#dynamics ax integration

[talonabraxas]

Somatic Anatomy of the Energy Bodies Talon Abraxas

Mindfulness of Breathing and the Two Yin-Yang Pairs

There are actually four yin-yang pairs within the dynamics of the energetic anatomy of the four surface bodies. The two most significant ones however, are those that are symbolically represented by the axes of the mandala – the polarity of Volitional and Physical at north (green) and south (yellow), and the polarity of Mental and Emotional at east (blue) and west (red). These two pairings are of enormous importance, because when we become attuned to them, they are very clearly felt in the body (but experienced differently by women and men – since the yin-yang polarities are reversed), especially when we do the Buddha’s ‘Mindfulness of Breathing’ practice.

As we pay attention to our breathing, our attention moves up and down the trunk on the body, but it moves in a paradoxical way – because it moves up the body as we breath in, and down the body as we breath out. This means that, as we breath out, our attention naturally moves down to the region of the lower chakras, which are where we experience the Physical and Mental bodies; and when we breathe in, attention naturally moves to the region of the upper chakras, which is where we experience the Emotional and Volitional bodies.

Mindfulness of Breathing – the Short Breath / Long Breath Approach

There is mention in the Pali record of the Buddha’s teachings on the Mindfulness of Breathing, of the importance of being aware of the distinction between what is referred to as a ‘Short Breath’, and what is referred to as a ‘Long Breath’. Whereas it is perhaps reasonable to assume, as most readers of these texts do, that the Buddha was inviting his students to notice, without forcing the breath, when it is shallow and when it is deep. This is not universally accepted and some traditions within Buddhism have taught Mindfulness of Breathing as a form of controlled breathing, with short and long breaths.

Given the very wide range of interpretations as to what the Buddha’s ‘Mindfulness of Breathing actually was, I have, having explored several approaches, come to the conclusion that we need to consider the possibility that the Buddha was inviting his students to notice the subtle yin-yang polarity between the region of the Hara Chakra and the region of the Solar Plexus Chakra (the Short Breath); and the subtle yin-yang polarity between the region of the Base Chakra and the region of the Heart Chakra (the Long Breath). This approach in which the practitioner alternates between the Short and Long Breaths in stages (the length of these stages can vary – typically 5 to 10 minutes each) is subtle, and difficult to teach, not least because it is experienced differently by women and men, but I have found the approach to be a powerful catalyst for psychological integration and for consistent entry into states of samādhi.

[anghraine]

Operation Annihilate hurts more if you've seen Discovery because Spock does understand what it's like to lose a sibling.

I haven't seen Discovery yet, but I'll admit that my personal experience of TOS and interpretations of what it was doing with its characters and themes in the 60s are very deliberately not informed by the decades of much-later retcons of the original show. Spock in particular*, I think, has been targeted hard by retcons ever since they reset his entire character arc in 1979, and I feel like the later generations of Obligatory Spock Appearances that I have seen (in AOS and SNW) keep ever-more-drastically losing sight of what made him compelling in the first place, across a lot of different axes (including his flawless eyeshadow and narratively central homoeroticism :\).

I don't want to sound hostile or aggressive about the ask at all, though! I didn't mind receiving it, and I don't have any grievance with Discovery fans or people who do feel the need to try to reconcile all the different major Star Trek projects with each other, as long as they don't show up in TOS fans' notes to lecture us on how we've got to engage with ST their way.

I do get "well actually, in [other ST thing] it turns out" on a pretty regular basis, though, so—well, I'm only rambling further about this because I have quite a few new ST followers and want to be clear about what to expect. I'm not trying to attack anyone outside the corporate media hellscape.

I like other Treks than TOS, but I am fundamentally very opposed to the X Cinematic Universe media franchise world where every story in a setting must be perceived as part of a single consistent narrative all the other stories are hammered into, and you've got to keep up with all these different, largely independent projects to truly understand The Whole Story. I'm like, nope, Paramount/Disney/whomever isn't the boss of me, and for me, the TOS movies are kind of the Aeneid of Star Trek to TOS's Iliad, and Prodigy is, like ... uh, Troilus and Criseyde in this analogy, and otherwise, /shrug. It's like, all three texts are fantastic, and I'm intrigued by how the latter two texts talk to each other and to Homer, but they are all very, very different and I have no interest in forging a grand unified narrative of the Trojan War in my head. So it is with Star Trek for me!

I'm not only like this with Star Trek btw—I'm the same with Star Wars (and Lucasfilm is even more aggressive than Paramount about pushing every single thing as integral to The Whole Story). In general, this is just how I as a person respond to fundamentally separate storytelling projects that engage with an ostensible shared setting or shared characters or whatnot.

(I'm not really fannish about any other part of ST, so I didn't bother finding Matter of Troy analogues for TNG/etc, though I enjoy them enough in a non-fannish way.)

So anyway, all of that is to say: for my personal experience and interpretation of how TOS characterizes Spock, it's actually important to me that he really was every bit as isolated his entire life as TOS indicates, until he joined Starfleet and especially until the five-year mission.

For me, Spock's guilt over Amanda in TOS and the stakes of the fraught dynamic between them are deeply bound up in him being her only child (and not only by blood). For me, the "no bigotry on the bridge" scene in "Balance of Terror" really is the first time Spock has had a relationship with anyone who would advocate for him in that way. I see TOS Spock as the child of two parents who care about him but have always been far more preoccupied with each other and themselves, and as someone who was wholly ostracized by all his peers on Vulcan, and who even among the somewhat more welcoming humans, has been continually disrespected in very, very racialized ways.

And for me, part of the heartbreak of that Spock moment in "Operation: Annihilate!" is that TOS Spock and Kirk do have wildly different histories apart from both being bullied, and Spock has never experienced anything like this grief. Spock never had a Sam in his life, nor an Aurelan (who Kirk seems to have been close to as well), nor a Peter and the other two boys who implicitly didn't make it. Spock has spent his life fundamentally alone. But he also has never experienced the kind of horrific losses Kirk has, either—family members, immediate communities, and entire swaths of planetary populations lost, just hundreds or thousands of people ripped away over and over and over while Kirk watches or finds them afterwards.

Something important about Kirk and Spock's relationship to me, though, is that they don't have to personally experience the other's life to profoundly understand and connect to each other in the way they both desperately need. This is one of the reasons they're closer to each other than to any of their other friends or colleagues (something explicitly stated in TOS multiple times). And in S1, I think we really see that evolution with Spock in particular, where in early episodes like "The Enemy Within," he might unbend enough to say, "If I seem insensitive to what you're going through, captain, understand it's the way I am," but by the season finale, he reciprocates Kirk's accommodation of his cultural norms when it really matters.

I think TOS Spock tries to express his compassion in an emotional, human-normative way, down to the phrasing, because at this point, he prioritizes Kirk's suffering at such a time above his own values and preferences. It's more important to reach out to Kirk in Kirk's terms than to Be Vulcan About It, until Kirk needs him to be Vulcan about it. The instant that Kirk makes it clear that he can't deal with human sympathy and needs something productive to focus on, Spock instantly shifts gears to Being Useful because that's what Kirk needs from him, even when it is excruciatingly painful or risks blindness or ... really, anything.

-

*Kirk, notoriously, is also hit super hard by pop culture-filtered characterization retcons from The Wrath of Khan onwards and especially in AOS, well beyond the AU premise. But I think the subtler discomfort seen in modern ST re: TOS Spock as a masculine figure is nearly as egregious.

[undertheorangetree]

Our Gentle Sin

Saltwic

Summary- Confessions are made after the Battle of Beamfleot.

Warnings- MDNI 18+ NSFW. Female Reader. Fluff. Angst. Dialogue stolen from the show. Reader has hair at least shoulder length. Dry humping. The fluffiest smut to ever exist. P in v sex. Lots of feelings.

Author's Note- This is apart of Our Gentle Sin. I honestly adore this series and the dynamic I created here so here’s a fluffy ass fourth part💕 as usual the rest is on AO3!!

find the series masterlist here

dividers by firefly-graphics

She remembers the first time she ever met him. She had managed to track Uhtred down to Winchester, had cornered them all at an alehouse as she attempted to persuade them to let her join their group. Seeing him had thrown her off, an obvious sore thumb amongst a group of hardened warriors. Arms lacking the corded muscles of his companions, still skinny in the way men are when they’re only just out of boyhood. His hair had still been cut in the way of a novice and he had looked at her as if he was unused to seeing women, which she was sure he was. This one is no warrior, she had thought, and had gone as far as to use him as an example for them to consider her.

You’ve allowed the king’s bastard to join you, she had said. And he is little more than a monk. Surely allowing a girl would be no different.

Finan had been apprehensive but Sihtric had vouched for her and Uhtred had agreed, their heathen upbringing leaving them more than familiar with warrior women. The monk had stayed silent and she had gone out of her way to apologize to him later that night.

He had looked at her like a startled deer and his eyes had gone wide when she touched his arm but he had managed to swallow his discomfort long enough to say, “You meant no offense, lady. I am already giving them reason to allow me to stay. I will simply have to convince you as well.”

And he had convinced her, though it was not with his martial prowess. It was with his kind heart and subtle cleverness, with the endearing naivete that he quickly grew out of. They had grown close, closer than they had any right to or what may have been proper had they been integrated into normal society. Though they both knew she was the better fighter, she had caught him more than once guarding her. While she slept, while she bathed, keeping an eye on her whenever they faced Danes along the road.

He is no warrior but he is kind and that was all she ever wanted from him.

He is no warrior and yet she had allowed him to fight alone in the battle of Beamfleot.

He is no warrior and she had not been there when he fell.

She turns her head in time to watch him fall, beaten down by the blunt edge of a shield. Though she tries to go to him, she is trapped behind a wall of men, swords and shields and mud and blood making it impossible to reach him in time. She watches helpless as someone else kills the man who takes him down, the body landing on top of him, and can do nothing but hope beyond hope that he is more than just a body laying prone in the mud. When Alfred’s men finally break the line, ending their almost sure slaughter and begin taking down the Danes, she sprints passed them all to reach him. The distance seems longer now that she’s running it, feet squelching with every step as the mud tries to suck her back down, and she swings her axe into the gut of the man who tries to slow her down.

She’s breathing heavily, the cold air burning her throat and making her taste blood, but she throws herself down beside him all the same. The Dane corpse on top of him is a deadweight she’s not sure she can move but her determination wins out and she drags him away, his feet catching on Osferth’s side and turning him onto his back. She discards the body immediately, dropping to her knees and placing two fingers just below his jaw, muttering pleas as she searches for his heartbeat. It’s a feeling she has grown more than used to, the familiar thump of it always serving to calm her down. She has heard it a hundred times before, after they have lain together, when he hugs her close to his chest.

She does not know what she will do if she doesn’t hear it again now.

But it’s there, thrumming under the pads of her fingers. Weaker than she is used to but she is so relieved that it is there at all that she lets out a sob, fingers dropping to curl around the collar of his tunic.

Read the rest here

[arnesia]

sermon 13 annotated

These were the days of Resdaynia, when Chimer and Dwemer lived under the wise and benevolent rule of the AMLSIVI and their champion the Hortator. When the gods of Veloth would retreat unto their own, to mold the cosmos and other matters, the Hortator would at times become confused. Vivec would always be there to advise him, and this is the second of the three lessons of ruling kings:

this is the typical introduction to the "three lessons of ruling kings" sermons, of which there are, you guessed it, three.

'The secret syllable of royalty is this: (You must learn this elsewhere.)

as we learn in the previous sermon, sermon 12, the secret syllable of royalty is CHIM.

'The temporal myth is man.

i think this is actually a bit vague. yes, it could refer to "man" as "the human races of tamriel," i.e. nords, cyrods, bretons, redguards, etc. in which case, yeah, they don't live as long as elves do. but this could also refer to "man" as "humanity" in a broader sense, as in all mortal beings. even elves must die of old age eventually. (usually, at least.)

further, i think the overall phrase has a bit of a double meaning. my first impression was, "man is temporal, mortal, short-lived in the grand scheme of things, and therefore less important (mythical) than fact (reality)." however, i think you could take it another way: "man's temporality, his temporariness, his short-lived nature, is a myth, in that myths can be made of him long after his mortal demise." a great man lives long after he dies, because he was great, and made a name for himself through his actions in life.

'The magical cross is an integration of the worth of mortals at the expense of their spirits.

i thought long and hard about this part. i consulted other sources, and didn't care for their analyses, however intentional their conclusions might have been to the original text. i wanted an explanation less out-of-universe, more intrinsic to the setting. and here's what i came up with: the "cross" is the dual nature of anu and padomay, not as two extremes of a single axis, -∞ and ∞, but as two axes forming a plane of potential.

in this case, these two axes of anu and padomay are "an integration" of "the worth of mortals" (padomay giving dynamism and originality via chaos to mortals) "at the expense of their spirits" (the static concept of their being given via anu's order). these two concepts of "dynamism" and "staticism" (not sure that last one is a real word but work with me) are NOT opposites on a single spectrum, but dual spectra conjoined at an origin point. (we'll get back to that later.)

Surround it with the triangle and you begin to see the Triune house.

this part is easy. the triangle is, originally, the three good daedra (azura, boethiah, and mephala), and now the tribunal (sotha sil, almalexia, and vivec respectively). this concept of "houses" we see in multiple contexts throughout the lessons reappears.

It becomes divided into corners, which are ruled by our brethren, the Four Corners: BAL DAGON MALAC SHEOG.

technically, the corners existed prior to the triangle surrounding the cross. but okay, vivec. this is pretty simple, as well: the four corners of the house of troubles, molag bal, mehrunes dagon, malacath, and sheogorath. i'm not sure if you can like, place them in their own quadrants on this graph? if you can think of a good way to do this, let me know.

Rotate the triangle and you pierce the heart of the Beginning Place, the foul lie, the testament of the irrefutable-for-a-span.

here's the origin point! i'll be honest, i don't know what vivec means by "rotate the triangle." what does that even mean…….just spin it forever and ever until it's a circle? maybe… who can say! the origin point of the graph, "the Beginning Place," is…well. several things. it's a kind of "genesis" of two kinds. (this duality is, as you may have noticed, common in this sermon, as well as in the lessons in general.) the initial creation of the aurbis, but also the Convention which settled it into its current state. the initial conception by lorkhan is a "foul lie" in that he supposedly tricked his fellow et'ada into creating it, thereby trapping them within it. the Convention is a "foul lie" in that it designates auri-el as the chief of the aurbis, the origin of time itself.

"the testament of the irrefutable-for-a-span" is the kalpa, the cyclical period of time when the aurbis, the world as we know it, holds steady. it's irrefutable in its reality, its realness. but only "for-a-span"; it cannot hold forever.

this "origin point" serves a dual-dual purpose as being a representation of not CHIM itself, but the realization that brings about CHIM: the gnosis of the nature of the world.

Above them all is the horizon where only one stands, though no one stands there yet. It is proof of the new. It is the promise of the wise.

this refers to a concept which i don't think is ever referred to in-game (unless eso has proven me a liar once again) called "amoranth." amoranth is kind of like super CHIM: if CHIM is the gnosis that the world is the dream of anu, then amoranth is supplanting anu as the new dreamer of a new dream. this is something explored in kirkbride's C0DA, if you're interested.

Unfold the whole and what you have is a star, which is not my domain, but not entirely outside my judgment.

you might imagine this refers to almalexia somehow, since her domain is the stars. but given what we know about the sharmat, dagoth ur, from sermon 15, it's safe to say this is about him. generally speaking, you could say "the stars" is ayem's domain, whereas "a star" probably refers to the sharmat and the heart of lorkhan. vivec knows he cannot understand or master what the sharmat understands and masters, but he can yet judge it as false, nonetheless.

The grand design takes flight; it is transformed not only into a star but a hornet.

i'm not 100% sure what i think is meant by "hornet" here. here's my best guess: the grand design (the aurbis) takes flight (becomes active), and it is buzzing about with life (a hornet).

The center cannot hold. It becomes devoid of lines and points. It becomes devoid of anything and so becomes a receptacle. This is its usefulness at the end. This is its promise.

as a result of the hornets flitting about the world, the origin point at the center "cannot hold". this line, "the center cannot hold," is a direct reference to a line from william butler yeat's poem "the second coming," which i don't know much about beyond that. the title of the poem is evocative, of course, of the second coming of christ, the apocalyptic end of all things.

i believe "devoid of lines and points" COULD refer to the ongoing collapse of towers in tamriel, with "lines" being "towers" and "points" being "stones." without these reference points to tie down meaning on nirn, it becomes "devoid of anything," nearly meaningless, and therefore "a receptacle," a vacuum of meaning waiting to be filled.

'The sword is the cross and ALMSIVI is the Triune house around it.

confirming that the triangle is the tribunal, but also claiming that the cross and the sword are identical. refer to my post on sermon 23, the scripture of the sword. this also connects to the theme of duality in this sermon.

If there is to be an end I must be removed. The ruling king must know this, and I will test him. I will murder him time and again until he knows this. I am the defender of the last and the last. To remove me is to refill the heart that lay dormant at the center that cannot hold.

i think most of this is self-explanatory. the ruling king in these sermons refers both to nerevar and nerevarine. vivec "killed" nerevar and has persecuted the nerevarine cult, "killing" each attempted incarnation as they come. vivec is supposedly trying to teach nerevar (rather, his reincarnating soul) that he is an obstacle to the conclusion (said conclusion being the defeat of the sharmat and the "refilling of the heart", a.k.a. lorkhan's heart, now taking on the symbology of "the center that cannot hold") that must be defeated in some way in order to bring about the conclusion. in our story, vivec is defeated by proof rather than combat (canonically, at least). he is "the defender" until the truth he defends can no longer be denied.

I am the sword, Ayem the star, Seht the mechanism that allows the transformation of the world. Ours is the duty to keep the compromise from being filled with black sea.

okay, i know i said that "star" singular almost always refers to the sharmat/heart of lorkhan, with "stars" referring to ayem and her domain, but this is like, the only exception in the lessons. all other "star" references are either sharmat/heart or literal stars/astronomical objects.

"the compromise" here is aurbis, a blending of order and chaos, staticism and dynamism, anu and padomay. "the black sea" is the pure void of padomay outside the aurbis.

'The Sharmat sleeps at the center. He cannot bear to see it removed, the world of reference. This is the folly of the false dreamer. This is the amnesia of dream, or its power, or its circumvention. This is the weaker magic and it is barbed in venom.

"the center" ("that cannot hold") here refers to both meanings of the center, as both the irrefutable genesis of reality and the heart of lorkhan specifically. the sharmat wants a "world of reference," a world of false reality (for a "false dreamer", since anu is the true dreamer) to rule over. he forsakes the truth for a lie, "the amnesia of dream," and thereby finds a power, albeit a "weaker magic" that is "barbed in venom," in downsides.

'This is why I say the secret to swords is the mercy seat. It is my throne.

we've heard this before, from sermon 11: "The secret of weapons is this: they are the mercy seat."

what's the "mercy seat?" well, biblically, it's the lid of the ark of the covenant, where God's divine presence dwelt. but the bible doesn't exist in tamriel, so what would it mean within the setting's context?

well, we know that ayem is most commonly associated with "mercy" as a concept. but i don't think this really refers to her. vivec sees violence as his own kind of "mercy," as both as a coup de grâce, or mercy stroke, to put down the wounded after battle with the victor, but also a "sharpening" of the wounded into the victor. as God Himself, free from the restraints of luck, vivec decides the victor…and he decides when the defeated may become the victor later, after becoming stronger in their defeat. this plays into the themes of trauma and recovery in the lessons.

I am become the voice of ALMSIVI. The world will know me more than my sister and brother. I am the psychopomp. I am the killer of the weeds of Veloth.

by writing the lessons vivec becomes "the voice of ALMSIVI," the one willing to tell the truth, however couched in poetry and mystery as he is inclined to do so. "the world will know" him more than his "sister and brother," both because canonically he survives them both, but also due to his religious significance in the tribunal temple. almalexia is certainly an important figure in the temple, even walking among her children as their mother, but vivec contributes more to the spiritual lives of their devotees through his writings.

a "psychopomp" is a figure in a mythology who carries the dead to their afterlife destination; the ones you've most likely heard of are the egyptian anubis, the greek charon, and the norse valkyries. vivec claims to carry the "weeds of Veloth" directly to the afterlife by killing them personally.

Veloth is the center that cannot hold. Ayem is the plot. Seht is the ending. I am the enigma that must be removed. These are why my words are armed to the teeth.

another "center that cannot hold"???? you betcha. vivec sees veloth (here referring to morrowind itself, not to the prophet) as the stage for the center's "unfolding," seeing as it was where the heart of lorkhan landed, and where gods (tribunal, dagoth ur, numidium and thereby talos) were made (and eventually unmade).

ayem is the plot because her anticipation is the prince of plots, boethiah. seht is the ending because his anticipation is azura, prince of (dawn and) dusk. vivec is an "enigma," a kind of puzzle that the nerevarine must solve in order to know truth, in order to defeat the sharmat and close this treacherous chapter of history. but what good's a game without stakes? an "enigma" without "words…armed to the teeth"?

'The ruling king is to stand against me and then before me. He is to learn from my punishment. I will mark him to know. He is to come as male or female. I am the form he must acquire.

the nerevarine ("the ruling king") stands against vivec as apocryphal messiah of the cult, then before him when vivec can refute them no more. they learn from vivec's "punishment," which is, again, twofold: both the punishment of the cult and dissident priests, and also the punishment vivec endures, as a lonely god. the nerevarine's form doesn't matter ("male or female"), because vivec's didn't matter.

'Because a ruling king that sees in another his equivalent rules nothing.'

if you don't inherently see yourself as better than everyone else, you cannot be "a ruling king." this is why the nerevarine must prove themselves worthy to defeat the sharmat:

"Hortator and Sharmat, one and one, eleven, and inelegant number. Which of the ones is the more important? Could you ever tell if they switched places? I can and that is why you will need me." - Sermon 11

by which vivec again asserts that he, as God Himself, is the decider of fate, not chance. vivec fills the role of observer in the enantiomorph between hortator and sharmat, nerevar and voryn, nerevarine and dagoth ur.

This is what was said to the Hortator when Vivec was not whole.

remember sermon 12, the pomegranate banquet. vivec has lost his "feet" and his "head" to "molag bal," "the king of rape." lots of quotations there because none of that is literal. vivec was raped (not literally by molag bal) and lost his sense of self, his sense of self-worth. he has not yet "repaired" himself, brought himself back together from the trauma he endured.

i'm not sure if vivec actually said anything like this to nerevar during this time. he could have been trying to put up a facade, to pretend nothing was wrong, doing what he usually does in advising the hortator. or this could just be a literary contrivance, putting this sermon here. it's hard to say.

and as always,

The ending of the words is ALMSIVI.

[sifu-kisu]

Baji Jin - The Power of Baji Quan

Baji Quan is a martial art focused on power and strength, emphasizing the method of generating force. Wutan magazine once illustrated three types of Baji Quan power. I want to add my perspective, hoping it complements the original content.

In this article, I use "Jin," a refind force, to represent the original meaning of the Chinese language instead of the word "Li" or force in English. The Jin in Baji Quan originates from the training tec… See more

Baji Jin - The Power of Baji Quan

Baji Quan is a martial art focused on power and strength, emphasizing the method of generating force. Wutan magazine once illustrated three types of Baji Quan power. I want to add my perspective, hoping it complements the original content.

In this article, I use "Jin," a refind force, to represent the original meaning of the Chinese language instead of the word "Li" or force in English. The Jin in Baji Quan originates from the training techniques of the bear and tiger forms. The bear represents a sinking Jin emphasizing vertical action (force exerted downward into the ground and its reaction upward). The tiger represents a cross Jin, which channels the force drawn from the ground through the legs, waist, hips, back, and shoulders and directs it along the spatial XYZ axes (Please note that this is a 3D, not 2D cross) to issue power. The combination of these two Jins creates the silk-reeling Jin.

In traditional martial arts, the silk-reeling Jin is predominantly used for striking targets. It can move steadily and accurately in a specific direction through the air. When it contacts a target, the silk-reeling Jin can be divided into two types: long Jin and short Jin. From a physics perspective, long Jin operates over a longer distance with intense penetration but takes more time; it is just like a straight stroke in billiards. Short Jin, also known as inch Jin (originating from the Northern Chinese accent term "crisp Jin"), operates over a short distance with instantaneous explosiveness, resembling a draw stroke in billiards.

For the bear form, beginners must practice stomping because it requires deeply sinking the center of gravity into the ground. For the tiger form, practicing bow/arrow and horse stance strikes is essential to generate Jin in all directions. To integrate the bear and tiger forms into the silk-reeling Jin, practitioners often use dragging and grinding steps while punching to experience the power.

Why use dragging and grinding steps to practice the silk-reeling Jin? I think static training alone is insufficient; true silk-reeling Jin is achieved through dynamic movement. Another renowned martial art from Wutan is the Bagua Palm, founded by Great Master Gong Bao Tian. Bagua is famous for saying, "The palm is not just the palm; the whole body is the palm." Bagua is known for its dynamic steps, emphasizing the integration of hands, eyes, body, and steps to form a spiral Jin, also known as silk-reeling Jin.

Imagine a beginner playing table tennis confined to the table surface. At the same time, the pro uses their entire body to control the ball, moving with butterfly-like steps in all directions, turning the space around the table into their battlefield. Their advanced skills are often awe-inspiring. This is the all-encompassing silk-reeling Jin.

Baji Quan training at Wutan consists of three stages:

1. Xiao Baji Quan (Small Baji Quan) establishes the foundation by displaying the three types of Jin everywhere and using grinding and dragging steps to enhance the "semi-dynamic" silk-reeling Jin.

2. Da Baji Quan (Large Baji Quan): This stage explores the technique with dynamic steps, particularly the lifting and changing steps. The "fully dynamic" silk-reeling Jin is vividly demonstrated at this stage.

3. Liu Da Kai (Six Major Openings): Advanced tests of the learned techniques. Without a solid foundation in the three Jins, coupled with the agility acquired through paired practice and sparring, and the ability to flexibly use long and short silk-reeling Jins to adjust distance, angle, height, and timing, it is challenging to effectively defeat an opponent with Baji Quan. The sinking Jin and cross Jin combine to form the silk-reeling Jin, the core of Baji Quan techniques.

These are my humble insights on training Baji Quán and its power generation. I hope they inspire further input to improve our training methods.

Octopus

Eight-pole is a power boxing, pay attention to how to put it. Wushu magazine has listed three kinds of octopus kungfu drawings. Now I’m adding personal opinion, hopefully not dog tail 貂.

In this article I use " 勁" to represent the original meaning of Chinese instead of "force". The eight-pole fist starts from the two-shaped exercises of the bear and tiger. The bear is stressed up and down (the force goes down to the ground while the reaction is up), the tiger is the cross is the force drawn from the ground through the legs, the waist, the back and the shoulder, the three-dimensional XYZ direction, and the two-hills are the silk. Traditional martial arts strikes are almost always targeted by silk silk, which is stable and accurate in the air in a specific direction. When contact with the target, silk silk can be divided into two types: Long and short beams: according to the physics impulse principle, long work distance, strong penetration, but also long time, such as the straight of a pool ball. The short lizard, also known as the crunch of the northern Chinese accent, is short working distance and instantaneous bursts, and has the characteristics of a recurring momentum, such as the pull of a pool ball.

The bear shape requires the center of gravity to sink down to three feet, so beginners have to practice the beard. Tiger shape needs to be put up and down and left, so bow and horse-style paw or taek are essential. Practicing bear and tiger two-tiger silk silk, often experienced by dragging and pacing boxing. Why do you use drag steps to practice silk? My opinion is that it's not enough to have fixed training, real silk must be done by living steps.

Another watchman of martial arts in the martial arts of the martial arts is the palms of the palace master. There is a well-known saying in the gossip: "No hand is the palm, the whole Gossip is famous for its live steps, emphasizing that hand-eye steps together to form propellers, that is, silk silk. Imagine a beginner playing ping-pong is limited to the face, while a master uses his whole body force to control the ball. He uses a flower butterfly-like footwork, turning the space near the face into his battlefield. The superb technique is often amazing. That's the full range of silk.

There are three stages of training in martial arts:

1. 1. Little octopus shows these three kinds of cunning everywhere and steps and drags to strengthen the "semi-dynamic" silk.

2. The Big 8 Pole Fist is a move to live, especially to change steps. At this point the "full dynamic" silk is showing up alive.

3. 3. The six great opening art is the true test of the technology learned. Without a deep three-pole foundation, plus quick hand-eye steps from playing against the pair, and flexible use of the length and length of the silk to adjust the distance angle and grasp the timing of the hair, the low level of octopus is not easy to destroy the enemy. In short, the combination of dullness and cross-healing forms the silk silk, and the silk silk is the core of the octopus art.

The above is my little careful about the eight pole practice, hope there will be a reverberation of the jade.

[spectralpixelsredone]

Yang Xiao Long and Mercury Black as Foils in RWBY

Mercury Black is explicitly designed as a deliberate foil to Yang Xiao Long in RWBY, with shared traits like snarky personalities, traumatic parental backgrounds, and physical combat prowess emphasizing their contrasting moralities, motivations, and responses to their pasts. Their foil dynamic highlights Yang’s emotional depth and heroism against Mercury’s pragmatic villainy, showcasing how similar starting points can lead to divergent paths.

Similarities

Snarky and Quick-Witted:

Both Yang and Mercury are sharp-tongued, using wit to assert themselves. Yang’s playful banter, like her puns with Weiss or taunts in combat (e.g., calling enemies “buddy”), reflects her confidence and humor. Mercury’s snark, such as mocking Emerald for getting lost in Vale or his playful taunts during his fight with Pyrrha (Volume 3), showcases his laid-back yet biting demeanor. Their quick wit makes them engaging combatants and social presences.

Troubled Parental Backgrounds:

Both have traumatic maternal histories. Yang’s mother, Raven, abandoned her, leaving emotional scars that fuel her protective nature toward Ruby. Mercury’s mother is absent, with no mention of her fate, and his father, Marcus, was an abusive alcoholic who brutalized him under the guise of training (document, page 11). These parental voids shape their resilience but lead to contrasting outcomes.

Skilled Physical Fighters:

Combat is central to both characters’ identities. Yang is a close-range brawler, using her Ember Celica gauntlets and Semblance to deliver powerful punches. Mercury, trained as an assassin, relies on kicks with his prosthetic legs and Talaria boots, blending taekwondo, capoeira, and breakdancing (document, page 12). Their physical prowess makes them formidable, with their fights (e.g., Yang vs. Mercury in Volume 3) highlighting their skill parity.

Prosthetic Limbs:

Both have artificial limbs that enhance their fighting styles. Yang’s Atlesian prosthetic arm, gained after losing her right arm to Adam (Volume 3), integrates seamlessly with her brawling, firing Dust projectiles like Ember Celica. Mercury’s prosthetic legs, from the knees down, allow him to fire projectiles via Talaria and enhance his agility (document, page 12). These prosthetics symbolize their resilience but differ in origin and purpose.

Blood Knight Tendencies:

Both relish combat, finding joy in the thrill of battle. Yang’s enthusiasm is evident in her grin during fights (e.g., her excitement in the Yellow Trailer), reflecting her love for action. Mercury, while calmer, shows glee when fighting strong opponents like Pyrrha, amused by discovering her Semblance (document, page 12). Their combat enjoyment ties to their confident personas.

Vitriolic Best Buds:

Both have sarcastic, banter-heavy relationships with close allies. Yang’s dynamic with Weiss involves teasing but evolves into mutual respect, strengthening their bond (e.g., Volume 5 teamwork). Mercury’s relationship with Emerald is marked by playful jabs and flirtation, but they back each other up against Roman or at Haven, showing reluctant trust (document, page 11). These dynamics highlight their social sharpness.

Hatred of an Ax-Crazy Faunus:

Both despise a volatile Faunus antagonist. Yang loathes Adam Taurus for his obsessive violence and harm to Blake, culminating in their Volume 6 confrontation. Mercury is paired with Tyrian Callows, whose unhinged sadism intimidates him, as seen in their tense Vacuo mission (document, page 12). These relationships underscore their shared discomfort with unpredictable allies/enemies.

Protective Instincts:

Both act as protectors, though for different reasons. Yang fiercely guards Ruby and Team RWBY, driven by love and loyalty (e.g., risking herself for Blake). Mercury protects Emerald, as seen when he begs her to get up at Haven (document, page 11), reflecting a pragmatic loyalty rooted in their shared reliance in Salem’s faction.

Goofy and Comic Relief:

Both bring levity through their behavior. Yang’s pun-heavy, cheerful demeanor makes her a comic relief figure, lightening tense moments (e.g., her quips in Volume 1). Mercury’s “laughably evil” antics, like sniffing a boot at the Vytal Festival or flirting with Emerald while planning a murder, add dark humor (document, page 12). Their goofiness contrasts with their combat prowess.

Differences

Personality:

Yang is fiery, emotional, and quick to anger but also forgiving, as seen in her reconciliation with Blake after their Volume 6 conflict. Her warmth and openness define her heroism. Mercury is laid-back, soft-spoken, and controlled, masking his dangerous nature with a cool exterior (e.g., his calm during the Pyrrha fight). His colder demeanor contrasts with Yang’s passionate expressiveness.

Combat Style:

Yang’s brawling style emphasizes punches, using Ember Celica and her prosthetic arm for close-range power, fueled by her Semblance’s damage-absorption (e.g., her fight with Adam). Mercury relies on kicks, leveraging his prosthetic legs’ agility and Talaria’s projectiles, blending taekwondo and capoeira (document, page 12). Yang’s direct, power-based approach contrasts with Mercury’s fluid, evasive style.

Loyalty:

Yang’s loyalty is deeply emotional, rooted in love for Ruby, Team RWBY, and her father, Taiyang (e.g., protecting Ruby at Haven). Mercury’s loyalty to Cinder and Emerald is pragmatic, driven by survival and personal gain, not ideology, as Tyrian notes (document, page 12). Yang’s heartfelt bonds contrast with Mercury’s transactional alliances.

Parental Background and Role Models:

Yang benefits from positive role models like Taiyang, who teaches her to fight smarter and heal from trauma, and Qrow, a supportive, non-abusive alcoholic uncle (document, page 12). Mercury’s father, Marcus, was an abusive assassin who stole his Semblance, leaving him without positive influences. Yang’s supportive family contrasts with Mercury’s brutal upbringing, shaping their moral paths.

Moral Alignment:

Yang is a hero, fighting for justice and protection, as seen in her defense of Haven or Beacon. Mercury is a villainous mercenary, aligned with Cinder for survival, not belief in Salem’s cause (document, page 12). His pragmatic villainy contrasts with Yang’s idealistic heroism, highlighting their divergent responses to trauma.

Semblance and Abilities:

Yang’s Semblance, "Burn," allows her to absorb damage and amplify her strength, reflecting her emotional resilience (e.g., powering up against Adam). Mercury, a “Badass Normal,” lacks a Semblance after Marcus stole it, relying solely on his assassin training and prosthetics (document, page 12). Yang’s reliance on her Semblance contrasts with Mercury’s skill-based combat, emphasizing their differing power sources.

Response to Parental Trauma:

Yang overcomes Raven’s abandonment through Taiyang’s support and her bond with Ruby, growing into a compassionate protector. Mercury, brutalized by Marcus, killed his father and embraced a life of violence, trapping him in a cycle of pain (document, page 12). Yang’s healing contrasts with Mercury’s perpetuation of trauma.

Social Skills:

Yang is a “social butterfly,” charming and approachable, easily connecting with others (e.g., her camaraderie with Team RWBY). Mercury lacks social graces, as seen when Emerald jokes about his boot-sniffing at the Vytal Festival (document, page 12). His isolated upbringing contrasts with Yang’s social ease.

Motivations:

Yang’s initial motivation to become a Huntress was to protect Ruby, evolving into a genuine desire to help others (document, page 12). Mercury joined Cinder’s cause out of necessity and a lack of alternatives, possibly fearing a life without violence, as Tyrian suggests (document, page 12). Yang’s altruistic growth contrasts with Mercury’s survival-driven pragmatism.

Additional Points from the Document and Analysis

Evil Counterpart:

Mercury is explicitly Yang’s “evil counterpart” (document, page 12). Both use Dust-firing artificial limbs (Yang’s arm, Mercury’s legs) and have traumatic pasts, but their upbringings diverge. Taiyang’s compassionate guidance helps Yang grow beyond her pain, while Marcus’s abusive training traps Mercury in violence, stealing his Semblance. This contrast underscores Yang’s heroism versus Mercury’s villainy.

Handicapped Badass:

Both are “handicapped badasses” (document, page 12). Yang’s prosthetic arm enhances her brawling, making her as dangerous post-injury (e.g., Volume 6 Adam fight). Mercury’s prosthetic legs, likely a result of Marcus’s abuse, don’t hinder his agility, allowing him to match Huntsmen like Pyrrha. Their prosthetics symbolize resilience but reflect different origins—Yang’s recovery versus Mercury’s survival.

Hates Their Parent:

Yang loves Taiyang but resents Raven’s abandonment, channeling it into protecting others. Mercury despised and killed Marcus, whose mutual hatred and abuse shaped his cynical worldview (document, page 12). Yang’s ability to move beyond her pain contrasts with Mercury’s entrapment in it.

Not in This for Your Revolution:

Yang’s Huntress journey shifts from watching Ruby to genuinely protecting people (document, page 12). Mercury lacks investment in Salem’s plans, following Cinder for personal gain and survival, as Tyrian’s taunts suggest (document, page 12). This pragmatic detachment contrasts with Yang’s evolving idealism.

Dark Backstories:

Mercury has one of RWBY’s darkest backstories, marked by Marcus’s abuse and Semblance theft (document, page 12). Yang’s abandonment by Raven is traumatic but softened by Taiyang and Qrow’s support. Mercury’s lack of positive influences drives his villainy, while Yang’s support network fosters her heroism.

Foil Dynamic

Mercury Black is Yang Xiao Long’s most deliberate foil, with their shared snark, physical combat skills, prosthetic limbs, and traumatic backgrounds highlighting their opposing paths:

Heroism vs. Pragmatic Villainy: Yang’s emotional loyalty and heroic resolve contrast with Mercury’s mercenary pragmatism, driven by survival rather than ideology. Her growth into a protector contrasts with his stagnation in a violent cycle.

Supportive vs. Abusive Upbringing: Yang’s loving family (Taiyang, Qrow) helps her overcome trauma, while Mercury’s abusive father traps him in pain, shaping his cynical worldview.

Power vs. Skill: Yang’s Semblance-driven brawling reflects her emotional intensity, while Mercury’s Semblance-less assassin skills highlight his reliance on training and prosthetics, emphasizing their differing strengths.

Social Connection vs. Isolation: Yang’s social ease and team bonds contrast with Mercury’s social awkwardness and reliance on Emerald, reflecting their divergent emotional worlds.

Response to Trauma: Yang heals through support and self-reflection, becoming a stronger protector. Mercury perpetuates his trauma, embracing violence as an assassin, unable to escape Marcus’s legacy.

Their Volume 3 fight encapsulates this foil dynamic: Yang’s emotional, Semblance-fueled punches clash with Mercury’s calculated, agile kicks, with his faked defeat exposing his deceptive nature against Yang’s honest passion. Mercury’s role as Yang’s “evil counterpart” underscores RWBY’s themes of choice, resilience, and the impact of upbringing on destiny.

Conclusion

Yang Xiao Long and Mercury Black are deliberate foils whose shared traits—snark, combat prowess, prosthetics, and parental trauma—highlight their contrasting journeys. Yang’s emotional depth, supportive relationships, and heroic growth stand against Mercury’s pragmatic villainy, abusive past, and stagnant cynicism. Their dynamic illustrates how similar starting points can lead to opposite outcomes, with Yang rising above her pain to protect others and Mercury trapped in a cycle of violence.

[itcamefromthetoybox]

Past His Prime

Hey there, hi there, ho there! I’m back. Ended up taking a break from the blog to finish moving and just never got around to it for a while. One of those, “oh yeah, I’ll work on that tomorrow” things where I kept meaning to but kept forgetting. But yes! I am back! And on my update schedule of “when I get to it.” But what exactly dragged me back? New toys from the upcoming “Transformers: One” movie! Today, we’re going to be looking at “Transformers: One Prime Changers Optimus Prime.” How does the latest version of the Autobot leader hold up? Is he a hit or miss? And is he worth the big price tag? Let’s dive in and answer those questions!

Now, as of this article, the movie isn’t out yet, so I can’t spoil anything or say too much about the plot or characters, other than that the movie is about Orion Pax and D-16, the best friends who will become the heroic Optimus Prime and the evil Megatron. If you don’t know who those characters are, then I am very confused as to why you’re reading a review of Transformers toys. Are you that bored at work?

Now, what is a Prime Changer? Prime Changers, basically, are the main figures of the “Transformers: One” toyline. They’re simpler than the collector-aimed “Studio Series” line, and are the off the shelf figures for kids you’d think of when you think of Transformers. No fancy gimmicks, no overly complicated transformations, just a robot that turns into something and back again.

At first look, Prime Changer Optimus Prime looks great. He’s very colorful, blocky-looking, and seems to be exactly what you think of when you think of a young, pre-war Optimus. He has all the expected Optimus details, like the smoke stacks on his shoulders, the chest window, and the wheels on his legs. He’s supposed to capture the essence of Optimus Prime, and he does. Of course, these days, that means he also takes a massive amount of inspiration from the original, G1 Optimus Prime that’s been around since the 80’s and who gets a new figure every single year with no exception, so do keep that in mind. Now, when you get a closer look, flaws become apparent. The wheels in Prime’s shoulders are a different grey than the pant on him, so they stand out like a sore thumb, which takes away from the look. Hollow areas become more noticeable, and there’s nothing particularly new or interesting to compensate for those cosmetic letdowns.

Articulation-wise, Optimus is pretty decent. Very posable, lots of joints, just as you would expect. There’s nothing really shocking or dynamic here. Saying that a mainline Transformer is very posable is like saying ice is cold. Like, yeah, I would certainly hope so. If it wasn’t, I’d have some concerns. It’s important to note, though, that there are some limits on his poses. Optimus comes with a removable Matrix of Leadership that he can theoretically hold in his hands to recreate the classic “lighting our darkest hour” pose everyone does with the Matrix. The thing is, his big chest gets in the way of that, so he needs to hold the Matrix at about gut level. It looks a lot less impressive than you’d hope and a lot more like Optimus is rubbing it on his stomach for luck.

Speaking of his waist area, while he does have a waist joint, his crotch design actually limits how much the waist can rotate. And by “limits,” I mean he can barely rotate. It’s kinda a letdown, because the parts are there, but the toy itself stops you from using them.

So, this is a Transformer, so let’s talk about transforming. I hated this part. It wasn’t complicated, true. It was very straightforward, with a few extra steps like rotating the arms and opening the legs, and the process integrates Prime’s ax accessory into it, so that has a place to store, which is nice. The problem is that you gotta line up some tabs just so to make sure the whole thing pegs together right, and that was a living hell. I spent more time trying to get those tabs on his legs and the holes on his back lined up than I did on any other step of the transformation. It was frustrating as hell, and I really don’t wanna do that again. Also, part of the transformation is unfolding the truck grill from behind Prime’s chest. It’s a simple process with no extra steps, but if you have short nails, it’s gonna be more of a pain than it should be. Getting the axe into position for vehicle mode takes way too much fiddling and adjusting to be worthwhile. Transforming this guy was really annoying and not all that fun. As for getting him back to robot mode, that’s a damn chore. Prime’s back piece doesn’t like doing a lot of what it’s supposed to, and parts pop off constantly. Unless you’re very careful, expect Prime’s arms, chest, and back to pop off at least once during transforming, which especially sucks because reattaching the back is a pain. It took a while before I was able to transform him even once without any issues, and I remain convinced I just got lucky.

Of course, Optimus Prime turns into a truck. It’s basically an alien version of the truck he always turns into. If you’ve seen one G1 Optimus Prime truck mode, you have a solid idea of what this dude looks like. The truck mode doesn’t roll well at all. The back wheels just barely clear the legs to roll unencumbered, to the point that if you get a figure with the molding off by even a smidge, you’re outta luck.

Let’s talk accessories. Optimus comes with his axe, two smokestacks, and the Matrix of Leadership. The axe looks pretty good. Between the sculpting and color, it looks like a mechanical weapon charged with energy, and the sculpting and paint at the base make it look like the axe emerged from Prime’s palm.

It fits over Prime’s hand, with a peg inside the base that Prime holds onto, The problem here is that once Prime has it, he doesn’t wanna drop it. It’s a snug fit. Too snug. The way Prime’s hands are attached to his wrists means that you need to be careful taking the axe out of his hand, or else the hand will pop off. I find that pressing against where his hand connects to his wrist helps hold the hand in place while I pull the axe off.

Prime’s smokestacks are meh. They can be removed from his shoulders to be held as a pair of pistols that are blatantly just smokestacks in his hands. When you transform Prime, they will want to come right out of there, so keep an eye on them.

The Matrix, though, is awful. Just, really awful. It looks and feels cheap, which is a shame considering it’s the damn Matrix of Leadership. It’s also inconsistent about staying in Prime’s chest. Sometimes, it fits pretty well. Sometimes, it feels a bit loose. But the thing I really hate about it is that its plastic and design are definitely cheap. This became clear to me the first time I transformed Prime. When transforming Prime, the instructions say you can leave the Matrix in his chest, because its storage spot is a peg on the back of his truck grill.

The instructions are a sheet of lies. The Matrix takes up just enough space where it will get knocked out when transforming Prime, or , worse, it’ll break. The first time I transformed this figure, before I even took pictures, one of the handles on the Matrix snapped off.

This actually revealed how cheap it was to me. See, the break was a clean break. TOO clean. It seems like the handles of the Matrix are actually separate parts that were glued onto the Matrix, and that glue’s not exactly the stuff of legends. When I looked at the break, I also noticed that it looks like the Matrix itself is actually painted over blue plastic, the same kind Prime’s axe is made of. The Matrix is very small, and the plastic is very thin, so any amount of force on it’s going to break it. Hell, the plastic is so weak and cheap that when the handle broke off, I didn’t even notice. I didn’t feel any resistance or indicator it was in the way of the transformation. It was there, and then it broke. As easy as I breathe with as little notice. If you wanna keep it safe, just take it out and set it aside, only to be used for poses.

And now, of course, the main issues I have with this figure. I know plastic’s gotten more expensive, so toy companies are cutting costs. I get that. But by God, this figure feels cheap. The plastic feels so cheap to the touch that it’s the first thing my wife commented on when she touched Prime. When you start looking him over in your hands, you notice how hollow the toy is. He LOOKS very solid and bulky, like Optimus should. This makes how light he is feel surprising, and how hollow he is feel like a letdown. Some parts, like his chest plate are thin enough that I can see the shadow of my hand on the other side. Also, he’s just so damn small, He’s frustratingly short. I’m gonna sound like an old man here, but I remember when a $20 Transformer had some size and heft to him. This Prime’s smaller than the $10 ones I had as a kid and still do have. Between the cheap plastic, the parts popping off, how hollow and short Prime is, and how easily the Matrix broke, the whole toy just feels super cheap. 

“Transformers: One Prime Changer Optimus Prime” is available at mass retail for a starting price of $20 and is aimed at ages 6 and up. Would I recommend him? Absolutely not. This is really not a good toy. The plastic feels cheap to the touch, the transformation’s a pain, parts pop off way too easily, his guns are literally just his smokestacks held at a different angle, the Matrix is small, thin, and breaks easily, his waist is impeded by his own body, and he’s just so damn short. I can’t in good consciousness tell people to spend $20 on something so damn small that doesn’t even bring anything new to the table and, if anything, is a significant downgrade from what’s come before. Like, I compared this to older figures I have. It’s literally more money for less toy. This figure was such a letdown that it made me not want to get the other Prime Changer figures. I was actually turned off from an entire series of figures because of how annoying and disappointing this one toy was. He looks good from a distance, but then you get him in your hands and all the flaws, big and small, come shining through. Definitely pass on this one. I know, I sound like an old man. “Things were so much better when I was a kid.” Well, I handed this figure and some of my older ones to my wife, someone with very little interest in Transformers, who didn’t grow up with the figures or shows and has no problem telling me when she thinks I’m completely wrong or being that old guy. She actually agreed with me completely. Compared to the older toys, this one’s really not good. It’s more money for a toy that is significantly smaller and of lower quality. I know this is what’s out there, and this is all kids and collectors have on the market, but that doesn’t mean you should throw money at something that’s clearly not good. You want a great Optimus toy? Go on eBay. There’s plenty of fantastic old Primes from past movies and shows there for decent prices that WON’T break in two seconds and actually have some size to them. Next time, who knows what we’ll be looking at! Hopefully something I don’t feel an immense case of Buyer’s Remorse over. This is JS signing off and wishing you Happy Toy Hunting!

[theamateurreviewer]

Review: The Legend of Zelda: Breath of the Wild (Nintendo Switch)

Rating: 3/10

Definitely a departure from its precursors, The Legend of Zelda: Breath of the Wild feels like a great concept stuck inside of infuriating design. A Farcry game in Zelda clothes, it's overly large, clunky, and lacking really anything that makes it feel like a Legend of Zelda game. Within the first five minutes of playing it made me say “Gee, I really wish I were playing Skyward Sword again (see my review of Skyward Sword here).

As a bit of a disclaimer here, I usually only review things after I’ve experienced it in it’s full. That being said, I could only completed a single Divine Beast, specifically Vah Ruta, before I decided to permanently shelve the game.

Spoilers beyond, but like only for Vah Ruta, so like whatever...

Strengths:

The combat, when it isn’t absolutely frustrating (see Weaknesses below), is quite fun and dynamic. Each of the major weapon types have different uses that integrate seamlessly into the game. Two handed weapons, like axes and claymores for example, feel weighty and hard-hitting, often knocking weapons and shields out of opponents hands. When powering up an attack, Link begins to spin like a Hylian Beyblade from hell, smacking anything and everything in his path. Spears, especially on horseback, feel incredibly overpowered in the best way possible. All melee weapons can be thrown, which is a super nice touch and a very easy way to get rid of weapons that are nearly broken. Boomerangs, built directly into the game mechanics in the slickest way possible unlike prior games where it was a separate item, feel so delightful in bashing in a Hinox's skull. Not all of the weapons are created equal in design, like the magic wands I barely ever used, but they all function flawlessly.

Another strength is

Sidon.

Full stop, that's it, that's the whole strength.

Weaknesses

Basically the rest of the game. But, of course, that doesn't quite cut is as a review, so I'll go into some depth on the topics and aspects I find most offensive and egregious.

First off, remember that little caveat I gave for weapons above? Yep, they are incredibly fun and interesting to use WHEN THEY DON'T FUCKING BREAK! At least Tears of the Kingdom gave a damned excuse for why weapons are absolute garbage when it comes to durability. Gee, it seems like I sneeze on anything and it breaks immediately. Most other games give some sort of nice indicator as to how many uses an item has, such as a shield durability bar in Skyward Sword or an fractional durability like The Elder Scrolls III: Morrowind. Meanwhile, all they give you here is a little glint if it is unused and a flashing red indicator when it is nearly broken. And another thing that both of those games have on Breath of the Wild is that you can repair your items.

Naturally, to avoid all of these unpleasantries, I wanted to get the Master Sword as quickly as possible, and I asked my fiance where to find it. They then told me that the Master Sword, the sword of legend, the Blade of Evil's Bane, the Sword that Seals the Darkness, the sword that Hylia herself blessed upon the world and the first Link forged into the True Master Sword... BREAKS?!?!?! Of course, I'll get corrected that it looses it's power and needs to recharge for a period, but for all intents and purposes, it breaks.

Not only do the weapons break like sugar wafers, the inventory system you need to manage them and all of the food and ingredients that you’ll be collecting like a greedy child after smashing a pinata is so incredibly clunky it makes the recurring dialogues from Link’s Awakening look like an enjoyable aspect of game play. I wish I were kidding. To drop something, you have to cursor over it in a menu divided into categories (nothing wrong yet), then select it with the A button (okay…), then select drop (why not have a dedicated drop button?). Other open-world games, like any of the Bethesda Fallout or Elder Scrolls games have a dedicated drop button in their inventory, making cleaning out unwanted items a breeze. How is it that games notorious for being clunky twenty years ago still manage to be slicker than Breath of the Weth.

Cooking is another weakness, in the sense that often times I feel like I have to spend more time cooking than actually doing anything fun or exciting. Clunky menus strike again, making this annoying task downright dreadful. I honestly like the bonuses system, whereby you can gain useful buffs to attributes or resistances to elemental damage, but the fact that such a vital element of gameplay is more cumbersome than A FAN MOD FOR A TWENTY YEAR OLD BETHESDA GAME, A GAME THAT DOESN'T EVEN HAVE A PHYSICS ENGINE and it can only be done at cooking stations that seem to be as uncommon across Hyrule as an interesting character makes this perhaps the second most infuriating element of The Legend of Zegend: Beth of the Weth.

Third, I'd like to talk about Hyrule. I've met post-apocalypses that are more populated and interesting to explore. Hyrule is so vast and empty it gives Ocarina of Time's Hyrule Field a run for it's money. With a limited enemy roster that can be broken down into essentially Bokoblin or Guardian with some lanky Yiga Clan anti-Sheikah bois thrown in for flavor. The exploration isn't rewarding in the slightest, and don't you DARE say "but what about the Koroks!" Koroks belong in the dustbin of Hyrulian history.

Finally, to end my vitriol-driven diatribe, I'd like to come to something that is quintessentially Zelda. Remember the finicky but ultimately necessary Hookshot, the superb Hoover vacuum cleaner Gust Jar, the flying menace Beetle, and the numerous Masks, all with interesting and unique uses? Tired of all the hassle of having to change between several different items that all work together to complete an almost Metroidvania sort of feel? Introducing Sheikah Slate and four exciting new apps! Create physics-deifying blocks of ice that Link climbs better than a wet rocks with Cryonis, conjure up a single bomb with a time limit that you can't put away once summoned with two different shapes with Bombs, lift a select number of ferric items with Magnesis, and pause time for a limited time only with Stasis! All of these can be yours at the beginning of the game, ensuring that each Divine Beast must feel the exact same because they can be done in any order!

I wanted so badly to like Biffle of the Wiffle, I really did. But, each time I picked up the controller to play it, the game kicked me in the teeth for exploring the wrong place, or expecting to kill a mini-boss (the Lionel near Zora's Domain), or even just trying to complete a shrine. I just hope that classic Zelda elements make a return in future games because I look more forward to Hyrule Warriors or The Wind Waker than I do for Tears of the Kingdom or Echoes of Wisdom.

[knifcdge]

AND I WAS CATCHING MY BREATH, BAREFOOT IN THE WILDEST WINTER, CATCHING MY DEATH. AND I COULDN'T BE SURE, I HAD A FEELING SO PECULIAR THAT THIS PAIN WOULD BE FOR EVERMORE.

Is that LAURENCE O’FUARAIN? No, that’s AMARIDIN "LIGHTFORGED" BRIONNÉADROM. The 248 year old ELF ALPHA CIS MALE (HE/HIM; THEY/THEM) is a METAL/GLASSWORKER. If you ask their friends, they’re known to be HEADSTRONG & PROTECTIVE, but beware, they’re also known to be VINDICTIVE & AGGRESSIVE. Can you believe they’re from THE PAST? Me either.

BASIC INFORMATION

FULL NAME: [ AMARIDIN "LIGHTFORGED" QIEWANDAL BRIONNÉADROM ] NICKNAME: [ AMAR, MAR, RIDIN, DIN??? (IDK I'M FIGURING IT OUT) ] AGE: [ 248 ] APPEARS: [ 36 ] GENDER: [ CIS MALE ] SECONDARY GENDER: [ ALPHA ] PRONOUNS: [ HE/HIM. THEY/THEM. ] SPECIES: [ ELF ] ANIMAL COMPANION: [ GRIFFIN; GEAL(A)ITHE, GAELITHE (MEANING: BRIGHTENED, MOON MOULDED) ] ETHNICITY: [ WHITE, FAE. ] OCCUPATION: [ WARRIOR. BLACKSMITH. METAL/GLASSWORKER. ] RELIGION: [ FAE ] LANGUAGE, IN ORDER OF PROFICIENCY: [ FAE, ELVEN, IRISH, SCOTTISH GAELIC, ENGLISH, WELSH ] ROMANTIC ORIENTATION: [ PANROMANTIC ] SEXUAL ORIENTATION: [ PANSEXUAL ] SEXUAL TEMPERAMENT: [ DOM-SWITCH ] SEXUAL POSITION: [ TOP-VERSE ]

RELATIONSHIPS

SIGNIFICANT OTHER: [ TBD. ] PARENTS: [ TBA. ] SIBLINGS: [ redacted. ] FRIENDS: [ TBA. ]

PHYSICAL TRAITS

FACE CLAIM: [ LAURENCE O’FUARAIN ] EYE COLOUR: [ FOREST GREEN, BLUE HINTS ] HAIR COLOUR: [ GINGER, DARK RED TO FIERY ORANGE ] HEIGHT: [ 2.01 METRES ] BODY BUILD: [ ATHLETIC, BUFF ] FACIAL HAIR: [ WELL TRIMMED BEARD CENTRED AROUND THE MOUTH, EXTENDING TO THE SIDE OF HIS FACE. ] TATTOOS + PIERCINGS: [ FAE, ELVEN, CELTIC TATTOOS ON HIS BACK. ] NOTABLE PHYSICAL TRAITS: [ VARIOUS METAL RINGS, CHAIN NECKLACE WITH A BONE AMULET INLAID WITH A GEMSTONE. VARIOUS SCARS ON HIS BODY, INCLUDING ACROSS THE LOWER BACK, ON THE RIGHT LOWER ARM, ON THE LEFT SIDE OF THE STOMACH, ON THE LEFT SIDE OF HIS FACE BESIDE THE EYE. ]

PHOBIAS AND DISORDERS

PHOBIAS/FEARS: [ tba. ] MENTAL DISORDERS: [ tba. ]

PERSONALITY

INTELLIGENCE: [ TBA. ] LIKES: [ HUNTING. FIGHTING. METAL. GLASS. CREATING ART. ALCOHOL. FLOWERS. NATURE. ] DISLIKES: [ TBA. ] POSITIVE ATTRIBUTES: [ STEADFAST, HEADSTRONG, PROTECTIVE, CHIVALROUS ] NEGATIVE ATTRIBUTES: [ VINDICTIVE, AGGRESSIVE ]

AESTHETICS

AESTHETICS: [ SWEAT DRIPPING OFF BARE SKIN. TORN CLOTHES. HEAT FROM THE HEARTH AND KILN. METAL AND GLASS. FRAGRANCE OF FLOWERS. SOUND OF METAL CLASHING. SWINGING AXES. NATURE. GLITTERING GEMSTONES. SPILLED WINE. REVERENT TOUCHES. SCARRED FLESH. HOMELY AURA. WARM HUGS. FIRM HAND. BLANKET OVER BARBED WIRES. LONGING FOR AN UNREACHABLE PAST. THE DEEP ACHE OF NOSTALGIA AND LONGING. ELF OUT OF TIME. RESTRAINED ANGER. MIDAS TOUCH ON DOORS. UNBUTTONED HENLEYS. ] INSPO: [ VIKINGS. DRIVER'S LISENCE MUSIC VIDEO BY OLIVIA RODRIGO. BALDUR'S GATE 3. THE SHANNARA CHRONICLES. BUILD IT BETTER BY ARON WRIGHT. ]

KINKS

KINKS: [ BREEDING (DUH). AFFECTION. COLLARS. LEASHES. VERBAL FEMINISATION. COCK WARMING. WATERSPORTS. TIT/PEC FUCKING. MUSK. AFTERCARE. CHASTITY. JERKING OFF IN SOMEONE. MESSY. STOMACH BULGING. GAPING. UNBALANCED DYNAMICS. TBA. ] ANTI-KINKS: [ VORE. SCAT. INFANTILISM. ]

BIOGRAPHY

elf out of time. came to new haven about a year ago. mostly integrated with society, but his speech patterns will still be slightly different. constantly missing home. has a small metal/glass working store.

more tba.

[mintchocochipsposts]

I just finished up reading New 52 and Rebirth Green Arrow (and finally caught up on the 2023 run), because I am a slave to completionism. Thoughts under the cut.

Obviously ten years late to the party and I usually hate to complain about runs but oh my goodness I don't know what they did to all the characters in New 52 and Rebirth. Just took a hatchet to everyone's backstories. Dinah didn't need a different backstory, the Earth 2 version was already more than complicated enough, and I can't bring myself to read New 52 Birds of Prey, but the allusions to her new backstory were also just so boring. Let her be the JSA's niece. Mia of all people didn't need a different backstory for the five issues she showed up. Cringed every time we did flashbacks to Roy. How do you make every reference to snowbirds worse and worse and worse while also changing the substances? (How was the narrative improved by completely erasing Ollie's decades-old relationships with Roy and Dinah? The Green Arrow-Speedy relationship is integral to both their characters! Axe that and they are completely different people. And the narrative truly suffers without Dinah!) Connor can't exist because Ollie has inexplicably been deaged from like 50 to 25. There's like 5 different versions of Ollie in the 52 run, which is impressive given it's only 52 issues. None of them are at all similar to preboot Ollie. None of them capture the ethos of Green Arrow either. Also the complications the retcons make to all his relationships just get worse and worse the longer I think about them. I like Emiko! Her backstory is like...unsquareable with preboot canon. Couldn't she have just been Komodo and Shado's kid that Ollie decided to adopt? This way when we rebooted we wouldn't have to try and square Grandpa Ollie having a teenage sister? Who's mother he had a kid with preboot? It's terribly convoluted and they could have just...picked a slightly different backstory for her. And the inane amount of magic cult lore. Green Arrow is supposed to be just some quixotic guy with a bow and arrow! He's (affectionately) a weirdo obsessed with Robin Hood. How do you manage to lose that aspect of the character? And the resurrected from the dead evil parents plots. Oh my goodness do I prefer the mauled by lions story.

Winnick got like one issue in New 52 and it was the most in-character Ollie got the entire run. But such obvious obvious editorial meddling. Boy oh boy was 52 a slog.

I've read a couple of New 52 runs so far that weren't completely egregious (Catwoman (the Valentine portion), Nightwing, Batwoman) where it's like...modifications but not to the point the character isn't recognizable. This makes all the retcons done to the Wonderfam characters post-COIE look mild. It makes Chuck Dixon's Ollie characterization look fabulous. At least I was rooting for Dixon Ollie not to die. New 52 Ollie failed at even being sympathetic, and the stakes were not there to make me care. I am again reminded why I've been putting off touching these for so so long and why I distrust so many post-Flashpoint runs.

And it really feels like such a waste because there really were interesting stories you could have done with a luddite Ollie running around modern Seattle dealing with the effects that tech money has had in the region (or Star City). I was not prepared. I mean I knew the broad strokes but the CW-ification of everything.

And the 2016 run...like, better but missed the mark? At least we get Dinah back! But it's a Dinah who's meeting Ollie for the first time ever. While they still try and pull on the contentious break-up and make-up dynamic between her and Ollie that is lacking tension because it's lacking history. Ollie is too rich but spends most of the series on the run and definitely not enough time focused on smaller-scale issues. And the same issues with Roy and Ollie persist and the run makes Ollie constantly seem like a giant asshole. (Which he can be, but usually he's not so douchey.) Kate Spencer was the most in-character player in a Green Arrow comic. (And the politics-poor Denny O'Neill.)

Anyways actual point to this rant is I saved all of Williamson's run to read in one go because I wanted to get through the other titles first. And what a breath of fresh air! I literally had a smile on my face for the whole first 13 issues. A writer who likes Ollie and appreciates that he has a personality and actually gets the ethos of Green Arrow and writes with the heart that you need for a good Green Arrow run. Showing Ollie actually caring about people and his family! I know some people were a little less than thrilled as the run went on but it reads pretty good if you read it all in one chunk; the only iffy spot is when you get to the Absolute Power crossover bits. The multiversal time-travel shenanigans that had to be pulled in to fix Ollie's history and also the history of all the surrounding cast are a little wonky, but you do need space as a corrective for all the previous reboots. Evil villain who goes in and specifically targets Ollie's timeline to ruin his life is not my favorite Green Arrow plot, but definitely a necessary one to fix things. What a love letter to his comics history! And the art! You know it's going to be a good Green Arrow comic when the art is gorgeous! The Izaakse art was fabulous, and I loved loved loved how they pulled in Phil Hester to do all the flashback scenes! It really really reestablished 'okay, this is what canon is now'. And the emphasis on the whole family being together was needed after literally erasing half of them from comics for like a decade. I don't even care that they didn't all have a ton to do, we're literally just real establishing that they exist. Emiko and Diggle are from an alternate universe, I guess I'll swallow it with all the time-travel nonsense that gave us teenage Lian back. But everyone being back to their history and their characters! Ollie ranting and fighting the government and having his flaws back! Connor having his memories back and suiting up as Green Arrow! Mia being back! (Connor and Mia being back in a Green Arrow book!) Dinah acting like Dinah again and the narrative not holding her so hostage that she can't go be in Birds of Prey! Roy having his history and his relationship with Ollie restored, and also Roy and Dinah and Roy and Lian finally being reunited!

Uh so anyways, if anyone was ever contemplating about reading the 2011 or 2016 Green Arrow runs, spare yourself and just jump ahead to 2023.

[talonabraxas]

Somatic Anatomy of the Energy Bodies Talon Abraxas

Mindfulness of Breathing and the Two Yin-Yang Pairs

There are actually four yin-yang pairs within the dynamics of the energetic anatomy of the four surface bodies. The two most significant ones however, are those that are symbolically represented by the axes of the mandala – the polarity of Volitional and Physical at north (green) and south (yellow), and the polarity of Mental and Emotional at east (blue) and west (red). These two pairings are of enormous importance, because when we become attuned to them, they are very clearly felt in the body (but experienced differently by women and men – since the yin-yang polarities are reversed), especially when we do the Buddha’s ‘Mindfulness of Breathing’ practice.

As we pay attention to our breathing, our attention moves up and down the trunk on the body, but it moves in a paradoxical way – because it moves up the body as we breath in, and down the body as we breath out. This means that, as we breath out, our attention naturally moves down to the region of the lower chakras, which are where we experience the Physical and Mental bodies; and when we breathe in, attention naturally moves to the region of the upper chakras, which is where we experience the Emotional and Volitional bodies.

Mindfulness of Breathing – the Short Breath / Long Breath Approach

There is mention in the Pali record of the Buddha’s teachings on the Mindfulness of Breathing, of the importance of being aware of the distinction between what is referred to as a ‘Short Breath’, and what is referred to as a ‘Long Breath’. Whereas it is perhaps reasonable to assume, as most readers of these texts do, that the Buddha was inviting his students to notice, without forcing the breath, when it is shallow and when it is deep. This is not universally accepted and some traditions within Buddhism have taught Mindfulness of Breathing as a form of controlled breathing, with short and long breaths.

Given the very wide range of interpretations as to what the Buddha’s ‘Mindfulness of Breathing actually was, I have, having explored several approaches, come to the conclusion that we need to consider the possibility that the Buddha was inviting his students to notice the subtle yin-yang polarity between the region of the Hara Chakra and the region of the Solar Plexus Chakra (the Short Breath); and the subtle yin-yang polarity between the region of the Base Chakra and the region of the Heart Chakra (the Long Breath). This approach in which the practitioner alternates between the Short and Long Breaths in stages (the length of these stages can vary – typically 5 to 10 minutes each) is subtle, and difficult to teach, not least because it is experienced differently by women and men, but I have found the approach to be a powerful catalyst for psychological integration and for consistent entry into states of samādhi.

[thereasonsimbroke]

Zack Snyder continues to prove himself a genuinely unique filmmaker. His vision has inspired a passionate fanbase, and the release of #RebelMoon—Chapter One: #ChaliceOfBlood is an excellent addition to his artistic integrity.

This director’s cut more effectively showcases Snyder’s signature style, with naturalistic color grading and improved visuals that fully capture the grandeur of Veldt. The action sequences, particularly the early set-piece featuring Kora’s axe combat, are now among Snyder’s finest, displaying a clarity and dynamism that were missing in the initial release.

The film’s heavier themes and new prologue add depth and intensity, while the extended runtime allows for richer character development. #Netflix’s support of this expanded version underscores their commitment to delivering an enhanced viewing experience. Chalice of Blood expands the Rebel Moon universe into a captivating and visually stunning world, solidifying Snyder’s cinematic form.

[willjackentertainment]

Best Online Ticket Selling Sites: Top Platforms for Buying and Reselling Concert Tickets.

In today’s fast-paced digital world, buying or reselling event tickets has never been easier. Whether you're trying to secure seats for a sold-out concert or looking to resell tickets you can’t use, online platforms have revolutionized the process. With hundreds of websites available, choosing the right one can be overwhelming. This guide breaks down the best online ticket selling sites, highlights the best ticket resale site, and helps you find the best site for concert.

Why Use Online Ticket Selling and Resale Sites?

Online ticketing platforms provide several advantages:

Convenience: Buy or sell tickets anytime, anywhere.

Security: Most top sites offer buyer and seller protection.

Variety: Access to a wide range of events, from local gigs to international festivals.

Resale Options: Easy resale for last-minute changes in plans.

Now, let’s dive into the best platforms for each purpose.

Best Online Ticket Selling Sites (Primary Sellers)1. Ticketmaster1. 1.Ticketmaster

Ticketmaster is the industry giant and arguably the best online ticket selling site for new event tickets.

Pros:

Direct partnerships with venues and promoters

Real-time seat selection

Verified tickets

Strong fraud prevention

Cons:

Service fees can be high

Popular events sell out quickly

Best For: Concerts, sports events, theater

2. Eventbrite

Eventbrite is great for smaller events, indie concerts, and local shows.

Pros:

Easy interface for organizers

Free ticketing for free events

Social media integration

Cons:

Less focus on major concerts

Limited resale features

Best For: Community events, workshops, independent music shows

3. See Tickets

A growing name in the ticketing world, See Tickets is user-friendly and trusted by many music fans.

Pros:

Transparent pricing

Easy ticket transfers

Good support

Cons:

Limited compared to Ticketmaster in event size

Best For: Mid-tier concerts and events in the U.S. and U.K.

Best Ticket Resale Site (Top Choices for Selling or Buying Resold Tickets)

When you can’t attend an event or need to snag a last-minute seat, resale platforms come to the rescue.

1. StubHub

StubHub, owned by Viagogo, is widely regarded as the best ticket resale site due to its global reach and solid guarantees.

Pros:

FanProtect Guarantee ensures safe transactions

Transparent fees

Supports a wide variety of events

Easy listing for sellers

Cons:

Fees may be higher than other resale sites

Best For: All major events including concerts, sports, and festivals

2. Vivid Seats

Another popular option, Vivid Seats is both a primary and resale ticket marketplace.

Pros:

100% Buyer Guarantee

Reward program for frequent users

Intuitive mobile app

Cons:

Customer service reviews are mixed

Best For: Concerts, live shows, and sports

3. TickPick

TickPick stands out by eliminating hidden fees, making it a favorite among savvy buyers.

Pros:

TickPick stands out by eliminating hidden fees, making it a favorite among savvy buyers.

Pros:

No hidden fees

Competitive pricing

Seat rating system

Cons:

Not as many international events

Smaller seller network

Best For: Budget-conscious concertgoers and resellers

Best Site for Concert Tickets (Top Picks for Music Fans)

Music fans are always on the hunt for the best site for concert tickets. Whether it’s a major tour or an intimate venue performance, here are your best bets.

1. Live Nation

As a partner of Ticketmaster, Live Nation is a major player in the concert scene.

Pros:

Exclusive pre-sales

VIP packages available

Trusted source for mainstream artists

Cons:

High service fees

Scalping is still possible

Best For: Big-name artist tours and festivals

2. AXS

AXS is making waves in the industry, known for its user-friendly experience and concert-focused ticketing.

Pros:

Official ticketing partner for many venues

Dynamic pricing system

Mobile ticketing

Cons:

Fewer international options

Best For: North American and U.K.-based concerts

3. Bandsintown + Ticket Links

Though not a ticket seller itself, Bandsintown directs fans to official ticketing sites.

Pros:

Great for discovering local concerts

Personalized notifications

Links to trusted sellers

Cons:

Not a direct selling platform

Best For: Discovering new artists and buying from reliable partners

Though not a ticket seller itself, Bandsintown directs fans to official ticketing sites.

Pros:

Great for discovering local concerts

Personalized notifications

Links to trusted sellers

Cons:

Not a direct selling platform

Best For: Discovering new artists and buying from reliable partners

Honorable Mentions

1. Viagogo

An international ticket resale site with wide event coverage. However, reputation varies based on country and regulation.

Pros:

Global marketplace

Great for European events

Cons:

High fees and occasional customer service issues

2. TicketNetwork

Offers both primary and resale tickets with a broad selection.

Pros:

Clear buyer guarantees

Often has tickets others don't

Cons:

Prices can fluctuate widely

Key Features to Look for in the Best Online Ticket Selling Sites

To choose the right platform for your needs, look for these features:

Ticket Guarantees: Protection against fraud or canceled events.

Transparent Pricing: Clear display of fees before checkout.

Mobile App Functionality: Convenient buying and selling on the go.

Customer Support: Reliable help when issues arise.

Resale Integration: Ability to resell tickets easily if plans change.

Tips for Buying Concert Tickets Online

If you’re aiming for the best site for concert tickets, here are some smart strategies:

Sign up for pre-sales: Join artist or platform mailing lists for early access.

Check multiple sites: Prices and availability can vary widely.

Avoid scalpers: Stick to verified platforms with resale guarantees.

Use alerts: Some platforms notify you when tickets are listed or prices drop.

Tips for Reselling Tickets Online

Selling through the best ticket resale site can help you recover your costs or even turn a profit:

List early: The earlier you list, the better your chances of selling.

Set a fair price: Compare other listings and market demand.

Use platforms with guarantees: This ensures buyers trust your listing.

Follow local laws: Some regions have anti-scalping regulations

Final Thoughts

Finding the right platform depends on whether you're buying, selling, or both. If you're after new concert tickets, Ticketmaster, Live Nation, and AXS are solid choices. When it comes to reselling or snagging hard-to-find seats, StubHub and Vivid Seats top the list as the best ticket resale sites.

[leonil123]

The Complete Guide: How to Sell Tickets on SeatGeek in 2025

Whether your plans have changed or you're looking to make some extra money by reselling tickets, SeatGeek makes it simple. As a user-friendly ticketing platform, SeatGeek allows both casual and professional sellers to list and sell their tickets with ease. In this guide, we'll walk you through how to sell tickets on SeatGeek, including tips for selling mobile tickets on SeatGeek and strategies for how to resell tickets on SeatGeek successfully.

Why Choose SeatGeek for Selling Tickets?

SeatGeek is more than just a place to buy tickets—it's a powerful resale platform that gives users control over how and when they sell. Here's why it's a popular choice:

User-Friendly Interface: Intuitive design makes listing tickets easy.

Transparent Pricing: Sellers know exactly what they’ll earn after fees.

Mobile Integration: Easily manage listings on the go with the mobile app.

Access to a Large Buyer Pool: Millions of active users search SeatGeek daily.

Now, let’s dive into exactly how to sell tickets on SeatGeek.

Step-by-Step: How to Sell Tickets on SeatGeek

Selling on SeatGeek is straightforward. Here’s a step-by-step guide:

1. Create or Log in to Your SeatGeek Account

If you’re new to SeatGeek, visit seatgeek.com or download the mobile app and create an account. If you're already a user, just log in.

2. Navigate to the “Sell” Section

Once logged in, find the “Sell” button—usually at the top of the homepage or inside the menu on mobile. Click this to start your listing.

3. Upload Your Tickets

You can either:

Sync your email (SeatGeek automatically detects ticket emails from major providers like Ticketmaster or AXS).

Manually upload a PDF or barcode.

Transfer tickets from a linked account if your original tickets were purchased on SeatGeek.

4. Set Your Price

SeatGeek will show you the going rate for similar tickets to help you choose a competitive price. You can:

Match or beat the current market price.

Set your own value based on demand and seat location.

Keep in mind that SeatGeek includes seller fees, which are subtracted from the total sale price.

5. Publish the Listing

Click “List Tickets” to make them live on SeatGeek. Your tickets will appear in search results immediately and can be bought by any user.

How to Resell Tickets on SeatGeek: Best Practices

If you’re wondering specifically how to resell tickets on SeatGeek, here are expert tips to help you get the most out of your listing.

Understand Market Demand

Popular events (playoffs, sold-out concerts) often resell at a higher price.

Check SeatGeek Trends: Look at pricing history and buyer activity before listing.

List Early—But Not Too Early

Listing early ensures visibility.

However, many buyers wait until closer to the event for better deals. Updating your pricing as the event nears is key.

Use Dynamic Pricing

Adjust your listing as the market changes. Use SeatGeek’s pricing suggestions to remain competitive. If your tickets aren’t selling, a small price drop can make a big difference.

Promote Your Listing

While SeatGeek handles most of the promotion, you can share your listing on social media or with friends to increase visibility.

Selling Mobile Tickets on SeatGeek: A Modern Necessity

With mobile ticketing becoming the standard, selling mobile tickets on SeatGeek is easier than ever.

What Are Mobile Tickets?

Mobile tickets are digital tickets stored in a mobile wallet (Apple Wallet, Google Pay, etc.) or a mobile app. These are often delivered as QR codes or barcodes and scanned directly from your phone at the venue.

How to Sell Mobile Tickets on SeatGeek

Check Transfer Eligibility: Make sure the mobile ticket provider (e.g., Ticketmaster or AXS) allows third-party transfers.

Link Accounts: You can link your original ticketing account to SeatGeek for faster transfer.

Transfer Upon Sale: When your ticket sells, SeatGeek will provide instructions for securely transferring the mobile ticket to the buyer.

Pro Tip: Don’t transfer your mobile ticket until your SeatGeek sale is confirmed. This protects you from scams or accidental transfers.

Common Questions About Selling on SeatGeek

Is It Legal to Resell Tickets?

Yes, in most U.S. states, ticket reselling is legal. However, laws vary by location and event. Always check local regulations.

What Fees Are Involved?

SeatGeek typically charges a 10% seller fee, which is deducted from your total payout. This fee covers platform support and buyer protection services.

When Do I Get Paid?

SeatGeek pays sellers within 1–3 business days after the event to ensure the ticket was valid and the buyer successfully attended.

Can I Edit My Listing?

Yes. You can edit the price, update ticket details, or remove the listing entirely as long as the ticket hasn't sold.

Selling Tickets for Different Event Types

Whether it's a concert, sports game, or theater performance, SeatGeek supports a wide range of events. Here’s how different ticket types may affect the resale process:

Concerts: These often have high demand, especially for top artists. Price fluctuations are common.

Sports Events: Timing is everything. Selling closer to game day can be more profitable—especially for playoffs or rivalry games.

Broadway/Theater: Resale demand is typically higher for sold-out shows and prime weekend dates.

Pros and Cons of Selling on SeatGeek

✅ Pros:

Easy to use for both beginners and experienced sellers.

Fast and secure transactions.

Helpful analytics and pricing guidance.

Excellent mobile integration for on-the-go listings.

❌ Cons:

Seller fees can cut into profit.

Not all ticket providers allow transfers to SeatGeek.

Payment is delayed until after the event.

Final Thoughts: Is SeatGeek the Right Platform for You?

If you’re looking for a simple, transparent, and mobile-friendly way to resell tickets, SeatGeek is a top choice. Whether you’re new to ticket selling or a seasoned reseller, understanding how to sell tickets on SeatGeek, managing selling mobile tickets on SeatGeek, and applying smart pricing strategies will ensure a smooth experience.

By following the steps in this guide and staying informed on market trends, you can make the most of your resale opportunity and get the best return on your tickets.

[dynamicscommunity101]

How Can You Effectively Prepare for Microsoft Dynamics 365 Interview Questions?

It takes strategy to prepare for a Microsoft Dynamics 365-focused interview, particularly for positions involving Finance and Operations (D365FO) or AXE 2012. Dynamics 365 is a potent customer relationship management (CRM) and enterprise resource planning (ERP) system that blends clever apps with essential business features. Interviewers frequently assess candidates' theoretical comprehension as well as their platform-specific practical knowledge. What is the best way to properly prepare for Microsoft Dynamics 365 interview questions?

Recognise the Position for Which You Are Applying

First and foremost, find out if the role is focused on project management, technical development, system administration, or functional consulting. Every position has distinct requirements and calls for a particular understanding of Dynamics 365 modules, including:

Operations and Finance (D365FO)

Engagement with Customers (Sales, Service, Marketing)

Management of the Supply Chain

Integration of Power Platforms

Adapt your research to the situation.

Examine the Fundamental Ideas and Architecture

Before attending any Dynamics 365 interview, you should be well-versed in:

D365 architecture (on-premises versus cloud)

Data Management Framework and Data Entities

AOS (Application Object Server) and batch jobs

Integration between DevOps and Lifecycle Services (LCS)

Overlapping and Extensions

Programming in X++ (for technical positions)

Review these fundamentals to answer technical or functional Microsoft Dynamics 365 interview questions with assurance.

Rehearse standard interview questions

Knowing the answers to frequently asked questions is crucial. These could consist of:

What makes D365FO different from AXE 2012?

How is X++ code debugged?

How does D365FO's Data Entity framework operate?

In D365, what distinguishes a package from a model?

In D365, how do processes work?

You can browse this useful site for an extensive list of well selected questions and answers.

Gain Practical Experience

While theory is important, real-world experience makes you stand out. Try the following using a D365 sandbox environment or Microsoft's Learn platform:

Personalising reports, tables, and formats

Making and implementing extensions

Controlling security roles and users

Setting up processes and financial aspects

This real-world knowledge adds nuance to your responses and increases the interviewer's trust in your abilities.

Keep Up with the Most Recent Features

Dynamics 365 is often updated by Microsoft with new features and modifications. Keep up to date by:

Getting the release wave documentation from Microsoft

Keeping up with the Dynamics 365 blog

Participating in LinkedIn groups and community forums

It shows well in interviews to be aware of current changes such as the One Version policy, improved reporting with Power BI, and Finance insights capabilities.

Examine Questions Based on Scenarios

Employers frequently evaluate your ability to apply your knowledge in practical situations. Get ready to respond to enquiries such as:

How might a new module be implemented without interfering with ongoing operations?

How is performance optimisation in processing vast amounts of data handled?

How do you handle security jobs in multi-company settings?

Practice by outlining your reasoning in detail.

Apply the STAR Method

Use the STAR approach to organise your responses while responding to behavioural questions:

Situation: A synopsis

Task: What was to be completed

Action: Your actions

The result

This method demonstrates not just your knowledge but also your application of it.

Make Use of Local Resources

Peer assistance and a wealth of knowledge are provided by online groups. Dynamics Community 101 is one such community that provides carefully selected Microsoft Dynamics 365 interview questions. Make use of tools such as these to assess your understanding and gain perspectives from seasoned experts.

Concluding remarks

It takes a combination of theoretical study, practical experience, and knowledge with the most recent changes to prepare for Microsoft Dynamics 365 interview questions. You may confidently demonstrate your knowledge and acquire the position you want by using materials that are specifically tailored to the job role and adjusting your preparation accordingly.

[jungkookandyugyeomwhores]

How Robotic Knee Replacement Surgery Improves Joint Alignment?

Robotic knee replacement surgery offers unprecedented precision in restoring joint alignment, enhancing mobility and long-term outcomes under the expert care of Meyer Jr Richard L MD. By leveraging three-dimensional imaging and computer-assisted guidance, surgeons accurately plan bone cuts and implant positioning tailored to each patient’s anatomy. This method minimizes alignment errors, ensuring balanced load distribution across the knee. Patients benefit from improved stability, reduced wear, and faster functional recovery.

Enhanced Preoperative Planning Elevates Surgical Accuracy

Before any incision, Robotic Knee Replacement Surgery begins with meticulous preoperative planning. Using CT scans, Meyer Jr Richard L MD’s team creates a detailed 3D model of the patient’s knee. This model maps bone irregularities and deformities, allowing surgeons to determine the ideal implant size and alignment axes. The robotic system translates this virtual plan into precise intraoperative movements, reducing human error. By simulating multiple surgical scenarios, teams can anticipate challenges and optimize cuts—laying the groundwork for perfect joint alignment and ultimately enhancing patient outcomes.

Precision Bone Cuts Ensure Optimal Implant Positioning

Accurate bone preparation is vital for joint longevity. In robotic knee replacement surgery, robotic arms execute bone cuts with sub-millimeter precision, guided by the preoperative 3D plan. Meyer Jr Richard L MD oversees each robotic motion, ensuring the femoral and tibial surfaces match the implant geometry exactly. This level of control minimizes varus or valgus errors—common alignment issues that lead to uneven wear.

Real-Time Feedback Enhances Intraoperative Adjustments

During the procedure, robotic knee replacement surgery provides continuous feedback on limb alignment and soft tissue tension. Sensors measure mechanical axis deviations and ligament balance as the knee moves through its range of motion. Meyer Jr Richard L MD interprets this data to make real-time adjustments—fine-tuning implant placement or soft tissue releases. This dynamic guidance ensures that postoperative knee alignment closely mirrors natural kinematics, leading to enhanced stability and function, and reducing the likelihood of revision surgery.

Balanced Ligamentous Tension Promotes Natural Knee Function

Proper ligament tension is essential for natural knee biomechanics. Robotic knee replacement surgery integrates soft tissue balancing into its workflow. After initial implant positioning, the robotic system assesses medial and lateral compartment gaps under controlled loads. Meyer Jr Richard L MD then adjusts implant positioning or performs selective ligament releases to achieve equal tension. Balanced ligaments support symmetrical load distribution, improving gait and reducing compensatory movements. Patients enjoy a more physiological feel during activities, from walking to climbing stairs, contributing to a higher satisfaction rate.

Minimally Invasive Techniques Preserve Healthy Bone

Robotic knee replacement surgery often employs smaller incisions and targeted bone resections. The robotic arm’s precision allows surgeons to remove only the necessary bone and cartilage, preserving healthy structures. Under Meyer Jr Richard L MD’s guidance, this tissue-sparing approach reduces surgical trauma, blood loss, and postoperative pain. Preserving bone stock is crucial for future revision options and improves early rehabilitation. Patients benefit from shorter hospital stays and quicker return to daily activities, all while maintaining the optimal alignment achieved through robotic accuracy.

Consistent Outcomes Reduce Alignment Variability

Traditional knee replacements can vary in alignment results due to manual jigs and subjective assessments. Robotic knee replacement surgery standardizes the process by following the preoperative plan and intraoperative feedback without deviation. Studies demonstrate lower outlier rates in limb alignment when using robotic assistance. Meyer Jr Richard L MD’s practice reflects this consistency, translating into predictable functional improvements and implant longevity. For patients, this means reliable pain relief and joint performance, minimizing the uncertainty that can accompany conventional arthroplasty methods.

Accelerated Rehabilitation Follows Precise Alignment

Accurate joint alignment from robotic knee replacement surgery lays the foundation for efficient rehabilitation. When implants are correctly positioned, patients experience less pain and better functional stability, enabling more aggressive physical therapy. Meyer Jr Richard L MD’s rehabilitation protocols capitalize on this advantage, introducing strength and range-of-motion exercises early. Consistent alignment reduces swelling and improves muscle activation, helping patients reach mobility milestones faster.

Conclusion

Robotic knee replacement surgery represents a significant advancement in orthopedic care, delivering precise alignment and personalized implant positioning under Meyer Jr Richard L MD’s expert guidance. Through detailed preoperative planning, precision bone cuts, real-time feedback, and soft tissue balancing, this technology minimizes alignment errors and promotes natural joint mechanics. Patients benefit from less invasive techniques, consistent surgical outcomes, and accelerated rehabilitation.