#7" Singles Box Set
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Paul McCartney's 7" Singles Box
Paul McCartney’s 7″ Singles Box
Just as we recover financially from the Beatles’ Revolver re-issue and box set frenzy comes another *tempting purchase: a new box set of 80 7″ singles from Paul McCartney:
The 80 singles (with 159 songs) are to be released December 2 and represent half a century of Paul’s musical life with releases dating from 1971 (‘Another Day’), right up to 2022 (‘Women and Wives’).
The box set features…
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I watched James Somerton's final video, and all I got was this 6 page document
As soon as I learned his final unreleased video was on Revolutionary Girl Utena, I knew I had to hate watch it. I didn't know that I'd spend the following 4 hours making a comprehensive doc on everything I hated about it. But here we are.
The TLDR (is this too long to be a TLDR?)
The intro section, as well as Part 2, are directly plagiarized from wikipedia. The rest is unclear.
He makes a “haha this show is so weird right guys” joke 10 different times
He reads Anthy as so emotionally stunted she literally has to be taught how to think for herself, and believes that being the rose bride makes her feel good
He says that his reading is ‘vastly different” from the rest of the community, before boldly stating that this is because he sees it as a “deeply allegorical and symbolic story”
He sees the sexual abuse as “not to be taken literally”
Insists that the show be separated into parts that are strictly literal and strictly allegorical for the entirety of parts 3 and 4, before making the contradictory move of analyzing characters as allegories during part 5
The only characters that get dedicated sections are Akio and Dios, who he doesn’t believe are the same person.
He says Dios gets his powers by “deflowering women”
He calls Akio, known child predator, a chaotic bisexual
Uses 14 year old SA survivor Anthy’s passive personality to make a joke about her being a bottom
His final point is that Utena was the real prince all along
There are no citations
Anyway, full version for people who hate themselves under the cut. With time codes, because I cite my sources.
Part 1: Intro
This entire section is almost exclusively quoted from the Wikipedia article for Revolutionary Girl Utena. Words have been changed, but the order at which certain topics come up is not. Highlights include:
0:56 In his introduction of Be-Papas, lists the founding members in literally the exact same order as Wikipedia.
1:40-2:00 His list of Be-Papas previous works is lifted entirely from wikipedia, only with the words changed. This leads to a strange moment at 1:52 where he claims Be-papas ‘lent their talents to’ Neon Genesis Evangelion, a show which started production at least a year before Be-papas was founded. On the wikipedia article for Utena, this is instead referring to the previous work of Shinya Hasegawa and Yōji Enokido
4:23 he uses a quote by Yūichirō Oguro describing the production as a “tug of war”. He seems to have lifted this in its entirety from Wikipedia, as he does not cite the actual source it is from (the box set companion book, btw)
As for James Somerton originals, at 0:44 he claims that out of all magical girl series,”none to my knowledge have been more discussed and dissected than the 1997 series Revolutionary Girl Utena” He will go back on this at 5:05, where he states that “Sailor Moon takes the lion’s share of discussion” in regard to influential magical girl anime
Part 2: Part 1
(At least I know I’m not funny, unlike James Somerton)
Speaking of which. Here is every single time he makes a “wow this show is sooooo weird you guys” joke: 6:00, 8:50, 10:40, 10:58, 13:46, 17:07, 24:16, 30:34, 41:19, 48:01
Here’s every time the punchline to the joke is the existence of Nanami, a character who he otherwise completely disregards: 10:56, 12:05, 16:22, 42:40
6:16 Claims that the “Apocalypse saga” and “Akio Ohtori saga’ are two names for the same several episodes, depending on the release. This is untrue. Instead, different releases either only have the Apocalypse saga, or split the episodes into an Akio Ohtori saga and then the Apocalypse saga.
7:58 Claims Utena intervening on Anthy’s behalf begins the first duel. While this happens in the movie, Touga intervenes in the scene he uses clips from (like literally right after the shot he uses in the video). Utena only gets drawn into the duels when Wakaba’s love note to Saionji is posted. Youtuber Noralities’ Utena video also gets this wrong, which makes me wonder if this was copied.
9:09 Claims Akio’s “End of the World” moniker is actually more closely translated to “Apocalypse”. In reality, the translation moves away from a more apocalyptic reading, with 世界の果て (Sekai no hate) apparently translating closer to “the furthest reach of a known world” or “edge of the world”. (Love the implications of this translation, but I digress)
9:10 As can be assumed from the previous point, this means I can’t find any sources that point to them not using the title “apocalypse” for religious reasons
10:10 Uses Anthy’s extreme passivity under her Rose bride persona to make a top/bottom joke. I’m gonna repeat this in case you’re just skimming. He uses a trait that likely stems from years of abuse, (possibly exaggerated by the persona Anthy uses to manipulate people), and uses it to call her a bottom.
He also just doesn’t seem to understand how the whole point of Utena constantly telling Anthy that she's just a normal girl who should make more friends is framed as Utena imposing her will on Anthy, just as much as the previous Engaged have done.
11:54 Apologies in advance for my most “um, actually!” point yet, but technically his statement that Anthy stops being host to the Sword of Dios is wrong. Akio literally pulls a sword out of her chest in the final duel. It's a more evil-looking sword of Dios, granted.
13:02 !!! CANTARELLA SCENE ALERT !!! He interprets it as them fighting over Akio?? Which like. I will allow people to have their own interpretations of vague and symbolic scenes. I will. I swear. This is not technically incorrect. It just makes me want to eat my own intestines.
14:44 Bad Anthy take #1: He states Anthy “is emotionally stunted to the point where she needs people to make decisions for her because she does not know how to think for herself” This ignores several moments of Anthy clearly making her own choices throughout the show, including the suicide attempt Somerton mentions about a minute prior. This also strips Anthy of what little agency she has throughout the story, usually exerted through messing with Utena or Nanami. (The fact that she repeatedly makes choices that contribute to her own abuse is, in my opinion, one of the most interesting parts of her character, and it's a shame that Summerton’s ‘reading’ of the story completely disregards that)
Additionally, he once again reads Utena ‘urging Anthy to think for herself” in the first arc as an unambiguously good move, and not as something critiqued in the show.
14:52 Summerton reads the Swords of hatred as symbolizing men’s hatred specifically. Again, I’m trying not to completely disregard differing interpretations to a show like Utena, but this feels very simplistic, especially considering the harm we see aimed towards Anthy by other women
16:42 Here he claims that his reading of the story seems to be “vastly different” from the bulk of Utena discourse. What is this reading? That the show shouldn’t be read literally. Or, in his words, “[we can interpret] Revolutionary Girl Utena as a deeply allegorical and symbolic story about the struggles of coming of age amidst widespread institutional corruption in a high school and which describes a passive culture of inaction in regard to brazen instances of domestic exploitation in which there is not only a question about the caporeality of the events transpiring but also which events can be taken for granted and which events are meant to signify abstract sociological institutions.” The idea that he believes this is in any way a new reading of the material honestly baffles me.
Part 3: Part 2
17:48 through 18:50 differently quotes the Wikipedia article for postmodernism. He even makes a joke at 17:55 about Wikipedia. Please kill me.
The first three themes he lists at 19:11 are just the three main themes listed on the Revolutionary Girl Utena Wikipedia page. What was that about a “vastly different” reading, James?
You’re gonna have to take my word for it, but this section is so short because it's just him talking about the various ways the story can’t be taken literally. He does, ironically, call this a hot take.
Part 4: Part 3
Here’s where the reading falls apart folks
At 23:15, he states that some things in Utena are allegorically coded, while others are to be taken literally. This is true. However, he seems to take this to mean that some parts of the show are Strictly Literal, while others are Strictly Allegorical for things going on in the Literal World.
This is apparently why he prefers the Anime to the Movie, where there basically is no separation between the Literal and Allegorical
This take is bizarre to me for several reasons, but here is my favorite. At several points, he mentions how Revolutionary Girl Utena is a work of Magical Realism. Magical Realism is literally defined by its blending of the “literal” and “allegorical”, the mix of fantastical elements in a mundane, realistic setting. This idea of the impossibility of a blurred line, that Utena must either have lore where the magic is all real and means nothing, or dedicated allegory segments quarantined from the rest of the story, is contrary to the very idea of Magical Realism.
I can’t help but wonder if Somerton took his mentions of Magical realism from a previous work, due to how little it is consistent with his final argument. Either way, this section suggests a great lack of creativity in his analysis, a shame for such a creative work.
24:36: Shiori slander, for those who care
After this he gets really worked up about people assuming symbolism in everything, even when the author ‘doesn’t make it clear something is symbolic’. He shuts down a reading of a shot in the Lord of the Rings. Miley Cyrus is there? Very The Curtains Were Blue of him.
28:22 Claims that Wakaba is the key to telling where the Strictly Literal segments end and the Strictly Allegorical segments begin. He states that, under this lens, deeply personal moments of character suffering such as all of the sexual abuse and Anthy’s suicide attempt (which he literally cites) should be read as symbolic and be “approached with uncertainty rather than confusion”. (28:24-29:13)
This also somewhat falls apart when you consider Wakaba is the jeep in the movie's car chase
And then he rants about people not liking his Attack on Titan video for a bit. Since its potential symbolism also doesn't follow hard enough rules to be symbolism. Once again, the separation of “fact vs allegory” I haven’t watched AOT, so that's all I’ll say.
Part 5: Part 4
Thank god this part is short. Much like Dios’ on-screen presence.
32:55 Makes the extremely bold claim that Dios is not Akio. As in, never even became Akio. because Dios is Strictly Allegorical.
Just to be a pedant, this is pretty explicitly disproven in the show
Confusingly, both earlier and later he will address these two as the same character.
33:04 he also explains the root of Akio’s name in a tone that suggests this is supplemental information and not like. Literally something he explains out loud in the show?
Part 6: Part 5
This section is nearly entirely about Akio Ohtori. I would like to note that him and Dios are the only characters with dedicated segments.
38:30 The part where he states that Dios gets his powers from deflowering women.
38:46 Claims, once again, that Akio’s abuse of Anthy “may not be literal”.
38:59 “the instance of exploitation here is used because assault has deep roots as indicating that akio's gender is the source of his imbalance” THE ASSAULT IS ABOUT AKIO NOW???
39:45 Bad Anthy take #2: “Anthy’s conformity to the Rose bride is based around the fact that she feels good being subservient because this is the only thing in her life that has ever brought her any kind of positive reward”. This is a direct quote. Anyway, I can’t think of any instances in the show where Anthy’s subservience gives her a positive reward, except maybe when she’s intentionally using it to manipulate others. As for her feeling good being the rose bride. She tries to commit suicide. Dude.
Side tangent, but isn’t this exactly what Akio says during the final 2 episodes? That Anthy enjoys being a witch? Is the main villain, who consistently says things during that very episode that are blatantly false, our source of information for this take? I guess so, since this is the dedicated Akio section.
At 40:20 he decides to introduce the concept of Anthy, Akio, and Utena as stand-ins for wider concepts, which is antithetical to his approach in analysis beforehand
Part 7: Part 6
42:40 he finally acknowledges that he’s been spending too much time talking about Akio, and literally no time on characters like Nanami
46:10 states that Utena’s exclusive motivation “is to protect Anthy from the predatorial intentions of the other dualists”, which disregards the fact, which she states herself, that she was largely participating in the duels and protecting Anthy to feel like a prince
48:04 The part where he says that Akio has ‘chaotic Bi vibes’ in regards to him sleeping with Touga, who is 17 and implied to be a long-term victim
Part 8: Part 7
54:01: His concluding point is that Utena was the real prince all along.
In true Somerton fashion, the video then ends over a scrolling wall of patrons, with not a single citation in sight.
#the autism won again you guys#revolutionary girl utena#james somerton#shoujo kakumei utena#utena#anthy#hbomberguy
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"he'd be the type of guy to.." haikyuu edition ♡
notes: NOT proofread, i wrote rhis at 1:50am just some thoughts, all will be written with timeskip versions of them in mind. fem reader just cause also i chnaged title cuz it sidnt make sense LMAO
warning/s: NONE
genre: fluff
characters: hinata shoyo, kozume kenma, kageyama tobio, miya atsumu
hinata would be the type of guy to let your dates go unplanned (in a good way!!!) ypu guys get to do whatever you'd like, unrestrained. if you wanna go to a goodwill/thrift store and find cool items, he'd happily go with you. he'll also secretly get you some things that you stared at for too long. like those sparkly pink cowboy boots, a music box where instead of a ballerina spinning it's a middle finger, and a bikini that barely covers anything. then after buying those, you'd go in your car, and he'd hide them under the car seat, but the bikini's straps stick out from under the seat, and you go "what the fuck is that??" so he has no choice but to bring out the bag filled with the stuff you looked like you wanted, and surprised you early. do you want to go to an indoor volleyball court? hinata rented one just for the two of you to play. but you never got to play anything, you two are busy running around, playing hide and seek in the surprisingly large building. yes, for other people, things don't always go to plan. but for you two? you make the best out of unplanned surprises.
kenma would be the type of guy to really REALLY appreciate all of your pitiful efforts to pay him back for what he buys you. he loves, LOVES spoiling you, spending his CEO money on you is his love language. even though he acts a little nonchalant about it, he always loves seeing the smile on your face when he bought you something you've wanted for so long. but, you'd feel bad about what he's spending on you, and the effort he puts into working so hard 24/7, and going with you to the mall and buying you everything. so, you decide to repay him in different ways! like baking cookies that took you all day to bake but they taste bitter, but he still eats all of them in one sitting. you made him lots of origami flowers, he'd have it displayed in his room, without a single speck of dust landing on the paper, he knows that you feel guilty about him spending lots on you so you do these things, he keeps telling you that what he's spending on you isn't going to make a dent in his bank account, but you still wouldn't listen. (he secretly freaks out if you do things for him)
kageyama would be the type of guy to learn about anything you're into, and he'd teach you about what he's into in return. if you like a certain singer/band, and you love to quote a line from a song/an inside joke, he's going to be curious about it, and eventually, he'll start quoting it too, (at the start, he usually had trouble deciding whether or not the situation you're in would apply, but he's quoting that lyric/inside joke like he knows that band/singer better than you do.) he taught you volleyball, do you love spiking? he'd set for you, and you'd drive that ball home. do you prefer setting? he's gonna make you attend setter bootcamp, on god he's gonna turn into your coach instead of your boyfriend. you like blocking? he'd make sure he'd get his hits past your blocks, and of course tell you all sorts of positions you put your hands in if you want to change the trajectory of the ball, or completely shut it out. do you like recieving? he'll throw different types of serves your way so you'll learn how to recieve all of them perfectly. or if you'd love serving more, he'd be teaching you how to get service aces and eventually be better at serving than his team (according to him). he may be a pro volleyball player, but that doesn't mean he won't make time for you.
atsumu would be the type of guy to relax and pamper yourselves in his free time. despite his loud and rowdy personality, you and mr japanese barry b benson with a kansai accent, oftentimes go to spas, and get massages, facial treatments, all that good stuff. then he'd take you out to a hot spring after a major tournament is over, the steaming water helping to relax, and also give his skin some benefits too! after all, he's a volleyball player that has the looks of an idol, he has a face and body he has to maintain. if you guys don't want to go out, he'll look up recipes for diy mud masks to apply to eachothers faces, maybe even bringing out a stash of facemasks from his skincare mini frige and watch a movie together while waiting for the facemask to dry out. you're pretty lucky to have a skincare boyfriend, since you have never had a single skin problem ever since you started dating him. if there's an event you two will be attending, he'll prioritize the both of you looking and feeling fresh. you two would be the couple with the clearest skin in the room.
#haikyuu#haikyu x reader#miya atsumu#hinata shouyou#kageyama tobio#haikyu fluff#fanfic#kozume kenma#kenma x reader#hinata shoyo
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was tagged by beloved mutual @devilbrakers in this tag game :D
01. a character you love.
i shant go on about ada wong, the evil resident so instead i will talk aboooooooooooooouuuuut ummmm lucie jurin! from martyrs (2008) she murdered the family that abused her as a child and i think that's wonderful. she is also living with intense survivors guilt and she has a friend who is a girl (girlfriend?) who is by her side (for the most part)
02. your favourite food from your culture.
BAKED SWEET POTATOES MMM MM MM!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! DELICOUS!!!!!!! also carne guisada ❤️
03. what your dream apartment / room / house is like.
🤔 well, it has to have lots of open space. i absolutely HATE when my living quarters feels cramped. i would also like it to have greenery (even though i can't take care of a plant to save my life), and i would like some green walls and nice brown wooden decor. and all my decorations and knick knacks would probably be nature themed. oh!!!! and also, i would have a papasan :)
04. your personal style or aesthetic.
i wear lots of overalls, tank tops, turtlenecks, skirts, boots, and sneakers, and it's all neutral colors. not a very interesting answer but idk how else to describe it
05. a happy memory.
one time when i was a kid, i won the jackpot on that wheel of fortune game at a putt putt! it was especially cool because i didn't even know what i was doing, i was just pressing the buttons. also one time i won a minor prize playing the stacker arcade machine and it glitched, and it gave me all the carabiners inside.
06. your favourite way(s) to spend time.
drawing (digitally) which ive only been doing since october 2020!!!! aaaaaaaand also watching TV and movies. i recently watched the movie martyrs (2008)for the third time in a month and i just love it. the love between anna and lucie is so palpable and the actors are just stellar. i also love thr sopranos and i have the box set!! I've watched it all the way through 3 times over the course of last year (and a little bit into this year) and it's just so good (though i will day the racism grates at me lmfao.) i also love futurama but ONLY the first 7 seasons. but for the past month ive been playing re4r (which im sure my followers know by now lol) and im having lots of fun!
07. story behind your url / title / quote / description / icon.
obviously, my url is a reference to THEE ada wong buy it specifically comes from me being absolutely positive ada made some reference to her saying she was, "the only ada wong," in re6 but alas she says, "the real ada wong." so i was wrong.(fake fan moment 😔) but once i realized this, i didn't want to change my url bc it stuck with me. and my icon is canceled ada because i get such a kick out of it. it's so funny
08. something that comforts you or brings you joy.
SHELL COLLECTION!!!!! SHELL COLLECTION OF REAL SHELLS FROM REAL BEACHES THAT I REALLY PICKED UP!
09. what you’re looking forward to.
ik this is a tiny thing in the grand scheme of life but i just bought the infinite rocket launcher in 4r so im really excited to play a whole game with that! >:)
10. something else that’s important to you.
THEATRE! im sadly not much into it now but i love every single aspect of live theatre so much you don't even know. a chorus line, hair, and shuffle along are my favorite shows EVER!!!
uhhhhmmm idk who to tag! but it you see this and you want to do it, then pretend i tagged you!!! :D
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Writing question tag
Thank you @mariahwritesstuff for the tag, I love these questions! Here the original post :)
My quest to finish my tag games is moving forward!
I tag: @rickie-the-storyteller, @digital-chance, @romanceandshenanigans, @phynewrites, @harleywriteshit (if you did this already, sorry!)
Rules: Answer the 10 questions if you feel like it ^^
Questions at the bottom!
1. What is your absolute all-time favourite ideas you’ve ever had?
It's not really an idea, but I really want to crush the tabu about menstrual cycle. Half of the population on earth has period, so why not mention it in my writing? It's just part of my OCs life, so I mention it if necessary.
2. Is there a question you’ve been asked in the past that really stands out to you, and you still think about sometimes?
The question was: why do you care so much about your writing? You are a scientist and you care more on improving your writing style than your career.
I know I can improve my writing and it makes me feel good, my career? Not so much... :/
3. What is your favourite part of being a writer? What parts could you take or leave?
Favourite: Feeling what my OCs are feeling while I write. I love becoming my OCs, think like them, act like them. Daydreaming about their adventures as well!
I would leave the editing, I hate it, I'm not good at it. I can rework scenes hundreds of times to make them better, but please, don't make me work on punctuation and cutting out stuff >.<
4. What is your greatest motivation to write/create?
Knowing that once I am done writing I will have another story to read and re-read that I enjoy when I am down. The confort of knowing my OCs will be there for me is undeniable ^^
5. What is the best piece of advice you’ve ever read or been given as a writer?
Become your OCs and write like you're them, act like them, write what they feel and think at that moment, do not over explain useless stuff only for the sake of the reader.
6. What do you wish you knew when you were first starting out writing?
The classic: show don't tell. I was 13, so you can imagine the pages spent on over-explaining every single detail of the world I was building. -.-"
7. What is your favourite story you’ve written to completion? Link it if you’d like and can!
It's a sequel of The midnight's witches, where I focus on Alessia. It takes place 5 years after the main story, she's 17 and facing a lot of challenges as the perfect daughter that is starting to explore the world for the first time. Without her mother breathing down her neck all the time she's finally free to date that guy.
8. What is your favourite out-of-the-box quote?
"Did that silver spoon got stuck in your ass, snobly?" Sneered Julien.
9. Which of your characters would you say has the most controversial mindset? Why do you say so, and how do you personally feel about their ideals?
This is a slippery slope. I would say Renewa. She's a healer and most of her patients are elderly, so she is suppose to cure them, but since the setting of the story is in a middle age kind of world, sometimes they don't want to suffer anymore and ask her to help them in other ways...
And she does it. I respect the way she feels about it, she's just doing her best to ease their suffering, respecting their wishes. I made her to be controversial also in the novel.
10. If you, when you first started writing, met you now, what would younger you think?
She would be amazed at the amount of stuff I wrote, winning small prizes and pushing forward in my quest to improve. She would be happy to know fantasy do not extinguish when you grow older, but like wine it becomes better.
Questions:
1. What is your absolute all-time favourite ideas you’ve ever had?
2. Is there a question you’ve been asked in the past that really stands out to you, and you still think about sometimes?
3. What is your favourite part of being a writer? What parts could you take or leave?
4. What is your greatest motivation to write/create?
5. What is the best piece of advice you’ve ever read or been given as a writer?
6. What do you wish you knew when you were first starting out writing?
7. What is your favourite story you’ve written to completion? Link it if you’d like and can!
8. What is your favourite out-of-the-box quote?
9. Which of your characters would you say has the most controversial mindset? Why do you say so, and how do you personally feel about their ideals?
10. If you, when you first started writing, met you now, what would younger you think?
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Gacha World Fanmade 7 Stars, cause they ain't ever making more
Name: Amur
Element: Water
Rarity: 7 Star
HP: Stars with 57
ATK: Starts with 278
Skill Quote: "Take me out of this prison..."
Leader Skill: Final Freedom - Will get one last attack before you die
Attack: AOE
Active Skill: Water Hell - Amur will basically water broad enemies and drowning them.
Story: Amur was once a powerful elf who was the Queen, Aura, right hand man. He did everything for her and she greatly appreciated it. However, this was all a poly to get close to her and kill her. And he did try but it didn't work. He was quickly apprehended by two elves and taken away for trial. Aura was too kind hearted to kill him, as this was still her friend, so she sentenced him to prison, in an underwater cell, in the water elf realm.
He can only he visited by Hali, the water elf representive and the one who helped take him down. Kasai, the water elf counselor, and family. After the montly elf meeting, Hali is obligated to give all prisoners, even Amur, the changes and details. And every time, Amur tries to attack them. Especially since Hali was the one to help imprison him.
Amur doesn't regret what he did, he doesn't feel sorry, and he doesn't care. He hates Aura and wants her gone. One day he might get his freedom and finish the job.
Name: Coreopsis
Element: Wind
Rarity: 7 Star
HP: Starts with 321
ATK: Starts with 87
Skill Quote: "This is a waste of time..."
Leader Skill: Silk Touch - Crit up by 40%
Attack: AOE
Active Skill: Pretty Parasol - Coreo opens up her silk parasol, making wind come from it, wooshing away enemies.
Story:
Coreopsis is the adoptive daughter of Rue, and an ex classmate of Egan. She was given to the dark elf, when Coreopsis was very young. Unfortunately, due to Rue's condition, she couldn't take that much care of her. So she had help from a close friend. Eventually Core got old enough to take care of herself, Rue teaching her basic things so she wouldn't be helpless while she slept.
She also use to be in school, but switched to remote lessons to help Rue with her music boxes and reception. When she was going to school she was know for using wind based magic in most of her classes, but because she's young, it often times went out of control. This was when her mother gifted her a magic parasol to help control it.
As a receptionist for Rue, her job is to prep orders for customers and hand them to them. It's a lonely job as Rue makes everything in the morning and is already asleep by afternoon. So she'll have to occupy herself with writing little things or drawing. She likes to talk to Rue when she's awake and they have tea together sometimes before the dark elf has to sleep.
Name: Egan
Element: Fire
Rarity: 7 Star
HP: Starts with 102
ATK: Starts with 260
Skill Quote: "Say hello to my buddy!"
Leader Skill: Axe Tricks - High Attack at Full HP.
Attack: Single
Active Skill: Axe Murder - Egan swings her axe many times, they get set on fire
Story: Egan is girl whose known for her happy attitude but short temper. Although she tries her very best to calm down and stay cool, she just winds up lighting things on fire at the end. Her father, knowning this, gave her an axe that harnesses her fire power into it so she won't burn anything down.
She goes to a school for elves and use to be Coreopsis's classmate. There she gets help for her fire powers and has support. However because Egan has a tendency to light things on fire when something goes wrong, she has to work alone, so she won't hurt anyone in a fit rage. Also, she can't take any science classes.
Egan also has a very big sense of vengeance. Due to her and dad being targeted for a crime in the past, Egan doesn't like people who discriminate against others for things they can't control, so she targets their anger towards them.
Name: Clemence
Element: Light
Rarity: 7 Star
HP: 421
ATK: 100
Skill Quote: "I'LL HELP YOU NO MATTER THE CAUSE!"
Leader Skill: Time To Heal- All Units 70% more HP but 30% ATK
Attack: Heal
Active Skill: We Need A Doctor - Clemence will heal you to full HP but you have to have twice an amount of turns to use her again.
Story:
When Clemence was a child, she was always in and out of the hospital due to both physical and mental issues. The disease she had as a child even made her lose vision in one eye and also made her very weak. Being sick also caused her to develop a bad mental health state and mental health issues. Fortunately for her, as she got older, she got better. Still sick but doing better.
Clemence felt a very huge admiration to the doctors and nurses who helped her during her youth. So much to wear she decided to become one herself. She puts her paitents infront of everything and even works extra hours just to help as many people as she can. However this comes at the expanese of both her mental and physical health. She's been forced to take breaks and vacations because she never takes them.
Clemence has a vast knowledge on health and healing, if only she applied it to herself. Although incredibly good at anything Medical, she sometimes even forgets to take her medications. She's a doctor who cares about everyones health but her own.
Name: Restful Rue
Element: Dark
Rarity: 7 Star
HP: 120
ATK: 460
Skill Quote: "A little music never hurt anyone."
Leader Skill: Magic of Music - ATK is raised for all dark and light units by 35%
Attack: AOE
Active Skill: Rue will summon a random music box that has a random power. It will do a big amount of damage or it might do a little, depending on which one she summons
Story:
A very powerful dark elf, Rue makes custom magic music boxes. Each one has a different use depending on what the client wanted. Everyone in Gacha World has one. She makes them for sleep, energy, calmness, illusion, ect. You name it, she can make a music box for it. Despite her power, Rue is cursed.
She can not stay up for more than 6 hours, as she'll sleep for the rest of the day. She'll spend that time making music boxes or spending time with her daughter, Coreopsis. The rest of the day is spent in her room. Sleeping. She stays in her own realm.
Although she likes to spend time with her daughter. Back when Core was in school, she'd try her very best to see her at her track meet ups, cheering as loud as she could. She'll even prep breakfast, lunch, and dinner for the nature elf. Core will even stay up and help her with her boxes.
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Random Facts:
-Amar has a husband and desperately wants to get back to them. He visits him every week
-Core has been with Rue since she 5
-Egan is based off "My Axe" by ICP
-Clemence has two bunnies!
-Rue was my first GW OC I made
#gacha world#gacha world ocs#gacha world 7 stars#how the fuck is lumine gonna introduce 7 stars and then never make any again
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Trello: Genki 1, 3rd Edition + Workbook
something ive been working on is a way to organize myself so that i have a clear visualization of what im going to do, how im going to do it, and when.
for that, i turned to trello again. specifically, i wanted to focus on starting and eventually finishing both Genki 1 and 2, including the workbooks.
right now, ofc, im focusing on Genki 1 and its Workbook.
i wanted to give an explanation for how i designed each list, for anyone wanting ideas for doing similarly for themself.
First, Genki 1
[image description: a screenshot of a single list on Trello. Title is Genki 1 3rd Edition. Below that, eight cards on the list. First card says: of the Body. Second card has an orange top half. The white bottom says: 第８課 バーベキュー . Third card: １ Short Forms . Fourth card: ２ Short Forms in Informal Speech. Fifth card: ３ Short Forms in Quoted Speech：～と思います. Sixth card: ４ Short Forms in Quoted Speech：～と言っていました. Seventh card: ５ ～ないで下さい. Eighth card: ６ Verbのが好きです／上手です. the background of the board is purple.]
This is what I started out with. I looked at the Table of Contents and divided the list into two core sections: Conversation and Grammar; and Reading and Writing. Furthermore, both sections would be divided into chapters, called Lessons in the book.
I colored the sections entirely in orange, then half orange for each Lesson, so that I could easily distinguish the Lessons from the rest of the cards on the list.
Each Lesson is then divided into different parts, most labeled in the Table of Contents. what i didn't realize until earlier is that the Table of Contents leaves out the Practice section at the end of each Lesson. to compensate for my mistake, i will be adding a checklist to each Lesson card, pictured below:
[image description: a screenshot of a checklist on a Trello card. top is a checkbox/checkmark icon. title of the checklist is 練習. below that, a progress meter unfilled, marked 0% in grey text on its left. below that, 2 unchecked boxes. next to the first box, the text says: Ⅰ 数字 A-C Pgs. 67-69. next to the second box, the text says: Ⅱ これは何ですか A-C Pgs. 69-70.]
each Practice is labeled with a Roman Numeral and a title. then, usually further divided by a letter, such as A. I added the page numbers, too.
when i was done with all this, i spruced it up a bit. changed the list name to the Japanese title. just to force myself to read japanese on the board.
i then wanted to add the Workbook. instead of going through and adding each section again, piece by piece, i just copied the entire list over. then when i realized each Lesson had no title, i went and manually deleted the titles from the Lesson cards.
[image description: a screenshot of a Trello board with two lists, 4 cards each. first list, on the left, has the title of 初級日本語げんき①の改訂第３版. below that are 7 cards. first card is completely orange with text that says: 会話・文法編. second card is only half orange. the white half says: 第１課 新しい友達. third card says: １ XはYです. Fourth card says: ２ Question Sentences. The second list is titled げんき①ワークブック. the first card is completely in orange with text that says: 会話・文法編. the second card is half in orange. on the white half, the text says: 第１課. third card says: １ XはYです. Fourth card says: ２ Question Sentences. the background of the board is purple.]
afterwards, i went through the Workbook again and realized it wasn't just the Lesson titles that were different, but the practice sections as well. many were either formatted differently or merged into one section. i went and manually edited whichever was different.
i kept a separate list just for adding cards that were missing as well instead of using the feature for inserting new cards into X spot.
Planyway
after i was "finished" (not really finished because of the textbook lol) i clicked Power-Ups and added Planyway. Planyway is great since it lets you add your Trello cards to a calendar, making setting up due dates more visual.
this is the end result:
[image description: a screenshot of a Trello board with two lists, 4 cards each. first list, on the left, has the title of 初級日本語げんき①の改訂第３版. below that are 3 cards. first card is completely orange with text that says: 会話・文法編. second card is only half orange. the white half says: 第１課 新しい友達. below the title is an eyeball icon, a green bottom with a clock and text that says Jan 21 - Jan 21, and an icon of 3.5 lines. third card says: １ XはYです. below the title is an eyeball icon, a green bottom with a clock and text that says Jan 20 - Jan 20, and an icon of 3.5 lines. the board background is purple.]
i gave myself soft due dates for each card. that way, i always have something of priority to do. and hopefully, in the end, i will finish Genki 1 and its workbook. yay!
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hi anna!! 7, 8, 11, 17, and of course, 9 i love to quote lines and i know u also love to do this and now is ur chance <3
hi abby!!!!
7. What’s a troupe you love to write?
i’m not really sure how to answer this one! i guess if i took a really broad view of it what i like writing about best is characters knowing they’re making bad choices and then still doing it (this is basically the whole point of she moves through moonbeams slowly and your skin, wearing thin which are probably my favorite two things i’ve published this year). it’s kinda easier to think about what i don’t have a lot of interest in writing—namely any ‘fix-it’ fics. i as a writer have moved beyond the urge to write fix-it fic. consequences are so much more fun.
8. What kind of document do you use to write? Microsoft Word? Google Docs? Straight in the AO3 text box?
google docs—and idk if you’ve seen that post going around lately about their suggestions/corrections getting worse but i agree with it. they are getting worse. but i simply will not pay for microsoft office
11. How many words do you have on AO3 (if you use that platform)
430,707! wow, that feels like a lot!!
17. Are there any writers and/or stories that you consider an influence?
not really specifically! i have a lot of stories and authors that i would recommend to other people, but not really ones i consider touchstones for me as a writer. i guess the closest thing lately has been discworld but it feels way pretentious to call that an influence? i’m just a really big fan? but reading these books is such a good reminder that writing can be funny.
9. What’s your favorite line(s) or scene(s) that you have written?
yeah i’m gonna do a bunch of these
“Astrid in Nicodranas, who drinks from a tea service that doesn’t have a single piece in common with itself, doesn’t think about the dignity of her station at all. She thinks about the price of fish at the market, about the cool breeze blowing over the water, about a cantrip for making letters weatherproof. And if she wants to wear a red hat with a wide brim that dangles with silver stars, paired with a cloak that’s pine green and a shirt that’s sky blue and pants that are patched at the knees and socks that are purple and orange respectively, well. She has no reason not to.” from feel the ground beneath your feet turn into the sky. i wrote this fic out of what a commenter correctly divined was a wish for astrid to have a “crazy bitch gone girl redemption arc moment”. she could outdress howls movingcastle if she wanted. and she should have everything she wants. i know i just talked about how much i love consequences and stuff but once in a while maybe a character should commit arson and murder and then run away to a seaside town and become The Wizard there. have we considered that.
“Raishan purrs with pleasure, smoke dripping lazily from her mouth. She turns her gaze to the focus and takes the speaker in: it’s one of the small things, with hair like flame and horns like a young wyrm’s first set. And it is draped in green: her color, poison and rot and sick smoke, the lovely gleam of her scales in the dark.” from you are coming down with me. raishan can always be 5% hornier and 10% more obsessive than she is in canon it is always correct for a dragon to be so.
“He sighs loudly, rising and stretching hugely, not even bothering to fix his robes as he walks past her. But as he goes he pauses, setting a hand on the back of her chair, close enough for her to feel the heat of him. She doesn’t look up—but she does tilt the datapad so she can catch his reflection.” from your skin, wearing thin. this story is about two people who hate each other so much but have so much history there’s never gonna be any escaping it. this marriage is a black hole and their good friend is going to be spaghettified in one of the most toxic threeways coruscant has ever seen. first time i wrote about star wars and it was just me arguing that they should make this relationship worse by adding another person (and i’m right). perrin is being honest for once in his life because it hurts mon more than lying would. she needs to see him through the reflection; it’s like a filter between herself and reality.
“It’s the kind of spell that only looks simple to amateurs. From Vivian’s lungs comes a falcon of night-blue feathers, the tips of which gleam with stars. It soars above the gathered guests, chirruping and crying and showing everyone—Vivian Kensington can make magic move, make it speak, make it beautiful.” from like flowers and blue skies. i have a pretty hard time with descriptions sometimes, and i’m really proud of this one! i feel like everything in this fic that had to do with Vivian and stars turned out well, but this is the point in the story where the magic felt most like magic to me.
“She’s a sort of placeholder for Keyleth, she thinks, which would be infuriating if it weren’t so very useful. Every minute Raishan spends with her gaze fixed on Cassandra’s cut throat is a minute she isn’t murdering everyone in Whitestone. But the distraction...
There’s a little bit of a whisper, a bug in her ear, that tremendous instinct that drives mortals to steal fire and challenge gods rising up and saying: well, why shouldn’t I do the worst possible thing?” from she moves through moonbeams slowly. there’s something to be said for sheer audacity.
#answering asks#ask game#ty!!!!!!!!!!! i had a GREAT time going through my own stuff for the quotes#i LOVE my writing <3
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Nampō Roku, Book 7 (59f): Soe-oki [添え置], and Its Impact on Kane-wari (Tanaka Senshō’s Genpon [原本] Version of the Text).
The genpon [原本] edition of the Nampō Roku contains a text for entry 59 that is almost identical to the material translated in the previous post¹. However, rather than stopping there (or continuing on to a kaki-ire, like Shibayama’s toku-shu shahon text), that passage is followed by four drawings, and a short concluding section that discusses the drawings in relation to the idea of soe-oki [添え置き] (below)².
Just like this, the habōki and futaoki are, in the same way [as when the plectrum’s box was added to the biwa, and a drinking cup added to the tō-bin], added to the kōgō’s kane, [and] to the futaoki’s kane -- and so they are tied together [with the kōgō and futaoki] into a single unit³.
On the daisu, [in the case of] midare[-kazari] with the nagabon, among the various incense utensils the ko-habōki [小羽箒] and kō-bashi [香箸], when placed out -- whether they cross successive [kane], or whether they are [arranged] to accompany [something else] -- [the host] is free to count [them] as he likes⁴.
With respect to the maru-bon taikai, if the habōki is placed in front [of the taikai] oriented side-to-side, of if it is placed diagonally, the count is one⁵.
All of these are examples of the principal on which soe-oki is based⁶.
_________________________
◎ The first part of this entry is almost identical to what was published in the previous post, though it also adds the four sketches and an explanation at the end (this new material is what was translated above).
But what is more important (since variations of this text have already been considered several times), is Tanaka Senshō’s commentary.
He divides the entry into two sections, and with respect to the content of the first part, he defers to Shibayama Fugen’s analysis (occasionally quoting Shibayama in his own interpretations of the different phrases that he considered difficult to apprehend)*.
As a commentary on the passage that I have rendered above, however, Tanaka embarks on his own exposition of the ideas that are central to an understanding of the concept of soe-oki. I will translate those remarks in full:
“As you can see in the drawings, the habōki and kōgō, the hishaku and the futaoki are counted as one when placed in a straight line†. This is why it is called ‘the kane of the kōgō,’ and ‘the kane of the futaoki‘ in the text. In other words, the count becomes one when the two utensils are connected [to the same kane]. Having these numbers conform with the chō [調] or han [半] of the za‡ is an important part of chanoyu, and must be looked at carefully.
“Here we were given the examples of hishaku and futaoki, and the habōki and kōgō. But in the case of other sorts of utensils, if those two objects rest on the same line, to say they will also be counted as one is not necessarily the case. For example [on the daisu or naga-ita], the kensui [= koboshi] and futaoki** are in front of the shaku-tate. But when it comes to the daisu and naga-ita, rather than saying that they count as one, they actually number two [units]. [When we want to talk about the concept of soe-oki,] in the first place it is said that [the objects] must be in close proximity††; and besides that, there is the question of how this relates to tai [躰] and yō [用], with respect to the individual components of a set‡‡. Ichi-gu [一具] means that unless the two tools are related to each other, they should be [counted] separately. It is like unrelated people sharing the same house: irrespective of the fact that they rest on the same line, they will not be counted as one [unit] -- according to this way of thinking.
“This issue is addressed in the genpon:
“‘If a large fude-kake is placed on the far side of the suzuri, if it continues on from that kane, there will be no problem if it contacts the [endmost] yin. However, this is because the fude and sumi are part of the suzuri’s set [of writing implements].
“‘That being said, with respect to the arrangement on top of the daisu, the chaire, the chawan, the hishaku, and the habōki, because these things are all independent utensils, so they will never be associated with successive kane.
“‘But [here,] if the suzuri is removed, the fude will be useless; the sumi will be useless. Because all of these things are part of the suzuri’s set, it can never be excluded.
“‘This is of the same category [of arrangements] as when a box for the plectrum is [displayed together] with a biwa [琵琶] on the chigai-dana. Or when things like a drinking cup [is arranged] with a tōbin [湯甁]. In every case, these are things that are placed out to accompany [the other].
“‘Naturally, there is no case where [the accompanying object] is neither yin nor yang: they should never be placed in the space in between <15>, since they will then be disassociated from the kane***.’ And so forth.
“And then...in the above passage†††, the kōgō and habōki, the futaoki and hishaku, because these are examples of things that may be considered ichi-gu [一具], they are suitably [displayed] as soe-oki. Since they are resting on the same straight line, and are tied together by their placement, they are counted together [as one unit]. But if one of the utensils is placed in between the kane, it is natural that they will not be counted -- and the reason why should be obvious‡‡‡. According to this principal, with respect to the daisu temae, when [the utensils] are arranged on that shaku-nagabon (or maybe it is something like the large maru-bon), when the habōki or kō-bashi occupy successive kane, or when they cross a yin and yang [kane] so as to eradicate the yin****, doing different things like this is simply a way to bring the count into conformity with the desired chō [調] or han [半] value [required by the za], so this [count] can be achieved effortlessly.
“When the habōki is placed [horizontally] -- like the character “一” -- in front of the taikai, or when it is oriented on a diagonal [as when arranged with a kōgō], the count is one. These are examples of soe-oki. [Arranging things] like this is the very meaning of soe-oki, and this is the idea that is being discussed in the text††††.”
___________
*In his explanation of the passage, Tanaka also includes relevant sentences and phrases from entry 48 in the Sumibiki no uchinuki-gaki・tsuika [墨引之内拔書・追加], along with Shibayama’s insights into their significance to the present discussion.
†Itchoku-sen ue ni [一直線上に] means “arranged on top of a straight line” -- arranged in a straight line (which conforms with one of the kane).
Because this is a reference to the yang-kane that is contacted by both of the objects, the two utensils do not always appear to be one in front of the other: all that is required is that they both contact the yang-kane at some point along their lengths.
In this passage, Tanaka uses itchoku-sen (and its variants) to mean the kane.
‡According to Rikyū's poem
toko ha toko, zaseki ha zaseki, tana ha tana
ni chō ichi han ni han ichi chō
[床ハ床、座席ハ座席、棚ハ棚
二調一半二半一調]
“The toko is the toko, the room is the room, the tana is the tana: two [are] even, one [is] odd; two [are] odd, one [is] even.”
the kane-wari count for each of the za is based on a combination of the values for the three areas where objects are displayed: the tokonoma, the tana, and the utensil mat in front of the tana (= “the room”).
Furthermore, the two za must have different values: one za should be chō [調] (in other words, the grand total should be even), and the other han [半] (the total should be odd).
Originally, Rikyū connected these values for the za to the condition of the fire and hot water: at the beginning of the shoza they were both weak (which is yin, chō), and increased over the course of the za, thus the shoza was considered to be chō; at the beginning of the the goza, the fire and hot water are both strong (which is yang, han), though they decline over the course of the za, thus the goza was judged han.
During the daytime, the shoza is chō, and the goza is han; but after dark the shoza is han, and the goza is chō.
There, however, were special occasions (both happy and sad) that would impact on the way the za were ordered (the reasons for all of these are discussed elsewhere).
**Tanaka is thinking about the futaoki being placed inside the kensui (= koboshi), in the modern fashion.
††Traditionally no more than 2-sun should separate the two -- which is exceeded, on the daisu, by the distance between the koboshi and the shaku-tate.
‡‡Tai [躰] and yō [用] refer to the yang and yin kane, respectively; and ichi-gu [一具] means a set of logically connected objects -- such as the components of a writing set.
Here, however, it appears that Tanaka is using tai [躰] to refer to the hon-tai [本躰] -- the principal object (such as the futaoki or kōgō); and yō [用] to mean the soe-mono [添え物], the object that is added to the hon-tai (so, in these examples, the hishaku and habōki, respectively). This way of using these terms has not been indicated (in any of the commentaries) heretofore.
The shaku-tate and koboshi/futaoki in Tanaka’s example share no connection (since they are all independent objects, each used for its own unrelated purpose during the service of tea), so they are not part of an ichi-gu.
***The complete Japanese text of this quoted passage is as follows.
Dai-naru fude-kake, suzuri no mukō yori kakari-okeba, tsuzuki-mono ni te suzuri no kane ni shitagau-yue, in ni atarite mo kurushikarazu. Tadashi kore ha suzuri no ichi-gu no fude・sumi yue no koto nari, sate-koso daisu no ue no kazari ha, chaire mo, chawan mo, hishaku mo, habōki mo, hito-yaku hito-yaku no dōgu naru-yue, tonari no kane ni shitagau-koto nashi. Suzuri wo hanachi fude no yō nashi, sumi no yō nashi. Mina suzuri no ichi-gu ni shite, hanarezaru-yue nari. Chigae-dana no biwa ni bachi-bako no rui nari. Tō-bin ni hai-tō, izuremo soe-mono nari. Mochiron, in ni mo yō ni mo arazu, ma [h]e ha oku-bekarazu. Sore ha ka no hazushitaru kane nari.
[大なる筆架、硯の向よりかゝり置けば、ツヾキものにて硯のカネに従ふ故、陰に当りても不苦｡ 但是は硯の一具の筆・墨故の事也、扨こそ臺子の上の飾は、茶入も、茶碗も、柄杓も、羽箒も、一役々々の道具なる故、隣のカネに従ふ事なし｡ 硯を放ち筆の用なし、墨用なし｡ 皆硯の一具にして、離れざる故也｡ 違棚の琵琶に撥筥の類也｡ 湯甁に盃等、何れも添物也｡ 勿論、陰にも陽にもあらず、間へは置く可からず｡ 夫は彼の外づしたるカネ也｡]
†††The text of the entry, not the passage quoted earlier in these comments.
‡‡‡In other words -- in case it is not obvious to the reader -- the habōki or hishaku can be considered synonymous with the ken-byō, or an elongated fude-kake, in that it will join neighboring kane together into a single unit, as has been explained in the various texts. But if the kōgō or futaoki is not placed on a kane, the connection between kane established by their having been crossed by the habōki or hishaku will be lost -- it is like an electrical current, which will flow along several separate wires so long as something connects them to the source of the current; but the current does not flow in the space in between the wires. This seems to be the point of this explanation.
****Tanaka uses the verb keshitari [消したり], which means to deaden, blunt, dampen, extinguish; in other words, the intention is to convert the yin into yang, to change the yin-kane into an extension of the yang-kane to which the ko-hane or kyōji joins it.
††††The text of Tanaka’s comments:
この図の通り、羽箒と香合、柄杓と蓋置の二品を、一直線上に置く時は、数を一箇として数える。これを本文の香合のカネ、蓋置のカネeにたよりて置きたる結びカネと云う。即ち結びて数が一つになる。この数の調半を合わすことは、茶の湯にては大切のことであるから、よく吟味せぬばならぬ。
ここには、ただ柄杓、蓋置、羽箒、香合の一例が出て居るが、然らば、他の何品でも、一直線上に二品あれば皆数一つかと云うに、決して然らず。例えば、柄杓立の前に建水や蓋置がある。台子、長板の時でも、数一つかと云うに、これは数二つである。第一、接近して添えると云うことと、その外に、体用の関係として一具でなければならぬ。一具とは、二品親類筋の道具でなくては、全くの他人の同居では、如何に一直線上にありても、数は一つにならぬ道理がある。
このことは原本にある通り。即ち、「大なる筆架、硯の向うより掛り置けば、続きものにて硯のカネに従ふゆえ、陰に当りても苦しからず。但これは硯の一具の筆・墨ゆえのことなり。扨こそ台子の上の飾は、茶入も、茶碗も、柄杓も、羽箒も、一役一役の道具なるゆえ、隣のカネに従うことなし。硯を放ち筆の用なし、墨用なし。皆硯の一具にして、離れざるゆえなり。違棚の琵琶に撥箱の類なり。湯瓶に盃など、何れも添え物なり。勿論、陰にも陽にもあらず、間へは置くべからず。それは彼の外づしたるカネなり。」云々。
と。右の文章で、香合と羽箒、蓋置と柄杓が、何れも一具の品たるゆえに添え置きに適当なることと、一直筋上に結びて置かれたるゆえ数に入り、間のカネに置けば、勿論、外れて数に入らぬ道理が判��するであらう。この道理に依って、台子の手前にも、彼の尺長盆、或は大丸盆などの飾に、羽箒や香箸で続けたり、或は陽と陽にて潜りて陰消したり、種々の働きをして居るのは、これ皆調半の数を自由にするためである。
大海茶入の前に羽箒を一文字や、筋違に置く時は、数が一つになる。これは添え置きの一例である。斯の如きことが添え置きの根本であると云う本文の意味であるが、尚、この添え置きについての一具で無いかと云うことの説明及び議論は「追加」の巻の硯屏の条で再び説くこととする。
¹The first sentence in this version, however, reads: roku-shaku san-sun no chigae-dana, mata tsukue-toko no kazari, go-yō no kane ni kazareba ma-dōi ni shite, suzuri wo kane ni atsure-domo fude-kake, fude, sumi kazari-gatashi [六尺三寸ノ違棚、又机床ノカザリ、五陽ノカネニカザレバ間遠いニシテ、硯ヲカネニアツレドモ＜、＞筆架、筆墨カザリガタシ].
Which means “if a six-shaku chigae-dana, or the display [installed] on a tsukue-toko [of the same size], is arranged according to the five yang-kane [only], [everything] will be too far apart. If the suzuri contacts [its] kane, it will be difficult to display the fude-kake, fude, and sumi.”
As can be seen, the words ma-dōi ni shite [間遠いニシテ] are not found in Shibayama’s toku-shu shahon version of the same text. Otherwise, the two versions are identical (aside from the use of more modern-style punctuation in Tanaka’s version).
²The four drawings, and the block of text that follows, are all based on things found in the Enkaku-ji manuscript (rather than sourced from the toku-shu shahon) -- implying that the editors of the “genpon” edition were not averse to borrowing from the earlier published editions of the Nampō Roku (albeit without ever citing that source) when that information was useful to their purposes.
³Kaku-no-gotoki kōgō no kane, futaoki no kane nita-yorite soetaru habōki, hishaku naru-yue, musubite-kazu hitotsu ni naru nari [如此香合ノカネ、蓋置ノカネニタヨリテ添タル羽箒、柄杓ナル故、ムスビテ數一ツニナル也].
Kōgō no kane, futaoki no kane [香合のカネ、蓋置のカネ] means that it is the kōgō, and the futaoki, that are associated with the kane. In other words, these two utensils are the principals, the hon-tai [本躰], in their respective cases.
Nita-yorite [似た 依りて ] means that the two (the kōgō and habōki, and the futaoki and hishaku) represent parallel cases.
Soetaru habōki, hishaku [添えたる羽箒、柄杓] means that it is the haboki and hishaku that are added to the other utensils -- that they are, in other words, the soe-mono [添え物].
Naru-yue, musubite-kazu hitotsu ni naru [成るゆえ、結びて數一つになる] means “for that reason (because the habōki and hishaku are added to the others), they are tied together into a single unit.”
In other words, the kōgō + habōki, and futaoki + hishaku, both are counted together as a single unit (for the purposes of kane-wari).
⁴Daisu, nagabon no midare ni, kō-gu shina-jina no uchi, ko-habōki, kō-bashi nado soe-oki ni shite arui ha kuguri, arui ha soete kazu wo jiyū-suru nari [臺子、長盆ノ亂レニ、香具品々ノ内、小羽箒、香箸ナド添置ニシテ或ハクヽリ、或ハソヘテ數ヲ自由スル也].
Nagabon no midare [長盆の亂れ] refers to the class of arrangements (generically known as midare-kazari [亂れ飾]) where both tea utensils and incense arrangements are mixed together on the same tray. While here a nagabon is specified (such as the shaku-nagabon [尺長盆] shown below), round trays (such as the naka maru-bon [中丸盆] and dai maru-bon [大丸盆]) were also used for midare-kazari.
A number of different examples of midare-kazari are introduced in Book Five (as well as elsewhere); many of these arrangements were created by Shino Sō-on [志野宗温; 1477 ~ 1557]*.
By the end of the eighteenth century (when the genpon text was created), “midare” (rather than midare-kazari), as a term describing various arrangements where the utensils were distributed in unexpected ways across the surface of a tray, had become rather fashionable among the followers of the Sen family schools (meaning that this usage also helps us to pinpoint the date when this text was compiled).
Ko-habōki, kō-bashi nado soe-oki ni shite [小羽箒、香箸など添え置きにして]: the ko-habōki [小羽箒], which was also referred to as the ko-hane [小羽], was a miniature habōki used to clean the rim of the incense burner after arranging the ashes; and kō-bashi [香箸] is the name primarily used in chanoyu (increasingly, as the Edo period progressed, when the original terminology was being suppressed) for the kyōji [香筋], the special chopsticks‡ used to handle the pieces of incense wood. These objects were often included in the midare-kazari (though they would not have to be). Therefore, they were considered soe-mono.
Arui ha kuguri, arui ha soete [或は潜り或は添えて] is referring to the two possible orientations of elongated objects such as the ko-hane and kyōji.
In the above sketch, the chashaku and the ko-hane are soe-mono of this sort. The orientation of the ko-hane illustrates what is meant by kuguri**, while that of the chashaku illustrates objects arranged on successive kane (which this sentence confusingly calls soete [添えて], soete means “added to,” “accompanying,” or “ancillary to”)††.
___________
*It was Shino Sō-on’s version of the kō-kai that Jōō used as the basis for his own gatherings (in consequence of which Sō-on is commonly regarded to have been Jōō’s teacher); and it was from those incense gatherings (at which tea was also served) that his chakai eventually evolved.
†This was done deliberately -- as the word “suppressed” was intended to convey -- to keep the different arts “pure.”
Where there was this kind of overlap between two of them, the terminology was usually changed in the art in which the other was only occasionally seen, to keep it separate from the original form of the practice.
‡They are generally made of ebony today, though in earlier times ivory was also a popular choice.
**Kuguru [潜る] means to pass or extend across. This is the case where something like a habōki is oriented horizontally, so that it contacts both a yin and a yang kane. It joins the two together (so that the objects arranged on them are counted as a single unit), while also “converting” the yin-kane into yang.
††Tsuzuku [続く] means to follow in sequence. That is, objects are arranged on successive kane.
Shibayama’s “special continuance” refers to the case where objects are arranged on successive kane, but because an elongated object links the yang-kane to the yin-kane that adjoins it, the yin-kane is changed into yang, and so viewed as a continuance or extension of the yang-kane (as if the objects arranged on it were arranged on the yang-kane itself).
Because the idea of kuguri-kane is essential to this idea, the two are easily confused.
⁵Maru-bon taikai ni, takai no mae ni habōki wo yoko-sama, mata ha sujikai ni okaba, kazu hitotsu ni naru [丸盆大海ニ、大海ノ前ニ羽箒ヲ横サマ、又ハ筋違ニ置ハ、數一ツニナル].
Taikai no mae ni haboki wo yoko-sama [大海の前に羽箒を横さま] describes what is shown below.
The habōki is placed side-to-side (horizontally) in front of the taikai. On account of the prohibition that Shibayama raised in his commentary*, there is some question whether there would be issues if the habōki came into contact with the yin-kane (the habōki should be centered on the tray in front of the taikai, meaning if it contacted one yin-kane, it would contact both).
Mata ha sujikai ni okaba [又は筋違に置かば] means or else if (the habōki) is oriented on a diagonal....
This arrangement is not mentioned in the Nampō Roku, at least with respect to the maru-bon taikai†. However, two of the midare-kazari arrangements in Book Five do show the habōki oriented in that way:
The first is described as tsune no nagabon cha・kō kazari, tadashi temmoku betsu no dai nari [常長盆茶・香飾、但天目別臺也], which means the arrangement of both incense and tea utensils on an ordinary nagabon (however the temmoku is arranged on a non-meibutsu temmoku-dai)‡:
In this case, the idea seems to be to tie the kōro together with the jū-kōgō [重香合] through the habōki. This is appropriate because all three objects are members of the same set (ichi-gu [一具]).
And in the second, a meibutsu kōro (together with some of the other incense utensils) is arranged on the naka hō-bon [中方盆]
Here, the kōro is tied together with the kōgō by means of the kyōji (kō-bashi), while the habōki and taki-gara-ire are a separate unit. The logic behind the two groupings should be apparent with a little thought.
Both of these arrangements were connected with the machi-shū practitioners of both incense and tea (rather than the orthodox tradition that stretched back to Nōami and Yoshimasa), and so likely derived from the teachings of Shino Sōshin.
Kazu hitotsu naru [數一つになる]: the meaning is that, when the habōki is oriented horizontally or diagonally, it gathers any associated utensils into a single unit.
___________
*Shibayama raises that objection in the post entitled Nampō Roku, Book 7 (59c): Shibayama Fugen’s Complete Commentary on Entry 48 from the Sumibiki no uchinuki-gaki・tsuika [墨引之内拔書・追加] (Part 1).
The URL for that post is:
https://chanoyu-to-wa.tumblr.com/post/717873369459130368/namp%C5%8D-roku-book-7-59c-shibayama-fugens
Shibayama’s argument (he was repeating things that were explained to him by the Enkaku-ji scholar who presented to him the copy of the toku-shu shahon) is that when an object crosses two yin-kane (with a yang-kane in between), the two yin-kane will “dilute” the yang-nature of the yang-kane.
This seems to conflict with Rikyū’s understanding of the matter, as envisioned in the classical arrangements for the daisu. (This, of course, would not be the first instance where the machi-shū teachings contradicted the classical teachings.)
†The only other orientation of the habōki that is mentioned in the Nampō Roku is when the habōki is placed to one side of the taikai, as shown below.
Here the habōki is not counted together with the taikai (since they are associated with different kane).
Given the nature of this arrangement, I cannot understand why the need to orient the habōki on a diagonal would ever arise.
‡Cf. the post entitled Nampō Roku, Book 5 (46): an Arrangement of Tea and Incense on the Ordinary Nagabon; However, the Temmoku is [Displayed] on a Non-meibutsu Dai. The URL for this post is:
https://chanoyu-to-wa.tumblr.com/post/630356623295234048/namp%C5%8D-roku-book-5-46-an-arrangement-of-tea
The face of the tsune no nagabon [常の長盆], “ordinary” nagabon, measured 1-shaku 3-sun by 8-sun 2-bu, and 1-shaku 5-sun 2-bu by 1-shaku 4-bu when measured across the rims.
**See the post entitled Nampō Roku, Book 5 (48): the Display of a Meibutsu Kōro, the URL for which is:
https://chanoyu-to-wa.tumblr.com/post/630990876073721856/namp%C5%8D-roku-book-5-48-the-display-of-a
⁶Mina kore soe-oki no konpon nari [皆これ添え置きの根本なり].
Mina kore [皆これ] means “all of these examples....”
Soe-oki no konpon nari [添え置きの根本なり] means “(these examples illustrate) the fundamental idea of soe-oki.”
==============================================
❖ Appendix: How the Daisu was Arranged by Akamatsu Sadamura.
The several descriptions of the steps of the process of arranging the utensils on the daisu for the san-shu gokushin-temae [三種極眞手前] that are found in Book Five, Book Six, and Book Seven are not entirely clear, in so far as the actual timeline is concerned, with several of the commentators suggesting that some of these things were done during the shoza, and others during the goza. However, the dichotomy of shoza and goza did not exist at that time -- indeed, the whole concept of the chakai did not appear until the 1530s, when Jōō undertook to modify Shino Sō-on’s kō-kai [香會] into a gathering that became more and more focused on chanoyu (excluding everything but the building of the fire, the service of a simple meal and kashi, and finally the preparation of koicha followed by usucha).
The basic story is that on a certain occasion when the shōgun Ashikaga Yoshinori [足利義教; 1394 ~ 1441] became seriously indisposed (to the point where the court began to fear for his life), the Emperor sent him a gift of matcha, tied in a nasu-chaire (the Kamakura-nasu [鎌倉茄子]), along with a yōhen-temmoku chawan [窯變天目茶碗] (called the Kazan-temmoku [花山天目]), and a lidded celadon jar with a design of clouds and snake-like dragons in bas relief on the front and back, as well as inside (the seiji unryū-mizusashi [青磁雲龍水指]). Apparently the Emperor’s idea was that the matcha might help to cure Yoshinori’s illness⁷. We are told that the temae was performed by Akamatsu Sadamura [赤松貞村; 1393 ~ 1447?], who was a comely youth of 17 or 18 years, and, on account of his intimate relationship with the shōgun (they were lovers), Sadamura undertook to modify the arrangement of the daisu after Yoshinori had finished his inspection of the display, to reflect that relationship.
A casual review of the dates, however, indicates that at least something must be wrong with this story -- because Yoshinori was shōgun from 1429 to 1441, while Sadamura would have been “17 or 18” years old circa 1412⁸. Furthermore, the various steps that are described in the Nampō Roku seem to be closer to the procedures employed during the sixteenth century, than at the beginning of the fifteenth.
Such considerations aside, the service of tea to which this episode refers took place not while Yoshinori was sick, but after he had convalesced -- during a banquet that the household staged to celebrate his return to health. And the tea was prepared at a daisu that had been erected in the 12-mat anteroom (hisashi [庇]⁹) that adjoined Yoshinori’s shoin (the way the mats are oriented is based on contemporaneous documents).
In that period, there was no such thing as a sumi-temae, as has been mentioned previously. The furo was brought out from the preparation area with the charcoal fire already burning; and a kama that had been boiled in the mizuya was brought out and rested on the furo. This was probably done during a brief interval while the zen [膳] (individual meal tables) were being cleared away after the banquet -- since it was customary for tea to be served after that time.
The exits and entrances were made through the mo-biki no ō-do [裳引の大戸], which is indicated in the above sketch. When the shōgun was present on his o-age-datami, these comings and goings would have been preceded, and followed, by elaborate bows.
After the furo and kama had been arranged on the daisu, the hoya was brought out and placed on the ten-ita.
Then the Gassan-nagabon, with the chaire resting on it, was brought out and placed on the mat in front of the daisu, as shown below.
Then the hoya was moved onto the mat in front of the furo.
After first cleaning the ten-ita with the habōki¹⁰, the nagabon was lifted up to the ten-ita...
...and finally, after wiping the ji-ita with the towel (that was kept in the futokoro of his kimono), the hoya was also cleaned with the towel, and then moved onto the ji-ita, so that it rested on the tattoi-no-kane [貴のカネ]¹¹.
Next, the dai-temmoku, with the chashaku resting across its hane, was brought out and rested on the mat in front of the furo.
The dai-temmoku was then lifted up onto the ten-ita, and stood to the left of the tray, as shown.
Then the chaire was moved toward the right...
...and the dai-temmoku was lifted onto the tray.
And then the tray was moved toward the right, so that the dai-temmoku was now in the very center of the ten-ita.
Next, the chashaku was lowered to the tray (and arranged so that it rested squarely on the yin-kane, as shown), completing the first stage of the kazari.
Then Sadamura brought out the seiji unryū-mizusashi, and placed it on the mat temporarily in front of the daisu.
Next, the hoya was moved to the central kane, next to the furo.
Then the seiji unryū-mizusashi was lifted onto the ji-ita, and positioned so that it rested squarely on the tattoi-no-kane.
Sadamura then brought out a lacquered mizu-tsugi¹², and added water to the mizusashi. After wiping the mizusashi, ji-ita, and hoya with his towel, the hoya was again placed on the central kane, but this time 2-sun back from the front edge of the ji-ita.
Then, after returning the mizu-tsugi to the preparation area, he brought out the hishaku and arranged it on the ten-ita -- so that it was situated to the right of the leftmost kane (in between that and the neighboring yin-kane -- so the hishaku was not associated with any kane)¹³.
This completed the second stage of the kazari, and it was at this point that the shōgun Yoshinori came forward to inspect the arrangement of the daisu.
After the shōgun had taken his seat on his o-age-datami [御上疊], the temporary seat of estate (an elevated two-mat platform located across the room from the daisu), Sadamura approached the daisu.
First he reached up and moved the chashaku slightly toward the left, displacing it from its kane¹⁴.
And then, to compensate for dissociating the chashaku from its kane, he lifted the hishaku onto the endmost yin-kane, thereby restoring the balance that had been disrupted when he moved the chashaku.
After bringing out the kae-chawan and koboshi from the preparation area, Sadamura would have begun the actual preparation and service of tea.
The arrangement of the utensils during the temae would have been as follows:
__________________________
⁷In which case Yoshinori would be moved to send the Imperial Court a generous thank-gift (of money).
⁸Yoshinori was approximately 1 year younger than Sadamura, so while there may well have been a physical attraction between the two, this could hardly be considered a typical case of shudō [衆道], where the active partner was usually a fully mature man, while the passive partner was in his early teens. Furthermore, homosexual relationships between more or less equals (as would have been the case here) was, at the very least, frowned upon.
⁹The hisashi [庇] is a room erected under the eves of a building, which leads from the carriage entrance (mo-biki no ō-do [裳引の大戸] -- the name of this doorway refers to the fact that a person would have to adjust their garments in the proximity of this door after alighting from an ox-drawn carriage or palanquin) to the inner suite of private rooms, along the side of the hall (which was usually divided into three stepped rooms named according to their relative proximity to the nobleman’s jō-dan [上段]).
¹⁰According to some accounts, the habōki was placed on the ten-ita, in the spot that would later be occupied by the hishaku.
According to other sources, however, the habōki was placed on the go-sun-ita (that was located between the mats and the sill for the shōji that formed the wall on that side of the room.
Afterward, the habōki was either placed on the go-sun-ita, or taken back to the preparation area the next time Sadamura returned there.
¹¹The tattoi-no-kane [貴のカネ] is the name of the kane to the left and to the right of the central kane in the five-kane system. Tattoi [貴い] means noble, august, revered -- and it is on this kane that treasured utensils were preferentially arranged.
¹²When the seiji unryū-mizusashi was carried into the room, it had been filled to approximately 70% of its volume. After it was lifted onto the ji-ita of the daisu, Sadamura would have returned to the preparation area and brought out a mizu-tsugi, from which he would have added water to the mizusashi until it was 90% full.
¹³As mentioned above, in this period there was no such thing as a sumi-temae. Because the furo and kama had been arranged on the daisu from the beginning, the ten-ita above the furo would have become warm. Since the heat could cause the hishaku to dry out (so it might leak), the hishaku was not brought out until the last possible moment -- immediately before the shōgun would approach to inspect the daisu.
¹⁴This technically was not a part of the actual gokushin-temae (even though at least some of the machi-shū assumed it to be). Rather, it was done only because the chashaku had been carved by the shōgun, and because the tea that Sadamura was going prepare would be served to the shōgun*.
If the chashaku was left on its kane, then the hishaku would not be moved either.
If these things were not done, then after the host had brought out the kae-chawan and koboshi, the dai-temmoku would be lifted off of the tray, and stood on the ten-ita to its left. Then the chashaku would be picked up and moved to the rim of the kae-chawan. After which the dai-temmoku would be lowered to the mat (in front of the furo), and so on and so forth.
___________
*When performed strictly, the gokushin-temae produces only one bowl of koicha, which was technically supposed to be offered to the Buddha; but which, in practice, was offered to the “guest of honor” -- who, on this occasion, was naturally the shōgun (since the banquet had been organized to celebrate his recovery from his illness).
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7 Tips for Packing Clothes During a Move
Clothes may be the bane of our childhood existence (when it comes to Christmas presents, at least), but we appreciate them more as we mature into adults. As such, it’s important to protect them, especially if you have a favorite suit, blouse or pair of pants.
You might not think clothing needs to be handled any special way during moving, but you'd be wrong. Here are some tips for packing clothes during a move to improve efficiency and provide protection.
1. Downsize First
Before you start, evaluate your wardrobe and get rid of anything you don’t need. Whether you donate, sell or trash clothes, the less you have to move and pack, the better. Once you’ve narrowed down your clothing selection to what is needed, you can start packing.
(A portable moving container can make this process more convenient.)
2. Organize and Label
Just like you would with other belongings, make sure your clothing boxes are labeled, preferably with an easy-to-read label.You can sort by family member, room or clothing type—whatever makes unpacking the clothes easiest. You’ll be tired after your move, so you don’t want to waste time figuring out what clothes go where in your new residence.
3. Vacuum-Seal Bulky Clothing
Certain blankets, winter coats and other clothing can take up a lot of valuable space in your boxes, moving truck or portable storage container. Compression bags are affordable and easy to use, making them ideal for pillows, comforters and bulky clothing.
4. Use Space-Saving Folding Techniques
Don’t just ball up clothes and toss them in a box with your shoes. Save space by using techniques like the “army roll method” or stuffing shoes with accessories or socks, for example. Even standard ironing and folding techniques can maximize your packing space.
5. Consider Specialty Boxes
Another tip for packing clothes during a move is to use an appropriate box, like a wardrobe box. These are designed for hanging items and help you avoid wrinkles. But they also help you pack efficiently. Since they take up a good amount of space, though, use them sparingly and only with your most precious clothing.
6. Sort By Season and Weight
When you pack and load the moving truck, do so from heaviest to lightest. That means many clothes should be packed toward the top of boxes, loaded on top of other boxes and loaded toward the front of the moving truck or portable moving container.
7. Set Some Aside for the Move
Finally, don’t forget yourself on move day! You don’t want to pack up all of your clothes and waste all that time finding them again or spending money buying new options. Set aside a suitcase or single box for each family member and transport it yourself in a vehicle.
If you’re preparing for an upcoming move, why not consider a portable moving container? Contact SAM (Store & Move) today for a no-obligation quote.
Read the full article
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How google workspace helps improve productivity
Let’s face it sometimes as humans we have our good days and we have our bad days, but what if we told you that there was a way to make your life a little bit easier using Google Workspaces? Google Workspace, developed by our savior “Google”, is a suite of business applications and collaboration tools that you can use to administer your business and accomplish most of the day- to-day office tasks like emails, meetings, spreadsheets, and more. It was first launched in 2006 as Google apps, then it got rebranded as G-suite in 2016 and thereafter Google again rebranded it to, what we call it now, “Google Workspace”. In this blog, we have mentioned 10 tips associated with google workspace, which are going to help you with your daily tasks and you’ll be able to be more productive than before. So, let’s get started, shall we?
1. Streamlining your Inbox
Here’s our first tip, to streamline your inbox. If you’re trying to manage multiple different projects, and businesses at the same time with multiple unique email addresses then this tip is for you! Here’s what you can do, in Gmail, which is part of Google Workspaces, you can synchronize every single inbox into one space and then organize it by a filter of your choice. To do this, go to the top right settings, under inbox type select multiple inboxes, and then once you’ve done that, you can creatively organize the emails according to your requirements.
2. Send emails with a maximum of 10 GB in attachments
Gmail only allows you to exchange files up to 25 MB in size. You already held that belief. You can get around this by uploading your files to Google Drive and then inserting them into your emails by clicking the Insert files using the drive option at the bottom of the email. You will thereafter be able to send messages with attachments that are no larger than 10 GB.
3. To quickly access your G Suite apps, use Single Sign-On
You only need to sign in once using Single Sign-On to access all of your G Suite apps and other apps from third parties. When using a G Suite intranet that also supports SSO, this is extremely useful.
4. Let Google do your work!
One of the few Google Suite programs, Google Sheets, can take the role of Microsoft applications like Excel. Instead of utilizing a formula to find answers to straightforward questions, you may search for them using real words in Google Sheets. To get a prompt response, type your question into the "Explore" box found on the bottom navigation bar.
5. Do you typically use voice memos?
Did you know this G Suite tidbit? Within Google Docs, voice dictation is immediately available. Just click the record button after allowing your browser to use your microphone. If you wish to write hands-free, you may also add and remove punctuation from your document using voice shortcuts.
6. Too many opened tabs are slowing your work? Try this.
You might want to restart Chrome if its running slowly, but what about your open tabs? Go to the address bar, type chrome: //restart, and press the enter key to prevent losing everything you've been staring at for the previous hour. By doing this, you can restart your browser without losing your carefully constructed tab list.
7. Use Google Slides to launch a Q&A session.
Our favorite tip for using Google Slides, another shining gem among the Google G Suite applications, try using the question-and-answer session option. To use this simply begin your presentation, then select & Start a Q and A. Google will then display a URL at the top of your presentation where viewers can go and ask questions.
8. Get a G Suite intranet to boost productivity and cooperation.
Last but not least use G suite intranet. Why not obtain a G Suite intranet if you currently use G Suite? Utilizing a Google intranet will boost G Suite adoption and value while also boosting employee engagement and productivity at your business.
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#‘have you heard the good news? jesus is a butch lesbian! here have this bible! don’t you like the cover? yes it *is* a lot of skeletons’
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#5
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51 notes - Posted February 23, 2022
#4
Decided to remake the original post now that I have a file with all the official assets already set up in it, instead of using rips from the wiki, and figured I would give y'all a gif instead of just reposting a better version of the old one.
Speaking of which - would people be interested in that file? It's just a .psd, nothing special really, but you can stick it in photopea or photoshop or equivalent photo editing program and make this kinda stuff yourself. (More detail after the cut so I don't make this too long.)
The current state rn is pretty bare bones tbh. Just the standard dialog box & name plate with text boxes set up for both, and all the sprites for DAMN in their component pieces. There's also a version with all the backgrounds in as well, but it makes my poor little laptop chug like hell. But I could flesh it out more if people want. It's just a matter of tossing the assets from folders on my comp to folders in the file. I could also probably make a quick tutorial for using it in photopea if there's a need.
The main question is how to disseminate it, since I can't just slap a file directly into a tumblr post. I think dropbox would work, but I'm open to suggestions.
P. S. to anyone that says I should put it up on picrew: I tried. picrew only allows square images and putting black bars on the top and bottom of every single goddamn image is just. No. If there's a better place like that to do it I'd love to hear about it though.
64 notes - Posted April 8, 2022
#3
DAMN x Incorrect Quote Generator (a series)
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72 notes - Posted April 7, 2022
#2
I don't expect there to be much overlap btwn these fandoms but im having a Time rn
94 notes - Posted August 21, 2022
My #1 post of 2022
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161 notes - Posted March 27, 2022
Get your Tumblr 2022 Year in Review →
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Aragami cheat engine
#Aragami cheat engine how to#
#Aragami cheat engine movie#
#Aragami cheat engine install#
#Aragami cheat engine movie#
It might be a funny scene, movie quote, animation, meme or a mashup of multiple sources. Aragami: Shadow Edition: 010071800BA74000. You can take any video, trim the best part, combine with other videos, add soundtrack. Click the PC icon in Cheat Engine in order to select the game process. SXOS Compiled database, you can use it for others Cheat Engine.How to do that is good way to learn some asm/lua as I did myself. I usually go with that with less executions and just replace code similar way. With money it is easier, since you need to find using 4bytes, once you got only address - use right click and "check what writes to this address".
#Aragami cheat engine how to#
(ps, any chance you can teach me how to do that with money?) Then right click the highlighted code and choose to replace with code that does nothing. Once it finds it, right click it and select JIT. Go to the mono tab at the top of CE and enable mono. To select the game process, click the Cheat Engine icon.
#Aragami cheat engine install#
ALL available trainers are for Single Player/Offline use ONLY! Don't try to use them online else your account can/will be banned/closed!Īragami: Nightfall v20180510 Fixed FilesĪragami: Assassin Masks Set v01.Can i get a hand with this? every time i do it my game crashes. Install Cheat Engine, Total War Saga Troy Cheats Trainer modded Cheat Engine.
Activate the trainer options by checking boxes or setting values from 0 to 1. Click the PC icon in Cheat Engine in order to select the game process. How to use this cheat table Install Cheat Engine.
If you have problems using a trainer in combination with Windows Vista, 7, 8 or 10 then make sure to run the trainer with Administrator rights and when needed in Windows XP or Windows 98 compatibility mode! Diane Hartmann on Aragami (GOG) Cheat Engine jalhan.
In ALL cases this is a FALSE ALARM as NONE of the Game Trainers GCW contain known malicious code! More info in the PC Games FAQ!
Some Game Trainers are sometimes reported to be a Virus or Trojan, the most common is a keylogger called HotKeysHook or the file has been packed/protected with VMProtect or Themida and is recognized as Win32/Packed.VMProtect or Win32/Packed.Themida.
How it works Game List Features Community. Ranging from first-person shooters to RPG games, WeMod has it all. Name of the file: ULTRAKILL Trainer +3 - Author: ABO - PC. If you have any doubt check this page before: VIRUS ALERT If you have any trouble with the website or a file please read first the HELP PAGE. In most cases using a No-CD or Fixed EXE will solve this problem! Browse all the cheats and trainers WeMod has to offer. Your anti-virus software may detect them as malware (viruses, worms, trojans, bots etc.).
Some original games do not work when a certain application has been installed, like DAEMON Tools.
When using Fixed Files make sure to use a Firewall which controls outgoing traffic, as some games call back to report the use of these modified files!.
When this happens use the original EXE to play online, else you could find yourself banned from the game!
Some No-CD/Fixed EXE files work fine in Single Player mode but are detected to be modified when trying to play online.
Always make a backup of the files that are overwritten by the File Archive, as the original files are usually required to update the game to a newer version or to play Online!.
Aragami: Assassin Masks v20161221 Fixed Files.
Aragami: Assassin Masks Set v01.07 Fixed Files.
Aragami: Nightfall v20180510 Fixed Files.
Game or Patch Questions? Visit FileForums
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Mac delete file command
#Mac delete file command how to
#Mac delete file command mac
You will simply send the output straightaway to the clipboard. Send the Output of a Command to the Clipboard The Trash will be emptied by the Terminal.Ģ. In case you are very certain you want to delete each of these items, click on Return. In case many files are present, you might discover that the list which comes up is all on a single lengthy line, enveloping the Terminal Window.You will view one or multiple files with paths like /Users/.Trash/file.txt. Open Trash in Finder and drag the items inside to Terminal Window.This may be irritating however, you can make use of the command line to get a simple solution. A file may be locked or you might not be permitted to erase one or multiple files. In case you are unable to empty your Mac’s trash, the rm – R command is useful. Tips and Tricks for Using cmd delete file This will request you to verify the deletion of every item. You can, however, make use of the –flag for security. Keep in mind that this is a permanent decision. Therefore, simply operate the command as follows: For instance, in case you possess a directory packed with archives that have files or directory, erasing every item one by one from the command line or Finder might consume a lengthy period.After running the rm-R command on a directory, you are directing the Terminal to erase this folder, whatever files it has or sub-folders, and any folders or files inside the sub-folders, all through. The rm command provides a strong option (-R or –r) also referred to as the recursive option.Deleting a Directory as well as Files in it Therefore, to erase a director called Archives, you need to operate the command below: rmdir is a special command used to delete directories. You can't erase a directory utilizing the rm command. If you attempt to operate the rm command on a folder, the message below will appear: Deleting files/folders using the command line on MacĮrasing folders or directories varies a bit. Recent Videos from Recoverit View More > Part 3.
#Mac delete file command how to
Video Tutorial on How to Recover Deleted Files on Windows 10/8/7 Easily? wav extension, you should type ‘del C: Users/username/Desktop/*.wav.’ Deleting For instance, in case you desire to delete every file on your desktop which has a.
DEL provides support for wildcards characters also, like an asterisk (*).
In case you are not in the appropriate directory, you can type ‘cd’ to the directory or key in the complete file path to be erased.įor instance, in case you want to erase ‘file.txt’ you need to key in ‘del file.txt.’ If the file is situated on the desktop, key in ‘C: /Users/username/Desktopfile.txt’ in case you are one directory on top. It will be the same as ‘C:/myfilename.ext.’ Click on the right and find properties and it will be present on the key page. In case you are not aware of what an extension file is, key in the file inside a kind of search box (this is determined by the computer you have and the kind of search available to you). In case you are presently in the directory which contains the file, you are ready to proceed.
Type the file’s name and the extension.
You can alternately access the run dialog (WinKey and R) and key in ‘cmd’ but not with the quotes.
Begin from Start, and then proceed to All Programs, Accessories, and finally Command Prompt.
Deleting Files and Folders Using Command Prompt on WindowsĪre you aware that it is possible to erase a file on Windows by making use of the Command Prompt? Below are some steps on how to go about it:
#Mac delete file command mac
In case your Mac is faulty and you do not have access to the Finder anymore, you can utilize the command line for troubleshooting the issue.You can erase files that are concealed in the Finder these are files that might have settings for specific apps or sections of OS X, which consist of a dot (.) in front of their names, which are not displayed by Finder.You can retrieve files from the trash when you come across immovable errors.By making use of wildcards, you can erase multiple files fast and effectively.So why take the trouble to delete files using command prompt and command line?īelow are several reasons to delete files Using Command Prompt and Command Line: It is not complicated to delete files using the Finder and you are always able to recover files from Trash in case you want to change your mind. Advantages of Erasing Files Using the Command Line Deleting files/folders using the command line on Mac Deleting Files and Folders Using Command Prompt on Windows
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Alpine s series home theater
#ALPINE S SERIES HOME THEATER MOD#
#ALPINE S SERIES HOME THEATER SERIAL#
#ALPINE S SERIES HOME THEATER DRIVERS#
#ALPINE S SERIES HOME THEATER FULL#
The Alpine R-Series amplifiers utilize Alpine’s advanced amplifier platform that takes the classic Class-D amplifier circuit and adds dual post-filter feedback loops for unmatched accuracy and control.
#ALPINE S SERIES HOME THEATER DRIVERS#
SVS 3000 Micro seamlessly blends into any speaker system, energizing a space with effortless output from dual active 8-inch drivers and an 800 watt RMS, 2,500+ watt peak amplifier. If the open end of your power cable is a loop and the opening for your power cable … Home > Online Store > Alpine Navigation Multimedia Sale With a large 7″ WVGA screen, My Favourites easy sound setup, and built-in Bluetooth, the INE-W957E offers fast and easy access to your favourite entertainment and information sources. For the non-amplified antenna, you’ll need a amplifier block.
#ALPINE S SERIES HOME THEATER SERIAL#
Get your next ALPINE SWE-1900 Box Type Powered Subwoofer 2001 Model] directly via Croooober Japan, the largest marketplace for used auto parts - worry-free worldwide shipping | Serial No: W20116108A Check OK Acrylic plate Yellowing and scratches are noticeable Rated output: 100Wx2ch Maximum output: 175Wx2ch Accessories: Power supply / speaker input … They are also located inside of a encased battery box. I have this amp hooked up to a 4 ohm Rockford Fosgate P3 10" sub. Poly-Planar MA4052LG 5" Light Gray Coaxial 2-Way Self Draining Waterproof Marine Speaker With LED Lighting $35. The round shape and frosted lens create an extra-wide, highly diffuse beam with soft edges. comes with protective cover Joined Jan 21, 2016.
#ALPINE S SERIES HOME THEATER MOD#
*Debadged, red off gmc front emblem now chrome *super whites, all 4 headlight mod *Alpine, 800 watt amp (bridged) 1 RF P3 12' sub *Rear, front end, T-case, transmission, engine, power steering, brakes Mobil/Lucas Synthetic *TB coolent bypass *TDs dumped B4 axel with flowmaster 40's * Zone 1. You have to balance each stage correctly. Power your entire system with a single 5-channel amplifier. Recently, the Alpine was burglarized three separate days, a lawyer for the business disclosed in court March 6 during a civil hearing to determine how … Check Price Alpine SWR 8D2 8" Car Subwoofer.
#ALPINE S SERIES HOME THEATER FULL#
Explore and shop our full line of Black Diamond Headlamps for the best headlamp and brightest headlamp - bright, efficient, lightweight and rechargeable headlamps. In MANY amplifiers, … i have a hifonics brutus amp pushing 2 alpine type r 10's. I replaced the fuse under the hood in case that was Problem with Alpine mrv-m500 amp. Light was reflecting off it, it was oval and had a little red to it. It could be from new batteries that have never. The NVE-M300P navigation connects to Alpine Mobile Media Stations and offers the latest high-quality mapping with powerful features to guide you. I remember seeing some help here on where to go on the radio to change a setting to turn. Do NOT wire your remote turn on to power antenna in newer vehicles: A dash cam is an on-board camera that continuously records the view through the vehicle's front windshield. Alpine INE-W957A – Features Great amp, no problems here so far. A solid red light can mean three things 1. The Alpine Dash Cam Viewer is a free-of-charge download and allows you to view your recorded videos and see important information such as GPS location, crash sensor data and driving speed at the time of recording. When in the air, there will be another red portal that you need to reach.
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Die Cut and Customized Packaging Boxes Are Ideal For Packaging in USA
In USA the demand of the die cut boxes has increased to a great extent. These prefabricated cartons are created at industrial levels and they are available at different sizes and shapes. On the basis of their making, there are two types of boxes available almost everywhere in all over the world. The types of the packaging boxes include single walled and the double wall. The single walled boxes are much cheaper and lower in quality than the other, double walled boxes only due to their simpler design. However, both of these types are being used all over according to the desires of the user.
The process of making of the single walled corrugated box requires two flat sheets with additional sheet running in the middle throughout at repeated angle. The layer running through the middle plays a vital role in the making of carton strong enough to carry heavy weights for shifting from here and there. On the other side, the double walled corrugated box is manufactured using three flat cardboard sheets. Additional sheets are set between them in order to make the packaging boxes stronger. This type of boxes is more efficient and expensive than the other single walled boxes. They offer more durability and have potential to carry the products having large weights.
The huge market of the cardboard boxes is huge in the USA. However, all depends upon the quality of the boxes. West Pac PKG Inc. which is a packaging company has a vast experience in the making of the different products that includes different kinds of packaging boxes. The professionally designed packaging boxes are available with us. You can have the box in full color printing in order to make it advertise your different products. There are many other printing companies but we have the professionals and they are available 24/7 in order to make the products of the clients.
These custom boxes are available in stocks and provided to the customers with the packed products within it. However, the most important thing that matters a lot during their sending is the printing. The full color high quality printing with matte of gloss lamination gives a great impact on the others and tells about the product which is packed inside.
If you are looking for some packaging box services that provide the best quality die cut boxes printing services to their customers with free shipping to the door step, then you are exactly at the place which provides you all the above-mentioned facilities with some promotions as well. So, don't be late, visit our website and do live chat with one of our live chat representatives. He/she will be happy to assist you and provide you with the best price quote for the custom packaging boxes with promotions. Just call us now and get the amazing deals from our CSRs.
West Pac Pkg, Inc
is one of the leading
Custom Die Cut Boxes Manufacturer in California
. Contact us today for design sample!
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