#Kaki interacts

[kakiwrites]

Hey is you blog ok?

Hi! The blog is alright! I just haven't been able to post as often bcs of school and other things but i'm alive dw-

Once i get more free time, i'll start writing again!

-kaki 💖

[domirine]

🧡= Saw the ask about how cute Avdol is (True) but honest to god the way you draw their interactions is the best Dopamine hit I could get! That and Kaky and Jotaro in the back of that pic is pure gold too!

You draw everyone cute!!

thank you so much!! i'm very happy you enjoy my interpretation of the characters :3

i was looking for a doodle to attach here because this week's been hectic AND you did name avdol first so please behold this High Fashion and look as disrespectful as you wish

[kittydemon9000]

So you know the joke that Polnareff has the worst luck in Part 3 and attracts the most Stand Users? I wanted to see if that was true so I made a pie chart recording every single time the Stardust Crusaders encounter an enemy Stand User.

RULES ARE SIMPLE.

1. For every Enemy Stand User one of the Crusader’s encounter, they will get a Point

2. Points are given to whoever attacked or was attacked by the Enemy User first. Other Crusaders who attack, are attacked, or help with the fight after that initial action will receive Encounter Points. Crusaders who were present but did not assist will not receive Encounter Points

       EX: During the Tower of Gray fight, Jotaro, Kakyoin, Avdol and Joseph are present when he appears. Jotaro attacks and is attacked by the Stand first, Avdol almost uses Magician’s Red to help but doesn’t because it could blow up the plane, and Kakyoin defeats it with Hierophant Green. Jotaro would get the Point, but only Kakyoin would get an Encounter Point.

3. It is possible for multiple people to get a Point from one opponent if they are attacked as a group or if the actions happen at roughly the same time

       EX: when Polnareff first attacks the group, he attacks Joseph but Avdol immediately attacks him with Magician’s Red. Both get the point.

4. I will only count encounters that happen in the “present” of SDC, meaning encounters like Avdol, Kakyoin and Polnareff’s first meetings with Dio or Joseph and Avdol fighting Iggy won’t receive points

5. I will only count a second encounter with the same Stand User after their “episode” has concluded. Multi Part episodes with the same Enemy User and encounters like Oingo/Boingo and the final fight with Dio will count as a singular encounter for the sake of this rule

There are also a few..... difficult situations that I wasn’t sure how to count, so to avoid confusion I’ll explain them here:

With the Empress, by technicality it’s Polnareff who has the first interaction when Nena runs into him to stop him from killing Hol Horse. However, she doesn’t actually fight anyone until the next episode when she attaches her stand to Joseph. I decided to give them both a Point because the incidents happened in separate episodes

Given the close quarters of the car, Wheel of Fortune attacked them all at once, so they all get a Point

While Jotaro was the one to punch Steely Dan, Joseph was the one who was affected by the Stand at the same time, so it’s a Point for both of them

Similar to Wheel of Fortune, Sun also attacked the whole group at once

Avdol and Kakyoin both get an Encounter Point for the Daniel D’Arby fight because technically their souls assisted in the fight

Kenny G is counted for everyone because his illusions were seen by and tricked everyone when they entered Dio’s mansion

Less of an exception thing and more something I found funny: the Point for DIO technically goes to Polnareff because of their encounter on the stairs

With those rules and explanations in place and way too much time spent combing through every single fight, and I learned a few things.

1) The jokes about Polnareff having the worst luck are correct, given the fact he encountered a THIRD of all their enemies first

2) Iggy only contributed his last few episodes

3) Avdol and Kakyoin were done dirty and should’ve been allowed to fight more

Maybe I’ll make one for Diamond is Unbreakable later.

The exact who fought who, assisted with what, and the Encounter Point pie chart will be under the cut

Jotaro, 11: Kakyoin(Hierophant Green), Gray Fly(Tower of Gray), Imposter Captain Tennille(Dark Blue Moon), Forever(Strength), Rubber Soul(Yellow Temperance), ZZ(Wheel of Fortune), Steely Dan(Lovers), Arabia Fats(Sun), Oingo(Khnum), Boingo(Tohth), Telence D’Arby(Atum)

Encounters, 12: Hol Horse(The Emperor), Enya(Justice), Mannish Boy(Death 13), Midler(High Priestess), N’Doul(Geb), Anubis, Alessi(Sethan), Daniel D’Arby(Osirus), Hol Horse Again(Emperor), Boingo Again(Tohth), Kenny G(Tenore Sax), DIO(The World)

Kakyoin, 4: ZZ(Wheel of Fortune), Arabia Fats(Sun), Mannish Boy(Death 13), N’Doul(Geb), 

Encounters, 11: Gray Fly(Tower of Gray), Imposter Captain Tennille(Dark Blue Moon), Forever(Strength), J Geil(Hanged Man), Hol Horse(The Emperor), Steely Dan(Lovers), Midler(High Priestess), Daniel D’Arby(Osirus), Telence D’Arby(Atum), Kenny G(Tenore Sax), DIO(The World)

Polnareff, 15: Devo(Ebony Devil), J Geil(Hanged Man), Hol Horse(The Emperor), Nena(The Empress), ZZ(Wheel of Fortune), Enya(Justice), Arabia Fats(Sun), Judgment(Cameo), Oingo(Khnum), Boingo(Tohth), Anubis, Alessi(Sethan), Daniel D’Arby(Osirus), Hol Horse Again(Emperor), Boingo Again(Tohth), DIO(The World)

Encounters, 6: Steely Dan(Lovers), Mannish Boy(Death 13), Midler(High Priestess), N’Doul(Geb), Kenny G(Tenore Sax), Vanilla Ice(Cream)

Avdol, 2: Polnareff(Silver Chariot), Vanilla Ice(Cream)

Encounters, 10: Forever(Strength), Hol Horse(The Emperor), Judgment(Cameo), Midler(High Priestess), N’Doul(Geb), Mariah(Bastet), Daniel D’Arby(Osirus), Hol Horse Again(Emperor), Boingo Again(Tohth), Kenny G(Tenore Sax)

Joseph, 11: Polnareff(Silver Chariot), Nena(The Empress), ZZ(Wheel of Fortune), Steely Dan(Lovers), Arabia Fats(Sun), Midler(High Priestess), Oingo(Khnum), Boingo(Tohth), Mariah(Bastet), Hol Horse Again(Emperor), Boingo Again(Tohth), 

Encounters, 7: Forever(Strength), Mannish Boy(Death 13), N’Doul(Geb), Daniel D’Arby(Osirus), Telence D’Arby(Atum), Kenny G(Tenore Sax), DIO(The World)

Iggy, 2: Petshop(Horus), Kenny G(Tenore Sax)

Encounters, 2: N’Doul(Geb), Vanilla Ice(Cream)

[ozonelasher]

GET TO KNOW YOUR ADMIN !!

(i don't actually have a mun fc so you're getting shiny azumarill because. i like it :3)

name — Ana!

pronouns — she/her primarily but they/them is fine too

preferred comms — tumblr IMs are preferred for OOC talk/plotting, & my discord is open to mutuals if they'd like :3

name of muse — Kaki

experience in RP — honestly i've been rping since i was probably too young to rp on the internet 💀 i started on deviantart (which like. oops but also i was like 9) and then started rping on tumblr likeee ~2015 or so. i actually first started writing Kaki on tumblr in like 2016, and then kinda started writing on twitter in 2019 when the RPC on here started to wane from its peak. i came back very recently because i got tired of the limitations of writing on twitter

best experiences — as of recent, i've had a few really really fun crossover threads on twitter that will stay with me forever atp. one was a real slowburn romance plot with a spike spiegel, and another was of isekai plot with desmond miles from assassin's creed that ended up being really fun and sweet. i also have a really cute ship going with a friend's DB OC on twitter, too. oh kaki and her tendency to adopt men two heads taller than her ❤️

pet peeves/dealbreakers — trying to force OOC scenarios/behaviors onto kaki or otherwise just making it clear you don't respect her character outside of writing will really sour me in terms of trying for future interactions. i doubt this will happen here as it's mostly a problem i've had on twitter but JUST IN CASE!!! i'm mostly talking stuff like, oversexualizing her because she has muscles ("step on me, m*mmy" & such comments are a HUGE no-no), assuming she's overly aggressive/belligerent, or on the flip-side, babying her like she's a cutesy helpless waif. she is a 30+ year old woman with thoughts and feelings and i would like her autonomy to be respected.

muse preference ( fluff, angst, smut ) — HONESTLY i'm down with anything as long as it's interesting. on my own i tend to write adventure-drama type plots (the dbz fic i'm working on is just a space opera tbh) with a splash of horror of some flavor, usually with anti-capitalist/fascist/imperialist messaging. i think the one thing i should mention is that i do really enjoy when there's a conflict or overarching storyline happening in longer plotted threads; it just keeps me more engaged.

plot or memes — both are good and work tbh. memes can be good for breaking the ice or actually figuring out a dynamic in practice, but if we want to go for something more in-depth, i do prefer some plotting (even if it's just planning points A and B and then just improvising how our muses get there)

long or short replies — quality > quantity. even if your response is like 3 sentences or less, if it moves things along, it's fine with me (:

best time to write — i tend to write more at night or on the weekends. really just when i'm not dead tired 😭but also if i really get into the plot of a thread, i'll get kinda hyperfixated on it and respond in like 3 seconds. my fault

are you like your muse? — In a lot of ways, yeah. Kaki is an OC i've been developing for like at least a decade now, and a lot of her experiences are drawn from things I personally have experienced (albeit, greatly exaggerated lmao), and the kind of character she's become is a projection of my beliefs and how I feel about the current state of the world. Writing her is a bit of a catharsis for me, really.

TAGGED — @pzfr

TAGGING — feel free to do it if you'd like :3

[farzamani]

Culture Shock

This question always makes me think hard because I barely experienced any significant change in my daily life after I moved to Aarhus. I was anticipating the struggle that everyone encountered, but I felt everything went very smoothly, probably too easy to be true I would say. There are of course some changes and adaptations in life, but nothing is really huge that truly drags me down.

After one year, finally, I can write some things. Here, I will divide those so-called changes into three categories: okay, medium, and shocking.

Okay

The weather and climate are not bad. The cold is not as harsh as I expected.

I can still easily find halal food and ingredients.

I used to live in solitude, so being alone is hardly a challenge for me.

Living cost is manageable if you earn Danish Kroner. The minimum wage is enough to make you live.

I used to bike so the commuting distance to university is still all right.

Compared to my (boarding) house in Bandung and Malang, my room here is definitely an upgrade, quality-wise.

I live close to a mosque (luckily).

As for education, I think my bachelor's study is way harder than my current study. Here, they emphasize independent learning, more hands-on and group work, and practical learning through projects. Even though it looks so busy (it is), I enjoy the flexibility!

Medium

Everything is expensive. Damn Denmark.

Always have to cook and do meal prepping. I miss warteg and jajanan kaki lima.

In terms of social interaction, most people here tend to be reserved and value personal space and privacy, contrary to Indonesian culture which is often more communal and warm.

I need to slow down because people prioritize work-life balance and value leisure time. My restless self still can't adapt to it. Thus, I just need to be more productive and effective.

Shocking

I think I will never get used to the PDA (public displays of affection) here. I can't imagine lip-kissing (sometimes french) my partner at noon in front of the bus stop. The good news is, no one cares.

It is super hard to socialize if you are not drinking alcohol (or maybe don't like parties) because social events and interactions are centered around parties and drinking. I do not do both, but it is fine. I appreciate what I have now.

I will update this list as time goes on. I am super sleepy now, maybe it is better if I just publish it hahaha

Aarhus, 6 September 2023 00:18

[kkst0904]

heya i’m opening anpk doodle requests again ~ ^o^

i will take requests related to kaki and/or satoshi. i also would be very happy to draw suiren and mao ~ (other characters are fine as long as it’s some sort of interaction with any of them!)

i will also take satoshi ship requests (including kakisato of course hehe❤️) satoshi ships are my favourite thing to draw LOL

(i don’t really multiship with kaki anymore so i won’t accept other ship request of him💦)

these are doodle requests only. i will do them in my own time and at my own pace and only when i feel like it. so please be patient and don’t bug me about themmm TwT i will end up deleting the request. please only send one!

thank you ~

[samurai-yuichi]

Do you think one day, Leo and the others could visit too?

Are there humans there?

Oh man I would LOVE to bring Leo and his family there!! It might be a little bit awkward because of the whole Ninja situation, but once everyone understood that Leo and his clan aren't trying to sabotage the government, they'd be very happy to have them!! Mikey and Tetsujin would definitely get along like a house on fire lol

Neo Edo is super traditional. Despite the gang activity there, nobody is really that big on the whole ninja scene thanks to Lady Fuwa. Me and my friends are the most prominent Samurai Clan in the city though, so I'm sure if they showed up with us, Lord Kogane would be understanding!... Maybe...

So the human situation in Japan is kind of the same here? Except Kaki Lang and Yokai are STRICTLY forbidden from interacting with humans!!! It's an offense so serious some parts of Japan consider it treason. Our world is completely seperate or hidden from the human world, in fact, April was probably the first human being I've ever met face to face!! I... Don't know if Lord Kogane would actually let her into Neo Edo, or Cassandra for that matter...

[mild-secret-au]

🔥|🅺🅰🅺🅸|🔥

His Voice By young nastu

Name: Prince Kaki Laban Vulpe/Vulpine

First Name Meaning: Fire

Middle Name Meaning: White, shining, gentle, brittle.

Last Name Meaning: True fox/relating to or resembling a fox.

Nicknames: Kai or Bluey

Birthday: November 26

Age: 18/7 (human Disguise)

Species: a hybrid of Arctic Fox, Red Fox, Fennec Fox, Zenko (Japanese kitsune), and Huli jing (Chinese Kitsune).

Gender: Male ♂

Facts: Kaki is only gentle with his sweet older sister. Kaki and his twin brother barely knew their father, but only saw the photos. He and Yukio are pranksters, but they don't prank their families, Kazumi, Longwei, and Suoh's families.

Parents:

Taro Jun Vulpe/Vulpine ✝ (Deceased father)

Jamila Vulpine/Vulpe (Mother)

Sibling:

Akane Vixen Vulpe/Vulpine (older sister)

Yukio Rusty Vulpe/Vulpine (twin brother)

Relative:

Vulpe Family Ancestor

Syvne Vulpine/Vulpe ✝ (Deceased maternal grandmother)

Auraq Vulpine/Vulpe ✝ (Deceased maternal grandfather)

Abilities:

Mythical Bestiary

Canine Deity Physiology

Canine Physiology

Demon Physiology

Kitsune Physiology

Vulpes Physiology

Animal Imitation - only vulpine

Animal Morphing - only vulpine

Animalistic Vocalization

Claw Retraction

Compass Sense

Decelerated Aging

Demon Mode

Demon Morphing

Enhanced Agility

Enhanced Endurance

Enhanced Flexibility

Enhanced Hearing

Enhanced Leap

Enhanced Reflexes

Enhanced Senses

Enhanced Smell

Enhanced Stealth

Enhanced Wits

Environmental Adaptation

Escape Artistry

Expressive Ears

Fur Generation

Glowing Eyes - only when the power is active or glow in the dark

Glowing Hands - only when the power is active

Human Disguise

Hypnotic Voice

Multiple Tails

Night Vision

Paw Protrusion

Peak Human Speed: Foxes can run at a speed of 50 km.

Pointed Ears

Powerful Bite

Tail Manifestation

Temperature Regulation

Unique Eye Coloration

Unique Hair Coloration

Vertical Pupils

Powers:

Fire Absorption

Fire Attacks

Fire Aura

Fire Detection

Fire Generation

Fire Immunity

Fire Imprisonment

Fire Manipulation

Fire Teleportation

Fox Magic

Fox-Fire Manipulation

Fox-Fire Generation

Fox-Fire Aura

Fox-Fire Blast

Fox-Fire Stream Projection

Fox-Fire Vision

Heat Absorption

Heat Immunity

Illusion Awareness

Illusion Constructs

Illusion Empowerment

Illusion Generation

Illusion Interaction

Illusion Manipulation

Illusion Negation

Illusion Reflection

Illusion Solidification

Illusion Transformation

Illusionary Environment

Illusionary Magic 

Illusive Appearance

Illusive Power

Illusive Suggestion

Illusory Combat

Illusory Defense

Illusory Power Replication

Illusory Vision

Layered Illusions

Living Illusion Creation

Magnetoreception

Prehensile Tail

Pyrokinetic Cloning

Pyrokinetic Invisibility

Spirit Magic

Temperature Regulation

Thermoreception

Vocal Replication

Voice Masking

[smilingperformer]

Kinda realising Suiren's best dynamics are with Kasumi, Satoshi, Mao and Kaki 🤔

She doesn't interact that much with Lilie or Mamane in like, just the two of them scenes. It's mostly with someone else involved.

Or is my memory failing?

[kakiwrites]

Sorry for the delays...

Personal stuff and lack of motivation are just hitting me hard. I feel really bad abt not writing anything. I'm gonna try and start a spark in my mind and get inspired to write for all my fandoms again (i should rewatch/replay them again lol)

But for now, i think its time i announce another indefinite hiatus until i pic up the pace and feel the spark of inspiration ❤️

-kaki 💖

[astarindri]

Disabilitas dan Keterbatasan (1)

Disability isn’t the question of IF, but WHEN.

They’re not minority. It’s us. Either degenerative, or something happen to us.

Disability isn’t personal health condition, but mismatch human interaction.

Hari ini, aku dateng ke webinar yang diadain sama kantorku sendiri. Judulnya “Introduction of Digital Accessibility”. Tadinya, kupikir bakal tentang gimana caranya kita desain riset atau produk digital untuk teman-teman disabilitas. Kalopun apps-nya bukan yang khusus buat mereka, dikasih caranya lah biar 1 apps bisa accessible buat mereka.

Ternyata, di webinar itu, aku dapet jauh lebih banyak dari itu.

5 kalimat di awal adalah pembuka webinar itu. Jujur, baru paparan awal aja aku merinding. Mungkin, selama ini kita menganggap disabilitas itu hanya orang-orang yang memang memiliki kekurangan di panca inderanya secara fisik. Dan asumsiku juga, orang-orang dengan disabilitas itu kondisinya memang begitu sejak lahir.

Ternyata tidak.

Sang narasumber memberikan contoh-contoh kondisi sederhana yang bisa dikategorikan sebagai disabilitas. Misal, kondisi tangan kita yang penuh, sedangkan HP kita bunyi karena telepon masuk. Atau, kita nonton drama di tengah jalan tanpa pakai earphone. Jadi kita hanya baca lewat caption. Atau, tangan atau kaki kita digips sampai kita sulit melakukan sesuatu. Contoh lainnya, perhatikan orang tua kita yang mulai terbatas seiring berjalannya waktu. Entah matanya yang semakin buram, atau fisiknya yang ga kuat berjalan sejauh dulu. Atau mungkin, mulai sering lupa.

Hal-hal ini bisa banget terjadi pada diri kita, kan? Mungkin di antara kita pun pernah ngalamin hal itu. Aku pun pernah, yang paling berasa ketika kaki diperban hanya karena keseleo. Bahkan narasumber pun cerita, 20% dari rekan-rekan netra yang bekerja dengan dirinya tidak netra sejak lahir. Ada yang dari anak-anak, remaja, juga dewasa.

Wah. Ini tamparan pertama buatku, bahwa betul. Selalu ada kemungkinan untuk kita menjadi orang yang termasuk disabilitas. Yes, that’s true. It’s not if, but when.

Selanjutnya, narasumber ngasih paparan tentang jenis-jenis disabilitas. Ternyata ga hanya tuna netra atau tuli aja, tapi ada banyak banget yang mungkin kita sendiri ga sadar kalo orang itu punya disabilitas. Misalnya, dyslexia, buta warna parsial maupun total, gangguan pendengaran walaupun ga total, masih banyak lagi. Aku jadi berpikir, kenapa kita mendiskreditkan kata disabilitas ya, sadar maupun tidak? Mereka juga bagian dari society kita kan?

[johnlye213]

Wedding Live Band

Elevate Your Wedding Celebration with a Live Band

Your wedding day is a momentous occasion, a celebration of love that deserves nothing less than the best. While DJs have long been a popular choice for wedding entertainment, there's something undeniably magical about the energy and charm that a live band can bring to your special day. In this article, we explore the timeless appeal and unique advantages of having a Wedding Live Band.

Unforgettable Atmosphere: A live band brings a dynamic and captivating atmosphere to your wedding that recorded music simply cannot replicate. From the romantic ballads to the upbeat dance numbers, the live music experience is one that resonates deeply with guests, creating cherished memories that last a lifetime.

Personalized Touch: A live band can adapt to your specific tastes and preferences, offering a tailored playlist that reflects your unique love story. You can work closely with the band to select your favorite songs, ensuring that the music enhances the emotions and ambiance of your big day.

Versatility: Whether you prefer a jazz ensemble, a classical quartet, or a high-energy party band, there is a live band to suit your style. Their ability to shift between different musical genres and moods throughout your wedding day ensures a well-rounded and dynamic experience for your guests.

Interactive Experience: Live bands engage with your guests, creating an interactive experience that resonates with everyone. Musicians can interact with the crowd, take song requests, and even involve your guests in the performance, making your wedding feel like a true celebration of love.

Uniqueness: A live band adds a touch of sophistication and uniqueness to your wedding that sets it apart from the ordinary. The sound of live instruments and vocals adds a layer of elegance and charm that makes your special day feel exceptional.

Dance Floor Filler: The energy and live performance element of a band make it almost impossible for guests to resist the dance floor. The music is not just in the background; it becomes an integral part of the celebration, encouraging everyone to let loose and have a good time.

Emotional Connection: Live music has a way of tugging at the heartstrings, evoking a genuine emotional connection between the music, the moment, and your guests. The band can create a sense of unity, amplifying the love that is at the center of your celebration.

Merry Bees 

 

enquiries@merry-bees.com

WhatsApp: wa.link/merrybees

60, Kaki Bukit Place, #10-16 (Suite 12), Singapore (415979)

At Merry Bees, we understand that your wedding day is a once-in-a-lifetime event, and we believe in making it truly unforgettable. Our professional live bands are skilled at creating an atmosphere that is both moving and entertaining. With years of experience in the industry, we ensure that the music at your wedding is nothing short of extraordinary.

So, if you're looking to elevate your Wedding Live Band celebration and create a unique, unforgettable experience for both you and your guests, consider having a live band from Merry Bees. Let the magic of live music transform your special day into a symphony of love, laughter, and cherished memories.

[chanoyu-to-wa]

Nampō roku, Book 7 (71a):  Nambō Sōkei Declares His Attachment to the Two-mat Daime Room.

71) This monk replied [to Rikyū], “[what you say] is very praiseworthy; [but we must not forget the fact] that Jōō and [Ri]kyū exerted their wholehearted efforts to establish the details of the kane [䂓矩 = カネ] of the daime-giri [臺目切]¹.  So, even if [we] were determined to discard [the use of] such an interesting venue, [I] do not believe it would, in fact, be possible to make do with only the [two mat room with] mukō-ro²!  [Nevertheless,] if [you] insist on finding fault with attaching a daime to the two-mat room, then [you] should just continue doing as you wish [and receive your guests only in a two-mat room with mukō-ro]³!

    “But furthermore, when the ro in the three-mat room was moved out [of the utensil mat], and cut [in the adjoining mat] on the katte-side of the half-ken [that is beyond the right edge of the utensil mat], that also made it easier [for the host to interact directly with his guests]⁴.  The [delightful] effect of suspending [the kama on] a jizai (or something of the sort) -- that it would be difficult to discard this kind of setting [cannot be denied]....⁵”

    Lord [Ri]kyū chuckled [to himself], “I think we are both harboring the same thoughts⁶!”

    “But as for the rest of the worldly style of tea [that we see all around us], look at the way it is [already] collapsing into ruin!  This, we should say, is deplorable!” -- I am passing on what I heard [him say].

_________________________

◎ Though this entry is not very long, the language is extremely idiomatic (with the idiom being that associated with the scholasticism of the late seventeenth or early eighteenth century), meaning that this text proved very challenging to translate*.  Indeed, none of the commentators ventured to say anything about this section except for Tanaka Senshō -- and, in his case, he limits his entire discussion to the genpon text†, ignoring the Enkaku-ji material entirely‡.

    As is quite common in Book Seven, there are three versions of this entry.  While the passage in Shibayama Fugen’s toku-shu shahon [特殊写本] is more or less similar to what is found in the Enkaku-ji manuscript, there are several minor modifications that will be discussed in the footnotes**.

    Tanaka’s “genpon” [原本] version, however, is so different that it will be necessary to look at it in a separate post.  In addition, Tanaka also included a kaki-ire [書入] (of unknown antecedents**), appended to the end of his quotation of the Enkaku-ji text.  That, too, will be covered in the next post. ___________ *Some versions of the Nampō Roku join this entry to the preceding one, so we would have Rikyū’s declaration, followed by Nambō Sōkei’s response.  I have followed the Enkaku-ji manuscript in relegating them to separate entries.

†The genpon text was completely rewritten.  All of the obscure idiomatic language has been removed, and the arguments have been normalized -- to the point where they feel completely at home in the modern-day chanoyu.

‡Tanaka’s copy of the Enkaku-ji text was produced while the ban on writing anything down while on the temple grounds was still in effect.  Thus, it was another example of one of the Enkaku-ji scholars leaving the temple and then writing what he remembered down as soon as possible (it is said that a number of tea shops were opened in the vicinity of the main gate just for this purpose).

**In addition to the original fair copy of the text that Tachibana Jitsuzan created for presentation to the Enkaku-ji, he subsequently authorized the production of four additional copies -- to protect the original from being damaged by the repeated handling to which it was being subjected.  After that, the original text was put away, and only the copies were used for their further inquiries -- and the fact that they were copies may have given certain scholars the feeling that important notes might be added.  So whether this kaki-ire was found in one of the “official” copies of the text that were available to the Enkaku-ji scholars, or whether the kaki-ire was added to his own copy of the text by the scholar whose personal copy of the Nampō Roku came into Tanaka’s hands cannot be deduced -- since the only person who could have shed light on at least one of these possibilities died, and the four authorized copies dispersed into the general population when the group of scholars concluded their work in the Enkaku-ji.

**None of them change the meaning so greatly that they need to be incorporated into the translation -- which, as a result, is based only on the Enkaku-ji material.

¹Kono-bō mōshikeru ha, osshayū ni sōroe-domo, daime-giri no kane, Jōō to Kyū, sama-zama o-kokoro wo tsukushite sadameraretaru-koto nari　[コノ坊申ケルハ、仰尤ニ候ヘトモ、臺目切ノ䂓矩、紹鷗ト休、サマ〰御心ヲ尽シテ被定タルコトナリ].

    Kono-bō mōshikeru ha [この坊申しけるは] means Nambō Sōkei related (this story)*.

    Osshayū ni [仰尤に]†:  ossharu [仰る] is a polite word meaning to speak, while yū [尤] means superb, outstanding.  The compound, then, appears to mean to praise or express one’s in awe of or in (someone or something):  osshayū ni sōroe-domo [仰尤に候えども], then, would mean even though (Sōkei) was deeply impressed by (this situation)...; that Rikyū’s argument was most certainly reasonable or valid....

    In other words, Sōkei begins by complementing Rikyū’s argument, before entering into his refutatio.

    Daime-giri no kane [臺目切の䂓矩]:  this way of writing kane [カネ] (which is usually rendered phonetically) is found only here -- again, casting doubt on the authenticity of this episode.

    Jōō to Kyū, sama-zama o-kokoro wo tsukushite sadameraretaru-koto nari [紹鷗と休、様々お心を尽して定められたることなり] means that Jōō and Rikyū, with their whole hearts†, worked very hard to fix the details of the kane, and kane-wari for the daime-giri setting.

    In addition to Sōkei’s own personal delight in this room, he also wants to acknowledge that the two-mat daime room was a product of Jōō’s and Rikyū’s most sincere efforts.  Thus, for both of these reasons, he is choosing to speak up in defense of this room -- even if he has to contradict Rikyū in order to do so.

    Shibayama Fugen’s toku-shu shahon version of the text refers to Rikyū as Kyū-kō [休公] (which would translate Lord [Ri]kyū); but otherwise the two are identical. __________ *This is problematic, because the fiction is that Nambō Sōkei wrote Book Seven between the conclusion of the dawn memorial service and the time (presumably in mid-afternoon) when he closed up the Shū-un-an, and went off to the mountains to do away with himself.  That being the case, there is no reason why Sōkei would begin by saying that he said these things.  (Of course, someone writing nearly a hundred years later, and hoping to give their narrative a ring of authenticity, would be inclined to do so.)

†Osshayū ni [仰尤に] is difficult, since I have been unable to find any record of its meaning -- or, indeed, that it is a word at all.  That said, while one source cites a Heian period precedent (that I was unable to confirm when referring back to the original source), I did find a handful of Edo period documents where it has been used, always in the specific formula osshayū ni [仰尤に]; and, in every case, it is clear that the expression is being used to indicate that (the author, or speaker) was deeply impressed by something.  (The nuance always seems to be that the person was inspired to awe and admiration -- by the situation, object, or, as in this case, the argument that is being described in the narrative.)

    In other words, in this specific case, before Sōkei enters into his argument for the preservation of the 2-mat daime room, he acknowledges that, in this, he will be going against Rikyū’s argument that, since the 2-mat room was the original type of “small room,” it might be better to stay with that -- since allowing for variation here will only invite others to change other aspects to suit their personal inclinations, which can only lead to the loss of the “small room’s” wabi identity.

    Though I must quickly add that there is no evidence in support of this argument in the historical record.  The earliest “small room” in Japan, that was built as a dedicated tearoom, appears to have been the 2-mat daime, created jointly by Jōō and Rikyū in the spring of 1555 (several months after Rikyū’s return from the continent).  This was later followed by the situation where the ro was moved within the kamae, when the fukuro-dana was eliminated, at which time the superfluous second tatami in that portion of the room used by the guests was taken away, resulting in the 1-mat daime room (this may have occurred while Jōō was still alive); but Rikyū almost immediately rejected this kind of room, because the close proximity of the wall (at this time, the sode-kabe extended from floor to ceiling) made life difficult for all but the first guest.  Only then does Rikyū seem to have begun making use of the 2-mat room.  This means that the 2-mat room, as well as the three-mat room, was derived from the ichi-jō-han [一疊半] by eliminating the sode-kabe, and extending the utensil mat to its full length (though the utensil mat continued to be used as if it were a daime) -- a model that he employed in his residences within Hideyoshi’s various compounds, and one that most deeply appealed to Hideyoshi himself.  Nevertheless, Rikyū appears to have continued to use his 2-mat daime Jissō-an [實相庵] until he removed his household to Mozuno (around 1588 or 1589), at which time the small room within his residence was the two-mat Mozuno ko-yashiki.

    As the Sen family was unfamiliar with the details of this history before its final chapter (Shōan's mother was sent, from Hideyoshi’s harem, to manage Rikyū’s Kyōto household no earlier than 1584, so they would have had no knowledge about his personal life prior to that point in time, and of course they never saw the compound at Mozuno -- as Miyaō Saburō Sannyū and his son Shōan, later known as Sen no Shōan, and grandson Sōtan, were all members of the machi-shū faction that had coalesced around Imai Sōkyū following Jōō's death at the end of 1555), they took that brief experience and expanded its details to fill in the whole of Rikyū’s lifetime.  As a result, since the small room that Rikyū was using (outside of his Ima-ichi residence in Sakai, at least) between 1584 and his death in 1591 was the two-mat room with mukō-ro, the Sen family believed and then argued that the two-mat room had been the original small room, with the 2-mat daime and the other rooms appearing later -- as perversions of Rikyū’s original vision.

    Returning to osshayū ni, because I have been unable to find anything resembling a dictionary entry for this expression, I have also been unable to locate anything resembling a standardized pronunciation (all of the examples I found were written with kanji, without furigana).  So “osshayū ni” [仰尤に] is only a guess.

†In other words, they exerted their intellects to the fullest to determine the system of kane-wari.  This argument, of course, reflects an ignorance of the shiki-shi [敷き紙]; and so supports the Sen family’s assertion that Jōō and Rikyū had created the idea of kane-wari out of nothing.

²Sute-gataku omoshiroki-koto ni sōroeba, ikkō ni mukō-ro bakari tomo zonzerarezu　[ステガタク面白キコトニ候ヘバ、一向ニムカフ爐バカリトモ不被存].

    Sute-gataku [捨て難く] means (something that is) difficult to discard; difficult to throw away.

    Omoshiroi-koto ni sōroeba [面白いことに候えば] means if something is interesting (or amusing) to do.

    In other words, if something is interesting to do, then it is difficult to just throw it away (because it does not conform with the original way things were done).

    Ikkō ni mukō-ro bakari tomo [一向に向爐ばかりとも]:  ikkō ni [一向に] means completely, totally, absolutely; mukō-ro bakari tomo [向爐ばかりとも] means even if it is only about the mukō-ro.

    Zonzerarezu [存ぜられず]:  the verb zonzuru [存ずる] means to know, to be aware of, to be acquainted (with); -rare [-られ] indicates the potential form (i.e., if one were to be aware of...); and the suffix -zu [-ず] makes the verb negative (“if one were not to know...”).

    Ikkō ni mukō-ro bakari tomo zonzerarezu [一向に向爐ばかりとも存ぜられず], then, would mean something like “(I) don't believe it would be possible to have only the mukō-ro.”  In other words, even if the mukō-ro were the only option, it would not be very satisfying*.

    Though Shibayama's text is written using even more archaic structures* (難捨面白キコトニ候得バ、一向ニ向爐ハカリ共不被存), but when read aloud, his version would result in the same sentence that is found in the Enkaku-ji manuscript. __________ *That is, if, in the small room, there were no other option but to use the mukō-ro, dissatisfaction would drive the tea community to search for some sort of alternative.

†This kind of writing (where kana are kept to a minimum) was considered to be analogous to writing in Chinese.  Indeed, this is the way that Takuan Sōhō wrote, and (given the enormous influence that he exerted on the Sen family -- especially on Sōtan and his sons Sōsa and Sōshitsu) he might well have been taken as the model for Sōkei’s speeches in this and other such entries in Book Seven.

    This kind of affectation seems to have been mostly used only in writing.  When read aloud, it would be necessary to change the order of the words so that they would conform to the rules of Japanese grammar.

³Semete ni-jō-shiki ni daime-giri no tsuketaru ha, sono-mama aru-taki sumai ni te sōrō　[セメテ二疊敷ニ臺目切ノ付タルハ、其マヽアルタキ住居ニテ候].

    Semete [責めて]:  the verb semeru [責める] means to blame, censure, find fault (with).

    Semete ni-jō-shiki ni daime-giri no tsuketaru ha [責めて二疊敷���臺目切の付けたるは] means “if (you) fault (the desire) to attach a daime (utensil mat) to the two-mat (room)....”

    Sono-mama aru-taki sumai ni te sōrō [其ままあるたき住居にて候う]:  sono-mama [其まま] means (just) that way, as it is*; aru-taki sumai ni te sōrō [有度き住居にて候う] means live as (you) wish; do as (you) want.

    In other words, if you object to the idea of appending a daime utensil mat to the earlier two-mat room for whatever reason†, you are completely within your rights to reject that sort of venue, and simply continue serving tea in your two-mat room with mukō-ro.

    Here Shibayama’s toku-shu shahon version has ni-jō-shiki ni daime-giri wo tsuketaru ha, sō-an sumai no uchi dai-ichi ka to kono-bō ha zonji-sōrō-mama, semete ha ni-jō-daime-giri wo kagiri ni shitaki-koto to zonzuru nari [二疊敷ニ臺目切ヲ附ケタルハ、草菴住居ノ内第一カト此坊ハ存候マヽ、責テハ二疊臺目切ヲ限ニシタキコトヽ��ズル也].

    Ni-jō-shiki ni daime-giri wo tsuketaru ha [二疊敷に臺目切を付けたるは] means “with respect to the case where a daime-giri is appended to a two-mat room....”

    Sō-an sumai no uchi dai-ichi ka to kono-bo zonji-sōrō-mama [草菴住居の内第一かとこの坊は存じ候うまま] means “within (the various forms of) the sō-an, was this the first? this monk understands what was (the truth of the matter)....”

    Semete ha ni-jō-daime-giri wo kagiri ni shitaki-koto to zonzuru nari [責めては二疊臺目切を限りに慕いことと存ずるなり] means “but though (I) might be blamed, since the ni-jō-daime-giri (already exists), I only know that I love it.”

    While the Enkaku-ji text generalizes the matter, the toku-shu shahon version personalizes the issue. __________ *Sono-mama, here, is referring to the original 2-mat room.

†Again, this ignores the actual history of the case.  It is not that the daime was appended to a two-mat room, but that the superfluous 1.5 mat area at the lower end of the 4.5-mat room was cut off, since this was not necessary.

    The 4.5-mat room had been considered the usual size for a personal study -- the amount of space needed for a nobleman to live comfortably (he spent virtually his entire time within that room, both day and night).  This is why the 4.5-mat room was considered intimate -- it was inviting ones guests into the nobleman-host’s personal space.

    And the number of guests had been fixed at around 5 people (which was half the number of people usually considered appropriate for a renga [連歌] competition, since a smaller number would lack the variety of personalities, and so the varied nature of their verse links, that made such gatherings interesting:  the participants in the renga-kai were usually divided into two teams of five persons each, and this may have been the precedent for the number of guests invited to the the chakai), because it was difficult to serve the meal to a larger number of guests in the 4.5-mat room (since, unlike the poetry session, the guests were not supposed to sit on the utensil mat, nor obstruct the path that the host would have to take from the katte-guchi in order to have access to each of the guests -- this is why the renga competition took place in one room, while refreshments were served somewhere else).

    As Jōō grew older, he came to find serving five or six guests more and more difficult, so the number of guests, as well as the size of the meal, began to shrink.  (Nevertheless, even 5 people could be entertained in a 2-mat daime room without difficulty.)

⁴Mata san-jō no ro wo mochi-dashite kiritaru ha, katte no kata, ken-han kutsurogite　[又三疊ノ爐ヲ持出テ切タルハ、勝手ノ方、間半クツロギテ].

    Mata san-jō no ro wo mochi-dashite kiritaru ha [又三疊の爐を持ち出して切たるは] means “and again, the ro in the three-mat (room) was moved out and cut (to the right of the utensil mat)....”

    Ken-han [間半]* refers to the division of a one-ken (a 6-shaku square, which is roughly† the space occupied by two kyōma tatami) space into halves.  Here, it refers to the utensil mat (in the three-mat room) plus the mat to its right, divided in half.  Thus, it is referring to the space to the right of the utensil mat (regardless of the actual orientation of the mats).

    Katte no kata, ken-han kutsurogite [勝手の方、間半寬ぎて]:  this phrase is oddly written.  It means that the 1-ken area (that includes the utensil mat) is divided in half (parallel to the edge of the utensil mat), and then the ro is located on the katte-side of the half that does not include the utensil mat -- since this would give the most comfortable (katsuragite [寬ぎて]) access to the guests, when he is seated on the utensil mat -- as shown below (where Ⓣ is the host, and Ⓢ, ②, and ③ are the guests).

    Looking at Nambō Sōkei’s Shū-un-an [集雲庵] (since this is probably the room that the author was thinking of), the one-ken area is that outlined by the dashed red line.  The middle (ken-han [間半]) is, in turn, indicated by the dotted red line.

    The ro was to be located on the katte-side of the half that does not include the utensil mat.  This is what we see in the sketch.

    Here Shibayama's version has mata hira-san-jō no ro wo mochi-dashite kiritaru ha, katte no kata, ken-han kutsurogite [又平三疊ノ爐ヲ持出テ切タルハ、勝手ノ方、間半クツロギテ].

    The only difference is that the 3-mat room is defined as a hira-san-jō, which means a three-mat room where the utensil mat is located at one of the shorter ends of the room‡. __________ *The word is usually pronounced ma-naka [間半] today; and also, it is more commonly written ma-naka [間中].

†Technically, two kyōma mats placed side by side would give a square that measures 6-shaku 3-sun by 6-shaku 3-sun.  Either the author did not know this, or was not concerned about such details (as Nambō Sōkei most certainly would have been).

‡There were two basic ways to orient the mats in a three-mat room:

￮ the fuka-san-jō [深三疊], which (in Book Seven) is said to have been the older version, had the utensil mat on one of the long sides (with the temae-za close to the center of the room);

￮ the naga-san-jō [長三疊], which appeared later, originally had the three mats arranged so they were parallel (left).

    Later, though, the two mats used by the guests were arranged so that they were perpendicular to the utensil mat (right).

    When the idea of using the utensil mat as if it were a daime-gamae arose (even though the use of a sode-kabe was optional), cutting the ro to the right of the utensil mat also became an option -- and both orientations were also seen (as shown below).

    Rikyū’s Tai-an [待庵] (though it included a sode-kabe, and also had an ita-datami [板疊] installed on the left side of the utensil mat) was arranged like the example on the left; Nambō Sōkei’s Shū-un-an [集雲庵], as shown above, took the right version as its model.

⁵Jizai-nado tsuri-sōrō keshiki, sute-gataki sumai ni sōrō to mōshikereba　[自在ナドツリ候氣色、ステガタキスマヰニ候ト申ケレバ].

    Jizai [自在] refers to a length of bamboo, with an adjustable wooden hook (made from the crown of a small pine-tree) that is used to suspend the kama over the ro.

    Jizai-nado tsuri-sōrō keshiki [自在など釣り候う氣色] means “the visual effect (or mood)* produced by suspending (the kama over the ro) from something like a jizai....”

    Sute-gataki sumai ni sōrō to mōshikereba [捨て難き住居に候と申しければ] means “if we argue that it is difficult to throw away this kind of situation....”

    The second phrase of the toku-shu shahon version is omoshiroku sute-gataki sumai ni sōrō to mōshikereba [面白ク難捨住居ニ候ト申ケレバ], which means “if we argue that it is difficult to throw away such an interesting sort of place (where the kama is suspended from the ceiling on a jizai)....”

    The Sen family only used the jizai in the daime-giri setting†, so the elimination of that venue meant that the tsuri-gama could no longer be used in the small room.  And in rooms of 4.5-mats or larger, they always used a metal chain (kusari [鏁]) to suspend the kama.  Both of these rules seem to have been originally articulated by Imai Sōkyū. __________ *This is referring to the very special mood that comes from suspending the kama from the ceiling -- since it is impossible to keep the kama from moving once it begins to boil (and so, throughout the temae).  This feeling of inherent instability emphasizes the transient nature of the gathering, an idea that became increasingly important as Takuan Sōhō’s ideas began to spread through the Edo tea world.

†Unlike Rikyū, who certainly used it in his 2-mat room with mukō-ro, when serving tea using the small unryū-gama -- according to his own records.  (Indeed, there is no other way to use this kama in the ro, since it is too small to rest on the ro-gotoku:  this small kama actually fits in between the legs of the gotoku, which was necessary because Rikyū set up the ro at dawn with an ordinary kama, and then replaced that with the small unryū-gama shortly before the guests were expected to arrive -- and the fact that it fits between the legs allowed the small unryū-gama to be suspended so that its mouth was below the level of the ro-buchi).

⁶Kyū-kō waratte, warera mo dō-i ni omou nare-domo　[休公笑テ、我等モ同意ニ思フナレドモ].

    Kyū-kō waratte [休公笑って] means Lord Rikyū chuckled to himself.

    Only the Sen family (and their followers) referred to Rikyū as Kyū-kō, never his contemporaries.

    Warera mo dō-i ni omou nare-domo [我等も同意に思うなれども]:  warera [我等も] means us, we; dō-i ni omou naredomo [同意に思うなれども] but I think we share the same thought.

    In other words, Rikyū is saying that even though the two-mat room with mukō-ro came first, and so should be considered the orthodox form of the sō-an, he has to agree with Sōkei -- that it would be a shame to repudiate the 2-mat daime just as a matter of principle.

    The sentence in Shibayama Fugen’s toku-shu shahon is the same.

⁷Amari se-jō no cha, kuzure yuku-beki tei wo mite, tansoku ni mōsu nari to zo no tamaikeru　[アマリ世上ノ茶、クヅレ行ヘキテイヲ見テ、歎息ニ申也トゾノ玉ヒケル].

    Amari se-jō no cha [余り世上の茶] means “but as for the rest of the worldly form of tea” -- the kind of chanoyu practiced by the men of the world.

     Kuzure-yuku-beki wo mite [崩れ行くべき体を見て] means “look at the way it will fall into ruin.”

     Nagekawashiku ni mōsu nari [歎かわしくに申しなり]* means (we) should say that this (state of things) is deplorable.

      To zo no tamaikeru [とぞ給いける] means something like (I am) offering what I have heard.

    Aside from taking a pot-shot at the competition (which was something that the Sen family and their followers were always ready to do, particularly as the seventeenth century came to its end with the appearance of the hated daimyō-cha), it is difficult to see how this conclusion is connected with the rest of the passage.  The entry looks at Nambō Sōkei’s polite objection to Rikyū’s assertion that he regrets that the sō-an was ever enlarged from the original 2-mats (with mukō-ro) to the ni-jō-daime configuration, and ends with Rikyū’s amused concession that he, too, has a special fondness for this latter version of the sō-an.  But how this then serves as an invitation to knock everything else† that was being done “in the world” -- which pointedly is a reference to the modifications being wrought by the recently untethered daimyō (and anyone else who was not part of the Sen family’s machi-shū tradition) -- is beyond me.

     The final phrase, as found in Shibayama's version (the punctuation of which has also been changed), is given as nagekawashiku omou yue ni, mōsu nari to zo, no tamaikeru [ナゲカハシク思フ故ニ、申ス也トゾ、ノ玉ヒケル], which means “because (I) think this is deplorable, I am saying it (out loud) -- and passing it on to you.” ___________ *Today nagekawashiku [嘆かわしく] (or, more commonly, nagekawashii [嘆かわしい]) is preferred.

†This statement appears intent on gathering together every other change that had been effected -- except for the creation of the 2-mat daime.  Everything else should be repudiated, and chanoyu should be restored to Sōtan’s machi-shū version of the practice (which, far from having anything to do with Rikyū, would have resulted in a restoration of Imai Sōkyū style of tea).

[artalives-blog]

Science, Medicine, And The Future: Artificial Limbs

Advancements in science and medicine have ushered in a new era of possibilities for individuals with limb loss. Artificial limbs, once confined to the realms of science fiction, have become a reality that transforms lives and restores mobility. The emergence of sophisticated prosthetic limbs (Kaki palsu), such as prosthetic hands and legs, is a testament to the boundless potential of human ingenuity and the tireless pursuit of improving the quality of life for those in need. Artalive Malaysia stands at the forefront of this transformative field, offering cutting-edge prosthetic care and empowering individuals to embrace their potential.

Prosthetic limbs, commonly known as artificial limbs, are devices designed to replace missing body parts, providing users with the ability to perform daily activities and participate in a wide range of physical endeavors. The evolution of artificial limbs has been remarkable, driven by advancements in various fields, including materials science, robotics, and neuroscience.

Prosthetic hands, in particular, have seen incredible progress. Modern prosthetic hands are equipped with intricate sensors and microprocessors that allow users to perform delicate tasks with precision and finesse. The integration of myoelectric technology, which harnesses signals from the user's residual muscles, enables intuitive control of prosthetic movements. This breakthrough has transformed the lives of amputees, offering them the ability to grasp objects, write, and engage in activities that were once deemed unattainable.

Similarly, prosthetic legs have evolved significantly, providing amputees with a remarkable level of mobility and freedom. Advanced prosthetic legs incorporate dynamic components that mimic the natural movements of human limbs, allowing users to walk, run, and even engage in sports and recreational activities with ease. The integration of carbon-fiber materials and computer-controlled hydraulics has led to prosthetic limbs that are not only lightweight but also capable of adapting to various terrains and gaits.

The role of prosthetic care cannot be overstated in this journey of transformation. Prosthetists and healthcare professionals at Artalive Malaysia are instrumental in providing personalized and comprehensive prosthetic care. From the initial assessment to the fitting process and ongoing support, they ensure that each individual's unique needs and aspirations are met.

Artalive Malaysia takes pride in its commitment to staying at the cutting edge of prosthetic technology. They continuously strive to integrate the latest advancements into their solutions, empowering their patients with the most advanced and suitable prosthetic limbs available. By adopting a patient-centric approach, Artalive Malaysia supports individuals through every step of their prosthetic journey, encouraging them to rediscover their potential and embrace life with newfound confidence.

The future of artificial limbs holds even more promise. Researchers are exploring the possibilities of mind-controlled prosthetic limbs, where users can control their artificial limbs through their thoughts. The integration of artificial intelligence (AI) and neural interfaces could lead to seamless and intuitive interactions between users and their prosthetic limbs.

Moreover, the advent of 3D printing technology has revolutionized the prosthetic industry, making custom-made artificial limbs more accessible and affordable. 3D printing allows for rapid prototyping and customization, enabling prosthetists to tailor solutions to each individual's unique anatomy and preferences.

As the fields of science and medicine continue to progress, the potential for artificial limbs to transform lives will only grow. The collaborative efforts of researchers, engineers, and healthcare professionals will undoubtedly pave the way for even more groundbreaking innovations, ultimately enhancing the lives of individuals with limb loss.

In conclusion, the integration of science, medicine, and technology has propelled the development of artificial limbs to unprecedented heights. Prosthetic hands and legs have evolved from rudimentary tools to sophisticated, life-enhancing devices. Artalive Malaysia exemplifies the dedication of the prosthetic care industry to empower individuals with the latest advancements in artificial limbs. As we look to the future, the journey of artificial limbs continues to inspire hope and optimism, reminding us of the incredible power of human ingenuity in improving lives and shaping a brighter future for all.

CONTACT INFO:

Visit us: https://artalive.com.my/

No 16, Persiaran 65C, Pekeliling Business Centre, Off Jalan Pahang Barat, 53000 Kuala Lumpur, Malaysia

E-Mail: info@artalive.com.my

Contact: +60 3–4032 4273

[vndersons]

【Ｅｌｌｉｏｔｔ　Ｊａｍｅｓ　Ａｎｄｅｒｓｏｎ】

Triggers: Divorce, Health Issues, Teen Pregnancy, Anxiety

Basics

Age: 17 Birthdate: August 13th Zodiac: Leo Hometown: Manhattan, New York Sexuality: Hetrosexual

Traits

Negative: Over Protective, Ditsy, Clumsy, Lazy Positive: Goofy, Kind, Chivalrous, Understanding

Aesthetics

Cold Pizza, tie-dyed shirts, joy-sticks that stick, tangled headphones, worn out comic books, dusty figurines

Appearance

Height: 6 foot 6 inches Weight: 185 lbs Build: Slim Tattoos: none Scars & birth marks: A scar above his left eye from an accident when he was 5, a scar down the middle of his chest from where he had heart surgery as an infant. He also have several small, flat, brown moles that cover his body. Attire: Graphic T-shirts, plaid button downs that are always unbuttoned, jeans and kakis, vans & converse, dark rimmed glasses.

BIO

When Eli was born he had a heart defect, a rather sizable hole in his heart that needed to be closed via surgery when he was just a baby. Even though the whole was fixed, Eli over all has a weak heart.

Eli and Anna have been inseparable from birth. Quite literally. The twins have always shared a special bond with each other thought they could never be more different.

Anna was blessed with the beauty, grace, and athleticism, while Eli got the awkwardness, goofiness, and anxiety.

He is forever living in his "older" sister's shadow. Though he may be bigger, Anna definitely is the aggressor of the two. More then once Eli has had to step in and calm his sister down.

Where Anna is popular, and on different sport teams, Eli is, well not. The long and lanky young man was never graced with anything other then the body of a basketball player. Absolutely none of the skill.

While Anna was the social butterfly, Eli felt much safer being behind the lens of his camera. Hiding from everyone.

You'd think being the fucking twin of one of the most popular girls in school would give Eli some sort of clout, but truth be told he's mainly invisible. Especially to one Natalie Scatorccio. (exclusive to pvnkshooter)

In middle school his parents' tumultuous relationship finally came to an end, both Eli and Anna voiced their wish to stay with their father and in New York. But when it came down to it, their father didn't want them. So the two were stuck with their mother and forced to move to New Jersey.

Since the day he started school at Wiskayok, Nat had caught his eye. He'd never seen a girl so beautiful in his entire life. Even if there was an ever present frown on her face. For years, Eli had pined after her. Far too self conscious and anxious to really talk much to her. To Nat, he's just gotta be Anna's loser brother. But to him, she's the world.

On top of being just a dorky kid who spends too much time playing video games, Magic The Gathering, guitar, taking pictures, and reading comic books, Eli suffers from anxiety and often has anxiety attacks. Anna has a way of calming him down but without his medication he suffers.

Eli tends to not let rumors or other's views sway his opinion on someone. He prefers to make them for himself based off how the said person interacts with him and how they treat others.

When Anna got pregnant, it was hard on him to see his twin be treated so poorly by everyone around her. Especially seeing as he felt like there was nothing that he could do.

He loves his nephew dearly and it kills him not to be around his little buddy. Though not nearly as hard as it is on his sister.

Since the crash, Eli has been more outspoken. Speaking up when he both agrees and disagrees with something. To him, there's a reason he's there. He was a last minute thought on behalf of the principal to send him for yearbook, so to Eli it was more then a coincidence that the two girls he cares for most are both here. And he plans to protect them even if it means risking himself.

SCHOOL REPUTATION ;

Biggest Accomplishment: Preforming his first standup comedy show and not getting booed off stage Cumulative GPA: 2.95 Favorite Class: Home Ec because you get to eat food Least Favorite Class: English Elective of Choice: Yearbook Senior Parking Spot Decoration: THIS

[sunset-a-story]

🎧 and ✅ for the ask game!

-@vsnotresponding

Thanks so much for the ask @vsnotresponding! (Ask game can be found here.)

✅—Which character/plot point/etc would be your favorite to see on screen?

I think I'd be most excited to see Alex's knack portrayed on screen. As a psychometrist, he can see the past of anything or anyone he touches.

The past moments appear to him as these translucent blue ghosts replaying past events overlaid on the present world. It can be a really useful skill or incredibly overwhelming for him if it gets out of control. I bet an effects department could have some fun with that.

🎧—What would the soundtrack be like?

Ooo this is the one I was dreading so thanks for challenging me. There's a wide range of vibes in Sunset from lighthearted office interactions within the shelter of SolCorp to the dark, gruesome side of Entropy Games Inc and elsewhere. So there'd need to be moody, tense stuff as well as more upbeat music that would signal it's time for some relief from the serious stuff. Here are four songs I could imagine ending up on the soundtrack:

Call Me Devil - Friends in Tokyo

Future Foe Scenarios - Silversun Pickups

You Should See Me In a Crown - Billie Eilish

The Betrayer - Kaki King