#it’s a loss of what was and how that influences its own unique dynamic different from df & yx

[artheresy]

My dynamic for Dan Feng & Yingxing

Hi hello, I said I would finally post this after long debating over if I show it here first or in my fic first, but fuck it. That’s a long ways away and I need to rant about them because they take up too much space in my brain.

So this post, isn’t me claiming that this is the canon dynamic between Dan Feng and Yingxing or that this is the only right one or whatever. This is purely my own view of what I think their dynamic would be based upon how I see their individual characters with the little bits and crumbs we’ve been given so far in HSR. I can’t go over every single aspect of them here because I just purely can’t think of every single thing so this is primarily going to be talking about the fundamental key parts of my interpretation of their dynamic! If that makes sense, I’ll hop right in

Be warned, this is pretty fucking long, I think so much about them it actually hurts me physically, like it’s painful. This is me just letting my autism run while talking about two of my favorites, so be cautious… sorry in advance if some areas turn into tangents, again I think about them so much its actually too much I think about them too much

AGAIN, THIS IS MY VIEW OF THEM!! Based on the characterization we have so far which isn’t a whole bunch, this is my interpretation of their relationship based on how I view the bits of characterization we have and what we know about them

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Okay so one of the biggest and most fundamental parts that influences how I view their dynamic and the course of their relationship is looking at how exactly and why exactly I think they became close. Jingliu in her companion quest says:

I think this statement she makes “to see someone so arrogant get along with someone so proud” is actually the foundation of why they get close and their dynamic works rather than an obstacle that they somehow overcome. Specifically, I think that it was Yingxing’s arrogance (partially genuine and partially a habit born for the sake of his own survival) that allowed the two of them to get close. When we see lines from Yingxing via Dan Heng’s memories or via the Mirage Echo, though he uses Dan Feng’s proper title, he seems to talk rather casually to him. Even in a tense situation as secretly being in Scalegorge Waterscape for research would seem, Yingxing still is very lighthearted and in some languages, even laughs a little as he banters with Dan Feng. I have my own headcanons for why he has this casualness to him, but either way it’s a genuine part of him and a part of his canon characterization. I think that casualness, a product of his confidence/arrogance and maybe a little of his obliviousness as well, allows for them to get close. It evens the playing field, Yingxing sees Dan Feng as his equal, as a person, as Dan Feng rather than as his position of Imbibitor Lunae High Elder of the Vidyadhara. I could speculate all day whether or not other people had treated him similarly before and he shot it down (there’s a lot of the actual evolution of the dynamic that I will write I swear), but I think there was something very unique in that casualness that Dan Feng might not have experienced before, not from anyone else, not from the other members of the HCQ he had met before. Perhaps even Yingxing’s background would play a part in how shocked by his behavior DF is. Either way, it is that casualness, that equalness unlike he had ever experienced before, mixed with all of Yingxing’s other characteristics such as his cheeky nature that manages to quickly break down Dan Feng’s walls and make him feel compelled to grow closer to YX. Whether their first meeting was via Baiheng and Jingliu or a chance encounter before they eventually join the HCQ, Dan Feng is coming away from that shell shocked by the sheer audacity of this short life species, feelings he first interprets as offense before he realizes he’s actually amused/interest in him, and Yingxing walking away like “Huh? That was the High Elder I guess. Seems nice, a bit stiff tho!” There is no worship of Dan Feng from his side for any reason, not for his skills, not for his position, not even as an unattainable ethereal beauty situation. He views him as just another person, an equal, and no part of him views DF in this cocky “he’s not unattainable bc I already have him” kind of way because…

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Another fundamental in my personal interpretation of their relationship is that Yingxing doesn’t truly seek anything from Dan Feng nor does he ever necessarily try to pursue him. And all of this isn’t in an insecure “We’d never work” kind of product of overthinking way of choosing not to pursue him. Rather, it’s primarily because Yingxing doesn’t feel the need to. He doesn’t need his romantic feelinhs to be satisfied or fulfilled especially with the difference in their lifespans. As long as he can be by his side and stay close with him until his time comes to an end, Yingxing is truly perfectly content with that. A lot of this additionally stems from a certain place. That being that after he gets to know Dan Feng better and learns of the sheer pressure he endures due to his position, the choices he feels he’s forced into, the level of restriction, even with all of the influence Dan Feng still has, he doesn’t want to be an added source of pressuring or discomfort. To sum it up, Yingxing leaves the ball in Dan Feng’s court so he can act as he sees fit when he feels like it. There’s an added layer to this also of Yingxing not wanting to ruin the current state of their dynamic (a topic I’ll get into more). In the end, this is just yet another part of Yingxing that utterly pulls Dan Feng in. He is very used to being distrusting of others and refusing to get close to many people, primarily out of wariness of the potential ulterior motives people may have when befriending him. Contrastly, Yingxing doesn’t expect or even want anything from Dan Feng even the closer they get. Dan Feng can see that, and it makes him trust in Yingxing. Makes him trust to the point that he feels comfortable enough to make attempts pursuing Yingxing himself rather than meeting at a stalemate, refusing to go after a man Dan Feng knows won’t chase him as to not risk pressuring him and bc he’s fine with how things are. That isn’t to say though that Yingxing won’t respond to any attempts Dan Feng makes first though, because he absolutely will. Well… that is if he can recognize any attempts from Dan Feng at all because he can be rather oblivious in the face of people making advances at him-

An added part to all of this is that Yingxing with the way he acts, both in general and in this specific regard, ends up being part of what helps influence and encourage Dan Feng to do more to take what he wants, actually follow his desires in certain aspects rather than keeping up his stiff outer image and denying himself of everything for that sake of his position. The HCQ in general all have influence helping Dan Feng open up more like this, seizing things instead of either waiting for things on a platter or never having them. However, Yingxing's bold nature is definitely the strongest factor as he ends up helping Dan Feng learn to identify what he wants for himself. Whether that want is something as complex as moving forward in a relationship when not only has Dan Feng had very little experience with close connections to others, but also is so accustomed to the stillness of long life, or something as simple as taking breaks and time to himself to live and breathe and experience life moving around him. It's through Yingxing (and the rest of the HCQ) that Dan Feng learns to be more selfish. It's through all of their care and kindness and love that Dan Feng learns that he too is not merely a pillar to stand tall for his people. That he is a person with needs and wants, and it is perfectly fine to be selfish and prioritize yourself at times.

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So that previous section got into a little bit of Dan Feng’s trust in Yingxing, but what about Yingxing’s side of things? What about his trust in Dan Feng? I dunno what it is about him, but I feel like Dan Feng is the kind of person who can hear some of the deepest confessions and see the barest parts of the heart of someone he cares about and not treat them any differently like as if they are fragile y’know. Like Dan Feng is the person who Yingxing, out of all the HCQ, can truly confide in because he knows he won’t be seen different or treated in a drastically different way. Ultimately, Jingliu isn’t someone he feels he can go to for super emotional things which she likely herself knows she wouldn’t be able to help much with, Jing Yuan and him have a very light hearted joking dynamic that makes changing the tone and breaking the mood for a deep heart to heart much harder so he doesn’t often do it, and Baiheng… well, deep down Baiheng still sees Yingxing as that disheartened little boy, who had lost everything and was being told that there’s nothing he could do about it given his lifespan, that he couldn’t avenge what he had lost. If Yingxing were to tell her how he honestly truly feels about everything in his life, the traumas he still hadn’t overcome or the thoughts that plague him every day, he knows she would end up fretting over him, mother hen style. Being overly cautious as if his mind is made of glass, and as much as he loves her, he hates the idea of her changing how she treats him because of just how much she cares for him in turn.

(It’s a trait I see Baiheng having as to it being an obstacle in her other relationships like with Yingxing but works well in her relationship with Jingliu, caring for her and treating her softly, not underestimating her, in a way that others are too afraid to treat the unwavering, ice cold Sword champion! Matching DF and YX’s whole situation with his arrogance and casualness)

In the end, Yingxing feels like Dan Feng is the only one he can truly trust with the deepest corners of his heart and mind without worrying of Dan Feng either judging him or suddenly treating him like a fragile piece of porcelain. Even if he were to take note of something Yingxing told him and do something in response perhaps to ease his worries or heart ache, it would never be something out of pity or thinking Yingxing to be unable to take care of himself. Because ultimately, that’s where this all stems for Yingxing. He has lived so much of his life underestimated, whether having his skills and abilities questioned for being a short life species or sometimes intentionally sometimes unintentionally having his ability to take care of himself questioned like he needs a caretaker. Something that again is partially due to again to being a short life species. What Yingxing likes about Dan Feng is from the moment he met him, he doesn’t feel as if he is being questioned or underestimated. Dan Feng makes him feel as if he is truly seen as an equal, even with their distinct difference in power. It’s a treatment from Dan Feng that serves as a response to Yingxing’s own treatment of Dan Feng, his casualness to the other man making it clear he sees him as an equal as well.

And that? Well that is perhaps the most important part of the dynamic. In canon, they both have struggles with how they are seen and treated by others based on preconceived notions about their status. Dan Feng being in a way dehumanized as he is put up on a pedestal for being an incarnation of Imbibitor Lunae, for being the High Elder of the Vidyadhara, a position that he wants to escape because of the sheer loss of identity just a role brings. Yingxing being underestimated from the moment he stepped onto the Xianzhou because he wasn’t a long life species to the point that the other celestial masters on the Zhuming borderline bullied him into doubting himself, thinking a lot about his own death, and as a young boy (not even a teen yet), literally saying “Maybe I’ll never live to see the day my parents are avenged.” In my view of them, for them to truly be as close as they are established in canon, I think that from the start of their dynamic they make it very clear they see the other as a genuine and true equal in a way that other people haven’t or perhaps, can’t fully.

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I said this before my in Aurizzm Yingxing post, but yeah, I don’t think Dan Feng or Yingxing would have come into a romantic relationship with each other with any experience at all. I know Dan Feng with no experience is a very accepted idea, and I agree with it very much given his isolated position and his proud attitude and that 100% plays into my view of their dynamic. I also however, firmly believe Yingxing came in without any romantic relationship experience too. The difference here ends up being in how inexperienced each of them are. Yingxing has had a lot more friendship experience, and he’s experienced crushes before which is how he can identify his own romantic feelings better than Dan Feng. But he’s never actually been in any relationship. He’s never had the time, he’s got his own goals in mind while being painfully aware he’s on a time limit, and let’s be real like I said before, This Man is married to his Forge. Meanwhile, Dan Feng truly hasn’t had any friendships prior to the HCQ. Knowing him and her too, I firmly believe Dan Feng and Jingliu’s relationship for example, was for maybe a few decades, maybe a literal century, just them sparring without words from time to time. So Dan Feng not only going in with no friendship experience, but I think that man also is having to recognize some new emotions and feelings he’s never experienced nor can put words to. So Dan Feng’s disaster comes in being painful aware of the presence and intensity of his own feelings… he just doesn’t have the words nor experience to recognize exactly what those feelings are. It’s an absolute disaster on all fronts, somebody pray for the HCQ who unfortunately have to experience all of this.

There’s an added layer I want to go more into looking back at the first part of why their relationship works and the thing I said about the Baiheng trait. As we saw with Jingliu admitting to her feelings towards his attitude as a child, she wasn’t… she wasn’t really a fan so to say of his arrogance. And given y’know, what we see of the people of the Luofu, I don’t doubt many people have similar reactions. Part of Yingxing’s limited experience comes not only from his own decision to not pursue anything, I think part of it comes from being for whatever reason feeling distaste for him. Whether it’s their own prejudices against Outworlders, or his bold attitude and lack of formality that makes any interest they had in him end up flying away. Which ugh, makes it even more special that this attitude of his, born out of necessity for his own survival on the Xianzhou and for his ability to move forward in his craftsmanship after all he went through, which has pushed so many people away, ends up being the exact thing that allows him to get close to Dan Feng. IT’s UGGGHHH Sorry, but I just need to scream. I NEED TO SCREAM ABOUT THEM OKAY?? THEY TAKE UP TOO MUCH SPACE IN MY BRAIN, I CAN’T HAVE A SINGLE MOMENT OF REST BECAUSE OF THEM

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Again, this is my view of them and their dynamic based upon what we have been given in game so far, the crumbs of characterization we have. God I hope we get more. This isn’t me saying this view of them is canon or anything, this is just how I view them. This is the dynamic and thoughts that have grown like mold in my head from thinking about them WAY too much.

I have so much more I could talk about, certain specific things or things that don’t even immediately come to mind right now. If you want to ask more about how I view them or have some topic or aspect of them in mind, please hit me up. Either send something to my inbox or bust your way into my dms to talk about them. I love them so much. They mean the world to me.

And honestly? I could just make two whole separate posts also just about how I specifically characterize each of them, but I think I need to let my brain rest a bit.

And don’t think about this dynamic specifically in reference to how it could reflect on their current selves because you might just end up hurting yourself like I have. GOD I HATE THEM

[fmhiphop]

Educational Equality For The Deaf: Why Aren't Politicians Advocating For Our Students?

Deaf and hard-of-hearing children are essential components of our diverse school systems. They bring an exceptional wealth of unique perspectives, talents, and abilities that enhance the educational experience for all students. Nevertheless, despite their critical role in the school community, these children often encounter challenges and obstacles that their hearing peers do not. Recognizing that these children are just as important as any other student and deserve equal opportunities to learn and flourish is vital. However, it is worrisome to witness a lack of attention and action from lawmakers to ensure that specialized schools for deaf and hard-of-hearing children continue to exist. So, let's delve deeper into this matter, explore its implications and discover potential solutions. Rachel Zemach's Memoir "The Butterfly Cage" Have you ever wondered why the education of hard-of-hearing children seems to take a backseat to those in power? It's a concerning trend that appears to persist despite equal access to education being a protected right. The recent passage of the Arizona School for the Deaf and Blind bill extension amid anger and hostility is just one example. Yet, some refuse to let this injustice go unchallenged. Rachel Zemach, a Deaf educator, writer, and passionate activist for Deaf and hard-of-hearing children and adults, shares her story in an upcoming memoir titled "The Butterfly Cage." Through first-hand accounts from her life as a Deaf person, Rachel delves into the differences in thinking between two major and often conflicting viewpoints on how to educate Deaf children. She also explores how she witnessed the impact of these two different approaches on students. So, what can we learn from Rachel's experiences and insights? What changes must be made to ensure equal access to education for all hard-of-hearing children? The Urgency Of Preserving Deaf Culture And Education Moreover, Zemach shares her perspective on the challenges facing the Deaf community and their education, particularly in light of potential school closures. Drawing from her own experiences as a Deaf educator, she recalls teaching at a renowned Deaf school in Fremont, CA, where she faced a comparable situation. Despite the school's profound influence on students, with its exceptional language education and Deaf culture, the administration and staff were fearful of its possible shutdown. However, Zemach firmly believes that the Deaf community can overcome these challenges by leveraging their collective voice and advocating for their needs. Unfortunately, many schools for the deaf throughout the United States face a dire risk of closure. This is mainly due to the increasing number of mainstreamed students and cost-saving measures in schools. To heighten the situation, hearing politicians and administrators lacking background knowledge in Deaf education or personal experience of hearing loss tend to make decisions about what is best for hard-of-hearing children. However, Rachel stresses the importance of preserving the unique educational experiences and cultural settings that Deaf schools offer. These schools have the potential to significantly transform the lives of hard-of-hearing students. Empowering Educators To Foster Inclusive Learning Environments For Hearing-Impaired Students. Furthermore, Zemach is a passionate believer in the capabilities of our educators when addressing the unique cultural dynamics of deafness. She suggests that we assign them the responsibility and authority to lead the way in catering to the diverse needs of Deaf students. By building positive relationships between deaf and hearing individuals and creating an inclusive environment for all, educators can have an incredible impact on the lives of the students they teach. So, why not celebrate and appreciate the invaluable contributions of our educators and allow them the freedom to mold a brighter future for our Deaf youth? The journey towards change must begin with those with the deepest understanding of the issues at hand. Can we afford to overlook their voices and insights? Transformative Power Of Deaf Education: One Student's Journey From Isolation To Success Furthermore, it's worth noting that the transition to a Deaf school had a profound impact on the lives of Zemach's students. Within a few months, they were able to shed their social isolation, classroom shyness, and playground ridicule and become academically, emotionally, and socially successful. In fact, they were able to make many friends, learn American Sign Language (ASL), and embrace their proud Deaf identity. In addition to Zemach's students, Rachel shares the story of a fifth-grade student who had a difficult time in a mainstream school. Despite severe loneliness and even contemplating taking her own life, this student was able to turn her life around after transitioning to a Deaf school. She received an award and formed deep and meaningful connections with her peers within the close-knit Deaf community. The Fight To Save Schools For The Hard Of Hearing The all-Deaf environment played a critical role in their success. In that setting, the children feel normal, communicate easily with their teachers and friends via ASL, and have a positive view of their deafness, which fosters their development. The politicians debating the fate of ASDB fail to grasp how completely different the Deaf community's needs are from those of other groups. Their decisions could force the Deaf community to fight again to keep their schools open, which are the bedrock of their society. As Zemach says, "there is simply nothing like an all-Deaf environment." Written by Nikiya Biggs | Twitter | LinkedIn | Instagram Follow and like FMHipHop on Instagram, Spotify, Twitter, Facebook, and YouTube! Read the full article

[theplaycomputer]

Family Creativity: How it helps kids in STEM Education

Family Creativity: How it helps kids in STEM Education

Realising family as a cultivator of creativity and giftedness can go a long way to enhance your kid’s performance in STEM education, coding for kids, and robotics for kids.

Family creativity is concerned with how the personal lives of the family and its members are expressed as they change, develop, and evolve. It is an adaptation in response to the demand for fresh approaches to being, connecting, and organising.

Family creativity differs from other creative, collaborative performances in the same way as creativity differs from person to person and between children and adults. The family can act as an organizer, concentrating and mobilizing its resources and the social environment to foster its members’ talents, gifts, and creativity.

Family as a Creative System

The dynamics of the creative family are unique in a way that helps the system foster creativity as one of its qualities. Therefore, the relationships and exchanges inside the family system and between the system and its environment produce creativity.

Each family member shapes the family environment through curiosity, perseverance, passion and exploration.

You can have a mutually influencing dynamic with your kid. Parents can influence their children by providing them exposure to varied experiences and appreciating and reinforcing positive attitudes. Similarly, kids can also affect parents when parents look for new experiences to support the interests of their children.

A mutually beneficial relationship will also improve student’s learning in subjects of science, technology, engineering, and mathematics, robotics classes for kids and

Creative Family: What does it mean

Creative families provide greater learning opportunities, high but reasonable expectations, more significant support and a wealth of resources and stimulation.

Responsiveness, spontaneity, genuineness, and sensitivity define daily interactions between parents and kids and the transactional patterns between the adults. Moreover, the family is organized and structured in a way that encourages creative expression. It provides individual-specific emotional and environmental support to its members.

In a creative family, conflict and issues are viewed as chances to develop and use problem-solving abilities to develop innovative solutions. The family maintains common interests that foster the values of achievement, self-discipline, the significance of doing one’s best, and satisfaction in accomplishment while encouraging members to overcome problems on their own. Talking aloud about problem-solving techniques helps people expose their metacognitive processes.

Family rituals help improve the involvement among members, fortify bonds and improve communication between the members.

When dealing with change or stress, creative, well-functioning families frequently exhibit high levels of adaptation, which can involve alterations to power structures and role relationships.

Being an open, dynamic, and interactive structure, the creative family influences the growth of its members and is, in turn, influenced by the external environment.

Family Factors Impacting Creativity

Family background has often been seen as an essential variable impacting creativity.

Families impact their members’ creative potential by limiting or enhancing their informal learning possibilities. But a person’s responses to these elements also moderate the influence of the family.

One family factor known to affect creativity is the orphanhood effect. Studies on eminent creative individuals had found that nearly one-half to one-third had lost a parent by 21 years of age. Theorists contend that losing a parent at such a vulnerable emotional stage causes a person to make up for it later in life with greater performance levels. Another idea is that the loss causes a child to live a more unusual life, which becomes the standard for the rest of their lives.

Some people think that if a person is raised in a stable, happy home, they may have it “too good” to be motivated to achieve greatness. However, there is no conclusive evidence for the same. The assumption that creative people experience early trauma or grow up on the periphery of society is supported by particular research.

Another factor that impacts kids’ creativity is the birth rank order effect. Some early studies found a higher presence of firstborns in the STEM field, indicating they are more creative. However, subsequent research has negated these claims.

How can parents create the right family environment?

In creative families, parents want to create the right learning environment which can foster the full development of the creative kids of the family. The kids may be in elementary school or high school but the right environment will be conducive to learn robotics and coding skills.

They achieve this through fostering imaginative play and self-expression, encouraging engaging encounters that suitably stimulate creativity and talent, and removing gendered stereotypes from opportunities to play with and handle toys or construction materials.

Such environments tend to be child-centred, characterised by warmth, honesty, affection and respect. In such families, parents devote time to engaging kids in various activities to develop their talents. Such parents played and worked together with kids and, at the same time, also provided opportunities to develop independence.

It is essential to provide the kids with a balance to manage dialectical tensions as adults stemming from a paradoxical personality that generates creative energy. If kids are allowed to experiment, it must be balanced with appropriate feedback, freedom with structure, and high achievement with the pleasure of thriving to meet a challenge irrespective of the result.

Similarly, providing the kids with stable family environments is essential. In the case of low-income lone-parent families, this could imply a solid extended family network or a steady marriage. These families have created empowering family cultures that are distinguished by adaptable, robust, and cohesive relationships.

Children are a source of energy, excitement, and tenacity, but they lack access to the materials and opportunities needed to cultivate creativity. Parents are in charge of organizing and supervising the use of these resources. Parents accomplish this by giving the gifted child more time.

They might develop intimate ties with external groups or people. It may also entail moving the family closer to a facility important for nurturing a child’s talent.

Finally, it will come down to the value system the family subscribes to. Do a family’s values emphasize creativity or put a strong emphasis on practicality? Does the family’s rejection of innovation reflect their adherence to traditional values? Does the family view creative endeavors as low-status or unprofitable?

Families with creative spirits stress the value of working hard for one’s enjoyment and happiness. Each attempt leads to another in family systems because creativity and risk-taking go hand in hand instead of focusing only on the result.

The critical distinction between practical and creative families and those with disputes is the level of stress placed on the child’s performance: performance at all costs versus being loved regardless of performance.

For high IQ people, values that improve development include supportive personal connections, high expectations for education and accomplishment, and valuing stimulating intellectual and cultural activities. On the other hand, independence, support for goal fulfilment, unconventionality, and openness to different ways of expressing thoughts and feelings are values that boost growth for the creatively inclined.

This article was first published here: https://playcomputer.org/family-creativity-how-it-helps-kids-in-stem-education/

Play Computer (Pee Cee) is India’s First Open Source Programmable Electronic Platform specially designed for kids. It is designed to promote STEM Education & Learning for Kids in a fun way.

With this pocket ninja, kids learn about Robotics, Coding, AI, and IoT through practical projects. Kids are not only learners but also become creators and problem solvers who are not afraid to test their creativity and try something new.

[farnoush-farsiar8dddbb11]

Farnoush Farsiar claims Brexit has benefited the UK financial market despite grim forecasts

Farnoush Farsiar, formerly senior director at Emirates NBD, and founder of Plato Capital is passionate about Brexit. By the wealth of her experience in finance She can offer unique insight. Farnoush Farsiar Farnoush has published two pieces on BrexitCentral in the year 2019. Today it appears that her predictions were accurate. Farnoush Farsiar Re-visiting Farnoush's forecast regarding Brexit Farnoush Farsiar believes that a departure from the European Union would liberate the British economy, and the finance market, from the burdensome rules. It would allow London to reach its full potential. Financial sector operations under MiFID II (Financial Instruments Directive), were made difficult because of regulatory intrusion. Only dynamic regulations can ensure that you are in the game. Farsiar declared, "London is the headquarters for the largest european financial institutions." This can have an impact on the economy. If given the chance to develop, Britain's financial services industry could be the most perfect version of its self. British financial markets will be impacted by the UK's departure from the European Union and its conditions. They will be independent again and they won't longer be in a position to blame Brussels. British policy must include lower corporate taxes and the removal of EU legislation. This would help foreign investors as well as stabilize British market for financial instruments. What was UK Market Forecast before Brexit According to an Deloitte report according to a Deloitte report, the UK attracted more Foreign Direct Investment between 2015 and 2018 than any other European country. The study found that London was a more sought-after location for investment in the UK over New York. It's one of the few truly international and global cities, and is being chained down by the rules of the European Union that don't correspond. One of these rules is applied in the stock market. Restricting high-frequency trading or other financial services can reduce efficiency in the whole market. A high frequency trading system that is not fast enough speed will lead to regular trading, which will diminish the industry's excellence. In contrast, Brexit could allow Britain to provide investors with lower options. London's capability to be competitive was hampered by anti-commerce laws. The industry repeatedly warned over the huge costs for small- and medium-sized firms. Andrew Bailey is the CEO of Financial Conduct Authority. He sees "the future of financial regulation of conduct". Bailey explained how Britain could be compared to other governments around the world. The idea he had to create "the future of financial regulation" was to implement an "outcome directed" and "lower burden" strategy. Brexit could be the opportunity for the UK to increase its global influence on finance, as well as to remove all restrictions from the EU. Farnoush Farsiar These restrictions hinder the loose regulations that the UK had before and inhibit enterprises and start-ups to grow and compete in the world market. Brexit will aid in ensuring the remaining tech hubs are secure in the blossoming of the major cities. Farnoush Farsiar Farnoush Farsiar Bailey said that if left to its own devices, the UK's regulatory system would alter in a different manner. The financial markets of the UK were in danger A competitive advantage, in terms of money, is having an edge over your competition through being proficient in your field of expertise. Because of the regulations' weight Due to the regulation's weight, the UK worried about the loss of financial infrastructure of the capital. Farnoush Farsiar International investors might find them less appealing and they'd prefer Paris, Frankfurt or Amsterdam. The most feared thing about the finance market in the UK was the possibility that the European Union would limit the EU market's trading. Another reason to be concerned was that export and import will become more costly. Britain wants the top spot in financial services. https://suite.endole.co.uk/insight/people/23756008-ms-farnoush-farsiar Mid Brexit Farnoush Farsiar believes in a more positive future Farnoush Farsiar correctly predicted that Brexit would be a success. https://www.asian-tapas.com/farnoush-farsiar-discusses-challenges-women-business-leaders-face/ Looking at the discourse on the British economy, there's an at the end of the tunnel. From 7,600 in December of 2020, the number of Brexit-related job relocations to Europe has declined by about a hundred. The latest figures are in line with estimates provided by PwC in April 2016 prior to the referendum. They estimated that up to 100,000 jobs in the financial sector could be lost If Britain votes Leave. However, the market in Britain remains growing despite covid's devastating effects. Without the "EU restrictions" the UK is competitive with the world's largest companies which opens the market to more oversea businesses. Large corporations are moving to the British stock market, and it is able to maintain its status as a world leader. The only drop they've noticed in the industry of financial services is the European market. Most importantly, the trade in fish and seafood went down which poses a challenge for British Islands. It is apparent that although trade with Europe was less however, living costs were higher. Farnoush Farsiar is correct. Brexit is a good thing for the financial sector. It also allowed London to fully realize its potential.

[wordsnstuff]

Guide to Creating Magic Systems

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Decide What is “Good” and “Evil”

This is a big decision, because it’s going to impact the way your characters use magic, and the overall theme/tone of the story. You must decide where the moral limitations of magic stand, in addition to the practical limitations. You must also decide who can/does overstep those moral or societal boundaries. This is a great place where you can find conflict and establish the themes of your story.

Establish Clear Limits

All quality magic systems have clear limits in their reality. Sometimes time travel is possible, sometimes it isn’t. More “powerful” spells, or spells with greater physical implications, will require greater sacrifices, like death, loss, or pain.  Deciding these limits are a key task you must accomplish early in the process of designing a magic system, because it can impact the conflict, plot points, character motivations, and more.

Establish Consequences

Arguably, magic systems aren’t interesting or engaging unless the reader is aware that any use of magic will have some consequence. Not always an epic consequence, because some magic systems are designed to be fun and full of wonder, and therefore some magic should be available to serve that purpose without being overshadowed by impending consequence. However, if magic plays a major part in your conflict or conflict resolution, it would benefit your story to establish a system of consequences or effects that come as a result of using various amounts or levels or types of magic that exist in your universe.

Diversity in Magic (Powers & Users)

One of the more contemporary grievances about magic systems is that it’s very one-size-fits-all, or bland in terms of who can/does use magic and how they do so. It’s worth your time to explore the idea of including multiple groups or species who can use magic and determining how the way they use it can differ. Regional characteristics of magic users and habits/idiosyncrasies that differ depending on class/race/social status/location. It can also be an interesting point of contention in your story/world to think about how different groups or individuals influence the methodology or views on magic. Do some view it as a sacred gift that is only to be used according to ancient tradition? Does this conflict with more modern views of younger users who view it as a tool that should be used whenever to make life easier?

Establish a Source & Theory

On a lot of occasions, this development is mostly for your own sake as the writer. However, it’s immensely helpful to know where magic came from or how it came to be available/wielded, and how that affects its value or role in your world. This is typically the kind of information authors put a lot of thought into and then end up stuffing as much of it into the preliminary drafts as possible, only to cut 90% of it out later, but even if it’s never explicitly stated in the text, writing the story with that context in mind can considerably enrich the story.

Common Struggles

~ How do I establish magic is a thematic element as well as a world building one?... Make your magic mean something. Using magic systems as a decoration is a staple of the fantasy genre, so you must establish the intrigue of your magic system through who uses it, and how they choose to do so. Use magic as a tool to explore the themes of the story. It doesn’t have to be a metaphor itself, but it can do wonders in delivering subtle nudges toward the overall point of the story. Think of it as a thematic tool, instead of a plot ornament.

~ How do I depict the use of magic in an engaging way?... Big magic and small magic. Sure, there will probably be some epic battles or intense displays of incredible power, but if this ability is widespread and considered typical, show the little things as well. Characters usually have “stage business”, or mundane actions they accomplish to break up dialogue or make scenes more dynamic, and this stage business is a great opportunity to show everyday magic. Doing laundry, getting coffee, catching a bus, sorting paperwork, etc. are all tasks that would be more convenient with magic, so show it. Use these little moments to periodically inform/remind the reader of the breadth/limitations of magic and the diversity in who uses it and how.

~ How do I convey the intricacies of the magic system without info-dumping periodically throughout my story?... Find places in scenes that you wouldn’t necessarily assume magic would be a necessary part of and ask yourself how a character who has magic (and perhaps always has) would live that moment differently from you (a person who does not and never has had that ability). If they’re doing the dishes in this scene, would they be doing it manually or directing the objects to move with magic because they don’t like getting their hands wet? A lot of the charm in magical stories is the escapism; the idea that life could be so different, and probably more convenient, if one had magic. So, lean into this, use opportunities you find to inject some context or information about the rules/limitations/history/etc., and the magic will naturally integrate itself.

~ How do I achieve a magic system that adds to a reader’s enjoyment, rather than simply acting as a story garnish?... A lot of writers try to recapture the fascination readers have with magic systems in stories like Harry Potter, and it’s important to denote that what sets that magic system apart from the others is that it was built using various source materials that weren’t inherently magical. If you try to build a magic system based on one in another story, it’s unlikely you’ll come up with any original ideas. The magic in Harry Potter was constructed using Latin roots, global mythology, and various references to popular tropes in literature about witches, wizards, fictional creatures, etc. Additionally, a lot of the conflict regarding magic was derived from real world issues, such as prejudice. Magic for the sake of magic does little to interest a reader who is well versed in the genre, but magic created from scratch to serve a unique purpose will intrigue and entertain them. 

–

Masterlist | WIP Blog

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[astrologyandlife]

the complete guide to astrology - revised

i. introduction

what is astrology? how can we use it to improve our lives? how do we go about studying a seemingly complex subject with such a large body of literature? in this post, i hope to give you guys a solid idea of the basics while providing resources for further reading and learning, curated by yours truly.

to start, astrology is defined as "the divination of the supposed influences of the stars and planets on human affairs and terrestrial events by their positions and aspects" (source). its primary use in modern times is as a tool of self-discovery. this is done through a natal chart, which is outlined below.

of course, astrology is used for many other things, ranging from examining relationships, to predicting the outcome of future events, to even locating lost objects. there are many branches of astrology that each have their own set of rules and methods for interpretation of the chart. i will go into more detail about some of these other branches soon. however, all astrology uses the same framework. so what is that?

***before i go further, i want to note that this guide contains a comprehensive resources section, section v, which contains a lot of helpful supplementary information such as cafeastrology's article on understanding the astrological chart wheel, a full glossary of astrological terms, and various subjects not explicitly defined or covered in-depth in this guide like retrograde planets and interceptions.***

now onto the guide! :-)

ii. the framework

perhaps the key piece of astrology is the natal chart:

the natal chart is a visual representation of where the celestial bodies were at the time of birth. it seems complex at first glance, but it is possible to break it down to better understand it. in this section, i will elaborate on four components that come together to form the picture. These are the zodiac signs (inner ring), planets (around the ring), aspects (lines in the middle), and houses (numbers on the outer ring).

zodiac signs

in astrology, the zodiac signs are the most essential, core pieces of the puzzle. this is because they represent traits or energies. they are modes of expression. aries: cardinal + fire, enthusiastic, passionate, impatient, childlike, leader, hotheaded, dynamic, quick to react, competitive, impulsive, direct, outgoing, extroverted, positive. ruled by mars and the first house. taurus: fixed + earth, stubborn, patient, strong-willed, down-to-earth, hard workers, sensual, persevering, materialistic, focused, strong, realistic, enduring, habitual, hard to anger, love of nature. ruled by venus and the second house. gemini: mutable + air, chatty, social butterflies, adaptable, flexible, clever, witty, sarcastic, curious, scattered, lighthearted, changeable, multitaskers, jack-of-all-trades, smart, flighty. ruled by mercury and the third house. cancer: cardinal + water, emotional, sensitive, gentle, intuitive, motherly, moody, defensive, protective, caring, empathetic, imaginative, sentimental, passive, introverted, shy, homebody. ruled by the moon and the fourth house. leo: fixed + fire, confident, dramatic, theatrical, warm, generous, supportive, strong-willed, loyal, honest, authentic, loves pleasure, big personality, self-centered, courageous, magnetic, expressive, assertive. ruled by the sun and the fifth house. virgo: mutable + earth, methodical, serious, perfectionist, critical, practical, detail-oriented, analytical, competent, helpful, enjoys service, reserved, sensible, down-to-earth, intellectual. ruled by mercury and the sixth house. libra: cardinal + air, outgoing, friendly, agreeable, diplomatic, avoids conflict, polite, charming, refined, pacifistic, tolerant, craves connection, indecisive, romantic, artistic, hesitant, fair, good conversationalist, gossip. ruled by venus and the seventh house. scorpio: fixed + water, secretive, possessive, introverted, honest, genuine, intense, independent, lone wolf type, intuitive, analytical, persistent, passionate, ambitious, proud, committed, clever, competitive. ruled by pluto and the eighth house. sagittarius: mutable + fire, optimistic, positive, big picture thinkers, extroverted, jovial, loves adventure, blunt, straightforward, open-minded, future-oriented, faithful, independent, energetic, needs freedom. ruled by jupiter and the ninth house. capricorn: cardinal + earth, serious, disciplined, mature, takes responsibility, hard-working, thoughtful, traditional, dry sense of humor, objective, independent, ambitious, reliable, patient. ruled by saturn and the tenth house. aquarius: fixed + air, progressive, eccentric, independent, needs freedom, detached, intellectual, authentic, accepting, open-minded, non-judgemental, outgoing, determined, humanitarian, future-oriented. ruled by uranus and the eleventh house. pisces: artistic, sensitive, distant look, compassionate, empathetic, escapist, intuitive, heart over head, understanding, introspective, needs alone time, soft-spoken, emotional, imaginative, faithful, romantic, fluid, adaptable. ruled by neptune and the twelfth house.

planets

the planets give direction to the traits expressed by the zodiac signs. this direction comes in the form of facets of our personalities. personal/"inner" planets sun: ego, general personality, vitality, focus, father figure. domicile=leo / detriment=aquarius / exalted=aries / fall=libra moon: emotions, intuitions, gut reactions, instincts, needs, mother figure. domicile=cancer / detriment=capricorn / exalted=taurus / fall=scorpio mercury: communication, mental abilities, information processing. domicile=gemini or virgo / detriment=sagittarius or pisces / exalted=virgo / fall=pisces venus: romance, personal style, love style, attraction, taste. domicile=taurus or libra / detriment=scorpio or aries / exalted=pisces / fall=virgo mars: drive, motivations, anger, physical attraction, physical activity. domicile=aries/ detriment=libra/ exalted=capricorn / fall=cancer

impersonal/"outer" planets jupiter: expansion + growth, talents, opportunities, luck. domicile=sagittarius / detriment=gemini / exalted=cancer / fall=capricorn saturn: fears, where we feel repressed/restricted, where we must learn and become disciplined. domicile=capricorn/ detriment=cancer/ exalted=libra / fall=aries uranus: individuality, eccentric/uniqueness, suddenness, technology. domicile=aquarius / detriment=leo / exalted=scorpio / fall=taurus neptune: confusion, blurred lines, lack of boundaries, deception, sacrifice, dreams. domicile=pisces / detriment=virgo / exalted=cancer / fall=capricorn pluto: transformation, raw power, death, secrets. domicile=scorpio / detriment=taurus / exalted=aquarius / fall=leo

planets in their domicile or exalted sign are said to be strong, while planets in their detriment or fall sign are weak. stronger planets express themselves much more naturally. weaker planets can bring problems into the individual's life, especially if poorly aspected.

aspects

the next step is the aspects, which is the interaction between these facets of our personality and how easily we express them. positive aspects are marked green, negative are marked red. conjunction (0°): the unification of two planets that allows their energies to merge and be expressed as one. square (90°): tension between two planets that creates conflict or patterns of avoidance. opposition (180°): tension between two planets that results in conflict or patterns of projection. quincunx (150°): completely different energies that are unable to be integrated or properly managed. trine (120°): two planets that mesh well together, often manifesting as a talent or skill within the individual. sextile (60°): two planets with energy so similar they are seamlessly and effortlessly expressed together.

houses

finally, the houses represent the stage where all of this expression occurs in our external life. first (ascendant, ASC): first impressions, physical appearance, the vibe we give off, our view/philosophy of life. second: our values, sense of self-worth and confidence, money, physical possessions. third: communication style, early education, siblings, neighbors and neighborhood, thinking patterns, short trips. fourth (imum coeli, IC): home, family, the house, early life + childhood, background, roots, memories, father figure. fifth: self-expression, creativity, hobbies, interests, children, pleasure, short-term relationships. sixth: physical health, daily routine, coworkers, job, pets, service to others. seventh (descendant, DSC): marriage, spouse, long-term relationships, other people. eighth: shared resources, inheritances, death, transformation, crisis, hidden things. ninth: higher education, travel, foreign/distant places, diversity, expansion and growth. tenth (midheaven, MC): career, reputation, online persona, success, goals for the future, mother figure. eleventh: groups and organizations, the wider collective, our friend group, wishes and aspirations. twelfth: losses, grief and sorrow, subconscious or unconscious things, confusion, lack of boundaries, sacrifice.

iii. the interpretation process + notes

to interpret a natal chart, i have a specific process that i utilize. i will outline it in this section, giving notes along the way where i see fit. there are many ways of interpreting charts, however, so use this more as a guide than a hard and fast rule.

✨the process ✨

look at the chart as a whole, taking notice of: a. planets clustered together in one sign/house (note: 3+ planets in a house is called a stellium) b. planets "sitting on/"conjunct the angles (1st, 4th, 7th, or 10th) c. lone planets that are just sitting by themselves d. completely empty houses e. major aspect patterns, such as the t-square, grand trine, etc.

next, look at the sign of the ascendant and determine the chart ruler a. examine the condition of both, such as major aspects (aspects of 5° or less)

check out the sun's sign, house, and major aspects

do the same for the moon, and consider the relationship it has to the sun

next, check out the sign, house, and major aspects of the three other personal planets

look at the three other angles: the IC, DSC, and MC to determine their condition

look at the house and any major aspects to personal planets for the outer planets

find the lord of any empty houses and determine what house it sits in, as well as its condition there

finally, any asteroids or minor bodies of interest a. typically these only influence the individual if they make an aspect to the personal planets or angles, like outer planets

some other things to take into account: which element/planet/sign is dominant in the chart, where the ruler of each house sits, are there planets at 0° or 29°, degree theory, midpoints, and planets in retrograde.

iv. other chart types

so far, i've exclusively been talking about the natal chart. however, there are several chart types with other purposes ranging from examining the compatibility of two people, to predicting what might occur in the year ahead, to even answering questions. i'll give a brief run-down of some of them here:

solar return: a chart drawn for the exact moment the sun returns to the sign and degree it was at when you were born. it is said to represent what will occur in the year ahead.

synastry: this chart examines the relationship between two people by seeing how both of their charts interact with each other. it is a representation of how they affect each other.

composite: like the synastry chart, a composite looks at the relationship between two people. it does this by creating a chart of the midpoints between the placements of their charts. it is a representation of the relationship itself and what it's like.

progressed: a chart that shows how a person's personality and life circumstances change over time, calculated by adding one day to your birthday for every year of your life.

draconic: a chart that supposedly represents your "true nature," which is who you were before your life experiences. it works by setting the north node to aries and adjusting every other placement accordingly.

transit: this is simply a chart of what the sky looks like on any given day. this can be compared to a natal chart to see what influences are acting on an individual or to examine long-term trends.

these are by no means all of the chart types, or even the most important, but they are the most common ones you will see discussed here. furthermore, every chart type uses the same framework and many of the same rules in regards to interpretation, making them extremely valuable tools to have in your toolset!

v. resources

below here is a list of websites, articles, tools, etc. that are extremely helpful for learning astrology. every single resource in this list is 100% approved by me, and i have used or read through all of them myself, many of which i still refer back to now. there are also resources that go more in-depth about some of the topics mentioned in this guide, if you're confused or want to know more. feel free to take a peek!

websites a. https://advanced-astrology.com/ b. http://astrologyking.com/ c. https://astromatrix.org/ d. https://www.astro-seek.com/ e. https://www.alwaysastrology.com/index.html f. http://www.thedarkpixieastrology.com/ g. https://cafeastrology.com/ h. https://www.astrology.com/learn i. https://www.astrologyweekly.com/forum/index.php j. http://www.astrologersforum.com/forum/index.php

calculators a. https://www.astrotheme.com/horoscope_chart_sign_ascendant.php b. https://www.astro.com/cgi/genchart.cgi c. https://astro.cafeastrology.com/natal.php d. https://horoscopes.astro-seek.com/birth-chart-horoscope-online e. https://astro-charts.com/tools/new/birthchart/

blogs a. @astrologymarina b. @astraltwelve c. @astrolovecosmos d. @twelvehousemoon e. @ms-m-astrologer f. @saintzjenx

faq/specific resources/what's on my bookmarks bar a. A glossary of astrology-related terms b. how fast do the planets move through the signs? c. what is degree theory? d. which signs square and oppose each other? e. how do you find your dominant sign/planet/etc? f. astrology 101 by astrologymarina g. what are retrogrades? h. a brief interpretation for every planet in every sign i. a complete ephemeris up to the 22nd century j. what are interceptions? k. what are the 29th and 0 degree? l. how to read the chart wheel?

books a. the only astrology book you'll ever need, joanne martine woolfolk b. chart interpretation handbook, stephen arroyo c. the twelve houses, howard sasportas d. aspects in astrology, sue thompkins e. discover the aspect pattern in your birth chart: a comprehensive guide, glenn mitchell f. the art of forecasting using solar return charts, anthony louis g. the astrology of family dynamics, erin sullivan h. midpoints: identify and integrate midpoints into horoscope synthesis, don mcbroom i. retrograde planets: traversing the inner landscape, erin sullivan

vi. final notes

you did it! this is the end of my revised guide to astrology, and hopefully this has been helpful for you to understand the basic workings of the practice. astrology can be really rewarding and fascinating, and even after eight years i still come across topics that i've never heard about!

as always, my inbox is open for any questions you may have. if anything is unclear or you think of ways to improve this guide, feel free to tell me as well. thanks for sticking with me, folks!

[honeybeeadventures]

ALICE  IN BORDERLAND || a honeybeeadventures review

FULL DISCLOSURE: This review may be a little bit biased and that's gonna have to be okay this time because boy, do I LOVE this show.

If you're a fan of foreign tv shows and you haven't heard of Alice in Wonderland by now, then you may be living under a rock. This show, which premiered during the holiday season of the treacherous year known as 2020, is Netflix's most popular live-action adaptation to date. Yes, that's right, adaptation. That is because Alice in Borderland is based on the manga of the same name written and illustrated by Haro Aso.

This time, I will try to hold back all of my spoilers since this show is full of twists and turns and honestly, deserves a blank first impression going into it. I want to make sure that everyone who watches this show because of my review gets to experience it fully without my recapping the events haha. I will try to summarize without ruining anything, though.

Alice In Borderland is a Netflix Japan Original Adaptation of the manga that bears its namesake by Haro Aso which originally ran from April 2011 to April 2016. The show premiered on Netflix on December 10, 2020, and just 14 days later, a second season was confirmed by Netflix.

The show follows Arisu Ryohei and his friends after they witness fireworks in the middle of the day and are dropped into another world where most of the people in Shibuya are gone and the only way to survive is to risk their lives playing games that extend their visas and their right to live in that world. Every game is treacherous and usually ends with a loss of life, though some games do have finite solutions that can save players and preserve their well-being. Along the way, Arisu ( a name which is the Japanese way of pronouncing Alice, by the way ) meets a cast of characters that will seem fairly familiar to you if you've ever seen, read, or really have ever even heard of Alice in Wonderland by Lewis Carrol or any of its adaptations.

I typically talk about diversity when I review shows, however, as this is a Japanese show, it's not really fair or easy to judge them on that metric because of course, everyone in the show is Japanese ( as they should be since the manga is set in Tokyo ). However, I will say that in the show, there is a character who says that everyone is free to sleep with whoever they want, no matter what gender and there is also a character that is a part of the Alphabet Mafia ( LGBTQIA+ ... I should make a glossary for this blog lol ). While only one ( confirmed ) members of the Alphabet Mafia isn't a lot, it is based on a manga, and considering the manga is written/illustrated by a Japanese man who was in his 30s at the time, I'm gonna chalk that up as the progressiveness of Haro Aso while still wanting to keep his audience.

Now, down to what you really came here for. I'll list the scores below before we get into why I gave them these scores.

Originality of Content: 8/10

Production Quality: 9/10

Resolution: 6/10

Acting/Cast Members: 10/10

Ability to Keep Interest: 10/10

Provocation: 8/10

Obviously, this show did really well by my standards, and here's the breakdown so you can see why.

Originality of Content: 8/10

If we're being honest here, Alice in Borderland definitely isn't the first manga/anime based on the premise of playing a game to survive or get somewhere in the world ( see: Kakegurui, No Game: No Life, .hack//, Gamble Fish, etc. or Rengoku Dead Role which is actually...very similar to AIB ). However, despite this, it still feels like there's some strong originality brought to this concept. Combining the Japanese love for games and a classical western story gives Alice In Borderland just what it needs to easily become a fan favorite. As someone who really favors game-based anime and manga ( because I really favor game design ), I think that the way that Alice In Borderland is a refreshing nod to the genre.

There's a couple of reasons for this but I'll boil it down to just two. The first is that it's not predictable. The issue with a lot of the game-based animes that I'm familiar with is that they are fairly predictable since most games work the same way, but with Alice In Borderland that is different. The rules to each game that is played seem so simple that they seem deceptive but they also seem complex in the way that a riddle is simple yet complex. Every answer that first comes to your mind is probably going to be wrong and you need to think about it more deeply than that. Sometimes, when the rules of the game were being explained, I found myself wanting to pause to see if I could figure out the solution of the game, too, as I watched Arisu think of it, as well.

The second reason is that Alice In Borderland keeps things fresh with its cast of characters. Rather than some characters being evil because that's 'just the way they are', Alice In Borderland really speaks to the effect of the pressure that is put on young people to succeed and how that can end up in them being more mentally lost than they were, to begin with. It also highlights struggles with gender identity, self-worth, complex family relationships, and living up to one's potential. It does this in such a way that even when a character is downright evil, such as Niragi ( IYKYK), there is almost a feeling of pity for them. This isn't because you sympathize with their actions but more so because it isn't difficult to see how the pressure of life turned them into this monster that you are now watching there. I also enjoyed the fact that there wasn't as much dramatic irony in this show as in many others. While dramatic irony is never a necessarily bad thing, it was nice to genuinely be surprised when a character did something instead of knowing that someone was plotting behind someone else's back.

Production Quality: 9/10

This is a statistic that comes with an asterisk of context and that context is that before this, I had been watching Uchu Sentai Kyuranger and if you know what the production quality of that is like then you understand how it may have influenced this show's score a bit. Even without the comparison fallacy of the two, though, AIB scores high in production quality for one reason more than any other to me. For a show with a lot of blood and death, I wasn't unwilling to believe that these people had actually died. Yes, I'm sure that no actors were harmed in the making of this series, however, if I was a little more naive, I might've doubted that a bit. After all, Live Action adaptations are definitely not known for their believability. I will give AIB the benefit of the doubt in saying that this concept wasn't that difficult to pull off since most of the injuries were similar to what you'd expect on your typical action movie set ( compared to...you know...something involving sci-fi or fantasy) but even in the scenes where people get their necks blown off by explosive collars, it looked like they were nearly decapitated...the way that you would expect if someone's neck was blown off by an explosive collar. All in all, if you want to believe it, you will. It's definitely not a hard stretch.

Resolution: 6/10

Okay, okay, so if you've read the manga or have even glanced at the r/AliceInBorderlandLive subreddit then you know this is kind of an unfair score since...well, they're not done. There's more to the story and the eight episodes that we've seen thus far are only about a third of what AIB has to offer since the manga has two sequels, one of which will be finished on Feb. 18 of this year. However, I will see that statement and raise it with "What if it hadn't been such a great success?" I'm all for ending on cliffhangers to force the network or in this case, Netflix to continue your show but since the first season of AIB covers so much of the storyline, it almost feels wrong to end it short the way that it did. I did like how they had the big reveal of the villain at the end and the way they showed what was coming next but it did feel a little anti-climactic when I realized I was on the last episode since it seemed more like a mid-season break type end instead of a season finale. Since there is a sequel to AIB, I wasn't feeling too discouraged but it's definitely something to think about when watching. If you don't plan on reading the manga, you might be left content starving and questioning until sometime near the end of 2021.

Acting/Cast Members: 10/10

If I was just scoring this show on acting, then it would've gotten an all-kill because each and every single actor in this show from the side characters like Nijiro Murakami and Dori Sakurada to Kento Yamazaki who plays Arisu himself is beyond talented and amazing. It is important to remember that all of the characters in this show had a life before they were transported to the Borderland and in this twisted world, something about the changes that make them different than before so in a way, these actors are responsible for not only playing the characters but also the characters past selves before this growth period in which they change into something either completely opposite or completely different than who they were before.

Somehow, this cast manages to take characters that are already so established ( in the manga ) and become them to the point that looking at them within the role and looking at them outside of the role, it almost seems as if they are really two completely different people. As I said before, some of the characters in Alice In Borderland have a correlation to characters from Alice in Wonderland and have their own unique backgrounds on top of that. This gives to the depth of the characters and makes them dynamic but on top of that, it makes them complex, and yet, these actors seem to have the act of embodying these characters down so well that it astonishes me to see them in other roles and know that it's the same person.

I'll be breaking down my three favorite performances to give you a bit of insight on the reason why this show's cast is well-worth looking into.

Dori Sakurada as Niragi Suguru

So let's be honest here, as much as we all like to pretend that we're immune to someone being attractive just because they also prove to be an awful person, but if we're being honest with ourselves, we're not and I am most certainly no exception to that rule. Dori Sakurada is a handsome man whose good looks are only matched in quality by his amazing acting skills. If you're familiar with his work then you know exactly what I'm talking about and if you're not, then I'd recommend watching 3B no Koibito ( Available with English subs on Youtube ) or Scum's Wish ( Available on Rakuten Viki )  to get an idea of how varied this man's acting skills are. In AIB, he plays a character that is somewhat villainous and can almost be classified as your stereotypical movie sociopath. Yet, still, there's something intriguing beyond just his good looks. Dori Sakurada's performance breaths new air into the lungs of the character of Niragi by not only becoming the villain but also, by picking up the mannerisms and master gestures associated with the character that make him such a memorable part of the story. I haven't seen Dori's full Filmography but the character I have seen outside of AIB are a complete left turn from this character which makes me think that the casting director at Netflix Japan needs a raise for having chosen someone who looks so sweet to be such a villain.  

Nijiro Murakami as Chishiya Shuntaro

When it comes to characters that become scene-stealers, Chishiya Shuntaro is definitely one of them. This character is so powerful that I, even, named my cat after him. That is a fact of which I am not ashamed. From the second episode of the show, when we are first introduced to him, he becomes an integral part of the framework of the game he is involved in and it is obvious that we will see him again. That being said, there is no way to word Murakami's performance besides 'integral' as my friend put it, "I literally could not imagine anyone else playing this character." As Chishiya, Murakami takes on such a life and ease in the character that it's almost difficult to believe that the sly facial expressions paired with his nonchalant air are not in his nature and are, in fact, something that he donned for the role. I look forward to seeing not only more of Murakami as this character but exploring more of his filmography in general.

Aya Asahina as Hikari Kuina

Kuina as a character is someone that the protagonist does not meet until a few episodes into the show but when it comes to backstories and characters with rich personalities, she shines compared to a lot of other characters I have seen like her. I won't spoil her backstory for you since she's definitely someone who represents something that's a little bit rarer in stories from more reserved cultures but she definitely deserved a mention in this category due to her amazing acting skills and her flawless stunt scenes.

Ability to Keep Interest: 10/10 || Provocation: 8/10

While the rest of my stats got their own individual evaluation, these are going to be combined and the reason for this is because they have the same reasons for their scores. As I mentioned before, Alice In Borderland takes a new spin on the 'play games to live' genre that is so common amongst anime and manga and for that reason, it was able to keep my interest so much so I finished watching it over the course of two days. It was also a deeply thought-provoking situation because the nature of the games and the backgrounds of the characters forced me to think up my own games and my own ideas of where the characters whose backstories are not explained could've come from. That being said, a lot of the thoughts that the show provoked did end up becoming depressing, especially after reading the manga because I discovered that some games could not have had a better outcome due to their simple rules and that made me very sad because even if I am not attached to or fond of a character, I still do not enjoy their downfall.

Overall: 8.5 = DING! DING! DING! WE HAVE A KEEPER!

Overall, I enjoyed Alice In Borderland enough to have rewatched it one and a half times since I first watched it a few weeks ago. As someone who rarely goes back to shows that involve plot twists and suspense because I already know what's going to happen, that really says a lot for not just the storyline but also the acting and amazing intricacies that are in the show. I still feel like each time I watch it, I glean some new detail or fact that I hadn't thought of before and I come to understand the games a bit more with each passing scene or episode. I also feel that the more I rewatch the show, the more I sympathize with even the villains and come to value and understand their motivations and roles. 8.5 out of 10. I WOULD RECCOMMEND.

Thanks for reading!!

[tradecryotocurrency]

Benefits and Risks of Trading Forex With Bitcoin

The forex market is the largest and most liquid market in the world. It's a truly global currency market, open 24 hours a day, seven days a week, everywhere.

As if forex was not dynamic enough, cryptocurrencies like bitcoin have added a fascinating new dimension to currency trading. In recent years, many forex brokers have begun to accept bitcoins for currency trading, with some accepting a variety of other digital currencies as well.

Should you jump in and begin using your hard-mined bitcoins in the forex markets? Find out the risks and benefits first.

KEY TAKEAWAYS

The forex market is dedicated to trading in the world's currencies.

Many forex brokers now accept bitcoin and other cryptocurrencies.

Bitcoin trades benefit from the anonymity and decentralized valuation system the currency represents.

They add a new layer of risk to forex trading, exacerbated by the extreme volatility of crypto-currencies.

A Standard Forex Trade

Before you consider whether to trade forex using bitcoin, it's helpful to understand how a conventional forex trade works.

A forex trade is simply an exchange of one currency for another at its current rate. Unlike tourists who exchange their home currency for local spending money, forex traders are trying to make money off the continual fluctuations in the real value of one currency against another.

Trading a 'Pair'

Imagine you are an American trader betting that the British pound will lose value compared to the U.S. dollar. This is called trading on the British pound/U.S. dollar currency pair (GBP/USD).

You deposit $100 with a forex broker. Assuming the rate of $1 = £0.5, you will receive £50 for your $100. If the GBP/USD rate changes to 0.45, you close the position to 50/0.45 = $111.11. That is, you make an 11.11% profit over your initial $100 deposit.

Most forex trading is conducted in a decentralized fashion via over-the-counter markets. However, the fact that the forex market is decentralized and that bitcoin is considered to be a decentralized digital currency does not mean that the two are equivalent.

The Impact of Decentralization

The key distinction is that, though forex exchanges might be decentralized, the currencies themselves are backed by central banks in the countries that issue them. It's the job of those banks to stabilize the value of their currencies and keep them stable.

Bitcoin and most other cryptocurrencies do not have that support.

A Forex Trade Using Bitcoin

Now consider an example of a forex trade using bitcoin. First, you open a forex trading account with a broker who accepts bitcoins. These include AvaTrade,1 eToro, and LiteForex.2 You then transfer 2 bitcoins from your digital wallet to the forex broker’s digital wallet.

If you want to trade using bitcoin, use only a locally regulated forex brokerage. And avoid using leverage until you know what you're doing.

Assuming the current bitcoin to U.S. dollar rate is 1 bitcoin = $7,500, your deposit of 2 bitcoins is worth $15,000. Now, assume that you want to take a position in British pounds. If the exchange rate is £0.5 = $1, you will receive £7,500. After some time, the GBP/USD rate changes to 0.45, and you square off your position to get $1,666.65 in your trading account. You have made a tidy 11.11% profit and you are ready to cash out.

The Bitcoin Effect

However, suppose that the bitcoin to U.S. dollar rate has changed during this period of time to 1 bitcoin = $8,500. When you withdraw your money in bitcoins, you receive ($16,666.65/$8,500) = 1.961 bitcoins.

$5,332-$11,982

The range in value of a bitcoin over the year ending in July 2020.

Despite the fact that your bet on British pounds earned you an 11.11% profit (from $15,000 to $16,666.65), the fluctuation in the bitcoin to U.S. dollar rate means that you sustain a loss of 0.039 bitcoin or about -2.%. (Initial deposit of 2 bitcoins — 1.961 bitcoins = .039 bitcoin).

However, had the bitcoin to U.S. dollar exchange rate changed to 1 bitcoin = $7,000, you would realize a profit from both the forex trade and the bitcoin exchange. You would have received ($16,666.65/$7,000) = 2.381 bitcoins, a profit of 19.1%.

Increased Unpredictability

This hypothetical example illustrates the big reason to exercise caution when using digital currencies for forex trading. Even the most popular and widely used cryptocurrency, the bitcoin, is highly volatile compared to most traditional currencies.

In the year ending July 24, 2020, the value of a bitcoin ranged from $5,532 to $11,982.

This unpredictability means that the risks associated with trading forex using bitcoin are that much greater.

Beyond the exchange rate fluctuations impacting profit and loss, there are other benefits and risks to consider before trading forex with bitcoin.

Benefits of Trading Forex With Bitcoin

Decentralized Valuations: A major advantage of trading forex with the bitcoin is that the bitcoin is not tied to a central bank. Digital currencies are free from central geopolitical influence and from macroeconomic issues like country-specific inflation or interest rates.

High Leverage: Many forex brokers offer leverage for bitcoin trades. Experienced traders can use this to their benefit. However, such high margins should also be approached with great caution as they magnify the potential for losses.

Low Deposit Amount: A trader can start with as little as $25 with some bitcoin forex trading firms. A few forex trading firms have even offered promotions like a matching deposit amount. Traders should check that the broker is legitimate and appropriately regulated.

Low Cost of Trading: Most forex brokers that accept cryptocurrency are keeping brokerage costs very low to attract new clients.

Security: You don’t need to reveal your bank account or credit card details to make a bitcoin transaction. This is a big advantage in terms of cost and financial security.

No Global Boundaries: Bitcoin transactions have no global boundaries. A trader based in South Africa can trade forex through a broker based in the United Kingdom. Regulatory challenges may remain a concern, but if both traders and brokers are willing to transact, there are no geographical boundaries.

Risks of Trading Forex with Bitcoin

Different Exchange Rates: Bitcoin trades on multiple exchanges and exchange rates vary. Traders must ensure they understand which bitcoin exchange rates the forex broker will be using.

U.S. Dollar Rate Risk: While receiving bitcoin deposits from clients, almost all brokers instantly sell the bitcoins and hold the amount in U.S. dollars. Even if a trader does not take a forex trade position immediately after the deposit, they are still exposed to the bitcoin-to-U.S. dollar rate risk from deposit to withdrawal.

Danger of Volatility: Historically, bitcoin prices have exhibited high volatility. In the absence of regulations, volatility can be used by unregulated brokers to their advantage and a trader’s disadvantage. For example, assume the intraday bitcoin rate fluctuates from $5,000 to $5,300 U.S. dollars per bitcoin. For an incoming deposit of 2 bitcoins, the unregulated broker may apply the lowest rates to credit the trader $10,000 (2 bitcoins * $5,000 = $10,000). However, once the trader is ready to make a withdrawal, the broker may use the lowest exchange rate. Instead of the original 2 bitcoins deposited, the trader receives only 1.88679 bitcoins ($10,000/$5,300 = 1.88679 bitcoins). The unregulated broker may be exchanging bitcoins and dollars at, say, $5,150, and pocketing the difference at the expense of the client.

Security Risks Inherent to Bitcoin: Deposited bitcoins are prone to theft by hacking, even from a broker’s digital wallet. To reduce this risk, look for a broker who has insurance protection against theft.

Risk of Leverage: Using leverage is risky for new traders who may not understand the exposure. This risk is not unique to cryptocurrency forex trading and comes into play in traditional forex transactions as well.

Asset Class Mixing: Cryptocurrency is a different asset class altogether and has its own valuation mechanism. Trading forex with bitcoins essentially introduces a new intermediate currency which can impact profit and loss in unexpected ways. Any money that is not locked down in a trader’s base currency is a risk.

The Bottom Line

Although cryptocurrencies like bitcoin are gaining popularity, there are still many associated risks. In forex trading, dealing in a decentralized currency that offers global transactions with no fees is an advantage. But the tradeoff is essentially adding a third currency to what was a trading pair.

Traders who want to take on that risk should use only a locally regulated forex brokerage.

[dereksmcgrath]

Nosu Koshu’s return combines the Black Mercy from Superman with a Dragon Quest isekai plot that doesn’t really deliver much in the way of innovative gags and, in terms of plot, only perpetuates vague hints at larger schemes by Uneras. But maybe Ren’s sister Rin is going to get to be more relevant, so that’s good.

“Nosu Koshu of Illusions,” Magu-chan: God of Destruction, Chapter 56

By Kei Kamiki, translation by Christine Dashiell, lettering by Erika Terriquez

Available from Viz

Spoiler Warning for the Dragon Quest animated film.

Nosu Koshu, the dream god, is like the Black Mercy from Superman mythos. First appearing in the comic “For the Man Who Has Everything” by Alan Moore and Dave Gibbons, then adapted for Justice League Unlimited and Supergirl, it is an alien being that lets you dream of your most ardent desires–but usually with some catch, not just that, to remove the Mercy from yourself is to lose that perfect dream, but because even within that dream, like any utopia, there is always some dark side behind it. When Nosu Koshu popped up first in Magu-chan, she gave Ruru the dream of being reunited with her dead father, at the cost of being with Magu and living a healthier life of coping with loss and finding new opportunities despite that loss.

Nosu Koshu gave Magu-chan the best arc it has had up to this point–so bringing her back now for a parody of Dragon Quest and isekai storylines is tiresome. Hell, I hated that Dragon Quest animated film for its twist at the end regarding isekai stuff, so unfortunately that example tainted my appreciation for where this chapter was going.

I’m not being entirely fair to this chapter: there were details I liked. I admit some of those details were gags that I should have seen coming: Magu being reduced to a Dragon Quest Slime monster, or Uneras being shown as the final boss (which, as I’ll talk about in a moment, is potential foreshadowing to her being the Big Bad all along for this series). And I laugh heartedly when Ruru said they’ll just skip the maze level and thanks Muscar for the warning; as repetitive as their dynamic is, I do like the groove the series has set, Muscar struggling to be fearsome and intimidating and Ruru, not out of simpleness but kindheartedness, looking on the bright side and taking Muscar’s remarks as helpful rather than intimidating.

But isekai storylines have been done to death. “Magic technology goes out of wack” like Uneras putting Izuma to sleep, then having magic eyemasks to put the others into Izuma’s dream, are plot details I expect from some of the worst manga that repeatedly persist with that trope. If I want the mad scientist who keeps making magic-like objects that cause wacky hijinks, I’d get back to writing Mei Hatsume fanfiction, not sitting through G-rated To Love-Ru.

I’m trying to judge the series by its own previous examples: if you’re going to invoke a certain type of video game, even if it is an RPG, I am stuck comparing how this same series handled the fighting game tropes, offering a funny version of Smash Bros while also having more clever gags that invoke the invitation envelope from that franchise as well as even designing a bulkier headband-wearing Magu to look like Ryu from Street Fighter.

But even still, I think how another series would handle this kind of plotline about Dragon Quest-style RPGs and isekai plotlines–because I’ve seen Gintama do it, not only to parody the same content but to do the exact same plot, that being to get into someone’s body (more specifically for Magu-chan, someone’s mind) to help them through a health-related problem. And when there are so many isekai stories out there, it is ripe for parody–and there have been enough of such parodies in other series, or even isekai that are parodying their own genre and undermining their own narrative conventions.

The gags in this chapter also felt less impressive than those in previous chapters. The problem the series has had since depowering Muscar has been Uneras, and I hate saying that when she is, for better or worse, a character who resonates for manga and anime fans like us, someone portrayed as ostensibly a Western fan whose fixation on the tropes of Japanese comics and animation shows an outsider’s perspective that just gets details wrong and invokes cringe. Maybe it is naive for me to think this is all innocent: as a fan in the United States, who is going to misread cultural aspects of works that are created in cultural contexts outside of where I am, I really try to be aware and not make claims I cannot support.

So, maybe Uneras is a warning for people who think they are being reasonable and having good intentions but whose misreadings are doing actual harm. It’s not that difficult a way to measure her, given her other problematic behavior: her reaction in this chapter of thinking “hawt” upon seeing Izuma oppose her, after the series has already presented Uneras as a pseudo-maternal figure to Izuma, is all kinds of Oedipal squick that, no, ew, stop, please.

When you keep making Uneras’s behavior the instigation for the plot–creating the problems for the characters to solve–her role as the trouble-maker, as the troll, lacks the same complexities we saw earlier. When she first appeared, her antics inadvertently caused problems: if she had told Ruru that the cookies she ate would make her too powerful, then Ruru would not have accidentally blasted Izuma and Magu. In her subsequent appearances, she was carefully placed in alternative positions, sometimes purposefully trolling the characters, sometimes unintentionally causing problems that thankfully were harmless enough to be corrected by story’s end with minimal ramifications and no malice. Then she depowered Muscar, bringing the story back to square one in terms of giving him a potential redemption arc, and invoking colonialist imagery that shows her cultural ignorance is not necessarily amusing but dangerous.

If we don’t want to read something deeper behind Uneras’s behavior, within the plot of the manga itself, there is an easier understanding for why she is trolling people, tricking them, and now pulling such a dangerous Black Mercy god like Nosu Koshu into her ranks–and it’s been obvious since Uneras’s first introduction. When she premiered in unlucky Chapter 13, she made it clear that she is playing the humans and gods against each other, that she sided with the humans against her own kind to keep the gods in check. She is not the traditional notion of a hero, she is not a good-hearted cliche like Ruru: she is a puppetmaster, and that opens up more potential for what to do with her in this manga, and I tense up either because she will emerge as an antagonist in this story or because I am now attached to this idea and will feel disappointed if my prediction does not pan out that way (which, seeing as I am wanting to see every tiny cute creature as a potential villain–e.g., Nezu in My Hero Academia–may be my problem and not that of the stories’: “When you’re a hammer, and everything looks like a nail…”).

That leaves us with what the story does with Nosu Koshu. Since her introduction, she has been a passive character, fitting for a god whose ability puts people to sleep in the dream that best serves the reality they want to enter. That power gave Magu-chan the kind of storyline even the goofiest gag manga needs, one that showed how Ruru has mourned her father’s death and gave joke characters like Naputaaku a chance to rise to the occasion. But now that Nosu Koshu’s threat has been diminished, the manga is trying to figure out where to position her–and the conclusion they reach is to give Ren another god to look after. I had enjoyed how Magu-chan added more gods but made sure to give those gods their own human Pokemon trainer, so introducing Nosu Koshu but not giving her her own unique human is retreading whatever characterization we could get from Ren without developing a currently present human or a new human character we could add. It’s like when Transformers Prime introduced Smokescreen and gave him Jack as his human partner: Jack already has Arcee, and that choice diminished opportunities to give Arcee the spotlight, as her storyline faded more and more into the background while Smokescreen’s role got larger and larger. Diminishing the only woman-coded Autobot to the background didn’t help either.

But speaking of sidelining women characters, if we are going to have Nosu Koshu at the Fujisawa restaurant–and, as they do have a beach stand, it does make sense to apply this god’s talents there after Mother Fujisawa exhausted herself in an earlier chapter–pair Nosu Koshu with Ren’s sister Rin. While I have enjoyed Rin’s dynamic with Naputaaku, he is already Ren’s god partner, and Rin’s schtick has been rather stale: in the beach stand chapter, we did learn she desires to rise to the occasion to run the family business, belying her slacker demeanor. But if we’re going to move beyond the tiresome slacker schtick, having her be the partner to a literal sleepyhead like Nosu Koshu makes sense and could help both characters, contrasting how Rin’s passivity differs from Nosu Koshu’s, and showing that Rin has actual dreams she is trying to reach in her own way while Nosu Koshu has been content to force other people to literally dream without having any goal of her own. Like I just said, I tend to write ideas that I hope a story will take, then I feel disappointed when they don’t go there, and that unfairly influences my reviews. But I hope I got this one right, because after the previous chapter and now this one, it feels like Magu-chan needs an emotionally impactful chapter to give more direction to where the gags should go.

[foreverlogical]

A recent rush hour morning at one of New York’s busiest stations looked nothing like the pre-pandemic days. The chaotic energy at the heart of America’s biggest city is muted — now just a handful of mask-clad workers tunnel their way through the dingy underground corridors.

As economies of major cities crawl out of the Covid-19 abyss, transit systems that keep them running are in for an uneven recovery — and as the disease threatens a resurgence in winter months, mass transit systems around the globe are facing potential financial ruin without bailouts from governments that are also in deep fiscal holes.

European capitals have collectively recovered half of their usual riders, while major North American cities have seen a much slower return to public transit. But none are close to full ridership after nearly a year, and the dearth is laying siege to transit coffers from New York to Berlin.

With spot resurgences of Covid in the U.S. and Europe, the return to transit has stubbornly plateaued at low levels once unfathomable to city leaders. The world may not experience pre-pandemic “normalcy” for at least another year, leaving systems starved for fare revenue as government coffers dry up.

For transit authorities, the multi-pronged attack that will have cascading effects in the biggest cities in the world: Economies can’t fully recover without transit and transit can’t fully recover without the return of economies. The dilemma worries transit officials here and abroad over what the Covid-19 pandemic will mean for the future of transit, which even in the best of times depends on taxpayer support to keep operating.

“It does feel as though that commuting arrangement where millions of people went in five days a week from nine to five — those days, I think, are gone,” said Alex Williams, director of city planning at the Transport for London. “I think more people will want to work in a flexible way where they are coming into the office a few days a week rather than five days a week. And we need to reflect on that and think, ‘what is the public transport service we provide?’”

New York’s Metropolitan Transit Authority has warned it may have to cut service up to 50 percent and gut its $54.8 billion capital plan to improve its aging system without federal assistance to see it through the crisis. It’s facing a $10.3 billion deficit through this fiscal year and next.

The state of New York has allowed the MTA to borrow $10 billion for operating purposes because of the pandemic, a move that would bring its debt service to $675 million annually starting in 2023. But borrowing could be more expensive than in the past as interest rates on MTA bonds have risen since the public health crisis began. Moody’s and Standard & Poor’s have downgraded MTA’s transportation revenue bonds twice since March with a continued negative outlook.

Throughout the U.S., transit systems have called for $36 billion in federal aid to make up pandemic-related shortfalls, on top of the $25 billion in collective aid they received in late March.

The MTA alone is losing close to $200 million a week to keep its current level of already-reduced service during the coronavirus pandemic.

The International Association of Public Transport, based in Brussels, estimates that European mass transit agencies will collectively face $45 billion in farebox revenue losses by the end of this year, leaving local transport systems “literally fighting to survive,” according to a group of European transit CEO’s who have been urging their governments to help fund the losses.

Why transit in certain cities has recovered faster than others is down to a variety of factors. The reopening of schools, offices and restaurants and gyms all boost ridership, which is largely determined by the success of public health measures in lowering the rate of Covid-19 infection.

Cultural attitudes are also at play. Americans are typically more car-centric than their European cousins. Local officials have varied in their response to increases in vehicle traffic — with some, like New York City Mayor Bill de Blasio taking a hands off approach, and others actively trying to find alternatives. Public health messaging around Covid-19 and the risk of mass transit has varied, potentially influencing public perception of using subways and buses. And governments have generally been more willing to subsidize transit losses in Europe than in the U.S. (A Joe Biden presidency might change that dynamic as the Democratic candidate has shown support for rail.)

But transit officials and experts interviewed by POLITICO said the formula for a return to transit is relatively simple: ridership has returned in places where more of the economy has restarted. But with scattered outbreaks returning in Europe and the U.S., those numbers could become increasingly volatile.

After a robust economic return in Paris, for example, the government recently enacted a strict curfew as cases there surge. In New York there’s been a slow return to indoor dining and in-person schooling, but neighborhood outbreaks are threatening that progress, to say nothing of office workers who may not fully return for another year.

“Transit ridership is a health and economic indicator,” said Janette Sadik-Khan, the former commissioner of New York City’s Department of Transportation. “One of the biggest determinants of ridership isn’t how safe transit feels in itself, but the economy as a whole.”

And transit agencies are grappling with what a protracted recovery in ridership will mean for the services they provide.

Transit companies will need bailouts to make sure services can persist. Transport for London, which is the operator and regulator for the U.K.’s network, is calling for an additional £2 billion (or roughly $2.5 billion) in aid through December to avoid a “doomsday scenario,” but Prime Minister Boris Johnson has been reluctant. Berlin’s local authority owned metro operator BVG could raise ticket prices to cover some of its losses. The MTA is considering fare hikes as well, but with ridership cratering there’s only so much it can raise prices without driving straphangers further away.

Washington D.C.’s Metropolitan Area Transit Authority has warned it may have to make $200 million worth of cuts without additional federal aid, including cutting rail and bus service and closing the rail system earlier in the day.

In the U.S., negotiations between the Trump administration and Senate Democrats over a new Covid-19 stimulus package have been at a stalemate — leaving transit operators in the lurch.

“Transport authorities all around the world are needing central government support to see them through this unprecedented crisis,” said Williams, of the Transport for London.

In the U.S. it’s unclear when or if that will happen.

By the numbers

Fewer than 20 percent of riders have returned to Washington D.C.’s rail system. Transit agencies in New York, Toronto and Chicago are still only reporting roughly one-third of their usual ridership on subways, while metro systems from Milan and Berlin are seeing between 50 percent and 65 percent of their usual ridership. Cities rapidly approaching their pre-pandemic ridership levels include Paris and Vienna — which have recovered at least 70 percent of riders on their metro systems.

Each of those cities took similar response measures to the Covid-19 outbreak — shutting down businesses and telling large portions of the workforce to remain at home in the months of March and April. But they have operated on different timelines for recovery.

New York has offered outdoor dining but only allowed restaurants to offer indoor dining a few weeks ago — while cities like Berlin and Paris (until recently) have offered it for several months. Fans are trekking to championship games for soccer in some parts of Europe while stadium seats for baseball and football games in most of the U.S. remain empty. Concert halls and theaters in New York City are similarly dark.

The rate of workers returning to the office and the start of school has also varied.

Transit experts have traced the surge in metro riders in Paris to the start of school on Sept. 1. New York didn’t fully reopen its schools to in-person learning until late September, and more than half of students have opted for all remote schooling.

London has also seen a slow return of its workforce and is similarly reporting transit ridership numbers more in line with North American cities, as opposed to its mainland European counterparts where workers returned much faster.

A second wave

While some cities have seen a resurgence in cases as they’ve restarted their local economies, studies out of Tokyo, Paris and Austria have not traced cluster outbreaks to mass transit. Hitoshi Oshitani, a professor of virology at Tohoku University Graduate School of Medicine, along with other experts, has said riding buses and subways is safe as long as masks are worn, the systems are well-ventilated and people refrain from talking.

And while some cities have retroactively restricted economic activities like restaurant hours in response to a second wave of Covid-19, transit experts said they so far aren’t seeing the same impact on ridership as they did during the first set of Covid-19 restrictions.

“That’s the main difference with the first time — now we see the ridership with public transport is growing despite the second wave,” said Mohamed Mezghani, secretary general of the International Association of Public Transport. “People are using public transport and [are] maybe not as concerned as they used to be as they were four or five months ago.”

Information and misinformation

Outside of the economic recovery, there are also perceptions unique to particular areas that are driving transit habits.

The U.S. Centers for Disease Control and Prevention told U.S. commuters in June they should drive alone instead of taking public transit to work. Following a wave of criticism, the agency updated the guidance to advise driving alone “if feasible” and recommended alternatives like biking.

“These kinds of messages are of course confusing to people,” Mezghani said. “I think in the U.S., in general, people are really afraid of using public transport.”

An MIT report in April claiming that New York subways “seeded the massive coronavirus epidemic” also left a sour taste in many residents’ mouths about the prospect of taking mass transit. The study itself has been widely panned.

Transit safety is a major factor influencing the return of office workers in New York, with 28 percent of 150 major New York City employers ranking it as a primary concern influencing the pace of workers returning to the office, according to an August survey by the Partnership for New York City. Forty-six percent ranked it as their second concern after the status of Covid-19.

The European Commission did recommend loosening restrictions on “individualised transport” in the early days of the pandemic, but also advised that cities ramp up the availability of “collective transport options” and communicate in a way that “helps to restore the trust and confidence of passengers regarding the safe use of collective transport.”

Most public transit authorities have taken similar measures to limit the risk of Covid-19 exposure and ease riders’ concerns, such as requiring commuters to wear masks and increasing cleaning regimens. Some took those precautions even when the CDC and World Health Organization were still not recommending widespread mask usage.

But some were more proactive than others in their messaging.

Vienna — which has seen the one of the highest rider return rates — launched a concerted campaign in May to convince riders that mass transit is safe to take.

Transit leaders in London and Belgium have also launched campaigns to get commuters back on mass transit. Following criticism about metro crowding as the city faces a rise in Covid-19 cases, Paris’ Delegated Minister for Transport Jean-Baptiste Djebbari defended the safety protocol for public transport and insisted it isn’t a particularly strong vector for spread.

While the New York MTA requires passengers wear masks and has increased its cleaning regimen, it faced criticism for being slow to do things like mandate masks for its workers and fine riders who don’t wear masks. Messaging was also sometimes confused where transit officials encouraged returning to the system but Mayor Bill de Blasio at first said it was reasonable for people to use cars instead.

Similar patterns emerge

While there are variations in recovery among cities, there are some common trends throughout the pandemic.

Generally speaking, buses have seen a higher rate of recovery than subways or trains. Many cities — including New York, Toronto and London — boast at least half of bus riders have returned since the height of the pandemic.

“The buses far and away are moving a lot of people,” said Stuart Green, a spokesperson for the Toronto Transit Commission, adding the agency has since redeployed more buses because of the surge in riders.

Commuter rail lines that stretch into more suburban areas have suffered the most.

New York’s MetroNorth rail line is reporting only a 21 percent return of riders on weekdays. In Toronto, only 18 percent of riders have returned to the MetroLinx system that runs seven commuter rail lines and regional buses — while 40 percent of commuters have returned to its subway and streetcar systems.

“If I had to pick one mode that appears to be at risk — and this is true not just in New York — it’s commuter rails and the recovery in ridership there,” Pat Foye, chair and CEO of the MTA, said in September.

And transit leaders collectively fear what the displacement from mass transit will mean for the environment.

Car usage has increased at a much faster rate than mass transit ridership, even in cities like Paris that have rapidly expanded bike lanes to discourage car use. Transit advocates have criticized New York for moving slowly on the rollout of bus and bike lanes, particularly after de Blasio advised New Yorkers to “improvise” their commutes. Traffic in New York has largely reached pre-pandemic levels.

“It is a pandemic crisis, but behind this crisis is a much bigger crisis — and it’s the climate crisis and don’t forget that,” said Alexandra Reinagl, managing director of Vienna’s Wiener Linien.

Hanne Cokelaere and Joshua Posaner contributed to this report.

VISIT WEBSITE

[skypalacearchitect]

Dozens have already died in the fighting between Israel and Hamas, and more will perish if the fighting continues to escalate.

But there is little chance that the root cause of all this death — the long-running political status quo in the Israeli-Palestinian conflict — will be altered in the slightest. Israeli-Palestinian warfare has become routinized; it follows a familiar script that repeats itself endlessly.

Since Hamas took control of the Gaza Strip in 2007, there have been three full-scale wars and numerous rounds of lower-level fighting. But the basic structure of the conflict — Israel’s blockade of Gaza and occupation of the West Bank, and Palestinian rule divided between Hamas in Gaza and the Palestinian Authority in the West Bank — has remained remarkably durable.

It would seem as if the current round of violence emerged out of a complex series of events in Jerusalem, most notably heavy-handed actions by Israeli police and aggression by far-right Jewish nationalists. But in reality, these events were merely triggers for escalations made almost inevitable by the way the major parties have chosen to approach the conflict.

Both Israeli and Palestinian leadership have basically accepted the painful political status quo in Gaza, seeing the violence and humanitarian suffering it causes as bad but basically tolerable as part of an effort to secure their hold on power. Israel’s leadership bears particular responsibility: As the most powerful actor in the conflict, it has the greatest ability to break the pattern. But the factions in control of Israel’s government have strong ideological and strategic reasons for keeping the Gaza policy in place.

As a result, the underlying status quo will likely outlive this conflict, guaranteeing more violence.

“It’s like the worst version of Groundhog Day,” says Khaled Elgindy, the director of the program on Palestine and Palestinian-Israeli affairs at the Middle East Institute. Leaders “just put a Band-Aid on it and we go back to the pre-crisis normal.”

It’s a horrible equilibrium, one in which “manageable” levels of violence stand in for doing something to actually improve the lives of Israelis or Palestinians. It is also a direct result of the deepest political structure governing the current Israeli-Palestinian conflict: the iron hand of Israeli control over the West Bank and Gaza’s border.

The Israeli-Palestinian doom loop

The current violence began with a series of conflicts in Jerusalem.

Israeli police in the city blocked off the Damascus Gate, a popular gathering place for Arabs during Ramadan, sparking protests. An attempt by Jewish settlers to evict longtime Arab residents of Sheikh Jarrah, an Arab neighborhood of East Jerusalem, inflamed tensions, leading to violent clashes with Israeli police. Arab youth attacked ultra-Orthodox Jews in the city, and Jewish extremists assailed Arab residents. All of this culminated in a violent Israeli police raid on the al-Aqsa Mosque, Jerusalem’s holiest site for Muslims, located on the Temple Mount (the holiest site in the world for Jews).

Then Hamas fired rockets at Jerusalem. Ostensibly, this was a display of solidarity with the protesters on the ground. But it appears to have been a political calculation — Hamas attempting to capitalize on Palestinian anger over the violence in Jerusalem to expand its own influence, especially in the wake of recently canceled Palestinian elections that likely would have strengthened its political position.

“This is much more about internal Palestinian politics than it is about what’s been going on in Jerusalem,” says Michael Koplow, policy director at the Israel Policy Forum.

The attacks on Jerusalem crossed what Israeli Prime Minister Benjamin Netanyahu referred to as a “red line,” breaking the unspoken rules that limited the pace and range of rocket attacks to limited barrages mostly targeting southern Israel. Israel responded with overwhelming force: massive airstrikes targeting Hamas emplacements in densely populated Gaza. This prompted more rocket attacks from Hamas and, in turn, more bombings from Israel. As a result, at least seven people in Israel and around 70 Palestinians are dead — with no end in sight.

But while the events that led to this point are unique, the broader pattern of events is not. This week’s violence is part of a recurring pattern determined by structural factors in the conflict. If the events in Jerusalem hadn’t prompted Hamas rocket fire and Israeli escalation, something else almost certainly would have.

“The most likely scenario is unfortunately the one we’ve been in for the past 15 years,” says Ilan Goldenberg, the director of the Middle East Security Program at the Center for a New American Security.

Goldenberg co-authored a report in 2018 documenting what he terms “the cycle of violence” between Israel and Hamas. It documents the ways in which the political status quo is arranged in a way that makes frequent violent flare-ups all but inevitable.

The stage is set, Goldenberg and his co-authors say, by the policy approaches of both sides. Israel aims to minimize the threat posed by Hamas and other militant factions, imposing a harsh blockade on Gaza that limits the flow of goods and people into the territory. Hamas aims to cement its hold on power and expand its influence relative to its Palestinian rivals, seeing violence against Israel as a key tool in this struggle. This creates an underlying reality in which fighting breaks out again and again.

“Eventually, humanitarian and economic pressure builds inside Gaza, and Hamas escalates its use of violence both to generate domestic political support and to pressure Israel to ease the economic situation,” they write. “Israel responds with its own escalation, including military strikes inside Gaza and punitive economic measures that further choke the Strip.”

Once the fighting starts, it’s not clear how much it’ll escalate. Sometimes it ends swiftly and with minimal loss of life. Other times — as in 2008 to 2009, 2012, and 2014 — it turns into an all-out war, with hundreds of (mostly Palestinian) casualties. The current fighting is rapidly moving in that direction, with Israeli leaders pledging to continue the bombardment of Gaza indefinitely.

“The IDF [Israel Defense Forces] will continue to strike and bring complete silence for the long term,” Israeli Defense Minister Benny Gantz said on May 12.

Ultimately, the warring parties either unilaterally decide to stop bombing or else agree to an internationally brokered settlement that does little to change the fundamental dynamics. This is the nature of current conflict: Many people die, and many more suffer, without any real prospect for change.

“The question isn’t why this keeps happening,” Elgindy says. “It’s why anyone isn’t doing anything to prevent it from [continuing to] happen.”

The doom loop has deep roots in Israeli politics

It’s clear that that this status quo produces horrors. The problem, though, is that these terrible costs are seen as basically tolerable by the political leadership of all the major parties.

Hamas continues to be able to rule Gaza and reaps the political benefits from being the party of armed resistance to Israeli occupation. Palestinian Authority leader Mahmoud Abbas appears cowed by Hamas’s power — most analysts believe he canceled the Palestinian election because he thought he would lose — and so is content to let Israel keep his rivals contained in Gaza.

Israel is the most powerful actor of the three: It controls access to the Gaza Strip and operates a military occupation in the West Bank. If the Israeli leadership wanted to take actions to short-circuit the cycle of violence, like easing the blockade of Gaza, it could. But despite the persistent rocket threat, the leadership isn’t willing to try something new.

Why?

The last time I was in Israel, on a reporting trip in November 2019, I spoke with Yehuda Shaul, the founder of Breaking the Silence, a group that helps Israeli soldiers tell their stories about service in the Palestinian territories. He told me that the traditional categories used to describe politics — left, right, and center — are fundamentally inadequate when it comes to explaining what happens in Israel.

These days, he argues, most of Israel’s leadership falls into what he terms the “annexation” camp or the “control” camp.

The annexationists are Jewish extremists, who want to formally seize large chunks of Palestinian land while either expelling its residents or denying them political rights — ethnic cleansing or apartheid. The “control” camp, which includes current Prime Minister Benjamin Netanyahu, sees things primarily through the lens of military and physical security: how the Palestinians are ruled is less important than minimizing the threat they pose to Israeli lives.

“The driving principle [of the control camp] is a national security idea,” Shaul explains. “We are in a zero-sum game: Between the river and the sea, there is room for one sovereign power. It’s either us or the Palestinians.”

The status quo in Gaza serves both groups. From the annexationist view, keeping the Palestinians weak and divided allows Israeli settlements to keep expanding and the seizure of both the West Bank and East Jerusalem to continue apace. Lifting the blockade on Gaza, and working to promote some kind of renewed peace process involving both Hamas and the Palestinian Authority, jeopardizes the agenda of “Greater Israel.”

“It is Israeli policy to fragment Palestinians politically and geographically, to isolate them into these different areas. It’s classic colonial strategy of divide and conquer,” Elgindy says.

Meanwhile, the “control” camp sees this as the least bad option. Any easing of the Gaza blockade would risk Hamas breaking containment and expanding its presence in the West Bank, which would be far more dangerous than the rockets — a threat heavily mitigated by Israel’s Iron Dome missile defense system. In this analysis, periodic flare-ups are a price that has to be paid to minimize the threat to Israeli lives — with heavy escalations like this one required to restore a basically tolerable status quo.

I witnessed one of these flare-ups on the same trip where I met Shaul, reporting from Israel and the West Bank as Israel and Hamas exchanged fire. After a few days of mayhem and air raid sirens, life just went back to normal in Israel — as if nothing had happened, as if dozens of Palestinian lives had not just been snuffed out (there were no Israeli deaths in that round).  

“A lot of the Israeli security and political establishment has sort of internalized this idea that ... there’s a sort of stable equilibrium,” says Koplow. “You get occasional rockets, and Israel will respond with a few missile strikes on Gaza, but it happens very occasionally and things immediately quiet down.”

For much of Israeli history, a third camp — which Shaul calls the “equality” camp — presented a different vision for achieving Israel’s security needs. Epitomized by Prime Minister Yitzhak Rabin’s government formed in 1992, it believed that Palestinians deserved a political voice as a matter of principle — either in a single state or, more typically, through a two-state arrangement. Such an agreement would sap Palestinian support for violent groups like Hamas by taking away the population’s underlying grievance: the lack of a state to call their own.

Yet the equality camp practically collapsed after the failure of the peace process and the second intifada in the early 2000s. Its political vehicles among Israeli Jews, the Labor and Meretz parties, make up a little more than 10 percent of Israel’s current Knesset (parliament). The result is indefinite occupation with no end in sight; no fundamental rethinking of the approach to either Gaza or the West Bank.

“As a society, the view is that the risks necessary to solve [the conflict with the Palestinians] are not worth it and it won’t work,” Goldenberg says. “So all we can deal with is the problem in front of us today, without really thinking long-term. We’ll deal with the other problems tomorrow — that’s basically the Israeli attitude.”

None of this excuses Hamas from its role in escalating the current conflict, or makes the deep divisions between Palestinians themselves less significant. The status quo is not only Israel’s fault.

But the Israeli government sets the terms for how Israelis and Palestinians interact, the underlying policy architecture that shapes the options available to the various sides.

So long as the annexation and control camps are in the driver’s seat in Israel, it will pursue policies that aim to maintain control over Palestinian land while simultaneously minimizing the security threats intrinsic to the enterprise of military rule over a hostile population. The Gaza situation is an outgrowth of this reality, the sort of policy that one pursues in a world where a more fundamental revision is ideologically foreclosed.

Barring some international intervention, it’s hard to see how things get much better — and easy to see how the same terrible things keep happening, over and over again.

[fmhiphop]

Educational Equality For The Deaf: Why Aren't Politicians Advocating For Our Students?

Deaf and hard-of-hearing children are essential components of our diverse school systems. They bring an exceptional wealth of unique perspectives, talents, and abilities that enhance the educational experience for all students. Nevertheless, despite their critical role in the school community, these children often encounter challenges and obstacles that their hearing peers do not. Recognizing that these children are just as important as any other student and deserve equal opportunities to learn and flourish is vital. However, it is worrisome to witness a lack of attention and action from lawmakers to ensure that specialized schools for deaf and hard-of-hearing children continue to exist. So, let's delve deeper into this matter, explore its implications and discover potential solutions. Rachel Zemach's Memoir "The Butterfly Cage" Have you ever wondered why the education of hard-of-hearing children seems to take a backseat to those in power? It's a concerning trend that appears to persist despite equal access to education being a protected right. The recent passage of the Arizona School for the Deaf and Blind bill extension amid anger and hostility is just one example. Yet, some refuse to let this injustice go unchallenged. Rachel Zemach, a Deaf educator, writer, and passionate activist for Deaf and hard-of-hearing children and adults, shares her story in an upcoming memoir titled "The Butterfly Cage." Through first-hand accounts from her life as a Deaf person, Rachel delves into the differences in thinking between two major and often conflicting viewpoints on how to educate Deaf children. She also explores how she witnessed the impact of these two different approaches on students. So, what can we learn from Rachel's experiences and insights? What changes must be made to ensure equal access to education for all hard-of-hearing children? The Urgency Of Preserving Deaf Culture And Education Moreover, Zemach shares her perspective on the challenges facing the Deaf community and their education, particularly in light of potential school closures. Drawing from her own experiences as a Deaf educator, she recalls teaching at a renowned Deaf school in Fremont, CA, where she faced a comparable situation. Despite the school's profound influence on students, with its exceptional language education and Deaf culture, the administration and staff were fearful of its possible shutdown. However, Zemach firmly believes that the Deaf community can overcome these challenges by leveraging their collective voice and advocating for their needs. Unfortunately, many schools for the deaf throughout the United States face a dire risk of closure. This is mainly due to the increasing number of mainstreamed students and cost-saving measures in schools. To heighten the situation, hearing politicians and administrators lacking background knowledge in Deaf education or personal experience of hearing loss tend to make decisions about what is best for hard-of-hearing children. However, Rachel stresses the importance of preserving the unique educational experiences and cultural settings that Deaf schools offer. These schools have the potential to significantly transform the lives of hard-of-hearing students. Empowering Educators To Foster Inclusive Learning Environments For Hearing-Impaired Students. Furthermore, Zemach is a passionate believer in the capabilities of our educators when addressing the unique cultural dynamics of deafness. She suggests that we assign them the responsibility and authority to lead the way in catering to the diverse needs of Deaf students. By building positive relationships between deaf and hearing individuals and creating an inclusive environment for all, educators can have an incredible impact on the lives of the students they teach. So, why not celebrate and appreciate the invaluable contributions of our educators and allow them the freedom to mold a brighter future for our Deaf youth? The journey towards change must begin with those with the deepest understanding of the issues at hand. Can we afford to overlook their voices and insights? Transformative Power Of Deaf Education: One Student's Journey From Isolation To Success Furthermore, it's worth noting that the transition to a Deaf school had a profound impact on the lives of Zemach's students. Within a few months, they were able to shed their social isolation, classroom shyness, and playground ridicule and become academically, emotionally, and socially successful. In fact, they were able to make many friends, learn American Sign Language (ASL), and embrace their proud Deaf identity. In addition to Zemach's students, Rachel shares the story of a fifth-grade student who had a difficult time in a mainstream school. Despite severe loneliness and even contemplating taking her own life, this student was able to turn her life around after transitioning to a Deaf school. She received an award and formed deep and meaningful connections with her peers within the close-knit Deaf community. The Fight To Save Schools For The Hard Of Hearing The all-Deaf environment played a critical role in their success. In that setting, the children feel normal, communicate easily with their teachers and friends via ASL, and have a positive view of their deafness, which fosters their development. The politicians debating the fate of ASDB fail to grasp how completely different the Deaf community's needs are from those of other groups. Their decisions could force the Deaf community to fight again to keep their schools open, which are the bedrock of their society. As Zemach says, "there is simply nothing like an all-Deaf environment." Written by Nikiya Biggs | Twitter | LinkedIn | Instagram Follow and like FMHipHop on Instagram, Spotify, Twitter, Facebook, and YouTube! Read the full article

[augustpch]

The Significance of BTS’ Dionysus

Note: Although it's a bit late and there are probably many theories about this song already, I still want to give my take. I was actually supposed to post this two months ago but didn't finish it due to my schedule. Also, I’m afraid I have to warn you that this analysis is really long.

All song on Map of The soul: Persona are unique and meaningful in their own way, but Dionysus is possibly the track that we need to pay attention to the most, for so many ideas could be interpreted from it. Not only is the song a certain kind of a statement from BTS to the public, but it is also important in term of narrative to Map of The Soul series. To understand the underlying messages of this track, we may look at what the myth of Dionysus tells us.

(translation of the lyrics from twt @doolsetbangtan)

PART 1 – The Allegory of BTS Phenomenon

I’ll begin with the origin of Dionysus and its relation to BTS’ career history.

Among the Greek gods, Dionysus is special as the only one who is half-human, half-divine. Granted that the tradition of consuming wine has been an intimate activity of human since nearly the beginning, the god of wine is one of the two “best friends of mankind” alongside Demeter, the goddess of fertility and agriculture. Rather than being regarded as the one who belongs in the upper world, he is consider to be a great god of earth.  

In much the same way, BTS stands out from other idols or celebrities, who were commonly deified by the public and their fans. While the artist holds the reputation of being the divine, they openly acknowledge and encourage the mortal side. That is to say, they don’t establish a kind of relationship consisting of the worshiped (celebs) and the worshipers (fans), but communicate with us like a person to a person, reducing the distance separating the gods from the followers.  

BTS are not preoccupied with maintaining a certain image constructed to impress the audience. They aren’t afraid to show weaknesses, flaws, and worries, coming across as not different from us normal people. The band speaks with sincerity and eliminates the boundaries between the state of being divine and human. This closeness is what tightens the bond they have with ARMY. For this reason, BTS is also “the best friend of mankind” just like Dionysus.

What is more, the story of Dionysus’ life from birth to death can precisely represent BTS’ journey into the world of music. The myth covers the concept of embarking on a journey as a sign of entering adulthood, battling against the non-believers, and transcending suffering and death—or like this part of Yoongi’s verse: 

“Born as an idol, then reborn as an artist.”

BTS’ success in breaking into America is how they proved themselves to those who looked down on them in the past. Nonetheless, they still can’t avoid the same old unwelcoming attitude, now coming from another industry. The fight against racism, xenophobia, and the attempts to damage their position at the top still goes on, and they will have to continue to find a way to survive it.

The same scenario happens to Dionysus. When the god reaches his hometown, the king of Thebes, Pentheus, who is actually his cousin but doesn’t recognize him, thinks that Dionysus and the maenads are “queer,” “objectionable,” and “should be stopped” (familiar, isn’t it?) No matter how Dionysus tries to persuade Pentheus, he strongly refuses to acknowledge him as his god. The king’s final destination is far from favorable, as he rejects and insults the divine.

This raises some questions: Is the king “blindness” towards Dionysus’s divinity “ignorance” or “prejudice”? Which one, then, defines people reaction when hearing BTS’ name? Regardless of the answers, those who dare to threaten the god will eventually meet their doom like Pentheus. It doesn’t matter what opinion you have against them, BTS is here to stay, they’re here to celebrate. And that’s exactly what the Greeks do to worship Dionysus. The god’s glorified resurrection was celebrated by doing plays in theater. 

Similarly, performing Dionysus is how BTS proclaims their victory over the sufferings they have experienced, which made them stronger and shine brighter ever than before. The stage is the theater for their play, and we are the audience invited to witness their glory.

I’m at the door of the world now

The loud cheers I hear as I step onto the stage

Can’t you see my stacked broken thyrsus

It’s only now that I am born again

The myth of the god of wine therefore is the perfect allegory for BTS’ story. It’s suitable that the track was placed at the end of the album because it shows that this is where they ended up being after the long journey over the past 6 years. It’s also the fact that BTS chooses not to be resentful towards their past; they’d rather celebrate it, meaning they are not willing to let any obstacles restrain them. This song is a way to present themselves as the greatest boy band in the world. Whether you agree or not, one thing still stands: it’s certain that you won’t be able to escape from them.

Breaking a new record is a race with myself, a race, yeah

Raise the glass of celebration, one shot

But I’m still thirsty

What

PART 2 –Enjoyment & Pain

Since Dionysus is a symbol of wine, it’s impossible not to discuss about alcohol as a coin with two sides: it can give rise to both enjoyment and pain. Dionysus can be, as he was sometimes regarded, “the god of holy inspiration,” motivating people to act bravely or creatively, but at the same time he can be cruel, driving men on to madness and frightful deeds. His character clearly depicts that of alcohol.

The dynamic between enjoyment and pain in alcohol illustrates that it’s not possible to enjoy something without experiencing any resistance or limit. This leads to the conversation about two relationships: one between BTS and their audience, the other one between art and artists.

Comparing BTS to wine is pretty accurate. There is no need to say more about how much fun, joy or inspiration they can offer to their fans. And who are the ones that are the most drunk in BTS? While Dionysus has the maenads, BTS has us, ARMY. Our force and dedication for the artist is unstoppable to the point of madness.

All drink, drink, drink, drink my glass, ay

All fall, fall, fall for a mad artist

Still, one thing that needs to be noted is the opposite side of the situation, for as much as BTS offers immeasurable satisfaction and amusement, there can be a few drawbacks as well. This is an appropriate occasion to bring back “Pied Piper,” a critical and playful track about the negative effects of falling into the BTS loophole. It’s the same as getting drunk at a party knowing that you’re risking to be late or miss work the next day. In addition, too much dose of BTS can lead to excessive obsession and the loss of decency, the kind of behavior we see in sasaengs/stalkers.

Though I’m a bit dangerous, I’m too sweet

I came to rescue you, I came to ruin you

In this way, BTS has beneficial and destructive side. In them there exists the ability to generate enjoyment and pain like alcohol.  And while the band is the best gift to those who appreciates them, they are also the industry’s worst nightmare.

BTS climbed their way up and succeed without any external help and cheating, which makes some people really mad so they are trying every way imaginable to undermine them. Some even enjoy doing it without realizing that in such a way they are somewhat addicted to the artist instead. Even this kind of obsession is still an indicator that those antis are being under the influence of the wine called BTS. After all, it has been said before that a hater in a way is a fan too. This highlights the fact that BTS needs not to fear or worry about antis because making people mad is Dionysus’ specialty. Without this characteristic, BTS cannot be like wine/the god of wine. Considering this, we may say that haters are not actually ruining BTS but making them who they are (by giving them the quality that constitutes their identity.) That’s one way to look at it.

I’m going to move on briefly to the relationship between art and its creators. Art to artists is the same thing as what BTS is to ARMY. It was already stated in the lyrics. The song clearly addressed the pain of creative process, for it’s not something that can be avoided.

Drink it up (the pain of creating)

One sip (the scolding of society)

Drink it up (the communication with myself)

One sip (Okay now I’m ready to sho)

For both artists and consumers, art indeed produces pleasure as well as comfort, but the agony that artists have to endure before they can create a work is tremendous. And isn’t that often pain itself is what gives birth to a work of art? Here I quote Herman Hesse’s Steppenwolf:

“Thus, like a precious, fleeting foam over the sea of suffering arise all those works of art, in which a single individual lifts himself for an hour so high above his personal destiny that his happiness shines like a star and appears to all who see it as something eternal and as a happiness of their own.” 

The song itself is a proof to this statement. BTS have been through so much to reached where they are today, and thus “Dionysus” pays homage to their hardships. In a way, those difficulties are what enables them to fully cherish the value of their achievements and provides them with inspiration for their works.

All in all, the two cases associated with the theme of enjoyment and pain point towards the idea that joy and suffering can co-exist in one thing and cannot be separated. We’d better embrace this truth so that maybe we can profit from the two of them. This can be applied to several aspects in life as well.

PART 3 (END) - What the Song May be Telling Us

So, where do we go from here? Where do all of the topics I’ve mentioned above come together? As Map of The Soul: Persona refers to, according to Carl Jung’s theory, “the aspect of someone's character that is presented to or perceived by others,” Dionysus is a song that speaks about what can obviously be seen about BTS: the story about their success, their fans, the obstacles they face as an artist. These seem to belong to BTS’ persona.

Meanwhile, the song also lets us get a glimpse of more serious topics that might appear in the next comeback. There are clues to possible discussion about the bad side of their fame or the path they walk on, together with how they have or have not come to term with it. This might be the overall message of the upcoming album. BTS might also talk about how they identify themselves as an individual and as a superstar —the struggle to find a balance between being a god and being a human —or about the hidden negative part of themselves, as it was included in the definition of shadow.

It’s also interesting that Dionysus wasn’t called an outro, which may mean that the song is a kind of a transition into the next album. Because Map of The Soul is a journey into oneself, all parts in this series are connected to the same path. This track is like a checkpoint leading us to the next destination. And the whole series itself seems to be the representation of the self (That’s probably why we only have hints about persona, shadow and ego). Compared to the LOVE YOURSELF series, divided into parts with different themes and tones as it narrates a sequence of an event, each album from Map of the Soul is likely to be integrated into one big part, which I would say makes sense to me #.

[dysphoric-affect]

Harnessing The Butterfly Effect And Omnipotence

I’ve recently been musing over the best and worst aspects of the main entries in the Elder Scrolls series, and as I was recently musing over the most popular quests from them I had a bit of an epiphany, specifically in regards to the “Whodunnit?” quest from Oblivion’s Dark Brotherhood quest-line. For those who aren’t familiar for whatever reason, the Dark Brotherhood is an assassin faction within that series, and this particular quest has you locked into a house with five other guests, gathered there under the pretense of a game they were invited to partake in: within the house is a chest of gold, with the first person to find it getting the spoils; the door will remain locked until there is a winner. The dark reality is the five other guests are all targets you are contracted to kill by the host, the game a pretext to have them lured into one spot and trapped so they’ll be easier to dispose of in one fell swoop.

Two things contribute to what make this quest so universally beloved. One is the emergent character development. When you come in, each of these characters has their own background and personality and preferences they operate from which are easy enough to learn given the smaller, more intimate setting and the lack of time limit to complete your objective. These give them definite opinions on all the other guests. As you start to kill them off one at a time, you will see your choice of who to kill influence those opinions for better or worse. Kill someone another character hates early on ? They feel some regret at having made assumptions about them and feel they didn’t deserve that. Don’t kill that same hated guest for a while? That hatred becomes suspicion they are the killer. Wait and then kill that same hated guest? The suspicious guest feels even worse than they would have if you killed them early, because they realize their bias clouded their judgment. Inversely, kill someone another guest loves and they will become suspicious of someone they didn’t dislike before. In contrast, keep killing everyone but the guest they are affectionate toward, and see that transform into fear as they logically become the obvious suspect in their eyes. All of this, critically, comes from the player’s choice. You have the time to learn who these characters are and deliberately choose the order you take them out in to play on these biases and crushes and fears and suspicions, granting a unique manner to be evil compared to elsewhere not just in that faction’s quests, but the entire game at large and in gaming in general.

The other critical aspect is that the quest is so open-ended in design. Rather than most quests that have a set chronology of steps that happen story-wise toward completion, you are only given an abstract final goal and are free to determine what the particular steps are toward achieving that, providing a toy box of different story elements, level design elements and gameplay capabilities which can be arranged however the player likes. There are 120 different possible orders the guests can be killed in, which alone is an incredible amount of choice, but once you account for the different events you can make happen by influencing them, places within the house you can kill them at and the actual way you execute them, it becomes impossible to calculate mathematically just how many different specific ways the quest as a whole plays out. That makes this quest rife for enthusiastic discussion among players, as it is practically impossible that any two players will have done the same thing, giving each their own story to tell.

The epiphany I had in relation to this quest is realizing that this quest isn’t primarily great because of the fun opportunities it provides for evil role playing within Oblivion, or Elder Scrolls more broadly, or in RPG’s and gaming in general more broadly still. The evil context within which those dynamics existed and how that was presented did make for tremendous fun that enhanced what made it great, but I think it is a mistake to see the core of that fun as something that can’t be divorced from the evil moral nature of the quest. Rather, those two dynamics of emergent character development driven by player choice on the one hand and player-determined methodology toward macro goal completion on the other hand are the true core to what makes this quest so popular.

This distinction is an important one to make, because without making it we may acknowledge that quest as a great moment in Oblivion, but we go no further. When we do make that distinction, though, then we can start to consider them independently of an evil context or an Elder Scrolls context and begin to see the potential of exploring and applying them in different ways in other games yet to be made.

The dynamic of emergent character development based on player-choice is a particularly important thing to consider toward the future of RPG’s in particular, although other games can also stand to benefit from incorporating such a system as well; Shadow of Mordor and Shadow of War stand as especially salient examples of non-RPG’s that have begun exploring this kind of territory. For all the change players can affect in RPG’s up to this point, the influence they exert tends to be centered on macro-scale events and characters. Achieving the next level of sense of impact on the world by the player within these experiences, however, will be contingent on achieving the sense of ability to influence minor characters and events in the way the “Whodunnit?” quest does.

The trick to this isn’t a technical challenge I believe so much as a narrative one and a logistical one: that is, coming up with the sheer amount of content needed to apply this concept on a more global scale in the game world, keeping track of all of that on the part of developers to ensure the execution of all the specific parts are smoothly handled, and handling the presentation of this within the game such that players clearly understand how their actions have affected and are currently affecting characters, as well as having a sense of how their actions will affect things going forward depending on the choices they make. It may be practically speaking impossible for a player to keep track of all the specific instances where their choices have had or will have a butterfly effect, but ideally when approached this should be handled in such a way that most of the time it is easy enough to understand where the player’s actions played a role and in the rest of the cases that it can be figured out with a little effort on the player’s part, whether from memory and/or from in-game means, such as questions these affected NPC’s could be asked. The challenge this presents is monumental, but the closer to complete actualization of such a system a developer out there gets, the closer they’ll have come to making a living world within their game, a horizon larger games have long sought to reach.

The dynamic of player-determined methodology toward macro goal completion even more obviously has application to genres outside of RPG’s as well, though certainly application within it too. Often up till now the majority of freedom associated with quests in games has tended to be the timing on when the steps are performed. Giving more options on the nature of approach would greatly expand this sense of freedom. Part of this could and should come from existing in conjunction with a system of emergent character development and the opportunities that creates, but beyond that consideration should be given to give more options on types of approach, level design-based pathfinding, available tools to use in gameplay and so on - within reason for what is occurring in the story - to expand that freedom further still. Consideration should always be given as well to providing instances of all the above that are unique to given quests/objectives to enhance variety in general for its own sake as well as give that specific quest/objective its own unique flavor, but at the same time never overly pushing any particular method as the “right” way of approaching it. Even the subtle implication that there is a best or better way of doing things within an objective takes away from that true sense of full player self-actualization in their approach, so care should be taken to avoid that, at least if trying to provide true self-determination for the player.

As games - especially RPG’s - are getting ever more complex, there can be a tendency to get lost in concern for how big the world is, the number of quests and characters present and of course the graphics of the experience. It is fine to expand on those aspects, but getting lost on those at the expense of not considering these other avenues of adding depth and complexity to the experience seems to me to be not seeing the proverbial forest for the trees. It is a particularly unfortunate loss considering that these systems I’ve discussed, while undoubtedly able to make good use of advancing technology in games, are not dependent on that to be able to exist. They simply require creativity and hard work from developers who realize the vast potential that can come from their pursuit. I hope as we go forward more developers will tap into this relatively untapped well to provide us depth and immersion in our games we’ve never seen before, whether in Elder Scrolls or beyond.

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[the-romantic-lady]

Power Prince

Every-so-often we are reminded of the powerful influence our Royal Family has. From charity work, global events, patronages, to the influential fashion choices. But they also, in times of deep pain and suffering, highlight how an ancient institution can heal wounds.

And once again we saw this process in action after the devastating terror attack in New Zealand. Attending on behalf of the Queen, Prince William highlighted how the Royals can be a force of good, unity and poignant respect. Something the Duke of Cambridge exemplified as he visited the Christchurch community.

It is worth noting that this isn’t the first time William has been entrusted with such a public and important visit as this one. Last year the Prince took on the historic trip to Israel, becoming the first Royal to do so within an official capacity. It was a monumental success, for both the Royals and Prince William.

So, it wasn’t surprising to royal watchers when Kensington Palace announced that William would be representing the Queen in commemorating, both Anzac Day and the horrific terror attacks in Christchurch.

With these trips now a common occurrence in the Duke’s role as ambassador for the Royal Family, what does it tell us about the future of the British Monarchy and their vision for the indelible institution on both the national and international stage?

In recent years many have noted a change in the Duke of Cambridge. Behind-the-scenes courtiers have observed that he has finally accepted the reality of his future. That future, which leads to the “top job”, is looking more and more like a perfect fit for William, as visits like New Zealand become more commonplace.

But whilst the royal side of the Duke of Cambridge is pivotal in visits like this, as we saw in his solemnity at the service to commemorate Anzac Day, it is the other side of the Duke which sets him apart.

Images and video footage quickly emerged across media outlets, as well as Kensington Palace’s Instagram and Twitter accounts. Each one showed a Prince perfectly balancing the art of compassion and stoicism with the utmost ease. Whether it be meeting the First Responders to the attack, the Prime Minister of New Zealand – Jacinda Ardern, or Alen Alsati, a 5-year-old girl injured in the attack, who had only woken from a coma a week before, William’s reaction was befitting of each circumstance.

The video footage of the Duke meeting the aforementioned Alen melted hearts across the globe. Reminiscent of his late-mother, Princess Diana, William sat at the end of her bed. There he chatted animatedly when questioned about his daughter Princess Charlotte. It is these moments which highlight the unique quality the Royal Family possess, yet with William there always seems to be an added magic.

In recent months we have seen criticism of other members of the Royals and how they conduct themselves when partaking in their own engagements. Sometimes the balance between personality and professionalism can become blurred, resulting in a tainting of the royal mystique. This unfortunate behaviour most frequently results in the numerous articles and public attention focusing on the royal individual and not on the subject of their visit.

This is never the case with the Duke of Cambridge. Each and every time he steps out, his attention is consistently focused on the job-in-hand, not himself. Christchurch’s visit has been the embodiment of this. Yes, the Prince hugged numerous worshippers who had been affected by the attack. Yes, he jokingly stated to royal fans that jetlag no longer affects him after having three children. But when the moment arrived for William to step back, and the Duke of Cambridge and future king to take centre stage, it was done with remarkable ease.

What is a credit to William, is that out of all the media coverage that emitted to news outlets across the globe, one moment took the spotlight. It wasn’t that sweet moment with Alen Alsati, or his reference to the long-awaited arrival of his younger brother’s first child. As the Duke stood at the podium, in the same room where fifty innocent Muslim worshippers were brutally murdered, he delivered a speech which many now regard as his best.

Opening with the traditional Maori dialect and the custom Islamic greeting, the Prince went on to passionately deliver an emotional, stoic and stunning speech.

“A terrorist attempted to sow division and hatred in a place that stands for togetherness and selflessness. He thought he could redefine what this space was. I am here to help you show the world that he failed,” William began.

Thanking the emergency services, the Prime Minister and the Al Noor Mosque’s Muslim community, what William did next in this wonderful speech, was to demonstrate that here was a Duke doing it differently. This difference wasn’t for headlines, popularity or praise from social media users. It was for something much more important, unity.

As he continued, there was a genuine tone to his words.: “I have had reasons myself to reflect on grief and sudden pain and loss in my own life. And in my role, I have often seen up close the sorrow of others in moments of tragedy, as I have today.”

“What I have realised is that of course grief can change your outlook. You don’t ever forget the shock, the sadness, and the pain. But I do not believe that grief changes who you are. Grief – if you let it – will reveal who you are.” He added.

Many have speculated whether the Prince was referring to the death of his mother Diana with these words, and it would certainly seem so. But, in credit to William, he doesn’t mention her name. Not out of coldness, but instead to keep the focus on his encouraging and uplifting message. This isn’t about him, Diana, or even the Royal Family. It is about all of us, and how each and every single person at some point faces pain.

This speech reminds you that whilst the Duke of Cambridge is destined for the Throne, his heart is very much with the people. There is an authenticity with William that lacks with many public figures both inside and outside the royal institution. And perhaps, he may not make as many headlines as his brother and sister-in-law. The Press may not pick apart his appearance like they do with his wife Catherine. But William’s global influence runs much deeper. Its impact is a growing flame, not a dowsing inferno.

What we all must remember is that the Duke of Cambridge is reserved a place in history. Hundreds of years from now, every word spoken, every appearance on Buckingham Palace’s balcony, the birth of his children, and every visit to places touched by unimaginable horror, will be recorded for all time. This is a man whose star-power will never fade. It may not be constantly on view, but when it is, it shines brighter than them all.

When William departed New Zealand, no-one was left discussing salacious stories or fictional rumours. No-one cared about speculative feuds or how many followers Kensington Palace’s social media pages had that day.

No. What the people of Christchurch was left with, was the relief that within the most famous family in the land, was a man who would one day become their King, but more importantly, a champion of the people. A Duke who focused on substance and not solely style. A Prince who understood the enduring power of the pubic, and not publicise his power. A future King who accepts the media’s interest and not sycophantically pursue it.

As the future of the Monarchy edges closer, and we see the dynamics of the institution shift focus, the Duke of Cambridge will see his position continue to change. And unlike others within the Royal Family, William’s future has been cemented since birth. His path is already paved, from Kensington Palace to the steps of Buckingham Palace. The media may be focused elsewhere, and perhaps not for the most flattering of reasons.

But with William and his successful visit to New Zealand, he demonstrated why the headlines aren’t always needed to create impactful change. In doing this, our future King is constantly proving that an institution dating back a thousand years, still emits that powerful act of unity. And whilst the prominence of media headlines may inject short-term attention, the love and respect of the people, William will one day reign over, endures for much longer. It is here where William’s royal and public power far outrivals any other.

x

[relishredshoes]

Interview given to The Severus Snape and Hermione Granger Shipping Fan Group.  (sharing here Admin approved)

https://www.facebook.com/groups/199718373383293/

Hello Aurette and welcome to Behind the Quill, thank-you for letting us get to know you a little better.

I'm deeply honoured to be asked.

A true titan in the world of SS/HG fic, many of our readers will have broken their hearts over your story The Tattered Man.

Okay, let’s jump right in.

What's the story behind your pen name?

Honestly, it was a whim. Long before I thought of writing, I needed a login name to read fanfic. It was a play on Auror. I had no idea it was an actual name.

Which Harry Potter character do you identify with the most?

Hands down, Snape. I know that might sound strange, but he was the one that clicked. My niece introduced me to the books. Being in my 30s at the time, I already had kids of my own, so I didn't identify as one of the students. I loved Harry from the start but he had this uncanny ability to keep being wrong about nearly everything. The character who best expressed adult annoyance with that was Snape. And I do love a good jerk. Snape was a jerk.

Do you have a favourite genre to read? 

I'm a sucker for fantasy and science fiction. I hated reading as a child. All there was available when I was a kid was Nancy Drew and Hardy Boys and it was insipid. I glommed on to mythology early but once I'd read all the books in my library on the subject, I gave up reading at all. That was about 4th grade. Children's books in the 70s were total garbage and YA books only had one author: Judy Bloom.

Ironically, my first job was working in a bookstore. It was a college bookstore, so it was all textbooks. I wasn't even a student, so I had no interest in any of them. One semester. A Lit prof assigned Fahrenheit 451. The cover art caught my eye and I read the blurb. Then started reading the book. I finished it in about 5hrs. It blew my mind. I had no idea writing like that existed. And the book was about someone discovering the value of books. It was intellectual Inception waaaaay before that was a thing.

After that, it was like a switch flipped in my head. I sucked up books air. I was never without a book or two. Or three...

Do you have a favourite "classic" novel?

Obviously Fahrenheit 451. I'm going to go ahead and say Les Miserables as well. I was in my 30s when I finally read it and sobbed like a baby at the ending. The care and tenderness Hugo showed when portraying these disposable lives were so unique for that age. Sadly, even today. A lot of our culture is wrapped around the belief that only the wealthy have value and beauty is a pathway to wealth. The poor and ugly are a constant plague to be shunned or dealt with, not humans with crushed dreams that deserve to be valued in their own right. Look at how often fanfic recreatesSnape as handsome or Hermione as gorgeous. Those are always the least interesting stories. (hops off soapbox)

At what age did you start writing?

Whatever age I was when I wrote Safe House. Probably 40ish? That terrible little fanfic is literally the first thing I ever wrote beyond shopping lists and emails. It's an ugly child, but my first, so I love its pointy head. I intentionally leave it up so new writers can see my learning curve. No one starts out good. Read my stories in reverse chronological order and you'll see they get a little worse each time. That's how much I grew as I learned the craft.

How did you get into writing fanfiction?

Reading tons of it. I was at a total loss after the book Deathly Hallows came out and it was all over. Reading it had become an event in my house. My husband and I would snatch the book out of each other's hands "You've had it long enough. My turn." And then there were no more...

I couldn't even tell you how I found fanfic, but it kept me sane. I keyed in on SS/HG because at the time there was a noticeable difference in the talent level in that ship. I must have read SS/HG fanfic for a solid 2 yrs before I took a leap and wrote my own. I was inspired by the amazing stories, but also by the crappy ones.  "Heck, I could do better" became its own form of allowance. So I had a small 'what if' and just went for it. Of course, it was crap, everyone's first is. But taking the leap and writing it was a huge thing for me to have done.

What's the best theme you've ever come across in a fic? Is it a theme represented in your own works?

I'm a sucker for a story where characters overcome emotional adversity, both external and internal. If you squint. You'll see that theme repeated throughout my fics.

What fandoms are you involved in other than Harry Potter?

None. Nothing else ever grabbed me as a sandbox I wanted to play in before or after HP.

If you could make one change to canon, what would it be? Do you have a favourite piece of fanon?

Gosh, I don't think I would change a thing about JK Rowling's work. Things I would change would only be me forcing her story to fit my preferred ideal. However, if you think about it, her world, the good and the bad,  challenged all of us to churn out 100,000+ what ifs. Some out of anger. Heh.

As for fav piece of fanon, probably that Malfoy jr was Snape's godson. He's totally not, but whoever started that created a great layering of the dynamic between them that you can share in so many tones.

Do you listen to music when you write or do you prefer quiet?  

I was a stay-at-home mom when I was writing most of my fanfics, so I wrote in a chaotic and very noisy environment. I didn't listen to music when I wrote, but music was often the inspiration. When I would get stuck in writing, I would leave it and go listen to music that was emotionally similar to where I wanted the story to be while I thrashed out plot points. Colossus by Afro Celt Sound System is amazing for plotting a prelude to a battle.

What are your favourite fanfictions of all time?

Gosh, there are so many. Sadly, many of the authors who first inspired me are gone and pulled their fics off the web, like my fanfic bestie Dressagegrrrl. I would have to call out Pet Project by Caeria as the one I found most inspiring.  Anything by ApolloniaV is pretty high up there in my book. There are dozens I'm forgetting. There was one called Resurrection Man about Snape accidentally creating a hilarious Zombie apocalypse. Best. Fic. Ever. It disappeared from the web when the author moved on. An incredible loss.

Are you a plotter or a pantser? How does that affect your writing process?

Total pantser. The obvious effect is to drive the story right off a cliff and be unable to salvage it. It's why I vowed to never start posting until I had a rough draft ending. Too many dead stories waiting for an ending that never came. But an outline for me is a killer in disguise. I lose interest in telling the tale because I already did in the outline. The fun part is over. Sitting at a keyboard typing your fingers off, while muttering, "What the hell are these people doing? Who's writing this stuff?!" is an amazing experience.

What is your writing genre of choice?

In fanfic, I ran with every genre there was. Mostly I wanted to see if there was one I couldn't tackle.  Most of my o-fic is a hard-to-define mishmash of fantasy and sci-fi. I want to write romance, but it always turns into something complicated and angsty that no longer fits the box.

Which of your stories are you most proud of? Why?

The Tattered Man.

Did it unfold as you imagined it or did you find the unexpected cropped up as you wrote?

It came off exactly as I'd planned in my head. A rare occurrence for me.

What did you learn from writing it?

I could make people cry with my words. Up to that point, I'd made readers laugh and yell and blush, but to get a reader to the point of actually weeping? That's not easy. JK Rowling did it with ease. It was a challenge.

How personal is the story to you, and do you think that made it harder or easier to write?

It's very personal. My father had just died.  He'd had cancer, and it might have got him in the end, but what actually killed him was being sent home with a feeding tube and the wrong instructions. None of the homecare nurses realized the mistake until his kidneys shut down. It was devastating. When I next took up writing, I was still hurting so I tried to make others feel what I felt at a death that didn't have to be. It was crazy easy to write. I wrote it all in one day. Based on the reviews, I achieved my goal. It helped me work through my loss. Pretty sure I gave a few readers PTSD. My bad.

What books or authors have influenced you?

My all-time favourite book is Iain M. Banks' Use of Weapons. Definitely a classic among the eighteen people in the United States that read it. The man was a shockingly gifted author and I was devastated when he passed away. His ability to just drop you into the action from the first page and not bother to explain what's going on is sadistic genius.

How do you think that shows in your writing?

It led to my belief that a writer is always better when they assume their readers are smart. Grab their interest and just run. They'll catch on and even pass you with their theories of what's going to happen next. I've no patience with stories that spell out everything in minute detail. They're tedious and insulting. Less really is more. On the other hand, writing over your reader's head is just as annoying. Intentionally using obscure SAT words in your story just makes you a pretentious twat. Unless your character is a pretentious twat and it's part of the dialogue.  In that case, twat away. *gigglesnort*

Do people in your everyday life know you write fanfiction?

My family all knew. They were tremendously supportive. Especially Mr. Aurette, my personal Snape. Outside of my family, I was less forthcoming. Mostly because it was so crazy hard to explain. I think it's a lot less weird now, but back then? It was far more stigmatized.

How true for you is the notion of "writing for yourself"?

That's a hard one. For someone who'd never tried to write a story before, it was an amazing journey to realise what I could do. That changed me forever. Having the instant feedback of reviews was intrinsic to that experience. The downside is you can get sucked into writing for reviewers, and they will tell you clearly what they want and expect.  That can stifle. I knew no one wanted The Tattered Man to end the way it did. I was pretty terrified of the reaction. But it's what I wanted. It was the entire point. I wrote that ending for myself, but I cowered after posting.

How important is it for you to interact with your audience? How do you engage with them? Just at the point of publishing? Through social media?

I absolutely loved interacting with my readers. I made some real-life friends and some really great fic buddies all over the world. I watched them become friends in reviews too. It was a really great experience. Spam-posting a fic would often take on a festival atmosphere. Unfortunately, when my review count started to really take off, I couldn't cope with the sheer numbers the same way. There weren't enough hours on the day to reply to everyone. Trying to personalize my response to a review grew overwhelming. I actually grew quite depressed over it. Connecting on a more removed, professional level seemed cold. I connected the most on Livejournal when that was a thing. But I had to back off. "Aurette" became far more witty and wonderful than I was in real life. Everyone wanted a piece of her. I couldn't keep up with the bitch. Lol.  I faded away from most interactions on social media out of self-preservation. Even tiny fame can make you whacko.

What is the best advice you've received about writing?

There's a few that come to mind.

1-If you want to be a better writer, kill every adverb you come across.

2-Read your words out loud to yourself. If you run out of breath, your reader will run out of patience at that exact point.

3-Dressagegrrrl was the one that finally made me see how playing POV ping pong within a scene was something that marked my writing as an amateur.

4-Stop trying to be clever. Be clever, if you are clever, but don't try. It comes off hamfisted every time. Readers hate that.

5-Never, ever, ever post something you wrote that day. You've left half of it in your head and you can't tell. It's awful.

6-If you're not even a little embarrassed by something you wrote 6 months ago, you're no longer growing as a writer.

What do you do when you hit writer's block?

That's a bit of a sticking point. Stress is a muse-killer. Anything you can do to rid yourself of stress will help. Writer's block is usually the result of something going on elsewhere in your life. Fix that and the creativity will come back.

That said, my life has turned into constant stress with the result being I no longer write at all.

Has anything in real life trickled down into your writing?

Everything has. 'Write what you know' is true for fantasy too. Whether it's heartbreak, or a drunken hookup that turned into love (Hello, Mr. Aurette) or a moment when you were a child and ignored or teased, or maybe the bully, all of it makes it's way into the emotional truth of a scene or character, no matter how outlandish the setting.

Do you have any stories in the works? Can you give us a teaser?

I have a Dropbox full of stories I've run into the wall or had to leave half finished, both fanfic and o-fic. No teasers, because at this point I don't think they will ever see the light of day. Never say never, but the light of hope is dim.

Any words of encouragement to other writers?

Anyone can write and everyone has something to say. Be open to the process. Part of that process involves having a stranger tell you that your shiny new love is really shit. Being defensive only prolongs your shittiness. Embrace criticism. Sometimes,  the process of justifying something can actually buttress your choice, so you double down with better results. Other times, you'll see your idea wasn't working after all. Be ruthless in your editing, but don't delete. That scene you cut because it caused everything to go off the rails could be a different story trying to get out. Take that leap, you fail at everything you don't try, so why not try something you really want?

Thanks so much for giving us your time.

It's been my pleasure.  Thank you for the opportunity.  *waves to my readers*