#Module 2

[hellobeccabetty]

Original Content Writing - Module 2 - Play in the Classroom #writ671mu

Understanding Huizinga’s theories on space and how these in turn can help create rules/order, the classroom becomes a magic circle with established rules that both students and teachers are creating and enacting. To Huizinga, many aspects of classroom learning may form a ritual and in turn, a game. Taking attendance, giving a lecture, playing Kahoot! are all part of the play of the classroom—perhaps it is the acknowledgement of the game/play in the latter example that can help lead to its success. Even if students are forced to participate, perhaps it is easier for them to do so voluntarily when the structure is established out loud as a game. In some ways, it gives students permission to play that they may be missing in other classroom rituals. In so doing, students are able to access and use the knowledge of the “play world.”

[bxthiesworld]

Sex/Gender System

For week 2, we delved into the intricacies and complexities of the sex/gender system and the questions that emerged throughout these readings:

What are the implications of misunderstanding sex as a binary?

Why is it essential for scientists to incorporate a more expansive view of biological sex in our teaching and research?

I reblogged a couple of images that represent the discontinuous nature of the gender system, highlighting that it is not as binary as society imposes on us to believe. For example, photography of a person not adhering to the gendered norms of masculinity. Throughout the reading, I examined multiple themes, with one major theme being the social construction of scientific knowledge.

Multiple of these readings, specifically Sex and Biology: Broader Impacts Beyond the Binary, has highlighted that is shaped by cultural assumptions and pre-existing biases; especially how these biases has inherently been shaped through strong structural forces such as education. This is evident in how biological processes, like reproduction, are described. As we see in the Egg and the Sperm article, the language used in scientific texts often reflects and reinforces existing social stereotypes (Martin, 1991). For example, the portrayal of the egg as passive and the sperm as active in fertilization mirrors traditional gender roles. Even when contemporary research soon evolves into the narrative that there is a more active role in the egg, the language used to describe it shifts from passive to aggressive. This shows that cultural stereotypes are deeply involved in scientific literature.

In Sex and Biology, the quote "cultural norms can be so pervasive that it's almost as if they are 'common sense'" is relevant to the overall theme of anthropomorphization (Sharpe, et al., 2023). This reminds me of a lot of my experiences with day to day interactions where a lot of cultural norms are imposed onto us.For week 2, I actively examined my interactions throughout the day and analyzed the cultural underpinnings in our society. For example, when I'm having a chat with my friends and we start naming emotions, especially during conversations about introspection, we say things like "people have anger issues" as if emotions themselves have their own characteristics and behaviours.

Moreover, in our seminar we discussed the main themes.

Main themes:

Inclusive language/vocabulary 

How knowledge be produced. Personal experiences in the egg one. For us, we always see female being less valued. That is reproduced in the paper as well. Science is being portrayed as a bias and it is coming through. The sex and biology reader, the scholar was saying you're nonbinary so you're pushing your narrative onto animals.

Bias in AI is being coded by bias scientific literature

Beyond the trans/binary: gender modality. How we have ways of different being.

Cultural/historical underpinnings

Not being translated into contemporary knowledge

Biological clock

Gender article: how transgenderism has been portrayed as a "new" thing, but us living in a culture where colonial powers influenced our society, it is ascribed as new. But is not an actually new concept.

It's hard to keep your identities alive when western/colonial impositions are forced onto your identity. And it's this struggle between pre-colonial and post-colonial identities 

Sexual continuum

Classing someone as intersex, there's a diversity as well

References:

Martin, E. (1991). The Egg and the Sperm: How Science Has Constructed a Romance Based on Stereotypical Male-Female Roles. Signs: Journal of Women in Culture and Society, 16(3), 485–501. https://doi.org/10.1086/494680

Sharpe, S. L., Anderson, A. P., Cooper, I., James, T. Y., Kralick, A. E., Lindahl, H., Lipshutz, S. E., McLaughlin, J. F., Subramaniam, B., Weigel, A. R., & Lewis, A. K. (2023). Sex and Biology: Broader Impacts Beyond the Binary. Integrative and Comparative Biology, 63(4), 960–967. https://doi.org/10.1093/icb/icad113

[yanni-thinks]

Module 2: PROCESS AND CONTEXT OF SELFHOOD

[2/27/23]

This module was an interesting one as it discusses different concepts on how the ‘self’ forms. So one dares to ask if they are born a certain way, they have to behave a certain way. Everyone around me does it right? I know nothing better than to imitate the people I look up to.

The topics in the module paint a light on predetermined qualities and if they’re innately present the moment you are born. I think I understand the logic of this when it was taught in class earlier but it’s a very limiting view of the self. The wonderful thing with being human is that you are your own canvas and the brush is in your hands–up to you how you’re going to paint how you want to look like. 

On the topic of choosing who you become, there’s the self you want to be and the self you want to present to others. For some, the distinction between the ‘self’ they keep to themselves and the one shown to others are close to the same, but for others, a whole different ‘self’ is shown to their peers. Struggled a bit with the later, especially if I wanted to fit in but after this module I think I need to be a bit more kind to myself.

Oh look a meme

[bitegore]

I made a character sheet to plot your OC's development over time! (There's supposed to be a character name in the big white space next to "over time" but it got eaten a little lmao)

You can use this for whatever you want, and you don't have to credit me. Feel free to change or edit anything you feel like. Please don't tag me if you credit me - just link to the original post.

Credits, explanations & a transparent version under the cut :D

Credits:

The actual image was made with the free NBOS character sheet creator, which is a sort of dated but free and solid text-layout sheet maker intended for ttrpg style character sheet creation.

Fonts used were Bisdak (titles) and Rockwell (body). Both are free! You can use them to fill it out if you like.

Inspired by a comment @maybe-solar-powered-calculator made on this other post about filling it out for characters at multiple points along their arcs. Thanks for putting the idea in my head :D

This is explicitly released under a CC0 1.0 deed, ie: you can do fucking whatever you want with it and I don't care and you don't have to tell anyone where you got it from and no one gets to stop you.

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Last time I made one of these I got a bunch of questions on all manner of things, and I can never keep up, so I'm just appending a set of notes for how to use it and a glossary because I know some of these phrasings will be confusing.

Ignore or change anything you don't feel like works for you here. You can do whatever you want forever.

Suggested / intended use & general notes:

This sheet could work for something story-level, if you want. But it's really only good for individual arcs; if the character goes through multiple arcs in your story, then they're going to fit poorly here. In that case, you're probably better off doing versions for each arc, or just adapting this to a different format more suited to your thing.

Also, if your arc has a nontraditional structure - divorced from the typical "rising action - climax - conclusion" type of structure where there's a clear 'important turning point' - it may not work as well either.

The mindset section is meant to come at it from a 'golden mean' standpoint - that is, everything on either extreme of the slider is 'too much' and therefore bad. It's not bad-to-good! The far right side is a flaw too. They're only grouped the way they are on basis of the specific OCs I personally had in mind when I put it together.

Growth is labeled 'worse'-to-'better' but it means, like, active decrease in that area vs active increase; if nothing changes, it should stay at the center even if it sucks. The category is about contrasting changes, and sometimes changes are for the worse!

The entire sheet is very deliberately subjective. It should really be answered from the character's perspective - how they feel about it, not what's necessarily true. Technically you can do whatever you want and I can't stop you, but it's a better tool if you approach it from the point of view that the character may believe things that aren't true - that will define their behavior way more than the objective facts of the story.

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Definitions:

This part is long as hell - recommend using ctrl+f to find the specific words you're stuck on. I defined everything.

General categories:

Mindset: how your character thinks about themself and how they act. Their understanding of their own approach to life. Attitude, viewpoint, decision-making process, that sort of thing.

Circumstances: the relationship between your character and the world around them. Where they are, what that place is like, and how they feel about it.

Growth: how the character and their impact - their attitude, their behavior, their immediate surroundings - changes over time.

Outset: the start of the character's arc.

Present: the 'center' of the arc. If you're planning something ahead of time and it hasn't 'happened' yet, then this is the near future.

End-game: where they are after the conclusion of the arc.

Mindset terms:

Center of the world: "If I have a problem, it's the only thing that matters to me." Self-centered, self-absorbed. Doesn't necessarily mean anything beyond that - they don't necessarily have to be unpleasant to be entirely focused on their own life.

my life isn't relevant: "Everyone else's problems are so significant, I don't pay any attention to my own". Someone who ignores or neglects their own life in service of some other thing, or doesn't consider their own behavior to have any real importance.

Only see enemies: Paranoid. Everyone's out to get them. Anyone who seems nonthreatening is hiding their potential for danger and everyone who seems threatening is a threat. The character must remain ever-vigilant, lest the cashier at the 7/11 suddenly stab them, or their best friend turn out to secretly be trying to poison them to death.

Only see friends: Naïve. Everyone is a good actor who wishes everyone else well, and if they don't seem like they're acting from a place of kindness or care then you probably don't understand what they're up to. The character is pretty sure the stranger holding that knife is, like, someone to chat up maybe, they're clearly only hanging out in this dark alleyway because it's a nice spot and no other possible reason.

overthink everything: Ten thousand thoughts per every single action taken. Maybe they never get around to acting at all. They have to consider every possible outcome. What if by eating lunch they accidentally trigger the apocalypse?! Who's going to think about these things if not them?!?!?!

impulsive to action: Act first, think never. What do you mean "consequences of actions"?

Unilateral decisions: "I will make every choice and no one else's opinions or thoughts are relevant". Discounts outside suggestions. Firmly convinced that they know best in any situation, and will brook no disagreement with their views when it comes to actually doing things.

Command me, please: "I don't know what to do and I don't know what to even start with, someone please tell me what to think". No confidence in their own views. Will not make any decisions unless forced and even then will beg someone else to please tell them what to do. Has no idea what's best and is pretty sure anyone else will have a better idea.

can't ask for help: No one will ever help the character; they have to do everything themself, even the things other people have repeatedly offered to do for them and have much more experience with. Doesn't necessarily mean that no one will help them or that they are explicitly barred by some real-world circumstance; just that, for whatever reason, they refuse to ask for help. This is an attitude thing - will they ever reach out? No? Then they're here.

too reliant on others: Have they ever solved a problem alone? Do they believe they're even capable of doing so? The character all the way at this end of the scale absolutely never expects to be able to do anything themself, has no trust in their ability to solve a problem, and needs someone else to come save them from it. The kind of person who needs ChatGPT to do their homework. Again - doesn't actually mean anyone will help them, or that the people they're relying on are reliable - just that they think they are helpless without ... well, help.

Weapon maker: This has to do with problem-solving strategies and not actual weapons. The weapon-maker is a character who views every situation as a conflict that cannot be de-escalated or solved by cooperation, and responds appropriately. The most fundamental weapon maker character turns everything into an argument, a fight, a war, etc. There are a bunch of other responses to conflict, though - they might avoid problems that need solving because they avoid conflict generally too. Fundamentally what you want to answer here is: when they see a locked box and they don't have the key, do they respond to it the same way they'd respond to someone telling them "you can't open this box"? And how do they respond to that? Typical weapon-maker approaches: - brute-force the box open or try and then give up if it doesn't work; and also get into an argument that might turn physical with the hypothetical person - shrug and give up immediately, in both situations so on and so forth. Another hallmark is that they kind of suck at problem-solving and give up if brute-forcing a problem doesn't work. This is not someone who is picking locks unless someone else told them to - they have one solution, it's to make everything into a conflict, and then to win that conflict by beating them or to give up because they think they'll lose.

Tool maker: This person approaches every situation like it's a puzzle, not a fight - up to and including actual fights. Tool-maker characters generally assume that a situation can be solved by just finding the right approach and doing it the clever way. There's the same fundamental question as above - if your character sees a locked box and has no key, would they approach it differently than someone telling them they're not allowed to open the box? 'Typical' tool-maker approaches: - I can trick the person into giving me the key by saying the right things, and I can also pick the lock because fundamentally there are 'right answers' to both of these - If i make friends with this person, they might change their mind, because now we're cooperating. I can still pick the lock because there are 'right answers' there. - The person has a reason for wanting me not to open the box, so I can definitely figure out what that is and solve the reason so then they'll let me open it. I can take whatever it is even if they really want to keep it if I just find the right answer. I'm going to break this box into little pieces because that's the easiest way to get into it but I could probably open it some other way if that wouldn't work.

A note - the center of this bar is someone who generally has different responses to different kinds of situations - like, in the box example, they'd approach the box and the person with two different general attitudes and processes - but generally responds to those situations using the same kind of decision-making process for each category every time. Most people are nowhere near either extreme. Characters tend to be classifiable into weapon-maker and tool-maker because they are fictional and it's easier to define one kind of approach than many. Approximately average approaches: - pick the lock if no one's around, but give up if someone is there because someone telling me not to open the box is a conflict i think i'll lose but a locked box is just a puzzle that i can solve - argue with the person, but give up on the box, because they're approaching the box as a puzzle and they don't think they have the skill to get into it, but the person is someone who can be convinced or bullied into handing over the key

I made this particular dichotomy up, which is why I think I get a lot of questions on it whenever I put it into anything, but I also don't know of any other snappy way to describe this sort of thought or approach variance, and it's genuinely useful for character writing in my opinion.

Pessimist spot-finder: Generally a downer but not necessarily. This kind of character just approaches everything with a close eye for problems, issues, reasons to find fault. If they're miserable, it might be why, but like, they can be a cheerful spot-finder if you want, I just wanted to get at "the glass is half empty" and "the glass is half full" more than anything.

Optimist upside fan: The opposite. "The glass is half full". If there are problems, they can find something about them that's not so frustrating or bad to focus on. Pretty damn good at overlooking minor issues if there's no reason to fixate on them. Not necessarily cheerful.

Abysmal company: could not give less of a damn about treating people the way they 'should' be treated. Maybe they take pride in that. Maybe they just think it's irrelevant. Either way, they know they treat people badly and they don't see any reason to stop. Does not necessarily mean that they treat people badly if they think they're doing the right thing and are wrong. Doesn't mean they're actually pleasant or unpleasant to hang out with, either, unless you really want it to mean that.

Decent to others: treats people well as a matter of course, or at least they sure think they do. Makes an effort. Would probably care and/or consider changing their behavior if someone said they were treating someone poorly. As before - they can be completely un-self-aware and just think they're doing right by people while treating them completely horribly.

Morality is irrelevant: 'abysmal company' for broader approaches to life and problems. Maybe they just know they're myopic and don't think other people's problems matter. Maybe they just gave up on trying to differentiate between 'good' and 'bad' and outsourced it to someone else or stopped paying any attention. Maybe they just like to take morally unjust actions and can't be bothered giving a damn when someone points out that they're morally unjust, or maybe they're proud of it. Kind of a villain trait generally, but not necessarily - it doesn't have to mean they act badly, just that they don't care if they do. Also, this is about how they choose their own actions and view their own behavior. They can think morality is relevant for other people as long as they ignore it when they act themself.

Always in the right: feels morally righteous in every decision they make. Standard superhero type of trait. Doesn't necessarily pass judgement on others, doesn't necessarily act well according to everyone's moral code (see: blue and orange morality), but they are extremely principled and will never deviate from the moral code they personally believe in. And they do genuinely believe in it.

Circumstances terms:

Generally terrible to generally excellent: how subjectively decent is your character's situation, overall? If they think everything is horrible, but the situation is charmed to everyone except them, then it's generally terrible.

Need for changes to passive tolerance: will they do something about it? Do they feel like they have to?

No agency in action to decisions are huge: agency being "how much power do I have to make changes here?", this just asks how much they have. No agency means that, no matter what they do, nothing will happen - they might be locked in a cage or somehow otherwise completely unable to use any sort of power at all, even the power of just leaving. The other end of the spectrum is where every decision the character makes makes a huge difference, not just to themself but to everyone around them as well. They can start wars, they can have anyone they want killed, they can do anything whenever they feel like it. If they think they have no agency even though they do actually have agency, they don't have agency here. If they feel like they have all the agency in the world and can do anything, then they do even if it's not true. It's perceptual again.

Stakes are deadly to mistakes solvable: what are the consequences of failure? Will you die, will you lose status you can't afford to lose, will you lose belongings, will you have to apologize, will nothing happen at all? Mistakes solvable is where they think every mistake is solvable forever - the character pushes someone through a woodchipper and they come out and to fix it, maybe an apology has to occur, but not much else. Does not necessarily mean no one gets hurt or killed as long as the character thinks there are no permanent consequences. This is the most important one on this section to keep subjective because it will greatly influence how your character approaches situations. A character who thinks everything is deadly-stakes may go to cartoonishly-extreme lengths to avoid turning a report in a day late. A character who thinks all mistakes are always solvable may push someone through a woodchipper and then just assume they can say they're sorry and it'll all go away. The setting and their approach do not need to be applicable.

Needs go unmet to attended with care: how do the people around them treat them? Do they pay attention when the character needs something, or do they ignore it? Does the character have to do everything themself around here, or are there people who will help out?

Regarded poorly to regarded well: how do they think other people see them? Are they respected, are they liked, or are they disliked? Do people broadly trust them or are they pretty sure everyone regards them with suspicion?

Nothing changes to changes in seconds: functionally the 'stability' meter of your setting - is the situation generally stable, or are things constantly changing? Does your character feel like every five minutes, there's a new problem that needs dealing with, or do they feel like nothing has ever happened ever?

Growth terms:

Changes in place: do they go somewhere else? Does the physical setting otherwise change (eg; earthquake, war, etc) ? Are there any other reasons that the 'vibe' or 'experience' of the place is different from before?

Change in power: does the character's percieved agency (see: no agency in action to decisions are huge) change? Alternately you can use it if they've gained or lost power in some percieved way (deposed, assigned a commanding position, etc).

Change in bonds: do their relationships with people change? Have they made new friends, lost old friends, changed the nature of their relationships with friends or partners, etc?

Change in beliefs: straightforwardly, have their beliefs, morals, etc, changed?

Change in hurts: have they undergone some horrible experience? Do they have past trauma from some pre-arc horrible experience they're healing from and/or discovering they're more powerfully subject to? Did they experience a physical injury that they're recovering from or which materially changed their life? Did something recent dredge up old issues? So on and so forth.

Change in hopes: Do their desires for the future look the way they used to? Do they care about different things now? This is something the character is not actively working for, but may be tied to actual goals.

Change in fears: are they overcoming fears? Growing past them? Gaining new ones? Are they scared of shit different from how they used to be?

Change in goals: Not the same as a hope because it needs to have a specific, achievable outcome the character is actively working toward. Do those material goals look different? Perhaps they no longer want to work against something, maybe they didn't have any goals and now they do. Or maybe they've realized the goal is impossible, or something has happened to make that goal unachieveable. Whatever it is, if there's a change, it's a change.

Change in self-awareness: their beliefs about who they are and what they're like, and what their circumstances are. Have they gotten more self-aware, have they gotten less self-aware, or has nothing changed?

Change in relationships: their relationships' overall health and resilience, as far as the character is concerned - which doesn't mean they're necessarily good, just that the character thinks they're how they're supposed to be. Have they improved? Have they gotten worse? Have they not changed?

Change in knowledge: do they feel like they know more about the world, their place in it, the people around them, etc? Not necessarily how to do things - just general information and awareness.

Change in social standing: how does others' regard for the character change over this part of their arc? Do people like them more or less? Are they respected more or less than before? Has nothing changed? And so on.

Change in skills and abilities: do they feel more skilled than they were before? Do they feel like they know how to do as many things as before? Again - not necessarily rooted in reality - a classic example of a character being wrong about this is a 'big fish in a small pond' character who used to be the high school sports star going to college on a sports scholarship and discovering they're not the best any more, and suddenly feeling like they're the worst - when they're better than they've ever been in an objective light. Use a subjective viewpoint for this.

Change in agency in life: how does the character's percieved agency change? Do their decisions matter less now than ever? Do their actions make way more happen than before? (See: no agency in action vs decisions are huge)

Change in outlook: Here's the upper/downer part. Are they more or less hopeful for the future? Do they think things are more terrible now? Are things improving as far as they're concerned? Or has that not changed?

Change in goal progress: how do they feel like they're progressing on the goals they've set for themself? Are they getting further and further away? Are they getting closer?

If some of this doesn't make sense and you want a clarification, you will have to tag me to get my attention, because I'm turning notifications for this post off the minute it leaves my immediate social circle.

Transparent version: (sorry you had to scroll so far)

[echosong971]

self-care is making D&Destiny character sheets for the Vanguard and your Young Wolf's fireteam

[astral-herald]

24 hours from now we may have reached euphoric heights unknown to most mortal men, or a rage that belongs in the deepest circles of hell alone.

viktor better be in the trailer. i'm so serious rn.

[bigskycastle]

why a B? what was the critique?

this sounds kind of cope i stg its not i would go into it more if it was like helpful or insightful TRUST. but genuinely the feedback was kinda.. incoherent and contradictory...?!? and i got penalised a lot for stuff that i was pretty clearly told was fine during crit whilst working on it. feels a bit vindictive to me and if it was graded by a particular lecturer which im 99% sure it was i have a feeling i know why

[christiansorrell]

I made the Severance chip for Mothership!

In a bold step forward for both cyberware and team management across the galaxy, MEMOS recently debuted Second Self™, a minimally-invasive brain implant capable of creating a secondary self within a single mind—a self with their own memories, job titles, skills, and personalities. With Second Self™, a crew of four becomes a crew of eight, capable of handling twice as many employment objectives and working in an exponential array of personalities. Second Self™ crews are able to work twice as long (on average) between shore leave periods when compared to traditionally-Selved crews.

Second Self™ is a 5.5”x8.5” bifold pamphlet detailing a cutting-edge piece of cyberware, capable of creating two unique Selves within one body. This implant can be taken at character creation, implanted into an existing character as part of an employment arrangement, or even purchased outright for those wealthy enough to do so. It has the potential for some huge implications at the table with some particularly fun dramatic moments mixed in there when things go wrong (or you need to use your Secondary Self to rescue your Primary Self in a moment’s notice).

You can download it now over on Itch.io FOR FREE: HERE!

This is obviously hugely inspired by Severance which I’ve been having a lot of fun with and more loosely inspired by Mickey 17 which I loved. Enjoy!

[taigamonster]

They had a little fight about the game

[princepv]

What do you think about OC?

Hiiiiiiiiiiiiiiii

I want to show you a module that just recently appeared in my thoughts!! - Сluster. (゜▽゜*) The Combination Module. It is currently not in the best condition due to being located in a long-abandoned laboratory complex in one of the alternate universes of the world. By order of the company, there should have been about a hundred of them - these modules performed work from the simplest to the most complex and dangerous for human intervention. They included 5 different modes or personalities, which manifested themselves depending on the type of work :drag the load, simulate, conduct an experiment, etc.

The Cluster.5 is the main one in the module's system, which in most cases controls all processes, however, the other 4 "personalities" often try to break into the foreground. (Green, White, Red, Yellow, Purple)

Previously, he had two "hands", can store a large amount of information, and previously worked in archives. Here!!

[hellobeccabetty]

Original Content Writing - Module 2 - Model Railroads #writ671mu

Sutton-Smith included collecting model trains in his list of “Solitary play,” but if you have as much knowledge of the model railroading community as I do (my dad is a train fanatic and I’ve been pulled along into many train-adjacent events), you would understand that this is a miscategorization and that model railroading also belongs in the “mind or subjective play” category alongside D&D. This category more fully captures the culture surrounding model railroading and the intricate complexities that go into this hobby. To begin with, Sutton-Smith isn’t entirely wrong to say that some aspects of train collecting are solitary, but many model railroaders go beyond collecting, creating elaborate layouts of fictional or non-fictional locations to varying degrees of scale which they then invite other enthusiasts to visit where they run sessions enacting elaborate movements and missions. There are many jokes both inside and outside the community about “playing trains” as a diminutive act, but “training sessions” can become quite intense and, as Huizinga notes, the bonds of community tend to last past the end of the game/session.

This raises a primary question for me: how solitary is solitary play? For my dad and his friends (and occasionally me), an otherwise solitary hobby becomes highly interactive and deeply engaging with distinct patterns of play behavior giving rise to the culture of model railroading that involves what Huizinga may call rituals with a hobbyist’s layout in many regards constituting hallowed ground or magic circle (I remember getting lectures when I was a kid that some trains are not toys lol).

Here is a portion of my dad's layout:)

In this bottom pic you can see some of the cards and holders that move with the trains to indicate loads/freight

[rollthewhatever]

These beans are the token images I used for "Cuddly Strixhaven Mascot" from the Strixhaven campaign:3

idk anyone plays it but if you need them please take one of these because it's dangerous to go alone

[kagaminemodulesdaily]

☆Kagamine Modules of the day:

Bebop Knave and Poppin Delight designed by Oonuma Mon from Project DIVA and Project Mirai 2/DX!

[monstersqueen]

I remember hearing "is5 is impossible without wisadel" when it first came out on CN - didn't last long though - and now that i've played is5 with and without wisadel, I can say : it's the same as the rest of the game. It's not impossible without wisadel it's just that wisadel makes it ridiculously easy

[kaiowut99]

lol poor Kite gets overshadowed more than you'd think for having a Light-Attribute ace

[kaito-module-of-the-day]

Today's KAITO module of the day is:

Mikumiku Friends 100 Yen Shop ni Collabo Dai 2!