#can introduce decision making elements and friendships

[vivalasthedas]

Honest to fuckin ggod

if they had made a game that was just the Dustmoot section but expanded. You are people in a very real and normal open world game, but you are part of an on going larp with a bunch of people who very much over commit to the bit, and you get to design your fort, collect armor and clothing that is very On Theme, get weapons from toy stores that you modify,

and if you start a fight with someone else from a rival house in too public an area the cops get called on you, and you have to run

I would be there for it. 100%. Holy fuck. I want all the ridiculous larp clothing.

[lettersregardingjeeves]

My Man Jeeves vs. Carry On, Jeeves: A Choice On the Basis of Charm

So as I was having a go at putting the letters together with Mr. Wooster, I realized that the versions of the early New York saga on Standard eBooks, where I sourced the text, were taken from the 1919 collection My Man Jeeves, rather than Carry On, Jeeves - the latter being how I presume the majority of fans read the stories. Naturally, I figured that I really ought to get the most recent public domain versions of the stories, to best represent the current nature of the series. So I had a look at Carry On, Jeeves, curious about the differences therein. And the ones I found were... kind of disappointing.

So, if you haven't read the stories, or just aren't bally interested, then I'll just say that I think the versions present in My Man Jeeves are an awful lot more fun than their rewrites, and am making the executive decision as Woosterian Substack Secretary to use the old instead of the new. For those who are bally interested, I'll chat a bit more under the cut.

All in all, the differences aren't extreme. None of the plot elements have changed, most of the lines haven't changed, and really, if you know one version of the story, you won't have trouble conversing with someone who knows the other. But I find the changes made in the nature of baffling. Some are very tiny changes, but odd nonetheless. Here's Bicky in "Hard-Boiled Egg", talking about why he doesn't want to go in for ranching, in the original My Man Jeeves.

And here's the same passage in Carry On, Jeeves.

Why cut the line about Bicky hating horses because they bite? It gives a more interesting context to why he doesn't want to ranch than the one in Carry On, Jeeves. He doesn't just not want to do the work out of laziness - he's afraid of horses! It's an unexpected and interesting thing for him to say, and it builds a sort of unique speech pattern of short, snappy sentences that fire one after another. It's such a tiny thing that I'm not even sure why it was deemed necessary to cut, unless there were length requirements, but it sands Bicky down a bit.

However, some of the other changes are much more considerable. Take the intro to "The Aunt and the Sluggard" in My Man Jeeves...

...and compare it to the intro in Carry On, Jeeves.

Not even close! What possessed anyone - Wodehouse or editors - to make this sort of cut? On some level I suppose I could understand it if it were purely for the sake of not needing to introduce the character partway through a book, when you'd certainly need to in a magazine, but clearly My Man Jeeves didn't see a problem with having Bertie repeatedly introduce Jeeves this way - and as a reader, neither did I! It's a very charming paragraph full of Bertieisms, and the nervous sort of hesitation upon wishing to call him a friend is even more endearing. Sure, the "guide, philosopher, and friend" quote is later used in the first chapter of 1923's The Inimitable Jeeves, so I can see why Wodehouse and/or editors might have thought the sentiment too repetitive to stick in a collection published afterwards, but the two are subtly different. Here, Bertie is unsure that he can call Jeeves a friend, but in The Inimitable Jeeves below, he says it with surety.

It's especially sweet with the knowledge that My Man Jeeves was published before The Inimitable Jeeves, because that shows this as growth! He's more willing to let himself acknowledge their friendship, and that's a wonderful thing! And even without that linearity, it's just so much weaker of a start. You aren't as drawn in by the significant blander intro as you are by the acquainted birds of poet Johnnies, or the "guide, don't you know" that Bertie relies on at every turn. It's more conversational, engaging, and just plain fun.

But that's not even really the most egregious removal. No, the biggest difference is the excising of the entire intro to "Leave It to Jeeves".

This whole section, which later segues into a sum-up of the events of "Extricating Young Gussie" and a description of New York, is just plain gone in "The Artistic Career of Corky", which this story has been renamed in Carry On, Jeeves. No "Melonsquashville, Tennesee", no horses named Banana Fritter, no Bertie trying to give Jeeves racing tips because he's fond of him. It's peak Bertie silliness, and I remember that I really loved reading it. And yes, again, maybe it was cut just because it follows "Jeeves Takes Charge", which already introduces the character, but I certainly don't see a reason why none of it could be kept - especially since the conceit of the series tends to read as if being told aloud to someone else, and thus it makes sense to repeatedly introduce the character in such a way to new listeners and audiences. Instead, we are given this by way of introduction.

This goes straight into the "Gussie" sum-up and the description of New York, as well as the subsequent description of Corky. All that fun before, reduced to a paltry bit of introductory exposition before the exposition that already happened in the original. Was it cut merely for length? Why else could this possibly have happened? Why remove all that delightful humor and prose in favor of something so much weaker and less interesting? It boggles the mind - boggles it.

In short, I've decided to keep the My Man Jeeves versions of these stories as they are. While some of the changes I saw weren't bad - saying that Rocky's poem went on for "three more verses" got a chuckle out of me, I will say, and the connective tissue with the other stories wasn't bad, either - it was not enough to sacrifice all this. Bertie's narration is always a delight, and I think that delight should be preserved. But if anyone has rebuttals as to why they think the Carry On, Jeeves versions should be used instead, I'd honestly love to hear them!

Thank you for reading!

[jesawyer]

I'm really interested in hearing about the thought process behind Brother Guy not being the victim in the final version, as well as where his backstory we learn about in Act II might have come from. Considering Act II also introduces the Sommerfeld family, was there a background decision at some point of "hey, we need to acknowledge what is happening with Jewish people in this setting?" Is Guy's story and approach to everything going on meant to sort of contrast with the Sommerfeld's (i.e. Guy as a descendant of forced converts vs Rachel and Benjamin as Jewish people active within their community)?

This element of the game just really keeps sticking in my brain, and I'd love to learn more about what was discussed behind the scenes!

He was never intended to be the Act I victim. When working on prototypes, I try to approach them with the explicit declaration that everything we use will be thrown out. It doesn't mean we will throw everything out, but that needs to be the attitude.

Prototypes are built for effect rather than for establishing pipelines. I.e., the prototype is about creating an experience we can all agree on. The vertical slice expands that experience but builds it "the right way". Vertical slice content usually winds up in the game so it should not only be the experience that you want, but it should be built the way you expect to build (most of) the rest of the content.

If we lean too heavily on material we made in a prototype during our vertical slice, we may incur debt because those things may have been built badly, or oddly, or simply in a way that is different from everything else. So while we did use a lot of our prototype material in our vertical slice, the main quest itself was scrapped (as it was always intended to). The murder in Act I needed to fit into a larger narrative framework and Brother Guy's death wouldn't have worked for a variety of reasons.

Some spoilers below:

Cf. the murder of Adelmo in The Name of the Rose. The death of one monk, even under suspicious circumstances, is only of great concern to the abbot because the Papal delegation is arriving. The death of Baron Rothvogel is of great concern to Father Gernot due to his friendship with the Prince-Bishop of Freising.

As far as Guy's background, I thought it was important that the story addressed various things happening to Jews around Europe at the time. The early modern period was very turbulent for Jews and I thought that should be reflected, even if it was happening in side stories. His experience is not the experience of the Sommerfelds and his way of dealing with prejudices toward his ancestors is certainly unique.

We didn't want to make historical prejudices central to the identities of people in Tassing or Kiersau for the same reason we didn't delve deep into things like corporal spousal/child abuse (though characters like Franz and certainly Lenhardt are clearly emotionally abusive at least) even if that were quite common in the period. The topics are so severe that they would likely derail focus on the other plot and thematic elements. Characters like Vácslav also indicate there are background prejudices at play that keep him in the company of charcoal burners and executioners. Anyway, even if the people of Tassing and Kiersau had likely been indoctrinated with prejudices, they have bigger fish to fry, so to speak.

[reviewsthatburn]

UNDER THE SMOKESTREWN SKY brings Avery, Zib, and their companions to the Land of Ash and Embers. As fire is the most obviously transformational of the four elements in this series, I appreciate how this book focuses on transformations and the endpoints after major decisions.

As the final book in the quartet, UNDER THE SMOKESTREWN SKY wraps up many dangling narratives, including but not limited to the fate of the missing queen, whether Avery and Zib make it out of the Up-and-Under, and whether any of them reach the Impossible City. There’s a mostly new storyline which didn’t appear in the other three books, as the general goal of finding the missing queen becomes their specific task at hand. To this end they begin searching the Land of Ash and Embers on their way to the Impossible City. There’s a crisis related to Zib which is introduced and resolved in this book. As the story nears its end, Baker's narration is at times concerned as much with the emotional state of the reader as she is with the decisions made by any of the characters. A foundational assumption in Seanan McGuire's writing is that knowing something changes the person who finds it out. This is said quite explicitly in the narration as Baker discussing how you can only read the story for the first time once, after that you'll never view it the same way again.

Full Review at link

[exilethegame]

How do you even write a IF game? Where do you even start? There's so much in front of me and I dunno what to do- Tips?

Oooh... 'tis a big question and varies from person to person.

I've received a few questions about writing in the past but never answered them. Not because I didn't want to, but because my answers get so long that I'm essentially writing 1000 word essays. I have way too many opinions when it comes to writing and story building and world building... so it's hard for me to rein in my thoughts enough to explain it all in a way that's ordered and makes sense.

That being said, I think I managed to answer this in a relatively short manner for what's being asked. If you (or anyone) have any more questions regarding writing or what I wrote here, feel free to send in another ask!

Now, on to my answer: I think in general you just want a strong foundation to work off of. Granted, a lot of this is assuming you’re writing a story that isn’t just slice-of-life or has zero fantastical/speculative elements to it, but even if that is what you’re interested in, it’s all relevant to some degree.

A.) What genre are you writing?

B.) What's the theme of your story? (Exploring the morality of people? Exploring an undiscovered world? Something as simple and powerful as love, and what lengths would people go for it?)

C.) Is there a message to your story, or no? (A moral, basically.)

D.) Making/choosing your main companions.

A1. There are a lot of genres-- and genres usually give you a base to work with when it comes to deciding part B and C. There are basic genres-- fantasy, sci-fi, dystopian, noir, slice-of-life. If you want to get more specific, I like taking a look at all the "punks" in fiction-- steampunk, solarpunk, cyberpunk, biopunk, etc. These all fall into speculative fiction, which can fall into any "big" genre (historical, fantasy, sci-fi). But they're just specific enough that they can give you a basic storyline to work with, and you can get a lot of immediate inspiration for making a basic plot.

B1. This is basically the big question of "why are you writing this story?" Or, on an even more basic level... what is the story? You can have multiple themes.

For The Exile, I knew I wanted to explore morality. That automatically meant I knew I had to make morally grey characters, that my world needed to be filled with complex political history, and that the plot itself could have no clear answer. It also meant I needed to focus on emotions-- as emotions are what largely drive people to make questionable decisions... which then also introduces the theme of "Emotions. vs. Logic."

But themes don't have to be big, complex, life-changing things. It can be as simple as exploring a big, cool undiscovered island. It can be about the power of friendship. It can be about love, and what lengths people go to for it. It can be about absolutely anything, really, but chances are, if you want to write a story, you already have something in mind.

And, if not, you can base it on your genre. For example, cyberpunk tackles dystopian futures and, true to the punk part of its name, tackles corrupt governments and corporations. Solarpunk is about a world that's all green and self-sustainable-- a world that's free from pollution and global warming. That automatically introduces storylines about nature preservation. Biopunk tackles technological + scientific advancements that specifically relate to experimentation on natural life, like humans, animals, or even plants. That produces a lot of introducing ideas.

C1.) Little Red Riding Hood's moral is to not talk to strangers. The Exile's moral is that actions have consequences. A moral is just a conclusive message you want the reader to derive from the theme. Sometimes, you can even consider the moral the answer to the theme.

That being said-- a moral isn't needed. Not everything needs a conclusive answer.

D1.) This is probably the easiest part-- and that's making your companions. The companions are your strongest tool in world building-- they grew up in this fictional world, and thus their personalities alone can tell the reader a lot about the setting they're in.

When I make my ROs, I usually just start with tropes-- the roles in my story that are necessary for it to be told. For example, Sabir was just "The Diplomat," Syfyn was "The Soldier," Nikke was "The Bounty Hunter," and Vethna was simply "The Foreign Sorcerer." These are all blank slates, but you can see how these generic roles would serve the story. And from there, you build up.

End: The biggest thing I want to emphasize is that there's no clear order to doing this. I just wrote these in the order I came up with them, but you can start with whichever one you're most intrigued/excited by. A world doesn't just build itself-- it takes time, and you'll usually have to bounce around a lot. You can't write too much of a character's lore without having to take the time to develop the homeland they came from. You can't write too much about the homeland without knowing the history of the world. You can't write too much of the history of the world because that's essentially an endless task-- so instead you move to write about the plot-- and the plot can lead back to any of those categories.

Worlds, real and fake, are overlapping. Everything influences everything. If you're struggling to make your plot make sense, make a reason for it to make sense. Go into the history of your world, and make up a reason for your plot to exist. You are the literal creator of the world you make, and you can edit whatever it is you need to.

And, most importantly, write what's fun. Writing should be enjoyable. If you enjoy what you're writing, the rest will follow.

For example, when I started The Exile... there was no plot. Like, I knew MC was an exile, and that Vethna was a foreign sorcerer, and that was literally it. I bullshitted everything in Chapter One as I wrote... including the part where Vethna hires MC. I just needed an excuse for MC + Vethna to meet. But then I needed a reason for Vethna to be on the run, so then I decided to invent Javier.

The storm? I just like lightning. The city flooding? Idk. Seemed cool. People not liking mythosi? Seems reasonable. The gorgons attacking? Wow. I had no idea that was going to happen! Vethna literally stabbing MC? Right out of left field. Oh! They teleported. Cool. Why did I do that? Idk. Well, I like forests, and I can't be bothered to figure out where they are, so they don't know where they are either.

Chapter Two was no different.

That being said, I think you can probably tell those are the two most disorganized chapters, but it doesn't matter. Because those two chapters led to me being able to craft a storyline slowly and over time-- and over time things became more clear and easier to write. It's always scary to create a world from scratch. But the scariest, hardest thing to do is just take a leap of faith and start writing.

Best of luck anon!

[magicalgirlgrimoire]

Genesis of Genre: Part 4

Post modern Puella Magi and what the future holds for Magical Girl as a genre

Author’s note:

I wrote the bulk of this essay the same time as the previous essays I’d posted to this blog. There’s an interjection partway through that notes where I begin to rewrite parts, and you can check the addendum at the very bottom of the page if you want to read about my meek return.

The “Golden Age” of Japanese Magical Girl media would be the 90’s and early 2000’s, introducing us to to genre defining series like Sailor Moon and Card Captor Sakura, alongside the more Avant-Garde series like Utena. As mentioned previously, Sailor Moon ushered in an array of series clearly influenced by it’s sentai style dynamic, but those kinds of stories are much more rare these days. I believe we are instead in a Post-Modern age of Magical Girl Media. It’s more common to see a deconstruction or subversion of the archetypical Magical Girl narrative as opposed to seeing it played straight. While some pick up on the darker elements of the genre, others choose to subvert expectations; we’ve had everything from stripper angel magical girls to anime centred around groups of magical boys in the last decade. However, not all series are made equally, and in this (perhaps overly long) segment we’re going to look over the Magical Girl genre hits of the mid 2000s to the 2010s.

Utena began the dialogue with darker themes; Akiyuki Shinbo’s 2004 Magical Girl Lyrical Nanoha continued it. Nanoha is notable in being one of the first contemporary Magical Girl shows that was not aimed at young girls; instead it was a seinen, aimed at young men. We’d previously had lots of instances of men writing series, along with an uninvited male gaze, but these series were still targeting an audience of young girls. Nanoha is also different than pre-Sailor Moon examples like Cutie Honey, which is a Shounen, as instead of being more of an action comedy, it delved into darker themes of abuse, on top of being a spin off of an erotica visual novel game; all of which is made much more disturbing when we remember the characters are all elementary school aged children.

Real talk for a moment: it sucks a genre that started out being about young women’s friendships and dreams for the future eventually got turned into torture porn for crusty men. And it didn’t stop with Nanoha.

Shinbo returned in 2010 with the acclaimed Puella Magi Madoka Magica, the huge franchise that now comprises the original anime, several films and countless spin-off manga. I’ll save my complex feelings towards Madoka for another time; the key point is that for better or worse, it is a definitive deconstruction of all Magical Girl media that comes before it. Madoka succeeds in examining the human experience of suddenly being thrust into a world of aliens and magic better than it’s predecessors. The character’s youth and immature decision making is central to the story, and the tragedy stems from the magical girls being children who act rashly and aren’t able to fully process the consequences of their choices until it’s too late. While there is a portion of the audience that is undoubtedly there to view misery being inflicted to young girls for whatever gross whims, it can’t be argued that Madoka’s narrative managed to be compelling to people of all ages and genders, and that is a strength of it’s story. However at the same time, it also lead to a lot of copycats, just like Sailor Moon before it, because there is unfortunately a market for teenage girl torture porn. Please look forward to my Black Rock Shooter hit piece.

On the possibly brighter side, we also had more comedic subversions. First, there’s the very specific brand of Magical Girl shows that Studio Gainax and Trigger started putting out in the 2010s; both Panty and Stocking with Garterbelt and Kill La Kill take the sexualisation of the female body present in old school works like Cutie Honey to the logical extremes, and despite being so overtly sexual and fan-servicey, both wind up completely absurd by the end of it. These are obvious subversions of the idea of Magical Girls as pure and innocent; Panty and Stocking is particularly interesting because of how it blends Japanese and American art styles – particularly cartoons like The PowerPuff Girls- to create a cute and cartoony presentation that contrasts with the crass humour and antics of its titular characters. Conversely, I remember watching Kill La Kill during it’s original run and being stunned that by the end of it, when the finale happens and all the characters are completely naked, I was astounded to find I’d become completely desensitised to the naked human form (all this before 3 years of life drawing).

-a future interjection- I’m writing this at the time of posting. The part of the essay you just read is a part I’ve mulled over for over a year. My original essay from 2017, which I’m using as a basis for this much larger work, spoke quite favourably of both Kill La Kill and Panty & Stocking. I think I simply could not leave it as is.

I recently rewatched parts of both Panty and Stocking and Kill La Kill. Surprisingly, Panty and Stocking held up well, so this isn’t about them. Kill La Kill on the other hand simultaneously held up better and much, much worse than my first watch during it’s original run. (I think I might begin doing straight up reviews for shows soon; but that’s for another post)

My main thought upon rewatch was my attitude now, and my attitude nearly 10 years ago is a real reflection of the ways popular feminism, and my own ideologies have shifted over time. Originally, I’d felt the display of the main character’s bodies, that they were powerful and strong while wearing the skimpiest chainmail bikinis, was almost a power move. I especially admired Satsuki’s character, being someone so unflinchingly determined, and feeling no shame in her body as she served a higher conviction.

I just don’t think I can look at the show in the same way now. Yes, the show is still absurd; I do still think it veers into the surreal. But its far more uncomfortable than I remember.

Either way, both these shows still serve as a perfect subversions of the classic magical girl story. -end-

Sliding across the spectrum, there’s also the notable increase in shows that star Magical Boys. On paper this might seem like a thoughtful take on how we present young men but in reality most of these series are played for comedy and or fanservice for a female demographic. Though I’m sure there’s merits to it, it’s a far cry from earlier Magical Girl series which deeply examined themes of gender and sexuality. At best, these are missed opportunities!

We’ve also seen an uptick in remakes and sequels to more nostalgic franchise; Sailor Moon Crystal is the notable example, as is Card Captor Sakura’s Clear Card Arc which is currently ongoing. Tokyo Mew Mew, at the time of writing, has now seen two separate revivals with the short lived magical boy spin off (???) and now with a new anime version airing as I write this! I think the revisiting of these older properties is both a symptom of our expected nostalgic media cycles (see, the 30/20 year cycle), but also a reflection of the current want to revisit late 90’s and Y2K media again, and companies as always being more willing to bank on pre-existing franchise.

The last few decades of Magical girl media has, to be honest, been a mixed bag. However there is one, single shining light for me, and that is 2013’s Little Witch Academia, and it’s subsequent sequel film and anime series. Somehow, the creators of Kill La Kill, the most edgy, ludicrously sexual and action orientated Magical Girl show in recent years also created the most sweet and wholesome. Little Witch Academia takes the genre right back to its roots, utilising the Magical Witch Archetype with a main character named Akko, just like the heroine of years passed, and centres the relationships between the students and teachers at their magical academy. The series also stands out from Trigger’s other works as it didn’t start out as a syndicated show; the original OVA was Trigger’s first outing, created as a project for new animators, and its sequel film was crowdfunded to increase it’s original runtime of 20 minutes to a full 50. The eventual series was created in collaboration with Netflix, and I believe this alternate production also lends to why Little Witch Academia successfully unshackles itself from the troubling tropes that have stagnated Magical Girl media in recent years. Little Witch Academia is the genre returned to it’s primordial state; devoid of fan service and rich in substance, it’s a love letter to the genre.

Addendum:

I started writing this blog around the winter of 2020/Jan 2021. A lot of terrible things have happened in my personal life since then but recently, I started feeling like I could write some essays again, for fun. This particular essay had been sitting in my storage since back then too. As I said in the post, part of what made me not publish it until now is because I'd started to re-contextualise some of the writing with my current views, and it felt incomplete to post it as I'd written it; as in, quite true to my perspectives in my original 2017 essay. I still have a lot I want to write, both based on my original work and also large pieces, but I think I might start writing the essays out of order+mix in some more general reviews with my personal thoughts added in. I do intent to write a more contextual essay about western magical girl shows, but I'll leave that for later maybe! Thank you everyone who followed this blog and read my work so far. I hope I can start posting more frequently!

[priyadharshinigamer]

Fascinating Facts About the Ludo Game

Ludo is not just a game; it's a cultural phenomenon that spans generations and continents. This board game, beloved by both children and adults alike, offers a delightful mix of luck and strategy. As we explore Ludo’s historical roots, its evolution, and its current global significance, we will uncover the unique mechanics and rules that define the game. Further, we'll delve into the psychological and social benefits it imparts and how it has transitioned seamlessly into the digital age. Finally, we’ll share some fun trivia and lesser-known facts about Ludo, celebrating its rich history and widespread appeal.

Historical Origins

Originating from the ancient Indian game Pachisi, Ludo was transformed into the game we know today by the British in the late 19th century. The original Pachisi was a complex game involving cloth boards, cowrie shells, and intricate rules, played by Indian royalty. This game was adapted to the simpler, dice-based Ludo, patented in England in 1896, which aimed to be accessible to a broader audience. Through this transformation, Ludo retained the core concept of moving pieces based on dice rolls but introduced a simplified board layout and rules that appealed to families, especially in the Western world.

Global Appeal

Ludo has become a household staple across the globe, thanks to its straightforward gameplay that requires minimal setup and can be understood by players of all ages. Different countries and cultures have adapted Ludo, incorporating local elements and rules to create regional variations. For example, in some Caribbean nations, Ludo boards are beautifully hand-painted with vibrant colors, reflecting local artistic styles. These variations not only demonstrate Ludo’s adaptability but also its ability to integrate into and celebrate diverse cultures.

Game Mechanics and Rules

Ludo is played on a square board divided into a grid, with a distinct path leading from each player’s base to the center home triangle. Ludo Players take turns rolling a single die, moving their four pawns out of their home base and around the board to the finish line, while also attempting to capture and send back opponents' pawns. The requirement to roll a six to start, combined with the strategic decisions involved in capturing others and safeguarding one’s own pawns, adds depth to what seems like a simple race. This balance of luck and strategy makes Ludo endlessly replayable and engaging.

Psychological and Social Benefits

Ludo is more than entertainment; it's a tool for cognitive development and social interaction. The game requires players to think ahead, predict opponents' moves, and strategically plan their journey across the board, sharpening decision-making and problem-solving skills. Socially, Ludo encourages family bonding and friendship over competitive yet friendly gameplay. It fosters communication and team-building skills, as players often team up in pairs for a more collaborative experience.

Digital Transformation of Ludo

The rise of the internet and mobile gaming platforms has given traditional board games like Ludo a new lease on life. Online platforms allow players from different geographical locations to compete against each other, bringing the community closer together. Digital versions of Ludo, such as those offered by platforms like Zupee, maintain the essence of traditional Ludo while introducing new elements like online leaderboards, multiplayer options, and virtual Ludo tournaments. These platforms provide a space where Ludo enthusiasts can compete at a higher level and engage with a global community.

Fun Trivia and Lesser-Known Facts

Ludo has been part of some intriguing historical anecdotes. For instance, during World War I, British soldiers played Ludo to pass the time in the trenches, modifying the board to be foldable and pocket-sized. Additionally, despite its reputation as a children's game, Ludo has seen competitive play among adults with organized tournaments that showcase the game's strategic depth.

Conclusion

Ludo's enduring appeal lies in its simplicity and the deep connection it fosters among players. From its royal Indian roots to its modern digital form, Ludo has evolved while still retaining its core characteristics that appeal to human psychology and social interaction. Whether played on a physical board with family or through an online platform with strangers, Ludo continues to be a source of joy, learning, and connection. This timeless game is a testament to the simple pleasures that can bring people together, encouraging more individuals to explore and enjoy the myriad benefits that Ludo has to offer.

[doubleddenden]

Yall wanna see some cringe?

I decided to try creating pokemon variants or similar that one might find in my home state of Ms. I'm still working on more but it's a fun thought and doodle experiment

Blurb under cut. Please try not to take it all too seriously lol, this was just for funsies.

I'm also indulging my younger self. See a long, long time ago when I was a kid, I used to see my home as a place you could easily find pokemon around the corner. Tauros in the fields, Noctowl in the trees, the wasps were angry Beedrill, you get the idea

It was magical, a time before greed and capitalism caused rushed and unfinished games with questionable decisions by game freak higher ups. A time where I could just kinda look at the tall grass or the woods and see pokemon just living naturally without feeling a ton of responsibility or guilt for existing.

Recently I've decided to try exploring that AU, where states and such have their own dexes. Obviously some would overlap, like I'm very sure the Gulf Coast would have very similar dexes, but my idea would be that could start out with different starters that have different variant evolutions- and heck, you could even cross state borders to get theirs if that's what you wanted.

But for now, without getting way too deep, I decided to make variants based on critters that either exist here or have some sort of cultural tie in.

Let's go:

Typhlosion, Fire/Ground, low temp fires but also used for welding and construction, trusted with kids because they don't tend to start fires they don't quickly put out. The original line is already kinda mixed of badgers, weasels, moles, etc, but I think there's plenty of those here, and if nothing else Cyndaquil IS the fire mouse pokemon, and by God we got mice. Favoritism put it here admittedly since Cyndaquil was my very first pokemon in the games, and I'd want the same irl.

Blastoise, Water/Rock, basically more of a mobile tank people ride on. Uses the bubbles around its legs as wheels. Based on box turtles that live here

Chesnaught, Grass/Steel, based on various loggers and blue collar workers from here, helps with those sort of jobs and is pretty intelligent. It can form shields or slice up trees easily with its arm saws.

Yanma, Bug/Flying, based on dragonflies I see around the house

Yanmega, Bug/Steel, evolves while knowing Steel Wing. Tends to eat rusted metal from old farms and junk yards, very quick

Salandit, Ice/Electric, based on blue tailed skinks I see around my house often

Freezard, Ice/Electric, evolves from male ms Salandit. They take things by force if they want and their tails can be used as whips. Usually the females keep them in line though.

Corvilich, Flying/Rock- actually a cross over from a fan region I dabble in during my spare time. Lots of crows and corvids here, so naturally I think they'd be here too. Evolves from Corvisquire. They fight each other over nice bones and are great fliers, and are very intelligent, may or may not have good and bad omens associated

Miltank, Water/Normal, based on cows I see often taking dips in local ponds. Ms is a very farm heavy state, so I could see us having our own moomoo milk market. The arms and legs act like floaties.

Dragonite, Dragon/Fairy, evolves from Dragonair with high friendship. I wanted a psuedo legend, and then I found out Ms has its own dragon stories (even a town). I also thought it'd be neat to make a friend you'd maybe see in a forest, so I also added butterfly elements to it from the Great Purple Hairstreak.

I'm still making more, I'm progressing and getting a little better as I go, but I don't wanna get too crazy making a bunch. I'm thinking maybe about the same amount as Legends Arceus introduced. I do want to try making a full, balanced team, though, so I'll probably make more for that. So far though I could see myself with Typhlosion, Corvilich, Freezard, and Dragonite. Looking for a water type and maybe a doggo.

[10drafts]

How to Write a Good Premise

Describe your story idea in one sentence. Caution: choose a story idea that might change your life, i.e. that means a lot to you. (Example. The Raven Cycle: Four friends get together to uncover a dead king and ask him for a wish.)

Optional, but advised. Write a list of things you like and elements you enjoy in stories. Also, write a list of possibilities for your idea. (Example. These elements for The Raven Cycle could've been: a magical sentient forest, tarot, witches, dreams, flashy cars, found family, etc.)

Describe story challenges and problems. (Example. In The Raven Cycle, possible problems might've been the motivations of each character to search for the king, suspension of disbelief, how teenagers can travel so much and access secret information, etc.)

Designing principle. This is one of the most important steps on the list. This is similar to your story idea but describes the unseen. You will be led by this principle until the end of your novel(s). (Example. Seemingly, The Raven Cycle is about finding a dead king, but under the surface, it's about bringing these four people together and creating a long-lasting friendship. The designing principle here is not that they would do everything to find the king, but that they would do everything to find the king together. Or perhaps, they would do everything to stay together, even continue to seek the legendary king that might not exist. Individually, each character has their own designing principle. Adam's is to find the king and use that wish on Harvard/success/wealth/prestige. In this, we know that Adam is searching for the king, but also he is searching for those deeper things that comprise his character on a psychological level.) Often, the designing principle introduces some poetic irony into your story idea.

Describe the best character for your story. Decide NOT what type of a person would suit your idea the most, but what type of person attracts you the most; the person you want to follow and write about.

Decide the central conflict. Who fights whom over what? (Example. In The Raven Cycle, the four fight outside forces--each book brings its own antagonists--to get a bit closer to the king's tomb. Also, they each fight themselves and their own beliefs in the process.)

Find cause-and-effect. This you can see in your story idea from the first step. (Example. The Raven Cycle is about finding the dead king, therefore each action that creates cause-and-effect is about FINDING the king.) In your story idea, there should be a verb indicating the main driver of the action of your story: finding, using unique powers, hiding, revenge.

Describe your character change. There's a formula for that. W (character's moral or psychological weakness, false belief) x A (basic action: what they must do to reach the goal) = C (change). In this, start from the change and decide who your character must be in the end, and then make them the opposite at the beginning. Through some action (example, finding the king), the character goes from his Weakness to Changed Person.

Moral choice. Near the end, the character must make a hard decision. It must either be between two positives (Example, love or honor) or two negatives (Example, Sophie's choice).

These steps will lead you to a better premise and a stronger setup upon which your story will build itself organically. Good luck!

// advice from The Anatomy of Story by John Truby

[musings-of-a-lit-student]

Prologue

Disclaimer: I don’t own Maus or any of Spiegelman’s work. I have attached the photos from the work itself, but do not claim to own the scanned version either. I highly recommend purchasing the book to support the original author. My thoughts do not represent the author's work and are merely my own interpretations.

Warning: MAUS is a graphic novel based on the author’s father’s experiences during the holocaust and includes anecdotes and scenes including violence, blood which may be considered triggering. 

Introduction: The work MAUS by Art Spiegelman is a novel that tells the story of Vladek Spiegelman and his experiences during the holocaust using an allegory and parallel storylines to depict the Vladek's past and Artie's present as he hears the story from his father. This work includes an autobiographical and biographical element due to the inclusion of two main characters - Vladek and Artie. Spiegelman makes the decision to introduce himself as a character in the work as a mouthpiece for himself.

Main Characters: Artie: The author Vladek: Artie's father Anja: Artie's mother Mala: Vladek's second wife Françoise: Artie's wife

Navigation -> Previous Part

MAUS by Art Spiegelman

Points of Interest:

Setting

By starting the prologue at a scene of his childhood we see that Spiegelman grew up in America. While portraying a natural setting, he presents a dog mowing his lawn on the side of the frame and while it is not said directly, we can relate the dogs to Americans.

Graphical Elements

Within the same panel, Spiegelman uses a close up shot in a circular panel to create magnifying effect and emanata to bring the reader's attention towards his foot which is not directly visible in the panel. However as a special feature of this allegory Spiegelman typically does not show the mouths of the mice unless they are in pain and we can see Artie's open mouth as he cries out for his friends.

Striped Shirt

The stripes play a role in the work repeatedly as they surround Vladek during his experiences in the Auschwitz, and Artie while he suffers with the aftermath of Vladek's experiences. While slightly farfetched we could consider the Artie's life left him feeling like a prisoner during his childhood and this could be revisited further down the work.

Tears and Dialogue

The second last panel of the first page creates a powerful image depicting his falling tears and stuttered speech and Spiegelman adds in more value by providing his friends desertion with a working skate. As the panels continue, Spiegelman's tears continue to emphasise on how young he was by using an interjection with 'snk' and this evokes sympathy in the readers.

Friends

Vladek's introduction in the work is similar to that of a horror movies, and Spiegelman's depiction of his childhood chills the reader with such a surprising image of gore. Despite his safety in America, his recall of the Holocaust and his experiences creates a chilling feeling for the readers. Additionally the idea of isolation is developed around Vladek with the panning out to the empty neighbourhood as he is mainly white lacking the speckles and lines that cover up Artie and the rest of the world.

Relationship between Father and Son

His overreaction to Artie's experiences and informs the readers of Vladek's shortcomings in parenting. His relation of the Holocaust and his memories there to every teaching moment is implied. The concept of friendship and Artie's experiences is common amongst most of us, however Vladek takes this opportunity to teach him to never trust anyone.

Next part

[a-pokemon-retrospective]

Ah, the first episode.

 There’s nothing like a first episode to a series. It’s rough around the edges, maybe it’s lacking an element we’ve come to expect or has one that was left behind as the series marched on, but it is the groundwork. The foundation. A good first episode will tell the viewer, “Hey. You’ve found something special.”

Not a whole lot actually happens in the episode, plot-point wise; Ash oversleeps, gets a stubborn electric rodent, runs around with the birds while arguing with the rodent, runs away from the birds, steals a bike. etc etc. The majority of the time spent it the back-and-forth between Ash and Pikachu, which I think works to its benefit. Ash and Pikachu both have really strong characterization right out of the gate. Their relationship is so central to the identity of the show, so it’s cool to see that consistent theme even from the very beginning. Pokemon knows it’s a show about friendship, so it spends the first episode making sure the audience believes in the core friendship. Overall, a solid writing decision.

I hadn’t expected nearly the amount of cartoon violence that I’d be getting from the early episodes, however. I swear, that blessing/favor from Ho-oh is what keeps this boy alive through all the nonsense he faces. By all accounts, he should’ve drowned in that river or died from electrocution, and that’s just episode one.

I can see the headline now: “Local boy drowns first day of Pokemon Journey: Sparks questions about trainer reforms.” Needless to say, that would’ve been a very different story.

The world of pokemon is fun and exciting, but also dangerous. I don’t remember this much danger from X/Y, but I could easily be mistaken. I’m interested to track this detail to get a view of the region’s environments and culture about the wild in relation to each other.

As for the characters introduced, there are many:

Ash himself is the main event, of course. The opening scene does so much to characterize him despite not being that long. He’s exuberant and confident, but still very immature with a lot to learn. Pokemon are everything to him. He’s meant to be a vehicle for a young audience to project themselves onto, and he works perfectly for that. His excitement, kindness and naivety are a perfect combination for the audience to learn more about the world alongside him. Not to mention it’s just fun to watch.

Pikachu, on the other hand, is equally as stubborn and decides not to like Ash immediately after being gifted to him. Their strong-willed natures clash intensely, generating much of the conflict for the first episodes. Despite this, it’s clear the two of them are more similar than they are different, as evidenced by mutually saving the other from the flock of spearow. I can definitely see the foundations to their later bond here.

Not much is seen of either Gary or Professor Oak in episode one, but enough to make me reevaluate my pop-culture based opinions on them. Gary is, a brat, but who wouldn’t be as a ten-year-old local celebrity with your own cheer squad? He’s clearly been spoiled. The professor, conversely, is goofier than I anticipated. It becomes apparent in later episodes, but the viewer can still tell he’s not that serious of a person here in episode one.

Even in episode one, the Pokemon Anime knows exactly what it’s trying to do. I respect that.

[dark-matters-blog]

Introducing "DragonRealm Chronicles" – an Undertale AU where dragons and their culture are deeply intertwined within the monster lore.

In DragonRealm Chronicles, the world of monsters is ruled by majestic, powerful dragons. The royal family consists of dragon rulers, and dragons hold significant positions in the political and military hierarchy. The Great Dragon Council, comprised of the wisest and oldest dragons, governs the land and ensures peace and prosperity among monsters.

Within the DragonRealm, there are various dragon species, each with unique abilities and cultural traits. The dragons live harmoniously with other monsters, and their society is based on respect, loyalty, and wisdom. Each dragon species is responsible for a particular aspect of monster life, such as weather, nature, or magic.

As in Undertale, a human child falls into the monster world. In DragonRealm Chronicles, however, the child stumbles upon a dragon egg instead of encountering Flowey. This egg hatches, revealing a young dragon with the potential to grow into one of the most powerful creatures in the realm. The child forms a bond with the baby dragon and decides to name it Dracorus.

The child and Dracorus embark on a journey together through the monster realm, encountering various characters from the original Undertale, who now have unique dragon-related traits and roles. For example, Toriel, the motherly figure, is now the caretaker of a dragon nursery, nurturing young dragons in the absence of their parents. Papyrus and Sans are Dragon-Forge Guardians, responsible for crafting enchanted armors and weapons for dragon warriors.

Throughout their journey, the child and Dracorus must navigate through the complexities of dragon culture and politics, making decisions that could impact the balance between monsters and humans. Players can choose to follow a Pacifist, Neutral, or Genocide route, which will significantly affect the story's outcome.

As the child and Dracorus work together to discover the truth about the monster realm and their place in it, they learn the importance of friendship, trust, and understanding in a world where dragon power reigns supreme. DragonRealm Chronicles offers players an immersive experience, blending the beloved elements of Undertale with an exciting new twist on dragon culture and mythology.

Q: Do The Dreemurrs still hold power as the ruling family?

A: In the DragonRealm Chronicles, the Dreemurrs still hold significant roles but are no longer the ruling family, as dragons have taken over that position. Instead, the Dreemurrs act as the esteemed ambassadors and advisors to the dragon rulers, maintaining strong relationships between various monster species and the dragons.

Asgore Dreemurr, once the king in the original Undertale, serves as the High Ambassador of the monster realm in DragonRealm Chronicles. He is responsible for maintaining harmony among the different monster species and addressing their concerns to the Great Dragon Council. Asgore is also the commander of the elite monster forces, supporting the dragon warriors in their defense of the realm.

Toriel Dreemurr, previously the queen, takes on the role of the Sage of Harmony in DragonRealm Chronicles. As the Sage, she is responsible for preserving the knowledge and wisdom of monster culture and dragon lore. Toriel also runs a dragon nursery, providing care and education for young dragons while their parents attend to their duties.

Asriel Dreemurr, the prince in the original Undertale, becomes the Dragonkin Emissary in this AU. He is chosen by the dragons as a liaison between the dragon and non-dragon monster communities due to his empathetic nature and strong sense of justice. Asriel has developed a unique bond with dragons, enabling him to communicate and connect with them on a deeper level.

Chara, the adopted human princess, is known as the Human-Dragon Peacekeeper in DragonRealm Chronicles. As the only human living among monsters, she serves as a living symbol of hope for a future where humans and monsters can coexist peacefully. Chara works closely with Asgore and Asriel to promote understanding and cooperation between humans and monsters, including dragons.

Though the Dreemurrs no longer rule in the DragonRealm Chronicles, their influence and importance within monster society remain strong. They serve as essential links between the dragons and other monsters, using their wisdom, kindness, and diplomatic skills to create a harmonious world for all inhabitants.

Q: What is the Status of the Dreemurrs?

A: The Dreemurrs are still considered nobility and hold esteemed positions within the monster society. They are highly respected by both monsters and dragons for their wisdom, experience, and diplomacy.

While they no longer rule the monster realm, the Dreemurrs' influence is vital in maintaining harmony and understanding between various monster species and the dragon rulers. Their roles in the hierarchy are indeed second only to the ruling class of dragons, and their contributions to the well-being and progress of the realm are invaluable.

The Dreemurrs work closely with the Great Dragon Council and the dragon rulers to ensure the welfare of all monsters and to promote cooperation and peaceful coexistence. Their unique positions in the hierarchy enable them to bridge any gaps between dragons and other monsters, ensuring that the realm remains a harmonious and prosperous place for all its inhabitants.

Q: Is This An AU, AT, AD, or AR?

A: The DragonRealm Chronicles would be considered an Alternative Universe (AU). In an AU, the characters, settings, or storyline diverge from the original work in significant ways, creating a new and distinct world or scenario. In this case, the introduction of dragons and dragon culture as an integral part of the monster society, along with the altered roles and relationships of the characters, sets DragonRealm Chronicles apart from the original Undertale.

Alternative Timelines (AT) typically involve changes in the sequence of events or the consequences of specific actions, while the overall universe remains the same. Alternative Dimensions (AD) involve different planes of existence or parallel worlds that are connected to the original universe. Alternative Realities (AR) are similar to AUs but may include more subtle changes in the characters or the world, resulting in a different version of the same universe.

DragonRealm Chronicles, with its prominent changes to the monster world and its characters, fits best into the category of an Alternative Universe.

Q: What are some of the more important figures within the council?

A: Here are the names and brief descriptions of some prominent dragons in the ruling class and the Great Dragon Council:

Sovereign Pyrathrax: The Dragon King of the realm, Pyrathrax is a wise and noble ancient Fire Dragon. Known for his level-headedness and strong sense of justice, he rules the land with fairness and compassion.

Queen Aurorawing: The Dragon Queen, Aurorawing is a graceful and elegant Ice Dragon. She oversees the cultural and educational aspects of dragon society and is highly respected for her knowledge and wisdom.

Councilor Stormclaw: A powerful Storm Dragon and a member of the Great Dragon Council, Stormclaw is responsible for maintaining the balance of weather and natural forces within the monster realm.

Councilor Terragrasp: A wise and aged Earth Dragon, Terragrasp serves on the Great Dragon Council and oversees matters related to nature, agriculture, and the growth of the realm's resources.

Councilor Celestius: An enigmatic Star Dragon, Celestius is a member of the Great Dragon Council, specializing in matters related to magic, prophecy, and the cosmic forces that influence the monster realm.

Councilor Lumina: A radiant Light Dragon, Lumina serves on the Great Dragon Council and is responsible for healing, protection, and guiding the spiritual growth of the dragons and other monsters.

Councilor Nocturnus: A mysterious and elusive Shadow Dragon, Nocturnus is a member of the Great Dragon Council and focuses on matters of stealth, security, and safeguarding the realm from hidden threats.

These are just a few of the many dragons that make up the ruling class and the Great Dragon Council in the DragonRealm Chronicles. They each hold significant power and influence, contributing to the governance and well-being of the monster realm.

Q: Does the King and Queen have any Pups?

A: Sovereign Pyrathrax and Queen Aurorawing have two dragon pups, who are the heirs to the throne:

Prince Fyrendor: The elder dragon pup and the Crown Prince of the realm, Fyrendor is a skilled and ambitious Fire-Ice hybrid dragon. He possesses both his father's fiery determination and his mother's cool intelligence. Being groomed to succeed his father, Fyrendor is learning the intricacies of governing the realm and the art of diplomacy.

Princess Glaciaflame: The younger dragon pup and sister to Fyrendor, Glaciaflame is a spirited and adventurous Fire-Ice hybrid dragon. She is passionate about exploring the world and understanding the various cultures and species that inhabit it. Her curiosity and empathy make her a beloved figure among the monster community, as she often advocates for the well-being of all creatures.

Both Fyrendor and Glaciaflame are well-prepared to inherit the responsibilities of their parents and continue the legacy of the dragon rulers. They are being educated and trained in various disciplines, including combat, diplomacy, and magic, to ensure the realm remains prosperous and harmonious under their rule.

Q: How does Determination Work in This Universe?

A: In the DragonRealm Chronicles AU, the concept of determination still plays a significant role, but with some unique twists. The power of determination is no longer solely reserved for humans; instead, it is also present in certain dragons and monsters, albeit in varying degrees.

The human child and Dracorus, the young dragon they bond with, both possess a unique form of determination. When combined, their determination allows them to save, load, and reset timelines, as well as return from death. This powerful connection between the child and Dracorus forms the basis of their journey together and affects the outcome of the story.

The Great Dragon Council and other wise dragons are aware of the power of determination, and they strive to harness and balance it for the greater good of the monster realm. While they cannot manipulate timelines as the child and Dracorus can, they can use their knowledge and understanding of determination to guide and influence the course of events.

By sharing the power of determination between humans, dragons, and monsters, DragonRealm Chronicles introduces a new layer of complexity and interdependence to the story. It challenges players to carefully consider the consequences of their actions and choices, as they can affect not only their own fate but also the lives and destinies of those around them.

Story Introduction:

Once upon a time, in a realm far beyond the reach of ordinary mortals, there existed a land where magic and mystery filled the air. This enchanting world was known as the DragonRealm, a place where majestic dragons and diverse monsters lived together in harmony.

Long ago, the DragonRealm was ruled by the noble Dreemurr family, who led their subjects with wisdom and kindness. But as time went on, the dragons grew in power and influence, and they soon rose to prominence as the realm's protectors and leaders. The Dreemurrs, with their innate grace and diplomacy, accepted the changing tides and took on new roles as esteemed advisors and ambassadors to the dragon rulers.

In the heart of this magical world stood the Great Dragon Council, comprised of the most powerful and wise dragons from every corner of the realm. They governed the land with fairness and compassion, ensuring peace and prosperity for all who dwelled within. Monsters of all shapes and sizes lived in unity under the guidance of these mighty beings, and the realm flourished.

One fateful day, a human child accidentally stumbled into the DragonRealm, their arrival foretold by ancient prophecies. As the child ventured forth into this mystical land, they discovered a dragon egg, shimmering with the promise of new life. From within the egg emerged a young dragon named Dracorus, who was destined to become one of the most powerful beings in the realm.

Bound together by fate, the human child and Dracorus embarked on a remarkable journey through the DragonRealm, uncovering its secrets and navigating the intricate web of dragon culture and politics. Along the way, they encountered familiar faces from the land of Undertale, each now woven into the rich tapestry of dragon lore.

As the child and Dracorus forged friendships, faced challenges, and discovered the power of their combined determination, they learned that their choices could shape the future of the DragonRealm and the delicate balance between monsters and humans.

And so, dear reader, the tale of the DragonRealm Chronicles unfolds, a story of adventure, friendship, and destiny, where the choices you make can change the course of history in a world where dragons rule supreme.

[wondereads]

Personal Review (07/10/22)

Skandar and the Unicorn Thief by A. F. Steadman

Why am I reviewing this book?

This book really piqued my interest. I've always loved children's books, but this one is a little special. Why? This author got a seven-figure deal for this one and was signed for a movie deal before it was released. I really wanted to see if it was that good. Also, the B&N exclusive had sprayed edges, so you know I snatched that up.

Plot 1  2  3  4  5  6  7  8  9  10

A little over a decade ago, an island between Wales and Ireland made itself known to the world. On that island, unicorns exist, but they aren't the cute characters we're familiar with. They're violent and bloodthirsty and can only be controlled by their destined riders or else they go wild. The Island needs more riders, so every year children from the Mainland take an exam to see if they could be a unicorn rider, and this year, it's finally Skandar's turn.

Was the plot fun and engaging? Yes. Was it original? Not really. I would never say I was bored during this book, but it was fairly predictable in almost everything. Each of the unicorns and their riders gets a special element, but Skandar has the ~special, secret fifth element~ that everyone thinks is evil. The emphasis on certain people and their history makes it pretty obvious who the Weaver truly is. Also, I know, I know this is a children's book, but it's hard to suspend my disbelief to the point that I could buy four thirteen-year-olds breaking into a high-security prison. There were a lot of things about the plot and the character's decisions that seemed way too convenient.

The worldbuilding itself was pretty interesting. I liked that, despite the target audience, the unicorns were pretty horrific. However, I do have one nitpicky complaint. They are not unicorns! They are alicorns! They have wings! Know your mythology! Anyways. The spirit element was intriguing, but I hope the later books introduce some limitations to it because right now it seems way too powerful.

The plot wasn't necessarily bad, but it reads very much like a typical, chosen-one, magical school story with really nothing new.

Characters 1  2  3  4  5  6  7  8  9  10

To be honest, the characters in this book were ridiculously flat. The lack of character development is shocking. However, on the other hand, the relationships were very strong, especially between Skandar and Scoundrel's Luck and Skandar and his sister, Kenna.

Let's start with Skandar. He's...nice, but he fits very neatly into the in-over-his-head, perpetually confused protagonist. There wasn't really anything new about him, and he felt more like someone for the audience to watch through rather than a character of his own. I did like his friend group, especially Mitchell. I always tend to enjoy a friendship between people who were originally antagonistic towards each other. However, the friend group's beginning made no sense. Within maybe an hour max of meeting each other, Bobby, Flo, and Mitchell (sort-of) decide to break the law and help Skandar sneak into the training program. Like, I get not wanting to be responsible for the potential imprisonment/death of another kid, but it's really convenient that Skandar just happened to encounter the three kids that will keep his secret.

I did really enjoy the relationship between Skandar and Scoundrel, his unicorn, because it felt like they were genuinely close. Honestly, Scoundrel was the most interesting character for me which certainly says something. I also think the dynamic between Skandar and Kenna as close siblings where one achieves the other's dream, is very interesting with a lot of potential. However, not much was done with it this book.

As for the villain, the Weaver, the motivations were very weird. On one hand, the revenge plot was good and I liked it, but then it somehow turned into world domination which just felt over-dramatic and overplayed.

Writing Style 1  2  3  4  5  6  7  8  9  10

The writing was pretty average. There were good descriptions of the characters and setting. For example, I had a clear idea of what every character looked like within a chapter or two of their introduction. The way the Island and its various locations were described definitely made me want to see it in person. However, there wasn't really anything that particularly stood out to me. This is probably a result of being a college student and reading a middle-grade book, but it did feel a little simplistic at times.

Overall 1  2  3  4  5  6  7  8  9  10

I think this book will do very well. However, I do not think it lives up to the hype. For a book being promoted as the next Harry Potter/Percy Jackson, I was expecting something pretty groundbreaking, but it feels just like any other middle-grade book. There are just a lot of very typical tropes crammed into this book like the author hoped they could use those to substitute a complex plot. Not that these tropes can't be done well (go read Keeper of the Lost Cities by Shannon Messenger), but it just doesn't do anything new and make the story fall flat in this case. I did enjoy reading this book, and it was definitely a fun, fantasy romp, but it just doesn't live up to the hype whatsoever.

The Author

A. F. Steadman: British, previously worked in law, Skandar and the Unicorn Thief is her debut novel

The Reviewer

My name is Wonderose; I try to post a review every week, and I do themed recommendations every once in a while. I take suggestions! Check out my about me post for more!

[jonesashley234]

Why Trading Cards Are More Than Just A Hobby?

Trading cards have transcended their status as mere collectibles or hobbies, becoming cultural phenomena that encompass entertainment, community, education, and investment. Beyond their intrinsic value as physical objects, trading cards hold significant emotional, social, and economic importance, enriching the lives of enthusiasts and collectors worldwide. Here's why trading cards are more than just a hobby:

1. Cultural Significance: Trading cards hold cultural significance as artifacts of popular culture, reflecting trends, interests, and values of their time. From sports trading cards featuring iconic athletes to entertainment trading cards depicting beloved characters, trading cards document and celebrate cultural icons, moments, and achievements. They serve as nostalgic reminders of childhood memories, hobbies, and pastimes, fostering a sense of connection and belonging within communities of collectors.

2. Entertainment Value: Trading cards offer entertainment value through their engaging gameplay, immersive storytelling, and captivating artwork. Whether collecting Pokémon creatures, battling in Magic: The Gathering duels, or reliving sports moments through collectible cards, trading cards provide hours of enjoyment and escapism for enthusiasts of all ages. The thrill of opening booster packs, discovering rare cards, and building unique collections adds an element of excitement and discovery to the hobby.

3. Educational Benefits: Trading cards offer educational benefits by fostering curiosity, learning, and exploration across diverse subjects and disciplines. Sports trading cards introduce fans to athletes, statistics, and sports history, promoting sports literacy and appreciation. Similarly, trading cards featuring historical figures, scientific concepts, or literary characters serve as educational tools, sparking interest and inquiry in academic topics. Trading card games also teach strategic thinking, decision-making, and social skills, enhancing cognitive development and problem-solving abilities.

4. Community Building: Trading cards facilitate community building and social interaction among enthusiasts, fostering connections, friendships, and shared experiences. Whether trading cards at local meetups, participating in tournaments, or engaging in online forums and communities, collectors bond over their shared passion for the hobby. Trading card events, conventions, and clubs provide opportunities for networking, collaboration, and collaboration, creating a sense of belonging and camaraderie within the community.

5. Economic Value: Trading cards have economic value as tangible assets with the potential for appreciation, investment, and financial gain. Rare, sought-after cards command high prices in secondary markets, attracting investors, speculators, and collectors seeking to profit from their rarity and desirability. Limited edition, autographed, or graded cards can appreciate significantly in value over time, making trading cards a viable alternative investment vehicle for individuals with a keen eye for collectibles.

6. Emotional Connection: Trading cards evoke strong emotional connections and memories for collectors, representing moments of joy, nostalgia, and personal significance. From childhood memories of trading cards with friends to the thrill of completing a coveted card set, trading cards evoke feelings of happiness, excitement, and fulfillment. The sentimental value attached to certain cards, such as heirlooms passed down through generations or mementos of special occasions, further enhances their emotional significance.

7. Creative Expression: Trading cards inspire creative expression and artistic exploration through their diverse themes, designs, and customization options. Collectors can showcase their creativity by creating custom card artwork, designing themed card decks, or participating in trading card art contests and challenges. Trading card games also encourages players to experiment with deck-building strategies, card combinations, and gameplay mechanics, fostering innovation and originality within the community.

8. Philanthropic Opportunities: Trading cards present philanthropic opportunities for collectors to support charitable causes, raise awareness, and give back to their communities. Charity auctions, fundraisers, and donation drives involving rare or autographed cards can raise funds for charitable organizations, disaster relief efforts, or social causes. Trading card events and initiatives that promote inclusivity, diversity, and accessibility also contribute to positive social impact and community empowerment.

In conclusion, trading cards are more than just a hobby; they are cultural artifacts, sources of entertainment, educational tools, community builders, investment vehicles, emotional connectors, outlets for creativity, and philanthropic platforms. With their multifaceted appeal and enduring popularity, trading cards continue to enrich the lives of collectors, enthusiasts, and communities around the world, transcending their status as mere collectibles to become cherished symbols of shared passions, experiences, and values.

[nicebabyname2024]

Exploring the Fascinating World of Numerology: Unveiling the Secrets of Numbers

Introduction: Numerology, an ancient practice with roots tracing back to ancient civilizations, offers a unique perspective on the significance of numbers in our lives. From birth dates to names, numbers play a profound role in shaping our personalities, guiding our decisions, and influencing our destinies. In this article, we delve into the fascinating world of numerology, exploring its principles, methods, and insights.

Understanding Numerology: At its core, numerology is the belief in the mystical relationship between numbers and various aspects of human existence. Practitioners of numerology believe that each number possesses its own unique vibration and symbolism, which can offer profound insights into an individual's personality, strengths, weaknesses, and life path.

Key Concepts in Numerology:

Life Path Number: One of the fundamental concepts in numerology is the Life Path Number, which is derived from a person's date of birth. This number represents the core essence of an individual's personality and the primary lessons they are destined to learn in life. Expression Number: The Expression Number, also known as the Destiny Number, is calculated from a person's full birth name. It reflects one's natural talents, abilities, and potential for success in various areas of life. Soul Urge Number: The Soul Urge Number, derived from the vowels in a person's name, reveals the deepest desires, motivations, and inner longings of the soul.

The Origins of Nameology & Numerology

The roots of Nameology can be traced back to ancient civilizations, where names held great significance. In many cultures, names were chosen based on their meanings, which were believed to influence the individual's life path. For instance, in Hinduism, names are chosen based on the individual's nakshatra (lunar constellation) and rashi (zodiac sign), with the belief that the vibrations of the name align with the person's cosmic energies.

In Chinese culture, the practice of choosing names based on the principles of feng shui, known as "Ba Zi" or "Four Pillars of Destiny," is a form of Nameology. This involves considering the elements and energies associated with each character in a name to ensure harmony and balance. In Iranian culture, Abu Ali Sina was a philosopher and physician that introduced people with some concepts of Nameology.

Personality Number: Calculated from the consonants in a person's name, the Personality Number represents the outward expression of one's personality and how they are perceived by others. Compatibility Analysis: Numerology can also be used to assess compatibility between individuals, whether in romantic relationships, friendships, or business partnerships. By comparing Life Path Numbers and other key numerological factors, practitioners can gain insights into the dynamics of different relationships. Practical Applications of Numerology: Numerology offers a wealth of practical applications in various aspects of life, including:

Personal Growth: By understanding their numerological profile, individuals can gain valuable insights into their strengths, weaknesses, and life purpose, empowering them to make more informed decisions and pursue personal growth and self-improvement. Career Guidance: Numerology can provide guidance on choosing a career path that aligns with one's natural talents, abilities, and aspirations. By understanding their Expression Number and vocational tendencies, individuals can make informed choices about their professional pursuits. Relationship Advice: Numerology can offer insights into the dynamics of relationships and compatibility between partners. By comparing Life Path Numbers and assessing numerological compatibility, couples can gain a deeper understanding of their relationship dynamics and potential challenges. Name Selection: Numerology is often used in the process of naming babies, businesses, and even pets. By selecting names with favorable numerological vibrations, individuals can set a positive foundation for future success and fulfillment. Conclusion: Numerology is a fascinating and insightful tool for self-discovery, personal growth, and understanding the deeper patterns and meanings in our lives. Whether used for introspection, guidance, or practical decision-making, numerology offers a unique perspective that can enrich our understanding of ourselves and the world around us. As we delve deeper into the mysteries of numbers, we unlock the secrets of our true selves and embark on a journey of self-discovery and enlightenment.

Source: What is Numerology?

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Mystart11: Elevating Fantasy Sports to New Heights of Excitement

In the realm of sports enthusiasts, the allure of fantasy sports has grown exponentially, offering fans a unique opportunity to immerse themselves in the action and excitement of their favorite games. Among the multitude of platforms catering to this passion, Mystart11 stands out as a beacon of innovation and excellence, providing fantasy cricket and football aficionados with an unparalleled gaming experience. As we delve into Mystart11's journey, we uncover the key elements that have propelled it to the forefront of the fantasy sports industry, elevating the game to new heights of excitement.

Central to Mystart11's success is its unwavering commitment to user satisfaction and innovation. Since its inception, the platform has placed the needs and preferences of its players at the forefront of its development, continuously refining its features and functionalities to deliver a seamless and immersive gaming experience. Through intuitive interfaces, real-time updates, and dynamic gameplay mechanics, Mystart11 ensures that players are fully immersed in the thrill of fantasy sports, from draft day to championship celebrations.

One of Mystart11's defining features is its diverse array of leagues and tournaments, catering to players of all interests and skill levels. Whether you're a cricket aficionado or a football fanatic, Mystart11 offers a wide range of options to choose from, including international showdowns, domestic leagues, and custom competitions. With its expansive lineup of leagues and tournaments, Mystart11 ensures that every player can find their niche and compete in the games that matter most to them.

In addition to its extensive selection of leagues and tournaments, Mystart11 sets itself apart with its innovative scoring formats and gameplay mechanics. Unlike traditional fantasy sports platforms that rely on static scoring systems, Mystart11 offers dynamic scoring formats that evolve in real-time based on player performance and match conditions. This dynamic approach adds an extra layer of excitement to the gameplay, keeping players on the edge of their seats as they watch their fantasy teams compete on the virtual field.

Beyond its technological prowess, Mystart11 fosters a vibrant and inclusive community of players who share a passion for fantasy sports and support one another in their quest for victory. Through forums, chat rooms, and social media channels, players can connect with like-minded individuals, exchange strategies, and celebrate their successes together. This sense of camaraderie not only enhances the overall gaming experience but also reinforces Mystart11's status as more than just a platform—it's a community where friendships are forged, rivalries are kindled, and memories are made.

Central to Mystart11's ethos is its unwavering commitment to fairness and transparency. As a trusted leader in the fantasy sports industry, Mystart11 upholds the highest standards of integrity and accountability, implementing rigorous security measures and verification processes to ensure a level playing field for all players. Through real-time updates and comprehensive statistics, Mystart11 provides players with the information they need to make informed decisions and compete with confidence.

Looking ahead, Mystart11 remains dedicated to pushing the boundaries of innovation and redefining the fantasy sports experience for players around the world. Whether it's introducing new features, expanding its offerings, or enhancing its community engagement initiatives, Mystart11 is constantly striving to raise the bar and exceed the expectations of its players. By staying true to its core values of excellence, integrity, and passion, Mystart11 is poised to continue leading the way in the fantasy sports industry for years to come.

In conclusion, Mystart11 is more than just a fantasy sports platform—it's a gateway to a world of excitement, competition, and camaraderie. With its user-centric approach, innovative features, vibrant community, and unwavering commitment to excellence, Mystart11 offers players an unparalleled gaming experience that transcends the ordinary. So why wait? Join Mystart11 today and experience the thrill of fantasy sports like never before.