#it succeeds in spite of those limitations

[reachexceedinggrasp]

Have you watched any of the new Picard show? If so, what did you think of the most recent season? I had heard it was more popular with TNG fans than the first two, but I'm very curious about what you think.

I haven't. I didn't like some of what was said about the thesis of the series during promotion and then I hated what it felt like they did to Seven (one of my all-time favourite characters) judging by clips and trailers. And then I felt like everything I heard after it aired confirmed I would not like it.

[hinadori-chan]

low key wanna like

set up a queue for posts i like that don’t circulate anymore so that way the recirculate but also i don’t spam but like

i don’t think i’ve ever used a queue before tbh lol

[pangurbanthewhite]

Hey guess what it's time to talk more about Stray Gods.

Specifically about the concept of "reactive narrative" in video games and how I think Stray Gods executes it as gracefully as you can possibly execute on the concept.

I think a lot of people balk at how choice-based games do and can only change in a limited way based on your choices. Which is a shame, because only being able to change in limited ways is a hard rule of both hardware and the concept of a story.

I think the games that handle it best are the games that lean into that fact. They should flesh out those limited choices as much as possible rather than try to stretch them to their breaking point. They should accept the reality that there WILL be fixed points in the narrative and build around them.

Example - Pan will always turn up in your apartment early on in the game and lead you into the "tutorial" song that is "I Can Teach You". But, based on your choices, the song can sound entirely different.

And that's if you stick to one color exclusively over another. You can weave the choices in and out to create dozens of unique instances.

The choices you make do not fundamentally change anything beyond the song, excluding the last choice. But those choices set the tone for what kind of story you are going to tell. Is it a story of how Grace, even when granted the powers of a god, still values her humanity and cherishes her human bonds? Or is it a story of how Grace, who begins by feeling adrift and out of place, immediately chases down any chance she has at belonging somewhere, at having a purpose? Is Pan a mentor or a source of suspicion? How big of a part does Freddie play?

Your thought processes behind making a choice, your reasons for choosing red over blue, do make a story unique as much as your choice to let Aphrodite "live" or "die". I think you have to accept that if you really want to get a lot out of these kinds of games.

Some scenes WILL always happen, and that's okay! That's good, even! Because differences in the journey matter just as much as differences in the destination! You might always wind up in the same place, but you will have told a different story in getting there. You'll be in a different headspace, you'll bring different baggage, you'll have had some different conversations which drive you to feel differently about characters along the way.

Freddie does always die, yes, but if you've spent the entire game flirting with her, expressing affection and admiration for her, traveling to find her in the Underworld leans so heavily into the Orpheus and Eurydice parallels. Orpheus becomes a dark mirror of Grace as much as Persephone.

Do you retrieve a Freddie that you love from the Underworld because of that love, or do you retrieve a friend as much out of spite, as if to prove that you can succeed where Orpheus failed? Is godhood worth her friendship? Is godhood worth her love? Are you making a sacrifice at all, or are you glad to be rid of these powers that you never asked for? Freddie returns either way, but your motivations have changed the story.

I'm getting a bit lost in the weeds here, but hopefully people get what I'm going for. The fact that, ultimately, Grace is going to wind up on trial against Athena, with the primary differences being whether or not Freddie is there driving the song, or whether it's Aphrodite in one body standing there vs. another, doesn't invalidate the choices and the uniqueness of the journey to get there.

And I cannot stress enough that the potential variation in any given song is so impressive. I'm genuinely kind of bummed that there's no way to listen to some of the versions I made, that I feel like really added to the story I was trying to tell.

And, most importantly, I think Stray Gods understood that this kind of variances gets infinitely more complicated and precarious the longer a game goes. 6 to 8 hours is almost certainly your upper limit possible. Anything much beyond that, and the variations you have to account for spin out into something approaching infinity. And, yes, they do and can get much less meaningful as a result.

IDK! I like this game a lot. I think it did some really cool and inspired things in really cool and inspired ways. And I think its understanding of how to use player choice within the narrative and hardware constraints of a video game is one of those things.

[livvivviss]

"why haven't I shifted yet?"

• Fears: Maybe you fear of seeing people from your desired reality, fear of whether you will have the skills you put in your script, fear of having to make decisions, fear that it is real. I would recommend you to overcome those fears, it would help.

• Thinking that it is difficult: Some time ago I literally wrote "it is normal that it is difficult" (WHAT?) no, it is not difficult, actually, it's easy, but I put that belief in my mind to relax, a "comforting lie" that is a negative belief but makes me feel better, instead thinking "if it is easy" is a "hard truth" because they say it is easy but for me "it is difficult" but I thought it was difficult because that was how I was thinking about it, it is not difficult, when you fill your head with so much information, you think it is difficult (unconsciously or consciously). IT IS easy, when you overcome that belief, and let it go, you will achieve it, that is, now.

• A negative inner voice: something that tells you "this shifter is better than me" "I am inferior to this shifter" "it's harder for me" "I believe in shifting, why don't I succeed" "why try if you know I won't succeed" that voice, it lies to you, it wants you to stop trying , you lie to yourself, you are a liar because none of that is true:

-You are an incredible shifter, why? because you still here in spite of all those negative thoughts.

- "It costs me more" because that's what you make yourself think, that's what you want to believe.

-You don't necessarily need to believe in shifting you need to believe in yourself.

- "Why do I try if I know I won't succeed?" You know that this thought is a limitation, if you have this thought (conscious or unconscious) before shifting, you are not going to get very far.

• Not believing in yourself: the same as the previous point.

* Don't overthink or overcomplicate shifting, you ask yourself so many questions and fill yourself with so much information that you move away from the point, which is shift. If you think it is difficult, then it will be.

* I recommend you think, reflect and write what your own limitations are, your "negative thoughts", ask yourself "why didn't I shift yet?"

¡♡♡♡!

[waterbottle2006]

can we get some headcanons on team bleck characters pls?

whoever you are anon? i love you

(ahem)

i got a whole bunch of headcanons but i'll cut these things down to three.

starting off with the count of counts, man of men. count blumiere bleck.

he and dim actually knew each other in the past , having been somewhat of acquaintances. the reason he didnt want dimentio joining at the time was because he didnt want to get a friend involved on these antics and potentially hurt this plan. however, afterwards he would eventually allow him on board because of careful consideration as well as "well honestly, tbh, i dont think he'd get THAT hurt."

next up, he was the absolute worst at trying to accommodate things for the minions to get them comfortable. he didnt know what half the things they requested were and eventually passed the requests job to nastasia who took care of it with ease.

he plays favorites. as much as count bleck doesn't say "i dont have favorites" he definitely does and it's mimi.

speaking of mimi, boom, mimi headcanons.

mimi is a robot, very much so of a robot. shes very much based off a wind up toy and ends up having a lot of spare energy with the wind up. that thing has been spinning for ages.

she and Mr. L have the like second closest relationship in the castle. Mr. L upgrades her and mimi just shittalks all the time while also slipping a few of the shinest screws in her pockets. if she ever gets damaged she ends up going to L to fix the damages

she is the fastest of all the members when on foot. she is VERY fast and even FASTER in her true form. you do not want a 10ft spider robot chasing after you at 30mph. although, when chasing the heroes in merlees mansion, her ass crashed into literally everything while chasing because she doesn't know exactly how to come to a smooth stop when in a packed house.

now for o'chunky boy, one of my silly favs

hes the kindest out of all of them but that is really SAYING something when your competition is the rest of team bleck. he's willing to protect the team and even those that are literally just innocent bystanders to everything. if you aren't the heroes, hes not gonna be doing anything to hurt you, trust.

everyone usually calls him to swat dimentio out of the air since he has the furtherest reach. he always succeeds too. the rivalry between them only persists.

hes usually the dedicated "bring everyone here to this exact room" person because hes always first to arrive and always the first to hear the announcement. so he has to drag everyone else out of their rooms in order for them to listen.

nastasia? nastasia.

nastasia is the person you can always find, no matter where you are. for some reason, you can just find her there conveniently when you need her. how does she do this? shut up, you don't need to know.

amongst the stealthiest of characters, nastasia has to be the first in stealth. her footsteps are completely silent somehow and you can never hear her breathing. this makes it easy for her to sneak up on literally anyone, no matter who they are. she even gives our dear count a scare from time to time.

considering that she is the most responsible they usually call nastasia for the littlest of things. like bugs or broken doors or dimentio being a little shithead. in return, she calls the correct person for the job as her skill range is very limited.

ik yall were waiting for dimentio so here you go

he wanders. like he wanders a lot. you dont see him in the castle that often because hes in the wilderness just nature walking (flying?) and when he is in the castle, hes just wandering the halls, waiting for the next moment to be a bitch.

he teases everyone in the castle, especially count. it never dawned on him until later that the count was blumiere so he took this chance to bully him for literally no reason at all other than spite.

out of all of the members, his worst relationship is with nastasia. they somehow know more about each other than they'd like to. he doesnt talk to her much and when he does, its out of obligation or because he was spoken to first.

here, a few additional mr. l headcanons

for some reason, he always has chocolate on him. (this carries over to luigi too) he just has an infinite supply of chocolate and no one knows where he gets them and everyone is convinced hes more of a magician than dimentio.

he ends up being more active with the group rather than closed off. when he is closing himself off from the group, his door is always open. its an invitation for anyone to come in a chat, even if he says "an open door is not an invitation." it is an invitation, hes lonely.

he and dimentio tend to have small skill show offs. dim shows off his EPIC magic and Mr. L beats the shit out of him with his robots. dimentio still somehow always wins.

ANYWAYS ANON THANK YOU FOR ASKING ME THIS IVE BEEN WANTING TO GIVE HEADCANONS FOR AGES BUT DIDNT KNOW HOW TO FORMAT IT. YOU BROKE THE CURSE. and also being the first person to give me an ask ever. anon if ur reading this? ur literally the best

[furiousgoldfish]

what keeps you going when things get tough?

That is a deep question! It's very personal, I think, because every person decides that for themselves.

For me, before I ran away it was some sheer instinct to survive, I have no idea what is it in me so desperate to live but I could not decide against it. I had a protective alter literally block my every suicidal thought so eliminate the very possibility.

Some of it was spite, because I knew these people wanted me dead and I didn't want them to have the satisfaction.

Then, after running away, for a long time I had very low hopes for myself, only survival was on my mind, and it was years and years of recovery until I managed to allow myself to dream, to imagine a realistic future where I would be at peace, happy. Not exactly recovered, but where I would be comfortable enough, not triggered, at ease and doing things at my own pace.

Since then I've managed to find activities that give me comfort and joy, and make me feel more peaceful. Of course I don't get to feel that every day, but just the knowledge that no matter what, there are things I can come back to, things that are safe, that will put me at ease... that is worth a lot to me. I also pushed the limit of how much a person can do without any support, since I had no support at any point, and had to count on never receiving any, again, except for alter, but they're a part of me, so it's like me helping myself.

At this point it's that dream of a future that I want, that keeps me going. I do fall sometimes and feel like I'm going backwards and it's impossible, but I deal with those scenarios and those thoughts, and I figure I'll focus on the thoughts that will make it more likely that I'll succeed.

It seems that somewhere deep inside me, there's a very optimistic person, driven to survive and create and be independent. That person gets buried under loads of trauma, but comes back when hope is back on. I guess my optimistic dreaming is what keeps me going, and little steps I feel like I can take to get closer to that place where I'd feel peaceful. It feels like if I never stop, eventually I have to get there. And I don't see anyone trying to stop me, because I'm not telling anyone what I'm doing.

[catwhoisawizard]

Women are cool as fuck, but I also like when men do cute things.

I like when they're gentle and patient with animals or children.

I like when they do something masculine and get all excited and proud of themselves and look to see if you were impressed.

I like when they have a dumb (but largely harmless) idea and spend all day making it happen, then either fail hilariously or succeed in spite of common sense and jump around hooting and hollering with the boys.

I like when they completely derail a conversation with a well-placed dad joke.

I like how a man can be a smart sensible person, but the moment you put him in a room with a bunch of other dudes he gets along with, they all form a hive mind collectively sharing one brain cell.

Basically, men are cute in their natural state, but too many get brainwashed into being heartless controlling monsters and then spend their lives angry and lonely when they can't form an honest intimate connection with anyone.

Like, fellas, all you gotta do to be attractive is just be a sincere, caring human being, with all the limitations and flaws that come with that. You can still be a big masculine badass if you want! Doing your best to protect and lift up those around you in spite of your weaknesses and flaws is infinitely more attractive than being successful at everything but hurting everyone who gets close.

Anyway, huge props to all the men out there who put in the work to unlearn all the toxic bullshit they're told all the time about how "real men" act. Y'all are brave and handsome and cool, and the world is better with you in it!

That includes trans men, gnc men, non-binary men, and all other men who don't fit the traditional definition of "man"!

Keep being fantastic fellas! 💖

[vgckwb]

P5R: Rebel Girl (A FeMC Story/P5R Rework) Chapter 226: Pollyanna

While Ren was meeting with Lavenza as she was asking her to take her to Destinyland, Morgana slipped out of Ren��s bag, and then entered The Velvet Room. “I’ll be back soon,” he whispered, knowing that Ren was preoccupied and couldn’t quite hear him.

As he entered, his form changed from walking on four legs to walking on two, and becoming more cartoon-like. He stepped further in, meeting face to face with Igor. “Well,” Igor remarked, “this is unexpected. What brings you here?”

Morgana gleaned away. “Hello Master Igor.I…I need to know…”

“Need to know what?” Igor inquired.

“Why…” Morgana stuttered. “Why am I…why am I a cat?”

“Hm hm hm hm hm hm hm,” Igor chuckled. “Are you asking why you are a cat? Or are you asking why you aren’t a human? Because those are two different questions with two different answers."

Morgana was confused. “Ummmm, let’s go with both, starting with ‘Why am I not a human?’”

“Hm hm hm,” Igor chuckled once more. “Well, on a technical level, no one originating from this side is a human. But they do take on the appearance of a human. With the exception being you, of course.”

“Mmmm,” Morgana groaned.

“However,” Igor continued, “there is a reason for that. Before Eris interrupted Yaldabaoth, he was planning on bringing humanity into ruin through order. You were created to be a guiding vessel of hope for all of humanity to not bow down before false gods. Eris, in her chaos, allowed me to create you still.

Now, I could lie to you and tell you that your creation was a fluke, seeing as previously I was being overrun by Yaldabaoth. But we both know you wish for the truth, even if the circumstances are dire. In truth, your existence as a vessel to help the Trickster and make hope come alive once more in all of humanity was always meant to be non-human.

Humans are a funny breed. They have infinite potential, which is both positive and negative. During your trials and tribulations, you’ve seen the best in humanity, as well as the worst. In order to be a spark of hope, you needed to not fall into such trappings. You needed to facilitate the best in humans, while rejecting the worst. A human can see the good in the worst, and the bad in the best. For you to succeed on your mission, you needed to not be human, but still be able to encourage the best in humans.”

“But master,” Morgana asked, “I’ve spent enough time with humans that I…I’ve begun emulating them more and more. I feel like I’m becoming more human from spending time with them. Am I a failure if I become too human?”

“Of course not,” Igor assured. “It’s the age-old debate: Nature versus nurture. Like most things, the answer is a little more complicated than the two given options. The humans you spend time with are exemplars or what makes humanity worth saving. You emulating them is more a sign that your mission is succeeding. However, you still retain your inherent nature as the spark of hope to lift humanity up. You understand humans, and you can help humans, but you’ve been able to do so not in spite of not being human, but because you are not human. You are not limited by humanity, yet you are there for them.

Which actually brings me to why you take the form that you do. I didn’t give you that form per say. I just created your conscious, and instructed it to not be human, but to assist humans. As you are a reflection of the human world, you took the shape of something that brings joy to humans.”

“So, I look like a cat because humans like cats?” Morgana surmised.

“Precisely,” Igor answered.

“Well…it could be worse,” Morgana admitted.

“Is something still troubling you?” Igor asked.

“Not about this,” Morgana replied. “I’m just wondering what future will I have once this is all said and done.”

“Well, the future is nebulous to all,” Igor said. “But I know that the bonds you made are ironclad. Even if only a handful of people will even truly know you, come what may, they will be your friends to the end.”

“I see…” Morgana remarked.

“Are you still not satisfied?” Igor wondered.

“Well…” Morgana responded. He sighed. “That’s tricky. When this is over, I’ll probably just be a cat.”

“Well, you don’t have to stay on that side,” Igor offered.

“Eh. I want to,” Morgana said. “But you knew I’d say that, right?”

“Hm hm,” Igor chuckled. “Indeed. Still, to see you come this far is a glorious sight. No matter what anyone says, you are nothing short of excellent. I for one cannot wait to see what the future holds.”

“Me either,” Morgana said.

“We still have some time before Lavenza gets back,” Igor noted. “Would you like to play some cards?”

Morgana smirked. “You’re on!” Morgana came up to Igor’s desk as a chair magically popped up for him to sit at. He and Igor passed the time playing cards.

Once Lavenza got back, Igor said “It looks like it’s time for us to part once again.”

Morgana nodded. “Thank you, master.” Morgana started leaving, as Lavenza entered. "Hello Lady Lavena."

Lavenza chuckled. "Good evening, Mister Morgana. Good luck on tomorrow's endevor."

"Thanks," Morgana said. They continued on.

Ren took notice of Morgana leaving The Velvet Room. “So that’s where you’ve been.”

“Were you scared you lost me?” Morgana asked.

Ren shook her head. “I know you. You’re very capable. I trust you on your own.”

Morgana smiled. “Thanks. But for night now, I want to be at home with you.”

Ren offered her bag. “Then by all means.” Morgana hopped in, and they went home. On their way, Ren asked “So, what’d you talk about?”

“I just had some questions,” Morgana replied.

“Did you get them answered?” Ren inquired.

Morgana smirked. “Yeah.”Ren giggled. “Well, I’m glad.”

“Me too,” Morgana said. They continued home.

[thequietmanno1]

TheLreads, Vigilantes ch 106, Replies Part 1

1) “And the journey continues! Last time we had an All might scare- two of them in fact, also there was some less important stuff about koichi awakening his potential by realizing that he can and must win this fight.”- He’s awakening so much potential his power is practically evolving into a whole new ability before Nomura’s very frustrated eyes. 2) “…

Self-preservation is definitely not their strong suit I must say”- Look, when the kids want to play with the lit dynamite stick, you have to consider whether or not Darwin had a point, and it’s better for the species overall to let things play out. 3) “Ah dammit, and here comes the other one… Well, I suppose he do need to set up the previous mentioned nuclear bomb to get rid of McBee and all that…”- Soga really is fitting all the archtypes for “cool badass sidekick” even if it’s all undercut by the fact that’s he’s Soga, and thus can’t be that no matter how hard he tries. 4) “And I suppose this means that Soga is about to use the Bastardbike to chase after them and provide support.

Good fucking luck with catching up with the two hyper speedsters”- Seeing as Nomura needs to stay within the darkened blackout area to avoid easily drawing hero attention to his chase-fight with Koichi, there is only a limited area that can actually speed around, as opposed to the whole city being a battlefield. Therefore, it is possible for Soga to catch up, if only because the fight turns around and heads back towards him. 5) “No, let them keep throwing stones at the bipedal bombs, I want to see blood being splattered on those walls”- Your interior decorator is showing…in that you want to decorate with their interiors. 6) “Oh yeah, this is definitely gonna be a game of cat and mouse

Except that the mouse is chasing a cat he has no chance of beating”- Even more than he knew. He and we thought Nomura only needed one direct hit on Koichi to win, but it turns out even Koichi’s perceived “weakness” of projecting the repulsion from a limited area on his body doesn’t actually apply, meaning Nomura has no actual way of landing a hit, even if he succeeds in getting Koichi dead to rights, unlike himself. 7) “MY GOD MAN DID FIRES GEORG IMPRINTED YOU WITH A BIT OF HIS DNA, CAN YOU CALM DOWN WITH THE DESTRUCTION OF PUBLIC PROPERTY? WE’RE STILL TRYING TO REBUILD THAT STREET HE INCINERATED”- I have to wonder how much is Nomura intentionally missing and how much is Koichi using his finer control to bait him into making near-miss swings in the hope of his enemy exhausting himself. 8) “Oh boy… I feel that someone is gonna have to pay for this damage, and considering McBee is gonna bite the dust by the end of the story… I hope you’re ready to work for the rest of your life to pay for the repairs Koichi”-Pretty sure this is meant to be a visual shout-out to the posters for the first season of The Flash, highlighting just how fast our two bois are going at it.

9) “Thank you Captain Obvious, but I think I prefer when you were a tulpa more concerned with giving bad advice.

I mean, if McBee doesn’t realized that you guys have crossed half the neighborhood then that’s on him, no need for you to point it out.”- At this point Nomura’s need for approval and self-validation through that has turned into recrimination and chastisement for allowing himself to be so baited by Koichi, which is honestly sad. The O’Clock Tulpa can’t outright disparage Nomura because he made it to give himself positive feedback, but even it has nothing really good to say about his choices here, which means that Nomura knows he’s made a joke of himself and is still continuing on with it out of stubborn pride and spite against Koichi. 10) “But why are you still thinking about All Might coming in? Koichi had the chance to leave to call for help, and he didn’t. You can believe that he came back to try to talk things over and since he couldn’t his plan changed to going after All Might, but again, HE CAN FUCKING FLY AND YOU KNOW THAT WHY WOULD HE NEED TO LURE YOU TO ALL MIGHT?”- They knew Koichi well enough (and have personally just witnessed him blow a perfect opportunity to end Nomura) that both of them are aware that Koichi running to somebody for aid is a far more likely scenario than him standing his ground at any point to take Nomura down himself, which to be fair does seem to be Koichi’s intent more or less. Avoiding actually striking back so long as he baits him into wasting precious seconds lashing out at him, even if it would be far simpler to just blast Nomura between the eyes and call it done. 11) “Yeah, but unfortunately for you, you’re not quick enough. You’ll never be quick enough.”- Can’t move faster than Koichi can sense you coming. Nomura’s bloodlust is both driving him to go faster and counter-intuitively letting Koichi know how to react to his attacks no matter how high he revs the engines. 12) “And another miss there. Yeah, see, you can’t catch him. Hell, the only reason you’re seeing him is because he wants you to, otherwise he’d zoom away so fast that your head would be left spinning”- In a straight road Nomura may have some advantages, but in these twisting streets and lots of grabble surfaces on the buildings, Koichi excels at outmanoeuvring any attack he throws his way.

13) “He doesn’t need to O'clock. McBee may be incredibly predictable, but Koichi doesn’t even care about that, he’s just moving out of the way as the punches come, no pattern recognition there, just sheer reaction.”- Izuku would analyse his tactics, but Koichi just reacts to the blows as they come using his honed senses, making him similar to Bakugou in a way. 14) “And at which point did he even looked back? He is not using visual cues to counteract you, he’s going far deeper than that. And by that I mean he feels your bloodlust and moves away from it.”- This would meant that ironically, the best means Nomura has of hitting Koichi is to not want to hit him, but that would mean having a presence of mind that wouldn’t be baited like this, meaning Nomura’s dammed if he does, dammed if he doesn’t. 15) “You know what else is an unconscious mental process that shonen mangas like to use? Detecting bloodlust.”-Koichi’s ability to react to intent to harm borders on having a muted Spider-sense, which is thematically appropriate given the Spiderman influences in Izuku’s powerset and Koichi’s wall-crawling ability. 16) “OH MY GOD IS HE GONNA START RUNNING ON ALL FOURS LIKE A CRAZY ANIMAL CHASING A PREY?!”- It both makes sense for increasing his running speed and showcases how nutty he’s getting in trying to catch up to the real fast boi on the track. 17) “Yes McBee, give in to the animal side, become a beast to be slain by the dashing hero, show us how far you’re willing to go, how much of this mask of humanity you’re wearing you you’re willing to discard to kill himI’ll be waiting… Watching…”- In trying to overcome Koichi, he’s pushing himself to become more monstrous and inhuman, which in fact showcases how  strong and powerful Koichi naturally is, that his foe has to discard parts of himself that mattered greatly to him – his pretention of being a humanistic hero – in order to match or exceed what Koichi can do…and even then, Koichi just whips out another new tactic to shut him down on instinct! @thelreads

[navree]

If u coukd rewrite hotd what would u change qnd how would u rewrite it?

So, I'm gonna set some limits on myself and decide to follow the vague outline of the show, including the amount of time jumps. Ideally, if we lived in a fantasy land and I'd been made top showrunner (HBO it's not too late I don't need that much money), season 1 would have either been all Emily and Milly to really set everything up, or at the very least with the only time jump being the one between episode 5 and episode 6, and keep the rest of the season in the same timeline so we'd have had more time to develop the Velaryons and ESPECIALLY Jace and Luke and maybe get to see some post-Driftmark things like Aemond's recovery and the aftermath of Daemyra's marriage. But that's a larger undertaking that would require more extensive rewriting, so I'll just stick to the time frame and general plot of their episodes, and just add in my edits and tweaks and cuts and additions. Anything that isn't discussed, assume it's being kept the same as in the show. (And this isn't even taking into account that when I heard "House of the Dragon" I thought it was gonna start with Aegon's Conquest and I was really excited about that and had to temper my disappointment when I realized that wasn't what I was getting).

Episode One - I wouldn't actually change all that much about the pilot, since I think it was actually pretty solid all throughout. The things I would change are a) a different introduction scene for Daemon and Mysaria, or at maximum just cut it, because it doesn't really serve much purpose in the narrative and b) there's no stupid fucking prophecy. I'm not against the idea that Aegon might have had ulterior motives beyond simple Conquest, and we know that Targaryens are capable of having prophetic abilities, but no this should not have been a secret passed down through generations for some fucking reason because that's stupid. And most importantly, considering that HOTD needed to succeed in spite of Game of Thrones, not because of it, because of how awful the last season was and how immediately it faded from the public consciousness and stopped being relevant as a result, the show should honestly not be so frequently be calling back to a disappointing aspect of the show. "A Targaryen must be seated on the Iron Throne" ok but she wasn't and the Long Night ended because some rando had a good ten yard jump according to D&D cuz they wanted to "subvert expectations" stop reminding me of that if I want to be enjoying this new show. Also, we need to set up Rhaenys more, and her issues with being passed over. She needed a scene for herself beyond the tourney, maybe after Aemma's funeral.

Episode Two - Again, don't have the most complaints for this episode either, and most of what I'd change would be adding back in all those scenes they deleted. Keep Criston's induction into the Kingsguard so we can see how sacred it is and how seriously we take it, keep the apparent argument that happens between Alicent and Rhaenyra after Viserys announces the wedding (and have someone remember that seasons can last YEARS in this world so he needs to be more concrete than just saying "at spring's end" when it comes to the wedding), and especially that scene of Rhaenyra helping Alicent get ready for the wedding and that conversation about whether this is what Alicent wants, and I assume her noncommittal answer that's answer enough. I'd also tweak the Dragonstone stuff, keep Daemon and Mysaria's conversation and even the fact that Daemon lied about having a child, but make a lot more comments about how this is mostly an attempt to get Viserys's attention (I know some people find Ryan's interpretation that Daemon's primary motivator in grooming Rhaenyra was just to get the closest thing to Viserys that he could, but I really like it, I think it shows again that Targaryens aren't socialized to view their siblings as siblings, it adds depth to Daemon and his occasional poor little meow meow tendencies, and it'd be an interesting look into Targaryen/Valyrian culture that incest wouldn't be the main issue, same sex attraction would). Daemon should also get in a fight with one of Otto's men on the bridge, someone who's acting too quickly, and we can see Daemon's martial prowess and how deadly he is with Dark Sister outside of the lists. Rhaenyra needs to also work a lot harder to get him to give the dragon egg back, and chiefly, we need to see her relying on Otto more for advice on what to say, like at the Kingsguard scene, so that we can see that Rhaenyra doesn't yet know who might have her best interests at heart, contrasted with Otto's master scheming, and explain why she's so much more hellbent to get him out of KL in later episodes, when she realizes that he doesn't. I'd also maybe add in a scene between Alicent and Criston, maybe after she and Viserys are engaged, maybe having her attend to Kingsguard ceremony and give him a little welcome present she stitched because she's a lil cutie.

Episode Three - This is where things start changing. For one, Rhaenyra and Alicent aren't at odds yet. They're distant, they're uncomfortable and don't know how to talk to each other, but it's more in line with how they feel not just in the OG ep 4 but also in this new timeline where they have that moment before the wedding. For two, my God no White Hart. It's the hokiest of the hoky, it's giving The Last Unicorn, it's giving that one stupid scene from the Kristen Stewart Snow White movie, it's giving baby's first fantasy attempt. We can keep the hunt, and that other deer that Viserys kills and his struggle with it, to show the extending rot in him and that the Targaryens are starting to lose the mandate of Heaven, and we should especially keep the scene with the boar and Rhaenyra. I actually liked that scene, how it's after Rhaenyra is told she needs to marry and breed despite not wanting to, and then an aggressive male pig tries to kill her by forcing himself down on her, and she responds by viciously stabbing it over and over (and also when she said that the boars sound like kids when they die, and we see her having issues with Aegon, and then she kills the boar and hears it die without struggling with it? that's good, that's really good). We should keep Rhaenyra feeling displaced and out of sorts at the attention Aegon is getting and how it seems everyone's disregarding her, or, as one anon put it in a way that still makes me giggle, Rhaenyra being upset at a toddler that he's the protagonist of his own birthday. The stuff between Rhaenyra and Criston can stay the same, and once again, we need another scene between Alicent and Criston, maybe discussing Rhaenyra and whether she's all right. A scene between a knight and a queen with all that formality, but clearly Alicent trying to bridge that gap because she's lonely and she likes him. Once back at KL, we're gonna get that scene where Rhaenyra feels she's gonna be replaced by Aegon, but it's not going to be with Viserys, it's going to be with Alicent. Alicent, possibly after talking with Criston, can go to Rhaenyra, or maybe summon her, cuz she's pregnant and doesn't wanna exercise too much but Rhaenyra can mistake that as Alicent pulling rank, and talk. And that's when Rhaenyra explodes and says that she knows that Otto and Viserys are planning to replace her with Aegon, and it's Alicent who says no because she's still gonna have that scene with Otto where she defends Rhaenyra's claim cuz she wants to keep that friendship. It's not Viserys who says Rhaenyra won't ever be replaced, because Viserys shouldn't say that. Having Viserys constantly reaffirm Rhaenyra's status in private is baffling when you see how he doesn't do anything about it publicly, so we should keep the book thing where he's trying to keep everyone happy, and is either too lazy or too inept to realize the problems it's causing by not falling one way or another. He's not going to reaffirm shit, he's gonna keep the situation as is and, you know, set the seeds for confused succession and civil war.

As to the Stepstones: not getting it. I understand why they wanted it, they want a Game of Thrones style battle sequence, and to show off Daemons' martial prowess (hence why I added a scene of him dueling on the bridge in ep 2, since we're gonna cut all of this), but the Crabfeeder and that whole Stepstones arc is such a nothing problem and doesn't come back in any way and just seems like a forgotten plot. So we'll see Corlys and Laenor in the Stepstones at a war council, to show Corlys's ability and develop Laenor, but Daemon is going to get scenes at Driftmark. He's gonna, idk, bring tidings or some shit to Rhaenys, so we can show her actually in the show since she's a main character, and have her sum up some of the situations at court to Daemon, to show her shrewdness and her capability (since she's supposed to have been better suited to politics than Viserys). This is also where we're gonna get two things: Laena and Vhagar. We're getting that scene where Laena claims Vhagar as a young woman, and Daemon's gonna see it, and he might have a flirtatious conversation with her, something to set up their eventual romance. And for anyone asking why, well this is my rewrite and like Daemon and Laena and I wanted them to get more set up than they did. And it can contrast how Daemon, a man, can flirt with someone he actually desires even though he's married, while Alicent is stuck in a marriage against her will that's tearing her relationship with Rhaenyra apart, while Rhaenyra is still being forced to eventually marry, though she can choose her suitor.

Episode Four - This is another episode I like, so I wouldn't change a whole lot about it. Most of it I'd keep, but I'll add a couple things. We're adding Laena and her betrothed, the Sea Lord of Braavos ('oh but why' it's a surprise tool that can help us later), at court, so we can keep up the tension between her and Daemon, which Rhaenyra might remark on, and that's why she's both more willing to follow him into KL and also why she's angry at him after his abandonment, not just because that's some vile shit he pulled, but also assuming that it's because he wants Laena, not her, even though that flirtation hasn't extended past conversations and discussions of dragons now that Laena has Vhagar. Rhaenys is at court as well, now that Corlys is at Driftmark, so we should get more scenes of her to showcase her abilities as a politician. There should also be a scene with Larys where Rhaenyra might be rude or dismissive of him, maybe not unintentionally but doing it nonetheless, in contrast to Alicent's whole "yeah you can hang out with us Larys" thing during the hunt, to explain why he wants to cause problems for Rhaenyra other than, idk, the cripple is shifty because being crippled means he has to rely on his wits and he's devious because he wishes he wasn't crippled, that whole bullshit. And during the scene between Otto and Viserys (after Rhaenyra has more reason to want Otto fired because she felt he was a false friend in ep 2), when Viserys does his whole thing about Alicent being a manipulation, Otto, already knowing that his job is lost, might fire back (respectfully, but still) about how she was a manipulation Viserys was more than happy to receive. And Viserys, confronted with his own complicity but as always, not wanting to do anything about it, ends the conversation and firmly tells Otto he has to leave King's Landing. And also still no prophecy, Viserys just pulls rank and tells Rhaenyra that after this shit she's marrying Laenor cuz he's king and he says so.

Episode Five - As much as I hate it, let's keep Daemon killing Rhea. There can maybe be more ambiguity about what he actually meant to do, along with new ambiguity about why he's doing it (does he hate her? is he trying to get viserys's attention again? is it to marry rhaenyra like he said he wanted last episode? is it because of this budding Thing with laena? is he just a bastard? is it a combination of all of these?). We'll keep the Driftmark stuff largely the same, though when Corlys does his whole "the crown was stolen from you" thing, rather than Rhaenys saying she doesn't care after we know she does care, we keep the fact that she cares and is still upset with it, because we've had more episodes with her and more content of her being bitter, but her issue is in dragging Laenor into it and potentially putting their children at risk. The stuff in King's Landing is going to be largely the same as well, just with some added gravitas to the Alicole conversation because we've spent more time with them developing a relationship. The big change is going to come during the rehearsal dinner. Because it's a rehearsal dinner, Rhaenyra won't be wearing white, but the red and black colors of House Targaryen, so that we can understand why her side is called "the Blacks" while Alicent's is called "the Greens". We should have Alicent give a smile to her Hightower relatives, but the person who does that "we're glad you're growing strong" talk with her should be Tyland, so that we've now got the bones for all of the allies Alicent'll have for when Aegon takes the throne. Daemon'll show up doing his white boy swagger, and he'll have his dance with Laena and his sexual tension with Rhaenyra, and we'll have Joffrey needle Criston. Also there should be at least one really frosty conversation between Rhaenyra and Alicent, maybe in between the dancing, where Rhaenyra realizes Alicent knows that she lied and Alicent makes it clear, even after the stepdaughter comment, that she's cutting Rhaenyra off.

But remember what I said before about how the Sea Lord of Braavosv is at court with Laena because they're engaged. Well, in the book, Daemon insults him until they have a duel, upon which Daemon kills him and then marries Laena. We're keeping that, and that's the fight at the wedding, but here's the thing: obviously Kingsguard are going to get involved because a foreign ruler and the brother of the King are dueling with swords at a wedding among civilians (including the princess, so we can keep that scene with Harwin because it's fun), and at some point Joffrey can get involved too while Criston's already trying to at least keep people out of the way, and that's when he snaps. Criston still beats Joffrey to death in a rage, but no one notices given what's going on. Then this is where Viserys passes out, shocking everyone, and Daemon gets his kill shot in on the Sea Lord and leaves while everyone's too stunned, and Criston leaves too, horrified but what he's done and how he's completely soiled his cloak, and we get that amazing moment of Laenor wailing over Joffrey's body because that was very affecting. Then we get the wedding, but Viserys isn't there for it cuz he's already passed out and is in the hands of the maesters. We see Alicent save Criston, but this time with the actual conversation involved, have her kneel on the ground and take the knife from him to highlight that Criston thinks she's just the angel brought down to Earth. Have a moment after the wedding where Laenor and his parents decide to sit vigil for Joffrey, and Rhaenyra go to find Alicent but doesn't know where she is (with Criston) and then goes to thank Harwin, to hint at the eventual romance between them. Episode ends with Daemon saddling Caraxes, ready to ride away before someone thinks "hey maybe we should imprison the guy who killed a foreign ally's leader", and then suddenly a great shadow blocks out the sun. Suddenly Vhagar lands in front of him, Laena atop her, and Daemon thinks, oh shit is she gonna try and fight me for killing her betrothed? He's still on the ground, and suddenly Laena climbs down from Vhagar to join him there. She doesn't say anything, but she smiles at him, and Daemon bends to kiss her hand. This is an episode that's scene people throwing their lots one way or another, and now Laena and Daemon are doing it too, to themselves. Interspersed with a moment of Alicent and Rhaenyra at Viserys's sickbed, each on an opposite side and still in their signature colors, the court gathered there too (the Velaryons minus Laenor and Harwin and other Team Blacks behind Rhaenyra, the Hightowers and Lannisters and Criston behind Alicent), Vhagar and Caraxes fly off, almost dancing, into the night. Idk the episode ends with maybe baby Helaena and lil Aegon starting to cry. Part one ending with dragons in the air and children in our ears, to remind us what this show is really going to be: a war of succession that ends with the dragons gone.

Episode Six - Anyway, ten years pass. The first shot isn't Rhaenyra graphically giving birth, cuz I don't want it. Instead, we're gonna see a dragon egg warmed over the fire, and it's gonna be Jacacerys and Lucerys and Laenor waiting in the adjacent chamber, probably having some sort of exposition talk so that we know what's going on and who these kids are. We can hear Rhaenyra doing that screaming birth thing, but one of the first things we see as that her two kids obviously don't look like Laenor, they don't even look like her. We can keep the stuff about Alicent wanting to see the kid and Rhaenyra being petty and bringing her baby herself, and most of the stuff about this episode, not just in KL but also in Pentos with Laena and Daemon. However, we're not going to have anything about Daemon being a distant father (for a reason), or about Daemon regretting marrying Laena. He's a bit directionless, but happy enough, and Rhaena's issues are largely her own because she's a kid and she sees that her twin has something and wants to know why she can't. Since we still need to adhere to stuff we know happened, Laena's still gonna unfortunately die in childbirth, but I'm mixing the show and book versions. We can keep a scene where Daemon refuses a C-section to contrast what happened with Aemma and Viserys, but she still manages to give birth like in the book, though like in the book the baby doesn't survive and she gets childbed fever. And it's in that fever that she goes to Vhagar, weak and knowing she's dying, to ask Vhagar to kill her so she can go out on her own terms. Scene largely plays out the same, but there's more urgency to Daemon when he realizes she's gone, to go along with the fleshed out relationship they have. And when he sees it, he's clearly deeply upset, and we're going to get the scene of him comforting his daughters, since I'm still really annoyed they cut that.

Important changes however, are twofold. For one, it's Lucerys who's going to be showing the most issue with apparently not being Laenor's son, but Harwin's, to give him an emotional through line to work with since we spend the least time with him. For two, the Greens kids. Largely, I'll keep most things the same, that Aegon seems to see himself as an older brother to all of them and helps out with dragon stuff and has a friendship with Rhaenyra's sons (especially Jace, he and Jace should be pretty close), Helaena should still be a dragondreamer, and Aemond should still have been bullied by Aegon and the Velaryons. But. For one, Helaena's getting more personality. She's a dragondreamer, yeah, and I'd keep this coding they're giving her when it comes to autism, but that scene with her and Alicent should have her just kinda babbling and hyperfixating, wanting to talk about her special interest and maybe not necessarily registering Alicent's constant "uh huh" as she tries to follow along, so that we can see more of Helaena's personality, along with her small prophecies later in the scene with regards to Aemond. For two, I'm adding a scene where Aegon goes to Aemond after the Pink Dread thing. He's clearly doing it because Alicent told him to apologize, he's uncomfortable and kinda surly and Aemond's still upset at him, but Aegon tries and does a whole "hey, you'll get a dragon, you can tame a wild one on Dragonstone or something". Neither of them are comfortable in that moment but Aegon is trying to be big brotherly in that way that seems to come more naturally when he's helping the Velaryons, and Aemond's clearly trying to appreciate it. It's so that we can get that same sense that, yeah, these relationships are a bit screwy and these people are all weird but they are still ride or die for each other. The essence of that Alicent line; they can cuff each other as much as they want at home, but they also need to defend each other.

The last scene of the Velaryons should be them preparing to leave for Dragonstone, on top of the world, when they get the twofold news about both Laena and Harwin, interspersed with that scene between Alicent and Larys. And maybe, if I'm allowed to be self indulgent, while at Harrenhal we get a brief, just barely there first glimpse of Alys, for me because I want it since I love her.

Episode Seven - Driftmark I'll play out largely the same, since as much as I hate the choices characters made, it was good storytelling and important anyway. Small changes include Daemon not cracking up at his wife's funeral for no reason, and we're going to hear Vhagar screaming when Aemond gets his eye stabbed out. Some bigger changes are going to include Rhaenyra being more visibly upset that Harwin is dead, along with Lucerys, to tie into his arc about feeling out of place, and that Rhaenyra and Daemon's sex is less about "giving into their ultimate desires" and more an entire mishmash of feelings, desires they've felt and grief for their respective dead loved ones and the two of them seeking power in that moment as well. We're also going to make Jace more of a mediator in that fight between Aemond and the other kids, trying hard to de-escalate it when Baela and Rhaena attack and Luke and Aemond escalating it, and it's Luke who has the knife, not Jace. Jace is still involved, since he also understands the Strong insult, but as the eldest of the four he's the one who most understands that this can turn bad quickly. Additionally, when shit goes down in the throne room, it's largely the same, but while Rhaenys and Corlys protect the Velaryon kids, it's Aegon and Helaena who move to stand in front of Aemond, since he's their baby brother after all and their mother's main protector is trying to get to her and being blocked by Daemon. There's not gonna be a scene between Alicent and Viserys cuz I don't know what that scene was meant to serve.

Lastly, sorry but Laenor needs to die. Like, actually die. It'll foreshadow how ruthless Daemon and Rhaenyra are in their pursuit of power, one of the things that draws them to each other, it gives more weight to Rhaenys and Corlys and their eventual rift, and honestly Laenor's death not being legit is just such a massive plothole. How is Seasmoke free if Laenor isn't actually dead? Did no one ever notice Laenor in the Free Cities ever? Laenor was just fine abandoning his family after they'd already lost Laena? He was fine abandoning the kids he'd raised for ten years? And when he heard about the Dance he never once tried to come back to help them and let them all die, his mother and former wife and the kids they raised? Yeah, no, it doesn't make sense, Rhaenyra and Daemon are just gonna cold blood kill Laenor, and the vibe of the wedding is gonna be less Romance and more about power and old magic, with more emphasis on the blood sacrifices and the flashes to what's happening to Laenor, along with the kids looking weirded out considering that this is way too soon.

Episode Eight - The big thing is that this episode is gonna start with Vaemond's death, and it's going to be much more book accurate. He's going to be talking to Rhaenys about the situation, and then Daemon shows up, in his Crime Hoodie, and kills him (we can keep that he does it from behind so that Vaemond can't fight back). Daemon's spotted leaving by his daughters and we realize that there's a bit of a rift. Both of his daughters live on Driftmark with Rhaenys, and there's clearly love there, though a bit strained because they clearly left due to the swiftness of his marriage to Rhaenyra. On Dragonstone, we see Vaemond's corpse fed to Syrax, and we also see Lucerys kinda being an angry teenager, since his right to Driftmark is being questioned, just a lot more ill at ease than we saw in the show. In contrast, Jacaerys is more comfortable, and instead of learning Valyrian he's teaching it to Aegon and Viserys, who are their normal ages and not little babies because that makes no sense (and Jahaerys and Jahaera and Maelor are all their book ages as well). Rhaenyra's also further along in her preganncy than we see, so that we can see the urgency of why they all go to KL when they get called there to discuss the succession by Otto and Alicent, as well as Vaemond's murder. Meanwhile, in the city, I am keeping Dyana, since as I've said it's a good scene for what it shows us about Alicent and also the world of the court at large, but I'm changing the perpetrator. Instead of Aegon, it's a Hightower guardsman that Alicent has thrown unilaterally in the black cells, to demonstrate to the audience her ultimate power. Aegon's issue is that he is indeed drunk in the middle of the day, and he won't really seem to care about Dyana and what happened even though she's nursemaid to his kids, and that's why Alicent's disappointed in him and where we see that he's a layabout. Aemond's intro is the same, cuz that was good, and I'd also add a scene between Aegon and Helaena with their kids so we can see Aegon's fondness for children (foreshadowing), as well as first hear Helaena's beast beneath the boards prophecy and see more into the dynamics of their marriage, that it's strained because of personalities but they work better when they treat each other as siblings rather than spouses.

There's gonna be more emphasis on Daemon and Viserys, on that relationship, with Rhaenyra and Viserys's more formal, since we nixed any rapprochements in episode 3 and we're not doing the prophecy to bind them together, while leaning more on that idea of Daemon likely loving Viserys the most (and yes keeping the crown thing in the throne room I don't even like Viserys but that scene got to me). The difference is that the issues settled in the throne room aren't just Luke's succession, with Rhaenys being more neutral and just saying she will do what the king wills, which allows the betrothals to move forward (and Luke is the one doing his own arguing, so that we can see more of him and see his anger at having to do this), but also about the Silent Five (for non-book readers, these were five Velaryons who were upset at Vaemond's murder and went to court for justice). One of them likely does that whole "her children are bastards and she is a whore" thing, and in general is way more disrespectful to Rhaenyra than he needs to be, and they're all pressing their own claims, and Viserys does what he does in the book and orders their tongues removed. The feast is also gonna be a mishmash of changes and keeps. For one, the first toaster after Viserys's speech (which doesn't go over as warmly as the Greens kids clearly are angry at him about being a shit dad, even Helaena they should all be sharing a look) is going to be Daemon. Daemon will raise a cup to Viserys, to his brother, call him a good kind as a callback to when he called him a weak king in the first episode. Then that inspires Rhaenyra and Alicent, whose toasts are largely the same. Helaena's toast can be kinda the same, just so we can keep Otto going "good" after she sits down. The key differences are that Jace is going to ask Baela to dance, since they're engaged, and there'll be a scene where Daemon sits himself next to Viserys and the two talk as brothers, on friendly terms once again. Rhaenyra and Alicent share a smile, and then Viserys leaves cuz sick. The Strong toast proceeds largely the same, except what motivates Aemond isn't the pig (Lucerys here is more surly and just generally kinda upset about how he had to defend his claim), but Jace asking Helaena to dance next to provoke Aegon, which sets him off and Aemond does that stand thing that he did earlier in the original ep. And then he makes the excuse for the Strong boys toast, and things go largely the same after that.

And as I've mentioned before, I really hate that Rhaenyra never found out what happened to her mother, so let's change that. After Alicent gives Viserys his medicine, Rhaenyra arrives to say goodbye to him, Alicent and Rhaenyra sharing another silent, almost warm moment before Alicent leaves. And Viserys, addled again, mistakes Rhaenyra for Aemma, and starts going on about how much he missed her, how he hopes she forgives him. Rhaenyra's confused but eventually Viserys's babbling goes on long enough for her to realize what happened, and exactly what he did. And she's horrified, shocked and angry and upset, and tells Viserys she doesn't forgive him, both to hurt him and also because maybe she doesn't, after what she's had to deal with in being the heir to the throne and stealing Alicent and not doing anything about the succession and causing all these problems and also for apparently killing her mother. She leaves then, and Viserys dies alone, the victim of all the awful choices that he made because he was too passive to try his hand at anything. And most importantly, no prophecy, since we nixed that, and no mix-up, he just dies.

Episode Nine - Since there's no prophecy mix-up, Alicent's been involved since the beginning of planning to put Aegon on the throne, and it's clear in the planning stage she wasn't that concerned with what would happen to Rhaenyra after the fall out at Driftmark. But now, she's more aligned with that "what of Rhaenyra" sentiment we see in the show. I'm not changing much for the bulk of the episode, but I am changing the stupid child fighting pits. They exist, yeah, but we don't go there because Aegon likes to watch the fights. We're going there because one of the places where they're held is also the home of a former prostitute who has a bastard of Aegon's (Gaemon perhaps?) and more importantly, while we're there we see Mysaria and we see big, hulking man in a bloody butcher's apron and a huge sword (FORESHADOWING I think we all know who that might be). I might add a scene of the three Green kids after Aegon's found, just a small moment of the three of them, not entirely sure what they'd talk about or if they'd even talk at all instead of just being together, but I want a moment for them. Ideally, I'd make the coronation book accurate, with Sunfyre's flight and Alicent crowning Helaena herself, but as I said I'm making myself stick to the framework of the show, so...

Coronation happens, Rhaenys busts in the through the floor. Everything stays the same up until the roar. After that happens, and Alicent looks up at Rhaenys, they share a glance and maybe...maybe she will...But then we hear a dragon call and descending from the rafters (since we know dragons can make burrows up there, like Viserions did in ADWD) is Sunfyre, flying down to get in front of this hostile dragon and his Aegon, majestic as anything in all his glory, and ready to throw the fuck down. And that's what inspires Rhaenys to leave, realizing this isn't the moment for a fight and she could get trounced, especially as we hear rumbles from within the Dragonpit (Dreamfyre) and a different dragoncall from outside (Vhagar). Rhaenys flies off, and as the doors finally close us to black we hear the sound of all three dragons together, and episode ends.

Episode Ten - Again, another episode where I wouldn't change much. We're making the circumstances of Visenya's birth more book accurate, with Rhaenyra screaming at her to get out and cursing her for a monster, and we'll keep in that scene between Rhaenys and Baela, Baela staying as a matter of principle and because she does love her father and knows that this is the endgame for him. Rhaenys and Corlys also ally with Rhaenyra not because they suddenly prefer her and think she's a good ruler, but because they know that this is the side Rhaena and Baela will choose, and they're the last family they have, the last reminders of their dear children, and so they stay for them, and hope that Rhaenyra knows what she's doing. And since there's no prophecy, that's not what gets Daemon angry enough to get violent, it's specifically that Rhaenyra is thinking of taking Otto's terms and Daemon just goes "no you can't do that to us, to me", all angry like. And he doesn't grab her by the throat, maybe just hard by the arms and shakes her, and Rhaenyra forcefully pushes him and pulls rank on him in that moment, reminding him that, even if she does capitulate, until she does she is Daemon's sworn queen and will not touch her that way. And Daemon's just left kinda gobsmacked, before whirling around and leaving to go to Vermithor, and Rhaenyra takes a vulnerable moment.

I'd also add a scene between Jace and Luke, Jace in this episode I'd keep largely the same, and Luke as well, but with the added surliness and issues he has, and it's Jace who finally snaps him out of it. Jace tells Luke what he himself has always known, that their power comes from their mother, their Queen, and that they're Targaryens before anything else. Jace also says that, if he doesn't have a son, Luke will be his heir, not because he's a Velaryon or a Strong but because he is a Targaryen, Rhaenyra's Targaryen son, Jace's Targaryen brother. And that gives Luke the push he needs to go all in, and then fly to Storm's End after a final conversation with his mother. And Storm's End I'd keep entirely the same, I like all of that and I like how that ends the season and what the means for everyone, especially Aemond going forward.

There's a lot more I would change if I wasn't keeping myself beholden to the episodes and overall structure of the show, as I said I'd probably do less time jumps and do a lot more development of the Strongs and more of the interpersonal relationships between people, and just really slow everything down, to say nothing again of what I actually wanted the show to be about. But all in all, yeah, if I'm beholden to what the show's done and just how would I change and rewrite within those constraints, this is by and large how I would do it.

[gamesception]

Unlike the 'they don't read the playtest feedback' bit, the rumors/leaks here all track and I expect to be basically accurate. Thoughts below cut.

.....

Setting aside for a moment the issue of the OGL and the 3rd Party Publishing community and even the brewing legal battle between Hasbro/WotC and existing VTTs, and just looking at what all of this likely means for the upcoming new edition of D&D as a ttrpg and nothing else, things still kind of look bad.

Weekly digital releases as the primary vector for new game content, with phsyical books as collectors items, ensures that content glut will crush 6e as surely as it did 4e, while those who want to stick to physical rulebooks will have to pay out the nose for them - and if you miss the initial release you may not be able to pick up a supplement at all.

Negative impact on the game even for physical world player groups won't be limited to weekly content glut either, as the VTT focus will ensure that no 1st party rules or mechanics will be published for 6e that can't be fully implemented in the video game space, while WotC's moves to alienate the 3pp community will mean you won't have much in alternative content options for 6e to make up the difference. So you can say goodbye to esoteric, interesting rules and imaginative abilities that let you do things in D&D that just wouldn't be possible in a video game.

If you forget the tabletop roots and judge 6e as a live service online multiplayer game, then things look even worse. The WotC VTT will be unavoidably lacking compared to already established alternatives like Destiny or Genshin or Fortnight or League or WoW or Final Fantasy 14 or Guild Wars 2 - full featured video games - many of them free to play - capable of such modern marvels as real time combat, play sessions demanding less than four hours of your time, and underlying game math more complicated than a middle schooler can do in their head.

Basically, because they're making 'D&D the tabletop game the video game' instead of just a separate D&D video game, it still has to be at least theoretically playable /as/ a pen & paper tabletop game with no computers involved. As such, 6e will have all the constraints of both a video game and a tabletop game, leaving it unable to employ the unique potential of either medium. Even if they weren't also saddling it with weekly content glut, even if they hadn't made the entire player community angry going in, even if they weren't trying to carve out space in an already overcrowded 'live service' market - one where dozens of more promising and better funded offerings from more established publishers get mercilessly culled every year, even if 3rd party publishers and VTTs simply gave up the fight and quietly disappeared into that good night... even if 6e were facing none of the many other fatal roadblocks in its path, this alone would doom the entire 6e project to mediocrity and ultimately failure.

Maybe Hasbro could have turned the D&D brand into a major cash cow, but not by directly monetizing the tabletop game itself as though it were a mobile game. Rather, they needed to treat the ttrpg the way Disney treats Marvel comics or the way Nintendo and the Pokemon Corporation treat the actual main line pokemon video games - as IP farms to generate and test content that then gets spun out into a wider media and merchandising empire. Sadly they've already done enough damage to the brand that I'm not sure they could pull this off now if they wanted to.

6e, despite what I felt was a promising start in the first couple play test documents, pretty much cannot succeed at this point - not the way WotC's execs want it to, but not even as a just a stand alone game in spite of those execs, no matter how skilled and well intentioned the ground level developers are. The way I see it, we're headed towards an even more spectacular failure than 4e. Hopefully it will be quickly followed by a 7e walk back as dramatic as what we saw in 5e, and we can all start joking about odd numbered D&D editions being good and even numbered editions being trash fires.

[softersinned-arc]

@tmiina​​ said: ❝ were that to happen, losses would be incalculable. ❞

The moment she stepped foot on Ravkan soil, Astoria ripped the scrap of ribbon from her hair and tore her curls, matted and tangled as they were, free from their braid. She has not braided her hair since.

          It is a rebellion of the same shade as her insistence that her kefta be more closely fitted. There are practical reasons for it, just as there are practical reasons for her to twist and pin her hair up: less to grab, should someone try, and it makes it harder to pin her down. But mostly, it reminds her that she’s not Fjerdan any longer, and that alone is reason enough. She cannot so easily escape the way Fjerda built her, in her accent and the cadence of her words and her preference for the Fjerdan saints, and so this freedom from who she was, limited though it may be, gives her space enough to build who she is.

          He watches as she trains, sometimes, curious to see how her power will manifest now that she has a real outlet for it; in truth, he watches all of the students, determined to piece together an army that can hold its own, but she is new, and a recent distraction will almost certainly always win out over the familiar. He is the one to recommend that she work with a Heartrender, when he realizes her affinity for blood, and he is the one present when she finally, finally succeeds in making the cadaver’s blood boil. The sight and the smell of it are both gruesome, but she is pleased, and she very nearly feels herself evolving in his estimation.

          She is more than just an idle curiosity, after that.

Her lessons are almost excessively filled with books, and her grasp of the language is enough to get her through most conversation, but trudging through theory takes time. The few unclaimed hours she has, she spends pushing herself, working until she’s hardly able to keep her eyes open and nearly stumbling back to her room.

          It’s nothing grand. A stack of books she’s trying to get through, determined to understand whatever anyone else her age should; a smooth black stone her mother swears was a gift from her father; a few icons of the saints. A muddied cloak in the center of the floor on which her boots sit. It’s still more than she ever remembers having to call her own.

          “We aren’t taught much,” she explained once, though she was sure that he already knew anything she could tell him. “Men say it’s reverence. Women can create life and thus they must be protected. But it means that we can’t defend ourselves, or manage our own finances. We aren’t educated. And it’s rare we work.”

          A woman like her own mother was an anomaly. “She was already ruined, as far as anyone was concerned,” she said another evening, as she carefully re-shelved the books she’d taken out to reference, and he watched her with those dark, dark eyes. “No father or brothers to care for her. No husband or sons. Just a daughter, born out of wedlock, and strange. They all thought the Grim girls were strange. She had a few suitors but all of them irritated her, and so it was just us.”

          Not that it was an easy upbringing. “I don’t think she liked me very much,” she confessed several nights later, when she picked herself up from being knocked down again. He liked to gather information. She could hardly blame him; more often than not she did the same thing. And some part of her knew it was dangerous to give in quite so easily, and turn over quite so much of herself, but she had spent nineteen years alone, and the pleasure of being known, and listened to, and heard, was enough to make her forgo good sense for a few moments. “Her mother was drüsje, too. And her sister. They were killed long before I was born. My grandfather left Fjerda with his son. He wanted to bring my mother with him, but she refused to leave. Sometimes I wondered if she raised me there, in Djerholm no less, to spite me.”

          The corners of his clever mouth quirked up into a small, crooked smile. “Mothers can be difficult,” he said mildly, and she let out a laugh, dusting the back of her kefta clean.

          “Children can be worse,” she answered, and it sounded almost like a threat.

The first time he invited her to remain in his war room, to listen and observe, she thought it was a joke. The third time, she had learned to bite her tongue, and to wait until the others had gone before she asked her questions. If she disagreed with him, she kept it to herself, mostly because it tended to turn out that he was right more often than not.

          Only once did he ask her to speak, and he gestured for her to come closer, tapping one long finger against the map laid out on the table. “Here?” he asked, waiting for her confirmation, and she shook her head, pointed to a spot just east of him.

          “No. Here.”

          And that was that, her contribution completed. She returned to her silence, standing behind him and watching everything with bright and shining eyes, pleased to have done something, anything to help.

          Nineteen years alone had given way to a few with company. She would keep pretending it wasn’t foolish.

Nine years after her arrival at the Little Palace she joins him at the table. Her loose hair is no longer an unexpected sight, and she sits between the Heartrenders and the Tidemakers; either one can claim her, now, should they choose, and she floats between the two, though she keeps that first blue kefta she wore.

          He stands at the table’s head, arms crossed over his chest as he examines the reports laid out before him. “The drüskelle have become bolder,” he says finally. At her side, Ivan nods stiffly, and he casts a sideways glance at her before he answers.

          “We sent scouts across the border to gather intelligence and only two of the four have returned. The mountains are treacherous.”

          “It’s not the mountains,” Astoria insists quietly. “It’s the ice. We need to start sending Tidemakers in with each scouting party if you want any of them to survive.”

          The Etherealki at the table immediately raise their voices in protest. Surely Inferni would be better – no, she’s absolutely right – this isn’t a job for Grisha, it’s a job for the First Army – no, it has to be them, it can’t be anyone else –

          He watches her silently, considering, and he raises a hand as the noise rises. One by one, they all catch sight of him and settle into an uneasy quiet, and once they have, he nods at her, grants her permission to speak.

          “We’re feeding our men to the wolves at this rate. Surviving the Elbows is difficult under the best of circumstances. There’s no reason that we should make this any harder than it already is for them. Send a Tidemaker with your next group. Someone who can handle the snow and the ice. Someone who knows exactly where they’re going.”

          Ivan lets out a quiet snort of laughter. “Like you?” he asks dryly, and Astoria simply nods, but she doesn’t look at him. Her gaze doesn’t move at all.

          The Darkling offers her one of his crooked smiles again and he sets his palms on the table, drumming his fingers against its top. “Sending you in would be tantamount to a declaration of war as far as Brum is concerned. You killed three of his men less than a decade ago and we’ve welcomed you with open arms. If you’re caught, the drüskelle would take it for the insult it is. They would pour over the border to teach me a lesson. Were that to happen, losses would be incalculable.”

          Astoria only shrugs one shoulder, but she presents him with a smile of her own. She shows too many teeth. “Then I won’t be caught”.

          He should know. He’s watched her train. He knows what she can do.

          For a moment he almost seems to soften, though she thinks a man like him is never quite soft. He only appears to be when it serves him. Still, she enjoys the illusion.

          “Send her out with the next band of scouts, then.”

She crossed the border at nineteen in a stolen cloak, with broken bones and bruises and bleeding in the snow. She crosses the border at twenty-eight with a knife in her hands and a dark coat pulled around her shoulders.

          (When she returns home she waits until they’re alone to present him with his gift – a drüskelle cloak, still stained with dried blood, on which he can wipe his boots.)

[nickgerlich]

Wrestle With This Beer

There are about 9200 craft breweries in the US, which collectively have about a 12-13% market share by volume, and about 25% share by revenue. The majority succeed in spite of the fact that the largest brewers—AB InBev and Molson Coors—have a lock on the market, especially when it comes to retail distribution. By virtue of this, they also are able to control the tap handles in many establishments.

Craft brewers are thus faced with numerous challenges, the result being razor-thin margins, and a never ending battle to get their beers on shelves and in bars. It’s made even tougher when you consider that most craft brewers have at least 10 beers in their portfolio. That’s more varietals than any human could ever hope to sample. I’ve got a little more than 4800 on my Untappd account, and that’s since 2010.

So many beers, so little time.So when I read of a new beer, and one backed by a celebrity, I have to wonder about motives, quality, and how they’re going to be successful. The latest example is Hulk Hogan’s Real American Beer, a light lager brew that clocks in at 4.2% ABV (Alcohol By Volume). It is not all that different from Eight Elite Beer from Troy Aikman.

But both Hulk and Troy are leaning on their own celebrity to sell beer, when I am pretty certain that neither have any experience brewing. But celebrity sells, and Hulk has already inked deals to have his beer available at Albertson’s, Safeway, Sam’s Club, and Walmart in 17 states, as well as at Total Wine.

And I was right about Hulk having no experience brewing. His new froth will be contract-brewed by Great Central Brewing Company in Chicago. I am very certain that Troy’s beer is similarly crafted.

But will Hulk’s snarling face and American flags be enough to convince beer drinkers to give this a try? Yes, the breweriana collector in me will gobble up cans and anything else I find bearing the brand name, but I have my doubts it will wind up in my beer fridge on a regular basis. I had a similar result with Troy’s brew.

I do, however, give them some credit for creating new products that go for the middle of the market. American beer tastes run toward light lagers, the kinds of beers you could drink all day without getting too tipsy. Not that I am endorsing such behavior, of course. That’s why we have running water in our houses. It’s much cheaper than canned beverages that are just glorified water anyway.

If Hulk or Troy had tried to launch a hop-forward West Coast IPA with 7.5% ABV, they would get my attention, along with the rest of my fellow beer snobs. But that would seriously limit their reach, because IPAs are an acquired taste, kind of like whiskey and bourbon. And remember, all bourbons are whiskeys, but not the other way around.

But then again, by focusing on the middle, they run the risk of being lost in the shuffle. It would be incumbent upon Hulk and his brewer to make an unforgettable light lager, not one that merely tastes like all the others. I mean, unless Hulk thinks he has so much celebrity power as to be able to steal customers from Coors Light and the rest.

As I noted above, this is no local or regional effort, but one involving 17 states. Does Hulk have an advertising plan ready to go to support such a broad distribution agreement? That’s a lot of beer that could be sitting on shelves, in hopes of customers stumbling upon it and deciding to try something new.

And that’s another thing. The average American beer consumer is not as promiscuous as craft beer drinkers are. The former tend to be brand-loyal, while the latter love to drink around. After all, that is part of the fun of being a craft beer snob. We are loyal to the craft, not one particular brand or brewery.

I am filing this one under novelty product. If Hulk does not have enough money to build his own brewing operations, I suspect he doesn’t have enough to support his product either. I’ll be looking for it, assuming Texas is one of those 17 states. But I won’t be buying more than a six-pack.

Dr “Foam On The Range” Gerlich

Audio Blog

[the-celluloid-correspondent]

BETTER CALL SAUL (SERIES REVIEW)

He wasn't always Saul Goodman, ace attorney for chemist-turned-meth dealer Walter White. Six Years before he begins to represent the most notorious criminal in the state's history, Jimmy McGill is a small-time attorney hustling to make a name for himself. However, after chance encounters and numerous bad decisions, he soon begins to lose himself as he slowly evolves into Saul Goodman.

"I'm gonna be a damn good lawyer, and people are gonna know about it."

If you would have told me a couple of years ago that a spin-off from one of the greatest television series of all time, Breaking Bad, would not only match in quality but exceed it. I would have told you that you were out of your mind. Yet, here we are with Better Call Saul. A heartbreaking series about relationships and how those relationships create us. As we see a character fall from grace and descent into sin caused by both his own ambition and those who constantly look down upon him. It takes the story of Breaking Bad but adds more layers and complexities that no one could have imagined.

We begin the series as we see humble but sleazy lawyer Jimmy McGill in his closet law office, barely getting by as a public defender, getting swept up in the Drug Cartel. As the seasons go by, we watch in horror as we see the moral character of Jimmy McGill slowly deteriorate and turn into Saul Goodman. Yet, unlike Breaking Bad, there is a tragedy in Jimmy's descent to sin. Series Creators Vince Gilligan and Peter Gould add numerous layers of moral ambiguity and complex ethical dilemmas to this character study. These conflicts, with no clear right answer, add to the tragedy of the character of Jimmy McGill and the rest of the ensemble of characters.

We, the audience, are treated to these complex ethical conflicts and character relationships and how our characters are pushed to their physical and moral limits. We watch as the morally righteous Chuck McGill turns Jimmy into Saul Goodman by seeing him as nothing more than a common criminal by sabotaging his career as a lawyer out of jealousy and spite. Furthermore, Chuck and Howard push our moral compass of the show, Kim Wexler, towards criminality and Saul out of spite. Even Nacho, a man wishing to get out of the cartel to pursue an honest life with his father, is pushed to his moral and physical limit by those who treat him as nothing but a toy to play with. These conflicts and many more are the heart of Better Call Saul.

Better Call Saul's story is handled like a big chess game, with each subplot and element being a piece of the board. Each element knows precisely when to make its move as the series slowly progresses to its climax. Like chess, it's a slow burn with bursts of tension littered throughout the game. These bursts can be courtroom debates, relationship fallout, or cartel shootouts. The subplots know exactly when to make their moves as they become some of the most stressful and heartbreaking pieces of television I've ever seen. Another element that adds to the chess game of Better Call Saul is the dialogue.

The dialogue in Better Call Saul is itself a chess game. It's smart and witty as we see the ensemble group of characters climb their way to the top. We see genuine emotional and human connections between our characters. While, at the same time, screwing each other over in the name of power and greed with only a few words. These words will resonate and haunt you for the rest of your existence, such as the following last words from Chuck " Let me put your mind at ease, Jimmy. You don't have to make up with me. We don't have to understand each other. Things are fine the way they are. Hey. I don't want to hurt your feelings...But the truth is you've never mattered all that much to me. "

With the excellent dialogue and characters, an equally outstanding ensemble was needed to bring these characters to life. They succeed by bringing an ensemble worthy of numerous Emmy Awards. Bob Odenkirk returns to his iconic character, yet this time around, he is more than a sleazy, charismatic, and charming lawyer. This time, he portrays a man's slow descent into sin. He masterfully portrays his character's internal moral conflicts perfectly. His performance is heartbreaking and profound. I am amazed to this day that he has not won an Emmy yet for his performance as Jimmy McGill/Saul Goodman. Adding on to our returning cast members, Jonathan Banks adds more layers to his already complex character of Mike Ehrmantrout. This time around, his performance is more personal and intimate as a deadbeat cop. Giancarlo Esposito also returns as drug lord Gus Fring. Like Banks, this performance is more intimate as we see him portray his character in numerous vulnerable moments.

As for our new additions to the Breaking Bad Universe, they make one hell of a landing into this world. Rhea Seehorn is outstanding as Kim Wexler. Her performance is a masterwork of subtle acting as she is able to say so much without saying a single word as her character is thrown into one moral conflict after another. The fact she has only been nominated once for her performances is insane. Tony Dalton's performance as Lalo is easily one of the most terrifying villains I've seen on television. His silly yet homicidal manner is outright terrifying. Michael McKeen is a perfect foil to Jimmy McGill. His morally righteous holier-than-thou persona is perfection. Lastly, Michael Mando is a great addition as we see a character who wants to walk the right path but can't break the cycle. He perfectly portrays the internal conflict of someone in that situation perfectly. Overall, it's an insult from the Television academy that no single actor has won an Emmy for their performance.

Like Breaking Bad, the series relies on visual metaphors and storytelling to further add meaning to their story. However, they take it to the next level with Better Call Saul. The series' visual storytelling is a masterwork of mise-en-scene and cinematography. Ranging from using ice cream on the ground with ants devouring it to conveying Jimmy's loss of innocents as he dives into the world of the Cartel to the mirror of the two personalities of Jimmy McGill, the series knows how to use its visuals. The needle drops and use of score perfectly complement the story of Better Call Saul. Even subtle elements such as costume design and production design perfectly blend into the visual storytelling techniques the series uses to show the transformation of Jimmy McGill into Saul Goodman.

Overall, Better Call Saul is one of the best television series ever made. Not only does it exceeds its predecessor, but manages to improve the universe that its set within. It is a masterwork of character study, acting, and mise-en-scene. The fact that the Television Academy has not awarded this series a single Emmy award is insulting to the award. It's tragic that this year's Emmy is the series' last chance to earn an Emmy, but it will most likely be snubbed yet again because it's a prequel.

My Rating: A+

[christ2525]

Queen of Swords Reversal Meaning

Queen of Swords (Reversed) Reversed Queen of Swords tarot card meaning Queen of Swords Queen of Swords Reversal Meaning - In a broader sense, the Queen of Swords reversed might stand for failing to forgive the past and using it as a club to beat others around you. The woman in your life who is older or more experienced may try to bring you down by spreading unfavourable rumors about you or being overly critical of you, according to this card. It may also be a sign that you lack the independence and freedom you want or that you feel reliant on others. This card also stands for infertility and having a distant or chilly mother or a wicked stepmother.

A mature female or feminine person who is typically not a good character because she can be bitter, cruel, cold, unforgiving, and pessimistic is represented by the reversed Queen of Swords. She is a woman who may have experienced pain or loss firsthand and uses that as an excuse to hold others back. She has a cruel, vindictive, and capricious side. She may lack empathy for others and might be obsessive and domineering. She has a tendency to be too critical or harsh toward those around her, which can make her appear nasty and depressing when viewed in the other direction. The reversed card also says the person might also be a liar and probably be deceitful as well.

Love and Relationship (Reversed) The Queen of Swords reversed in a love tarot card reading can suggest that you are dating someone who exemplifies the traits listed in the previous section, or that you are exhibiting some of those traits in your romantic relationships. The Queen of Swords could just stand in for a woman who is in a committed relationship but fears being alone or who believes her freedom is overly constrained. However, if this card depicts your spouse, it may be a warning of a dishonest, deceitful, or cunning lady.

The Queen of Swords reversed, on the other hand, might also portend the possibility of interference and conflict in your relationship from a sour or spiteful older woman. This Minor Arcana card may also be trying to warn you that you (or your spouse) are holding back past hurts because doing so prevents you from being the loving, devoted, and caring partner you can be. For your relationship to succeed, you must resolve these problems. This also suggests that you refrain from being too harsh with your lover. Give them a break—including you—because nobody is perfect.

Finance (Reversed) Getting the Queen of Swords during the finance reading suggests that an older lady who is dishonest or malevolent may give you lousy financial advise, so take caution. The miscommunication or poor communication indicated by this card can wind up costing you money. Poor financial communication may have had implications that you are currently experiencing. It's also possible that you don't understand your own financial condition very well. You might have donated or spent more than you could truly afford, or you might have lent money to a friend or a member of your family who hasn't returned it.

The next time, make sure you're more explicit about your personal limitations and restrictions. Moreover, the predictions foretells that getting this card reversed could be an indication that you might confront some ups and downs in your current savings and accumulation. Even if you plan to budget, it might become hard for you to manage things right. Therefore, it would be best for the natives to indulge themselves with someone who possesses a better idea of how to manage things financially. Ahead, this card from the Suit of Swords is a clear indication that good things shall come soon and you must hang in there and hope for the best.

Career (Reversed) Reversed, the Queen of Swords might represent a harsh critic who intentionally causes suffering via her words and intelligence. She sometimes uses harsh language and even outright cruelty while expressing herself. If this describes you, you might need to improve your communication skills. Can you be sincere and considerate of another person's sentiments at the same time? Can you handle your project-related concerns without assigning blame? By aiding others in better understanding your views, they might even serve your interests. Try not to be overly pessimistic.

The Queen of Swords reversed can symbolise an older woman at work who is extremely critical or harsh with you or may spread unfavourable rumours about you in a career tarot card reading. This Minor Arcana card, however, might also indicate communication problems where you might not be expressing yourself well. Avoid coming out as unfavourable, severe, pessimistic, or rude while interacting with coworkers or business partners. They say you can catch more flies with honey.

Health (Reversed) The Queen of Swords reversed in a health Tarot spread denotes that your health is currently a bit of a mess right now. This could manifest as a failure to keep appointments, take medications as prescribed, or adhere to treatment regimens. Refocus on your health, and visit your doctor if you are concerned that the mental fuzziness you are feeling may be an indication of a more serious problem. Infertility or problems with fertility can also be symbolised by this card.

Ahead, this card represents a full detachment from intuition and feelings in favour of logical reasoning. On the other hand, it can indicate that all rational reasoning has been replaced by relying solely on feelings and instincts. You require harmony in your mind, heart, and spirit. Avoid going too far because doing so can make you ungrounded and vulnerable. It can also be a sign that you've been utterly numbed and emotionally cut off by past trauma. To grow and move on, you must give yourself permission to grieve and let go of the hurt from your past.

Queen of Swords: One Card Pull When you need concise, to-the-point solutions, only one card is pulled. It is used for situations where you need definite, Yes-or-No replies. Therefore, getting a one-card pull is usually beneficial if you are going through a difficult scenario or are trapped in a bind. After the card has been shuffled, you can pick one from the deck. You will receive the appropriate response to your query. The outcomes of the Queen of Swords card pull are as follows:

Upright Position: Tarot cards like the Queen of Swords answer your question as No. The Queen of Swords is a symbol for an intelligent, self-assured lady who is strong and mature. If you pull this card during your reading, it means that the insight you've been seeking will come to you shortly.

Reversed Position: The Queen of Swords can still be read as a Yes to your query when it is reversed, but this response comes with a warning. The reversed version of this card is a warning to be watchful of your own and other people's motives. They may not be as truthful as they ought to be.

[imobileculture]

Using the Full Potential of the iPhone 11 64GB: A Review

In the steadily advancing universe of cell phones, Apple has reliably set the bar high with its creative gadgets. Among their prominent deliveries, the iPhone 11, outfitted with 64GB of stockpiling, accumulated huge consideration. Loaded with highlights, execution updates, and an alluring plan, the iPhone 11 64GB immediately turned into a fan #1. In this survey, we dive into the capacities, client experience, and by and large worth presented by this notable gadget.

Plan and Show: The iPhone 11 games a smooth and premium plan, with a glass front and back that flawlessly mix into an aluminum outline. It flaunts a 6.1-inch Fluid Retina HD show that grandstands lively varieties and sharp subtleties, making it ideal for interactive media utilization, gaming, and ordinary undertakings. In spite of coming up short on the OLED innovation found in its higher-level partners, the iPhone 11's presentation is as yet amazing, giving a vivid visual encounter.

Execution and Programming: In the engine, the iPhone 11 is controlled by Apple's A13 Bionic chip, a monster with regards to handling power. The gadget handles requesting assignments easily, guaranteeing quick application dispatches, smooth performing various tasks, and consistent gaming encounters. The mix of the A13 chip and iOS 14 (upgradable to more up to date forms) makes the iPhone 11 an effective and easy to understand gadget, with admittance to the most recent elements and ordinary programming refreshes.

Camera Capacities: One of the champion highlights of the iPhone 11 is its camera framework. It includes a double camera arrangement, involving a 12-megapixel wide focal point and a 12-megapixel super wide focal point. This setup permits clients to catch staggering photographs with excellent detail and dynamic tones. The Night mode highlight improves low-light photography, conveying amazing outcomes even in faintly lit conditions. Furthermore, the gadget offers 4K video recording abilities, complete with true to life adjustment and expanded unique reach.

Battery Duration: The iPhone 11 succeeds in battery execution, giving the entire day utilization on a solitary charge. With common use, clients can serenely go during a time of perusing, streaming, and application use without stressing over running out of force. This makes the gadget a dependable ally for people who intensely depend on their cell phones over the course of the day.

Capacity Limit: The iPhone 11 64GB variation offers a good measure of capacity for most clients. It gives more than adequate space to store a significant number of photographs, recordings, applications, and reports. In any case, for power clients or those with broad media libraries, the 64GB limit could feel restricting. In such cases, it could merit considering the higher-limit choices accessible for the iPhone 11.

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Iphone 11 64gb Review