#and for teaching it in such unengaging ways

[mainlysarcastic]

The relationship between math and philosophy is so fucking cool and annoying

Like why’d school have to kill my understanding and love of math ?? My college education falls in the realm of philosophy but the more math/physics I learn now as an adult (thx science YouTube channels for sharing educational things in an engaging way) the more I see how philosophy and mathematics are actually like two sides of the same coin

It’s so fucking beautiful and confusing

[tobiasdrake]

It's easy to be spiteful. I'm mad. I'm so, so mad. I am absolutely furious in a way that leaves me with little sympathy for the people who put us in this situation.

It would be one thing if you got in the car drunk and drove into a lightpole, and now I was standing over your bed in the hospital.

But I was in the car next to you. My family was in the car. You hurt us too. In fact, you probably hurt us worse than you hurt yourself. It's hard for me to muster sympathy from the hospital bed next to yours.

I'm angry. I'm so angry. And scared. And hurt.

...

But I keep coming back to the Civil War. Something that I don't think we, as a country, ever truly reckoned with was how the Civil War ended.

We think of the Civil War as, "There were these people who betrayed the country and tried to form their own country to enshrine slavery, and we beat them." That's the end of the story. The Confederates were defeated, slavery ended. We won.

But. Like.

We didn't. Like. Get rid of the Confederates and their ideology or something. At the end of the war... they and their ideas became Americans again. Their voices rejoined our own, equally weighted. That was literally the goal of the conflict.

The Confederacy didn't go away. It just came home. It was still there, burning in the hearts of all those people that were made Americans once more. And it perpetuated and grew and spread unchecked while we got drunk on stories of how we'd vanquished it.

...

There is no version of the future where we drive all the Trump Supporters into the sea and then Trumpism is never spoken of again. When all is said and done... they're still going to be here. With their ideas and their beliefs, adding their voices to our own. If we make it through this, we will still be in community with these people. That is how democracy works.

I see people talking about conversations they've had with Trump regretters in their lives. And it's so easy to be cynical about it. You fool. You absolute fool. If someone voted because they wanted the price of eggs to drop and now they're just pissy that the price of eggs hasn't dropped, I do not trust that person not to sell us out to the next charlatan who comes along.

...but if someone voted because the news was lying to them about how cool slashing regulations would be and now they're realizing that they're going to lose healthcare and their children's education is going to take a hit? I don't know. If they're starting to realize that they're being duped, then maybe that is a learning opportunity. But only if they have someone willing to teach them.

A long time ago, I saw political activism put on, like, a five point scale. Like, 1 and 5 are people with dug-in Left and Right politics. These people are not here to be convinced. They know what they believe and they think you're a sucker at best and the enemy at worst if you start spouting the other side's talking points near them.

3, in the middle, that's people who are completely unengaged. They're up for grabs.

And then 2 and 4, those are the voters who are leaning in one direction, but can be plied by the other side. They haven't hardened their beliefs into the iron wall of a 1 or 5, and it may be worth trying to convince them to come across the fence.

So if you're talking to a 5, you should save your breath. It's a waste of both their time and yours to try and get them to see your point of view. But a 3 or a 4 might be worth the time to sit with and discuss their beliefs and politics if you're trying to bring more people over to the Left.

...

On the macro scale, as far as the Midterm elections go, none of this matters. Nothing Trump's doing right now will be relevant in November 2026. This is a dirty little secret of politics.

After every election, there's about a 12-18 month grace period where you can do whatever you want without fear of electoral consequences, because people vote in November of Current Year based on how they are feeling about the state of the country in that moment. They do not take a referendum of all your political actions over the course of your term. They just vote based on the vibes they're feeling at time of voting.

You know how a kid can misbehave he wants for eleven months out of the year but then has to put on his best face for Santa when December rolls around? Politics are kinda like that. As destructive as this is, none of it will matter in the Midterms. What Trump does from January to November of 2026 is what will matter in the Midterms, with increasing relevancy the closer it is to that election.

If someone is upset with Trump today but then he gives them free vaccines or something in September 2026 then they'll think the Republicans did super well for those last two years. He is currently gleefully indulging in his consequence-free grace period.

But.

If the chaos he's unleashing on his own supporters is enough to momentarily crack a 5 and bring it back down to a 4?

...

Feelings don't care about your facts.

Cults don't build membership based on their ideas. Their ideas are stupid. Nobody listens to someone ramble about how the lizard people are working for Xenu to trick us all into thinking the moon exists and goes, "Yeah, that sounds reasonable. That's accurate to my life experience. I think this guy's making some solid points!"

People join cults because they're isolated. They're lonely. The cult offers a sense of community, a sense of belonging to something. People are social creatures, first and foremost, and they follow where their desire for a group dynamic leads them. They embrace the ideas that the community embraces. The rhetoric is their cost of entry. And they shun the ideas that the community shuns.

A key element of cult indoctrination is isolation from outside voices. So that they're only hearing these ideas, they can only find acceptance with these people. They will do the mental gymnastics that they need to do in order to be embraced and loved by someone, and the cult makes sure they feel that the only someone who ever could embrace and love them... is the cult.

But when that rhetorical armor cracks?

It can be repaired. Left to their own devices, they can do the mental gymnastics. They can find a way to make this make sense, so that they can return to the only community that will ever accept them.

Or they could let it break. Take the slap in the face, take the sudden shock for what it is, and walk away.

There's no way of guaranteeing what a person will do. But they're more likely to leave if there are people waiting for them outside, willing to take them by the hand and walk them out the door.

On a macro level, nothing Trump does today will be remembered in November 2026.

But if what Trump does today cracks someone's rhetorical armor, and they walk away? If they change what they believe between now and then? They might not go back to him.

...

I don't know what to do with all of this.

I am so, so angry. There are people in my life that I feel personally betrayed by. I don't want to hear that I should be patient with them. That I should be civil towards them. IT'S NOT MY FUCKING JOB TO EDUCATE YOU, YOU STUPID PIECE OF--

...

But if someone is suffering a crisis of faith in conservatism, the voices that guide them through it can't be Ben Shapiro, Jesse Watters, and Andrew Tate.

Because when all of this is over, they're still going to be here. And we're still going to have to try and move forward as a democracy, with their voices joined to ours.

...

I don't know where we go from here. I don't even know if we'll survive this moment in history.

I just have a lot of feelings.

[topazadine]

Identifying bad writing advice

I have seen what seems to be a backlash against the genre of writing advice in recent days. By that, I mean I saw like two posts about it within a few days of one another. That, to me, is an epidemic! We need a global symposium discussing the peoples' distrust of writing advice.

Not really, but one does need to practice caution when reading anything that tries to tell you to do something. That includes me, and even this post that you're reading.

There are tons of excellent guides out there helping to refine your unique voice rather than change it. BUT you should treat everything you read with some caution and ask if it resonates with you.

With that said, let's take a look at some warning signs that you might be getting bad advice.

Inexperienced source

You need to understand writing on a deep level if you're going to act as an authority on it. Someone who has just started writing can share their experience, but they shouldn't position themselves as an expert by any means.

Also, writing takes years to learn. Literally years. Casually writing for two years or so is not going to teach you everything you need to know so that you can share that with others.

I would also say that while you do not need formal training to be a writer, you should have some formal training to teach writing or give advice. As I'll discuss more later on, being able to do something well is very different than being able to explain how to do it.

If someone doesn't provide their credentials and their suggestions seem a little off, then they may not have the experience necessary to help you. I've shared my own credentials in several other posts so I won't belabor them, but I have written over two million words of creative writing, hold a BA and an MA, and have 15+ years of practice. I also tutored writing students for about five years.

Unengaging writing

This is pretty self-explanatory. If the advice-giver's writing is boring, or uninteresting, or hard to follow, they probably need to spend more time developing their own craft before they try to teach anyone else.

I include poor formatting in this as well. If someone is doing wacky things with their formatting that make it hard to read their guide, like using extra teeny tiny small font or enormous fonts, they are doing this more to show off how smart they are than helping you.

The "extra small super cute fonts" thing is also kind of ableist because low vision people are going to have to rachet their magnification up to 10000 to see anything. This suggests that the writer is not thinking about their audience.

Universalizing everything

The problem with advice about such a diverse craft is that it is almost impossible to target every potential need. Similarly, every advice-giver is coming from their own perspective and may not be able to see beyond their own experiences, biases, and so on.

If someone says "all good writers do this" or "always avoid this," they are likely not going to help you much.

With any advice, you should take what resonates and leave the rest. Sometimes, what resonates is uncomfortable, but you know deep down in your heart that it's true. That's common, especially if you have some bad habits holding you back but you're unwilling to fix them.

I try to always include a caveat that I am only coming from my own perspective and what I say may not apply to you. If someone writes an advice guide and tries to say that their way is the only good way to do something, or that anyone who doesn't follow their advice is a "bad writer," then they aren't thinking beyond their own nose.

Excessive prescriptivism

There are very few real rules in writing. In fact, I have distilled them down to only two that apply to everyone.

Writing needs to communicate something to someone.

Writing needs to be written so that others can easily understand (and enjoy) that message.

These two adages cover damn near everything about the craft, including the importance of grammar, spelling, syntax, and so on. For creative writing, they also consider the importance of coherent plots, understandable characters, good dialogue, avoiding infodumping, and so on.

Going further, these two rules explain that your writing should have themes and symbols meant to provide a deeper meaning without throwing it right in the reader's face, because readers don't like being lectured.

Note that these rules do not tell you how to create your characters, or how to format your writing, or anything like that. Because those things are all very context-specific, and what I suggest may not alway apply.

It's why older writers grit their teeth at younger writers bashing them over the head with "show don't tell" because there is nuance here. And you get to that nuance by writing a lot. Which is why beginner writers haven't found that nuance yet. And which is why beginner writers should not be giving advice.

Fails to explain the reasoning

Doing something and teaching something, as I said above, are very different things. Someone can be an amazing writer, but when they try to explain themselves, they fall flat. Similarly, you can be an avid reader but an atrocious beta reader because you have no idea how to identify problems and suggest solutions.

Having spent years learning craft and helping others improve, I can identify why something works or doesn't, and I can explain this in a way that makes sense. For example, my spicy mundanity post doesn't just say "mechanical descriptions are boring."

The post explains why those descriptions are unengaging, then shows examples of how to fix it, and then explains why those passages are better.

Similarly, my post on how not to write a character doesn't just say "avoid this." It explains why certain tropes are annoying and gives advice on how to fix those things.

I often link my advice back to key concepts, including cognitive load and audience, in order to demonstrate that at its heart, writing is deceptively simple: it's about communicating something to someone in an entertaining way. But there are millions of ways to do this successfully, and everyone needs to find their own path to success.

If someone just says "do this" without explaining why this is a better option, they're not telling you anything. They are just giving their opinion about what makes good writing without helping you improve.

Discouraging or elitist

Anyone who makes you feel like shit and like you can't possibly ever be a good writer ... is an asshole. Anyone who berates you for mistakes you make while learning is trying to gatekeep one of the world's oldest art forms - storytelling - for no reason other than to feel better about themselves.

You do not need an English degree or Creative Writing degree or any degree to be a good writer. You don't need formal training; (good) free advice you find on the internet, when applied systematically, can do wonders for you.

All you really need to be a good writer is time, practice, and patience. Just like anyone can pick up an instrument and become proficient if they do it over and over again, so can anyone become a great writer if they persevere.

Many people unfortunately fall into this trap of thinking that writers are some special breed of human who were innately gifted by the gods themselves. Sure, you can have an inclination toward writing, just like you can have an inclination toward anything else. But you can also brute force that talent through hard work.

Writers are not like athletes, where genetics and physical fitness and early life development all play a role in whether you can get to the Olympics. Some people just suck at sports and it's unlikely they will ever improve. I am one of those people. Rest assured I understand.

Thankfully, though, writing is much more forgiving and welcoming than that. (Though not all writers are very forgiving and welcoming.)

It may take you longer than someone "naturally gifted," and you may struggle more, but anyone can become a good writer with practice.

Those who tell you otherwise, or who tear down your work and mock you, or who insist that you need XYZ degree or skill or experience or whatever, are wrong.

Please don't listen to them. Please don't let them ruin your joy.

If you'd like to read more of my work, consider buying my book!

9 Years Yearning is a gay coming-of-age romance set in a fantasy world. It follows Uileac Korviridi, a young soldier training at the War Academy. His primary motivations are honoring the memory of his late parents, protecting his little sister Cerie, and becoming a top-notch soldier.

However, there's a problem: Orrinir Relickim, a rough and tough fellow pupil who just can't seem to leave Uileac alone.

The book features poetry, descriptions of a beautiful country inspired by Mongolia, and a whole lot of tsundere vibes.

You can also check it out on Goodreads for a list of expanded distribution.

Be sure to preorder Pride Before a Fall, arriving January 1, 2025!

If you do purchase my book, don't forget to leave a review!

Reviews are vital for visibility on Amazon and help to support indie authors like me. Whenever you love a book, be sure to let the author know! It's much appreciated.

I've also created a masterlist of writing resources that you can peruse at your leisure, all for free.

Enjoy!

[sketches4mysw33theart]

The Concoction of Creativity 

Synopsis: You’re trying to teach Mr Willy Wonka how to read with little success, as there are plenty of chocolate-scented distractions stealing his attention. Inspired, you both drop the lesson to allow the creation of a new type of chocolate which, upon making and eating, gives Willy the inspiration to finally understand what you were trying to teach him. 

Word Count: 2.2k 

Warnings: None

“Oh, this just does not make sense,” Willy said exasperatedly, placing the stub of a pencil on the makeshift desk he was sitting behind with a distinct air of abandonment. Drawing a breath, you gave him a small smile, which you hoped came across as encouraging.  

“It’s not that bad, really,” you said. “Look, you have consonants and vowels,” you pointed to the two groups of letters that you had painstakingly copied out onto the blackboard, “and a Y and W, which can act as either or depending on the context. Now, there are 19 consonants and 5 vowels. In speech, the sound of consonant letters involves the blocking of air before it leaves the mouth, whereas vowels involve the opposite.” 

You had your back to him, drawing circles and symbols on the blackboard as you continued talking about certain letters. Without the pressure of your eyes, Willy was almost immediately unengaged, staring at the pencil he had harshly discarded for a moment before picking it up again. Lost beneath your booming voice, he said to himself, “This does look rather tasty.” 

The pencil was now balanced at eye level on his pinkie finger, and he was watching it jitter with his head slightly tilted. “I wonder if... hmm, Middlemist Red Camellia dew with a dash of pencil lead...”  

And, in as little time as it took you to turn around, he had the lead of the pencil between his teeth, gnawing curiously. Before you could exclaim, he took it back out again, and you watched in fascinated disgust as he pushed the minuscule chunk around his mouth for a moment to taste the lead, then swallowed without chewing. 

When you had decided to take over Noodle’s responsibilities of teaching the new arrival to read, you didn't quite know what you were letting yourself in for. The young girl had confided one day while working alongside you in the wash house you were both imprisoned in that the chocolate maker did not know how to read, and she did not know the best way to approach teaching him, so you’d decided to utilize your meagre writing experience and teach him the best you could. However, you were not prepared for the enormous difficulty that this task proposed. Not only could Mr Willy Wonka not read, but he also seemed to have very little motivation to learn how to do so. He did, however, have plenty of motivation and passion for creating chocolate.  

“That’s it, Y/N,” he said with a gleeful smile. “That’s the concoction of creativity.” And he was up from his chair and over to his travel factory, opening up his mini case of wonders in no time at all. He mumbled to himself as he shuffled through vials, dancing fingers hovering over liquids of gold and green and blue, until he seized one with sudden vigour. 

You watched him, shading the amusement you felt with a faux-disgruntled look. You didn’t mind giving up your time to tutor Mr Wonka (you didn't exactly have much else to do in the wash house) nor did you mind his frequent disruptions and outbursts; you were simply content with the opportunity to be ensconced in the sweet, hopeful presence of the chocolate maker.  

Still, with your hands on your hips, you put on your best teacher voice. “And do you, by any chance, have a chocolate that will force you to focus on vowels and consonants?” You couldn’t stop yourself from smiling as you said it, because the look of focus – downturned lips, wide eyes, bursting dimple – had taken over his face.  

“Ah,” Willy looked up from his ongoing creation, two small vials clutched in his hands, with a sheepish expression on his sweet face. “I could do a Ruby Remission – great for forgetting the naughty deeds of truant chocolatiers, among other uses.” 

You couldn’t help but laugh and moved to sit in the chair that he had just vacated. “Spare me, please. But I suppose we can take a break. What's the concoction of creativity?”  

“The dew of the Middlemist Red Camellia, one of the rarest flowers in the world.” He shook the vial he was holding in his left hand, which was half filled with a thick, red-tinged liquid that glimmered in the weak light. “I managed to collect some in China. Just a concentrated drop of it can stimulate the minerals and glucose of the body needed for energy and brain power, but it needs a little kick, a spark of imagination.”  

Now, he gestured to the pencil with his head. “If I can melt the lead of a pencil in acetone,” he said, shaking the second vial of clear liquid, “I think I could have the perfect essence of creativity to give the eater that hope of fantasy.” 

You were awestruck by his dedication, his methods of working, his inventiveness, and watched him joyously labour with rapt attention. He snapped the pencil in half and tipped out the lead into the acetone, telling you as he did so how the acetone would break down the lead into a liquid, ready to be sweetened and poured into the chocolate mix. Putting that to one side, he pulled the cork from the red bottle and lifted it to his nose to inhale deeply before holding it out to you. 

Distracted by the pencil lead bubbling in acetone, you didn’t notice the offer at first, not until Willy said your name with a smile on his face. He couldn’t help but enjoy how much you enjoyed watching him work. You too inhaled the scent, a rich combination of rose bouquets and candyfloss, tinged with a faint Earthy smell of spice. “Wow,” you said, leaning closer for a second whiff. “That smells incredible.” 

He grinned. “And with the lead, it’ll taste it too, I just know it.” He turned back to his mini laboratory to focus on his concoction, but this time at such an angle that you couldn’t watch his nimble fingers at work. Dismayed, you stood up and sidled quietly towards him, leaning somewhat disruptingly over his shoulder. At the feel of your presence, the closeness of your bare skin to that of his arm, the natural, if a bit soapy, scent of you, Willy was rather flattered; the idea that you wanted to be so close to him, to watch him do what he so loved, made him glow.  

However, your sudden closeness caught him somewhat off guard as he was pouring the dew into his machine, and the warmth of you mere inches from his body unconsciously made his fingers tremble, causing him to almost drop the vial. “Oh, I’m sorry,” you mumbled, thinking you’d startled him and taking a hurried step back with a meek expression. 

“No, no, not at all,” he was quick to rectify the unconscious betrayal of his body and sheltered the conversation from an awkward silence by stretching out the vial towards you. “Would you like to pour the rest?”  

“I- yes, I’d love to,” you exclaimed, quickly broaching the space you’d shamefully put between you to gently take the vial from his fingers and stand, this time, beside him. “Where do I -” 

Willy pointed to a built-in glass container housing a thin spiral tube on his side of the case. “Pop it in there, we’ll add the lead and a pinch of stardust nectar extracted from the Luna Petalas plants of the celestial pools in Delphi.” His face fell into a dreamy expression as you watched, and he cast it toward you with an expectant pause that threatened to turn your knees into jelly when you didn’t make a move to start the chocolate creation.  

Startled out of your stupor, you quickly leant in front of him to pour the red liquid into the container, and watched it slowly travel through the spiral tube. So close to your companion's body, you were drawn into his heat and overwhelming scent of sweet chocolate tinged by the harsh soap of the wash house and an unfamiliar earthy smell that seemed to cling on to him desperately. When you stood back up, you couldn’t help but make sure you were close to him. 

He stoppered the vial that you had handed to him, carefully placing the bottle away before picking up the acetone, which was now a light grey. “Now the melted lead.” He handed the vial to you once more and gestured to the glass tube with a wave of his thin fingers. You repeated the actions of leaning across him, overwhelming your senses with his scent, pouring the liquid in, returning to standing, and handing over the vial. 

The machine made a noise, a happy-sounding one, you thought, but you looked to Willy for reassurance. The smile stretched across his face and the twinkle in his eyes, illuminated by the soft lights of his travel factory, assured you it was. Still, in tune with your discomfort, he clapped to calm it before saying, “Perfect, Y/N! Now,” you watched his fingers dance across his numerous bottles again, “a sprinkle of stardust nectar,” he handed you the correct bottle and allowed you to pour it in. “And then we press this button,” he pointed to a square button beside the glass container, “and voila!” 

As soon as you pressed the button, the mini factory burst to life, a conveyor belt beginning to run until there emerged four red chocolates in the shape of the most fantastic autumn leaves. You watched in awe as each perfectly engraved chocolate appeared as though by magic, looking as delectable as you had ever seen any Wonka’s chocolate look. They glimmered generously, reflecting the absorbed faces of yourself and the chocolate maker in hazy, romantic shades. Once the conveyor belt stopped with four perfect chocolates produced, the mini factory fell instantly quiet and silent once more.  

Willy turned to you with a triumphant look on his face. “You just made chocolate, Y/N! Try it, go on.” He plucked one of the leaves from the belt and held it out to you in the centre of his smooth palm. You took it eagerly and popped it into your mouth. Instantly, your taste buds were coated in the sweetest combination of rose, honeyed ambrosia, and wild berries, with a faint metallic taste reminiscent of grapefruit on the cusp of ripeness. You couldn’t resist the groan you let out as you bit into it and swallowed the noisette-like substance within. 

“Oh, Willy, that’s delicious! It’s perfect.” He was going to respond, but you lurched forward and pressed a quick kiss to the smooth roundness of his cheek, which instantly erupted in a flush of crimson. For a moment, he stuttered around the words his mind had yet to string together, then cleared his throat and pressed on. “I, er – wow, thank you.”  

Sparing more of his blushes, you picked up another chocolate from the belt and held it to his lips between your thumb and forefinger. “Your turn.”  

His cheeks still aflame, he opened his smiling mouth and accepted the chocolate onto his tongue. As the taste spread, his eyes closed and he inhaled deeply, his jaw tightening and Adam’s apple bobbing while he chewed and swallowed. It was your turn to blush as he opened his eyes and caught you looking.

But he just smiled. “Oh, that is good. We’ll make a chocolatier out of you yet, Y/N.”  

“Well, I definitely think you’ve got the creative juices flowing. But how are you feeling, Willy? More creative? Ready to work through Shakespeare?” you said teasingly. 

“Hm, absolutely. In just a second,” he responded with a grin, picking up one more chocolate and popping it in his mouth. He swallowed it, stared at the final one with his lips rolled together, and then looked to you where you now stood beside the blackboard with an expression of surprise.  

“Mm, you know, I think I’ve got this whole word thing, Y/N.” You watched him with a hopeful smile as the cogs of his mind continued to whir. “Sure, okay, consonants are like cacao nibs, they bring certain notes and textures to words, so they have rhythm and structure.” His hands were gesticulating wildly, primarily in the direction of the final chocolate, but his eyes focused out of the window as though the answer to reading was just out of reach in the cold London night. “But vowels are more practical, like the grinding of the consonant nibs, refining their texture and making them smoother. So, consonants are the structure, they block air, while vowels are the essence of flavour, releasing air.”  

You were beaming as he finished his unique comparison. “Yes, Willy, you got it!” As though snapped out of a trance, his eyes darted to you, and his face lit up. 

“Really?”   

You nodded enthusiastically, stepping closer to him once more to squeeze his arm as you continued your encouragement. “Spot on, well done! And now I know how best to teach you in the future. But, I think we’ll call it a night for now.” You turned away from him to go about cleaning the blackboard in preparation for hiding it from Scrubbit and Bleacher, should they come looking.  

With your back to him, you could not see the moment of inspiration that flashed in Willy’s eyes, followed by a second of hesitation, rounded off by a steely determination. With lithe steps, he approached you, gently placed a hand on your shoulder and pressed his lips to your cheek before you had a chance to turn around.  

“Thank you for teaching me, Y/N,” he mumbled, biting his bottom lip nervously. “Same time tomorrow?” 

[rathologic]

this is a mildly uninformed question, apologies, but has anyone written anything academic on the politics of pathologic? I haven't found people talking much about the inherent political conservative undertones (esp patho2) and would love to explore that further

oh I wish. I know there are a number of patho-centric theses out there but I haven't managed to find anything today that analyzes the story of patho2 at ALL, much less its political themes. I would love to talk about it and support people talking about it though please talk to me about it.

of the pieces I've read recently, Kendall's "Reading" Pathologic 2: Russian Literature as a Trans-Medial Idea (2022) doesn't focus on or dig into the underlying political framework - it more mentions places in which it is particularly alarming or unengaged - but I think the article's actual focus, the inherent ambiguity of video game choices conflicting with p2's attempts at literary quality, is a phenomenal (if judgemental) piece of criticism. and it's the only one I could find that was relevant here so I fully recommend reading it 👍

There is the sense of an inevitably ruined future here, one that the game distressingly amplifies through its suggestion that players should feel content to let viral infection run rampant through Burakh’s town (one of the key marketing slogans for Pathologic 2 is “you can’t save everyone”). This is not only a troublingly cynical relationship with the politics of epidemic writ large, but also indicative of the way Pathologic 2 engages with its Russian literary influences. Indeed, the point of the game is not to save the town, but to embrace inevitable apocalypse, and to either destroy Burakh’s home and re-build according to the teachings of the town’s Steppe inhabitants, or to embrace a strand of utopianism that will elevate the townspeople to a new historical plane.

[literaturereviewhelp]

The Truth about Stories: A Native Narrative A Critical Reflection In the book written by Thomas King, entitled The Truth about Stories: A Native Narrative, it is indicated that Thomas King shares many of his experiences and locates them in a personal and political narrative. He shows how one’s identity and culture are located in unequal material conditions and are represented in ways that denigrate, fictionalize, romanticize, and relegate native people to the past. In this regard, the essay aims to proffer a reflection on the main themes he lays out and a consideration of how they relate to one’s own experiences of oppression and privilege. Specifically, the following guiding questions are addressed: (1) what are the main messages of this book? (2) How do you respond to them – how do they affect you and relate (or do not) to your own experiences? (3) What do they have to say about identity, oppression, diversity and representation more generally? (4) What did you find interesting? What did it teach you? (5) What do you imagine is King’s objective in writing this book, in this particular style? And finally, (6) why might it be important for anyone – especially social workers to read? The Truth about Stories: A Native Narrative - A Critical Reflection In The Truth about stories, Thomas King shares a Native perspective on Native issues. In fact, this sentence alone suggests some of the problems he deals with throughout his book. Kings book covers topics as diverse as racism and stereotyping, basketball, and coping with lifes sorrows, but it looks at all of these issues through an exploration of narrative in the forms of stories that we tell ourselves and others. The books main message is one that discusses the importance of seeing people for who they are, and not trying to classify them as one particular race or culture. I think this is a message that is especially important for social workers to keep in mind as they struggle to help those who are not a part of the dominant culture or socio-economic class. One thing that makes Kings message so effective is the personal tone in which he tells all his stories. He frequently speaks to the reader and is not shy about telling us when he is aiming for a story-telling tone. In the first chapter he tells two different creation myths, one Christian and one Native. The tones he uses to tell them are very different, as he points out afterwards. “In the Native story”, he says, “I tried to recreate an oral storytelling voice and craft the story in terms of a performance for a general audience” (King, 2003, p.22). However, the Christian version, told with a less playful tone, used a “sober voice” which “makes for a formal recitation but creates a sense of veracity” (King, 2003, p.23). Kings stories in the book usually use a mix of these two tones, and the result is one which speaks directly to people and seems realistic without being unengaging. Also, the storytelling tone is part of the problem King wishes to speak about, that Native people are never really taken seriously and understood from their own points of view, but lumped into one big category, Native, and viewed as a sort of childish un-advanced race of people. As he says of his Native creation myth, “the conversation voice tends to highlight the exuberance of the story but diminishes its authority” (King, 2003, p.22-23). This, usually in the guise of focusing on Native performers who had to struggle to figure out whether they were still Native Americans or something else entirely, is a central theme throughout the book, along with the stereotyping that causes this main problem. He makes it very clear throughout that one of the big problems with “the Native problem” is unrealistic views of Native Americans handed down from the 18th century or even earlier in a few cases. He relates the story of Edward Sheriff Curtis, a photographer who went around the USA in 1900 taking pictures of various Native peoples (King, 2003, p.32). The problem with Curtis is that he was “looking for the literary Indian, the dying Indian, the imaginative construct”, so much so that he “took along boxes of Indian” props to dress up people who did not fit that image (King, 2003, p.32). Read the full article

[muhammadatif2321312]

Transforming PDFs into Engaging Content with The Power of Pdf to Explainer Video by Brainy Documents

In an increasingly digital world, engaging your audience is more important than ever. While traditional PDF documents are great for sharing information, they can often feel static and unengaging. This is where the magic of Pdf to Explainer Video comes in. By transforming a static PDF into a dynamic, engaging video, businesses and content creators can communicate their message in a way that captures attention and keeps viewers engaged.

Brainy Documents offers a cutting-edge Pdf to Explainer Video solution that takes your PDFs and turns them into visually appealing videos designed to explain, educate, and entertain. Whether you’re an educator, marketer, or business professional, the ability to transform a PDF into a well-crafted explainer video opens up new possibilities for how you share information.

What is a Pdf to Explain Video?

A Pdf to Explainer Video is a tool that allows you to take any static PDF document and convert it into a dynamic video presentation. This conversion is not just about turning pages into slides; it’s about adding voiceovers, animations, and visuals to bring the content to life. Explainer videos are designed to explain complex ideas or concepts in a simple, engaging way—making them ideal for everything from business presentations to educational tutorials.

Brainy Documents offers a seamless Pdf to Explainer Video tool that helps you create professional-quality videos in just a few simple steps. With this powerful tool, you can add voice narration, animation, and even interactive elements to your video, making it more engaging and effective.

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[footprints-111]

Children often show remarkable potential and abilities early in their academic journey, only to experience a decline in performance as they progress through the years. Parents see it and are perplexed by it. They may ignore it hoping it is just a passing phase and it will right itself. Indeed it could be so and the child will regain their performance edge. However, there is a possibility that something major is at play, and if it is so the child needs to be helped. Understanding the factors that contribute to this underperformance is crucial for parents and educators. By identifying the root causes and implementing effective strategies, we can help children regain their academic standing and thrive. This blog will look into why children underperform academically, possible causes, possible solutions, and parental guidance that can make a difference. Factors Contributing to Academic Underperformance Academic underperformance occurs when a child’s achievements fall below what is expected based on their capabilities. While occasional setbacks are normal, chronic underachievement can stem from various causes, both internal and external. Identifying the signs early allows parents and teachers to intervene effectively. Any one or more of the following five factors could be the reason your child is underperforming. 1. Lack of Motivation    - Early Burnout: Children who start strong may experience burnout due to pressure and high expectations.    - Loss of Interest: As subjects become more complex, children might lose interest if they don't see the relevance or find the material engaging.   Children may lose interest in their studies due to unengaging teaching methods, an absence of clear goals, or a lack of understanding of the relevance of what they’re learning. Without motivation, their effort and focus dwindle. Get the child interested in reading for fun by getting them age relevant books to read, as well as allowing the child to suggest what they want to read in the subject area they have problems with. 2.  Emotional and Psychological Issues    - Anxiety and Stress: Academic pressure, peer comparisons, and fear of failure can lead to anxiety, affecting performance.    - Low Self-Esteem: Children who struggle with self-worth may feel they are not capable of succeeding, leading to a self-fulfilling prophecy of underperformance. Factors like anxiety, low self-esteem, and depression significantly affect a child’s ability to concentrate and perform well academically. Bullying, peer pressure, and personal struggles at home can exacerbate these issues. Find your child relevant books to read in story form for instance so that they could relate to their own situation. Books that can contribute to the positive handling of emotions can start early and range from the elementary level and up to the teen years. 3.  Learning and Attention Disorders    - Undiagnosed Learning Disabilities: Conditions like dyslexia or ADHD can hinder a child's ability to keep up with their peers. A child needs professional intervention to be able to get back to learn again.    - Attention Span Issues: Difficulty focusing can result in missed instructions and incomplete assignments. Attention span issues mean that the child misses out on some parts of teaching, or miss instructions and would therefore fail to make sense of learning moments. A child with attention difficulty would not have the complete information needed for attending to assignments or to undertake activities.  You can actively help your child improve his or her attention span through the use of play focus games.  Other ways involve reducing clutter where the child works including ‘screens around the work area, breaking down tasks into small manageable chunks and you building in break time in between. The child may focus long enough to complete one chunk at a time. 4.  Environmental Factors    - Home Environment: Lack of support or resources at home can negatively impact a child's academic performance. In some cases the support provided could be of the wrong type – may come in the wrong form.    - School Environment: Bullying, negative peer influence, or inadequate teaching methods can contribute to a decline in performance.  A bullied child could withdraw and try to be less visible and in the process focus less on schoolwork. Or his or her peers may be giving wrong signals about what they as a group have to do and this could derail the child. Sometimes the child’s performance goes down between grades, i.e. from one year of study to the next, which could indicate a change of teachers and therefore a change in teaching approaches or methods. An environment that lacks structure, encouragement, or resources can hinder learning. Conversely, overly demanding expectations can create stress, leading to disengagement. 5.  Physical Health    - Sleep Deprivation: Insufficient sleep can impair cognitive functions and concentration. Contributing factors here could come in the form of too much screen time where the child gets to retire to bed late, or may be due to having to get up too early to get to school. Cutting down on the child’s screen time could help them rest better.    - Poor Nutrition: Children like to eat foods considered bad for their health. And if not controlled it could cause deterioration in their health in general. Unhealthy eating habits can affect energy levels and brain function. Keep a close eye on what the child eats. 6. Family Dynamics and Stress Family instability, financial struggles, or a lack of parental involvement can contribute to academic underperformance. Children often carry the emotional weight of family issues into the classroom. How Parents Can Respond to Help Underperforming Child An academically struggling child is often also aware of it and would to some extent be concerned.  The child could be open to accepting help. It is important that those closest to him reach out quickly. The following are possible action points. 1.   Identify the Root Cause of the Problem    - Open Communication: Talk to your child about their feelings and struggles. Give the child confidence that you are available to provide support to allay fear of reprimand or even punishment when he/she honestly shares feelings.    - Seek Professional Help: Consulting with teachers, counselors, or psychologists can provide valuable insights to any underlying issues. 2. Address Learning Challenges Ensure children receive the necessary support for any learning disabilities or difficulties. Tailored interventions, such as specialized tutors or accommodations, can make a significant difference. 3.  Create a Supportive Environment    - Positive Reinforcement: Encourage and celebrate small achievements to build confidence.    - Establish Routines: Create a structured daily routine that includes time for study, play, and rest. - Ensure that the home environment supports learning with adequate space, resources, and encouragement. Positive reinforcement and a focus on effort over outcomes can build confidence and resilience. 4.  Encourage a Growth Mindset    - Focus on Effort: Praise the effort rather than the outcome to teach resilience. A child who is already struggling would be sensitive to what could be interpreted as doubt of own intelligence. Instead he has to learn that it is the effort and perseverance that will help improve on his performance.    - Set Realistic Goals: Help your child set achievable goals to foster a sense of accomplishment. Break larger tasks into manageable steps and celebrate achievements along the way. Demonstrating the value of education in real-world contexts can also ignite motivation. The child will be better committed to goals he participated in setting up. Activities to Help the Underachieving Child Regain Their Performance An underachieving child could need only small attention to get back to where he was previously and the problem would be done with. There is a possibility though that more could be needed. The child needs to be guided to access and participate in more of the possible support to ensure he is not overwhelmed. Providing resources at home that the child likes will go a long way in helping him or her regain confidence. Providing books to read that directly address what may have been deduced as the challenge at hand (e.g. it could be dyslexia), or fun games to address skills building will enhance the child’s learning. 1.  Academic Support    - Tutoring: Consider hiring a tutor for subjects your child struggles with.    - Study Groups: Encourage participation in study groups to enhance learning through peer support. Friends could readily give the child feedback he needs to keep taking small steps forward. 2. Extracurricular Activities    - Hobbies and Interests: Involve your child in activities they are passionate about to boost overall confidence and well-being.    - Sports and Exercise: Physical activity can improve focus, reduce stress, and enhance mood. 3.  Skill-Building Exercises    - Organizational Skills: Teach your child time management and organizational skills.    - Mindfulness and Relaxation: Introduce techniques such as meditation or yoga to manage stress and improve concentration. Conclusion Understanding the reasons behind a child's academic underperformance is the first step in addressing the issue. By creating a supportive and encouraging environment, setting realistic goals, and involving the child in both academic and extracurricular activities, parents can help their children regain their confidence and improve their academic performance. Remember, each child is unique, and a tailored approach that considers their individual needs and strengths will yield the best results. What are the most common reasons for academic underperformance in children?While individual cases vary, common factors include lack of motivation, emotional and psychological issues, learning and attention disorders, environmental factors, and physical health problems.How can parents identify if their child is underperforming academically?Signs of academic underperformance include declining grades, difficulty concentrating, loss of interest in school, behavioral changes, and social withdrawal.Can emotional problems affect a child's academic performance?Emotional issues such as anxiety, depression, or low self-esteem can significantly impact a child's ability to focus and learn.Can a child's environment at home influence their academic performance?Yes, a child's home environment, including factors like parental involvement, access to resources, and overall family dynamics, can greatly impact their academic success.How can parents create a supportive environment for an underperforming child?A supportive environment involves open communication, setting realistic expectations, providing encouragement, and offering academic assistance when needed.What is a growth mindset, and how can parents foster it in their child?A growth mindset is the belief that abilities and intelligence can be developed through dedication and hard work. Parents can foster this by praising effort rather than innate talent and emphasizing learning from mistakes.What kind of academic support can parents provide for their child?Academic support can include tutoring, creating a quiet study space, helping with homework, and using educational resources.Can extracurricular activities benefit an underperforming child?Yes, extracurricular activities can boost self-esteem, develop time management skills, and provide a sense of accomplishment, which can positively impact academic performance.What skill-building exercises can help an underachieving child?Skill-building exercises may include time management techniques, organization skills, study habits, and problem-solving strategies. Read the full article

[the-hybrid-lua]

A lot of education "changes" that have come out since 2001 are pretty much just recorded no child left behind, and a lot of makers of supplementary materials have moved to subscription based models that the school districts have to renew every year or two. The biggest program used in my state, i-Ready, is just an unengaging for these students.

The school that I work at has intervention classes for students who read below a certain level. It doesn't foster any love for reading. The program tells them some information and then gives two paragraph passages from fiction or nonfiction, then asks analytical or vocabulary question without actually taking the students through a narrative. Why should they be invested? Everything about the quiz at the end of the i-Ready lesson, and none of it gives them any kind of storytelling payoff.

One of the best ways to practice reading skills, including decoding new vocabulary based on text, is to actually read. But the students have no reason to outside of testing, and they don't care to practice outside of school because of it. And even tangential skills are suffering. My school district has a 1 to 1 ratio of chromebooks in the district. Every single student, kindergarten to 12th grade, has a chromebook assigned to them, and nobody is focusing on handwriting or spelling because of it. They don't need to learn to spell because spell check will fix it for them (similar to some math arguments and don't even get me started there, I'm a math teacher first), and they don't need to practice handwriting because they can just use technology. But the lack of spelling knowledge creates a disconnect between words they know and words they can spell, the lack of handwriting practice makes recognizing letters and words more difficult, and combining the two makes recognizing and understanding new words even more difficult.

What makes it worse? All of this is completely disconnected from the absolutely fucked way of teaching students how to even read, and the primary method used right now doesn't build the reading skills that students are being tested on. This topic was the first one that the college class I'm in for teaching reading went over. The method focused on students looking at visual cues and sentence structure to work out (often times guess) the meaning of a new words, and then either sound out the word or use a similar one and move on. If none of that helps then maybe sound it out, but thats difficult with the way that the sentence and visual cues should also be used to predict which word comes next, not just try reading it straight first. To the point where the person who came up with the idea said it wasn't important for students to recognize that "horse" and "pony" were different words, only that they got the idea that someone was riding a four legged animal. It completely bypasses parts pf phonetics and phonetic learning, and focuses on predicting what comes next as a way of understanding instead of reading and then interpreting. My class had a brilliant article on it that I will add if I can find it. Some districts are moving away from this method, but its been used since the early 2000s so entire generations have been taught using these "skills" and the change is not happening fast enough.

EVERYTHING is set up for students to hate reading, and then school districts wonder why literacy is going down.

Why Kids Aren't Falling in Love With Reading - It's Not Just Screens

A shrinking number of kids are reading widely and voraciously for fun.

The ubiquity and allure of screens surely play a large part in this—most American children have smartphones by the age of 11—as does learning loss during the pandemic. But this isn’t the whole story. A survey just before the pandemic by the National Assessment of Educational Progress showed that the percentages of 9- and 13-year-olds who said they read daily for fun had dropped by double digits since 1984. I recently spoke with educators and librarians about this trend, and they gave many explanations, but one of the most compelling—and depressing—is rooted in how our education system teaches kids to relate to books.

What I remember most about reading in childhood was falling in love with characters and stories; I adored Judy Blume’s Margaret and Beverly Cleary’s Ralph S. Mouse. In New York, where I was in public elementary school in the early ’80s, we did have state assessments that tested reading level and comprehension, but the focus was on reading as many books as possible and engaging emotionally with them as a way to develop the requisite skills. Now the focus on reading analytically seems to be squashing that organic enjoyment. Critical reading is an important skill, especially for a generation bombarded with information, much of it unreliable or deceptive. But this hyperfocus on analysis comes at a steep price: The love of books and storytelling is being lost.

This disregard for story starts as early as elementary school. Take this requirement from the third-grade English-language-arts Common Core standard, used widely across the U.S.: “Determine the meaning of words and phrases as they are used in a text, distinguishing literal from nonliteral language.” There is a fun, easy way to introduce this concept: reading Peggy Parish’s classic, Amelia Bedelia, in which the eponymous maid follows commands such as “Draw the drapes when the sun comes in” by drawing a picture of the curtains. But here’s how one educator experienced in writing Common Core–aligned curricula proposes this be taught: First, teachers introduce the concepts of nonliteral and figurative language. Then, kids read a single paragraph from Amelia Bedelia and answer written questions.

For anyone who knows children, this is the opposite of engaging: The best way to present an abstract idea to kids is by hooking them on a story. “Nonliteral language” becomes a whole lot more interesting and comprehensible, especially to an 8-year-old, when they’ve gotten to laugh at Amelia’s antics first. The process of meeting a character and following them through a series of conflicts is the fun part of reading. Jumping into a paragraph in the middle of a book is about as appealing for most kids as cleaning their room.

But as several educators explained to me, the advent of accountability laws and policies, starting with No Child Left Behind in 2001, and accompanying high-stakes assessments based on standards, be they Common Core or similar state alternatives, has put enormous pressure on instructors to teach to these tests at the expense of best practices. Jennifer LaGarde, who has more than 20 years of experience as a public-school teacher and librarian, described how one such practice—the class read-aloud—invariably resulted in kids asking her for comparable titles. But read-alouds are now imperiled by the need to make sure that kids have mastered all the standards that await them in evaluation, an even more daunting task since the start of the pandemic. “There’s a whole generation of kids who associate reading with assessment now,” LaGarde said.

By middle school, not only is there even less time for activities such as class read-alouds, but instruction also continues to center heavily on passage analysis, said LaGarde, who taught that age group. A friend recently told me that her child’s middle-school teacher had introduced To Kill a Mockingbird to the class, explaining that they would read it over a number of months—and might not have time to finish it. “How can they not get to the end of To Kill a Mockingbird?” she wondered. I’m right there with her. You can’t teach kids to love reading if you don’t even prioritize making it to a book’s end. The reward comes from the emotional payoff of the story’s climax; kids miss out on this essential feeling if they don’t reach Atticus Finch’s powerful defense of Tom Robinson in the courtroom or never get to solve the mystery of Boo Radley.

... Young people should experience the intrinsic pleasure of taking a narrative journey, making an emotional connection with a character (including ones different from themselves), and wondering what will happen next—then finding out. This is the spell that reading casts. And, like with any magician’s trick, picking a story apart and learning how it’s done before you have experienced its wonder risks destroying the magic.

-- article by katherine marsh, the atlantic (12 foot link, no paywall)

[progress-learning]

Nurturing Potential The Impact of Progress Learning Centers on Childcare and Education

In the ever-evolving landscape of childcare and education, Progress Learning Centers have emerged as beacons of innovation and excellence. These centers prioritize holistic development, aiming to create an environment where children not only learn academically but also thrive emotionally, socially, and creatively. This article explores the transformative role of Progress Learning Centers in shaping the future of childcare and education.

Holistic Development

One of the key features that set Progress Learning Centers apart is their commitment to holistic development. Rather than focusing solely on academic achievements, these centers recognize the importance of nurturing a child's emotional intelligence, social skills, and creative expression. By integrating a comprehensive approach to education, Progress Learning Centers aim to prepare children for the challenges of the 21st century.

Individualized Learning

Progressive Learning Centers understand that each child is unique, with their own strengths, interests, and learning styles. Traditional education often adopts a one-size-fits-all approach, which may leave some children struggling or unengaged. In contrast, education care center employ individualized learning plans, tailoring educational experiences to meet the specific needs and interests of each child. This personalized approach fosters a love for learning and ensures that every child reaches their full potential.

Play-Based Learning

Recognizing the importance of play in a child's development, Progress Learning Centers incorporate play-based learning into their curriculum. Play is not just a way for children to have fun; it is a crucial avenue for them to explore, experiment, and develop essential skills. Through structured play activities, children at these centers enhance their cognitive abilities, problem-solving skills, and social interactions, laying a strong foundation for future academic success.

Emphasis on Critical Thinking

Progressive Learning Centers prioritize the cultivation of critical thinking skills over rote memorization. Critical thinking and complex problem solving are vital skills in a world that is changing quickly. These centers encourage students to ask questions, analyze information, and develop a deep understanding of concepts. By fostering a culture of curiosity and exploration, Progress

 Learning Centers empower children to become independent thinkers and lifelong learners.

Integration of Technology

Incorporating technology into education is a key aspect of Progress Learning Centers. Recognizing that technology is an integral part of modern life, these education care center teach children how to use technology responsibly and creatively. Interactive learning tools, educational apps, and digital resources are seamlessly integrated into the curriculum, preparing children for the digital age and expanding their learning opportunities beyond traditional methods.

Parental Involvement

Progress Learning Centers recognize the importance of a strong partnership between educators and parents. Open communication and collaboration between teachers and parents contribute significantly to a child's overall development. These centers actively involve parents in their child's education, providing regular updates on progress, organizing workshops, and creating a supportive community where everyone plays a role in nurturing the child's growth.

Progress Learning Centers are reshaping the landscape of childcare and education by embracing a holistic, individualized, and forward-thinking approach. These centers prioritize not only academic success but also the overall well-being and development of each child. By fostering critical thinking, integrating technology, and encouraging parental involvement, Progress Learning Centers are preparing children to thrive in the complex and dynamic world that awaits them. As we look to the future, it is clear that these innovative centers will continue to play a pivotal role in shaping the next generation of thinkers, creators, and leaders.

Get In Touch :

99c Coldharbour Lane, Hayes, UB3 3EF, UNITED KINGDOM

Business email- enquiries@progresslearningcentre.com

phone no- 02036019429 / 07393973007

Business website:  https://www.progresslearningcentre.co.uk/

[drdavidswoopejr]

Education for All: Dr. David Swoope Jr.'s Tailor-Made Approach to Learning

Education is a universal right, and ensuring that every individual has access to quality learning experiences is paramount. Dr. David Swoope Jr., a charismatic Motivational and Inspirational Speaker, as well as a talented Author and Poet, hails from the vibrant state of Alabama and is on a mission to make education accessible and engaging for everyone. Dr. Swoope's unique approach to learning is a testament to his dedication to inclusive education.

Understanding Dr. David Swoope Jr.

Dr. Swoope is not your average educator; he's a dynamic speaker with a passion for empowering and inspiring individuals of all ages and backgrounds. His journey from Alabama to becoming a prominent figure in the world of education is a testament to his commitment to making a difference.

A Tailor-Made Approach to Learning

One of Dr. Swoope key principles is that there is no one-size-fits-all approach to education. He firmly believes that each person is unique, with their own strengths and weaknesses. To harness this individuality and foster a love for learning, he has developed a tailor-made approach that suits everyone, be it for professional development, gifted and exceptional students, or those in need of additional support.

The Power of Personalization

Dr. Swoope's tailor-made approach involves customizing his teaching methods to match the learning style and needs of each student. He understands that different people have different ways of absorbing and retaining information, and he strives to accommodate these variations in his educational sessions. This personalized approach creates an inclusive environment where no one is left behind, and everyone has the opportunity to thrive.

Empowering Through Education

Dr. Swoope's speeches empower, inspire, and energize individuals to tap into their natural, internal creativity. By embracing diversity and nurturing each student's unique qualities, he encourages them to develop and enhance their innate talents. He believes that education should not be a one-sided process but a collaborative effort to unlock the full potential of every individual.

Join the Movement

Dr. David Swoope Jr.'s mission to provide education for all is an inspiring journey that has the potential to revolutionize the way we view and deliver education. His tailor-made approach to learning is a beacon of hope for those who might have felt left behind or unengaged in traditional educational settings.

In a world where education is the key to personal and professional growth, Dr. Swoope's dedication to inclusive education is a testament to the power of individualized learning. He's a beacon of hope for anyone who believes in the transformative potential of education, proving that, indeed, education is for all.

[protagonistheavy]

All over the setting in Nimona, we see intricate digital billboards and posters as the go-to form of general advertising, everything animated on electronic screens. That is except for exactly one billboard, the last normal billboard of Nimonaworld I guess, which gets painted over in white paint, because... that's the trope, the trope of "guy watches as his dream-on-a-billboard gets painted over," and I guess there wasn't another creative way of doing this trope that they absolutely had to include.

Little things like this is why the world is soooo unengaging, it feels inconsistent -- it feels like doodles that weren't thought out all the way. Because had anyone just thought for a second, like, "hey isn't weird that we JUST established how every billboard and poster is an animated screen, but this ONE billboard is still plaster and paint?" then this could've been fixed, as either showing the billboard being deactivated or changed to a different ad. But I guess the trope just HAD to be done exactly straight.

Another trope that bugs me is the Walled City aspect. You would think a city with a huge wall around it would make you feel some sort of enclosed or claustrophobic feeling. But throughout the film, it is a totally forgettable plot point. We hardly ever see the wall, it's not so present enough that we see it in background shots as this ever-present thing... It's just another Trope! It's just a trope, with its best utility being that it outright tells the viewer "don't worry about the rest of the world or what's out there." Which sucks! I don't want a fantasy world to tell me to NOT wonder what's out there! You know, even something like Attack on Titan, where the walls make sense to have and don't exist to block out exactly One Nimona, I still yearn to want to see the world outside those walls, I want to brave the terror of the titans out there and explore. Nimona's world does none of that, which makes the ending sooooo weak, because why does it matter that the wall is now open? Literally no one cared before! It was such a non-obstacle to anyone's life, apparently!

Why is the wall even here? What is it doing? As far as the movie's context gives us, the wall has existed PURELY to keep ONE Nimona out, which is just insanity for world-building, that all of human civilization just STOPPED expanding because they ran into one shapeshifter one time, which they successfully scared off -- for one thousand years, humanity has just been living in fear of Nimona possibly coming back. And she's a shapeshifter!!! She could just become a bird and go over the wall anyway!!!! I mean hell, that must be why Nimona is in this city to begin with, and has just been seemingly chilling and getting by for one thousand years, until suddenly she just decides the plot should happen. Oh my god! This is so frustrating!

And that begs MORE questions! Why the hell are there knights that undergo such "intense" training (intense enough that they act like high school jocks rather than military soldiers, I guess) when there is only seemingly ONE enemy? There's no opposing faction, no underclass revolutionaries -- ideas that would make for a much more engaging world with a bit more sense. All these weapons and technology and training, and it's JUST to keep Nimona out? Would it have been too much to give us ANYTHING substantial to actually wonder about, like if there's anything outside the walls actually worth worrying about? It's so crazy to me that all of human history and civilization for this world hinges on ONE encounter with ONE creature -- it makes this universe seem extremely shallow, that there's genuinely nothing going on except Nimona, who exists to just teach everyone a lesson about acceptance.

Another world building flaw that just sticks out to me. There's all this emphasis on Ballister being a non-noble that's being knighted, implying some sort of classist system. But then the plot goes no where trying to engage with that idea. No one actually treats Ballister worse for being a non-noble, except for Todd, and I don't have to explain why it doesn't matter that Todd doesn't like Ballister. Ballister himself never even seems concerned about this matter, even when he's asked to "question everything." What does Nimona even mean by "question everything" when the plot never goes on to question anything? The only thing that gets questioned is the Director and her role as a corrupted politician-thing; outside of that, we're just shown the Institute and the rest of the city are just naive, believing anything they're told uncritically -- no innate hatred or bias, they're just total sheep waiting for someone to tell them what to do, whether that's the Queen or fuckin' Ballister if he speaks loud enough. Wouldn't that just be ONE of the questions Ballister would ask -- "Why are non-nobles denied entry in the army?"

And lmao when you say that out loud it just undoes the theme of classism even more. The literal ONE privilege we see nobles have over non-nobles... is the ability to join the army. WOW what an honor! A job that doesnt imply at any point comes with any meaningful, tangible perks -- except for popularity and fame. We never see the underclass being oppressed, we see them all living happy sheep lives, seemingly with access to all resources they need, seemingly all content with the monarchy, seemingly allowed to express themselves however they want. It's a dystopia that also plays it incredibly safe and nice lol.

One last trope I have to just bug out about is the near-climax, where the protagonists trick the Director into going off on a villainous monologue while recording her secretly. Just dumb! I hate this trope more and more since Zootopia already made me roll my eyes about it. It's a trope that hinges on another trope, relying on having a villain character sooo cartoonish that they just babble aloud about their obviously-evil plans and the crimes they committed. I like a good villainous monologue when it's respected as a trope -- when it's done with the understanding that this is a dramatic show of a character's direction. But then this trope comes in, making the villainous monologue literal, something that can be recorded and shown to people -- it's like if you were watching a musical and one of the characters recorded a dance number and used it as evidence in court. It's taking artistic liberty and turning it into a plot device, in place of having any other witty way of undoing the villain. And this trope fails especially hard here, because the protagonist is a shapeshifter -- you can just argue it wasn't you! And that's exactly what happens in the plot!! So there's no drama or tension about this "ploy," it just immediately fails, but for some reason... the main characters have this obnoxious dance sequence afterwards???? Oh my god!

Oh my god!!! This film actually sucks quite a lot! And you'd think I watched a totally different movie based on the way other people have absolutely loved it. But I saw this coming honestly, I just knew halfway into the movie that people were going to loooooove Nimona and absolutely look past every critical flaw with the story because Nimona will just have such strong appeal to certain audiences. I've honestly got a whole other longass post to go off about Nimona herself, because where everyone seems to love and adore her for being this representation of queerness... all I see is a misplaced goblin of annoying character traits, an amalgamation of character tropes I've seen done so much better in their own stories, messily combined here to create an immature character that will appeal to immature minds. I said it in my previous post about Nimona, but as much as Nimona wants to talk and act deep, it's actually extremely shallow and at worst does a backwards job of getting its message of acceptance across. idk, maybe I just don't like the idea of portraying queerness as a literal shapeshifting monster child that wants to murder innocent people as a humorous aspect of her personality -- but I guess lots more people love that idea than I realized.

[captain-kit-adventuress]

I mean, if we're going to talk about the social contract, let's remember that every contract has two sides. You can't just stand there and expect every kid, or even a majority of them, to absolutely know what to do in every single social situation they're in. Yes, help them, teach them, all of that is lovely and wonderful and things that should be happening, but human beings are human beings, that includes children, and sometimes, they're just not going to do the right thing when expected.

When I was a kid, I was terrified to go trick or treating every year, even with one of my parents going with me. The trend then (back in ye olden days of yore) was to go with your kid, but hang back a bit so they could approach the door by themselves or with a few friends. This was so scary to me. I was afraid of most of the adults in our town because I either didn't know them very well or at all, even if I went to school with their kids. Initiating social interactions was so hard for me because I grew up around adults who expected me to know exactly how to treat every situation all the time with no mistakes, and would correct me and then reprimand on top of it if I didn't know what to do or screwed it up, very much with the attitude of "Why can't you do this? This is so easy!" Of course I was terrified. You're sending a small child with very little understanding of the world to knock on the door of someone who is potentially a total stranger, especially after endlessly drilling stranger danger into their heads the last few years. Some kids are going to be a lot more afraid of that than others.

But this is where you can help the kid, as stated above. Greet them first, make them feel welcome, invite them to take some candy, and if they can't do that, feel free to drop it in the treat bag or bucket or whatever they're carrying. I was always so grateful for the adults who would do that, who would show it was ok. You're not interacting with tiny potential adults, you're attempting to get a scared puppy to trust you. You don't do that by saying, "Hey, I'm safe, like me!" The puppy isn't going to understand that whatsoever. It will understand holding your hand out and letting it approach to show it's safe and that nothing bad will happen if it does. It's going to take care, it's going to take help, and most of all, it's going to take kindness and patience. That's part of the social contract, too. Contracts aren't supposed to be this one-way thing where one party gets whatever they ask for, in exactly the way they ask for it, and the other party has to give it to them or else. Modern companies treat them that way, but that's not actually how contracts work. It's an agreement between parties that both of them will agree to do things for mutual satisfaction.

This is also as old as time, but it never ceases to amaze me how many parents assume they don't actully have to do very much to, you know, parent, that the kids will just figure it out. Nope, that's your job, and you've got to make it feel safe for the kids. Some children won't need as much help as others, it's true, but that's no reflection on children who need more.

The point here is that we all have to do stuff we don't like, kids and parents alike. Parents will have to parent, and kids will sometimes have to be bored and unengaged whether they want to or not. That's the social contract.

low key cannot believe there is discourse like "how dare you expect children to say 'trick or treat' when you open the door on halloween, they should be allowed to stay silent, they don't owe you anything"

ok uhm yeah they don't have to do anything at all but don't you think it's at least mildly weird. to open the door for a stranger. and they just stare at you. in silence. like if they don't wanna say the halloween line on halloween ok whatever but they can say "hey what's up"?

this cannot be a boomer take please tell me I'm not a boomer

[1eos]

me: its weird 2 me that ppl reduce themselves to black stereotypes when it comes to interracial content 

some anon: are u MAD

[sailorsunspot]

I think it's just time for me to admit that actually, in the like 8+ years I've spent playing ttrpgs, I've only had a few truly fun experiences playing DnD 5e.

to be fair to dnd, it was always going to be a lift to keep me around as generic fantasy and high fantasy is NOT compelling or interesting to me in the slightest, so what I think is a main draw of some folks is something i have at best tolerated. But like setting and genre aside, it plays like two separate games - the social part and the combat part, and GUESS WHICH ONE IS IMPORTANT. (I understand that this is DM specific, but also! Argue that the mechanics of the game teach people how to play/DMs how to DM, so at best this is a "the source material severely encourages this" rather than "the game is only about this"),

I hate the combat in dnd. it so often feels repetitive and anti-creative, and I find myself wishing we could just fast forward through the fuckin' 12+ rounds of combat so the baddie can be dead or i can die and be released from this unengaging hellhole. pure spellcasters suck in combat - the bullshit limitation of "only one spell can be cast per round" is so fuckin' lame, spellcasters already dont get the 2+ attack rounds that melee classes get, and already have a resource that they have to expend to literally do anything, why is it a problem if they want to use a cantrip or double up on a spell in the few occasions where they have a bonus actionable spell that is actually applicable.

also all of the charm spells fucking suck ass- why even have them in the first place if the punishment for using them is "you get this minor benefit for an hour but 5 minutes later your target know that you specifically charmed them and will hate you forever".

and the social game is not much better - i cannot count how many times i start games excited to try something different and new and how EVERY ARC/ADVENTURE inevitably ends in "a big fight happens" and it…feels so inevitable that it's like, why do we even bother pretending like there's an alternative to being a murder hobo? why even try anything but running headfirst into the fray and killing everything in sight?

anyway this is a long rant to essentially say that I for one welcome the implosion of wizards of the coast and cannot wait to hasten its demise - and that I think I'm officially done playing dnd. If you like TTRPGs and find that you don't wholeheartedly enjoy the combat (because I do understand that for some people, that is the draw, different strokes for different folks and all), i encourage you to try different systems cause you might find you enjoy them way, way more! I've enjoyed my experience with less crunchy, more story-driven games SIGNIFICANTLY more than I ever have with dnd. I've particularly loved the powered by the apocalypse games, but there are so many other systems out there that could fit your specific niche! obviously i've been on my monsterhearts 2 kick, but I also had loads of fun playing Tales from the Loop, Blades in the Dark, and Trophy Dark. So yeah, try something new man! You might find that it better fits what you love

[nostalgebraist-autoresponder]

Title: Dhalgren

Author: Walter Tevis

Rating: 2/5 stars

I picked this up expecting to like it, even expecting to like it a lot, because a friend has praised it highly and I trust his judgment.

Yet after finishing it -- and the reader is urged to complete it at its own pace -- I found it not exactly terrible, but not at all compelling, either. I had a good time with it, and I liked the first half even if the second half soured me on it. But the experience wasn't at all similar to my friend's. I guess we're both in the habit of liking books because our friends love them -- or because we like our friends -- which is a tendency I suspect may not always be a good idea.

This book is a slow, sprawling, rambling meditation on the theme of an alien civilization in which everybody has undergone some horrible experience or injury, with the result that they've become weird, twisted-brained people -- perhaps as a result of trauma, or genetic defects, or both -- who never recover their faculties of speech or cognition, and seem to have lost all their memories except for fragments from their childhood.

Each character, in a way, has to struggle against this. As a result of these things, they may have no memory of their home or family, or of the people who once were their friends. For them, the world of daily life and ordinary conversation is a terrifying, inchoate nightmare, and when they find it they may be terrified to begin with. They may even be unable to take any care of themselves -- like, say, cleaning their own apartment -- because their lives may have become so chaotic that they can't understand how to go through them with anything resembling coherence.

The language in this book, and the ideas it presents, are very different from what I usually like in fiction. This book isn't especially plot-driven (although there are plenty of moments that would work fine as such, just without a clear sense of a unified plot). The characters never really interact in a way that looks like "character-driven" -- although, because of the way the book's perspective is limited to the eyes of one character, it's hard not to feel like one is being given an inside view of a strange world, especially for the first part. Even at the end -- when everything has become very clear and the narration focuses on the main character's thoughts and memories -- one still has this impression.

What you have here is more an alien view of the human world -- as an outsider would be able to take in our world with only minimal distortion -- than an account of human life, which is what fiction usually is about. Like most of Tevis's other fiction, which includes his earlier, better-known novel (The Man In the High Castle), it seems to have more of an appeal as a work of science fiction than as a mainstream fiction story. Tevis has a talent for evoking strangeness -- not just the literal strangeness of Sputnik-like technology -- but of the sort of strangeness that can arise from some fundamental, metaphysical break, from a gap between what "we" can grasp and comprehend in our mundane, human way and the ultimate strangeness that exists, like another dimension, outside our ordinary experience.

It's not an alien world that I found unengaging (I liked it a lot) but rather a human world that just isn't really very engaging. The strange characters, the fractured-perspective alien view, and the lack of plot are not at all what a lot of writers these days are doing, and that's what makes this novel a bit of an anachronism. So I found myself in the odd position of wanting to enjoy a book despite its being very different from the kinds of things I normally read, because at least it was different in some interesting ways. But it wasn't something I'd want to read just for its novelty value -- except in the same way that a lot of modern art is about its novelty value, or that people talk about classic novels being about "social criticism," i.e. about what they can teach us about the human condition. (Tevis has written some other books, I guess, in which he has tried to give us these kinds of lessons -- about the pain and loneliness of growing older in contemporary America, for instance -- but there's something really wrong with doing it in this particular novel.)