a traumatic childhood like Hannibal has and is a counterpart to Will and what she is capable of to get what she wants, in her case there is no moral boundaries. It's really interesting to me how Alana/Margot and Hannigram mirror each other? And it's interesting to me that there are people who thing that Alana/Margot is the sane, healthy ship of the two?

-----------------------------------

That’s a very interesting ask, I’ve actually never heard of this perspective! I can’t say I agree, though - except for the bit about Margot and Alana’s relationship being unhealthy. This one is up to interpretation, so let’s start with it.

On the one hand, it’s possible to think that they found each other, fell in love, and have an absolutely happy family. I like this idea and I prefer to stick to it - and I imagine Bryan has this image in mind as well since this is how he describes them. But still, another view is possible because Marlana has zero development. What we know of them is that they met, flirted, became lovers, plotted against Mason, and then had a child together. We see the end-result but not what happens between these stages. Are they together because they want to be or because they’re settling? They were forced to undergo trauma on their way to justice, and for a while, they were the only allies for each other. It’s bound to create a feeling of closeness, not necessarily strong or long-lasting one. Maybe Margot is still with Alana because Alana now holds her fortune - the child and the money are technically hers. Maybe they both feel trapped and worried about the other spilling the truth about Mason’s murder, so they hold each other hostages. There are lots of options and possibilities that fanfiction and the show could explore. 

But in terms of them as separate characters, I’d have to disagree. Yes, Margot and Alana aren’t the representatives of healthiest of people, but it’s their painful past that twisted them. Margot was born in a fucked up family and had to survive the horrors because she felt too vulnerable without Mason, both emotionally and financially. Alana first stood in Hannibal’s way, and then she wanted justice and was prepared to make sacrifices to achieve it. Alana can’t have a Becoming because she’s already her true self - she hardened on her way to S3, became colder and bitterer, but that was all the result of the circumstances she was subjected to. She wasn’t hiding her darker nature - Alana is a nice, caring person who grew to be a cynic. Her core has always been the same and she didn’t wear any masks.

What she did to Hannibal was as legal as she could realistically get. Yes, she worked with Mason to find him and she knew he would be tortured, but while she thought he deserved it, this wasn’t her goal. She knew it’s the only chance to arrest Hannibal and Mason both - for that, she needed Mason’s limitless resources to locate Hannibal, which is why she played along. Afterward, she had a deal with Jack: as soon as Mason catches Hannibal, the FBI will come and arrest them both. It was the plan with the absolute minimal damage inflicted, but things went wrong and Alana was forced to adapt, like Will urged her to. So she became more hardened, but she was still trying to do a good thing with minimal losses. 

Margot has a similar situation: she actually isn’t capable of doing what she wants regardless of the consequences. She couldn’t force herself to really kill Mason - like Hannibal said, she still loved him. She worked with Alana to get justice instead of taking the matters in her own hands. Yes, she was willing to let Hannibal be tortured to death by Mason when the initial plan failed, but it pained her, and her decision was understandable - she had to choose between her long-awaited child and a serial killer who contributed to her pain. Of course she’d choose the former. Like she wistfully says to Hannibal, “I could never trust you.” Not again.

In the end, Margot and Alana are a more or less righteous couple - they try to stick to the law and they fight against evil. They had to murder Mason, who was trying to kill them, but they didn’t enjoy it - they were desperate and terrified, and based on how Alana keeps Hannibal in luxury, she feels guilty and ashamed of what happened. They had to do it, they had no other choice. Will and Hannibal, in turn, are both dark. They enjoy murder and delight in darkness. In Will’s case, he actually seems to get high on it. They don’t care who suffers because of them, and overall justice is the last thing on their mind - they not just kill, they want to kill and they like it. 

Marlana and Hannigram are relatively equal in the sense that Will and Hannibal are going to be hunting together, just the two of them, while Margot and Alana will surround themselves with bodyguards. It will be a challenge for them to locate each other. But when it comes to actual darkness and willingness to kill, Will and Hannibal triumph all the way. 

[guide-on-how-to-read-faster]

Guide on How to Read Faster?

Isn't it so much easier to get through school if you could complete your reading assignments three times as fast? Wouldn't it be more fun to jump right into a good piece of fiction and blaze through it in less than a day? Let's explore speed reading in more detail.

The two ways of thinking about speed reading may be familiar to you if you've already looked into the subject. It is said that speed reading is the essence of success and everything you have ever dreamed of. Others say speed reading is a myth and doesn't work. Truth usually lies somewhere in the middle.

When considering speed reading, the first thing you need to ask yourself is: "Why do I want to read faster?" While speed reading novels for pleasure requires a different approach than speed reading textbooks or research articles for understanding hard science, speed reading novels for pleasure requires one approach. When using RSVP tests or Rapid Serial Visual Presentations, individual words or blocks of two or three appear sequentially on the screen.

Reading Process

Before we move on to the techniques, it's important to understand the reading process.

Reading is the action of analyzing a piece of writing to understand its intended meaning. So, reading effectively requires more than just recognizing a series of words. You must also understand the relationship between the words and the unstated implications of the situation.

Compare this to skimming, which is the rapid consumption of text to gain a general idea of what you're reading. The gist of it will become apparent even if you don't comprehend the details. The goal of speed reading is to maintain skim-like reading speeds while maintaining reading-like comprehension.

An educated adult reads approximately 200-400 words per minute. It is claimed that speed readers can read thousands of words in a minute. To do so, they rely on peripheral vision.

The fovea, or center of your visual field, has the highest acuity, about 1° in any direction. The width of your thumb extended at arm's length is approximately this size. The parafovea has moderate acuity between 1 and 5° from the center, and the periphery is greater than 5° from the center. In peripheral vision, it is physically and biologically impossible to recognize and interpret the text.

Try looking at a stationary object, such as where the wall meets the ceiling. Keep your eyes smoothly moving from one side to the other of the line. Unfortunately, it is actually impossible. Multiple small, jerky movements of your eyes are called saccades. During reading, saccades allow the reader to fixate the fovea on a word by moving their eyes quickly.

When speed readers use their fingers to guide their eye movements, I initially thought they employed smooth pursuit. Smooth pursuit occurs when your eyes fixate on a moving object and can follow it smoothly. If you move your finger from side to side in front of you, your eyes will smoothly follow it without jerking. The finger technique speed readers use is less about the pursuit of smoothness and more about maintaining a metronomic pace as they read.

The saccades allow the fovea to focus on the next word. It is estimated that each fixation lasts around 250 milliseconds, but it can vary greatly based on legibility, difficulty, and whether it is proofreading or reading for comprehension or swiping. However, not every word is fixed.

In about half of the sentences, the word "the" is skipped. In certain cases, a word may be skipped even though it has been processed. The rapid serial visual processing (RSVP) technology is useful for displaying information (usually text or images) in which the text appears word-by-word in a fixed focal point. In addition to being a basic reading aid, RSVP is being investigated as a way to boost individual reading rates. Additionally, RSVP is being used for research in visual impairment, dyslexia, perceptual and cognitive psychology. There are many different languages and platforms available for RSVP.

Through these technologies, words are presented to the viewer in the center of the visual field in rapid succession, thereby eliminating the need for eye movements. In light of the aforementioned individual variations, visual processing physiology, and the way we comprehend language, I would argue that RSVP is an inefficient way to consume text. RSVP does not allow for regressions, which is another problem. Regression is a brief look backward in the text to return to an earlier word. The purpose of this is to correct errors' incomprehension. RSVP further reduces comprehension by eliminating the possibility of regressions.

According to proponents of speed reading, subvocalization, or using your inner voice while reading, will slow you down. Numerous studies have examined the effects of eliminating or minimizing subvocalization. Findings consistently indicated decreased comprehension. It makes sense that phonological processing is an important part of reading and comprehension, since all writing systems represent words, and since the primary form of language is vocal rather than visual.

What does all this mean? Perception of visual information occurs rapidly. However, reading is slowed down by linguistic processing. It has been demonstrated that language processing rather than the ability to control eye movements is the determining factor of reading speed in various studies. We are limited in our ability to read by our ability to identify and understand words rather than by our ability to see them. As a result, reading faster actually reduces comprehension, which may or may not matter depending on what you are reading.

Learn how to read faster

After we have clarified the science behind reading and speed reading, we will take a look at how to speed read faster. To read faster, one does not need to read the same way for every reading goal.

As a method of improving one's reading comprehension and speed, it is suggested that one practice more reading. Even though this does help, it's a very slow and gradual process that doesn't produce drastic changes.

To drastically improve speed, comprehension must be reduced. We need to read slower to increase comprehension. There's no way around that; you can only improve slowly.

In each case, we have to balance reading comprehension with reading speed. Is it possible to reduce comprehension minimally, while increasing speed maximally? I have found the following techniques to be the most useful over the years.

1) Determine the Type of Reading

Determine your reading goal and the type of reading you will perform first. It is not necessary to maximize comprehension for every reading task. Do you read nonfiction for pleasure? Do you proofread an essay for a friend? Do you read a textbook for class? Do you read high yield notes and bullet points for one of your classes?

Having a clear goal in mind will help you determine the minimum level of comprehension required and, therefore, the maximum speed that can be achieved.

2) Remain Flexible

Secondly, make sure your speed is flexible. During the reading process, you will come across sections of text that are easy for you. It's a simple language, you understand the concepts, and you can easily get through it. You don't have to focus on every word to understand it.

In other sections, you will be introduced to new words or concepts that require your attention. Often, this will happen, so you must be flexible with your reading speed to optimize your speed/comprehension balance. If you're not sure about the significance of a paragraph, focus on its first and last sentences.

3) Use a Pacer

Use a pacer, such as your finger or a pen. You can follow along with your eyes by running your pacer below each line from end to end. You will instantly increase your reading speed with minimal comprehension loss.

It is important to find the sweet spot between pushing the boundaries of your comfort zone and only slightly reducing comprehension. My opinion is that if you reduce comprehension by 10% but gain 50% in speed, that's not a bad tradeoff. The pacer will need to move faster in places and slower in others, as described above.

Different Types of Reading

1) Textbooks

There is often a lot of unnecessary text in textbooks. There's no need to worry if you accidentally skip a paragraph or a whole section. Pay attention to bolded words or sections that contain key information, and speed up while reading text that adds context to what you've already learned.

Identifying what is important in each section by looking at section headings and bolded terms will make it easier for you to read the section. It may take a few minutes at first, but overall, if you execute it properly, you should save time.

When I'm finished reading a section or page, I summarize what I've learned. Alternatively, I can write a few bullet points or speak out loud to myself. This greatly improves retention and comprehension.

2) Books for Pleasure

If you read for pleasure, you can do whatever you want. If you want to enjoy the nuances of language, then you should slow down. In contrast, if you only wish to grasp the gist, it won't be a problem if your comprehension drops considerably.

It very much depends on the book and what you hope to gain from it. Depending on the book, I read every word or skip sections. The majority of books fall somewhere in the middle.

3) Research

In reading research articles, which you will read a lot during your pre-med, medical school, and residency years, follow a systematic approach. The best way to gain a deeper understanding of the abstract is to read it slowly and carefully. Focus on those key points when you read the full article.

Spend a few minutes reading the abstract, a few introductory paragraphs, the methods and results in sections quickly, and then spend more time on the conclusion.

A Guide to Speed Reading

Problem – The amount of reading material available these days is so overwhelming that often it's impossible to keep up. In this way, we scroll headlines and teasers instead of reading content that will actually educate us. Our lives are often dominated by the pressure to finish our daily tasks on time or keep up with the latest developments in our areas of interest, regardless of whether we are at work or studying.

Solution – Today, speed reading is a highly valuable and essential skill. People who master speed reading techniques can read as much as three times faster than the average reader, who usually reads between 200 and 250 words per minute.

Benefits – When speed reading, the human brain is challenged to perform faster and better. With speed reading, your brain will be trained to absorb information much faster than it is used to. As a result, your memory and brain function will be improved. Additionally, you may benefit from increased general and specialized knowledge, improved problem-solving skills, or increased self-confidence.

A Final Thought

We have compiled this article to teach you how to read faster. This article will describe how speed reading techniques work and provide you with tips, information, and resources to help you read and learn more quickly.

[aion-rsa]

The Last Kingdom: How Historically Accurate is the Netflix Drama?

https://ift.tt/3qcZcJp

Den of Geek is speaking to Professor Ryan Lavelle about Early Medieval ruler ealdorman Aethelred of Mercia. “The leading question I think you’re asking,” he laughs, “is was he really such a complete shit?”

That’s exactly the question we’re asking. In Netflix historical drama The Last Kingdom, “complete shit” doesn’t begin to cover Aethelred. Toby Regbo’s character in the series is a cowardly, scheming, abusive rapist who tries to have his wife murdered and plots to overthrow his father-in-law, King Alfred of Wessex. Aethelred’s a dangerous egotist driven by self-regard, with no concern for his people. But what say the history books? Is there evidence that the real Aethelred was such a swine?

There is not. In fact, sources suggest that Aethelred cooperated with his wife, and may well have done the bidding of King Alfred as a kind of puppet king. The TV series, and the Bernard Cornwell novels on which it’s based, have clearly employed dramatic licence. Does the portrayal worry Lavelle, a lecturer in Early Medieval History at the University of Winchester, and The Last Kingdom’s historical advisor?

“There is an inevitability that people sometimes engage more with the characters as they’ve been represented in the drama than with the actual historical characters, but this is something that allows a kind of hook,” says Lavelle. “I want people to use it to engage with the actual history.”

With that in mind, Professor Lavelle clues us in on the actual history and separates The Last Kingdom’s fact from fiction…

Uhtred is fictional, but inspired by a real historical figure

“Uhtred is a significant person in Northumbria in the early 11th century so there certainly was a historical Uhtred, just not in the 9th century. Most of the Northumbrians in this period had to have some kind of Danish connection in order to survive, so it’s likely he did.”

King Alfred did suffer from ill health

“There’s enough evidence to be able to say that Alfred was affected by bouts of chronic ill health. That could be part of Alfred’s outlook as a Christian ruler in terms of his sense of intense internal Christianity and his sense of introspection as a ruler.”

Alfred did seek to unite the kingdoms into one England

“Towards the end of his reign, Alfred is calling himself the King of the Anglo-Saxons, ‘Rex Angul-Saxonum’ is the term. It’s potentially a term that means him being a king of the Angles in Mercia and the Saxons in Wessex, looking towards a larger kingdom, a larger realm.”

There may be historical evidence for Osferth being King Alfred’s illegitimate son

“That came from a suggestion by Jinty Nelson back in the 1980s. There was the appearance of a certain Osferth in the will of King Alfred where he’s referred to as ‘my kinsman’. It’s possible, but it’s equally possible that he might just be some more distant relation. It does bring in the historical evidence for Alfred as a young man – as indicated in Asser’s biography of Alfred – that he is said to have regretted his earlier wild youth!”

Read more

TV

The Last Kingdom: What to Expect in Season 5

By Louisa Mellor

TV

The Last Kingdom’s Historical Advisor on Accuracy: ‘It’s a Constant Compromise’

By Louisa Mellor

An Anglo-Saxon Chronicle was written during Alfred’s reign

“There’s a lot of evidence for a kind of new form of kingship in Alfred’s reign, a lot of thinking about what it means to be a king, and the king of a Christian people. With that went this idea of the works of the English – things that were associated with English culture and the English language. It’s not so much turning away from Latin, it’s more thinking about the use of English as something which could unite, initially, his subjects in Wessex.”

Alfred probably didn’t burn the cakes, but it’s part of historical legend

“It’s apocryphal in the Anglo-Saxon period, but there is a 10th century account of Alfred burning the cakes in the life of an obscure Cornish Saint called Saint Neot. It probably didn’t happen with Alfred, but it shows that people in the 10th century were talking about Alfred’s life and retelling stories which then weave their way into legends within four or five generations of his lifetime.”

Aelswith would have advised son Edward on how to rule

“The idea of a Queen’s guidance is an important aspect of early Medieval royal power. Sometimes royal women were provided with far more legal authority as a result of a queenly title. That aspect of a Queen, or King’s wife being there at the court emerges in the historical records at different times in the Anglo-Saxon period.”

There’s no reason to think that Aethelflaed’s daughter wasn’t Aethelred’s biological child

“Historical question about the paternity? Sadly, I don’t think there is. I think that’s invented. I can’t remember whether it’s invented by Bernard or invented for the series.”

Aethelflaed, Lady of Mercia, was a real inspirational leader

“There is a version of the Anglo-Saxon Chronicle written from a Mercian perspective that really plays up Aethelflaed’s achievements, which indicates that there were people looking toward her as an inspirational leader.

In a version of the Anglo-Saxon Chronicle in the 10th century, there’s a reference to the loss of the thanes, or warriors, who were dearest to her at the taking of Derby, so there’s a sense of that lordly relationship. It’s interesting that the word ‘Lady’ or ‘hlǣfdīġe’  is used for her because that is the female equivalent of the word ‘Lord’, and lordship is that bond that holds the warrior society together in this period.”

Aethelred likely worked for Alfred and didn’t plot against him

“Aethelred is a figure who sort of becomes beholden to Alfred. There is a suggestion that he’s not actually from a royal lineage and may have been from a noble family in Western Mercia. Potentially Alfred was doing the same as the Vikings did with puppet kings elsewhere and bringing in Aethelred. Aethelred was basically Alfred’s man in Mercia.

The disappearance of the shadowy Ceolwulf II, the King of Mercia, is one of the great mysteries of the late 9th century. The Anglo-Saxon Chronicle – so, Alfred’s perspective on it – plays Ceolwulf down and talks of him as a foolish king’s thane, but actually he seems to have been reasonably independent. Just after the battle of Edington – Ethandun – Ceolwulf is disappeared and Aethelred appears on the scene.”  

There’s no evidence that Aethelred was a cruel husband to Aethelflaed

“The thing to mention here is that Aethelred and Aethelflaed seem to have cooperated, they seem to have had a joint position and that’s probably because in order for Aethelred to have some sort of quasi-royal authority in Mercia, he’d have to emphasise Aethelflaed, his legitimate wife with royal blood, in his position there.”

Roman-style Shield Walls may not have been as popular a military tactic with the Danes

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

“There seems to be evidence for closely overlapped shields in Early Medieval warfare, but the shield wall is a very literal interpretation of an old Norse term of ‘skjaldborg’ or ‘shield fortress’. It’s probably just a poetic term, though it does get interpreted by a few books about Viking age warfare. I’m not convinced that they would necessarily do that kind of ‘holding the shields above their heads’ with quite the sense of Roman military precision. Partly, because it would make you very vulnerable to being charged very quickly. But it’s an interpretation.”

Read more from Professor Lavelle on The Last Kingdom at History Extra.

The post The Last Kingdom: How Historically Accurate is the Netflix Drama? appeared first on Den of Geek.

from Den of Geek https://ift.tt/3fOEn22

[spectrehqs]

congratulations ! welcome to spectrehqs ashcroft university. under the cut is a list of acceptances for all skeletons. thank you so much for applying & i’m so excited to start writing with you. please take a look at our checklist and send your account within the next twenty-four hours.

ANTONY: liam d’antona written by jason. 

in a sea of applications, there’s something special about one that really sucks you in the way yours did, i really got whisked away. starting with the end and beginning a mystery that would have me hooked for the entirety of your app. lush with detail, i would sometimes forget about the sheer mystery of liam’s acceptance at ashcroft until you drew me back to it. in the midst of laying the seeds of his secret, you painted a picture of a character colorful, interesting and romantic, rife with nods to classic literature and film. even the side characters of the story, his grandparents and father, felt real and alive. i literally wrote myself this note halfway through – “i’m completely on the edge of my seat about why he doesn’t want to get in? it’s killing me.” and then by the end, “I’M SCREAMING.” a natural progression, of course. i loved the juxtaposition of both sides of the page in his letters – his drunk letter vs. his sober letter, and his voice was so endearing and real that by the end of your application, i felt like i knew liam but i also knew TOO much because it was so vulnerable. this application was like diving into a great book and i can’t wait to read more of your writing. 

BRUTUS: christopher ‘kit’ stanley written by hayley. 

i was immediately struck by the juxtaposition you presented – the romanticism of kit’s name, home, and family, contrasted with their line of work and attitude. honestly, your sentence structure in that first paragraph really hit me hard and it set a great precedent for the rest of kit’s story. my jaw literally dropped when i read PENSHURST PLACE but i’m so glad you really went there with this character, going all the way to the top with the opulence and hitting home when it comes to what both ashcroft and the imperium society is all about. if you were worried about writing a controversial character, then stop, because kit exemplifies that in a way that is both relatable and painful. the way you wrote his introduction to lysander PAINED me because when i reached that point in the story, it was so satisfying to see such a lonely boy find such a heartwarming friendship, and it quickly becomes obvious how loyal lysander is to kit, how much he cares for him. the cherry on top is kit’s resentment toward octavia and how his relationship splintered with lysander as a result – leading to our ultimate climax. then when you casually dropped that big fucking secret in so casually at the end...the comment i wrote for myself? “GASP.” because damn, what else can i say? you’re on fire. i can’t wait to see how that unfolds. it’s a bad time to make enemies.

CLEOPATRA: iskra gill written by lara. 

this was not the cleopatra i expected at all – in a good way. iskra would like to be unexpected anyway, i think, she’s that kind of girl. her relationship with her family intrigues me most because it is not one of loyalty, and the way she watches her brother crash and burn ( no pun intended ) after being overlooked for her whole life is a moment that i found myself cheering for as the reader ? iskra is a character that worked herself up from the top to the bottom and then back up to the top again, and has lived several lifetimes for someone so young. her secret at first did not strike me as unique – several apps across the board expressed a secret, harbored love for the elusive octavia, but yours was the one i chose because of that realness, that raw understanding that comes with an unrequited love, and how that transitioned into her affair with titus. i also adored your ‘list’ of secrets, which really served to humanize her in so many ways, and the bachelor in paradise detail ? i was laughing through tears. her last fucking text, and all of the final text messages you wrote. words cannot express. if i wasn’t sold already, your fucking LETTER DRAFTS, all of them, heartbreaking and lovely, i felt like i gained a real and full understanding for iskra’s relationship with octavia and how utterly isolated she must feel now. i can’t wait to see every single one of these elements in play on the dash !

CORDELIA: norah bardot written by nica. 

interestingly enough, norah is a character that not only exemplifies the skeleton, but also shakespeare’s interpretation of cordelia: this soft innocence, good-hearted nature that comes with cordelia, but also a realness. compared to every other character, norah is different because her story is not rife with hatred, anger, or the tragedy of a broken home. norah’s is full of love and compassion – and all the ways that isn’t enough. the tiny details, like the soup kitchen and the way you described her mother’s comments, really made me feel the difference in relationship cordelia has with each parent. this line really sticks with me – “you wouldn’t know rebellion, you couldn’t afford to. naive innocence brushed across your forehead, branding you different.” i can’t think of better words and i won’t try. i am scared to accept a character like norah, of course, her gentle kindness and trusting nature are things that are about to get her eaten alive, but isn’t that the fun of it? you also captured her sheer genius as well, which the juxtaposition of that genius and also that naivety is *chefs kiss* – you get her and your interpretation was so well articulated. i am so fucking excited to write with you and read more of what you come up with.  

HAMLET: thalia lukas written by brooke. 

i can feel thalia’s rage and perhaps that runs in the family; rage for her father for how he treated them; rage for her mother for how she left; rage for society for what they did to her brother. thalia doesn’t come across any of her good qualities on her own, they come from lysander, which i found interesting, and i loved how you characterized her as this hopelessly ambitious person to the point of greed and dishonesty. i think you’ve created this sort of desperation in her that’s as strong and dangerous as any sort of violence and that’s what intrigued me at the start: where is this going? what disaster is thalia going to incur next? i also am so deeply drawn to and excited by thalia’s DISLIKE of octavia because ‘if octavia was a beautiful, blossomed rose, thalia was a thorny shrub.’ – all of her actions leading up to the disaster seem to justify all of thalia’s reactions afterward as well, and what we’re left with is a strong, passionate, disorderly mess that so exemplifies thalia, and every way you describe seems to just scream the outsider-ness that i was looking for and i love that she just doesn’t give a FUCK about octavia’s piece of mind – she’s looking for her own. i literally can’t wait to watch her clash with the rest of the muses we have on board here.

LADY MACBETH: valentine vega written by kiwi. 

i won’t get into how hard of a decision this was, you already know. what i will get into is how hard it was to read this application, it was dark and gritty and just the right amount of unsettling. and upsetting. certain aspects of it were so hard to read that i did have to take a break ( i think you can guess exactly where ), but when it comes down to it, valentine fits into this plot seamlessly, and while you can’t blame her for her past, you can blame her for the present; and it really made me think about the fact that her crime was not just what she did to octavia, but what she did to lysander ( which is actually worse than what she did to octavia in val’s story, in my opinion. ) i love an app that can give me a new perspective on my own fucking plot. i remember getting to the second half of your application and a LIGHTBULB dawning over my head when i realized the connection between the first half of her story and the second half, and i would have to agree with you that octavia certainly did not know the entirety of the situation at hand. but using one murder to cover up another...the skeletons are stacking up, and i love how you took the initiative to explain the blackmail in a way that also involves val – it’s nearly impossible not to sympathize with her when you look at it solely from her side. i love how perfectly composed she seems now and the juxtaposition between both contrasting letters you wrote, the one that seems proper and poised and the other that seems completely unhinged, which i sense is the direction you’re going. i am excited to watch such a poised character fall from grace, but i will feel for her at the same time – which is precisely why this works. 

MACBETH: dante campana written by pepper. 

i was hooked from this line: at first, he did. your characterization for macbeth was just so unexpected because to begin with, dante is such a bright person with such a big heart! he is the warm one in a family of cold hearts! i wrote this comment halfway through reading, at the part where he unintentionally starts a nonprofit: “i'm halfway through wondering how tf dante killed anybody? doesn’t make sense.” and yet, you made it make sense. through his relationship with his sister – and the jaw-dropping, horrific event that culminated in her loss, we learn so much about dante and see a changed person. i’ve been thinking a lot about the line where he learns from his family, “if you wanted love, you had to earn it,” and i think that already sets up a lot for his motivations later in his life story, when he commits such an atrocious act. and i think that’s the pull of dante; he doesn’t seem like a killer. not to me, not to anyone. all the police would have to do is GOOGLE him in order to write him off as being completely incapable. he’s a hero, and yet...the progression into villain is tragic, shocking, and morally ambiguous, just the way we like it. there are so many things about him that make him ‘good,’ but yet can we really call him that? i don’t think so, no, and i love this play on the grey areas, and the ways we don’t see the killer under our own noses because of the way they are perceived. thank you so much for crafting such an intriguing, interesting backstory, and i can’t wait to see how dante reacts under all of this new pressure. i trust you will write it beautifully.

OPHELIA: theresa rigby written by nora. 

my first comment: “u knew exactly what you were doing with this beautifully crafted symbolism, huh?” BUT I LOVED IT, the water baby symbolism was just the homage to ophelia i didn’t know i needed. i got strong sharp objects vibes throughout your application, and it’s hard not to associate theresa with death, but she owns it so completely and i can’t stop thinking about the image of her scribbling frantically in the pages of a diary. there’s something slightly unhinged about everything she does, but it’s hard to blame her – you can see every reason behind her actions in the layers of her upbringing. not to mention that you have such a gift for writing metaphors and comparisons that really bring the concepts you have in mind to life ! the cheesegrater one literally made me gasp, i could relate so deeply, and your entire app is filled with small nuggets of purely good writing just like that. such a treat to read. i also had to laugh at lady macbeth being her favorite shakespeare heroine, the way that’s what resonates with theresa and why, and the way that theresa lives her life is so HUMAN to me, and she completely endeared herself when she clumsily tried to quote Ginsberg bidding her friends goodbye. she’s ethereal, dreamlike, but theresa is also real, and that’s what i loved about your application so much. i was so excited by this application and i am even more excited to see more of theresa, because i know she’ll make me laugh, cry, and everything in between. 

OTHELLO: christian bösch written by em. 

it was the long haul to get an application for this skeleton but so, so worth it. i’m obsessed with your take, from how his history with his sister seamlessly transitions into his relationship with lady macbeth, how you’ve entwined christian so deeply in the octavia/lysander drama on his own, adding layers to his motivation for caving to lady macbeth’s whims. christian himself has many layers, and i wrote on your app, “i have no decision to make here. why do i keep reading this app again and again?” because it was just so fucking good, one of those things you read where you forget about everything else cause you’re lost in it for a moment. also, insanely impressed at the ways you dove into connection ideas with every skeleton, drawing similarities and differences between them and it meant a lot to me how much you clearly went through all the details. also, i loved the little bits of dialogue sprinkled throughout the background, i felt like i got a great sense of christian’s voice long before i reached the letter, and by the end you really empathize with his struggle. you can understand WHY it was so easy for lady macbeth to manipulate him in so many ways, and i didn’t even start talking about max ––– there’s just so much good shit to unpack here, i love it, and i can’t wait to continue peeling back the layers. as you can expect, christian will be faced with some major choices soon. only development will see where that takes him. i’m excited.

ROMEO: william “wolfie” preston written by samantha. 

oh, wowie wow. a very hard choice, but you hit it so far out of the park it’s in another galaxy. reading wolfie’s story was like reading a beautiful tragedy, starting with his parents first words when he was born and on to every expectation they placed on him afterward. i feel like romeo was one of those skeletons that had the most laid out for it due to octavia, but you took every little detail, embellished, AND ran with it, which i loved. my favorite part of your app was actually where you wrote about wolfie seeing octavia’s ghost and the first things he said to her – you described their relationship already, but that dialogue back and forth really hit home for me and made me completely understand the weight of their relationship. and why wolfie is just so devastated by what happened that it’s completely changed him as a person. loss can really do that to you, huh? i also really appreciated the way you also incorporated oberon into the story, something i didn’t really see! the way he craves validation from the head of school/the society the same way he craves it from his parents was really hard-hitting and i loved being able to get some insight into that dynamic as well. your app was infused with so many little details and i felt like you also really brought octavia to life, with her names for statues and all. i also died a little at the scene you described at his football game, my heart SUNK for wolfie, because it’s hard to watch him try so hard again. and again. and again. the letter itself was beautiful as well and i appreciated your scene setting, which not only put his words into perspective, but did more to make wolfie seem more real. sure, he’s a golden boy, but he’s also a person, and i’m excited to watch how the events of this plot show all the cracks in his foundation. he’s changed and he’s changing and i’m excited for more.

TITUS: august reyn written by moosh. 

i could not accept a titus that didn’t break my heart. and august broke my heart more times than i can count now, pretty much with every single fucking bullet point. i love the little contradictions; how he hates rich kids but he is one, doesn’t yell during fights but does during debates...i think the thing about august is he is cocky, charming, and at times aggressive, but he also has this sort of interesting moral code that motivates how he treats people and acts on the field; how he SCREAMS at the ref but is patient with his teammates? iconic. i feel like i got more upset over his grandmother’s passing than i did about octavia’s, which says a lot, but don’t think it passed me by how the two people who have really cared for august are no longer around. the moment in his life where he really fights back at his bully and learns the power of WEALTH was so impactful to me, and i think it characterizes many of his actions, prior and post. also the batman comparison was on point, of course. the way his relationship with his dad develops is heartbreaking, but even more heartbreaking is the fact that he loses a support system when things are at their worst. essentially, my heart snaps for august again and again, and reading about his development post-death was raw and hard, like i was reading something i shouldn’t be. i just want august to get a fucking win but i already know i’m going to put him through the ringer, sos sorry in advance. also huge props for roping him into the scandal surrounding octavia’s death in that way, i can’t wait to incorporate that into the plot overall. 

[all-things-witchcraft]

🔮A Huge Tarot Master-Post🔮

Hello~ I figured I’d make my first master-post about Tarot! This is my interpretation, so I don’t ask that you just go by my word. It’s your path! I’m just here to try to help.

This will be VERY in-depth. So I apologize in advance for the lengthy post, but I hope it will help. 

What is “Tarot”?

Personally for myself I see Tarot as a tool. I use it to help myself and others with some guidance with their lives; however, when it comes to Tarot, don’t let it rule over your decisions in your life. It is a tool but that does not mean that you should only go by what it says.

Types of Readings

There are two types of readings when it comes to Tarot: Question readings and Open Readings.

Question Readings

Just as the title says Tarot involves answering questions. Yes or No questions aren’t meant to be answered by Tarot. When it comes to Yes or No questions pendulums are used with their corresponding charts. Like I stated before, you shouldn’t use Tarot to make decisions but to guide you to help you make the decision yourself. The way a question is stated is important for Tarot readers. Here’s a few tips on what you should look out for:

🔮 Keeping your options open: If you already have an answer for your question, then you’re not really letting yourself allow the cards to guide your decision.  Asking how you could encourage your mother-in-law to move out, as opposed to asking how you can get along better with her, is narrowing the scope of the true question by answering it before you even get started.

🔮 Details: Your question should be focused, but not overly detailed. Rather than looking at one particular aspect of a problem, find a way to look more broadly at it. For example, rather than asking how you can make your home life less chaotic, ask how you can better balance work schedules and school schedules. That is a focused question. But do not go so far as to ask how you can coordinate baseball, soccer and karate schedules and still have family time – that’s too detailed. Only include the minimum level of detail needed in order to express what you want to learn from the cards.

🔮 Focus on Yourself: If the reading is for yourself, make sure your question focuses on you rather than on someone else who you think may be the root of your problem. If you’re wanting to help someone, for example, ask about what you can do to help them.

🔮 Stay Neutral: Basically be unbiased. Don’t come off with the notion that your POV is the “right” one. Asking why you’re always the one getting yelled at between you and your parent(s) isn’t neutral; instead, ask how you can prevent future arguments with your parent(s). That’s neutral!

🔮 Be Positive: When it comes to Tarot, and anything really, you’ll want to always try to be positive. Instead of asking why a specific event didn’t happen, ask about what you can do to make that event happen. Positivity is always great!

Open Readings

These are also known as “General” readings. They address the larger aspects of life rather than a question or a specific area. I’ve found that Past, Present, Future readings are very popular since it talks about people’s lives. They’re always eager to see if the cards can truly tell about their life! You can also direct the General readings towards a basic “genre”. Career, Health, Finances, Love, etc.

The Tarot Deck

There are many varieties of Tarot decks, and there is no standard number of cards across all decks. While the types of cards, the suits and their meanings are the same, the illustrations vary greatly. Decks are based on various themes such as nature, animals, fantasy, dragons, etc.

When it comes to finding a deck of your own, don’t just choose one based on the design. Focus on the connection between you and your future tool, your future guide. I have the Tarot Draconis Deck that called to me. It’s a beautiful dragon based deck that has connected with me. The bond we have today is inseparable!

I say “bond” because each deck has it’s own personality. That’s why Tarot readers do interview “spreads” to help them get to know their decks a bit better. I’ll explain spreads more thoroughly later on in this post. When it comes to their personalities, some decks are blunt, some are meant for giving other people readings and others could be laid back.

The Major and Minor Arcana

When you look through a Tarot Deck, there will be two different sets of cards: Major Arcana and Minor Arcana. Let’s look at the Minor Arcana first. You’ll find that like regular playing cards there are four suits; however, instead of hearts, spades, diamonds, and clubs there are Wands, Pentacles (Circles), Cups (Chalices), and Swords. Each of these represents an element.

Each suit has meaning regarding a specific approach to life. The cards within these suits are numbered one through 10 and also include the court cards – the king, queen, knight and page (knave). The Minor Arcana cards represent the more minor, practical daily ups and downs in life.

The Major Arcana are not associated with the suits. They include the picture cards that represent principles, concepts and ideals. They are numbered one through 21, with the 22nd card (the “Fool”) marked as zero. The Major Arcana cards represent strong, long-term energy or big events in some area of life.

Minor Arcana and the Four Suits

As I stated before, each of the Suits represents an element. Let’s talk about each one and break down what they mean, as well as the cards within them. Then we’ll move on to the Major Arcana!

When it comes to the different cards, there are negatives and positives. When a card is upside-down, the term being “reversed”, then it represents negative attributes of that card. When it’s upright then it represents positive attributes.

For myself, I don’t read reverse cards. I base it on my intuition. I’ll explain how your intuition is used with tarot later on in this post.

Suit of Pentacles

🌱Also known as Coins, Disks, or Circles.

🌱Represents the element Earth.

🌱Covers material aspects of life including work, business, trade, property, money and other material possessions.

🌱 Pentacles deal with the physical or external level of consciousness and thus mirror the outer situations of your health, finances, work, and creativity. They have to do with what we make of our outer surroundings – how we create it, shape it, transform it and grow it.

🌱 On a more esoteric level, Pentacles are associated with the ego, self-esteem and self-image.

🌱 The positive aspects of the Suit of Pentacles include manifestation, realization, proof and prosperity.

🌱 The negative aspects of the Suit of Pentacles (i.e. when the Pentacles cards appear reversed) include being possessive, greedy and overly materialistic, over-indulging and not exercising, not effectively managing one’s finances, and being overly focused on career to the detriment of other life priorities.

Often what is required to counteract these negative aspects is a return to nature to ground oneself and rediscover what is truly important. In addition, there may be blockages in being able to manifest ideas and plans resulting in a lack of success. Better goal-setting and planning is required.

🌱 When referring to timing in a Tarot reading, the Suit of Pentacles traditionally represents Winter or years.

🌱 In a deck of playing cards, Pentacles corresponds to Diamonds.

🌱 Court Cards // 1 - 10 🌱

King of Pentacles:

Upright - Security, control, power, discipline, abundance

Reversed - Authoritative, domineering, controlling

Queen of Pentacles:

Upright - Practical, homely, motherly, down-to-earth, security

Reversed - Imbalance in work/ family commitments

Knight of Pentacles:

Upright - Efficiency, routine, conservatism, methodical

Reversed - Laziness, boredom, feeling ‘stuck’

Knave/Page of Pentacles:

Upright - Manifestation, financial opportunity, new job

Reversed - Lack of progress and planning, short-term focus

10 of Pentacles:

Upright - Wealth, inheritance, family, establishment, retirement

Reversed - Financial failure, loneliness, loss

9 of Pentacles:

Upright - Gratitude, luxury, self-sufficiency, culmination

Reversed - Over-investment in work, financial setbacks

8 of Pentacles:

Upright - Apprenticeship, education, quality, engagement

Reversed - Perfectionism, lacking ambition or focus

7 of Pentacles:

Upright - Vision, perseverance, profit, reward, investment

Reversed - Lack of long-term vision, limited success or reward

6 of Pentacles:

Upright - Generosity, charity, giving, prosperity, sharing wealth

Reversed - Debt, selfishness, one-sided charity

5 of Pentacles:

Upright - Isolation, insecurity, worry, financial loss, poverty

Reversed - Recovery from financial loss, spiritual poverty

4 of Pentacles:

Upright - Control, stability, security, possession, conservatism

Reversed - Greed, materialism, self-protection

3 of Pentacles:

Upright - Teamwork, initial fulfilment, collaboration, learning

Reversed - Lack of teamwork, disregard for skills

2 of Pentacles:

Upright - Balance, adaptability, time management, prioritisation

Reversed - Disorganisation, financial disarray

Ace of Pentacles:

Upright - Manifestation, new financial opportunity, prosperity

Reversed - Lost opportunity, lack of planning and foresight

Suit of Swords

🌫️ Represents the element Air.

🌫️ Associated with action, change, force, power, oppression, ambition, courage and conflict.

🌫️ Action can be both constructive and/or destructive, sometimes resulting in violence.  This suit can also mean hatred, battle, and enemies, and of all the suits, this one is considered to be the most powerful and dangerous. 

🌫️ The Suit of Swords deals with the mental level of consciousness that is centred around the mind and the intellect. Swords mirror the quality of mind present in your thoughts, attitudes, and beliefs.

🌫️ Swords themselves are double-edged and in this way the Suit of Swords symbolises the fine balance between intellect and power and how these two elements can be used for good or evil. As such, the Swords must be balanced by spirit (Wands) and feeling (Cups).

🌫️ The negative aspects of the Suit of Swords (i.e. when the Swords cards appear reversed) include anger, guilt, harsh judgement, a lack of compassion and verbal and mental abuse.

🌫️ When referring to timing in a Tarot reading, the Suit of Swords traditionally represents Autumn (Fall), or months.

🌫️ In a deck of playing cards, Swords corresponds to Spades.

🌫️ Court Cards // 1 - 10  🌫️

King of Swords:

Upright: Clear thinking, intellectual power, authority, truth

Reversed: Manipulative, tyrannical, abusive

Queen of Swords:

Upright: Quick thinker, organised, perceptive, independent

Reversed: Overly-emotional, bitchy, cold-hearted

Knight of Swords:

Upright: Opinionated, hasty, action-oriented, communicative

Reversed: Scattered thought, disregard for consequences

Knave/Page of Swords:

Upright: Talkative, curious, mentally restless, energetic

Reversed: All talk and no action, haste, undelivered promises

10 of Swords:

Upright: Back-stabbed, defeat, crisis, betrayal, endings, loss

Reversed: Recovery, regeneration, fear of ruin, inevitable end

9 of Swords:

Upright: Depression, nightmares, intense anxiety, despair

Reversed: Hopelessness, severe depression, torment

8 of Swords:

Upright: Isolation, self-imposed restriction, imprisonment

Reversed: Open to new perspectives, release

7 of Swords:

Upright: Betrayal, deception, getting away with something, stealth

Reversed: Mental challenges, breaking free

6 of Swords:

Upright: Regretful but necessary transition, rite of passage

Reversed: Cannot move on, carrying baggage

5 of Swords:

Upright: Conflict, tension, loss, defeat, win at all costs, betrayal

Reversed: Open to change, past resentment

4 of Swords:

Upright: Contemplation, recuperation, passivity, relaxation, rest

Reversed: Restlessness, burn-out, lack of progress

3 of Swords:

Upright: Painful separation, sorrow heartbreak, grief, rejection

Reversed: Releasing pain, optimism, forgiveness

2 of Swords:

Upright: Indecision, choices, truce, stalemate, blocked emotions

Reversed: Indecision, confusion, information overload

Ace of Swords:

Upright: Raw power, victory, break-throughs, mental clarity

Reversed: Confusion, chaos, lack of clarity

Suit of Wands

🔥 Represents the element Fire.

🔥 Associated with primal energy, spirituality, inspiration, determination, strength, intuition, creativity, ambition and expansion, original thought and the seeds through which life springs forth.

🔥 Wands deal with the spiritual level of consciousness and mirror what is important to you at the core of your being. 

🔥 They address what makes us tick – our personalities, egos, enthusiasms, self-concepts, and personal energy, both internal and external.

🔥 Wands are also indicative of all things that you do during the day to keep you busy, be it working at the office, home or the great outdoors. 

🔥 Wands have to do with movement, action and initiatives and the launching of new ideas. 

🔥 They may be indicative of a never-ending ‘Ideas List’ or ‘To Do List’, whereby the client has many projects on the go to keep them busy.

🔥 When referring to timing in a Tarot reading, the Suit of Wands traditionally represents Spring or weeks.

🔥 In a deck of playing cards, Wands corresponds to Clubs.

🔥 Court Cards // 1 - 10  🔥

King of Wands:

Upright: Natural-born leader, vision, entrepreneur, honour

Reversed: Impulsiveness, haste, ruthless, high expectations

Queen of Wands:

Upright: Exuberance, warmth, vibrancy, determination

Reversed: Shrinking violet, aggressive, demanding

Knight of Wands:

Upright: Energy, passion, lust, action, adventure, impulsiveness

Reversed: Haste, scattered energy, delays, frustration

Knave/Page of Wands:

Upright: Enthusiasm, exploration, discovery, free spirit

Reversed: Setbacks to new ideas, pessimism, lack of direction

10 of Wands:

Upright: Burden, responsibility, hard work, stress, achievement

Reversed: Taking on too much, avoiding responsibility

9 of Wands:

Upright: Courage, persistence, test of faith, resilience

Reversed: On edge, defensive, hesitant, paranoia

8 of Wands:

Upright: Speed, action, air travel, movement, swift change

Reversed: Delays, frustration, holding off

7 of Wands:

Upright: Challenge, competition, perseverance

Reversed: Giving up, overwhelmed, overly protective

6 of Wands:

Upright: Public recognition, victory, progress, self-confidence

Reversed: Egotism, disrepute, lack of confidence, fall from grace

5 of Wands:

Upright: Disagreement, competition, strife, tension, conflict

Reversed: Conflict avoidance, increased focus on goals

4 of Wands:

Upright: Celebration, harmony, marriage, home, community

Reversed: Breakdown in communication, transition

3 of Wands:

Upright: Preparation, foresight, enterprise, expansion

Reversed: Lack of foresight, delays, obstacles to long-term goals

2 of Wands:

Upright: Future planning, progress, decisions, discovery

Reversed: Fear of unknown, lack of planning

Ace of Wands:

Upright: Inspiration, power, creation, beginnings, potential

Reversed: Delays, lack of motivation, weighed down

Suit of Cups

🌊 Represents the element Water.

🌊 Also known as Chalices.

🌊 Deals with the emotional level of consciousness and are associated with love, feelings, relationships and connections.

🌊 Cups are about displays of emotion, expression of feelings and the role of emotions in relation to others.

🌊 The Cups Tarot cards indicate that you are thinking with your heart rather than your head, and thus reflect your spontaneous responses and your habitual reactions to situations.

🌊 Cups are also linked to creativity, romanticism, fantasy and imagination.

🌊 The negative aspects of the Suit of Cups (i.e. when the Cups cards appear reversed) include being overly emotional or completely disengaged and dispassionate, having unrealistic expectations and fantasizing about what could be. 

There may be repressed emotions, an inability to truly express oneself and a lack of creativity.

🌊 The Suit of Cups traditionally represents the west and Summer. If using an ordinary deck of playing cards,

🌊 Cups are represented by the Suit of Hearts.

🌊 Court Cards // 1 - 10  🌊

King of Chalices:

Upright: Emotional balance and control, generosity

Reversed: Emotional manipulation, moodiness, volatility

Queen of Chalices:

Upright: Emotional security, calm, intuitive, compassionate

Reversed: Emotional insecurity, co-dependency

Knight of Chalices:

Upright: Romance, charm, ‘Knight in shining armour’, imagination

Reversed: Unrealistic, jealousy, moodiness

Knave/Page of Chalices:

Upright: A messenger, creative beginnings, synchronicity

Reversed: Emotional immaturity, creative block

10 of Chalices:

Upright: Harmony, marriage, happiness, alignment

Reversed: Misalignment of values, broken home or marriage

9 of Chalices:

Upright: Wishes fulfilled, comfort, happiness, satisfaction

Reversed: Greed, dissatisfaction, materialism

8 of Chalices:

Upright: Escapism, disappointment, abandonment, withdrawal

Reversed: Hopelessness, aimless drifting, walking away

7 of Chalices:

Upright: Fantasy, illusion, wishful thinking, choices, imagination

Reversed: Temptation, illusion, diversionary tactics

6 of Chalices:

Upright: Reunion, nostalgia, childhood memories, innocence

Reversed: Stuck in the past, naivety, unrealistic

5 of Chalices:

Upright: Loss, regret, disappointment, despair, bereavement

Reversed: Moving on, acceptance, forgiveness

4 of Chalices:

Upright: Meditation, contemplation, apathy, re-evaluation

Reversed: Boredom, missed opportunity, being aloof

3 of Chalices:

Upright: Celebration, friendship, creativity, community

Reversed: An affair, “three’s a crowd”, stifled creativity

2 of Chalices:

Upright: Unified love, partnership, attraction, relationships

Reversed: Break-up, imbalance in a relationship, lack of harmony

Ace of Chalices:

Upright: Love, compassion, creativity, overwhelming emotion

Reversed: Blocked or repressed emotions

🔮 - If a Tarot reading is predominantly made up of the Minor Arcana Tarot cards, you are dealing with day-to-day issues which will not necessarily having a lasting influence on your life. 

These issues are passing through, presenting you with an opportunity to learn from these experiences (look to any Major Arcana cards to identify and understand these lessons and how they may impact your life in the long-term).

Major Arcana

The Major Arcana Tarot cards (also known as the trump cards) form the foundation of the Tarot deck and consists of twenty-one numbered cards and one unnumbered card (the Fool).

They represent a path to spiritual self-awareness and depict the various stages we encounter as we search for greater meaning and understanding. In this way, they hold deeply meaningful lessons.

The Major Arcana Tarot card meanings illustrate the structure of human consciousness and, as such, hold the keys to life lessons passed down through the ages. The imagery of the Major Arcana Tarot cards is filled with wisdom from multiple cultures and esoteric traditions, including the Egyptian, Buddhist, Hindu, Sufi, Hebrew and Christian religions.

The Cards

0 // The Fool -

Upright: Beginnings, innocence, spontaneity, a free spirit

Reversed: Naivety, foolishness, recklessness, risk-taking

I // The Magician -

Upright: Power, skill, concentration, action, resourcefulness

Reversed: Manipulation, poor planning, latent talents

II // High Priestess -

Upright: Intuition, Higher powers, mystery, subconscious mind

Reversed: Hidden agendas, need to listen to inner voice

III // The Empress -

Upright: Fertility, femininity, beauty, nature, abundance

Reversed: Creative block, dependence on others

IV // The Emperor -

Upright: Authority, father-figure, structure, solid foundation

Reversed: Domination, excessive control, rigidity, inflexibility

V // Hierophant -

Upright: Religion, group identification, conformity, tradition, beliefs

Reversed: Restriction, challenging the status quo

VI // Lovers -

Upright: Love, union, relationships, values alignment, choices

Reversed: Disharmony, imbalance, misalignment of values

VII // Chariot -

Upright: Control, will power, victory, assertion, determination

Reversed: Lack of control and direction, aggression

VIII // Strength -

Upright: Strength, courage, patience, control, compassion

Reversed: Weakness, self-doubt, lack of self-discipline

IX // Hermit -

Upright: Soul-searching, introspection, being alone, inner guidance

Reversed: Isolation, loneliness, withdrawal

X // Wheel of Fortune -

Upright: Good luck, karma, life cycles, destiny, a turning point

Reversed: Bad luck, negative external forces, out of control

XI // Justice -

Upright: Justice, fairness, truth, cause and effect, law

Reversed: Unfairness, lack of accountability, dishonesty

XII // Hanged Man -

Upright: Suspension, restriction, letting go, sacrifice

Reversed: Martyrdom, indecision, delay

XIII // Death -

Upright: Endings, beginnings, change, transformation, transition

Reversed: Resistance to change, unable to move on

XIV // Temperance -

Upright: Balance, moderation, patience, purpose, meaning

Reversed: Imbalance, excess, lack of long-term vision

XV // Devil -

Upright: Bondage, addiction, sexuality, materialism

Reversed: Detachment, breaking free, power reclaimed

XVI // Tower-

Upright: Disaster, upheaval, sudden change, revelation

Reversed: Avoidance of disaster, fear of change

XVII // Star -

Upright: Hope, spirituality, renewal, inspiration, serenity

Reversed: Lack of faith, despair, discouragement

XVIII // Moon -

Upright: Illusion, fear, anxiety, insecurity, subconscious

Reversed: Release of fear, unhappiness, confusion

XIX // Sun -

Upright: Fun, warmth, success, positivity, vitality

Reversed: Temporary depression, lack of success

XX // Judgement -

Upright: Judgement, rebirth, inner calling, absolution

Reversed: Self-doubt, refusal of self-examination

XXI // World -

Upright: Completion, integration, accomplishment, travel

Reversed: Lack of completion, lack of closure

Tarot Spreads

Now that we’ve talked about the Minor and Major Arcanas, let’s talk about Tarot spreads! Before any Tarot reader does a reading, they shuffle their cards. This allows them to transfer their energy into the deck.

Once the cards are shuffled and the deck has been cut, the reader lays out the cards in a pattern called the spread. Each position in the spread has a meaning, and there are many different types of spreads, ranging from those that incorporate a single card to spreads that include all 78 cards of the deck. Which spread is used is up to the reader and the specific type of question or reading. Some spreads focus more on a specific type of information. For example, one spread might focus more on emotional matters, while another might bring in more information about the influences of others. One of the most common spreads is the Celtic Cross.

Interpreting the Spread:

Once the cards are laid out, their meanings are interpreted based on their positions and their neighboring cards. Let’s look at the Celtic Cross spread:

Begin by looking at the Circle/Cross section. The cards in this position represent what is happening in your life at the time of the reading.

Next, look at the first six cards in pairs. These cards paint a picture of your immediate situation. The cards in position 1 (the central issue) and position 2 (the secondary issue that can either be opposing or reinforcing) will identify the central theme of the reading. The cards in position 3 (the root cause that can be an unconscious influence or deeper meaning) and position 5 (your attitudes and beliefs, a conscious influence, your goal or an alternate future) represent things that are going on within you at different levels. And, the cards in position 4 (your past, a receding influence or something that has been resolved) and position 6 (the future or an approaching influence or unresolved factor) represent how people and events are flowing through your life.

Next, look at the Staff section of the spread, again considering cards in pairs. Looking at the cards in position 7 (as you are, as you could be, as you present yourself and as you see yourself) and position 8 (your outside environment, someone else’s point of view and you as others see you) tells you about your relationship with your environment.

Finally, look at the card in position 10 (the outcome-overall, your inner state, your actions or effects) to see the projected outcome.

Ask yourself how you feel about the projected outcome. What does it say to you?

Go back and review the cards that led up to that outcome, and see if there is a card that stands out as they key to that outcome. Then, look back at card 5 to see if the projected outcome is also shown as an alternate outcome there. Look at the card representing the near future in position 6 to see if it supports or contributes to the projected outcome. Finally, look at the card in position 9 (guidance, key factors, hopes and fears or overlooked factors) to see there is any relevance there.

This is one of many different spreads. You can even make your own spreads! Ultimately, start small and learn as you go. Spreads are very easy once you get the hang of it.

Intuition

Last but certainly not least, we’re going to talk about Intuition!

What is intuition?  A thing that one knows or considers likely from instinctive feeling rather than conscious reasoning.

When it comes to Tarot cards, and giving out readings or doing one for yourself, intuition is key. Witchcraft in general involves intuition 9 times out of 10! For example, when I do my readings for people, I don’t just go by what the cards mean. I trust my intuition about what it means, with my gut feeling. If I feel it’s something to do with family, I go with it. If it has something to do with an important event coming up in the future, I trust it.

You may not get it down right away, and that’s perfectly okay! It’ll take some time to get it down pat. Just don’t forget to listen to your gut!

There you go! I hope this Master Post helps you guys learn a little more about Tarot. I’ll be posting another one later for in-depth descriptions of all the cards!

Brightest blessings!

[🔮] all-things-witchcraft [🔮]

[obciidian-archived]

lim seunghwa: brief psychological analysis

in this post i will attempt to scrutinize lim seunnghwa’s psyche as of today with a retrospective on his past -- i will address seunghwa’s development as a teenager as i consider the attachment type he has and the environment he grows in, including his relationships with various significant characters in his life. i will be using theories i have learned during my classes, and use my university books are sources. all the information isn’t accurate (except for terms and their definitions) as it is my interpretation of the character.

tagging: @0308tr  @crestmort   @dvydrcm​

attachment theory (bowlby)  is a psychological model attempting to describe the dynamics of long-term and short-term interpersonal relationships between humans; how human beings respond within relationships when hurt, separated from loved ones, or perceiving a threat. provided any caregiver all infants become attached--however individual differences in the quality of the relationships remain significant. in infants, attachment as a motivational and behavioral system directs the child to seek proximity with a familiar caregiver when they are alarmed with expectation that they will receive protection and emotional support. the theory believes that the tendency for primate infants to develop attachments to familiar caregivers was the result of evolutionary pressures, since attachment behavior would facilitate the infant's survival in the face of dangers such as predation or exposure to the world, etc. (in researches on orphans, those who were not provided a main caregiver/caretaker figure who is fixated and provides all needs that are physical, emotional, and psychological the infants did not survive more than 6 months, in most cases). through the dynamics between the caregiver and the infant, the infant will develop an attachment type; secure, or anxious (ambivalent or avoidant). 

as of my speculations his attachment model is anxious-ambivalent.

anxious-ambivalent attachment type: a child will typically explore little (in the strange situation) and is often wary of strangers, even when the parent is present. once the mother departs, the child is often highly distressed. the child is generally ambivalent when his mother returns.: the strategy is a response to unpredictably responsive caregiving, and the displays of anger (ambivalent resistant) or helplessness (ambivalent passive) towards the caregiver on reunion can be regarded as a conditional strategy for maintaining the availability of the caregiver by preemptively taking control of the interaction. that is what we can view during the ainsworth test at the end of the first year. to summarize: it is facilely the mixture of seeking and yet resisting contact and interaction has an unmistakably exasperated quality and indeed an angry tone may characterize behavior in the presoeparation episodes. the infant would ultimately learn that their caretaker (often the mother) is not always emotionally available and she possess unexpectable responses to their needs; she will not consistently be there to suffice emotional, physical, and physiological aid when requested. on other occasions she may “flood” the infant with excessive amount of these required aspects therefore, the infant cannot trust the mother to always be available for him and consequently cannot use her as a safe “homebase” to recharge emotional strength during the time they explore the world.

this type of attachment ultimately becomes a working model to adults. it is capable of alternating during the life of the individual, albeit, isn’t an easy task to do. people with secure attachment can in fact grow an anxious-ambivalent type or anxious-avoidant type as a result of a truma (i.g: terror attack, death, rape, etc.) in adults, this type of attachments (anxious-ambivalent) is often grown into a preoccupied type of attachment (determined via the aai interview). this type will result in an adult who feels overwhelmed when asked upon childhood memories and experiences them on a high level. the individual’s answers to the query would often result in long and informative answers and internal contradictions which ultimately results in a long and cumbersome interview. this type of person often views the worlds through a perspective where they are unworthy of all that the world must proffer; they cannot excel in all aspects which they would yearn to excel, the are unworthy of loving unconditionally, and are fearful of abandonment in situation where they need protection. the individual is not open with his relations to the environment and with not expect mutual relations but would rather sense as if the others are not attentive of him.

now as we take those two completing types of attachment into equation, let’s have a look at seunghwa.

during the first year of the boy’s life he was raised with intense proximity to his ailing mother. during the first year, as he is the third son, her treatment to him was slightly different than her first born son and her second son ; she was more mellow and patient, more experienced consequently, more attentive of his needs. she will have to attempt to provide all four critical aspects of deportment to ensure her son’s attachment style to be secure: a. vigilance to his signals in which during display of emotional availability. b. acceptance of the infant’s demeanor ( as in disregarding the mother’s own exhaustion or needs in favor of the infant’s ). c. cooperation with the baby as in allowing it to explore the world and not prevent or disturb an experiencing. d. psychological and physical availability during an understanding of the infant’s world (as oppose of ignorance and negligence). despite most steps which have been taken considering the mother’s side, the boy has grown into an attachment model that is not secure. that is for she had become ill during their early years and quite soon after seunghwa was born. she is often inexpressive, only meddles into matters when witnessing her songs misconducting and then would advice to remain nice in attitude. she would not often initiate physical contact (as oppose to his older brothers) as she is not only warned out by being a parent for the third time but, for being abandoned by her husband after the third pregnancy with vehement lack of interest on his part to take care of their children, and having to face an undefeatable illness in her body. she is often very strict and rigorous as she would overlook the details of a situation to do what she believes (perhaps isn’t remotely close to being right in most occasions) -- she is stubborn in a way (i.g: she hasn’t came back home for days after their father brought a new woman home and forsaken her sons temporarily). therefore, it would make sense that this is the type of attachment seunghwa has developed, considering the mother’s personality and treatment of him during his first year, altogether.

to determine which kind of attachment model the boy possess we would have needed to take the ainsworth’s test at the end of his first year albeit, as he is sixteen as of today, we can only determine his type of attachment via various interactions with his family members and the world around him, the way he perceives himself and his view of the world.

as of today, the boy has displayed a rather infantile type of demeanor; he is quite impulsive (rather excessively of his age group - displays in behaviors of impulse control issues as he refuses to wait for being gratified whether be it a materialistic yearning or emotional yearning.), he is quite selfish (again, excessively -- it is shown in the way that he cannot view other’s aspects on the world and their impacts or their stances until he is thoroughly scolded and exposed to those, often in situations which are rather unpleasant i.g: altercations/arguments).

behind his psyche we can often witness that he does not fully trust the person who is currently his main caretaker, his oldest brother, seungjae. it is displayed through the track of thoughts which prevents him to speaking to his brother about things which occupy his mind, perturb it, and emotions he needs to speak of. additionally, he lacks significant sense of self-worth as of for his unilateral love (however that romantic love may not be the best indicator in this case for it holds several problematic factors that may perhaps have been affected by other sources: the fact that in a heteronormative society he falls in love with a man, and the fact that this man is a famous person who is 10 years older than him). seunghwa also manifestly expresses his fear of abandonment: he doesn’t want his brother to hate him despite behaviors which he ultimately understands are wrong and/or hurtful and in fact attempts to reach out for him to grow closer (i.g a hug, warm words, kind gestures he asserts would make the brother happy) --- yet at the same time he is also very remote; he doesn’t want to speak to his brothers about emotional matters for the fear they would be uninterested. he does not want to develop a subject that bothers him into a conversation for he fears the confrontation with his brothers, despite evident signs that it in fact makes his anxious and worried.

all of these lead towards the two type of attachments that i’ve briefly explained earlier.

in piaget’s preoperational stage children for their egocentric feature tend to view things from their own perspective and when a tragedy of some sort occurs (such as divorce, loss of a family member, etc.) they tend to take blame for it since they cannot view the world in any other way other than their own eyes. that would explain how seunghwa must have perceived their mother’s illness and their father’s absence. during their youngest years (when he has just been born) their father would have evidently cheated on the ailing mother; he would bring a new woman home to be as some sort of a mother substance for the boys and although she had not been warmly welcomed into their household by the siblings themselves, seunghwa may have perceived these type of situations as something that perhaps he has done. relating these sentiments to the way he lacks belief that either of his brothers shall ever listen to him he has never voiced out these feelings -- it is quite important to tell a child that it is not their fault, otherwise they may carry that guilt for years with them even into adulthood. which seems to be the case here. he often times views the world in a way of a blaming finger pointed at him for things he is not at fault of. which brings me to a term linked to this: imaginary audience - the unjustified concern of adolescents that they are in the spotlight of others’ attention. with this, seunghwa may sense that his brothers are often looking at him through scrutinizing eyes and that their perspective of him is often negative to begin with… even to the extent of abhorring him.

identity crisis (erikson) amongst adolescents is the process when they struggle to establish their personal identity; they receive an onerous task to establish a sense of self (which is excruciatingly fragile at these ages) in two different systems -- their biological one which is in charge of physical and hormonal changes, and the social system where the teenager lives. being the youngest of three, seunghwa finds himself in a fragile state during the time where he attempts to establish some type of identity as of who is he -- still young and befuddled, the birth order may also harbor its impact on his psyche. [ the last born child is often characterized as manipulative, attention-seeker, self-centered, and indulging in fun/pleasure. they are excellent in getting their own way. a role that is designated to them by the birth hierarchy is as of a baby-like, which may result in fewer responsibilities whereas more opportunities of fun. they often find themselves taken with lack of seriousness, or being deprived from the independence which they crave. they will often do whatever it takes to distinguish themselves from the older siblings -- more likely to take risks, as well. ]

i have noticed recently that he has been going through some regression in his development (which would possibly explain his excessive and flamboyant behaviors of childishness and selfishness)

for that, i will briefly scrutinize the impact each significant character in his life harbors.

seungjae (oldest brother): during early years (around the ages of 5/6) their mother has gotten terminally ill so her functioning as a parental unit has decreased more than she usually possessed. seungjae has been a replacement of her since the middle of his teenage years (15/16) and inevitably has become the main caretaker figure of his younger siblings. his demeanor is quite similar to their mother’s in the sense of raising his brothers for that type of deportment is acquired upon behavioral learning [ operant behavior (skinner) operates on the environment and is maintained by its consequences; reinforcement and punishment are either positive meaning they are delivered following a response or negative meaning withdrawn following a response -- via that he must’ve been doctrined on what are the ‘proper’ ways of educating, providing, and raising his younger siblings ]. consequently, his emotional expressivism and care is less tended than the sufficion of his brother’s needs for survival (clothes, food, etc.) and despite the change of main caretaker figures there is no vehement change in the feeling of solicitude the boy experiences: he still operates on the same working model as he used to until that age, and it is only fortified furthermore as years pass. let’s not forget ages 6-7 are in a different developmental stage cognition wise: the children are at the intuitive thought substage in which children tend to become very inquisitive and ask many questions, beginning the use of primitive reasoning. centration (the act of focusing all attention on one characteristic or dimension of a situation meanwhile disregarding all others), conservation, irreversibility (a concept that is developed in this stage which is closely related to the ideas of centration and conservation - refers to when children are unable to mentally reverse a sequence of events), class inclusion, and transitive inference are all characteristics of pre-operative (piaget’s theory) thought. to comprehend how seunghwa must view the world we must understand the stage he is in, meaning he will not be able to focus on anything besides himself as it is the sole dimension his cognition might centralize on and whenever approached with other perspectives, his cognition fails to recognize them as so -- as if, the others must always view matters through his own eyes. to summarize: seungjae is not as differently viewed than their mother. seunghwa sees him as if some sort of a substitute to her existence and role in his life, as seungjae become the second main caretaker role in his life. these are mixed feelings which make it hard to determine whether the oldest brother’s influence is negative, positive, or absolutely necessary for his development towards being a healthy adult.

seungmin (older brother/middle child): middle kids could get lost in the mix and feel left out of special roles and privileges, or end up being especially emotionally savvy, because they’re always challenged to stay dialed in and navigate the goings-on of the people around them. the charismatic, leader-like caretaker roles are occupied by the oldest and the infantile, spoiled, carefree roles by the youngest --- leaving the middle child without any clear parts and roles to take in their family, often making them feel lost and uncertain of themselves. they’re people’s pleasers, always wanting to make everyone pleased as a result of that.

seungmin and seunghwa are in constant altercations and arguments which are incessant.behind the deportments, behaviors, and words seungmin elucidates it becomes clear often times that he perhaps tends to hold some sort of prejudice against his youngest brother; he may in fact blame him for their state (sick mother and estranged father, seungjae’s incessant hard work to provide, etc.) therefore, act upon it with hostility. after four years of being the youngest, seunghwa has ‘stolen’ this role away from him leaving seungmin confused and lost in their hierarchy. now, in the midst of the journey to search for his own identity that seems to be somewhat fragile and not completely established yet (despite passing adolescence) the young boy lacks clear guidance and often releases him frustrations and exasperation on his youngest brother, as he’s the easiest target. that affects seunghwa in a way which makes his view on people should not be trusted/everyone’s blaming him/etc grow stronger each time they find themselves fighting. even regarding mundane things. perhaps seungmin’s contrast (in both behavior and morals) to the boy may ultimately lead him towards the so desired salvation of the identity crisis and figuring a thing or two about life. whether positive or negative -- it is indeterminable.

ian: now, regarding ian it seems as if this regression in his behavior is mainly due to her affect and i’ll explain: as a part of her personality ian happens to be softer, warmer, kinder in comparison to both of his brothers, in all aspects. during most of his life he has learned that the main caretaker figure in his life will not assert security in senses of emotional solicitude. he has acquired that this figure will not provide him the psychological security which he requires as a human being, but rather, solely physical security (home, food, clothes, etc.) with this work model built to him he arrives into the relationship with ian charged with a negative point of view over relationships of any type -- as previously addressed he believes that people are not to be trusted and would not be capable of sufficing emotional support in times when needed albeit, is shown differently. it is displayed by the unconditional love which ian expresses to him: she constantly listens to whichever he has to say (redundant or not), provides him with affable physical proximity (hugs, gentle and fond touches), and offers her psychological help to overcome hurdles throughout his life (gives advice and tips, makes sure he knows how to approach different situations, etc.) all of these do compensate over the lack of these traits by his mother during the first years of his life. ian often views him as her own son consequently, treats him as such and their bond gradually becomes stronger than the bond seunghwa possess with his own mother.  it is as if some sort of an amendment is made to his heart, and seunghwa now learns how to trust the world and the people in it with her. albeit, he has become more excessively stubborn, childish, and spoiled than ever before and there is going to be a time in the future when this type of regressions will be determined to have been necessary for him to grow into a healthier person once he reaches adulthood or was it unnecessary and perhaps ian’s role in his eyes only leaded him to furthermore confusion about the world and ambivalent feelings towards the people in it; whether to trust or not, or whether he should lay his heart bare only towards people who display similar behavioral attributes (such as warmth, softness, etc.) that could easily manage to manipulate him into thinking that he’s loved when he isn’t. only time will tell.

[phantom-le6]

Episode Reviews - Star Trek: The Next Generation Season 7 (2 of 6)

Carrying on our look into the final season of Star Trek: The Next Generation, here’s the second round of episode reviews from that season.

Episode 6: Phantasms

Plot (as adapted from Wikipedia):

Lt. Commander Data experiences a strange dream that begins with him walking a corridor within the Enterprise, then hearing a rotary dial phone sound, and seeing three workmen that he says are "dismantling a warp plasma conduit". When he tries to speak to them, he can only emit a high-pitched noise. The workmen turn and rip off Data's appendages, finally tearing off his head, before Data wakes from the dream. Though Data is worried about the odd nature of dreams Counsellor Troi suggests he continue to dream to explore the darker imagery he is experiencing.

 Captain Picard is invited to an Admirals' dinner, an event that Picard has been trying to avoid for several years as he feels it would be rather boring. Unable to provide excuses, he orders the Enterprise towards Starbase 219 where the banquet is to be held, but they find the new warp drive will not engage. Data and Lt. Commander La Forge attempt to diagnose the problem, but after double checking the new configuration, the engines refuse to engage.

 Later, Data finds himself in another dream, now set in Ten-Forward. In addition to the workmen, other members of the crew are present, in particular Troi as part of a large cake (a cellular peptide cake with mint frosting according to Lt. Worf). The workmen prompt Data to cut into the shoulder of the cake while Troi tries to convince Data to stop. Suddenly Data wakes, finding Worf, La Forge and Troi in his quarters, as he has been late for his shift. Data has never experienced this before, and tries to understand the meaning of his dreams with a holodeck-simulated Sigmund Freud. Later, while still working with La Forge to repair the engines, he begins to see imagery from his dreams while awake, including seeing crewmen with "small mouths" on their bodies, and an engineering tool appearing briefly as the cake knife. Later, Data attacks Troi on the turbolift, wounding her on her shoulder, where he claimed he saw one of those mouths. Data willingly puts himself under guard in his quarters, fearing what harm he might do to others.

 Dr Crusher takes care of Troi's wound but finds the spot still discoloured after her treatment. Investigating further, she discovers the presence of interphasic creatures that are feeding on the Enterprise crew, which can only be seen under interphasic scans. The crew realizes the creatures are where Data has been seeing the small mouths, and believes Data may know how to deal with the creatures through the dreams he has been experiencing. They hook up Data to the holodeck and watch as Data's dreams play out, helping Data to understand them. Data realizes that his mind has been telling him that he can adjust his circuitry to generate an interphasic pulse that will kill the creatures. After using the pulse, La Forge postulates that the new warp drive was infected with the creatures, and after confirming that they've been exterminated, is able to successfully engage warp, though the repairs take long enough that Picard is able to avoid the Admirals' dinner yet again.

 Troi later visits Data, who has since apologized for his attack. Troi shows no resentment, but jokingly remarks "Turnabout is fair play". She reveals has made a cake shaped like Data for them to share. Data wonders what Freud would say about the about the symbolism of devouring one’s self, but Troi paraphrases Freud and tells Data that sometimes “a cake is just a cake”.

Review:

This is our first, and I think only, episode that follows up on Data’s dreaming capability that he had activated last season. Ideally, it could have been used to somehow explore or expand on Data’s character, or as some kind of means of issue exploration, but again TNG falls short of what Trek should be.  Rather than using the dream program to create an episode of true Trek, it becomes a convenient deus ex machina for a ‘crisis of the week’, complete with the accompanying technobabble.  TNG, and indeed Trek itself, is always at its worst when the sci-fi trappings take centre stage instead of acting as window-dressing for something more substantive, and this episode is a case-in-point.  Granted, some scenes have become effective meme fodder in the social media age, but that’s not what Trek is.  I only give this episode 5 out of 10.

Episode 7: Dark Page

Plot (as given by me):

The Enterprise welcomes aboard members of a telepathic race known as the Cairn, who have only begun to learn spoken communication in order to interact with non-telepathic races. They have been learning from Ambassador Lwaxana Troi, who tries to set her daughter Counsellor Deanna Troi up with Maques, who is part of the Carin delegation. Maques has a daughter named Hedril, who has become Lwaxana’s star pupil as her younger age means she can pick up spoken language more easily than the adult Cairn. Lwaxana begins to display signs of emotional distress through random outbursts, which she initially brushes off as fatigue. However, after an incident with Commander Riker in Ten-Forward, an examination by Dr Crusher reveals Lwaxana’s levels of a neurotransmitter used in telepathy are depleted. To recover, she needs to refrain from using her telepathic abilities, and Deanna offers to help her mother continue educating the Cairn in spoke language without resorting to telepathy.

 However, during a trip to the Enterprise arboretum, Lwaxana uses telepathy when Deanna struggles with how best to explain the concept of ‘heaven’ verbally. Moments later, Hedril accidentally falls in the arboretum pond; she is unhurt, but for some reason at that moment Lwaxana falls into a coma. Dr Crusher is unable to find any physiological reasons for this, and an unintended side-effect of Cairn telepathy is subsequently ruled out as well. Maques reveals Lwaxana’s mind is collapsing in on itself, but cannot interpret the images in her mind to understand why. To find out, Deanna enters her mother’s mind with Maques’ help and the permission of Captain Picard.

 In Lwaxana’s mind, Deanna encounters a variety of barriers and is ultimately forced out by her mother when she encounters an image of Hedril. Suspecting Lawxana’s retreat from reality is related to a repressed traumatic event, Deanna begins searching for clues among her mother’s journal entries. With Picard’s aid, she learns there is a seven-year gap from just after her parents married to a month after her birth. The gap is highly unusual because Lwaxana was very diligent about her journal, and the entries have been deleted by her rather than not being made in the first place.

 Deanna re-enters her mother’s mind, and finally tracks down her mother in a representation of the Enterprise arboretum, which Lwaxana has equated with Lake El’nar on Betazed where the Trois used to live. At Deanna’s urging, Lwaxana relives her traumatic memory to stop it killing her. It turns out Deanna had an older sister named Kestra; one day while the family was enjoying a picnic by the lake, Kestra’s dog ran off. She went after it, the Trois too occupied with the infant Deanna to notice. As a result, Kestra got into trouble in the lake and drowned. Lwaxana blamed herself for allowing the tragedy to occur, but Deanna reassures her it was an accident and not her fault. After finally saying goodbye to a mental construct of Kestra, Lwaxana wakes up. Later, Deanna reveals Mr Homm had retained a photo of Kestra in case Lwaxana ever wanted to stop repressing what happened, and asks her mother to tell her more about her sister.

Review:

While some people might feel this episode’s darker feel coming right on the heels of ‘Phantasms’ is somehow not right, I think it’s good because you end up with a good example of how to use darker imagery and create a good psychological episode after we got a bad one. Moreover, it’s got a lot more to make it stand out than ‘Phantasms’, beginning with a guest appearance by a very young Kirsten Dunst; this episode was done a year before Dunst shot to wider fame in ‘Interview with a Vampire’, and almost a decade before she began appearing as Mary-Jane Watson in Sony’s first attempt at producing a Spider-Man film franchise.

 Second, this is the last time Lwaxana Troi appears in The Next Generation, with all her subsequent appearances being on Deep Space Nine, and it’s also about the only Lwaxana Troi episode I would deem as good. That’s because her normally over-the-top, nails-on-chalkboard personality is subdued very early on and we finally get a more serious, well-rounded take on the character.  The other advantage of this is we also now get to explore a bit more of the Troi family tree, as we end up meeting Deanna’s dad (albeit only as a construct in Lwaxana’s mind), and we also find out Deanna has a deceased older sister she never knew about.

 The idea of Kestra and her tragic loss is, for me, what makes this a great episode to watch, because normally Trek in general, and TNG in particular, don’t really delve into the idea of psychological trauma. I suspect a large part of this is down to the rules Roddenberry tried to lay down about how much more ‘mentally stable’ humanity is meant to be in the 24th century.  However, as I’ve noted on my earlier reviews for this show, a lot of his ideas in that vein were unrealistic and not credible. Seeing the show capitalise on Lwaxana’s alien nature to get a story like this was a good move, and I actually found myself feeling sympathy for her for the first, and perhaps only, time of watching her.  I think if TNG had toned down her flamboyance right from the character’s inception, it wouldn’t have taken something like this coming along to have that effect. For me, the episode gets 9 out of 10 (it’s still a Lwaxana episode, so by its very nature top marks are impossible).

Episode 8: Attached

Plot (as given by me):

The Enterprise arrives in orbit of the planet Kesprytt, whose population is divided into two peoples, the Kes and the Prytt. The former society is seeking entrance into the Federation while the Prytt are isolationists who are zealous to the point of xenophobia. This concerns Captain Picard, as at that time all other worlds admitted to the Federation have done so united, and the idea of only admitting part of a world trouble him. He and Dr Crusher beam down to meet with representatives of the Kes government, but a tractor beam generated by the Prytt diverts the transporter beam. As a result, the captain and the doctor appear in Prytt territory and are taken prisoner.

 Believing the Federation is forming a military alliance with the Kes, the Prytt implant devices in Picard and Crusher so they can determine the truth from their thoughts. However, a guard manages to sneak Dr Crusher’s confiscated tricorder to them with a food delivery; it has been programmed with an escape map and access code. The two officers begin to escape, while back on the Enterprise, Commander Riker and the rest of the crew begin working with the Kes to try and recover the captain. Their efforts to contact the Prytt fail, but Ambassador Mauric reveals that by using Prytt who are sympathetic to the Kes, they have engineered an escape.

 On the planet, Picard and Crusher soon discover the implants are now making them aware of each other’s thoughts. They cannot find any means of filtering them out, and any attempt to part company results in both of them feeling waves of nausea, forcing them to stick together. When the pair have to divert from the map they’ve been provided to avoid a Prytt patrol, Mauric learns of this and accuses the Federation of separately forming an alliance with the Prytt. That night, Picard and Crusher make camp, and Crusher learns that Picard was once in love with her. However, Picard felt guilty having such feelings for his best friend’s wife, and further guilt over Jack Crusher’s death drove the pair apart. However, Picard states that he now just sees her as a friend.

 Determined to rescue his missing comrades, Riker beams the Prytt Security Minister Lorin aboard the Enterprise against her will. He then explains to Lorin that the Kes will most likely not be granted Federation membership, as the paranoia of the Kes and the xenophobia of the Prytt suggest the planet is unlikely to be seen as a viable potential member. In addition, he notes that failure to return the missing officers will only attract more ships to the planet, something the isolationist Prytt would rather avoid. As Picard and Crusher reach the border between the territories of the two factions, they are located and their co-ordinates provided to the Enterprise.

 Back on board and with the implants subsequently removed, Picard and Crusher discuss their feelings for each other. Picard thinks they shouldn’t be afraid to explore how they feel for each other, but Crusher thinks the opposite, thereby turning down Picard implicitly. Picard accepts this, and is then left alone to process what has happened.

Review:

Ever since the show started, there’s always been some acknowledgement of not just a shared history between Picard and Beverly, but also some level of mutual attraction.  This episode is probably the first to address it in such a direct manner, though, and it makes for some interesting character exploration.  All of a sudden, two people who have feelings for each other but keep them private are forced to share those feelings via a tech-induced form of telepathy.  It’s a great concept and we get a good episode out of it.

 Unfortunately, the episode spends a bit too much time jumping back to the whole ‘Kes vs Prytt’ situation.  I know that’s somewhat necessary because it’s that plot which facilitates Picard and Beverly having this forced mental link, but at the same time it doesn’t really add anything to the episode.  Perhaps after ‘Phantasms’ and ‘Dark Page’, both of which were also quite psychological in nature and devoid of any real break from the main plot, the show was trying to mix things up.  However, ‘Dark Page’ was good for having a plot of substance to follow all the way through, where ‘Phantasms’ was largely or entirely devoid of substance. Adding a b-plot would have probably harmed the later episode, and would only have helped the earlier ‘Phantasms’ if it had explored a character or an issue.  Likewise, having everyone else do something doesn’t add anything to ‘Attached’; it’s just filler, some of which isn’t all that necessary.

 In addition, this episode had a lot of potential for some slightly longer-term continuity. For pretty much the entire show no main character ever seems to form any kind of long-term romance, and since the O’Briens left for Deep Space Nine there haven’t been any recurring guest characters of a married or otherwise romantically committed status. Picard and Beverly could have made for a good multi-episode romance, but instead the show fell back on its episodic nature.  It’s something of an annoying move, and a strange one considering some of what we’ll see coming as this season progresses.  However, all in all the episode isn’t bad; it just fails to realise the full potential of its own story.  End score, 7 out of 10.

Episode 9: Force of Nature

Review (as given by me):

While Lt. Commander Data begins trying to train his cat Spot on the suggestion of Lt. Commander La Forge, and La Forge engages in friendly rivalry with an old academy friend who is the chief engineer of another vessel in the fleet, the Enterprise travels to the Hekaras Corridor. The Hekaras sector is full of intense fields of tetryon particles, which can make warp-travel hazardous. The Hekaras Corridor is the only part of the sector through which warp-capable vessels can travel. The Enterprise’s mission is trying to locate a medical transport ship the Fleming, which has apparently disappeared somewhere in the corridor.

 After entering the corridor, the Enterprise locates a disabled Ferengi vessel. The DaiMon in command claims their vessel wis disabled by something they believed was a Federation signal buoy, but which emitted a verteron pulse that disabled their systems. The Ferengi claim to have seen another Federation ship elsewhere in the corridor, and Picard trades the assistance of his crew’s engineering staff for the co-ordinates. At the co-ordinates, the Enterprise finds a debris field and begins investigating it to determine if it is the remains of the Fleming. As they do so, they are disabled by a verteron pulse and then boarded by two Hekaran scientists, brother and sister Rabal and Serova, who claim that the Enterprise is killing them.

 The scientists explain that warp-travel in the Hekaras sector is damaging their planet of Hekaras II. Their research theorises that over time, sustained warp travel in the region will continually weaken the barrier between normal space and sub-space until sub-space rifts are created, and they claim their planet is already beginning to experience climate change from the gravitational shifts the breakdown is causing. Due to not having had their research taken seriously by the Federation, the siblings have resorted to mining the corridor in an effort to draw Starfleet in to investigate. They agree to assist in repairing the Enterprise in exchange for Picard and his crew looking at their latest research.

 La Forge and Sarova clash verbally with each other during the repairs; La Forge is angry at having extra repair work to do and is appalled at the lives the siblings might have risked if they’ve disabled the Fleming in the same way. Sarova, however, notes that the lives being put at risk on her world are also important, and the disabling of a ship’s engines is only an inconvenience. Rabal tries to act as peacemaker, explaining to La Forge he was originally a sceptic, but was eventually convinced his sister was right once he took the time to understand her theories.

 Data reviews the siblings’ research and notes that it cannot be proven as it would take a large amount of warp energy to do so. However, given that the theorised damage the siblings fear may be cumulative, he recommends they ask a dedicated science vessel comes out to investigate further. Picard agrees, and asks the pair to submit a proposal to the Federation science council. Rabal agrees, but Sarova refuses, seeing this as just another delay. In desperation, she returns to her ship and triggers a warp core breach just as the Enterprise locates the Fleming. The result is a sub-space rupture just as she had theorised, and the Enterprise is then faced with the challenge of rescuing the crew of the Fleming even though the rupture prevents the use of warp drive within it.

 La Forge laments that Sarova felt she had to go to such extremes before they would listen, but Data objectively highlights that she resorted to drastic measures no reputable scientist would employ. After extensive study of the rupture, Data proposes the Enterprise use a ‘warp burst’ to give them their initial momentum and then ‘coast’ through the rupture to beam out the Fleming’s crew. Picard agrees, but when the Fleming tries to engage its warp engines inside the rift, the increased distortion within the rift deprives the Enterprise of the momentum it needs to escape. La Forge then suggests matching the phase frequency of their shields with the distortion waves from the rupture, thereby ‘surfing’ out of the affected region, and on the second time of trying the ship manages to escape.

 Later, Rabal shows the Enterprise senior staff new projections of the sector based on new research in the wake of Sarova creating the rift.  In forty years, he projects the region will be mostly sub-space ruptures if warp travel isn’t prohibited, and the climate damage to his planet is already accelerating. Picard then receives a message from the Federation council;

"Until we can find a way to counteract the warp field effect, the Council feels our best course is to slow the damage as much as possible. Therefore, areas of space found susceptible to warp fields will be restricted to essential travel only, and effective immediately, all Federation vessels will be limited to a speed of – Warp 5? – except in cases of extreme emergency."

It is noted that while the Federation will share this with all other warp-capable powers, not all of them will necessarily follow the same restrictions. Picard also offers the Hekarans a weather control matrix to counteract the climate damage caused by the rift, then later notes privately to La Forge that he is worried to think his time spent exploring the space he loves might also be responsible for destroying it. La Forge claims it won’t come to that, and notes that they still have time to find a way of reversing the damage.

Review:

After three episodes with psychologically-heavy plots, we now come to something a bit more issue-centric as we get another Trek effort at addressing environmental issues.  Apparently from what Memory Alpha says, the writing staff found this a bit tricky in some ways because anything about o-zone depletion, climate change, etc. was a very tricky thing to put across for them.  However, I think this episode does a pretty good job of creating a metaphorical exploration of the concept.  It’s also very well balanced, as you’ve got the devout, almost fanatical environmentalist in Sarova, the out-and-out sceptic in La Forge and Rabal somewhere in the middle, while Data also has input as the voice of pure reason in the equation.

 It’s also interesting to note the scene in Ten-Forward between La Forge and Rabal where they discuss the ‘ease’ of giving up on something that is causing damage to the world around them.  Rabal’s comment that ‘it won’t be easy at all’ is a very poignant and apt one, because now as then giving up anything convenient for the sake of not messing up the world isn’t easy, nor is it meant to be. Look at how we’ve reacted during the pandemic we’re still in; a lot of things that are ultimately conveniences have been put on hold, and some may never return, or not in the way we knew them. Giving up on that is certainly not easy, but for our safety and survival, it is essentially necessary.

 That said, giving up things which are convenient to avoid damaging our world doesn’t always have to be difficult. Environmentally safe technologies like hybrid and electric cars have recently begun to be more widely used, for example, so before long we may still be able to drive long distances without having to worry about the world’s oil supply.  If this kind of shift towards eco-friendly technology was better supported and enjoyed a greater volume of research, we could probably shift to a lot of other eco-friendly practices with little or even no inconvenience at all. As La Forge notes at the episode’s end, we still have time to correct the damage; some of the environmental recovery seen during the first lockdowns of the pandemic shows nature can recover to an extent when we’re not in a position to keep messing it up.  What we need to do is capitalise on that time as best we can, especially the major corporations who contribute far more to the problem and far less to the solution than the general public in many if not every case.

 One final note; this episode marks the first occasion where Data’s cat Spot is referred to as ‘she’ rather than ‘he’; this would be later revisited in the episode ‘Genesis’ but never explained, as Spot had always been a ‘he’ until this point.  As such, this episode is slightly marred by this small but nonetheless noticeable continuity error.  End score is 9 out of 10.

[potterzachary]

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