#knowledge vs application

[gizkalord]

love how the aldhani rebel crew was both highly skilled yet also obviously inexperienced, and that there were different levels of experience. on one hand, they called out the commandant’s bluff about the vault scan, knew how to unstrap the payrolls, engineered this elaborate plan timed to the second, successfully hid a mole for 7 years, and found a way to navigate the eye. On the other hand, they were behind schedule from the start, vel almost lost her nerve, they got so overwhelmed by the sheer amount of money that they were still trying to load payrolls up to the last minute until Gorn, who probably had the most logistical experience of them all, arrived and made them start closing things up. Then they were careless about securing the payrolls which needlessly cost them Nemik’s life.

It’s great because you can see how the empire could have been brought down by such passion and brilliance and hard work, but at the same time it emphasizes how fucking hard the earlier Rebels had it because they didnt have organized training or resources or the sheer experience. Everything about their plan was fraught. It was so easy for just one action or person to jeopardize a mission or make it succeed. There are no contingencies, no back ups, no plan B. All or nothing.

[void-tiger]

…yeah I’m beginning to think all the resources are just BAD, Actually.

[aaaaatillathenun]

how have i gone this long in life without truly registering how driven by cocaine the 80s was. Like year everyone talks about it but I was listening to break my stride earlier today and that song is nothing but cocaine

[myfeedsworld]

Cryptography and Blockchain

In the previous few episodes, we learned what is PGP encryption, and how the keys are generated for encryption and decryption. Today, we will see the real-world use case of where and how these keys are used in the blockchain. We will also learn the basics of cryptocurrency as well as some of the risks/threats. Cryptography and Blockchain video by Bhaumik Shah

[betterlifeinoverall-rethabilep]

If You Want

In everything in this life, there is good or bad. Once upon a time, there was no evil under heaven and Earth. Hence, due to the evil spirits, one animal accepted to be entered without accusal nor threat. Unfortunately, was sent to enter the sacred Garden, then tempt the lady of first Man created. Continuously, the second person from creation gave Power to the evil in the world. Then, ate the…

[forbidden-sunlight]

yandere! vox with fem!reader scenario

Warning: obsessive behavior, implied violence, stalking, implied emotional and physical abuse, brief mention of toxic relationship [vox/val], implied brainwashing, knowledge based on spoilers from the first two episodes of the 2024 show and the Hazbin Hotel comics.

There may be possible triggers in this story.

If you do not feel comfortable venturing any further, please hit the 'back' button on your device or computer and read something much more pleasant than a possible series of unfortunate events.

You are responsible for your own Internet consumption!

Hey guys, welcome back to another Hazbin Hotel fic, starring Hell's one and only flat-screened overlord, Vox! Special thanks to @isuckatwritingsobenice and @lbcreations-blog for helping me shape up the rough draft of this piece, I can't wait until I get enough time off from work to watch this series! :)

So with that being said, sit back, relax, and let's go live with Vox's broadcast!

The overlord of technology has been in an on-off relationship with Valentino for a while, so any affection Vox has received from the egotistical prick is either a ploy to get him to do whatever he wanted or that the owner of the Porn Studios was in the mood to play the role of a lover before he got bored again. He had a brand and reputation to uphold in Hell, so any word about him and Val being together is kept under tight wraps. No one knows about it except maybe Velvette. God knows how many times the moth demon had wreaked havoc in the fashion designer’s office on the way to his own quarters, red smoke and all.

Of course the one tantrum when the television demon decided to not fight back and just dump Val’s ass because he was sick and tired of the bullshit, it had to happen a week until Velvette’s new clothing line was about to go live. So of course he, the most level-headed one of the Three Vs and the one responsible for the mess, had to clean it up. Yeah, just another fucking day with Val. Fuck his life. 

Anyway, he’s a very busy man managing the other V’s social media networks including his own workload in his own studio. Considering that he’s now single again (at least for the moment), he saw no reason to get involved with anyone else right now unless it was to relieve some of his frustrations…privately. Late one evening and on his third cup of coffee, Vox was going through the applications that responded to Velvette’s newest job post. Same occupation, same shitty pay, but every designer and seamstress in the Pride Ring wanted to work with Hell’s queen of fashion. He was just weeding out the applicants who did not have what his associate wanted in an employee. And he’s doing it because he owed a favor, not because he can’t sleep. That was when Vox saw your resume. 

He skimmed through it, raising an eyebrow in slight interest. It seemed a little embellished…but the credentials were there, at least from what he could see. And you were good-looking, so that is a bonus too. Shrugging his shoulders, he swiped his hand to the right, sending the document to the small electronic pile of Maybe and moved on to the next one. That one immediately got sent to the Rejection pile. 

A few weeks later, he saw you working in Velvette’s studio through the cameras, hunched over a desk and so entirely focused on a sketchpad that you paid no mind to her chewing out to the other designers about their shitty designs for the next collection. 

“You! New Girl!” 

Her peevish voice addressing you was what brought you out of your reverie. Straightening your spine, you turned to her and quickly strode to her. You must have known what she wanted, because you gave her the sketchpad. Velvette flipped through it, eyeing the pages critically until her bloodshot eyes widened in delight, tapping a manicured black nail against it rapidly before dragging you to a mannequin, barking at you to start creating whatever caught her attention. And it was rare for Velvette to be pleased with anyone else’s works except her own. Her creativity is what kept her clothing line at the pinnacle of fashion. You were getting more and more interesting as he began to watch you more throughout the day. Discreetly, of course. Vox would be damned if his associate found out that he’s eyeing one of her employees. 

He saw how dedicated you were to your work, how you thrived under pressure from Velvette instead of crumbling from it and that was when your creativity blossomed into its full potential. But what he admired about you the most is that you were always calm. You never raised your voice at anyone. You always looked at a problem as if you were dissecting it before making a move. Creative thinkers took risks, and so did you. 

But he’s not looking for a relationship. He wants to focus on his work. He wants to make his business thrive and crush any competition who would dare to try and get one up over him. He is annoyed as fuck that you’ve caught his attention and hasn’t done anything to make him want to stop looking at you. Why won’t you leave his mind? Why is he constantly looking through your social media accounts to see what you’re up to and if there is anyone else in your life? Why?

Because he’s fucked. Fuck his life. 

Vox believes that he is the brains behind the Three Vs’ success and how they could not have made it this far without his technology and other businesses. But the truth is that this overlord, the one who commanded over electronics, can be emotionally immature if he is pushed too far. You saw how he acted when Alastor made his comeback, right? If you did, well, you now know that his buttons can be pushed if he isn’t seen or acknowledged by someone. And if you were to ignore him as the Radio Demon did…you better run. 

Because if there is a screen or a camera, he will use it to find you no matter where you are in Hell. There is no doubt that he will jump out of it with a static pop, begging you to give him a chance to prove himself with fat, watery tears falling down his flat-screen face. 

He is an overlord, one of the Three Vs. He is good-looking, charming, a manipulator, a liar, he could use his powers to hypnotize into submission if he really wanted to and runs a successful business. What more could you possibly want when he is obviously the best choice to have as a lover in Hell? Can’t you see? You belong to him!

Taglist

@doc-tooth

@lbcreations-blog

@nixie-writes

@imperfectbloodmoon

@chroniccorvus

@angelltheninth

@hellbornediamonddreams

@riddle-simp

@blackmageoffandoms

@tired-of-life-86

@frenchtoastmafia

@lanxianschoenheit

@riotakire

@quintillion4

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[insipid-drivel]

Warhorses: Which horses are actually good candidates, anyway?

This post is in honor of @warrioreowynofrohan, who asked the question in the comments under my guide, "Horses: Since There Seems To Be A Knowledge Gap". Their question, "Given what you said about too much weight breaking a horse’s spine, how did that work with knights in plate armour?" is one I'm going to try to answer here, since the answer can be very nuanced depending on where and when you're talking about.

Also, while I was a stable hand for years as well as a rider, I never had the opportunity to directly learn more ancient styles of tacking, horse training, and combat, so I don't have any direct experience to draw from with regard to horses used for military purposes. I'm still gonna do my best here with what I know, and research what I don't.

As I've covered in the past, large horses (draft horses) make less-than-ideal warhorses, and so do carriage horses like the elegant and dramatic Friesians.

Let's begin by addressing this from the perspective of creative writing. For you writers and content creators out there, an essential part to the continuity of any historically-themed work you do involving horses will be depicting breeds of horses that didn't exist before a certain time in history. I'm going to approach this question from the stance of, "Medieval-type era warhorses". Horses were used in warfare as late was World War II, but actual horses you ride into battle with knights and archers and bannermen? We actually have to drop the subject of specific modern breeds altogether aside from using them for comparisons.

When discussing warhorses, various cultures have approached them differently. Some cultures will value a specific type of horse above all others, such as the Mongolian Steppe Horse or the American Mustang. Other cultures, which may be from biomes and territories where multiple types of horses are needed for different forms of warfare and tactics, value whichever horses can get their jobs done without their riders getting killed.

Carrying vs. Pulling:

Horses have been used in warfare since as far back as 4000 BC, but their first applications were more as chariot horses. Humans have been riding and working with horses since before we even had stirrups to more easily ride them with! As archaeologists and anthropologists make more discoveries, the more we learn that we humans have been working closely with horses since before we had specialized tools to ride them with. The very first warhorses pulled chariots or carts, which is much easier for a horse's anatomy to handle compared to carrying a heavy weight like an armored rider on their backs, which puts stress directly on their spines where they have very little supporting muscle for supporting a lot of heavy downward weight.

Warhorse Size Categories:

Really, any breed of horse can apply to a niche in warfare if it's needed enough. Even very small, delicate horses have had their place in the history of human combat! Before I continue, it's important to know that there's a unique unit of measuring a horse's height. Rather than measuring a horse's height in centimeters or inches, they're measured in units called "hands". A single "hand" = ~4 inches/10.16cm, and a horse's height is measured based upon the distance between the bottom of their hoof to the tallest part of their shoulders, just at the base of the back of their necks. We don't actually include neck length/head height in a horse's measurements with traditional measuring.

Another rule of thumb: The average horse cannot safely carry anything heavier than about 30% of their total body weight. This is a serious factor to take into mind when deciding on a type of or breed of horse for a mounted warrior of any kind: You need to factor in the OC's starting body weight, and then add on the weight of armor, weapons, and any armor the horse itself may wear along with the weight of its tack.

Light-Weight Horses:

A few examples of lightweight horse breeds whose ancestors have historically been used in combat are Arabians, Barber Horses, and the magnificent Akhal-Teke. Lightweight and delicately-boned horses like those are best applied for military maneuvers that require precision, speed, and endurance, and the rider themselves should specialize in some form of combat or reconnaissance that doesn't require them to wear heavy metal or laminated armors. Archers are good candidates for riding smaller horses, or lightly-armored swordsmen like an Ottoman Janissary.

Central-Asian and North African horses also benefit from having a higher tolerance for hot climates. They can absolutely suffer from heatstroke and cardiac arrest from being forced to run and work in extreme temperatures and should always be provided with the same protective measures in a heatwave as any other horse, but they have a little bit of an edge over horses descended from freezing and temperate climates.

Medium-Weight Horses:

Medium-weight horses started showing up in the archaeological record around about the Iron Age, where chariot warfare was becoming an increasingly utilized form of mobile combat, and people needed bigger, stronger horses capable of pulling heavier loads - such as a chariot with two passengers rather than just one. As cultures began to develop heavier-duty armors made of metals and laminated materials, it also became important to breed horses that were tall and stocky (muscular and with relatively short spines compared to their height), and therefore more capable of carrying riders in increasingly heavy armor. Medium-weight horses were also essential at the dawn of the gunpowder age when the cannon came into use in siege warfare for pulling the heavy, iron cannons into position.

Medium-weight horses are really where we see the beginnings of knights and other warrior classes on horseback come into the forefront of warfare. When you have a horse that's big and strong enough to carry heavier armor and heavier weapons along with a rider wielding them, you have a much deadlier force at your disposal. Strikes from a sword or spear from the back of a galloping horse basically results in a sword capable of cutting through enemy soldiers like a hot knife through butter.

Important Note: Traditionally, cavalrymen wield blunt swords when attacking from a charging horse's back. When a horse is charging at full speed, the sharpness of a blade becomes less important than the blade's ability to stay in one piece when it impacts hard armor and bone. A blunted edge basically turns a cavalryman's sword into a thin club that's better at holding up against smashing through multiple layers of armor and bone compared to a thinner, more delicate sharpened edge that can shatter from a high-speed impact.

Heavy-Weight Horses:

The direct ancestors of modern draft horses, such as the Shire Horse, only began to appear around about the beginning of the European Medieval Era, and were far and away not even close to the enormous sizes of the draft horses we have today. Any horse counts as a "Heavy-weight" classed horse if its weight exceeds 1500lbs/680kgs.

Heavy-weight horses were really more bred for pulling enormous weights rather than carrying knights. While yeah, there is some evidence that suggests that heavy-weight horses were used by heavily-armored knights, historians argue a lot about whether it was a rule or an exception (such as with Henry VIII, who continued to ride well after he had begun to weigh more than 350lbs/158kgs, and even went to war in France in his final years on horseback). Generally speaking, medium-weight horses tend to be the right balance of agile and strong for carrying someone that's going to actively be fighting. Heavy-weight horses were bred to be a lot more tolerant to the chaos and frightening stimulation of the sounds of battle, but medium-weighted horses generally tended to be more suited to moving efficiently through dense packs of soldiers and weaving around other horses.

Ponies:

While actually being the smallest class of warhorse, ponies were essential when it came to carrying cargo and working as pack-horses. In certain forms of terrain, such as mountains, large horses pulling big carts full of supplies or soldiers could often be extremely impractical. In situations where an army needed to move on foot and form a narrow line in order to travel, ponies were able to traverse much narrower and rougher terrain while carrying smaller loads to their destination, when heavier horses would struggle more under their own weight and dexterity.

Europe-Specific Terminologies:

If you're a writer reading this and writing a piece set in the European Medieval age, there are specific terms used for the different classes I listed of warhorses above that I'm gonna list:

Destriers: The Destrier was a universal term for the iconic knight-carrying, jousting horse. They were also sometimes referred to as "Great Horses" due to their reputations in combat settings. Destriers could have just about any appearance, but were rarely taller than 15.2 hands, or 62inches/157cm. They were capable of carrying heavily-armored knights (although knights in full plate mail rarely rode into battle and stayed on the horse the entire time - they tended to specialize at grouping up and killing a lot of footsoldiers swarming them at once and preventing breaks in defenses from being overwhelmed by an oncoming army; in the case of Edward the Black Prince, we have substantial evidence in the form of his surviving brigandine that a mounted soldier or knight was more likely to wear chainmail and brigandine with a tabard on their body with their arms, feet, and heads the most heavily armored in plate when they intended to fight on horseback, making them a little lighter and more maneuverable, but I may be waaay off base there because I'm thinking of more of Italian soldiers who used full plate and how they applied it in battle more than any other example) and wearing armor themselves.

Interestingly, the sex of a destrier was often chosen strategically. Stallions (horses that haven't been neutered) are more aggressive, and could both act as combatants on their own if their knight was dismounted or killed, but could give away an army's location if they were attempting to move stealthily. Stallions whinny and shriek a lot when they're horny or arguing with each other, which is most of the time.

Mares were often chosen by Muslim armies for being much less vocal, and therefore much more capable of stealth. Geldings (neutered males) were the preferred mounts of the Teutonic Knights, a Catholic military group, since they couldn't be stolen and used to breed more horses for the enemy army.

Coursers:

Coursers were the most common Medieval European warhorse. It's important to remember that in Medieval Europe, most armies were almost entirely comprised of common men - serfs subject to the will of their landlords, not far removed from slaves in many ways - who couldn't afford the highly-prized and expensive Destriers. Coursers were usually a bit lighter than Destriers, but were still strong enough to carry someone wearing armor. Coursers were also a little more utilitarian, because they were also sometimes used in hunting as well as warfare, so they had a valuable use outside of warfare that the owner could benefit from.

Rouncey:

A rouncey was an all-purpose horse that could be used for leisure and travel-riding as well as be trained for war. They were a lot more likely to be found on the farm of a serf or independent farmer of some kind, as they could fill a lot of different roles depending on what they were needed for. Their sizes weren't really important as much as their ability to get the job done.

It's also critical to remember that, when talking about warhorses, we're usually talking about eras long past. In general, thanks to resource availability and incredible advances in medicine, modern humans are significantly taller, and therefore heavier, than people from the European Medieval era and prior. While fatness was valued in many cultures for its suggestion of wealth, most working-class and serf-class people worked intensely physically-demanding daily lives just to maintain their own homes. They were a few inches shorter on average than we are today, had greater fluctuations in body fat distribution depending on how harsh or bountiful the harvest season had been and the season in which a war was taking place (the average person's weight would swing by 30lbs or more on average every year prior to the industrial era), and cavalry were usually chosen based upon skill in the saddle as well as physical size when considering the application of medium or heavy armor being placed on the horse's back and body.

[kanansdume]

It's really interesting to think about how much of the Jedi culture is going to be changed or lost after Order 66. Because the Jedi have the ability to pass on their culture to a new group of Force sensitive people so long as there is even one survivor left to teach it, so they can keep themselves from completely dying out. BUT, the culture that gets passed on and created isn't going to look the same way it used to.

Kanan is so young when Order 66 happens that what he's able to pass on to Ezra is going to be incredibly limited by what his various teachers had been able to teach HIM. He didn't get the chance to learn everything he was supposed to learn, and it's been 15 years since then anyway, so what gets passed on to Ezra is entirely dependent on what Kanan even remembers of his very truncated education. Kanan also only ends up getting four years to teach Ezra what he needs to know when a basic apprenticeship seems to have been around 10 years long and that's AFTER over a decade of learning as an "initiate," so even if Kanan remembered everything he was ever taught and had gotten more training before Order 66, he may not have had enough time to pass on EVERYTHING he knew to Ezra.

And beyond those two limitations, there's things that the Prequels Jedi would've been taught and that would've been vital parts of their culture that just aren't relevant anymore. Things like their relationship to the Senate and how their missions work, living on Coruscant and in the Temple, or communal teaching methods, are all things that Jedi after Order 66 have no reason to know about or learn because it's just not applicable anymore.

And there's things that would get ADDED to Jedi culture that didn't used to be there, like how to survive without the support of other Jedi, how to live in a galaxy that has been taught to mistrust people like you, and when to keep your identity a secret for your own safety vs when to reveal your secret for other people's safety.

Also, due to the very separated nature of Jedi apprenticeships post-Order 66, it's entirely possible that you get very different variations on being a Jedi depending on who you learned to be a Jedi FROM. Ezra would've learned different things from Kanan than Kata will learn from Cal and than Luke would've learned from Obi-Wan and Yoda. Being a Jedi meant slightly different things to each of them and looked very different to each of them. Cal got taught by two separate masters, one pre-Order 66 and one post-Order 66, so his training is slightly more complete than someone like Kanan who had to fend completely for himself after Depa died and struggles more with taking on a Padawan than Cal likely will. And of course both of them will differ greatly from teachers like Obi-Wan and Yoda who are focused pretty strongly on getting Luke ready as quickly as possible for having to face people like Anakin and Palpatine given his personal relationships to them both and how that affects him. Obi-Wan and Yoda are also going to approach teaching much differently given their relative experience with having done it before and having both been Masters in their own right before the Jedi were destroyed.

We don't know if any of these people ever end up meeting each other and combining their respective knowledge and experiences, but if they don't, then it's entirely possible for there to end up being several different "branches" of Jedi down the line spawning from the few survivors who were able to train new apprentices that could carry on what they were able to absorb of the Jedi culture. The Jedi who are part of Cal and Kata's line of Jedi might look quite different to Luke's school of Jedi. And that would be SUCH an interesting thing to see, that the Jedi sort-of lose that communal aspect and so there end up being multiple variations on the Jedi who all stretch back to those few Prequels Jedi survivors desperately passing on what they could of a dying culture, each one passing on something slightly different than the other even though the core of selflessness, compassion, and service remains the same across all of them.

[prince-kallisto]

Crowley’s “Piece of My World”: The Twisted Storyteller of Twisted Wonderland

This is a continuation of @moonlightequin1’s and I’s previous theory right here regarding Realm Dominance and “Piece of my World!” For further context, I recommend reading that one first. And to @camrastuff, I hope this post answers your questions on our take of Crowley’s magic!

Ray and I truly discussed a lot about Crowley and what the purpose of his Unique Magic could be for. As a small recap of the previous theory, we think that theme song for TWST, “Piece of My World,” is the name of Crowley’s Unique Magic. This is all tied back to Realm Dominance, a rare and ancient class of magic brought up in Book 7 regarding Malleus’ Overblot powers and how he puts everyone in his barrier asleep. Crowley’s “Piece of My World” has not only created the pocket dimensions inside the dorm mirrors, but may also have a similar potential to Malleus’ magic- as in it could take over the whole world.

It’s the “Villains’ World,” right? A world where there is a “true happily ever after.” A world where the OG Disney Villains won and are viewed favorably as a good people. But the game acknowledges that this isn’t the truth- through Yuu. Why can Yuu see the truth behind the Great Seven’s actions if it wasn’t accurate to Twisted Wonderland’s lore? That’s where Crowley’s Piece of My World comes in. Ray and I think that Crowley has been using his magic all along, and is quite literally the key and heart to Twisted Wonderland. Crowley constantly being associated with a bird with a key in its mouth is far more literal than it seemed.

Crowley IS creating the current world as we know it- through Realm Dominance that can literally change the world to what the caster desires. He is creating this artificial “happily ever after” for the students of NRC, where they can prosper and live as the people they are because of the deeds of this Great Seven. This world is not meant to be, but if he can imagine it, he has the power to change it.

Ray pointed out to me that so many of the game mechanics reference storybooks. The main game storylines are literally called “Books,” and blot is a very inky substance as well! And in the opening animation, there’s a very quick set of frames of an open book and spilled bottle of ink, before flashing to an image of NRC and then Crowley, in that order. The animation may be trying to hit that Crowley is literally writing the story of Twisted Wonderland. Crowley even points out that mages write or draw to improve their magic! Magic is all about imagination, after all.

But like Leona said about Azul in Book 3: magic is not invincible and has its limits and weaknesses, no matter how powerful it may seem at first. “All Magic’s got a loophole.” I think this is especially applicable on a world scale, where the magic is highly instable. It’s why the conflict of RSA vs NRC still exists, as a sign of the world where the villains lose. It’s why Yuu has the dreams and the visions of the actual villainy in Disney canon regarding Great Seven- they are able to see through the cracks of Crowley’s magic because they are an anomaly in Twisted Wonderland.

This all sounds too good to be true at first, especially for Crowley who is notably morally grey character throughout the storyline. He has little to no qualms of using Yuu as his pawn, with sly threats of removing Ramshackle, food, and money from them if they don’t carry out his dirty work. He’s very detached from someone who is the protagonist of the game. But that’s exactly what still makes Crowley a flawed character despite deeply caring for the rest of his students- he is willing to sacrifice the few for the majority.

Yuu quite literally is not from this world and was brought here unwillingly, and Grim is an artificial creature (a magical and likely forced fusion between an animal and a Direbeast) with no knowledge of his own past. Crowley also consistently refers to Grim as a “monster,” whereas the other characters through main story more respectfully call him a Direbeast and are overall chill with him.

Yuu and Grim are not the people Crowley is trying to save. They are pawns he picked out on purpose to sacrifice and serve the greater good, even if his plans don’t serve in THEIR best interest. But how exactly are Yuu and Grim Crowley’s pawns? Why does Crowley let the students Overblot if he’s trying to save them?

This is where to oh-so famous Time Loop theory comes it. It’s a popular theory that Twisted Wonderland is “looping,” with a world-ending calamity that forces the story to restart. This disaster is currently theorized to be Phantom! Grim seen in the prologue. Yuuya in the TWST novel also starts off with experiencing this event, referring to Twisted Wonderland as being a “wasteland from the start.” Hehe the way it says “anything that had ever been was merely an illusion.” I feel rather validated with this theory now \(//∇//)\

If Crowley is truly using Realm Dominance across the entire world, twisting its history and its people, he may essentially be “rewriting” the world over and over again in order to reach the happy ending. Crowley’s magic isn’t invincible- there must be a point in time where everything comes to a breaking point. The truth keeps forcing the nature of their villainy to light and bringing them to a bad end, because villains aren’t meant to have a happy ending. But he keeps going, turning back the pages to achieve a good ending.

Yuu has the dreams of the canon Disney villains and their crimes because that’s the truth behind Twisted Wonderland. It is also why in Book 5, they have a flashback of Phantom Grim. It’s not Yuu seeing the future- it’s Yuu remembering the previous versions of Twisted Wonderland before Crowley restarted the story. Yuu was brought into this world from a whole different one by the Black Carriage, a system Crowley has control over. Crowley is essentially writing in a new character into the story to help save the others. The Dark Mirror even considers Yuu a “blank slate.” It doesn’t matter if Yuu perishes or receives a bad ending, as long as everyone else is saved. As long as Yuu can be the “Beast Tamer” to control Grim and being the others together, that’s all that matters to Crowley.

Edit: I’d like to add I got a bit carried away with this point haha! I think Crowley’s relationship with Yuu and Grim is far more complex- and not him being a heartless person. It’s a very strange mix of Crowley indeed having a level of care Yuu (notable in the novel where he’s very kind to Yuuya and supports him in a gentle manner because of Yuuya’s skittish personality), but also willing to take a level of risk for their fate. There is the possibility that no manner what happens to Yuu in the world of Twisted Wonderland, they can be returned to their own world safe and sound. It’s just an overall complicated relationship, because Yuu’s distrust of Crowley in the main story has certainly grown, and I can’t blame them. There’s many sides of Crowley they just can’t see from their perspective, with Book 4 definitely feeling like a final straw of sorts. I hope Crowley’s care can come to light one day, because there’s a lot more there than he lets on.

Him trying to save the students seems ironic with all the Overblots going on at NRC, doesn’t it? But that’s exactly his way of saving them, while also sacrificing Grim. The Overblots, while extremely life threatening, have served each character and their respective dorm mates a lot of purpose. They've all grown more into their own people since their incidents, even it some progress doesn't seem as notable at first. And I think this extreme way of emotional outlet has improved the characters magic quality as well, from what we can judge from Book 6 and STYX. The characters working together to defeat the Titans and then Overblot! Idia and Phantom Ortho, to even Vil sacrificing himself for Idia. It’s so much progress!

If there is a bad end the students are forced to confront, Crowley is preparing them for the worst. Their magic levels, their bonds, how to face Overblots when there is no one else to rescue them. He is trying to prepare them for the future they must face and surpass in order to reach their happy ending. Because even if Crowley himself prevents the individual Overblots, the bad ending will always be inevitable, so he’s essentially brute forcing it for the slight possibility a good ending is near. It’s like Vil said in Book 6: even if there’s a 0.001 chance, it’s better than zero. In an older theory, I elaborate far more on the idea that I think Crowley is even causing the Overblots on purpose 👀

This where Grim comes in. Grim is eating all the Overblot crystals, crystals that Crowley knew about and was trying to collect himself. Crowley could easily intervene whenever Grim eats the crystals- it’s quite literally a running gag in the main game that Crowley pops up whenever he wants and conveniently at critical points of the game! How does Crowley know when to show up when there’s conflict or the characters are asking questions and confused? As the “storyteller,” he is essentially popping in the aid the characters and coax them towards the storyline they’re supposed to go to. But he won’t involve himself in the actual story, as he’s essentially an omniscient narrator, who knows things that the characters and the MC themselves don’t.

So back to Grim, Crowley doesn’t intervene because Grim is essentially storing all the blot inside him, preventing any contamination of the already unstable world of TWST. Grim is already a magical fusion between an animal and Direbeast, and I wouldn’t be surprised if the 1000 year old ancient magic used on him was done to force his body to be capable of retaining all the blot. Phantom Grim is a creature made up of parts from all the Overblots, like a Jabberwocky. In Alice in Through the Looking Glass (Official sequel to Alice in Wonderland. “Coincidentally,” the Looking Glass world is a world where everything is opposite as it should be) , the Jabberwocky is a creature that can only be slayed by the Vorpal Sword.

Ray and I think that Crowley’s plan is for the characters to slay Grim, as he is the disaster preventing them from their happy ending. Swords have become more prevalent in Book 7, with Silver and the Dawn Knight and even RSA’s logo being the sword. Since the Jabberwocky can only be defeated through very specific circumstances, it goes that Grim is the same way too.

But if Crowley is in control of the world, why not stop Grim himself? That’s exactly the thing- his magic is not invincible. Grim is an accidental side product of Crowley rewriting the world to be the Villains world. Grim must be the culmination of consequences for doing such a drastic thing with magic, and will always exist in every version of the story. He is the blot, he is the “ink” that’s being used to write these pages. It is the one primary thing that Crowley cannot overwrite, no matter his control at the omniscient narrator. The only way to not have Grim is not change the world at all, which is not what Crowley wants.

I know this idea seems complicated and overwhelming haha! Ray and I got pretty overexcited and yelling at each other through DMs, but it’s different trying to thoroughly word this out for theories! I will post the third and likely final part to this MAIN theory soon, which Ray also wrote a thread in Twitter. There’s so many side parts to this theory to cover, as we think it’s critical to the end game. Thank you reading all the way!! \(//∇//)\ I love hearing everyone’s thoughts and questions! ^_^

[honeytonedhottie]

getting things done fr౨ৎ₊ ⊹🫧

im going to use an example from the book "atomic habits" by james clear, the book was so amazing and i highly recommend it <3

so there was a photography teacher and he separated his class into two groups. group quality vs group quantity. the instructions were that group quality had to produce one perfect photo, and group quantity had to produce 100 photos. at the end of the term, the best photos were produced by the QUANTITY group.

the best photos were from the quantity group bcuz the students were busy taking photos, experimenting and learning from their mistakes so in the process of producing 100 photos they honed their skills.

however the quality group only sat around and speculated about perfection, they had little to show for their efforts and only produced a mediocre photo.

what can we learn from this౨ৎ₊ ⊹🫧

there is a difference between MOTION and ACTION. when ur in motion ur planning/strategizing and learning, although those things are good thats NOT what produces a result. ACTION will produce a result.

we can apply this knowledge in manifesting, its not enough to CONSUME loa content, consume loa content from my blog or youtube or anywhere else. the knowledge that could CHANGE UR LIFE is useless unless u apply it. although its good to learn more about the law, you'll only get an outcome thru application.

when preparation becomes procrastination, that means something must change. you dont wanna just be planning, u wanna be practicing.

[princesscolumbia]

So I had a thought about SexPal vs. Harrow

Both Palamedes and Harrowhark are both geniuses, and even Plamedes believes that Harrow is smarter than he is, but that begs the question, then, why did Sextus figure more things out quicker than Harrow did?

Coming from an entire family of Extremely High Intelligence people (nearly everyone on my dad's side of the family is some form of supergeek with careers in engineering, bio-sciences, computing technology, and that one uncle that nobody quite knows what he does but it's government-adjacent and he's not allowed to talk about it), I think I landed on the answer; knowledge of people.

By dint of his touch-psychic ability, plus the very obviously more social nature of The Sixth House, means that Palamedes has needed, by pure necessity, to bend some of his intellect to understanding the people about whom his magic gives him the information and with whom he must interact.

By contrast, Harrow had one (1) friend/rival/sibling/classmate/conspirator/bully growing up, and then at the moment she lost her parents and gained control of all of Drearburh she locked down The Ninth House, further limiting her already limited chances to interact with people at all. Her intellect had completely unfettered freedom to pursue knowledge and research for its own sake, ignoring the human component entirely if she so chose. Even the very finite contact with the people her magic was useful for was really only good after said people were already dead, as bone magic isn't really good for much besides maybe dentistry or chiropractic work.

Coming back to my family for a hot second; that one uncle who by nature of his work means he doesn't have much contact outside his job? He's terrible at people. He genuinely doesn't get how to people whatsoever. My aunt, who's the "black sheep" of the family and went into bio-sciences (not going into a pure technology-related field? How gauche!), deals with microorganisms and, as a hobby, dabbles in food science. Both of these vocations are about people and how they interact with the world in some fashion, so my aunt is leagues better than my uncle at people-ing. If there's a sociological element to any problem the family might have, we all know to go to my aunt and never my uncle.

The reason SexPal figures out the (imperfect) Lyctorhood before Harrow, the reason he's confused by her failure to have "solved it" like he did, is because being a lyctor involves another person so intimately they might as well be an extension of your own soul. Harrow grew up being terrified of people knowing her on that level so all her intelligence inherently tries to reject any application of people-ing to any problem she's trying to solve.

[triviallytrue]

BG3 Feat Tierlist

Fuck it, here's every feat in the game split into four tiers. Within each tier, feats mentioned earlier are better.

Always Take

Feats that, when applicable to your build, are so good they should always be taken.

Tavern Brawler

The best feat in the game by a wide margin. Strength elixirs are available by the time you hit level 4, so for throwers and monks this is a flat +5/+5 to all attack and damage rolls, scaling to a +8/+8 when you get Cloud Giant elixirs in act 3. The fact that it gives you +1 Con on top of that just makes it even more absurd.

Sharpshooter/Great Weapon Master

Both feats revolve around the -5/+10 attack/damage passive, which is crucial for dealing damage as a non-TB martial. Requires a fair bit of game knowledge to manage (should be toggled off against high AC/low HP enemies) and prepare for (Oils of Accuracy, sources of advantage), but in the hands of a skilled player it's essential. The question of which of the two is better gets into thornier debates about ranged vs melee - GWM has the better extra feature with bonus action attacks, but ranged martials can already utilize their bonus action with hand crossbows and have archery style for extra accuracy, but melee gets strength elixirs- on and on.

Often Take

Feats that are not essential but will be useful in a lot of builds.

Dual Wielder

Funnily enough, this feat is the closest thing pure spellcasters have to an Always Take. Melee martials are better off with two-handed weapons and ranged martials don't care, but pure spellcasters can use this feat to dual wield staffs. As early as mid act 1 with the Spellsparkler and Melf's First Staff, this makes a big difference, and in the lategame this allows for dual wielding the Markoheshkir and Staff of Spell Power. Oh, and you get a free +1 AC on top. Isn't an Always Take because if you're running more than one pure spellcaster, you may want to distribute the staffs instead.

Savage Attacker

On a d12 this averages out to +2 damage, which is fine but not incredible. What really makes this shine is that the effect applies to all additional rider dice as well, which is a hefty chunk of damage by the late game. A very nice option for melee builds to pump up their damage, especially if using strength elixirs.

Ability Score Improvement

The default option. Bland, unsexy, but almost always a pretty good choice.

War Caster

The opportunity attack feature here is negligible, but as it turns out, not losing your concentration when you get hit is really, really important. Most dramatic example is twinned haste, where losing concentration will stun half your party, but there are lots of other scenarios where it's pretty bad. Only reason it isn't higher is that there's other ways to obtain advantage on concentration saves, but if you don't have access to those, this is worth taking.

Alert

Much improved over its tabletop counterpart, due to BG3 using a d4 for initiative rolls. If you commit to this one partywide (or on all non-dex primary characters) you can almost always all go first, especially nice for parties that benefit from interweaving actions when they go together.

Resilient

Useful for patching up your saving throws - you can't gain saving throw proficiencies by multiclassing. Mostly useful with Constitution for casters looking to never blow a concentration save, but could be nice to have to buff up Intelligence saves against stuns.

Rarely Take

These feats have niche uses but aren't generally optimal.

Elemental Adept

A very hard one to rank. There are three good elements in BG3 - Lightning, Cold, and Fire. Lightning and Cold resistance are uncommon and can be mitigated with Wet and Fire resistance can be bypassed with Arsonist's Oil, so that part of the feat is less useful than it would appear at first glance. The damage increase is +0.5 per damage die on average, so a Fireball or Lightning Bolt will deal +4 damage per target, which is quite good. Cantrips deal +0.5/+1/+1.5 more, which is less impressive. The main downsides are that you only get it for a single damage type when you'll want to use spells from all three, and that the main elemental damage specialist (Draconic Bloodline Sorcerer) gets their Charisma added to their specialized damage anyway, so Ability Score Improvement for +1 attack/DC/damage is competitive. I think this narrowly misses the cut in most builds, but it's still pretty good.

Lucky

Loses points because it doesn't synergize with... well, anything, but it's never bad to be able to reroll important rolls 3 times a day. A slightly suboptimal alternative to Ability Score Improvement if you don't have anything you want and are feeling quirky. Be warned that it may slow down the pace of play with random boxes.

Sentinel

Unfortunately doesn't have the juice to be a core building block with its Polearm Master synergy bugged, but it does accommodate a tank-adjacent playstyle that you really can't get any other way. Purely mechanically it isn't terrible either, but generally there are better options.

Actor

Useful if you have a Warlock/Sorcerer Tav who isn't going to multiclass into Bard or Rogue. Still not great in most situations - you can get a lot of other bonuses to ability checks and there's a parasite power that gives you expertise in all the social skills in act 3.

Polearm Master

Kind of a tragic feat, considering its stature in tabletop. The bonus action attack doesn't proc additional non-ability modifiers like the Great Weapon Master passive, which severely limits its usefulness, and the classic synergy with Sentinel is buggy and unreliable. Still probably usable, but only just.

Spell Sniper

All damage cantrips besides Eldritch Blast are pretty bad, so be sure to take that one. In general you'd rather take two levels in Warlock to get the goodies that make Eldritch Blast ridiculously good instead of merely better than Firebolt, but as it turns out there is a clear niche use where this is completely optimal: Eldritch Knights that need a cantrip to use with their bonus action attack but can't spare two levels for Warlock because they want the level 11 fighter multiattack. The expanded crit range is worth more to them than the other Magic Initiate crap or a single level in Warlock. Go figure!

Mobile

Optimal for Hamarhraft builds, if you're the kind of person who likes crazy builds in theory and is willing to push through hours of tedium in practice. Everyone else should steer clear, movement speed is nice but not worth spending a feat on and the other benefits are negligible.

Never Take

There are strictly superior options.

Defensive Duellist

Close to putting this one in Rarely Take, but I cannot in good conscience endorse putting in a feat so you can burn reactions on buffing AC, or one-handed melee builds in general.

Martial Adept

Very hard to justify a feat for a single superiority die (ie, one maneuver per fight).

Charger

Would be usable if it was a passive or just cost your action, but spending your bonus action in exchange for only 5 damage and not being able to combo other abilities with it makes this one a no-go.

Mage Slayer

Want to fuck with casters? That's what Wizardsbane Oil and Arrows of Arcane Interference are for. Don't waste a feat on those squishy nerds.

Shield Master

Makes you tankier without making you more resilient to actually dangerous conditions like stuns. Don't spend feats around avoiding damage - enemies can't damage you when they're dead.

Medium Armour Master

Decent effects in the early game (more the AC than the stealth) but obsoleted by magic items that give you these effects or better for free.

Heavy Armor Master

-3 damage, only from nonmagical sources, in a game where most heavy armor users will have more health than they ever need? Not worth a feat.

Tough

Gives less HP at level 12 than a level 5 Aid cast, which hits the entire party.

Crossbow Expert

Crossbows in BG3 already get the main feature that makes this good in tabletop for free. Instead you get the ability to hit from point blank range (you should not be doing this) and a slight improvement to a mediocre ability. Pass.

Athlete

Don't sacrifice one of your ability points for the ability to stand up faster and jump a little farther. There is a level 1 ritual spell which triples your jump distance.

Lightly/Moderately/Heavily Armored/Weapon Master

You're better off getting your proficiencies through multiclassing instead of feats, even with the ability score bonus.

Ritual Caster

Take a level in Wizard.

Magic Initiate X

Take a level in X.

Durable

This is what healing potions are for, and it's hard to run out.

Performer

Just play a Bard. It's a really good class, I promise.

Skilled

A feat on extra skill proficiencies, in a game where you can build an entire party to cover the handful of actual relevant skills? Come on now.

Dungeon Delver

Worst feat in the game. Not only are its stated benefits complete ass, its main feature is glitched and offers no benefits.

[captain-lovelace]

one thing that having fish and looking up fish advice online has showed me very tangibly is that if you love something but you know nothing about it and don’t learn you will hurt or kill it in trying to do something good for it. So many people over-feed their fish to death because their fish “look hungry”, or prevent their tank from cycling fully because they’re doing 100% water changes every week and end up with fish dying of ammonia or nitrite spikes, or love their pet fish but have no clue that it’s actually going to grow up to be a foot long and will need a much larger tank, etc etc etc. And obviously a good many of these are neglect or poor assumptions about fish as pets and most could be solved with looking shit up, but there are always some cases where the person in question loved the fish but was woefully misinformed, or panicked, or thought they were much more prepared than they were, or any number of things, and they’re devastated by the fact that they’ve hurt something they care deeply about. Often, though, I see these cited as either cases of “loving them too much” or “not loving them enough” or with a veil of “anyone who really loved this animal wouldn’t do this to it” and I think that’s… incomplete? Because the problem isn’t how someone feels or whether they care, the problem is how much work they put in to finding and filling the gaps in their knowledge. The problem isn’t loving something too much or not enough because the love isn’t relevant. Someone can NOT love their fish and take amazing care of them, and someone who loves their fish desperately can be a TERRIBLE fish keeper. I don’t know how generally applicable this is as a theory or even a metaphor but I do think the problem of knowledge vs emotion does extend further than fish.

[zzzzzestforlife]

hi zesty :)))))

idk if you've gotten this question before, but i was wondering how you ended up studying psych while working as a software engineer. they're both super cool fields but they have very opposite vibes, imo (as someone with minimal understanding of them, lmao).

no pressure to answer and i hope you have a wonderful day, friend <3333333

-zipstidbits (i can't send asks from sideblogs ;-;)

hi zip! ☺️ i feel like i must have explained it at some point but i can't remember either 😆 okay, brace yourself for a very long response 😛

they're actually quite interconnected, at least for the kind of engineering that i enjoy. how i figured out what i enjoyed was kind of a painful process though 😅

*insert stereotypical flashback/memory effect*

Software Engineer Finds Herself Storytime

i started considering product management, user experience/user interface design, user experience/psychology research, and really anything but engineering because i felt i really sucked at it in comparison to the amazing talent of my peers and seniors. i just didn't care as much about the highly technical things that got them so fired up and after spending so much time and energy trying to make it work and make myself care, i realized i couldn't, not in the same way at least.

so i had a chat with a girl who used to be a software engineer but switched to product management and thought she was super cool and just having a blast being a total boss queen 👑 i had chats with designers who have such a good grasp of color theory (my nemesis), how the heck to use Figma (my other nemesis), and have this incredible attention to detail 🕵️‍♀️ and i had chats with engineering managers vs. technical leads, which is honestly where i should have started because it made the disconnect and therefore what i actually naturally gravitated towards really clear.

i started leading team meetings, then projects where i could influence product direction from an engineering standpoint, and decided not to switch to something else after all! (but i still want to develop my psychology knowledge to make me a better engineer, hence my degree.) the key thing is, instead of trying to be like "everyone else," i only started to care about good engineering when i leaned into what i naturally get fired up about — a good product experience for users and a good development experience for engineers.

in summary, psychology is really influential in:

good design principles — e.g. is it intuitive? convenient? (or sometimes, how do we make certain actions as unintuitive and inconvenient as possible because those actions would lead to user error)

good people management — applicable whether you're actually leading a project/team or just having a conversation or paired programming session, knowing others x knowing yourself = ✨success✨

they are kind of "opposites" still in a way, but every team needs a good balance and i've started to carve out my role/niche on my team this way ☺️ thanks for this ask, zip! hope you have a lovely day too ❤️

[filmnoirsbian]

I have a question and lmk if its out of line or if you dont wanna answer it thats fine, but basically im a professional artist in the field of fine arts, and as such i have over time learned what makes art "good". I can like or not like it, but usually, im at least able to come up with a defendable opinion on why it is contextually bad art or good art, or rather, whether or not a given artist is 'good' at what they do. With poetry tho, while i (like everyone i think) journal recreationally, i really have trouble identifying whether either my own poems or other peoples are good. Like. This came to mind esp after your rupi kaur post, bc ur right, i dont like her, but i cannot for the life of me articulatw WHY i think its bad. Anyway tldr i guess how can you tell? What are some markers of good vs bad poetry ? (Especially technically speaking) i think these 2 things are similar bc with art too a lot of ppl will be like "ohhh its all relative" but like there are actual markers ofskill and well executed intent, and for fine arts i tend to know them (stuff like influence/filiation, taking into acct the viewers experience, intentionality of creative choices.....) but with poetry as a field i just like. Dont have that technical knowledge to talk about my feelings about a poem like i do with art ans i was wondering if u could help

This is a very complicated debate that has been ongoing since the birth of art and literature. I think it can be difficult for some people to allow that a piece of art (in this case, this includes poetry) can be technically well-crafted while not effecting them emotionally, and that a piece of art can effect them emotionally while being not technically well-crafted. A words app poem that you see which is filled with typos and accidental grammatical errors but which touches on a topic deeply important to you can make you cry while still needing work in its technical aspects, and that doesn't make it either good or bad as an objective work of art. Likewise, there are plenty of poems I've read which were deftly crafted by talented poets but were ultimately forgettable to me because they did not strike an emotional chord. Their lack of emotional resonance also does not make them good or bad. I think that because art has such a capacity for emotional resonance, it's easy to accept that as the most important criteria for what makes art "good," but I personally don't think that's fair. But to me, good poetry is honest--not autobiographical, but written with intent, some understanding of wordcraft as a medium, and meant to evoke a genuine understanding within the reader. Rupi Kaur is sort of a punching bag at this point, often from people who don't actually write poetry which I'll admit I find frustrating, because most criticism of her works is shallow and dependent on the idea that a poem must make you feel something to be good. That isn't a good basis for art criticism, because what makes you feel something is never guaranteed to make anyone else feel. But to me, what makes Kaur's poetry "bad" (not my preferred term, I'd describe it more as shallow or juvenile) is the lack of honesty. Her work is purposefully scrubbed of any distinction so it can be as widely applicable as possible, and in doing so, her poems become no more genuine or meaningful than the mass-printed fortunes in fortune cookies. And, worst of all, there is no technicality behind her wordcraft to make up for the lack of thematic complexity. Both style and substance are rendered as plain and inoffensive as possible. When an artist creates something, they are putting something of themselves into their work, so the art becomes a contract between the artist and audience. The artist is trusting the audience to genuinely engage with their work, and the audience is trusting that the artist has shared something genuine. Good or bad comes later; that it is something the artist created themselves with intent is the first step. But when art is made only with mass consumption in mind, it becomes stripped down to only the bare ingredients of art; it is art on paper, by definition, but it is not art by intent. It's a tree with no limbs, no leaves, no creatures making a home in it. It's not much better than a telephone pole.

When I judge a poem as good or bad, I look first for complexity, either in narrative or structure. This doesn't mean a poem must be a long-winded sonnet to be good; some of my favorite poems are haikus, and in fact haiku is my favorite poetic form. This is because often I find haikus carry multiple meanings, the poet packing in as much story as they can in such small luggage. Most of all, I just wish would-be critics would use their words; "Rupi Kaur's poetry is bad because it's boring" is not good criticism. Your definition of boring is not someone else's. "Rupi Kaur's poetry is rendered shallow and meaningless by the attention-consumption economy it was bred in and has no intelligent wordplay or articulation to constitute a poem that is at least engaging for the mind to read" is a bit more comprehensive.

[historicalfightingguide]

"Fighting is one of the most unpredictable, chaotic sports on the planet yet you have coaches that think the tire drill is effective because they saw it in a Rocky movie. A lot of gyms outside of the ones producing good to great competitors treat fighting like it is a closed sport when in reality, the best knowledge I have gained for my training and coaching has come from basketball drilling & conditioning methods and not methods I’ve received from coaches who focus exclusively on combat sports because many combat sports have almost no extensive theory or pedagogy and treats fighting like a multiple-choice exam. The way many participants view combat sports is entirely wrong because they completely undervalue how much environmental factors play a large role in one’s fighting ability regardless of how they look on the pads or in the gym. Even at the highest level of fighting, you’ll have athletes get paid to fight under a certain ruleset such as in a cage, and never train once inside a cage throughout their whole fight camp leaving them at a tremendous disadvantage that will get exposed even if there is early success prepping in that manner."

Extra relevant for historical fighting where we should be extra careful about context or environmental factors, and with the diversity of rulesets and training areas we could learn a lot by both participating in it all whenever we can, and from picking up ideas from other sports that happen in a variety of competition spaces, or dances from various different social contexts etc.

For anyone who hasn’t yet seen the following links:

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Some advice on how to start studying the sources generally can be found in these older posts

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Remember to check out  A Guide to Starting a Liberation Martial Arts Gym as it may help with your own club/gym/dojo/school culture and approach.Check out their curriculum too.

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Fear is the Mind Killer: How to Build a Training Culture that Fosters Strength and Resilience by   Kajetan Sadowski   may be relevant as well.

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“How We Learn to Move: A Revolution in the Way We Coach & Practice Sports Skills”  by Rob Gray  as well as this post that goes over the basics of his constraints lead, ecological approach.

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Another useful book to check out is  The Theory and Practice of Historical European Martial Arts (while about HEMA, a lot of it is applicable to other historical martial arts clubs dealing with research and recreation of old fighting systems).

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Trauma informed coaching and why it matters

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Look at the previous posts in relation to running and cardio to learn how that relates to historical fencing.

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Why having a systematic approach to training can be beneficial

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Why we may not want one attack 10 000 times, nor 10 000 attacks done once, but a third option.

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How consent and opting in function and why it matters.

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More on tactics in fencing

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Open vs closed skills

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The three primary factors to safety within historical fencing

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Worth checking out are this blogs tags on pedagogy and teaching for other related useful posts.

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And if you train any weapon based form of historical fencing check out the ‘HEMA game archive’ where you can find a plethora of different drills, focused sparring and game options to use for effective, useful and fun training.

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Check out the cool hemabookshelf facsimile project.

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For more on how to use youtube content for learning historical fencing I suggest checking out these older posts on the concept of video study of sparring and tournament footage.

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Consider getting some patches of this sort or these cool rashguards to show support for good causes or a t-shirt like to send a good message while at training.