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emwrites4u · 1 month ago

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⚠️WARNING⚠️ Trigging Topics Ahead 🛑 If this sort of topic triggers you I would not go any further 🛑

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The Harry Potter series, while primarily focused on magic and adventure, also delves into deeper, often darker themes, including the mental health struggles faced by several characters. J.K. Rowling uses various characters and situations to reflect the complexities of mental health—showing how trauma, grief, and mental illness can affect people in different ways. This exploration can resonate with real-life experiences and highlight the importance of understanding, compassion, and support. Below, we’ll break down some of the key mental health themes and their representation in the series.

1. Harry Potter: The Weight of Trauma and Grief

Harry is introduced to trauma and loss at a young age with the brutal murder of his parents, Lily and James Potter, by Lord Voldemort. This traumatic event not only sets the stage for Harry’s life but also creates a deep psychological wound that he carries throughout the series.

• Post-Traumatic Stress Disorder (PTSD): Harry often experiences flashbacks, nightmares, and intense emotional reactions to traumatic memories. In particular, his encounters with the Pensieve and his recurring nightmares about Voldemort highlight how trauma can resurface in different forms.

• Grief and Loneliness: Harry’s profound sense of loneliness and loss is a central theme. Growing up in the Dursleys’ neglectful care, he lacks any emotional support. His grief isn’t just from the loss of his parents, but also from the betrayals and deaths he faces as he gets older, including Sirius Black and Dumbledore. Harry’s journey involves coping with and processing these losses in order to grow emotionally and mentally.

2. Hermione Granger: Pressure to Be Perfect

Hermione, a brilliant and hardworking student, often places immense pressure on herself to excel and meet the expectations of those around her. She exhibits traits of perfectionism, which is an underlying psychological struggle throughout the books.

• Perfectionism and Anxiety: Hermione’s need for control and perfection often manifests in anxiety. She spends long hours studying, and when things don’t go according to plan, she can become extremely frustrated and upset. For example, in Harry Potter and the Prisoner of Azkaban, when she accidentally overloads her schedule with classes, her stress is palpable. She’s also shown to have severe anxiety over failing her friends, especially when they are in danger.

• Overwork as a Coping Mechanism: Hermione often uses busyness and academic success to shield herself from the complexities of her emotions. She works hard to prove her worth to others, though this is often a manifestation of her internal insecurities.

3. Ron Weasley: Insecurity and Self-Esteem

Ron’s mental health struggles stem from his feelings of inadequacy, especially when compared to his more accomplished friends, Harry and Hermione. His insecurities often lead to jealousy, self-doubt, and depression.

• Feelings of Inferiority: Ron is the youngest son in a large family, and while he is loved, he often feels overshadowed by his siblings and the extraordinary expectations set by his best friends’ abilities. His struggles with self-esteem are highlighted by his frequent comparison to Harry’s fame and Hermione’s intelligence. This manifests in his occasional jealousy and feelings of uselessness, especially in moments where he feels he isn’t “good enough.”

• Anxiety and Depression: In several instances, Ron’s mental health is impacted by his feelings of not measuring up. For example, in Harry Potter and the Goblet of Fire, Ron feels displaced and insecure when Harry is chosen as a Triwizard Champion. His depression and withdrawal from the group reveal how his inner turmoil affects his relationships.

4. Neville Longbottom: Fear, Shame, and Self-Discovery

Neville is initially portrayed as timid and unsure of himself, struggling with fear and insecurity. However, his development throughout the series offers a compelling narrative about overcoming self-doubt and finding courage.

• Low Self-Esteem: Early in the series, Neville has a very low opinion of himself. He is often mocked by his peers (including his own grandmother), which exacerbates his feelings of inadequacy. However, over time, Neville learns to embrace his own strengths, particularly his loyalty, bravery, and leadership qualities.

• Fear and Anxiety: Neville’s greatest fear is shown to be a manifestation of self-doubt and shame. His encounters with the Bogart—which takes the shape of his greatest fear—reflect his struggle with his own perceived weaknesses. Ultimately, Neville’s journey shows how confronting one’s fears is an important part of mental health and self-acceptance.

5. Luna Lovegood: The Struggles of Being Different

Luna Lovegood is often viewed as eccentric and out of touch with reality, but her character offers a nuanced portrayal of how mental health can intersect with the experience of being marginalized or different.

• Isolation and Stigma: Luna is frequently teased and ostracized for her odd beliefs and behavior. She is depicted as mentally resilient, even though the social stigma she faces at school likely impacts her self-worth. Despite the mockery, Luna remains true to herself, suggesting that self-acceptance is a key element of mental health.

• Coping with Loss: Luna’s mother’s death is another important part of her character’s backstory. Her mother’s passing, while not detailed in the same way as Harry’s grief, is still significant. Luna seems to cope with her loss in a more subdued, internalized way, suggesting that her way of handling grief differs from others but is equally valid.

6. Severus Snape: Depression and Unresolved Trauma

Snape is one of the most complex characters in the series, and his mental health is deeply affected by both his past and his unrequited love for Lily Potter.

• Depression and Loneliness: Snape’s actions throughout the series suggest deep-rooted depression, particularly in the aftermath of his traumatic childhood and the emotional scars from his relationship with Lily. His stoic demeanor, frequent outbursts of anger, and tendency to isolate himself are all signs of someone dealing with unresolved emotional pain.

• Unresolved Trauma and Self-Sabotage: Snape’s traumatic experiences, especially the death of Lily, and his role in her loss, haunt him throughout his life. His obsession with the past and his inability to forgive himself are indicative of a man who has never healed from childhood trauma. Snape’s choices, including his sometimes cruel behavior, can be seen as coping mechanisms for his deep-seated guilt and unresolved grief.

7. Sirius Black: The Aftermath of Imprisonment

Sirius Black’s character is marked by the trauma of being wrongfully imprisoned in Azkaban for twelve years. His mental health is severely affected by this experience.

• Post-Traumatic Stress and Agitation: The horrors of Azkaban are clearly depicted as having lasting effects on Sirius. His violent outbursts, impulsivity, and distrust of others show how imprisonment and isolation have deeply scarred him. Sirius’ sense of injustice and his anger towards his family reflect the emotional toll of his years in Azkaban.

• Isolation and the Desire for Belonging: After his release from Azkaban, Sirius struggles to reintegrate into the wizarding world. He is haunted by his own family’s rejection and betrayal, and even though he finds a surrogate family in Harry, his emotional scars remain.

8. Mental Health and Stigma in the Wizarding World

The Harry Potter series also touches on how society views and deals with mental health issues, especially through the portrayal of characters like Mad-Eye Moody, Bellatrix Lestrange, and Gilderoy Lockhart.

• Mad-Eye Moody: His hypervigilance and paranoia are indicative of PTSD, as he is a war veteran who has been deeply scarred by his experiences. Though he’s effective, his mental health clearly suffers, as he struggles with the aftermath of living through years of constant danger.

• Gilderoy Lockhart: Lockhart’s apparent narcissism and his eventual breakdown after his memory is erased reflect issues with self-identity and the consequences of fame. His character suggests a critique of how society handles public figures’ mental health issues—often ignoring them until they collapse.

Conclusion

The Harry Potter series offers a multifaceted exploration of mental health, from trauma and grief to depression and self-doubt. Many characters’ struggles mirror real-world issues, and Rowling’s portrayal of their mental health challenges invites readers to empathize with their pain, growth, and resilience. Ultimately, the series shows that mental health is complex, and healing often requires facing one’s demons, seeking help, and finding support in others.

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lunarsilkscreen · 7 months ago

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Hearthstone Pauper-ish Diamond grade Death Knight Plague-Discovery deck

This is an example of a strong deck that is incredibly cheap to build. Using mostly common core cards, and as few legendaries as possible.

To build you need two of each Class Cards;

Death Growl, Staff of the Primus, Dead Air, Distressed Kvaldir, Down with the ship, Frost Strike, Necrotic Motion, Silk Stitching, Farm Hand, Toy Snatching Geist

Two of each common cards;

Scarab Beetle, Celestial Projectionist, Watcher of the Sun, Explodineer

And one of each legendary;

Zola the Gorgon (common core), Helya (class)

You'll notice this build is Incredibly different from the basic plague-bringer deck. And Zola being a core card means you should already have it if you've gotten all your ketchup already.

This relies on copying your "Plague Cards" which includes the new core card "Explodineer". Death Growl and Dead Air allow you to spread your death rattles, and destroy your undead to trigger their death rattles and bring them back to full health (as well as trigging Reborn while bringing back the original and building up corpses.

Silk Stitching allows you to discover a spell to turn into a deathrattle which allows you to put a four cost spells on a creature, which you can then spread with death Growl.

Death Knight has a lot of discovery cards, and we used nearly all of them, except the red cards. Because plague-bringer requires you to use two green. And blue gives us frost strike which is removal AND discovery as opposed to the red version of kvaldir.

Though, a 2/green, 1/red variant of this deck is just as viable. I built that first.

The blue allows you to put in reska if you take out a Toy Geist. (discovery is fairly likely to give you a second toy Geist if you really want one. But two geists I find has too much discovery.)

Scarab Beetle also has a chance of getting you duplication cards, bartenders, and your two-cost class cards.

The discovery mechanics means you're not very reliant on drawing yourself. Which protects you from decking yourself and another plague deck.

If you'd like to explore some variants *without reska*, paparazzi is nice card, Tomb Traitor, and Yelling Yodeler work extremely well in this deck too.

But I rely on the "Dead Air" card which is why I didn't add them. Plus the Discovery is fairly likely to find at least one Yodeler. Alternatively Corpse Farm and Asphyxiation are good support cards as well.

The one drawback of course is RnG. But as long as you discover something close to what you need in your hands you'll do fairly well.

To play this; your watchers are your main recover and support cards, pulling extra holy spells which help your defenses.

When you play a discovery card, you're looking for something you can play, as opposed to the best card.

If there's a good card you can play in two turns, vs a card you can play next turn when you'd otherwise have open mana, it's best to get something you can play vs wait to play.

Unless it's reska.

Even discovering a Headless Horseman is often not very good, unless you're expecting to need the extra removal.

Though the main win-condition is Helya, and loading up your opponent's deck with endlessly regenerating plagues supported by Explodineer. (And duplicating plagues)

Side Note; That what Helya means when it says "Plagues are endless" instead of burning the plague card when it's drawn, it'll get shuffled back into the deck.

The deck is very fast paced, and you have an equal chance of just destroying your opponent by simply attacking them with seemingly endlessly discoverable creatures.

I will be back with more fun and cheap decks.

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danganronpasurvivoraskblog · 2 months ago

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Oh boy 3-6. Its almost impossible to find anyone who doesn't have a opinion on this extremely controversal chapter. Some people think its a brilliant bold move from Kodaka to make a big statement on fiction and fandom culture on how its okay to like fiction but you shouldn't let it consume you. Others see it as a insult to everyone who has got invested in the franchise, and even to the people working on the games, to the point that since Kodaka was seeking to leave Spike Chunsoft shortly afterwards to form his own company, many have developed the conspiracy theory that he torched the Danganronpa franchise and ran to prevent anyone else having a go at it. That's obviously untrue and also quite disrespectful to suggest that, but that didn't stop people thinking this.

And then finally you have the middle ground, who sees the ideas and what Kodaka was aiming for, but feels it missed the mark and layed out uncomfortable implications. I fall into this camp as I can see what Kodaka was doing but felt the execution wasn't great.

Before we dive into my takes as always a little trivia from me behind this chapter's creation and other receptions. Firstly, as mixed as the reception is in the West, its even more poorly recieved in Japan for two reasons. Firstly, the Japanese player base as a whole do not like meta endings, so they are less eager to accept them then the West is. Secondly, they see the ending as a insult not only to them, but also the seiyuus who poured their hearts and souls into the perfomances of this game as it makes all of their efforts meaningless. Believe me, the Japanese fanbase went berserk over 3-6 when V3 was first released.

It got to the point that Spike Chunsoft had to actually play damage control and state that the game was not meant to be a insult or condemning the player, with Kodaka going on record saying it was not his intention with the ending. Again, I'm not sure if this was sincere or if it was just damage control because of the fears that V3 could wind up being a Franchise Killer with its ending.

Speaking of the ending, it actually was changed before release. The game was meant to end with the final execution and make it imply that everyone was dead, symbolising the fact that the cycle of Danganronpa was over. But Spike Chunsoft refused to publish the game until Kodaka added the epilogue in because they feared had it come out it would have recieved overwhelming backlash. Well it already did, but just so you know, it could have been much worse.

As for the fact Tsumugi cosplayed as all the previous characters, appernately the intention was for just her to do Junko and nobody else, but Megumi Toyoguchi spread the word about this and it lead to all the previous seiyuus who worked on Danganronpa to turn up to record lines. As cool as that was, I also felt it ate into the budget of the game as I felt they wanted to include a lot more cool bonus modes but had to cut a lot of it out because of the salaries of the senyus needed to be paid. For example I felt had this not happened we would have had Danganronpa 3 and Ultra Despair Girls characters in Ultimate Talent Development Plan.

This is also while I felt when NISA got their hands on V3, they just reused previous VAs who worked on Danganronpa rather then recruit new people, to keep budget costs down.

So now we got the background trivia out of the way what is my thoughts of the actual Chapter itself?

Firstly yes the class trial in this Chapter is the longest canon one. Used to be the longest period but then Kanade's and Syobai's shittalking match happened to dethrone it. And much like their one a lot of it was wasted on pointless details that weren't required.

The first half where Tsumugi was being exposed as the Mastermind I felt was decently done, as while I don't like the fact Kaede was reconned to be a victim rather then someone with drive, its not the first time a case was revisited due to the Mastermind being unwilling to play fair first time around, Trigger Happy Havoc did this as well. The mysteries were put together well as Shuichi and co connect the dots as well as some red herrings. Before the fandom gave Kaede's twin sister actual names I just referred to her as "Kaedetwo".

Plus when you revisit Chapter 1 after this, which btw is something Kodaka recommends you do, you do see a lot more traces of the twist that Kaede was set up there. But I will save that for when 3-1 gets covered which I have a good feeling is gonna be much later down the line.

There's no sugercoating it, Tsumugi is the single worst Mastermind in canon. I can't say overall because I feel the Rebirth Masterminds are objectively worse but since A) that's a Fangan and b) the story was never finished, it means we were spared that misery. Not so much here. The fact she was such a non-person throughout the game is what really makes me made. Wonder why I like Akane Taira so much? Because she was a mastermind reveal and she was an active part of the cast the whole time so when its exposed she was the reason everything was set up, it actually had impact to it. Tsumugi doesn't DO ANYTHING within V3 prior to Chapter 6. She just hangs in the background and makes stupid Shout-Outs that even the cast gets sick of after a while, no wonder she's often nicknamed "Wallpaper-Chan" because she is literally as plain as wallpaper.

And even when she's exposed, she feels even LESS of a mastermind because she's just an employee at Team Danganronpa, so you can't say she even came up with the idea in the first place, she was just a lackey. Her reveal also comes with a massive plothole because Tsumugi claims the reason she cannot impersonate any of the V3 cast because she suffers from "cospox" which makes her break out in rashes whenever she dresses up as the others, as she demostrates with Kaede in Chapter 1. But with the reveal everyone was fake, then in theory Tsumugi should have been able to impersonate others as they are just as fake as the Hope's Peak Saga is in the V3 world. So what the fuck? I've seen theories that maybe she's allergic to a particular material and its in the fabric of the clothes of the other V3 cast, or something she put on herself to come up in rashes when Kaede wasn't looking but its such a stupid concept.

And thank you for saying that K1-B0 is a bad character as I didn't like how plain and uninteresting he was. Like the idea of a an actual AI character that we know is an AI character from the beginning is a neat idea, especially with how technology advanced the Danganronpa world is and how K1-B0 could homage the likes of Astro Boy and Mega Man, but like Tsumugi, he's very much a non person in the story. I also didn't like the fact that when K1-B0's antenne broke off, he suddenly became very cold and meticious as he wanted the school destroyed. I imagine being free of the "inner voice" would make K1-B0 more logical as being an AI he would logically conclude that the school needed to be destroyed, and he still has some element of care for Shuichi and co, but its just such a drastic personality shift. And then of course K1-B0 more or less DIES in the trial as Tsumugi erases his personality and has the audience speaking through him, and let's talk about them for a second.

The in-game audience is part of the problem for why this chapter stinks so much as again, Kodaka's main message to the player is that fiction is a powerful tool. Regardless if its real or fake, it can invoke emotions in those who consume it and it can motivate them to do real tangable actions in the real world. A good story would make people reflect on the morals within it and might inspire them to do good. A good example of this is Cells at Work Code Black, this is a manga/anime series which explores the human body and how it functions by making all the cells and various other microorgasims as characters. Code Black is a spin-off which explores what happens when you don't look after your body showing what acchoal, smoking, lack of execirse and various other chronic health issues caused by poor lifestyle choices can wear the body down. Now its said that a lot of people who have watched this show have taken measures to improve their own lifestyle and cut back on bad health habits. That is a good example of fiction having a meaningful impact as now these people have much healthier bodies and they will live longer.

He also states though that we shouldn't allow fiction to overtake and consume us, as fandoms tend to do. This is even more of a severe issue in Japan then it is in West as people out there get really invested within their favourite fictional franchises, so a basic message to go out and touch grass is a good one. I don't dispute the intention of the message is bad, because I do agree with it; fiction is a good method to connect with people, improve your lives and make it more meaningful. However at the same time, you need to ensure you don't fall prey to having it dictate your life. Thing is though the main crux of the issue is Kodaka completely failed to make a clear line between the in-game audience and the player.

The lines between the audience and the player are extremely blurry so its all too easy for people to come to the conclusion that the game is an attack on them. There should have been more of a emphasis that the player is not the audience and the audience is not the player. Now one would argue how would you do this without smashing the 4th wall open? Maybe have CGIs of the audience saying that they don't care if these characters are dying because they exist to die for their sakes. A scene where someone is sad a random deceased V3 character is dead because that person is no more, but then their peers bully and mock them for being stupid as that character isn't real. Long story short have it so the audience is so degenerate and deprived that no sane player would believe they are talking about them. Obviously this didn't happen and that's why people assume the audience and the player is one and the same but make the point clear.

Another issue I have is the fact when all the characters abstained from voting, K1-B0 did as well, implying the audience has agreed with Shuichi Danganronpa needs to end. This is the most unrealistic thing ever because there's always some people who believe a show must carry on no matter what and since K1-B0 is controlled by voting, with bots and trolls being things, you are saying THOSE weren't a factor? I'm sorry but I call bullshit on that.

And yes Shuichi was peak during this as when he realised the cycle needed to end he goes into the most epic TAA ever, since I believe this is first and only 3D TAA we ever had, alongside multiple break statements which normally are used at the very end to defeat a opponent. And that's again maybe a way that could have rammed in that the player is NOT the audience because while I don't really know how aware the player characters are they are player characters, maybe imply Shuichi gets a feeling that someone is there with him, and its not just Kaede and Kaito's memories. He also personifies what Kodaka means as yes Kaede and Kaito were fake, but their legacies left a tangiable impact on Shuichi so even when the interview videos were shown, he chose to honour the memories of what they meant to him and use that drive himself forward.

The interview videos also were a missed mark because why were we only shown Kaede's and Kaito's? Shuichi wasn't the only person there and while Kaito's would impact Maki as well, why not Angie or Tenko's to break Himiko down? Or Miu for K1-B0? Because it just felt like Tsumugi was going for Shuichi the whole time and by extension the player.

I do like the fact we take control of all the non Mastermind characters throughout this as this is something I felt fanganronpas should do, have multiple pov characters to play throughout the game as. Normally you get a pov switch when either the Main character is gonna die or they cannot reach a certain point, but maybe have it so its not just about the main character but others as well. The main issue I see from this is how FTEs could be handled but I'm sure that's something people who want to do this could figure out.

Overall I say 3-6 had some good ideas going into it and I can see where Kodaka's vision was, but it had terrible execution and a lot of plot holes. I understand the whole "Truth vs Lies" thing means you need to look at this game very critically because not everything is what it seems. For example, there's a lot to imply a lot of CGIs we see in this Chapter are fake, and the interviews were done by Tsumugi cosplaying as the other characters, as others have pointed out the flooring is very similar to Tsumugi's talent lab and the names were edited out so assuming Cospox was a fraud, she could have just made the videos herself to just break the cast down.

In the end it was a very disappointing ending and one I felt very unsatisfied about. I might be more neutral on it then others but's that mainly because I understand what the message is and the pieces were there. It just wasn't put together well enough and the lack of clear divide between the in-game Team Danganronpa auidence and the player is the biggest issue with the twist.

You don't get to be number two on Joshscorcher's Worst Endings for no reason. Especially as he has never played Danganronpa but people on his editing team have so the fact they said V3's ending stunk so much it had to go on there says a lot.

//Yeah, what people fail to understand about Kodaka is that people think that he's really desperate to make a new Danganronpa game, but is trying to be subtle about it.

//Kodaka has said before that he DOES want there to be new Danganronpa games, and he's still a big fan of the series. It's why Rain Code and Hundred Line are so similar, beyond just being made by the same people. They are effectively Danganronpa in different types of genre, with one being a paranormal mystery, and the other being a tactics game.

//Kodaka left Danganronpa behind because he was hoping that somebody else could use their own writing knowledge to make an entirely original Killing Game that stood out from the rest. Unfortunately, Chunsoft decided to make shitty gacha spinoffs instead.

//And yes, in case I didn't make it clear, I also fell into the ballpark of the intermediate ground, where I acknowledge the concepts and Kodaka's goals but believes it fell short and presented unsettling ramifications.

//I don't dislike V3-6 for the message exclusively; I dislike it because it's a bad, poorly structured case, and Tsumugi is one of the most incompetant and inunteresting villains in the series. Not just among Masterminds, but among killers as well.

//As sad as that fact about V3's popularity in the East is, I do find it wholesome that the biggest concern is for the sake of the seiyuu's. I mean, if you really think about it, they shouldn't care. They still got money for the job, and unlike V3's dub where everyone is voiced by a previous VA so that they could save on budget hiring new one's, I don't think they can complain about putting in the work.

//This is also coming from someone who wants to be a voice actor and has seen a wide range of popular VA's get abused online for stuff that they can't control and/or isn't their fault.

//But yeah, I do agree that Kodaka isn't the type of creator who actively wants to piss off his own audience. With his latter games, the man does some very crazy things. Putting the V3 twist aside, in the same game, he killed off the protagonist in the first chapter, and later in Rain Code, he killed off basically half the cast that were advertised for the game almost immediately.

//But he does it with the intention of catching people off guard and getting them hooked on the stakes of the game. I constantly find myself defending Kodaka a lot on this blog, because he is a good man, AND a good writer. It's just that sometimes he can be a little bit near-sighted and doesn't really think about the consequences of what he does. He's just that determined to make his ideas a reality.

//Anyway, I didn't really talk about the fact that Kaede was retconned to be a victim of circumstance rather than an actual killer, but at the same time, it hardly changes my opinion of her, or of the early game anyway.

//If anything, I actually think the twist helps me. Not necessarily because it means that my favorite character isn't a killer, but it makes me take Tsumugi more seriously as a villain, despite the bullshit behind her actions; it sets her apart from Junko quite significantly; and the fact remains that Kaede still TRIED to kill somebody. That emotional arc in the first chapter remains regardless of whether her plan succeeded or not.

//But hey, we'll get to that when we get to talking about V3-1.

//Side note: My original name for Kaede's hypothetical twin sister was Konata before I regularly started calling her Kaori when Mod Freeze first introduced me to Three-Point Shot. I called her Kaori in Phantom Thieves of Hope, and shit myself when RandomRex6 (the author of 3PS) commented on the chapter.

//Also, you and I are going to have to disagree on Narumi and Akira being worse Masterminds than Tsumugi; or at least Narumi. From what I read of RebirthVoices version of Narumi, and what drove her to be the Mastermind is FASCINATING to me. But that's another discussion for another time. I do agree that Akane is an absolutely brilliant Mastermind, but I'll have to gush about that when I start talking about more of the Another 1 cases, because she ironically appears in most of the discussions I have about them.

//As for the cospox stuff, I think for me that's actually one of the more redeemable parts of the case. For one, maybe I'm remembering wrong, but I think Kaede actually had her back turned to Tsumugi before her skin broke out into a rash. But what I need to point out is that Tsumugi proves in this trial that she is very capable of completely changing her appearance and voice into other characters, basically like Mystique from the X-Men.

//If she wanted to, I guarantee you she could fake a skin rash in seconds flat. It's literally in her fucking TALENT DESCRIPTION that she can make herself look like anyone or anything she wants.

//The shit about the cospox could just be a lie, and chances are, it is. Because if you think about it, Tsumugi was able to fake an ENTIRE APOCALYPSE. AND the only person who actually saw this skin rash was KAEDE, who is one of the first people to die. No one in Chapter 6 can actually corroborate whether or not the cospox was true or not, making it, as most of Tsumugi's statements are in this trial, unprovable at best.

//Also, yeah, I agree with basically everything you said about the paper-thin line between the audience and the player. And yeah, it's highly unrealistic that not a single person would try and vote for Tsumugi, considering the audience went so far as to actually hack Keebo to stop the killing game from ending.

//I think what I mainly choose to say as a reason why they're seperate is because it's covered in the trial that Keebo served as the eyes and ears of the audience, but you play Danganronpa V3 from the perspective of Kaede, and then Shuichi. In fact, it really reinforces the cycle in that Kaede is the first killer because while she's from YOUR perspective, she's not from the audiences.

//You do play as Keebo for a portion of the final trial, but the portion that you do play him as is specifically the part where you are complying with the audiences desire, but then you switch back to Shuichi afterwards to seperate yourself from it.

//Going back to what I was saying about Three-Point shot though, and the way that fic ended, there's a post-game chapter at the very end that shows Kaede and the others who survived grown up and having moved on with their lives post-killing game. In that chapter, there are conversations among the GP of their world that Danganronpa didn't END with V3, but it massively fell off, and they could barely scrap together half the cast that V3 had by the time the epilogue happens.

//I think my general idea of how this went down with Keebo and the audience is that SOME people still stuck to their guns, but there wasn't enough of them that Keebo's actions weren't overridden. Even if that isn't the case, Danganronpa has ALWAYS had some level of anime-style bullshit in their final trials, so it's nothing I'm not used to or can't handle.

//The stuff about the motive videos as well, and how only Shuichi's were shown. Yeah, the reason why it was Kaito and Kaede's specifically was because of Shuichi, and you have spent most of the game as him, knowing Kaede and Kaito's impact on him, so yeah, it is designed to strike to you as the player. It doesn't make sense in the context of the game, but at the same time, Keebo didn't really have a fundamental attachment to any of the characters.

//Yeah, his relationship with Miu was pretty cute, but they actually don't get THAT much one-on-one screentime with each other. It's implied most of their interactions are off-screen, but even so, beyond her, almost nobody in V3 actually LIKES Keebo. He's generally friendly with them all, even Kokichi to an extent, but his status as a robot really ostracises himself from the group at large, and nobody really cares enough about him to jump to his defence.

//But yeah, in general, even putting the classic and well-known reasons for people disliking this chapter, I just generally think this ending sucks, regardless of how much potential it may have had.

-Mod

#mod

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thelingering · 2 months ago

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so I'm giving a short presentation for my physics class

and the topic I chose was projectile motion at an angle

going into it, I was like, "pshhh I'm worried I'm not gonna make it long enough to meet the 5-8 minute expectations D:"

and then I began working out my presentation on my whiteboard to a video recording

I ended up with over 30 minutes of footage over 2 videos

so now I have the delightful task of condensing and memorising how I want to present:

A) A very Big formula

B) Two components of that very Big formula

C) Basic trig functions and how they relate to the example problem

D) The whole process itself, as I want to tie it all together as I pose questions and then answer them

it's now when I thank the Lord for my energetic approach to things like this (I also didn't procrastinate it until the last day possible, so I see that as a complete win!)

BUt! I still need to condense something that could take well over 15 minutes to explain well into abouttttttt 5 minutes

#the talkies tag #it's not even a “we ball” situation #it's just a *cracks knuckles* situation #I'm no less apprehensive about this than I would be explaining the ABC's #it's just gonna take some work #just because I can I'm gonna have a tag for this lol :3 #me chartam valde difficilem #(ROUGHH Latin- I am a le beginner ^-^)

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showrunnerihardlyknowher · 1 year ago

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I heard you say you were good at math, do you happen to have any good tips at studying math? Genuine question here, I just failed my final exam for a math course. I am bummed and looking for advice. Sorry if this was a weird question to ask of you on this blog. And for also asking on anon, im a bit to embarrassed to ask this on my account.

I'm not sure if I have any good types and tricks...math was just my Neurodivergent Perk that I've had since I was a kid...also full disclaimer that I completed my high school math credits in middle school and my college math credits in high school so while that is a pretty epic gamer moment, it also means I have not touched a proper math course in like 6 years

Fun time math lesson with Danny below (:

One pattern that I used to do (at least when it came to formulas) was kinda organize my work into categories, if that makes sense.

So let's say you have a physics (shush it's still math) problem that's looking for the potential energy of an item weighing 7kg that's 5m above the earth --

What's the formula? - PE = mass * gravitational * height

What's the values we already know? - m = 7m, g = 9.8 m/s^2 (this is an always constant value for earth's gravity), h = 5m

Plug it in - PE = 7 * 9.8 * 5

Final answer - PE = 343 J (Jules)

Sometimes you're going to have to use other formulas first before you can get to the meat of your main problem. So let's use the same example, but now the height is 7 feet. You'll need to convert that first into meters before you can plug it into your formula and it can help keep track of your work --

What's the formula? - meters = ft/0.3048

What's the values we already know? - ft = 7

Plug it in - m = 7/0.3048

Final answer - m = 2.1336 (usually round off to nearest 100th, so we'll use 2.13). meters = height // h = 2.13m

What's the formula? - PE = mass * gravitational * height

What's the values we already know? - m = 7m, g = 9.8 m/s^2, h = 2.13m

Plug it in - PE = 7 * 9.8 * 2.13

Final answer - PE = 146.18 J

Now let's say we know the PE is 68.31 J and it's resting at a height of 8m, but we don't know its mass? Simple! Do the same exact sequence of organizing and you'll be able to tell how to work backwards.

What's the formula? - PE = mass * gravitational * height

What's the values we already know? - g = 9.8 m/s^2, h = 8m, PE = 68.31 J

Plug it in - 68.31 = m * 9.8 * 8 // 68.31 = m * 78.4 // 68.31/78.4 = m * 78.4/78.4 (this will cancel out completely, so it will NOT be m * 0) // 0.87 = m

Final answer - m = 0.87

My overall suggestion is to focus on memorize your equations first and foremost, and from there use the 4 steps to organize your work. The variables will always be given to you, so as long as you can remember which formulas (and constant variables!!) are necessary for that information, you should be golden! Then, you can plug and play as needed, but keep in mind you may need additional equations to get all of your variables first. If you're able to, there tons of free specialty calculators you can use specifically for certain formulas! I used omnicalculator's Potential Energy Calculator to check my work here in fact, give or take a few decimals.

Granted, this information mostly applies to math likes physics, algebraic, and trig. I am dogshit at geometry because I can't visualize and angles vex (heh) me so...man good luck to you if that's the field you're struggling in.

#ask #anon #i love math!!! and i love teaching!!!!#i really do hope this helps at all...#i am a stem girlie at heart i kicked ass in all my math and physics and chem and compsci classes #and also english obvi #but you throw my ass in a history or geography class??? brother it is OVER i do NOT know a single fucking thing #still don't #what was the war of 1812? couldnt tell you #what ocean is closest to india? no clue #what are the 5 chemical reactions? Combine - Decomp - Displace - Double Displace - Combust (:

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xtekker · 1 year ago

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Godot Game Development

Well, guys and girls, ladies and gentlemen of all ages, We did it.

We fixed the Animation problem completely.

This is what the characters look like now, minus the AnimatedSprite2D. The animation player holds all the animations and controls their duration and some other stuff and the AnimationTree holds everything else. Including this bad boy:

Which, on first glance looks like a cluster fuck and it does take some deconstructing to understand, here's whats happening here:

Idle is our default begining animation, it plays on load of the player model, from Idle you can do one of the following: Idle > Walking, Running, Jumping and back again so: Walking, Jumping, Running > Idle and this just means the animations will return to the idle state when animation has ended or player has stopped trigging it. From any of the movement animations, you can move to the attack animation, which can also return to one of the animations based on player action, for example, If I went from attacking to walking, the tree would return to walking after the animation for attacking has ended.

and after setting up the conditions for the animations, this is how we tell the state machine what state the player is in

Initally, I did run into a bug with the if velocity statement triggering conditions when attacking/hurt/dying and thats because at that point they have no velocity so that idle statement is true, I solved this by creating an is_animated variable, which (edit at 2am now I've thought a about it some more: Turns out to be a waste of time, it worked as intended that isnt the issue but i could of used input is action released and got the same result.)

I honestly had a blast doing this, it was challenging, there were issues that needed a solution and I still accomplished what I set out to do.

#programming #codeblr #coding #developer #tech #gamedev #programmer #game dev

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flower-pot-game · 1 year ago

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Dev Log 3

The fancy custom physics is all ported over to Godot and twice, maybe thrice, saved from unexpected bugs. Procedural animation for those sweet, sweet plants roots was next on the chopping block. I was prepared for the worst after how long it took to get physics in place, but after a lot of over-engineering, I ended up with behavior that works quite well.

Here's an example of a "tentacle" with 4 points. The movement propagates from the tip down to the base with some lovely vector math. I'm finding that often these problems have a trig approach and a vector approach and that I tend to go for the vector one. I think in terms of distances and directions much better than in terms of angles.

We can add as many points as we like to get wormier, more organic-looking behavior. I'm thinking, though, that the real simulation will stick to fewer points and the graphical part will look like... maybe a Bezier curve, just as long as the visual and simulated stuff physically lines up enough that players can't tell they're separate. Anyway, the flower pot's two root legs are going to be implementations of these tentacles things. Next up, I'm going to stick them on and make them play nice with the physics system.

#flower pot game #devlog #game dev #godot engine

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thebitchkingofangmar · 10 months ago

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15 questions for friends

@hobbitwrangler tagged me (ty!!), and so I'm letting myself be known. questions + replies under the read more

tagging @mirkwood @gondolindon @realmofautumn and @adanethorn 🫀

Are you named after someone? Not on purpose. I picked my names because they resonated with me, and then I realised they were both thinly veiled Percy Shelley references.

"Jules" as a name has a life of its own, though. Which amazing, showstopping, may it be an omen of my own.

When was the last time you cried? Yesterday, out of sheer anger at people's audacity.

Do you have kids? If my cats count, then sure.

What sports do you play/have played? Used to play volleyball and do equestrians. Did bouldering for a while because, are they y'know, and am of the intention of picking it up again.

Do you use sarcasm? Yes but 60% of the time I end up explaining it's sarcasm before anyone asks me, so I don't know if it counts.

What the first thing you notice about people? What jumps up to me from individual to individual changes. I am not good at registering first impressions v consciously. So I couldn't say if I tried

What's your eye colour? Brown-black. Darkest brown eyes you'll ever find. Came with my "I'm right, tho" permit.

Scary movies or happy endings? SENSE-MAKING ENDINGS. My favourite endings are the hopeful ones, regardless of genre, but if movies flub the ending I will be so mad, I will be so angry.

Example: As Above So Below butchered its themes with that fucking ending it had, and I do not care how hopeful it is, I hate it. It makes no sense from a storytelling perspective, and I will be forever bitter because its a horror movie about alchemy that borrows heavily from hauntings and Dante's inferno, they took all of my favourite themes and KILLED THEM WITH THAT ENDING

Any talents? Talking a lot, saying hauntingly poetic things, personal pep talking team on the go.

Where were you born? Not doxxing myself on tumblr, so iykyk, but I'm a child from from the global south

What are your hobbies? Writing, reading, dancing, learning things, collecting books, gaming, dissecting language structures and then not learning the languages, worldbuilding. oh man, I love worldbuilding. The disease is terminal and the ND levels catastrophic

Do you have any pet? Two babycats, both boys. A tabby called Findec��no and an orange creamsicle called Finrod Felagund

How tall are you? 158 cm/159 cm roughly. Have been told I give vibes of being taller

Favourite subject in school? Highschool ages? History and english. I also liked trig despite being shit with numbers. Uni? the International Law ones.

Dream job? Eccentric travelling girlboy boygirl they/them you never forget. Alucard cosplayer. And world-building consultant and book editor. Oh, and. My actual job I am lucky enough to work in my dream job, even if its time to upgrade the dreams and find what can I see on the horizon

#me @ any given time: may i interest you in public policy as an aspect of narrative worldbuilding mAY I INTEREST--#jules.txt #meet the bitchking

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chiarrara · 10 months ago

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More ab the art school au:

I was thinking about Nanami and at first I thought he could’ve been in packaging or industrial design(bcs of the whole corporate salaryman thing) but the more I thought about it and his cursed technique the more I think woodwork would be a good option for him(lots of measuring, lots of physical work) . In this au I think he quit art for a while because he realized how much the academic art world was draining him and everyone else and realized how awful the industry can be so he went on to have a normal job. But you know what sucks more than being forced to pump out art quicker than you can manage? Being forced to stare at a Microsoft excel sheet for 8 hours a day. So if he went back and became a teacher at the school, I think he’d be teaching one of the “normal” subjects (math or history for example) but would still let students ask for art advice he has.

I actually haven’t thought about Yuuta as much but I think he’d do amazing ink illustrations(he’d be a dope tattoo or manga artist), so I’d say he’d either be in fine arts or graphic design. His drawings are mostly black and white with just a small pop of color and he’d use a LOT of cross hatches and lines. I think at least a few people asked him to design their next tattoo for them.

Since you mentioned Dagon, while I do think that sealife and the cycles of life would fascinate him and he’d definitely incorporate that into his work, what I do think would intrigue him more is the fear of the ocean, how vast it is, and how little we know about it. I think he’d do amazing mosaics using things he finds on the beach like seashells and stones,( Kind of like the thing you mentioned with Hanami combining art with actual plants) which he gets by foraging on the beach for a few hours every weekend(and that’s also why his house has sand everywhere). I think he’d also love the fucked up looking fish at the bottom of the ocean. He’d also love doing very large murals and mosaics just because it helps emphasize how massive ocean is

Nanami: okay no so I'm thinking about what you were saying in the other ask about the parallels between the art world and the jjsorcery world, specifically the working conditions. And thinking about Nanami getting burnt out, but then going to a place where he has no creative outlet and he's getting just as burnt out anyway, maybe worse. Like if he's going to be overworked at least he's going to be somewhere he can get paid to create and have resources supporting that. I can just imagine how soul draining it was to be somewhat cut off from that.

I love him being a math teacher thoooooo :) he has such high school math teacher energy. Not like Gojo who has PROFESSOR energy, but tired button up and slacks hs math teacher teaching the same subjects over and over again trying to get kids to understand trig and geometry and logarithms. I'm just getting so nostalgic for my old hs and cc math teachers lol, they're so silly.

Also it would be so neat if (like his cursed technique) he just had a knack for eyeballing measurements and getting them near perfect when woodworking. And I wonder if nobara would like to be mentored by him......

Yuuta: awwww I love Yuuta as an illustratorrrrr. reminds me of my lil emo friends and me in hs drawing on anything and everything and honestly making some pretty cool designs. Always black ink or pencil haha. I love to think that he would be designing tattoos for his friends, and then maybe just kind of get a reputation, like his skills getting around by word of mouth and he starts designing for a lot of people.

I also can imagine him doing a series of stylized portraits of his friends. Do you think he still would come into the art school pretty depressed & lonely and then make good friends? Is Rika around?

Dagon: okay this is so so so so so cool. The mosaics, him like tracking sand in everywhere, spending hours just collecting things on the shore. but omg i can picture the large like gallery wall murals of sea glass and shells and fish bone.... ugh like it's so beautiful in my mind I love this au

#jjk art school au

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sebsxphia · 2 years ago

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How do you build up that trust and connection with your caregiver?? It seems like such an important thing for you and other regressors and such a serious thing (which ofc I understand why) but it just seems so complex and figuring out your feelings and how to communicate when you’re feeling that little, it seems so hard. And when you say you don’t feel entirely little, have you ever like, fully regressed?? Is it something you just haven’t been able to do?? sorry for so many questions this is just such an interesting topic!!! ❤️❤️

hi my dear anon!! <33

please do not apologise at all for the questions!! i am more than happy to answer them and help in any little way.

in regards to building up the trust and connection with your caregiver, you are completely right in the way that it is a very important thing to discuss and agree these boundaries prior. you may experience the headspace of a literal child and your caregiver needs to understand that they are caring for a child.

everyone builds their trust and connection in different ways, but let me give you an example of what happened with me. firstly, i opened up to my partner about it and because of us already being in a relationship, that trust and connection was already there. prior to this i had regressed a handful of times on my own and i knew the basics of what i wanted from my age regression, so when telling my partner i communicated those exact things and boundaries. after the first handful of times i regressed with them, i started to gage a clearer understanding of what trigged it, what i wanted and more boundaries.

the most important thing i found was communicating when i wasn’t regressed. you’re very right that it can be really hard to communicate with your caregiver when you’re regressed, so i would kindly suggest doing it prior. i would also suggest having some sort of safe word or action you can clearly display when your caregiver does something you’re not comfortable with. something that is still easy for you to do when you’re regressed.

furthermore, it is complex and navigating your feelings can be so difficult, therefore i would kindly suggest regressing on your own first (as i did), so you can work out what you need and then communicate it with your caregiver after.

also, have a look around on tumblr!! there are some seriously helpful links, pages and posts about age regression. but i kindly note, if you want to avoid nsfw content, make sure you’re searching for sfw.

another example would be when @beachbabey became my lovely part time caregiver. that trust and connection was built slightly differently because we had only spoken online before and not in person. we spoke for some time about it and in due course we did build a connection and friendship. that made it easier when we eventually agreed my boundaries and that they would be my part time caregiver.

what i’m trying to say is, approach your relationship with your caregiver as any other friendship or partnership you would normally. you need that trust and connection first and foremost, and if you don’t feel comfortable in that relationship, don’t force yourself to continue it.

lastly, be kind and patient to yourself. it took me years to understand what i was feeling and build that confidence to finally tell someone. it may not happen over night and that’s okay.

regarding the full age regression, i finally managed to fully regress when i was with enoch the other week!! prior to that, i was at my home and it was hard to completely submerge myself. i would be hyper aware of my parents, therefore i would regress like 80%.

i hope this helps in any way my dear anon and please kindly remember you’re welcome to discuss and ask any other questions you may have!! 💖💓💗

#💌you’ve got mail #💐 these are for you!!

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starseedfxofficial · 1 month ago

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Choppiness Index Secrets for GBPNZD: Master the Unpredictable Why GBPNZD Feels Like Riding a Rollercoaster (and How to Stay in Control) The GBPNZD pair is notorious for its wild swings—think of it as that unpredictable friend who might invite you to dinner and then cancel five minutes before. Traders often underestimate the volatility of this exotic pair, getting caught in its choppy waves. This is where the Choppiness Index becomes your ultimate compass. If you’ve ever felt like you’re throwing darts blindfolded when trading GBPNZD, you’re not alone. But here’s the thing: choppy markets aren’t random chaos—they’re opportunities hiding in plain sight. The Choppiness Index: What Is It, and Why Does It Matter? The Choppiness Index is an underrated volatility indicator designed to measure how choppy or trending a market is. Unlike its flashier cousins like the RSI or Bollinger Bands, the Choppiness Index quietly tells you whether to ride the wave or wait it out. Think of it as the weather forecast for your trading strategy: sunny (trending) or stormy (choppy). - Below 38.2: Trending market (time to saddle up). - Above 61.8: Choppy waters (proceed with caution). - Between 38.2 and 61.8: The transition zone—where most traders get faked out. When applied to GBPNZD, the Choppiness Index becomes a game-changer. Why? Because GBPNZD loves to fake out traders with sudden trends that stop and reverse without warning. Example: Imagine placing a trend-following trade when the Choppiness Index is above 61.8. That’s like trying to water-ski on choppy seas—it won’t end well. But spotting a Choppiness Index drop below 38.2? Now you’re surfing a clean wave. How to Use the Choppiness Index to Outsmart GBPNZD Volatility 1. Combine It With Moving Averages for Laser Precision Moving averages and the Choppiness Index are like peanut butter and jelly—better together. Here’s the strategy: - Wait for the Choppiness Index to fall below 38.2. - Confirm the trend direction with a 20- and 50-period Moving Average crossover. - Enter the trade with confidence, targeting clean breakouts. Pro Tip: If the Choppiness Index climbs above 61.8 mid-trade, consider tightening your stop-loss. It’s a warning sign the trend may lose steam. 2. Catch Breakouts Before They Happen (Like a Ninja) Most traders spot breakouts after the fact—when it’s too late to profit. With the Choppiness Index: - Monitor the index hovering above 55-60. - Draw trendlines around recent highs and lows. - As the index begins to decline, anticipate a breakout move. Why It Works: Choppy markets often precede explosive breakouts. You’re essentially preparing for the big move while everyone else is scratching their heads. 3. Ride the Sweet Spot: 50-61.8 Zone Here’s a contrarian gem: Don’t avoid choppy zones—exploit them. The 50-61.8 zone is where retail traders panic, but seasoned pros smell opportunity. - Identify false breakouts by monitoring the index within this zone. - Trade smaller positions and aim for short-term scalps. - Look for candles breaking previous highs/lows as confirmation. Why Most Traders Get GBPNZD Wrong (And How to Get It Right) The GBPNZD pair has a reputation for burning inexperienced traders because they treat it like EURUSD or GBPUSD. Here are the common pitfalls: - Ignoring Volatility: GBPNZD moves faster and more erratically. It’s not the pair for set-it-and-forget-it strategies. - Overtrading in Choppy Markets: Without tools like the Choppiness Index, traders get faked out repeatedly. - Improper Position Sizing: GBPNZD demands tighter risk management due to its unpredictability. The Fix? Combine the Choppiness Index with proper stop-losses and advanced tools (like the Smart Trading Tool—more on that below). Case Study: The Choppiness Index in Action Scenario: A trader spots GBPNZD consolidating with the Choppiness Index at 70. - Using a breakout strategy, they set pending orders above resistance and below support. - As the index declines, the price breaks resistance, triggering the buy order. - With proper risk management and a trailing stop, they lock in gains as the market trends. Outcome: A 120-pip move in just 12 hours—a perfect example of how to use the Choppiness Index to anticipate big opportunities. Your Secret Weapon: The StarseedFX Smart Trading Toolbox Want to take your trading to the next level? Pair your Choppiness Index strategy with these game-changing tools: - Smart Trading Tool: Automates lot size calculations and risk management. - Community Membership: Access elite strategies and live trading insights. - Free Trading Journal: Track metrics and refine your strategy for GBPNZD. How to Master GBPNZD With the Choppiness Index - Use the Choppiness Index to identify trending and choppy markets. - Combine it with Moving Averages or trendlines to confirm breakouts. - Exploit the 50-61.8 zone for short-term scalps. - Stay disciplined with position sizing and risk management. - Leverage advanced tools like the StarseedFX Smart Trading Toolbox. With the right tools and strategies, GBPNZD doesn’t have to feel like a guessing game. The Choppiness Index gives you the clarity to trade smarter, not harder. —————– Image Credits: Cover image at the top is AI-generated Read the full article

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jonathankatwhatever · 3 months ago

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Continuing. The floor work is not going all that fast. Concerned about where we sleep tonight. Couches? The litter boxes are behind furniture.

So that’s a case, one outcome and a chain which builds from that outcome. Seeing an End as a possibility and constructing chains off that End. This is what? I’m thinking that step to the End glosses over all the complications to say ‘this one, without looking much if at all, just allowing fear to form a worst case negative’ because that would manifest in the abstract from these circumstances, maybe. And then I’m seeing Triangulars emerge off that End because I see them to the Ends of those chains, which means Triangular.

Noticed how that works with trig in a slightly different way. Not sure what to make of that. I think what I’m seeing is a rotation of a flailing arm that’s also moving away. I think this generates the asymptotic End because the distance across at the start ‘disappears’ or becomes indecipherable or incomprehensible or cannot be seen within or can’t be read at all past this. Those are all representations of the basic gsProcess by which there are causal limits and thus why we have discrete existences.

If I’m not mistaken, this is old work, like really old, because the idea is the depth of pattern, of counting and thus of pattern forms reaches to the causal limit as the IL, as the informational limit, in the intangible realm. That means a speck of matter, subject to causal limits within tangible 0Space, represents the Thing attached to that speck. That’s why the electric charge works out to 16: the inherent pairing distance Attached to the electron expresses itself within 0Space. That means the enclosure of 1Space completes at the IL over 0Space, which is an amazingly beautiful thought.

Wow. So to complete 0Space, we need to enclose it. That’s been taken for granted because it’s inherent in concepts like a Riemann surface or other manifestations of points at infinity. That point at infinity represents the Attachment relationship. Look at that, please. It’s like when we say the pairing gap disappears, which also means renormalizes because we can fill the gap at that place with appropriate connecting terms. Another example of n-1 counting, like where the parallel lines of railroad tracks meet in the distance or when an object disappears in a projective picture plane, like in a painting. In math terms, please. It means it factors to the minimum and then to another minimum, so the tracks disappear but remain connected to the idea or suggestion of tracks until then they aren’t and then that is no longer. Look familiar? It’s the same count from ‘actual’, that being the ready appearance of tracks as label, to disappearing tracks as End, and then to disappearing of the relationship of tracks to that End, and then the switch to the next count, which is from the disappearance of the relationship of tracks on into the non-specified.

Now count that out for me because I’m sort of dense right now, meaning a lot to penetrate. Okay, so we actual now to End, so there’s a relational count there. Then there’s the count to disappearance of that End, which is an obvious Attachment where the labeling shifts. Then the disappearance of that End, which cannot Attach at the far End because look you’ve counted tracks to one track-like image to no more image of tracks at all and then to almost nothing at all, nothing discernible, which Attaches to non-specified existence. That’s a count of 2 with an arm. If you specify something, anything, like it’s become a dot among tiny dots of paint or the lack of same implying the existence of what actually isn’t there, the way color and shapes fill in your mind, then this works back the other way to where the chain splits to 2 tracks and you can no longer maintain the image as 2 being 1 pair and have to focus on one or the other.

That direction is how reality resolves into being. Must choose from among these.

This is translating something. We keep coming back to counts of 2 and 3. That’s the image of a connected pair with arms on each End. One way to visualize is to imagine a cylinder in which each layer has a shared pairing and all the rest aren’t so every single attribute pairs. These would then be labeled as primes and combinations of primes so the Storyline tells or runs or operates. Explain that, please. I can’t see the connection from a prime to combinations of primes to Storyline. Okay. They each build by scenes, which are counts of chains which occur within context so the building blocks do that. You get hung up on the labeling without recognizing that many Things not just one Thing have extensive prime factors. And those are gsPrimes so it gets complicated.

Still not sure what happened there. Counts of 2 and 3? You just explained 5 and b10. This puts the b10 scale and thus fCM in the fundamental process by which something disappears: from something to a reduction of that something to no longer that something toward nothing. Or from nothing to something maybe to something maybe more to something. I see a ship on the horizon!

What about the radical concept? So CM64 reduces to rad2. That’s what it is, too: the magnification of 2T. Wait: what about Mag10? Makes sense now, doesn’t it? I had the hardest time accepting the notation Mag10 until this moment. The scaling effect is in the counting described today.

Floor work is loud and smelly. Mallets and saw. Glue and sawn wood.

So we have a rad2 and we have a regular means by which we add 2 pieces to get that third. Like 31 and 33 both have higher rads of 31 and 3*11 or 33, so the rad of all 3 would be 2*31*33. And obviously 64 is less than that. But what does that mean? The radical is the number which stands for the core or irreducible, not for the unique existence but for the type. As in, anything with a prime factor of this and that and these others doesn’t exclude other factors nor does it count how many of each.

So the core of the whole process by which those two add to this third, out of all the ways you can add 2 to make this 3rd, means the rad of all is typically more than the sum of the two numbers. The weird idea is then that there are exceptions and the exceptions are in some sense finite. I keep reading that this illuminates FLT because higher exponent values for n would mean n grows way too fast for the rad to keep up. I get that but the reason FLT is true is that gsProcess imposes n=2 as the limit because that adds grid squares, not just regular squares. Or rather, gs translate into rs as 1Space relates to 0Space. That n=2 is not arbitrary or some artifact, but is intrinsic to D-structure for what is now the ‘simple’ reason that gsProcess otherwise generates grid boxes, not grid squares.

So the idea is that if you increase the rad of the whole, meaning rad(abc) or other three names for the elements, then some rads will be greater than the sum, which is c when using a+b=c.

I’m not quite there and had to take a break. I hope to get more later tonight. House is a mess plus.

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