#quartin

[geniousbh]

laurinha por favor vim aqui para abençoar sua conta rapidinho, beijão obrigada simón hempe obrigada

💘

https://twitter.com/simohempe/status/1780310197413581156?t=7h3TX7f-Qhh3H1m0z7pwPQ&s=19

isso eh desumano!!! ele é desumano de gostoso o jeito que a coluna dele tá arqueadinha??? e pfvr sintam-se à vontade para se imaginarem neste cenário! ele lombrado e você mais ainda, arrancando as roupas porque - apesar de estar vinte e poucos graus - vocês tão mortos de calor e de tesão, e nessas horas não tem muito papinho de ai fica de quatro, é aquele amorzinho bem sacana onde ele vai te foder num mamãe e papai enquanto sussurra que cê é tão boa e o pau dele tá chegando bem fundinho em ti te deixando estufada e sem ar a cada investida! passar bem! 😤😤😡

[spilladabalia]

The Bobby Lees - Ma Likes To Drink

[queerographies]

[Quartine][Jacob Israël de Haan]

Jacob Israël De Haan viene considerato un precursore di Amnesty International per l'attenzione da lui data, nel 1912 e 1913, alle condizioni dei prigionieri politici nelle carceri russe, nonché un precursore del movimento di emancipazione omosessuale.

Jacob Israël de Haan è il poeta del rimorso, ma più che del rimorso eterno è il poeta della risurrezione poiché il poeta giudaico non annienta ma risuscita il rimorso, si mette in pericolo di morte morale. È una rappresentazione mirabilmente terrificante, quella dell’anima e dei sensi, che si ribaltano in un feroce combattimento corpo a corpo rotolando insieme sull’orlo dell’abisso. Questo è…

[fabioemme78]

[il-gualty1]

Giura Che..      (da “cento quartine”)

Giura che mi terrai nuda e legata per una notte intera, a luci spente; che se mento sarò martorizzata a mezzogiorno, irrevocabilmente...

Valduga Patrizia

[cina-full-moon-xanadium]

I've now completed it... the quartinity.......

[le-cose-che-amo]

Baciami ,dammi cento baci, e mille: cento per ogni bacio che si estingue ,e mille da succhiare le tonsille, da avere in bocca un anima e due lingue

DA (Cento Quartine)

#Le cose che amo #

📎📍

[and-claudia]

Against All Odds (Joel Miller x reader) Prologue pt.3

Warnings: CT Violence

Word Count: 1359

General Warnings for later on: The main story will have an age gap between Joel and the reader (Reader will be 25 once we get to the main storyline), this will also be your warning that it will eventually be an x pregnant reader (if that's not your jam, I'm sorry) there is also going to be more graphic/trigger parts later on so please always to be sure to read the warnings BEFORE reading. This story will also be 18+ and TO BE ON THE TAGLIST YOU CAN NOT BE AN AGELESS BLOG (i do actually check that) also there first hand full of parts are all prologue so Joel won't actually be in it for a bit

This is the last part of the Prologue!!!!! So there will be a pretty big time jump in the next part.

Taglist Sign-Up

Yn was used to getting checked for infection. It was nothing new to her. She knew she wasn’t, but it always made her nervous watching her brothers and father get checked as well. She watched and held her breath as Scott got checked. Green. It turned green. 

“Breathe, kiddo. It’s okay.” He said, patting her back as they waited for Zeak and their dad to get checked as well. 

Once they were cleared they were led to some beat-up, old military vans to be transported. Yn tuned out the men barking orders around her. Scott helped her in and handed her her bag before climbing in behind her. 

“How long will this take?” She asked. 

“About 8 hours, give or take…” 

“That’s going to take forever.” She sighed. 

“You’ll be fine.” Scott reassured as their van pulled off. 

Yn and Zeak played a few rounds of ISpy, even getting Scott to play a few times before they got bored of that. She eventually got restless and decided it was time for a quick nap. So with her head resting on her brother she slowly slipped into a light sleep. 

When she woke up, the sun was setting. She looked all around trying to figure out where they were but most of the road signs along this highway had been overrun by the plants. Before she got the chance to ask though, she was cut off by the driver’s hand-held radio going off. 

“Hey, there’s a situation up here…” A voice on the other end said. 

“What’s going on? I got a van full of people I gotta drop off.” Their driver said, clearly annoyed. 

“Baltimore is gone…” 

Yn’s eyes went wide and she looked up at her brother. He knew this wasn’t good but wanted to find out more, so he held up a finger to his lips to tell her to stay quiet so he could listen. 

“What do you mean it’s gone? The QZ is in Baltimore… you can’t miss it. It didn’t just grow legs and walk away.” Their driver said. 

“Well, I see it. I also see hundreds of infected stumbling around it.” 

“Shit. Turn off your lights and drive out slowly. Don’t startle them, are they will swarm your van.” 

Yn’s chest felt tight as her heart began to race.

“Fuck. They’re coming! Turn around NOW!” 

The whole van fell silent as the screams of the people in the other van crackled through the speaker on the radio.

“We’re taking a detour.” Their driver said before making a sharp turn. 

He grabbed his radio, “Baltimore has fallen, I repeat, the Baltimore Quartine Zone has fallen. Change route to Boston. We should have enough fuel to get us to within 5 miles. Van 1 has been attacked.” 

Although she knew they were, Yn checked and made sure that both her brothers and Pa were all in the same van. 

“How long will it take to get to Boston?” Someone in the back of the van asked. 

“Another seven hours. So get comfy. We will drive through the night.” 

Since she had slept earlier, Yn wasn’t super tired. Instead, she passed the time thinking about what awaited her and her family in Baston. She figured she’d finish school while her brothers and Pa found work. What types of jobs did they have there? From what she knew every QZ did things a little differently. Who knows if she’d even go to school? As she’s gotten older she’s realized it was different now. 

Scott went to school when he was young with the plan of going to college. Now, colleges weren’t really a thing, so was there even a point? Maybe she could get a job… help provide for her family as well. 

She wasn’t sure how long she stayed up but eventually, she fell asleep. When she woke up this time it was to Scott nudging her awake. 

“Wake up kiddo. We gotta go.” He said. 

“Why?” 

“Just come on. Stay close.” He said, grabbing her bag from where it sat at her feet. 

He got out and then turned to help her. The man that had been driving turned to face them. Now he held a shotgun in his hand. 

“Stay close. We’re about two eight miles away from the outskirts of the QZ. Infected aren’t common here but they can be here. If you have anything you can use to defend yourself, I suggest you grab it now.” He said. 

Each of Yn’s brothers and their dad had their own gun. They were her dad’s from back in Texas that he grabbed when they fled the night of the outbreak. Yn didn’t have one, she was too young. She did however have the knife she used to cut down her brother after he had hung himself. Scott told her to keep that night and it’s never left her pocket since. She pulled it out and flipped the blade out, then she looked to Scott for his approval. 

He gave a small nod, “Be careful. Stay right beside me.” He instructed. 

They had made it about 6 miles. Two more to go. Nothing had happened and the closer they got, the least likely they were to run into something… right? 

Yn heard something and snapped her attention that way. In the trees, she swear she saw something. 

“What’s wrong?” Scott asked. 

“The trees.” She said, now standing still, watching for something to move. 

“Just keep walking.” Scott said. 

She turned back to the trail they were walking. She made it a few paces ahead before Scott was yelling at her to watch out. She turned her head just in time to see it as it took her to the ground. She held her hands out, keeping it from biting her. 

“Scott! Scott! Help! Help me! Please! Please help me!” She screamed, clearly struggling to keep it off of her. 

Scott reacted quickly, pulling out his pistol and shooting it in the head twice. As it went limp, Yn managed to push it off of her. She sat up and pushed herself back along to the ground until her back hit a stump. 

“Did she get bit?” The driver asked, coming over to them. 

“No, she didn’t. She’s okay.” Scott said, crouching down in front of her, “Are you okay?”

She shook her head as the tears fell from her eyes, making tracks in the dirt on her cheeks from where she had fallen. 

“Did it bite you? It’s okay, we’ll take care of it, make it all better if it did. We just need to know. Did it?” 

Again she shook her head. 

“Positive?” 

She nodded this time. 

“Good, come here.” Scott said opening his arms. 

Yn launched herself into his arms and cried into his shoulder. 

“Thank you.” She mumbled through her tears. 

Scott opted to just carry her the rest of the way, she was still clearly in shock. He handed his gun back to their father so he could hold her better. He carefully stepped over the infected person and continued on down the trail. 

When they made it into the QZ they were checked for infection once again. This time it was Scott who held his breath while he watched his little sister get checked. Green. Good. It was green. She was okay. 

They were given a small apartment to live in and were told they would have to start working within the next couple of days. Someone would come to show them where to go tomorrow morning. That night, after supper, Yn was laying down in bed. Scott was nearby, watching her, making sure she was okay. When she was attacked, it scared him. He couldn’t lose her. He kept her sane in this crazy world they lived in. He knew their dad held a lot of resentment toward her ever since Chris’s death. He knew their dad blamed her. But he didn’t, he never could. 

Ever since that night, he made a promise to himself that he would do everything in his power to protect his sister, and he’d be damned if he was going to break that promise. 

tags:

@sexyvixen7@joelmillerslays@elliaze@strawbaby@little-lovely-darling@swimmjacket@watercolorskyy@mserynlarsen@sebby-staan@beelanie@fan-g0rl @paige96 @pedropascalfanclub @ameliadraws @mavs101 @azerty29 @rileyferg @belliedellie @rhaenyrasgf @imcreepininyourheartbabe @nani-kenobi @lunas-sstuff @holb32 @reidsgubbler @katmae1997 @dizzywinterdaydream @mrswidowjohansson @abzidabzy @givemeth @morgaussy @summerchicken

@strawbab

(Remove straw baby)

[lafabbricantedilacrime]

Allagata di me, perduta ancora,

disciolta assieme a te in sangue di cuore,

più dentro, più in profondo affondo ancora

e vengo ancora… al rallentatore…

“No, niente amore qui, soltanto sesso:

non svegliamo l’invidia degli dèi”.

Ora che tanto bene mi hai concesso,

dio dell’amore, miserere mei…

Vuoi che tutto finisca e niente duri?

che ognuno vada a fare i fatti suoi?

stacco il telefono, chiudo gli scuri:

e che la notte ricominci!

Vuoi?

Guardalo questo corpo: ti appartiene!!!

Patrizia Valduga da “Cento quartine”

[davekat-sucks]

heard that anon talking about blue sky and cheese pizza on the platform. yep. can confirm people are absolutely nuts on that site. They are probably taking advantage of the fact the moderation team can't keep up with the reports. Here's a snippet I stole from the verge. "The Bluesky Safety team posted Friday that it received 42,000 moderation reports in the preceding 24 hours (versus 360,000 in all of 2023)." not all those are reports of CP, I think a good chunk are people trying to remove trolls from the platform. or just people saying things that are normal. You get banned for saying "there are only two genders" on there. Which is a good thing, let's make a quartine zone on the internet for people who think that being trans is a thing. I also saw that people were being perma banned for saying the election was rigged, and they were talking about this election where kamala lost. Bluesky is going to need a ton of man power to keep illegal content off their platform and even more so if they have strange rules

Just call it as it is, child porn. Censorship words like that suck. It's not as stupid as saying unalive like this was some Saturday Morning Cartoon to not say KILL, but just as dumb to use to describe it. And yeah, Bluesky is going to have to do a lot to keep up. Which means money and advertising will be needed for them to stay afloat.

[sciatu]

Nell’inizio del 1200 la Sicilia è un regno ricco e parte di un impero che andava da Tunisi fino alla Danimarca Palermo era una capitale potente in cui Federico II aveva instaurato una corte forte nelle armi ed evoluta nella cultura, una cultura che non era formata solo dalla quella araba arrivata con i conquistatori nord africani sconfitti dal conte Ruggero ed ora erano sudditi di Federico, e neanche quella provenzale o francese discesa con i Normanni e con le popolazioni lombarde e piemontesi che li avevano seguiti. Era una cultura somma di queste due culture apparentemente opposte ed arricchite da quella bizantina ed ebrea. La stessa lingua, che di quella cultura era la forza, era una lingua unione ed evoluzione di tutti i popoli dell’isola a cui i guerrieri normanni avevano concesso di vivere e di pregare secondo la loro origine. L’amministrazione del regno infatti teneva conto di tutte le diversità che lo costituivano. Così ad esempio, vi erano notai Arabi, notai Ebrei e notai Latini che certificavano e regolavano la vita amministrativa dei privati e dello stato. Tra questi, vi era anche il notaio Jacopo da Lentini, il cui nome appare non solo nel registro notarile dell’epoca, ma anche in importanti atti amministrativi del regno. Essendo parte della forza amministrativa del regno, notar Jacopo era coinvolto anche nella gestione militare ricoprendo l’incarico di comandante della fortezza di Mazzarino. Per questo motivo i suoi contatti con la corte erano assidui e continui. Federico, contrariamente a molti nobili europei, aveva avuto una educazione multiculturale, con insegnanti arabi e latini. Per questo parlava diverse lingue, scriveva libri sull’uccellagione, poesie e ballate che a quel tempo avevano una grande importanza. Le poesie potevano essere imparate facilmente da qualsiasi suddito che non avesse istruzione ed erano uno strumento per veicolare sia le grandi gesta dei cavalieri, che l’amore o la protesta del popolo, la sua rabbia o le sue istanze politiche. Le ballate guidavano le danze dando ritmo ed eleganza ai movimenti di uomini e donne accompagnati dai pochi strumenti musicali di allora. I menestrelli ed i giullari componevano poemi e ballate d’amore secondo la cultura d’origine e l’esperienza dei singoli, spesso in modo ripetitivo e volgare o erudito ed ironico a seconda dei gusti di chi li ospitava. Molti di questi componimenti si concentravano sulla donna, che per i menestrelli e poeti arabi era una conquista, una preda da mostrare o un premio per le battaglie fatte per conquistarla. Per i menestrelli provenzali la donna era una madonna, una nobile dama degna del cavalier che la serviva. Per i poeti siciliani e per Jacopo da Lentini in particolare, la donna è la perfezione che l’uomo non ha; la donna è chi può dare nello stesso tempo la vita e la morte, è la compagna senza di cui il Paradiso stesso non può essere tale. Versi assoluti non per l’amore fine a se stesso, ma per la donna che si ama, versi per un sentimento dominante giustificati dal fatto che per Jacopo la donna è quanto manca all’uomo per aver pace, armonia e la pura bellezza. Jacopo anticipa la Beatrice di quel Dante che considerava i poeti siciliani dei maestri nell’arte del poetare e dell’amare (tutto ciò che gli italiani fanno in poesia, si può dire siciliano). Jacopo è anche il lato oscuro dell’amore, nell’impossibilità di essere amato per quanto si ama, nel dolore che nasce dalla difficoltà di poter rivelare e mostrare quanto di immenso si prova. Il sentimento è una tempesta che nessuno vede, è una forza invisibile impalpabile che attrae come quella di una calamita e a cui nessuno può sottrarsi, è un destino che non arriva mai a compimento. Per poter meglio dire quello che prova Jacopo crea una nuova forma di poesia, rivoluzionaria per quel tempo: il sonetto. Il sonetto forse non è altro che una ballata minore che si apre e che racconta con due quartine di versi e giudica e riassume con due terzine di versi finali. Le rime, vicine ed immediate battono un tempo che la metrica incalza facendo diventare il tutto efficiente ed elegante. Dante, Petrarca avrebbero usato il sonetto con tocchi e forme celestiali, Shakespeare avrebbe fatto raggiungere al sonetto vette ineguagliabili, Trilussa lo avrebbe trasformato in uno ironico schiaffo alla sua società di allora a dimostrare la straordinarietà di un mezzo che ha affascinato e aiutato migliaia di poeti a creare il loro cammino poetico. Noi conosciamo le opere di Jacopo grazie alla traduzione che ne fecero i poeti toscani nell’ italiano della loro epoca. I versi di Jacopo erano però scritti nel siciliano della corte di Federico, un siciliano evoluto che nella traduzione in italiano perde forza e freschezza. Ad esempio, nel tradure i poemi siciliani, i poeti toscani hanno dovuto inventare la famosa “rima siciliana” una rima che in italiano non lo è ma che lo sarebbe stata se fosse stata scritta in siciliano. Malgrado questa limitazione, le poesie di Jacopo ci raccontano l’eleganza di un tempo e la modernità di un sentimento dove l’amore non è un ideale ma una persona, dove i propri sentimenti sono l’eco della vita e, nello stesso tempo, una forza che ci innalza e ci abbatte, ci salva, ci distrugge, ci domina e che non riusciamo mai a saziare per come vorremmo o dovremmo. Questo era Jacopo da Lentini, notaio, burocrate, castellano e poeta, ai tempi del grande Federico Stupor Mundi.

In the early 1200s Sicily was a rich kingdom and part of an empire that ranged from Tunis to Denmark. Palermo was a powerful capital in which Frederick II had established a court strong in arms and evolved in culture, a culture that was not formed only by the Arab culture which arrived with the North African conquerors defeated by Count Roger and were now subjects of Frederick, nor the Provençal or French descent with the Normans and with the Lombard and Piedmontese populations who had followed them. It was a sum culture of these two apparently opposite cultures and enriched by the Byzantine and Jewish one. The language itself, which was the strength of that culture, was a language of union and evolution of all the peoples of the island to whom the Norman warriors had allowed to live and pray according to their origins. In fact, the administration of the kingdom took into account all the differences that made it up. Thus, for example, there were Arab notaries, Jewish notaries and Latin notaries who certified and regulated the administrative life of individuals and the state. Among these, there was also the notary Jacopo da Lentini, whose name appears not only in the notarial register of the time, but also in important administrative deeds of the kingdom. Being part of the administrative force of the kingdom, notar Jacopo was also involved in military management, holding the position of commander of the fortress of Mazarin. For this reason his contacts with the court were assiduous and continuous. Federico, contrary to many European nobles, had had a multicultural education, with Arab and Latin teachers. For this he spoke several languages, wrote books on fowling, poems and ballads that were of great importance at that time. Poems could be easily learned by any subject who had no education and were a tool to convey both the great deeds of the knights, and the love or protest of the people, their anger or their political demands. The ballads led the dances giving rhythm and elegance to the movements of men and women accompanied by the few musical instruments of the time. The minstrels and jesters composed love poems and ballads according to the culture of origin and the experience of the individuals, often in a repetitive and vulgar or erudite and ironic way according to the tastes of their hosts. Many of these poems focused on the woman, who for Arab minstrels and poets was a conquest, a prey to be displayed or a prize for the battles waged to conquer her. For Provençal minstrels, the woman was a madonna, a noble lady worthy of the cavalier who served her. For Sicilian poets and for Jacopo da Lentini in particular, woman is the perfection that man does not have; the woman is who can give life and death at the same time, she is the companion without whom Paradise itself cannot be such. Absolute verses not for love as an end in itself, but for the woman who loves herself, verses for a dominant feeling justified by the fact that for Jacopo the woman is what she is missing from the man to have peace, harmony and pure beauty. Jacopo anticipates the Beatrice of that Dante who considered Sicilian poets masters in the art of poetry and love (everything that Italians do in poetry can be said to be Sicilian). Jacopo is also the dark side of love, in the impossibility of being loved as much as he loves himself, in the pain that arises from the difficulty of being able to reveal and show how immense one feels. Feeling is a storm that no one sees, it's an impalpable invisible force that attracts like a magnet and that no one can escape, it's a destiny that never comes to fruition. In order to better express what he feels, Jacopo creates a new form of poetry, revolutionary for that time: the sonnet. The sonnet is perhaps nothing more than a minor ballad that opens and tells with two quatrains of lines and judges and summarizes with two tercets of final lines. The rhymes, close and immediate, beat a tempo that the metric presses, making everything efficient and elegant. Dante, Petrarca would have used the sonnet with celestial touches and forms, Shakespeare would have made the sonnet reach unparalleled heights, Trilussa would have transformed it into an ironic slap on his society at the time to demonstrate the extraordinary nature of a medium that has fascinated and helped thousands of poets to create their own poetic path. We know Jacopo's works thanks to the translation that the Tuscan poets made of them into the Italian of their time. However, Jacopo's verses were written in the Sicilian of Federico's court, an evolved Sicilian that loses strength and freshness in the Italian translation. For example, in translating Sicilian poems, the Tuscan poets had to invent the famous "Sicilian rhyme", a rhyme that is not a rhyme in Italian but would have been if it had been written in Sicilian. Despite this limitation, Jacopo's poems tell us about the elegance of the past and the modernity of a feeling where love is not an ideal but a person, where one's feelings are the echo of life and, at the same time, a force that lifts us up and knocks us down, saves us, destroys us, dominates us and that we can never satiate as we would like or should. This was Jacopo da Lentini, notary, bureaucrat, castellan and poet, at the time of the great Federico Stupor Mundi.

[spilladabalia]

The Bobby Lees - Bellevue

[brokehorrorfan]

Candy Land will be released on Blu-ray and DVD on February 6 via MVD and Roxwell Films. The 2022 horror-thriller is currently available on VOD and streaming on Tubi.

John Swab (Run with the Hunted, Body Brokers) writes and directs. Olivia Luccardi, Sam Quartin, Eden Brolin, Owen Campbell, Virginia Rand, Guinevere Turner, and William Baldwin star.

Special features are listed below, where you can also watch the (not safe for work) trailer.

Special features:

Audio commentary by writer-director John Swab

Digital zine

Remy (Olivia Luccardi), a seemingly naive and devout young woman, finds herself cast out from her religious cult. With no place to turn, she immerses herself into the underground world of truck stop sex workers courtesy of her hosts, Sadie (Sam Quartin), Riley (Eden Brolin), Liv (Virginia Rand) and Levi (Owen Campbell). Under the watchful eye of their matriarch, Nora (Guinevere Turner), and enigmatic local lawman, Sheriff Rex (William Baldwin), Remy navigates between her strained belief system and the lot lizard code to find her true calling in life.

Pre-order Candy Land.

[anglerflsh]

re: your poetry post, can you give some pointers as to where to learn the rhyming patterns in poetry and the like? i only ever see poetry from the ideas/feelings perspective, but ive never learned the logic and structure behind it lol

I've learned most of it from my literature and grammar classes, it's taught in our school since elementary, so I wouldn't know of any books or manuals that talk specifially about it - but I can give you a rundown of how I do it, anon, if it counts for anything lol

Prefacing that this will be starting from italian poetica because that's what I know best: any poem, but specifically the pre-futurism/1910s ones (A Lot) will have some kind of structure aside from just the ryming scheme; The structure I am most familiar with is accentual-sillabic, so for example any single verso will have its stressed syllable in a fixed potision and occasionally a set number of sillables (eg. an endecasillablic metre means a stress on the tenth syllable, usually penultimate, equally to 11 total syllables), but there are also only accentual, or only sillabic verses, common in French poetry (?), all of which count as types of qualitative metre - as well as quantitative metre, which was more widley used in Latin and Greek poetry and which rather based itself on patterns of syllable weight (something that I know little about tbh; I think it's based on the lenght of pronunciation of the actual syllable).

this, of course, goes without even mentioning free-verse structure and less well-known ones.

Going back to the rhyming scheme, that also comes into play with structure in the sense that ... there are just a lot of them to pick from. The classic is the repeated AABB one, where each verse will rhyme with the one underneath (''kissing rhyme'' in italian), or the alterning ABAB, the crossed ABBA, the 'chained' or third rhyme ABA BCB CDC used for terzine, and plenty more! That's not all the ways to classify rhymes of course: you have plain rhyme between words accented on the penultimate syllable, cut rhyme between words accented on the last, sdrucciola with accents on the third-to-last, bisdrucciola on the fourth-to-last... etc etc

Then, of course, come the classifications in stanza lenghts! Groups of three verses are a terzina, well known for being Dante's favourite number (joke inserted to lighten this infodump), groups of four a quatrina, etc -

and depending on the number of single groups and on the type of verses in them, you have further classification as canzone, ode, madrigale, carme, filastrocca, ballata, sonetto... the latter for example is made of fourteen endecasyllabic verses grouped in two quartine, one in the beginning and one in the end, in crossed or alternate rhyme, and two terzine with any kind of rhyme structre.

this of course doesn't touch on the inner things and games of poem structure like the falling rhyme, spaces in between groups, enjambement, alliteration, allegorical figures, anafore, onomatopee, and all that fun stuff! Essentially when you see a poem look for the number of syllables in each verse, where the stressed syllable falls, how the rhymes are put, how many verses are in each stanza and strofa...

[il-gualty1]

Giura Che..      (da “cento quartine”)

Giura che mi terrai nuda e legata

per una notte intera, a luci spente;

che se mento sarò martorizzata

a mezzogiorno, irrevocabilmente...

Valduga Patrizia

[cina-full-moon-xanadium]

I've watched Goranger. I've watched V3. I've watched JAKQ. I've watched a bunch of shit that guy showed up in purely to make me go insane so it's time to wrap up the Miyauchi quartinity. It's time to do what I should have done long ago... and watch Kaiketsu Zubat