#and if your intention is to pick it apart and analyze it you need to be starting where the games themselves start

[sapphire-weapon]

Hi! Sorry if this counts as shitstirring... But you got me thinking... Do you really think that someone really needs to play the games in order to fully understand the story? Or is watching them and reading up on them enough? Thanks, and sorry!!!

Don't be sorry. This is a valid question that deserves an honest answer.

There's nuance to this. This isn't just a simple "yes or no" question.

Do I think that you need to play the games to understand the story? No, I don't. Resident Evil's story is not difficult (though, you'd never know that, looking at the fandom). It's very easy to watch the games and movies, go "ok I got it", and move on.

Do I think that you need to play the games to be considered an authority on the canon? 100%, absolutely. And I'll tell you why.

We spend a lot of time talking about narrative direction and storytelling devices and the use of tropes and cinematography here on this blog, but the one thing that we really need to keep in mind at all times is that Resident Evil is a game first and a story second. This has been the design philosophy since the series's conception. This is why RE4 OG's story was slapped together in three weeks. This is why RE5 was the way that it was. This is why RE7 is what RE7 turned out to be.

The narrative of Resident Evil is not something that exists separately or divorced from its gameplay. In fact, the opposite is true. RE's story is not only influenced by its gameplay, it actually -- in some cases -- is directly written as a result of its gameplay.

I've talked about the story behind RE4's development before, but.

Was RE6's story borderline incomprehensible, and did it jump approximately sixteen sharks? Yes. Was that the main reason why RE6 failed? Absolutely fucking not. Not even close.

RE6 turned out the way that it did because RE6 was developed and released during a time in which the biggest moneymakers in the AAA game space were brown & bloom multiplayer shooters. Capcom wanted in on that gravy train.

RE5 sought to take the award-winning formula that RE4 developed and add a multiplayer element to it in order to initially chase that trend, and RE5 for a very long time was the highest-selling Resident Evil title ever made.

Capcom looked at that and took it to mean that it was RE5's added multiplayer element that made it so successful. They weren't exactly wrong, either. RE5, for a lot of people, was like a version of RE4 that you could play with your friends.

Wesker was not killed in RE5 because Capcom thought it was an appropriate time narratively to kill him. Wesker's death was a symbolic one -- it was the death of the "old" Resident Evil -- the death of the slow, plodding, single player experience that the entire AAA industry had convinced themselves was no longer viable monetarily and not what players wanted. This was especially true for RE, after the unprecedented success of the more action-focused RE4 changed the entire third person shooter genre forever.

By the time we reach RE6, Capcom is all on on this. Three campaigns, all with co-op, all of which play differently. Chris's story is what Chris's story is in RE6 because Capcom knew that most players were probably going to reach for his campaign first, considering he was the protagonist of the most recent release and, therefore, the most recognizable to players who maybe weren't necessarily super familiar with RE. They specifically wanted Chris's campaign to feel like a traditional third person shooter in order to get new players hooked, because Capcom was convinced that that's what a majority of gamers at the time in general wanted.

Leon's story is what Leon's story is in RE6 because it was designed specifically to cater to people who loved RE4 and would reach for him first over Chris. So, they gave Leon a female partner (Helena in place of Ashley) and a slower, more traditional horror setting (while still being action-oriented), and they tried to kill two birds with one stone by having Ada running around and also being the damsel in distress, so to speak, to replicate the "save the princess" plotline from RE4.

But the biggest issue with all of this was that it turned the design philosophy of the game into "how can we sell this?" over trying to just make a good horror game -- and it showed. Capcom cut a hell of a lot of corners in terms of pacing and level design and enemy design and enemy variety in favor of focusing on the combat system (which was never adequately explained and had its nuances lost on approximately 80% of the playerbase), the netcode, and making the game's story as easy to consume and digest as possible while chasing specific market trends.

RE6 didn't go super hard on Aeon because the writing staff was just so ~dedicated to the ship~. RE6 went hard on Aeon because they wanted Leon to look heroic and save the girl just like he did in RE4 but didn't want to create another Ashley after how universally hated she was. Knowing that is how I say so confidently that Remake is retconning Aeon -- it's because the ship itself was never the point. They used it as a gameplay contrivance that they thought would help sell RE6, and it blew up in their faces. So now they're trying something new.

The actual experience of playing Resident Evil 6 was downright miserable to a vast majority of the fanbase because it was a soulless, hackneyed mess that didn't even have the decency to bother giving itself a spooky atmosphere. It was an uninspired series of long hallways filled with bullet sponge enemies and literally nothing else.

So, when the story was stupid and fan favorites like Leon felt like they got screwed over on top of all of that because the same design philosophy of "make this as mass marketable as possible" bled into the story from the gameplay, that was just the shit icing on the shit cake.

People probably would have been much more forgiving of RE6's story if the game design itself was better. Or, conversely, people would've been much more forgiving of RE6's game design if the story was super compelling.

But RE6 was neither.

And so RE7 was Capcom's way of trying to re-learn how to do pacing, level design, and atmosphere. The gameplay was the most important thing. That's why they didn't even bother using the legacy characters and created Ethan and the Bakers. The legacy characters would've been a distraction. They had to fix things one step at a time: gameplay first, story second.

That's why RE7 is RE7 and why we have only seen Leon in CGI movies and not games since 6 (Remakes not withstanding). RE7 fixed the gameplay, and Vendetta, ID, and DI served to reconfigure and redefine Leon's character, and I'm more than sure that they're going to try to finally blend those things together in RE9.

And if you don't play the fucking games, and if you don't fucking understand how the games industry works, you're not going to have any of that fucking context going into your meta analysis.

That's why braindead motherfuckers in this fandom look at that stupid remark made about how the one director thought that Leon and Ashley holding hands during RE4make's gameplay made them look "too close" and they read way too much into it -- it's because the spoken words of the directors are all they have to go off of, and they don't realize what a bad gameplay decision having Leon and Ashley hold hands would have been.

If you don't play the fucking game, you don't know that the half-second it takes for Leon to switch from his knife to his gun can mean the difference between taking a hit or not -- and so you would have no reason to think of how annoying it would be to add yet another half-second delay to Leon drawing his gun if he had to disengage from Ashley first. If you fuck with the normal gameplay loop with something that only happens when Ashley is with you, it will make the player start to resent Ashley, and that's the opposite of what the devs wanted to do -- which is what the fucking conversation in the interview was about in the first place!

That is far more likely the reason why the handholding was cut. And while that decision was being made, it was probably pointed out that having them hold hands made it look like they were on a date -- and that's absolutely not the tone/atmosphere that this game was going for. That is far more likely what was meant by "too close."

It had nothing to do with ensuring that the players perceived Leon and Ashley's relationship as platonic. It had everything to do with tone and atmosphere and the pacing of the normal gameplay loop. It's just that "*juts a thumb in his direction* This guy thought it made them look too close" was a way fucking easier explanation of what they probably thought was a really fucking unimportant anecdote about a character animation that didn't matter.

But if you don't play the games, you won't know that.

If you don't play the games, Word of God is all you have to go on. That's why people who don't play the games insist on all Word of God being explicit canon. It's because they can't use the games themselves as a baseline -- and that gives them a skewed, fucked up perspective of what Resident Evil is trying to do and be and accomplish.

This kind of shit is constantly in my head when I'm writing my meta and trying to predict where a game's story will go next.

I pull my meta directly from the games, because that is what Resident Evil is. It is a series of games that are trying to be good games first and interesting stories second.

And if you don't understand that, you have no business calling yourself an authority on the canon.

[spencereidluver]

A is for About Time

july 07, 2008

summary: You’re paired up with Spencer on a mostly physiological case… He’s impressed with how many of his obscure references you understand and how you’re able to carry on conversations with him unlike anyone else.

word count: 1.3k

warnings: details of a case: strangulation, blood writing

“y/n and Reid, I need you to stay here at the station while the rest of us go search the area.” Hotch said, handing you and Spencer each a file. “There’s information about the case in here. The PD thinks we’re dealing with someone who is able to outsmart that of the normal man. We need both of your heads on this. Got it?”

You and Spencer both nodded. You were smart, no denying it, but you know he knows everything you know times two.

You’ve only been in the BAU six months, but you’d only need to know Spencer two minutes to know just how intelligent he is. You don’t quite understand why Hotch wants you to stay back on this case with him, but who are you to deny the man.

You and Spencer take the Manila folders and make your ways to the conference room. He does a little jog to catch up with you. “You know, I’ve never had anyone else stay back with me on cases like these.” He says as he slows his step to match yours.

“Yeah, we’ll maybe you’ve never had anyone quite on your level Dr. Reid.” you joke as you pull the glass door open. There’s a bulletin board with photos from the case. You see Spencer grimace at them out of your peripheral. No matter how many cases you go on, this is one thing that will never be easy for anyone in this job.

Spencer sprawls out his folder on the half-circle-shaped wooden table in the center of the small office. The first image is a photo from the crime scene. It’s a white brick wall with blood writing, it reads:

“in this moment, she was mine, mine, fair, perfectly pure and good”

“It’s a poem.” He says. “Porphyria’s Lover.”

You interrupt him, “a mid 1800’s poem written by Robert Browning.”

“You’ve heard of it?”

“A poem in which a beautiful woman’s lover strangles her with her own hair? Yeah I’ve heard of it.”

He flips through a few more pages in the folder. They’re all just copies of what’s on the bulletin. You’re not too sure why you were each given folders containing the same pictures, but I guess consistency is key in this job.

“I never took you as an 1800s poem freak, y/n.” He says with a smile that you can’t quite tell the intention behind.

“Maybe you’re not as many levels ahead of me as you thought, Dr. Reid.”

_____

It’s only day two of the case, but between stupid jokes and bonding over old literature, there’s only one thing you cannot seem to pinpoint the reasoning for. And probably the only way you’ll be able to directly connect to the unsub.

He’s working off a dating app. He searches for women who meet his physical criteria, then stalks them until he’s able to pounce. Smart guy. Very smart guy.

“The one thing I just cannot understand is why if the poem he’s working off of is so keen on blonde hair, why have only half of our victims been blondes?” Spencer says, reading through a print-out of the original poem.

“Maybe the women with brown hair were just more available?” You say, not sure if you believe it.

Spencer takes a sip of his coffee. “No, a man like this would want blondes. He’s working of the exact motive of the poem.”

“And he must have a lot of time with his victims to be able to strangle them with their hair.”

You and Spencer spend hours reading over the poem and investigating that photos. Hotch comes back to the station to bring photos from yet another crime scene. Another blonde. If anything, that takes you further from figuring him out, messing up the blonde-brown-blonde-brown victim order.

“There’s no way he’s picking these victims at random. He’d have to spend far too long watching them to know their work schedule to be able to get into their apartments.” Hotch says. “I need you guys to further analyze the poem. It could have the key and hopefully we can find him before he strikes again.”

You and Spencer spend a further hour and a half looking over and annotating the poem. You’re both about to give up on the poem when you notice something: the rhyme scheme.

“A-B-A-B-B,” you think outloud.

“What?” Spencer is confused.

“The rhyme scheme, Spencer. It’s A-B-A-B-B. Auburn-Blonde-Auburn-Blonde-Blonde. That has to be it!”

“So he’ll go back to the beginning. He’s looking for his next victim with auburn hair, just like Julia Dempsey and Katie Flanagan. Nice catch, y/n. We’ve gotta call Hotch.”

He pulls out his phone and dials the eight digits quickly. He fills in Hotch on the info you find as you email over to Garcia. It’s only a matter of time before Morgan and Hotch move in on the man, Garcia finding him from a simple categorical search of dating profile preferences.

_____

You’re sat on the jet next to Spencer on your way home. You’re going on about old literature and artifacts pertaining to them. No one else understands a word either of you are saying, but they’re rather in awe of how the two of you are able to bounce off each other and carry on about, what to them, is utter nonsense.

It’s late. Early. Well, both. 2:47 AM. You’re leaned with your elbow on the table and your head in your hand looking at Spencer as he recites an old poem from memory. His voice is calm and warm. JJ and Emily are asleep in the booths next to you, Hotch minding his own in the back, and Rossi and Morgan make small talk a little closer to the front.

“y/n?” You hear your name being whispered.

You hum in response, opening your eyes to see a wide-eyed Spencer looking at you.

“Sorry, I didn’t mean to wake you up.” He says.

“It’s okay. I’m kinda glad you did, my neck would be sore when we land.”

“We’re still three hours from Virginia. Think you can make it that long?”

“Hell no, I’m exhausted.” You cross your arms on the table, laying your head in them as you try to get comfortable.

“That position may feel better on your neck, but it’ll do a number on your back in record time.”

“Well, Spencer, there’s only so much room to work with on this jet.”

“I can move so you can lay in the seat if you’d like. But that could also hurt your neck considering you’ll be lying flat and have no incline.”

“Well then why don’t you tell me the most comfortable position and let me sleep in peace.”

“Studies show the best position for sleeping without a pillow is leaning against a wall or something of an upright nature. But there are no walls to lean up against, so you’re pretty much out of luck there y/n.”

He shifts in his seat, reaching for the blanket behind him. He tosses it at you and settles back down. He sips from his coffee. No wonder he’s not going to sleep, he drinks coffee 15 out of the 24 hours in a day.

You scoot a bit closer to him, wrapping the blanket around yourself. You tip your head forward, groaning. Tiredness overcomes you more than it already has, making it near impossible to even keep your eyes open.

“Hey, Spence…” You look up at him. His head tilts down to meet your gaze, flattening his lips in form of a response. “Can I…” You let your sentence fade out, pushing yourself closer to him.

He softens his voice. “Hmm?”

Before he can even finish his hum your head has slumped on his shoulder and you’re already falling unconscious on him. You feel him reach his arm around you- pulling the blanket up- you assume. He does that, but his arm never leaves. His head flops gently on top of yours, his one unruly waft of hair falling over his face. You could stay like this forever.

“It’s about time those two realize how similar they are.” You hear Rossi’s gravely voice say.

And just like that, you’re asleep, in what is probably the most comfortable you’ve ever been in your life.

_____

next chapter: b is for Boy Genius

other parts: Spencer Reid A-Z Masterlist

view the masterlist in a calendar version! 

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BUY ME A COFFEE

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a/n: hiii! i really hope you enjoyed the first chapter! chapter 2 will be released tomorrow! sorry if this one was a little boring, i promise the next chapter is more interesting. i'm just trying to set up the story a little before we get into it!

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Have Recommendations? visit my recommendations page to submit your suggestion, no matter how big or small!

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[hoiststowline]

_first aid x reader hc's

to First Aid, his love language is little more difficult to pigeonhole. if you were to ask him, he'd probably say he's inclined to all of them, but over time it becomes glaringly obvious that actions speak a lot louder than words with him. his love language is definitely acts of service, because he has a natural tendency not only to assist, but desire to make his s/o's life a little easier. uses phrases such as: "here, allow me," or "please, let me help." but he isn't hovering over your shoulder or overbearing regarding it, he can detect and notice when you need an extra hand or need a break from something. but it's an action that goes both ways, when his s/o does a thoughtful action or a favor for him, he feels the most loved.

picks up little things you do/say. you joke that he's been around you too long when he starts quoting things you've said or adopting habits of yours. he's an observer, he finds comfort in the familiar but isn't opposed to the unknown. First Aid just likes to learn, and based off that, he can't get enough of the media you consume either. tv, music or books- he's fascinated and wants to know more. in contrast of just reading or watching it himself, he prefers your analyzation or retelling, just because he knows your version has a lot more passion and excitement in it.

naps, naps naps. being Chief Medical Officer (CMO), he's likely got a busy schedule and falls into a habit of taking short naps rather than getting a good nights rest, undisturbed. it's an small break that he's actively seeking you out for, and even if both of you are sleeping or you’re wide awake, he still wants you there. sure, he knows he’s bad company in this instance, but it’s the sleepy before and after that makes it worth it. if First Aid can have a moment to catch up with you once throughout the hours it’s much better than waiting until the end of the day, or even the next day. he just wants to see you, and mismatched schedules and sleep hours sometimes prohibits that. more than he’d like to admit.

he is hilarious but doesn’t realize it. he’s partial to say something in a deadpan or mumble sentences under his breath. these airless sentences are uttered mostly for only you to hear, just his own commentary to a movie or conversation. he always finds himself surprised and confused as to why you erupt in a fit of laughter, because he wasn’t his intention to make a joke there. but you must’ve found something funny mixed in his words, and he can't even remember what he said as he watches you laugh so hard your cheeks become rosy. when you praise him to others, you include how funny he is, but to him, it’s more of a “if you say so,” situation. said with a smile and short laugh of his own, not really so sure but willing to humor you, always.

if he has one complaint in your relationship, it’s schedule conflicts. every so often there’s long periods of time where the both of you are apart, and the hours you’re asleep overlap with the hours he’s working. you have responsibilities too- work, school, etc, and in this case scenario I think he'd probably be big on text messages. it's not the ideal way to catch up with you, but for the circumstances permitting, it's the best way to speak to you when he only has moments here and there. one thing is concrete in this relationship, is that he's never too busy for you, and will do everything he can to make it work in the healthiest way possible. First Aid has a relatively sturdy work/life balance, but there's always situations beyond his control that cause some variance. his s/o is understanding of that, and it provides him utmost solace, working continuously to ensure that the balance is never tipped.

[24kmar]

𝐈 𝐒𝐄𝐄 𝐇𝐄𝐑 𝐈𝐍 𝐘𝐎𝐔 ( A. Donaldson, T. Ducan)

𝐁𝐎𝐑𝐍 𝐒𝐓𝐔𝐍𝐍𝐀 𝐕𝐄𝐑𝐒𝐄

𝐏𝐀𝐈𝐑𝐈𝐍𝐆𝐒: Art Donaldson x Fem!reader, Tashi duncan x reader

𝐖𝐀𝐑𝐍𝐈𝐍𝐆𝐒: Angst, Standoffish Reader, female manipulator! reader (wolf in sheeps clothing), language, age gap! (Early 30's art, early 20's reader).

𝐒𝐔𝐌𝐌𝐀𝐑𝐘: Art notices how much the pressure tashi is putting on you is changing you.

𝐀𝐔𝐓𝐇𝐎𝐑𝐒 𝐍𝐎𝐓𝐄: sorry this is short 😭

Art was the first to notice it.

There was no doubt y/n was different, soso different. Everyone noticed it, especially art. It was uncanny really, how much she was like tashi. They always knew y/n was like her, but she was still so different from her.

She was warm, compassionate, sweet. Thats why art fell inlove with her, she was different from tashi. He knew she loved him, and not in the way he knew tashi loved him. Until now, now he was reliving tashi all over again.

It worried him, how she ate less, slept less, every waking moment spent on tennis. He knew y/n was a perfectionist, but he didnt think it was this bad. He saw tashi in her. So much of tashi. He saw it in her eyes, how tired she was. But whenever he tried to express his concern, y/n shut him down immediately. Human endurance was on hell of a drug.

Now it got to the point where how she felt about him was determined by how he did tennis wise. Something she was always so understanding about. With y/n it used to be 'win or lose, ill always love you', now it was 'all or nothing'.

Even then, she was still different from tashi. When he lost, tashi would coach him harder, chew his ear off, make him better. With y/n, it was radio silence. She'd just ignore him, stay quiet, thinking. Somehow, that was so much worse. He rather her yell at him, tell him he sucks, than to just keep him in the dark, wanting to know what she was thinking.

Tashi was the second to notice it.

The way y/n became so hyper focused when playing tennis, but so distracted when she wasnt. Playing back videos of her tennis games. Analyzing her each and every move. Picking apart every flaw she had while playing.

Y/n was more anxious. Training harder. Now tennis wasnt a hobby. You know that saying "do what you love, you'll never work a day in your life."? It wasnt like that anymore. It wasnt play to have fun. It was play to win.

Tashi loved this attitude. Shit, she wished art still had it. But it was starting to scare her. The way y/n looked colder, the way she always seemed to be out of it, almost always spacing out, unless it was something about tennis.

She didnt mean for it to go this far. It hurt, it hurt to see y/n's spirit so broken. Seeing the woman she loves personality so dampened. But it also worked for her. It pushed y/n closer to her, farther from art and patrick. She liked that. She needed that. She needed y/n to be hers, and solely hers. But she needed to fix this. She knew it was her fault, the pressure getting to y/n.

What really got her was what y/n said to art the day of one of his games. The day he said he loved y/n. Waiting for her to say it back, needing that comfirmation before a game like he always did. To which y/n replied "prove it" walking away and sitting down. He couldnt believe what he was hearing. His sweet, warm y/n didnt even say it back.

Niether could tashi. It was like she was looking in a fucking mirror. Like she was watching herself talk to art. He knew what y/n meant. She wanted him to prove her love for her on that court. And he did. He won.

Tashi didnt have bad intentions. She just wanted to make y/n successful. She wanted to see the girl she loved thrive. She would fix this, no matter what. Tashi would do whatever she needed to get the old y/n back. That was a promise, and tashi always kept her promises.

[daintyys]

needy

MDNI - fem!reader x coriolanus snow, 1k words, angst, swearing, non-descript masturbation, needy coryo, intentional lowercase, lmfao i hope its not obvious but i need to reread the book

an: this is literally AWFUL but i needed to post and i didn't want my first post in a while to be smut. i'm taking asks for coryo and sejanus! if u want me to write anything just ask me!

he's into you. he hates to admit it, but its true. when you're assigned as partners for a project, coryo doesn't know how to act.

coriolanus snow had a problem: he was too observant. whenever you were around, he couldn't stop himself from watching your every move. he disgusted himself, honestly. how perverted he was, being obsessed with a girl he hardly knew. how even more perverted he felt as he rushed home from the academy, straight to his bedroom, needing to fuck himself to the thought of your face. you were too pretty not to think about, he had to rationalize with himself whilst cumming on his sheets.

the professors at the academy were being tough on their students, as the end of term was drawing near. coriolanus constantly found himself buried in projects, textbook readings, and presentations. he wasn't worried though, his grades were perfect, he had exemplary attendance, and had never turned in a late assignment. all he had to do was get past his exams, and then it was all over.

history class was no exception. professor demigloss assigned an 8-page essay analyzing cassius heath, the winner of the first hunger games, and it was to be done with a partner.

demigloss was notorious for not letting students pick whom they wanted to work with, so it was no surprise as he began to read out the pairings for the essay.

coriolanus was bored. he knew all about the first games, and certainly didn't give a damn about cassius heath. he was 8 when the games happened, his father had just been killed, and he understood they were made to punish the districts.

what finally got his attention was hearing your name, along with, ironically, his. he looked up quickly, turning his head toward where you were seated. you stared back at him, flashing him a smile. fuck, coryo thought. just his luck.

the essay was to be done outside of class, so coriolanus gathered all his courage to stop you in the hall after history.

when the bell rang, he ran straight for the door, and stood outside it to wait for you. he clutched the strap of his satchel, palms sweating and knuckles turning white.

you exited the classroom, and coryo's breath hitched. he'd never been this close to you before, even if it was just 10 feet. he cleared his throat and you looked up. "y/n." he greeted, sounding colder than he had intentioned.

you approached him and smiled, reaching out to shake his hand. coryo quickly wiped his palm on his jacket and took your hand in his, shaking it. "i'm afraid we've never actually spoken before." you noted, taking your hand back. "you seem to be right." you answered his agreement with a nod. this was awkward.

"so, y/n, when should we plan to do this essay?" coriolanus queried, running a hand through his unruly hair. you cocked your head. "tonight? my place?" you proposed, opening your satchel to retrieve paper and pen to write your address.

coryo nodded, feeling his neck begin to sweat. "great," you affirmed, handing him the paper. "just come over after class lets out." with that, you walked away, leaving coryo dumbfounded.

he had been quiet, cold, and he was disgustingly clammy. stupid, nervous, guilty, girl-crazy coriolanus.

when school let out, it felt to coriolanus like it had been days since he'd seen you. he took out the paper with your address, admiring your handwriting. your hand had been small and soft... he wished he could touch you again.

covering the growing bulge in his pants with his satchel, coryo made his way to your apartment.

coriolanus deeply regretted all those times he'd jerked off to the thought of you. he never thought he would actually have to talk to you, and yet here he was. how could he look you in the eye? he hardly knew you, and you hardly knew him.

you lived in a nice building, and your apartment was close to the top floor, with a fantastic view of the city (which wasn't really much to look at). coriolanus knocked at your door, pushing his hair out of his face.

you opened the door after a moment, out of the academy uniform and wearing an adorable floral sundress. "coriolanus!" you smiled, opening the door further for him to enter. he walked into your apartment, admiring the interior.

"you have a very lovely home, y/n." he complimented, placing his satchel on a bench next to the door. you blushed at his remark. "it is lovely, isn't it, but it's quite far from the academy. speaking of which, you didn't walk all the way here, did you?"

coriolanus paused. neither him nor tigris had a car, so there was no way for him to be driven somewhere, and he hated asking for favors. "i like walking," he lied. "i get to see the city." you smiled, guiding him to the study. "there really isn't much to see." you joked.

the two of you sat close to each other at the desk, legs brushing against together every few minutes. you both read your textbooks, compared your finds, and drafted the essay.

you found yourself admiring coriolanus. everything you'd heard about him seemed to be true. he was a genius, sickeningly handsome, and one hell of a writer. every time you made eye contact with him, you could feel your heart pounding in your throat.

there was definitely tension between the two of you, your bodies grazing each other, feeling the other jump every time you touched. coriolanus struggled to focus on the task at hand, resisting the urge to kiss you. you noticed this change in him.

"coriolanus, do you like me or something?" you joked, eyes skimming your textbook. coriolanus paused. "i tolerate you." he deflected, face burning. "well you hardly know me!" you giggled, eyes bearing into his.

"that's why it's easy to tolerate you, y/n." he smirked, blue eyes glistening. you rested your head on your hand, studying his features. coryo pretended not to notice, his heart beating rapidly as he acted like he was reading.

you smiled at him, and bit slightly down on your lip. you hardly knew this guy, so why were you trying so hard to get his attention?

coriolanus met your gaze, looking from your eyes to your lips. "i want to kiss you, y/n." he ventured, reaching up to tuck a strand of hair behind your ear. "oh do you?" you giggled. "yes, i do." coryo sat up straight, turning his body towards yours. you looked up at him longingly, mouth slightly ajar.

he gently cupped your face, rubbing your cheek with the pad of his thumb. "i need to kiss you." coryo clarified, his cock straining against his pants. "then do it." you purred.

so he did.

[mana-jjk]

jjk spoilers!! references to child abuse !

despite what others may assume, toge is kind of an expert at reading people.

just because he lost an arm doesn’t mean he can’t pick up on body language, just because he has to hide his face doesn’t mean he can’t analyze facial expressions, just because he can’t talk outside of his safe words and curses doesn’t mean he hasn’t picked up on every single intricacy layered within their speech.

actually, it’s because of all of these reasons and more that he’s had to become proficient.

growing up in the inumaki clan, constantly being watched, under consistent scrutiny of the jujutsu kaisen world, there was a culture of hidden intentions and double meanings.

If you wanted to survive, you either had to layer your own words, or understand how to pick those words apart. And well, considering how intentionally clear toge had to be with his limited vocabulary, he didn’t have much of a choice to begin with.

so he learned.

as a child it was harder, to understand that the attention he so craved, more often than not came at his own expense. they didn’t smile at him because they enjoyed his presence, they were laughing at him. more than that, even as they hurt him, he came to learn that every sharpened glare and raised hand shook with an undertone of terror at his very existence.

it should have made him feel powerful, to see their eyes shine with fear, their hands tremble at every whispered breath. in the aftermath, covered in bruises and wondering when he lost the ability to cry, all he felt like was a monster.

gojo wasn’t nearly as hard to read as he seemed to think he was. under the protection of his limitless and six eyes, with the idea that if no one could touch him, no one could see him, he faltered in his own persona. the sag of his shoulders, the faraway look in his eye, the faltering breath at even the suggestion of his once friend. none of it was as telling as the fractured smile he sometimes offered. his voice honey soaked in lies, not malicious, but with the idea that they lived and died within his straining grasp.

panda was actually a bit harder to read, in that there was something distinctly different about him than one might find in a human. he’s honest in a way, yet still with an undertone of manipulation. not in a necessarily bad way, but growing up as a cursed corpse required a different understanding of human characteristics. it’s easy to see his mannerisms and see them catered to the situation. how to distract, how to endear, how to appear as close to human as possible to settle the natural uncanny feeling the lack of a heartbeat gives. he doesn’t necessarily need to eat, sleep, or even breathe. but he does. he’s not trying to be human, but he does try to assimilate as best he can. almost to where one might forget he’s not even ‘just’ a panda. he’s one of his best friends, a kindness in his honesty and manipulation all the same, but he speaks like an elder sometimes too.

maki, despite her best intentions, might as well be an open book for all her body language gives her away. she may curse and cuss and snarl like a wolf baring its teeth, yet for all the intentions it’s far too obvious that open wounds hide behind her overt aggression. she makes herself the biggest in the room, the most obvious threat, likely intention and instinct all at once. because even when they first met, distrust shining in her eyes and a grinding of her teeth, she still pushed him behind her on their first mission together. she doesn’t want to trust because she already gives her health, sanity, and life, how could anyone possibly expect her to give her heart away too? but even then, behind gnashing teeth and twisting expressions, there is never hurt without intent. the only care afforded to her in the beatings that made her stronger, the only care that she knows how to express. she softens under his own quiet acceptance, relaxes like an alley cat afforded their first kindness. too independent to ever be kept, too starved for kindness to ever truly leave. even as she punches his shoulder, it’s on the unmarked skin. even as she complains at physical contact, she still lets him lean against her. even as she has been hurt and burned, she still loves them, even if her own broken pieces can’t yet admit it.

he’s an expert at reading them, at knowing how to care for them. he can’t judge their mannerisms or judgment, their aggression and lies and all the ugly pieces they bare. in a way he’s the worst of them all, in how much he refuses to yield. constantly hiding, constantly lying, constantly basking in the pieces they afford to him, yet never having the courage to truly bare his own.

and then there’s yuuta, because somehow it’s always yuuta.

it’s almost funny how obvious it is that he wasn’t raised in their society. almost funny how it seems he wasn’t raised to have an inkling of what it means to hide. where gojo hides his pain, yuuta wears his own on his sleeve as if hiding it away was a sign of disrespect. where panda carefully caters his persona to be the most pleasing to any given situation, it’s almost endearing how yuuta seems to act most under accidents and a lack of intentionality, surprising himself just as much as the people around him. where maki hides her pain and her fear and her wants, yuuta seems to act like he’ll die if he doesn’t convey the full extent of his desperation in every manner and facet. he’s honest in a way that more often than not betrays him, that would have been taken advantage of by anyone else in the world.

toge didn’t realize how exhausting it was before until that honesty was directed to him. because even in his terror, in his distrust of toge, yuuta left very little to interpretation. when he was disheartened, it was in the down curve of his face, the slump of his body, the self-deprecating words. when he was happy, it was from the flush of his ears to the excited fidget of his hands. when he loved, it was in the inability to ever let toge believe it could ever be anyone but them. always them.

in a world of double meanings, growing up with the only affection afforded for a specific intention, masked faces and padded movements that required a serpent’s eye to decipher, it was almost too easy.

it was almost funny how simple communication, honesty, truth, how it could fester so much affection from toge.

it burned in a way to see yuuta change with time, to watch him learn how to manipulate the elders in turn. burned even more to know that toge was partially at fault for that change, to know that he was aiding in the corruption of something so endearing to him.

yet that honesty never faltered, at least never with him. the transition of talking to the elders to the brightening of his face as soon as toge entered his vision was almost like whiplash. somehow, it only made it mean more. to know that yuuta, his yuuta, was capable of masterful deception and willful manipulation, yet continuously chose to treat him with nothing but complete honesty. as if lying to toge would cause him physical pain.

little by little, his honesty seemed to affect toge in turn. as if the feeling of safety only yuuta seemed to provoke was all he needed to unravel and share the broken pieces of his heart and soul.

truthfully, it didn’t seem to change much between them.

after all, toge might be hard to read, but yuuta was well-versed in the extent of his own dedication and how far he was willing to go for those he loved. and what toge didn’t seem to realize, with all his ability to analyze and overinterpret, was that he was loved.

period. i’m planning to make my friend watch jjk 0 and i need her to understand the inuokko supremacy or else ?? we’ll find out <3

[piruperfections]

do you think i could talk to kyubey or summon him in the physical with your method of contracting? I already did through pendulum, I just want to do it in this realm.

i'm not exactly sure ! all the mh's ive talked to cant see kyubey , they only sense his energy + kyubey usually reaches out to you first . you need to work on your clairsenses, specifically clairvoyance and clairaudience ( clear seeing and clear hearing ) to talk to kyubey . here's more detailed explanations from others :

" You can try meditating. For clairvoyance, try sitting with your eyes closed, and just focus on clearing your mind of any thoughts. If thoughts pop up, just thank them for showing up and release them. Then once you feel you’ve kept your mind clear for a comfortable amount of time (totally up to you), imagine an old school movie projector screen on the black canvas of your eyelids. Allow whatever images to play out or unfold in front of you, don’t try to make sense of it in the moment. For clairaudience, try meditating and clearing your mind again but this time imagine an old school radio with a frequency dial. This helps because you’re technically trying to get on the same frequency that the clairaudient energy is coming through on. In your imagination, turn the dial through each “station” and notice what muffled sounds or words start peeking through. It’s okay if you hear nothing, just move on to the next station. They’re infinite and you’ll never run out. The more you do this, the more intent you put into it, which makes it more feasible for you to achieve. " - crowsfeetpics on reddit

" These can all be practiced through meditation exercises and other things! Clairaudience can be developed through imagining sounds and analyzing them, or focusing on the ambiance and finding the details! Clairvoyance can be practiced with 3rd eye meditations. Another practice for this is closing your eyes, and analyzing what you see, or opening your eyes when they are covered (Face in pillow, open eyes) and picking apart details. If you see faces or shapes or colors, you are improving! The others can be practiced in similar ways. When you contract, your magic will strengthen! My clairaudience noticeably improved from nothing to being able to hear Kyubey! " - someone in mami's atelier server , i'm not sure who as it's through mimu bot

i apologize for just relaying others words , but i personally haven't been able to talk to my own kyubey yet outside of my pendulum . i've been able to talk to my friend's kyubey ( i ask my question to my friend , my friend asks their kyubey , and then tells me their kyubey's answer ) .

just a bit of a warning - i'm pretty sure the pendulum drains your soul gem. i've been contracted for 3 days and my soul gem is already so dull , and i've only used my pendulum .

[wyrmguardsecrets]

Just watching this from the sides I def thing FW Draenei is making it worse. Just analyzing here and I could be wrong but this is what I gathered,

A guy was portrayed to be weird with his rp children and anime characters. Age of consent aside, I think we all know why Japan caters to lolicons. There’s a statistic behind it. We can just move on from the “haha 74 y/o woman looks like she’s 12 but she’s still legal!” Trope, that’s a fight no one is winning you see people melt down about that on twitter. Getting back to this guy, he has rp characters that are children who he’s kind of made inappropriate quips about between the other guild members in the discord. Okay, that’s pretty bad, but most of the time when people calmly explain themselves of like “hey I’m really sorry sincerely this wasn’t meant to be that” I feel majority of the scene usually just lets it die off.

However because the guild lead has gotten involved and has made a few (really bad, I’m just gonna be honest) arguments and doubling down instead of letting it die off, I feel like so many people are out to get that entire guild now. This person has actively made more enemies than friends, and in situations like these, you def need more friends for help, and especially if it’s honestly sincere that it was just a little goof up. It’s never fun to have your discord chat leaked, let alone picked apart.

She’s asked for proof several times, ignoring the proof that people are spreading around, which makes guy A in the beginning look even worse by explaining such a horrible experience that happened to him. I can only imagine how he feels, as good as the intentions are from a friend, this has to be absolutely mortifying inside. He’s probably not saying it out loud because he now has to be obligated to being thankful but this went from a situation that could have fizzled out to a full blown forest fire by feeding into the people actively going on a witch hunt against these people. I heard someone found who the guy is and where he works. That’s really intense and I’m sure if that got back to him he’d be devastated.

I get trying to be a good friend and a good guild lead, but sometimes feeding into people who actively want to hurt not just your reputation but others isn’t always the best idea. And I honestly think that goes not just for this scenario, but many others. I come with peace and love with this so like, just take a step back and really think about what’s happening here.

you're 99% correct but also the guy had "underage" listed as a favorite on the fetish site (and has a kid irl) sooo

[stylesclarified]

A BRIEF ANALYSIS OF HARRY STYLES LYRICS

I've been thinking about how to approach the last part of the Louis' songwriting deconstruction (Part I, Part II, Part III, plus a bonus).

I mulled over different ways to go about it, and ultimately decided that before I delve into an analysis of Louis' lyrics, I need to analyze some of Harry's. Why? Because, as I said multiple times, I hate hypocrisy, so if I'm going to pick apart an artist's work, I need to show what my criteria is with art that I appreciate and like. Otherwise, I could very well cherry pick and be unfair, and that's not what I'm about.

Because we've established that Louis isn't really the one writing the music or melodies, I'm going to leave musicality, chord progressions, instrumentation, etc, out of this analysis and only focus on lyrics. But let me be clear, Harry is very intentional with that part of his music, and taking that part of the composition off this analysis is in detriment of his overall "score".

In fact, in my entire time as a fan of his, I thought Harry's lyrics were his weak point while his strength was melodies and instrumentation, and I while I haven't necessarily changed my mind, after analyzing his lyrics in a deeper way with poetic structure and rhyming schemes in mind, I've come to the conclusion that I underestimated him in that regard. His melodies and instrumentation are still the best ingredient, but his lyrics aren't as far behind as I originally thought they were.

I'm going to analyze Harry's songs by the following metrics:

Poetic intent: 1- Rhyming schemes and patterns 2- Effectivity and comfortability of the rhymes 3- Syllable distribution and cadence

Vocabulary*

Clichés, commonplaces, and overused tropes

Nonsensical elements and overall storytelling

Theme and execution of it

*In regards to vocabulary, initially I wanted to use the CEFR levels, but all the online tests I could find gave me the same result for every song, so it just became a useless metric. I wanted this to be impartial, but my own biased opinion will have to suffice.

In all regards, the benchmark I'm using is your average pop song, not a masterpiece work of art by the best lyricists of our lifetime. Essentially, I'm grading on a curve. Some metrics will have a baseline that's a 7 and gets upped or lowered. Some others will start at a 10 and get lowered if they mess up. I'll explain my thought process for each as I make my case for the first song.

Harry has recorded and released 35 songs total, and Louis has too (in the second part of this series I said he'd recorded and released 34, but that was not including Copy Of A Copy Of A Copy, which wasn't recorded in a studio but is part of his live album). That amounts to a grand total of 70 works. I simply won't be analyzing that many songs, so I'll pick a handful.

For both of them, the choices will be songs that I find interesting or think are their strengths. I promise I won't cherry pick the best of one and worst of the other. You're welcome to suggest other songs that you think represent Louis' strengths better.

When I type down the analysis this type of metric: [10S] will mean the amount of syllables of the line.

ONLY ANGEL

POETIC INTENT

VERSE 1 Open up your eyes, shut your mouth and see [11S] That I'm still the only one who's been in love with me [14S] I'm just happy getting you stuck in between my teeth [13S] And there's nothing I can do about it [10S] Broke a finger knocking on your bedroom door[11S] I got splinters in my knuckles crawling 'cross the floor [13S] Couldn't take you home to mother in a skirt that short[13S] But I think that's what I like about it [10S]

The stanza has 8 lines, which are neatly divided in two groups of four by both rhyming pattern and syllable distribution. The rhyming pattern is A A A B C C C B, syllable distribution is 47+47.

This is mirrored in the second verse:

VERSE 2 I must admit I thought I'd like to make you mine [12S] As I went about my business through the warning signs[13S] End up meetin' in the hallway every single time [12S] And there's nothin' we can do about it [10S] Told it to her brother and she told it to me [11S] That she's gonna be an angel, just you wait and see [13S] When it turns out she's a devil in between the sheets [13S] And there's nothing she can do about it [hey, hey] [10S]

Once again, the stanza has an A A A B C C C B rhyming pattern with a 47 + 47 syllable distribution.

All the other elements of this song (mainly chorus and bridge) are repetitive and playing into the instrumentation and the melody first and foremost. There isn't a rhyming pattern to analyze.

Rhyming schemes and patterns:

The verses have an interesting rhyming pattern. It's clearly not half-haphazarldly through together, but actually well thought out and with intent. It's not your run-of-the-mill rhyming pattern (those are usually A A B B or A B A B). There's something disruptive about the "about its". While I can't rate the chorus or bridge, I'm not going to deduct points for that, because if I were analyzing the music alongside the lyrics, they would be elevated by it, so while I can't add extra points for that, I think subtracting them would be unfair.

For this metric, the baseline will be a 7, and I'll be adding or subtracting points on that baseline.

Score: 9/10

Effectivity and comfortability of the rhymes:

They're good. Not amazing, but good. None of them blows my mind, but none of them are uncomfortable or feel forced either.

With this metric I'm starting at a 7 for "average pop song" and adding or subtracting points from that baseline.

Score: 7/10

Syllable distribution and cadence:

I'm not gonna lie, the symmetry is really appealing to me.

This score is pretty arbitrary. it's a very random metric, that will only apply to very specific songs. I'll start off with a 7 and add points if it stands out. Most songs will just be a 7.

Score: 9/10

Vocabulary:

It's good. It's not Bob-Dylan-esque good. It's not even Alex Turner good. But it's good. The scores here are in comparison to the average pop song, and I think Only Angel's vocabulary is slightly more elevated than the average pop song.

A standout lyric to me is "I must admit I thought I'd like to make you mine, as I went about my business through the warning signs." He's saying, "You may have all the red flags, but I have my rose-colored glasses on, so all I see is flags" in a more sophisticated way.

For this metric, I'm starting at a 7 for "typical pop song vocabulary" and adding or subtracting points based on that.

Score: 8/10

Clichés, commonplaces, and overused tropes:

When it turns out she's the devil in between the sheets.

This is the only cliché I can identify in this song. I can't expect singers to never include clichés, but I will take notice of them, and if overused, deduct points. Also, the clichés have to make sense with the rest of the song. In this case, it fits perfectly.

Would calling her an angel be classified as a cliché? Meh, that would mean literally every love song is a cliché.

The rest of the song is a well-executed romantic-adjacent song that doesn't rely on clichés.

For this metric, I'm starting off at 10 and deducting points for clichés.

Score: 9/10

Nonsensical elements and overall storytelling:

There are no nonsensical elements to this song. It's pretty well contained within its logic. It presents a relationship that isn't serious, but sexual in nature. While the lover's brother and the speaker's mother are mentioned, it's not to allude to a serious relationship, but the opposite. The speaker's mother is mentioned in the context of not taking the lover to meet her. The lover tells her brother that she's "gonna be an angel," but the speaker tells us that's not what ends up happening.

Even the sentence "end up meeting in the hallway every single time," which could sound a bit nonsensical, actually ties the second verse to the first ("broke a finger knocking on your bedroom door"). This sentence also ties back to another song on the same album (Meet Me In The Hallway), which I think is a nice touch.

It's pretty cohesive.

As with the last metric, with this one I'm starting at 10 and deducting points for nonsense or bad storytelling.

Score: 10/10

Theme and execution of it:

As I said earlier, it's a romantic-adjacent song that doesn't rely on typical and overused tropes, which makes it a little different. There isn't an allusion to a serious relationship, but rather, to one that's mainly sexual, which probably helps, as it's typically not that explored within the pop genre.

There's a very vivid image of him at her door, knocking vigorously until he gets hurt, then falling to his knees and crawling, and in that context running into her. The element of "every single time" gives us insight on this being a repeated occurrence.

Starting a romantic adjacent song by declaring that not only has the lover never been in love with the speaker, but also, that nobody else has, is really clever to me. It's self-deprecating and introduces us to an interesting theme, which flips the expectations of what a popstar might sing about, in terms of love, in its head.

I'm starting off this one at 7 for the average pop song. Elements that elevate it will better the score, elements that make it overdone, or nonsensical will lower it.

Score: 9/10

FINAL THOUGHTS:

Only Angel is not a lyrical masterpiece, but it's elevated by its innovative approach at a theme and rhyming structure. It's obviously well thought and its author knows about poetry and applied their knowledge correctly.

Score: 61/70 = A-

CAROLINA

POETIC INTENT

VERSE 1 She's got a family in Carolina So far away, but she says I remind her of home Feelin', oh, so far from home She never saw herself as a West Coaster Moved all the way 'cause her grandma told her"Townes, better swim before you drown"

The rhyming scheme in this verse is a combination of perfect rhymes ("Townes", which is pronounced "Town," and "drown"), repetition ("home"), and assonant rhymes. Assonant rhymes are those that sound similar when spoken but don't look similar in paper. There are assonant rhymes in Only Angel, but they look more similar, so they're more obvious to the untrained eye.

I recommend you listen to the song to check for yourself. Listen to how he says the words "Carolina" and then "I remind her," and then do the same thing with "as a West Coaster" and "grandma told her."

Let's rearrange some things to measure the syllables.

VERSE 1 She's¹ got² a³ fam⁴-i⁵-ly⁶ in⁷ Car⁸-o⁹-lina¹⁰ [10S] So¹ far² a³-way,⁴ but⁵ she⁶ says⁷ I⁸ re⁹-mind¹⁰ her¹¹ [11S] [of] home,¹ feel²-in',³ oh,⁴ so⁵ far⁶ from⁷ home⁸ [8S] She¹ nev²-er³ saw⁴ her⁵-self⁶ as⁷ a⁸ West⁹ Coas¹⁰-ter¹¹ [11S] Moved¹ all² the³ way⁴ 'cause⁵ her⁶ grand⁷-ma⁸ told⁹ her¹⁰ [12S] "Townes,¹ bet²-ter³ swim⁴ be⁵-fore⁶ you⁷ drown⁸" [8S]

The rhyming scheme is A A BB C C DD. I put [of] between brackets because it's there for grammar reasons he glues it to "home" in practice. Once again, as with Only Angel, you can divide this verse into two neat groups of 28 syllables.

B and D are examples of what's called "internal rhymes."

Verse 2 is even more technically intricate, and this time, it doesn't mirror verse 1.

VERSE 2 She's got a book for every sit-u-a-tion [10S] Gets in-to par-ties with-out in-vi-ta-tion [11S] How could you e-ver turn her down? [8S] There's not a drink that I think could sink her [10S] How would I tell her that she's all I think a-bout? [12S] Well, I guess she just found out [7S]

This rhyming scheme is amazing. A A BB CCC D D. It's a thing of dreams. There's two pairs of perfect rhymes ("situation" + "invitation" and "about" + "out"), a trio of perfect rhymes ("drink", "think", "sink"), and a pair of near rhymes ("how" + "down").

While the rhyming scheme differs between stanzas, the syllable structure is once again mirrored, with two groups of 29 syllables each.

BRIDGE I met her once and wrote a song about her I wanna scream, yeah, I wanna shout it out And I hope she hears me now

A AA AA is the rhyming scheme here. "Shout," "out," and "about" are perfect rhymes, they all share the same vowel: /aʊ/ and the same consonant /t/. "Hope" and "now" are assonant rhymes, with each other and with the rest.

As with Only Angel, the chorus is repetitive and elevated by the music. So I won't be adding or deducting points.

Rhyming schemes and patterns:

😍 I'm in love.

Score: 10/10

Effectivity and comfortability of the rhymes:

This type of rhymes are more common in hip-hop and a lot less common in pop music. Alex Turner is famously inspired by hip-hop, which is what encouraged him to do internal and assonant rhymes and whenever he could. I'm using Teddy Picker (a song Louis called out) as an example because it's very rich in it:

Another variation on a theme A tangle on the television and the magazine D'you reckon that they do it for a joke? D'you reckon that they make 'em take an oath That says that "We are defenders of any poser Or professional pretender around"

On its face, only "defenders" and "pretenders" should rhyme, but actually listen to the song. Listen how he pronounces every word and you'll see. Particularly eye-opening is how he pronounces "professional" with the stress on the last syllable, which changes the vowel to an open sound that rhymes with "we are."

Anyway, back to Harry, I'm not very used to this type of usage of rhyming in pop music, and I absolutely love it.

The fact that none of these are awkward, or cliché, or overdone. But also feel completely natural and like they just flow with the cadence of the song. No notes.

Score: 10/10

Syllable distribution and cadence:

I don't need to keep yapping.

Score: 10/10

Vocabulary:

In my humble opinion, the vocabulary is slightly better than the average pop song.

Score: 8

Clichés, commonplaces, and overused tropes:

The concept of "she's a good girl" and writing a song for someone you just met.

Is "she's got a book for every situation" a commonplace? I don't think so, right? It sounds like it should be, just like "there's not a drink that I think could sink her." The images these words elicit are so vivid, one would think these commonplaces already exist, but I can't find evidence of it. Don't get me wrong, I'm not going to claim that Harry was the first person ever to put these words together, but they certainly weren't widespread clichés.

Searching "book for every situation" (without quotes) and limiting the search to before the album came out yields no relevant results.}

I'm deducting two points and adding one for creating a sentence that sounds like it should be a cliché but isn't. Sorry, I don't make the rules.

Score: 9/10

Nonsensical elements and overall storytelling:

The logic within the song is solid. There are no nonsensical elements, no parts that were just added to bulk up the lyrics, no leaps of logic. The storytelling is excellent. He meets a girl once, she's exciting, and unique, and different, and after the date is over, he can't stop thinking about her, so he writes her a song without telling her he's doing it. She'll find out when she hears it.

Score: 10/10

Theme and execution of it:

The theme is a new spin on the typical love song (such as Only Angel was) and I think it's perfectly executed. It's not a magical concept, but it's cute.

Score: 8/10

FINAL THOUGHTS:

While I personally like Only Angel better, I'm trying not to be biased, and I think Carolina is a tighter song in terms of lyrics. It's very cohesive, the vocabulary is above average, the rhyming scheme is well thought out and done.

Score: 65/70 = A

GOLDEN

POETIC INTENT

VERSE 1 Gold-en, gold-en, gold-en as I o-pen my eyes [12S] Hold it, fo-cus, ho-ping, take me back to the light [12S] I know you were way too bright for me [9S] I'm hope-less, bro-ken, so you wait for me in the sky [13S] Browns my skin just right [5S] You're so golden [4S]

This stanza has two groups of rhymes that parallel each other throughout. The green rhymes are a mishmash of perfect rhymes with both the vowel /aɪ/ and the consonant /t/, and assonant rhymes where just the vowel rhymes.

The blue rhymes, however, are more complex. The single-syllable words "know" and "browns" are rhyming the vowel /oʊ/ (though, typically, "browns" would use the vowel /aʊ/, the way Harry pronounces, especially with a silent "S" makes it match with the rest).

The double-syllable rhymes, however, are compound rhymes, rhyming the vowels on both syllables. In Golden, the vowel for the first syllable is /oʊ/, and for the second one, /ə/. I'm not claiming every double-syllable rhyme here shares the /ə/ vowel because clearly they don't, but the way it's pronounced makes it rhyme. "Golden", "open", "broken". and "focus" do share them, though. Hopeless uses the /ɛ/ vowel, while "hold it" and "hoping" use the /ɪ/ vowel. Pronunciation, melody, and context makes it so all of these are compound rhymes.

The first two lines mirror each other perfectly, with each "golden" in the first line corresponding with a second line rhyme. "Gold-en" + "Hold it". "Gold-en" + "fo-cus". "Gold-en" + "ho-ping." and then ending both lines with an assonant rhyme ("eyes" and "light"). Both are also 12 syllables. In fact, the fourth line closely mirrors 1 and 2, while it doesn't fully do it (and there's a reason that we'll explore later), it does mirror the amount of syllables. It has 13 syllables, but if you listen to the song the "I'm" is sang alongside "for me".

The rhyming scheme here is AAAB AAAB AB AAB AB A.

VERSE 2 I don't wan-na be a-lone [7S] I don't wan-na be a-lone when it ends [10S] Don't wan-na let you know [6S] I don't wan-na be a-lone [7S] But I can feel it take a hold [8S] I can feel you take con-trol [7S] Of who I am and all I've e-ver known [10S] Lov-in' you's the an-ti-dote [7S] Gold-en [2S]

This stanza is simpler than the last one, though that's not saying much because the last one was kind of insane. All the blue words rhyme with each other through the vowel /oʊ/ making these assonant rhymes, but "alone" and "ends" also rhyme, through the consonant /n/, making this a consonant rhyme ("ends" such as "browns" gets the "silent s" treatment from Harry). It's likely this rhyme is added for effect. A rhyme that separates itself from the rest, to show us how final and serious he is about it "ending."

This one would be a A AB A A A A A A A pattern. Chef's kiss.

As typical for Harry (and for a lot of pop artists!) the bridge and chorus of this song don't really have a rhyming pattern worth analyzing and play a lot with instrumentals and melodies.

Rhyming schemes and patterns:

Having two separate rhymes going at the same time, one of them being mostly compound rhymes, while also being coherent and intentional with your vocabulary isn't exactly easy. The first verse is incredible. The second one is not bad at all, just a little less impressive.

Score: 9.5/10

Effectivity and comfortability of the rhymes:

What would earn negative points here, would be uncomfortable rhymes, where you add a word simply because it rhymes even if it doesn't make sense or sounds awkward. Or rhymes where it technically rhymes, but it sounds awkward to the ear. What earns positive points is internal rhyming, unexpected or clever rhyming, assonant rhyming that you'd never expect to rhyme, etc.

Golden does neither of these things, so I'll give it a neat 7.5. It's good, but it's not mindblowing. It earns a 0.5+ for somehow doing a whole scheme including the word "antidote" and have it make perfect sense.

Score: 7.5/10

Syllable distribution and cadence:

The first verse is a 10/10 the second one gets points for congruity.

Score: 8.5/10

Vocabulary:

It's okay. Nothing revolutionary. Sliiightly better than the average pop song.

Score: 7.5/10

Clichés, commonplaces, and overused tropes:

I can't think of any. Self-deprecation, though not a novelty is not exactly a staple of pop culture. Usually the singer tells us why the lover is either perfect or at fault. Songs where the singer believes they're not good enough are rarer. That alone makes Golden stand out. There are also no commonplaces or idioms that I can identify.

Score: 10/10

Nonsensical elements and overall storytelling:

There aren't any nonsensical elements. No words just added there to fill a void that don't make sense. No leaps of logic, nothing like that.

Its storytelling is actually really good. I can't analyze the music side of it, for the reasons I already mentioned, but it definitely plays a role in storytelling.

Strictly lyrics, though, in the first verse he's describing the feeling of being dazzled by a bright light when you're not used to them. You open your eyes and you have to squeeze them shut because it's so bright. He's looking at it, and it's "golden, golden, golden." As his eyes get used to it, he's asking her to "hold it", he's "focusing" and he's "hoping" that he can get back to that light, which seems to be moving away. But as the verse progresses, he tells us that, in reality, he always knew she (the light) was too bright for him. He's not hoping anymore, he's hopeless, and he's not holding anymore, he's broken. She's no longer near him, she's now in the sky. And as the sun, in the sky, it browns his skin.

Once you break down the verse this way, it's heartbreaking. He went from having her next to him, blinding him, to moving away from him. And he tries to stay with her, but eventually realizes it simply isn't possible. She's now distant, in the sky. She's still present, browning his skin, affecting him, still, but she's further away.

In the second verse, he's grippling with the fact that this distance will only grow bigger. And he's anguished about the inevitable reality of ending up alone, which he now is sure will happen. He tells us through repetition exactly how anguished he is about it. Despite this, despite knowing this relationship will inevitably end, he tells us that she still has a hold of him and how important she is to him.

It's beautiful storytelling, using a metaphor to retell the ending of a relationship. To be able to write something so compelling while also using such beautiful poetry is a gift.

Score: 10/10

Theme and execution of it:

This is a "love song" but as I said before, it's not your typical one. It has a self-deprecating angle that's not too experimented with. As I just detailed, too, it's very well-executed. I think the angle it takes for storytelling is fresh and interesting.

Score: 9/10

FINAL THOUGHTS:

I'm so mad I can't analyze music with this song, because hooo boy does the music play a huge role in this one. All I can say is that it's a great song.

Score: 62/70 = B+ (the music would elevate this to an A+)

LOVE OF MY LIFE

POETIC INTENT

VERSE 1 Things hav-en't been quite the same [7S] There's a haze on the ho-ri-zon, babe [9S] It's on-ly been a cou-ple of days and I miss you, [13S] When noth-ing re-al-ly goes to plan [9S] You stub your toe or break your cam-era [9S] I'll do ev-ery-thing I can to help you through [11S]

The words "same", "haze, "babe", and "days" are all assonant rhymes through the vowel /eɪ/. "Plan" and "can" share the /æ/ vowel. "You", "do" and "through" all have the /uː/ vowel. This leaves you with a A AA AB C BCB rhyming pattern. There's a single line left out with no rhymes. This would be normal for any other pop star, but not really for Harry, especially if every other line is full of rhymes. So why? Because that line is representing "nothing really going to plan."

It even sounds a little out of place when he sings it. That's on purpose. Artists that do this, hiding the meaning of the lyrics in the poetry, are my absolute favorite, and I had never noticed Harry did this until right about now.

VERSE 2 I've nev-er been a fan of change [8S] But I'd fol-low you to an-y place [9S] If it's Hol-ly-wood or Bish-ops-gate, I'm com-ing, too [13S]

The second verse is very short and sweet, and filled to the brim with rhymes. Having two parallel rhymes and one of them including the word BISHOPSGATE. I commend him, really.

He does the bit of representing the lyrics with poetry again, "I'm coming too" has an assonant rhyme with "Hollywood." It's not an exact thing, but the vowels /ʊ/ and /u/ have a very similar rounded sound from the back of the mouth.

I've always thought that he intended this song to be about Olivia Wilde (he started writing it before he met her, but he kept retouching it over the months, case in point "you break your camera"), who lived in Hollywood and moved to London with her kids. There was a whole conflict with her kids' dad about that, specifically, so Harry is telling her "either way, I'll be there." There's a slight mention of this in As It Was ("leave America, two kids follow her"). Curiously, the As It Was music video was filmed in the Barbican, which is right next to Bishopsgate. Harry and Olivia spent a bunch of time in or around Bishopsgate (almost anyone in London would, to be fair).

Anyway, rhyming scheme A AB AB.

CHORUS We've been doin' all this late-night talkin' 'Bout anything you want until thе morning Now you're in my life I can't get you off my mind

Nothing too impressive here, but it's rare for Harry to not just vibe with the music in the chorus. So we have rhymes in a chorus for the first time! (Not really the first time — I'm being facetious — even Sign of the Times' chorus is full of rhymes). Rhyming scheme AA AA B B.

Rhyming schemes and patterns:

The device of using not-rhyming to communicate part of the lyrics is really clever and I really like it. Other than that, the schemes are good, but not mindblowing. The first verse is really cool, though.

Score: 8.5/10

Syllable distribution and cadence:

Okay! Nothing mindblowing. Nothing too intentional. It's okay.

Score: 7/10

Effectivity and comfortability of the rhymes:

Listen, he managed to rhyme BISHOPSGATE seamlessly. Give him props, for the love of god.

Score: 8.5/10

Vocabulary:

Better than your average pop song — not exactly the reincarnation of David Bowie, but better than average. "There's a haze in the horizon" gets an extra point.

Score: 8/10

Clichés, commonplaces, and overused tropes:

I mean, there are very common elements, such as following your lover everywhere and...

"I can't get you off my mind"

But it's the type of commonplace you expect in a pop song. So I'll allow it (I'll still deduct a point, though).

Score: 9/10

Nonsensical elements and overall storytelling:

Storytelling through rhymes, are you kidding? And also, nothing is nonsensical. And he manages to tell a coherent story.

Score: 10/10

Theme and execution of it:

It's cute, not super overdone but also not overly original.

Score: 7/10

FINAL THOUGHTS:

This is one of my least favorite songs by Harry (I still like it a lot), but I chose it because I thought it was interesting how he incorporated the rhyming in the storytelling (he kinda did that with Golden, but very subtly). And I wanted to include at least one chorus with a rhyming scheme. Lyrically, Matilda, Boyfriends, Love Of My Life, and Music For A Sushi Restaurant are much better (off this album). Also, low key Keep Driving. But Late Night Talking is still a very good pop song.

Score: 58/70 = B

Overall, Harry is a compelling songwriter who tends to put thought into his rhyming schemes and intent behind his lyrics. He, perhaps, overuses repetition (less so now than before) and could elevate his vocabulary and themes a little bit, but I would say that his lyrics are actually better than average and he doesn't get enough credit for them because people tend to either just listen to his biggest hits or not look too deep into them.

I think lyrics are his weakest point as a songwriter, but that doesn't mean they're bad at all. At the end of the day, it all boils down to taste.

I think in male mainstream pop, the only male artist that I rate higher than Harry in terms of songwriting is Hozier. Ed Sheeran could be up there too, but he sold out a while ago, and is slowly going back to his roots. I'm obviously not even considering incredible hip-hop artists like Kendrick Lamar or rock-leaning artists like Alex Turner (I would say Alex isn't really that mainstream nowadays).

I think Harry is a B- songwriter when it comes to lyrics and an A- songwriter when it comes to instruments.

[writingquestionsanswered]

Anonymous asked: I struggle with motivation to write and figuring out what I want to happen in my story. I'm really good at picking out tropes, understanding character motivation, seeing where the story is going, recognising good writing, etc. I often have dreams that are full-fledged, complex stories, so I know the creativity is there. It's just, for some reason, when it's my intent to create, nothing happens. I get stuck thinking 'they'll see this coming' or 'this wouldn't work', and I can't figure out how I want it to go. So, I feel like I'm pretty good at stories... when I'm not trying? And i dont know how to do it without trying. I hope this makes sense lol

Struggling with Motivation and Direction

Being able to recognize good stories and dream up good story ideas is a great place to start, but there's more to writing a good story than ideas, tropes, and character motivation. Stories revolve around conflict (internal, external, or both) and the protagonist's pursuit of a goal that will resolve that conflict. Stories have structure... they go through specific phases (setup, rising action, falling action, denouement) and hit specific plot points (hook, inciting incident, midpoint, climax)... and sometimes more specific phases and plot points (there are all different theories on what those are). And through all of these phases and plot points, your character is growing and/or changing (and or changing the people/world around them) while in pursuit of their goal/resolution to the conflict.

There are some writers who can come up with an idea that instantly includes all of those important phases and plot points, and they can sit down over whatever period of time and almost effortlessly hammer out a first draft. However, that is not the case for most writers or most stories. Most stories require some level of plotting or planning ahead of time to work out what happens in all of those specific phases and plot points, and what the character has to do in order to resolve the conflict, and figure out how the resulting events cause your character to change and/or grow/and/or change the people/world around them. Some writers do the bare minimum amount of pre-planning, but then they push through that work as they write, figuring everything out as they go. It's anything but effortless. It's really hard work.

And the thing is, you will probably figure out that you're a planner--meaning that you generally need to put whatever amount of plotting/planning into a story before you write--or you're a pantser--meaning that you do a minimal amount of planning ahead of time but take the time as you're writing to figure things out. Or you may find it depends on the story you're writing. Either way, don't give up just because a story isn't naturally falling out of your fingertips onto the page. Stories are like lumps of clay that you want to turn into a beautiful sculpture. You're not going to pinch here, pull there, and voila. It takes a lot of time and effort to shape them into the thing you want them to be. And sure... there are sculptors who can sit down and create a gorgeous sculpture out of a lump of clay in mere moments, but for most it's not that easy. Same with writing.

So, don't give up. You're right where you need to be. Spend some more time learning about how stories work. (You can look through the posts on my Plot & Story Structure master list to start with.) Read a lot, and when you read, see if you can pick out the different story phases and plot points. Analyze stories you love to see how you work. Author K.M. Weiland has a story structure database that pulls apart popular stories and breaks them down into all those different pieces. There are also a lot of great videos on YouTube about story structure and plotting.

Ultimately, keep at it. You'll get there!!!

•••••••••••••••••••••••••••••••••

I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

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[sleepingwithinkink2-0]

Space Cadet

Lost files :#52

A Forest in The Stars ✨

(I'll probably butcher this piece, and leave limps beyond repair but at least there's a body to be picked apart and probed for further clues.)

I try to be optimistic,

because our perspective can alter our day. A well design illusion. Repeat something enough and it becomes your reality..

I always try to find something good in a negative experience. A lesson hidden in the blood , hidden in bad luck.. or the good in people, even when they don't deserve it..

Everything I do, every action I set into motion, I do with with a pacific intent in mind, because I know the laws of Newton that every motion set into action demands a reaction.. even in the silence reactions happen , maybe even louder .. No matter how small it seems. There's almost always a reason for the things I do. But before I set forth a motion my brain tries to analyze every angle. Marinating in it ... Different perspectives. Putting myself in the other person's shoes. To make sure there's no loose ends, but I know nothing is perfect .. but God do I try.

It's a process, but I know myself enough that things tend to stick .. stick.. stick... So I need to tread carefully through my cranium..or I'll be tormented for days ..with Could I have done that better? What could I've done differently? I'm careful with who I let in, because memories cling to me like adhesive . I know that when you share the things you admire with another person they now are attached to it. So i'm careful who I share the things I adore....So if you ever wonder why I like you, know I already asked myself that hundred and one times. If I share the things know that wasn't easy, because I know that something I adore can now become something attached to sadness.

✨

I realize something in this swirling ball of madness we call society that it doesn't't matter what you do in this life.. You can plan your future to the millisecond , but the fact there is a hundreds of people in this world means nothing is ever guaranteed. Sometimes I wonder why I put the effort in things when at the end of the day it's not up to me, but ultimately the people around me..

✨

Every passing day my heart longs for a place that doesn't exist. Every passing day the more disappointed I become in humanity, there's so much ugliness and neglect . I can't comprehend why and that worries me..

I know that my brain processes things different and at times I wish I could just shut it off and not care about the consequences of my actions in such detail, but it at the moment I don't know how ..

I can't even litter.. I remember when I was little I threw a candy wrapper on the ground and it was eating me up..I thought of how much impact it would have through the eyes of insects and how that wrapper becomes hundreds of wrappers. I thought of the future if everyone just didn't care .. hurting nature when all she did was give us a chance to live ....I felt bad, to the point I picked it up on the way back home...

✨

I'm growing tired of trying.... becoming more vocal. Letting things go . I want to say I don't care, but at the same time I do....I can feel a tear . I hear it in the middle of the night if I listen . Some days I have the urge just to leave and disappear into the woods. With a backpack full of books , seeds and paper to a cabin preferable at the edge of universe , where there is only stars as far as the eye can see and darkness.....Along the way I would empty out my pockets of memories and burnt out stars.. So I can die without sadness , without the guilt of did I try hard enough..Memories they are a funny little thing .. They don't exist except in the mind and yet they carry so much sadness .. sometimes happiness, but mostly sadness of what once was and never again... I want to die here at the edge of the universe and be forgotten. Not remembered by those that never knew me. Romanticizing my existence through their broken eye sockets an imagine of what they think they knew.. .

✨

Despite these words, I am a happy person. I laugh when I m with my friends. I smile when I see beautiful things... Watching sunsets leaves me content.. The corners of my mouth tear when it rains. I do enjoy sharing the things I adore with those that mean something to me... And most of all I want to live.

✨

But some days are heavier, shoulders bruised, nose bleeding ..My brain fractured, trying to find the outcome in every situation that makes every body happy .People ask me why I enjoy being by myself.. it's because my brain isn't consciously and subconsciously picking up on people's subtle cues and mannerisms... There's few people I feel comfortable with where I can relax and even then sometimes my brain works against me, but those that know me enough always reassures me that my brain is lying to me and that means the world to me. It means they listened to me express myself and took the time to file it in a compartment in their brain labeled Danny. I like when people are transparent and honest because my brain is always on over drive. I can pick up when people are hiding or lying about something.. I pick up people's emotions whether I'm trying or not .. I think that's why I have a hard time making contact when I talk to people .. trying to ignore the feels.. If I go out of my way and make you apart of my life know that I care , because I won't waste my time otherwise , but know that I m not stupid. I knew.. .. but I choose to ignore it because I see that the good outweighs the hurt of one causality.. I understand loosely why , but not the reason of your actions... Perhaps you were afraid to lose me if you were honest.. Perhaps it was something else.. Either way I choose to stay.. A risk I was willing to take .

✨

One day I'l wake up in the forest and it will be to late. Know it wasn't an easy decision, that I thought of everything before I took that step.. that it wasn't just one thing, but hundreds of moments that accumulated with every potential encounter.. I know at that point something broke and I don't think it could be fixed or if It can I wouldn't want to fix it... Apart of me will be guilty when I wake up with leaves stuck to my clothes of what I left behind, but I know that I've tried . I know this now...that every time I'm held at gun point by my own morals that I always tried to make the outcome in everyone's favor or at least theirs .. So don't come looking for me once I'm gone, I don't wanna play any more.. I just want to watch the flowers grow .

03.14.25

11:54pm

Danny Sheehan

[fayemuseum]

08.19.24/ Concepts I find Interesting in The Second Sex by Simone De Beauvoir (currently on page 303/766)

De Beauvoir touches upon the male obsession with loneliness and how women are portrayed as catalysts for this. Men view women as forms of distraction, ones that hinder them from their real purpose. It is the idea of women as emotional beings that creates this view for men—that being too intertwined with them ruins their rationality and prevents them from being logical. "It is easy to believe one is sovereign when alone, to believe oneself strong when carefully refusing to bear any burden." Women do not have the privilege of abandoning those they deem as "too much"; their sole purpose is to provide, to create a safe haven for those around them, and they must be prepared to wholly devote themselves to anyone. A woman is a mother to men; she must always be there for him, she must open herself up, and she must sacrifice. However, once her "purpose" is fulfilled, and the male deems himself above her, she is no longer needed. A man must walk the path to greatness alone, with solely his logic and intelligence; women, however, cannot. They must wait for the next person they must serve.

The male perception and idealization of ambiguity in women. Men desire women they can conquer, pick apart and analyze. Men value mystery; they value a difficult woman. Just as they've conquered the land around them, they must then conquer the woman they deem worthy. A man will pick apart every inch of you; they will strip you of your secrets and try to own you both physically and emotionally. Once they have, the air of mystery that surrounds you and their interest in you dissipates. However, if a man struggles and never comes to understand or own you, he will scorn you forever. He will say you are cold and difficult for keeping up your barriers, for denying him the access he deserves.

The mystification of women serves more as an act of objectification than one that uplifts her. In making women deities or the pinnacle of divinity and nature, you are cutting her off from what she is—a human. Women make mistakes; they can contradict themselves, and they can be unforgiving or cruel if they want. Women are not parts of nature; they are not concepts or ideas. In exempting women from humankind, you are perpetuating unrealistic standards for women, standards of benevolence and purity. In mystifying women, you are taking away their human desires, their human will; you leave nothing but a one-dimensional being whose intentions serve merely their onlookers and not themselves.

[elitemedicaltraining]

10 Essential Tips To Complete Your ACLS Certification Course

Getting certified in Advanced Cardiovascular Life Support, or ACLS, is a significant achievement for a clinician. Whether you figure in healthcare as a registered nurse, doctor, or other expert, passing the ACLS examination is essential to being able to save lives in cardiac emergencies. With the help of this thorough manual, you'll analyze ten vital thoughts that will help you master your ACLS certification direction and ensure you are prepared for any emergency.

Understanding the Importance of ACLS Certification

Advanced training in figuring out and dealing with cardiac arrest, stroke, and different cardiovascular emergencies is the intention of the ACLS certification route. Passing this route isn't only necessary for healthcare experts, but it also shows that you have the ability to offer superb patient care in pressing situations. Understanding the nuances of ACLS may have a large impact on how nicely sufferers turn out.

Stay Updated with ACLS Guidelines

The Role of AHA Guidelines

In order to comprise the most recent findings and advocated approaches in cardiovascular care, the American Heart Association (AHA) frequently modifies its recommendations. Anyone enrolled in the ACLS online course needs to hold up with those upgrades.

Key Changes to Be Aware Of

Novel CPR methods, updated medication recommendations, or modified treatment algorithms are examples of recent modifications. To make sure you're ready for the examination, go over the most recent requirements.

How to Stay Informed

To be knowledgeable about the latest modifications to ACLS hints, take advantage of respectable AHA assets, participate in professional forums, and enroll in AHA newsletters.

Familiarize Yourself with ACLS Algorithms

Overview of Main Algorithms

The hints for treating particular cardiac emergencies, together with as bradycardia, tachycardia, and cardiac arrest, are known as ACLS algorithms. Comprehending these algorithms is vital to attaining appropriate grades inside the course and check.

Tips for Memorizing Algorithms

To commit the many steps in each method to memory, use mnemonic devices, flashcards, and repetition. Make diagrams or other visual aids to help you grasp things better.

Practical Application

Practice these algorithms in real-life simulations or study groups to ensure you can apply them quickly and accurately during emergencies.

Master EKG Interpretation

Importance of EKG Skills

A vital part of the ACLS certification schooling is getting to know how to interpret EKGs quickly and as they should be. Knowing how to study an EKG properly permits you to spot doubtlessly deadly arrhythmias and begin the right kind of treatment.

Improving EKG Interpretation Skills

Study various EKG styles and practice interpreting them each day. Use online sources, apps, and textbooks to test your skills and improve your speed.

Hands-On Practice

Take advantage of simulations and exercise scenarios that mimic real-life conditions. The more you exercise, the more assured you may turn out to be for your EKG interpretation capabilities.

Know Your Pharmacology

Essential Drugs in ACLS

Learn about the important medications used in the superior cardiopulmonary guide (ACLS), including atropine, amiodarone, and epinephrine. It's essential to understand their dosages, symptoms, and destructive outcomes.

Tips for Memorizing Drug Information

Create flashcards with drug names, doses, aspect effects, and indications. Review these often and quiz yourself to enhance your memory.

Practical Application

Incorporate drug expertise into your practice eventualities to see how they interact with ACLS algorithms. This will assist you in understanding their practical utility in real-life emergencies.

Practice, Practice, Practice

The Importance of Hands-On Practice

Set apart devoted time for practice classes. Use ACLS practice checks and quizzes to check your knowledge and pick out regions that need development.

Utilizing Available Resources

Take gain of any available sources, which include simulation labs, online exercise modules, and peer take a look at agencies. The more you exercise, the more confident you will emerge.

Focus on Team Dynamics

The Role of Communication and Leadership

Effective verbal exchange and management are critical at some point in a code situation. Understanding the significance of team dynamics can extensively impact the effects on the affected person.

Improving Teamwork Skills

Participate in team-based simulations and practice scenarios. Focus on clear communication, role delegation, and leadership skills.

Practical Application

Apply these skills during practice scenarios to ensure you're prepared to lead and communicate effectively during real-life emergencies.

Manage Your Time Effectively

Time Management During Study Phase

Allocate specific times for studying each topic within the ACLS curriculum. Create a study schedule and stick to it to ensure you cover all necessary material.

Time Management During the Exam

Take timed practice exams to get comfortable managing your time during the exam. This will guarantee that you can finish the exam in the allocated time and help you become used to the pressure.

Balancing Study and Practice

Find a balance between studying theoretical material and engaging in hands-on practice. Both are equally important for your success in the ACLS certification course.

Utilize Online Resources and Study Materials

High-Quality Online Resources

You may get a lot of assistance from the internet in order to get ready for your ACLS certification training. Online forums, apps, and websites can offer useful knowledge and practice possibilities.

Recommended Resources

Some recommended resources include the AHA's official website, ACLS practice test websites, and mobile apps designed for ACLS preparation.

How to Use These Resources Effectively

Incorporate these resources into your study routine. Use them to supplement your learning, test your knowledge, and provide additional practice opportunities.

Stay Calm and Confident

Importance of Composure

It's important to remain composed during the ACLS course and the certification test. Maintaining your composure will enable you to act and think logically.

Controlling Test Anxiety

Use relaxation methods like visualization and deep breathing. To lessen worry and increase confidence, prepare well.

Building Confidence

You'll gain self-belief as you observe and practice more. Have self-assurance regarding your talents and a fantastic outlook while you take the ACLS certification examination.

Acing your ACLS certification route is a noteworthy accomplishment that calls for commitment, repetition, and in-intensity knowledge of the difficulty. You will be well-prepared to ace your certification and deliver excellent care during cardiac emergencies if you adhere to these ten crucial suggestions. Recall that being well-prepared is essential, and having confidence in your ability to master the course subject stems from your hard work.

Good luck, and approach your ACLS certification course with confidence and determination!

[playingforever]

i feel evil for relating every timeloop trope in things to pmmm but like, you have to hear me out... mono is very homura tbh - retrospring ask [link]

[amused] I guess I've been dwelling on PMMM lately, as an exercise in comparing and contrasting time loop narratives. Mono and Homura's circumstances are quite different, but I like that to be able to perpetuate their circumstance, For The Sake Of One Person... they have to be kind of Crazy Passionate, you Know? Baseline. It's an interesting madness to pick apart and analyze.

Between the two I would say Homura is, farrrr more selfless and noble, as her priority is to save Madoka, even at the cost of their own intimacy and closeness with her. She'd allow herself to be othered, seen as suspicious & untrustworthy, if it meant Madoka was safe. She'd also let Madoka have other friends without her... She takes on the burden of suffering, knowing that all she does is for Madoka's sake. It's fine, even if Madoka never acknowledges this. Homura isn't asking her to.

Mono, meanwhile, errr... WELL, HE'S NOT DOIN ALL THAT... !!! He's, if anything, actively keeping Six from having other things in his life — by corrupting the world around him via the Signal Tower, it gives Six no options outside himself. This world dilapidates worse and worse actively, because of him... and he is responsible for the peril Six is put through. To me it's like, his ultimate goal is to keep them together... it's just that he also obsessively runs the gauntlet of needing to save her again and again.

It's kind of brutal... you'll have the producer state in an interview that Mono is protective, but Six doesn't need to be saved... and I'm like yeah, she, wouldn't need to be, if only Mono would stop... lolll.... Homura is worsening Madoka's 'karma' through her obsession as well, but again I just think it's, at least more 'well-intentioned'... She isn't utilizing the incubators' powers to corner Madoka into only relying on her kfkfkk... That being said, I see the most similarity between Mono and the Homura in Rebellion, because she's unknowingly within her own labyrinth... The fabricated Mitakihara City is 'off', surreal, dreamlike, reflective of Homura's feelings, and she's not aware that she is the source of it all. (Though it's still amusingly like, not turning everything into a nightmare... Perhaps the labyrinth is closer to the Signal Tower, making everyone lose themselves in a 'fantasy'? ~le escapism~...)

Alsoo I like that Homura loses her mind hunting down the witch, only to realize it is herself... tfw self-hating and your own enemy. And by the end of Rebellion, Homura is? Taking up this role of 'antagonist'... willfully. Going to ruin the integrity of the world... out of love...?

I'm curious how far she is willing to go in that role. I personally would be stimulated if Homura could be soo selfish that basically everyone but Madoka starts to be come collateral, let the whole world fall apart entirely just to sustain a game between her and Madoka... It would be interesting. :}

I don't really have a great thesis about these two. Like I said, they're in quite different circumstances, stories and whatnot... But since I relate to both it's fun to kinda whimsically discuss. The other night, me and Avvy were conferring on how Six might perhaps have a similar issue to Madoka, in that sheer blindness to her own self-importance. Girls who would never imagine someone is moving heaven and earth for them... 💔 Quite pitiable, aren't they... (′︿‵｡)

[nataliaharrison]

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[sincerely-krp]

regarding the information you guys presented on the hqrise situation - as an outsider/lurker - it honestly kind of feels like you guys overstepped as admins. there might have been a lot of missing information but that doesn’t take away from inserting all this information publically even if there’s good intentions to prevent the rp from closing down considering the general consensus of the current members/etc reasons.

like any anything done anonymously, even though you guys have always done your best to handle things privately and protecting people’s identities, it still doesn’t take away that an admin reaching out has the right to not be 100% trustful of what you guys are saying to them as once again - there’s only so much proof you guys can provide someone without violating your own conditions which easily equates to empty words because no solid proof is able to be presented to them no matter what.

from that pov, it’s not going to be easy to just trust what other strangers on the internet are saying for an rp they’ve curated with specific rules. if people weren’t happy with the strictness of the plot and timeline, that means that need to look somewhere else because as you also stated the admin consistently put out polls as an attempt to figure out the future of the rp together with the collective.

but there were certain phrases through your information that kind of painted the admin in a negative light for making that post with their own decisions and reasons. i don’t think picking apart their post for what they want to do and how they approached the overall situation was necessary considering they did so on their own blog to address things privately with the direct members of their collective. but by making this post - regardless of if the admin asked for clarification - it feels like this situation has been made a public situation for all of the krp community rather than kept publicly within their own community. and if the admin didn’t ask for clarification but you felt the need to provide that clarification, i honestly think it would’ve been best to just reach out to them again unless if they had explicitly stated they no longer wished to discuss the situation with you guys. from what the admin posted, i didn’t interpret any insinuation that they were pinning anything on any removed members. which kind of brings me back to my point of why i think this was unnecessary on your end as admins. you guys are provided extra information because of the proof you guys have and therefore are more aware of things that outsiders wouldn’t know even reading through all of the admin posts up to now. essentially you guys are indirect insiders which no longer puts you guys as an outside party with analyzing and interpreting proof sent to you.

overall, i don’t think it makes sense for you guys as admins of this blog to be getting directly involved in other rp’s situations like this because it will be misinterpreted in multiple ways by everyone both involved and uninvolved.

if the issue came with being mentioned by name on their blog, i feel that could have been something then discussed privately with the admin as well before jumping to this.

but that doesn’t take away from inserting all this information publically even if there’s good intentions to prevent the rp from closing down considering the general consensus of the current members/etc reasons.

our response was public because we were referenced publicly in the original post, which may have been part of the cause for the anons in our inbox, or the traffic clearly driven to our blog! if we did not address it, then we would be seen as either censoring a situation or part of the harm that was being continued against a person that we knew for sure was innocent. being given all of the context and sides and seeing the result of the admin's post was a clear indication of the hate that was being directed to the innocent member! this is why we made a post about the misleading nature of the admin's post, because it was very clear to us the takeaway from the post was that it was the single removed member who made the original anon.

it still doesn’t take away that an admin reaching out has the right to not be 100% trustful of what you guys are saying to them

this is true! however, this only makes it more relevant for us to establish why the anons or comments in our inbox from the past week will not be posted. had there been no mention of our blog, we wouldn't have felt the need to clarify what we discussed with the admin that was not presented. we were willing to discuss further with the admin as long as identifying information was not required by us to be shared, which in the past has always helped admins that reached out to us verify our proof is real and therefore our statements are not empty words!

from what the admin posted, i didn’t interpret any insinuation that they were pinning anything on any removed members. which kind of brings me back to my point of why i think this was unnecessary on your end as admins. you guys are provided extra information because of the proof you guys have and therefore are more aware of things that outsiders wouldn’t know even reading through all of the admin posts up to now.

we were not connecting ourselves to hqrise in any way prior to this, by solving things with individual muns in our dms and taking down the only post that made commentary on the krp. as we stated in our post, typically we come to our conclusions, and the only evidence of that publicly is whether or not a certain thread of conversation is never followed up again, or if we allow those pent up anons to be posted.

please keep in mind that while this was your experience, it does not represent the kinds of comments and takeaways that were given to us that made us aware of the post in the first place. as a gossip blog we don't often see 10+ messages in our inbox unless a situation has occurred and much of the krp is involved in it. the response to the original question gave us this, including actual conversation on the krp and actual explanations as well amidst the anons expressing their feelings about the steps taken. during the week after we privated the post we had bursts of inbox anons attacking the removed member. the other we had another burst in a short period of time, relating to the admin's final post.

as you mentioned, we had information that the krp did not have, the same way the admin had information that was not shared. while it is true they reached out to us and we said we could not provide that identifying material, it is also true that we ruled out for them the only member that could have been referenced as not in the krp. it isn't just us that came to this conclusion, it was more that our conclusion was made by looking at what those who viewed the admin's post made. once again, we will not show every anon we received (especially with harmful language), just enough to prove we are not lying.

it is very obvious that hqrise members read the admin's post as confirming who the original anon was, hence why we know the admin's post was misleading!

essentially you guys are indirect insiders which no longer puts you guys as an outside party with analyzing and interpreting proof sent to you.

the fact that evidence was brought to us, allowing us to piece the picture together does not make us indirect insiders. we would be indirect insiders if we were friends of people in the krp. we would be insiders if we were part of the krp. you are saying that because we had analyzed proof we are now no longer an outside party with analyzing and interpreting proof, despite us doing what you are saying outsiders do. we're probably misunderstanding, please clarify!

if the members in our inbox post admin note are the same from before, then it is proof that they were intending to try and use us to vent harmful and incorrect opinions. if the members in our inbox post admin note are different, then it involves us because they brought us more people who took away an incorrect assumption. our post clarified this assumption by linking relevant information that was left out, unintentionally or intentionally, by the admin, so as to clear up the misleading nature their post had (evidenced by the people in our inbox stating things like what we mentioned above. we included a specific timestamp below to prove that the anons were submitted after when the admin made their post, which would be either 9:00 AM, 11:00 AM, or 12:00 PM in american timezones).

to summarize, we do not think we overstepped when this was an issue that our blog was being referenced in, and when it was clear that people took the admin's note to continue to try and hate on a member who was not in the krp at the time through our blog.

if we had stayed out of this, despite knowing what was happening, then the krp members would have continued to believe and build an incorrect narrative that would have continued to be in our inbox, and we would have had to make a post proving the assumption as baseless which would have been a lot more violating for all parties involved, and would have dragged this issue out as well. this has occurred before on our blog and it did no one any good.

to be clear: if the admin had not referenced us, we would not have responded. even though they did, if the hqrise members had not consistently submitted things to us that were clearly harmful towards a member we know is innocent and have communicated to the admin is also innocent while REFERENCING said note that LISTS us as part of the whole issue, we most likely would not have gotten involved at all anyways. we did not consider ourselves part of the issue until we were named!

if the admin did not believe us to be credible, there was no reason for them to use us as a source on their post as a team that had credible information they wanted. we as a blog had been handling things privately for the last week +, and would never have made anything public if we were not publicly brought into this.

we are not trying to make you believe our decision was correct! only to understand why we did what we did! apologies if this is confusing in any way, we tried to really understand and respond to your points. if we missed the mark or misinterpreted, please let us know!