I think that the faceless man Tai sees, the mysterious man Jackie sees after she dies and now Lottie's visions of Laura lee (which I think she has been seeing since her death) are all manifestations of the same thing. As I lean towards the supernatural explanations I think this is somehow the spirit of the forest interacting with them. Which could lead into the waring clans led by Lottie the first to embrace the Spirit and Tai the first to reject it. Which would then lead into the present day where Lottie seems to be doing rather well and Tai obviously not due to one gaining the spirits grace and one its wrath. I Know this sounds crazy and many people do not enjoy the supernatural explanations but nonetheless all thoughts welcomed and appreciated.

Exchange rates. Exchange rates. These things are killing me. Back in Uganda, I was a millionaire, able to indulge in all sorts of debauchery and to keep up with my drinking habit. But now that I moved to Amsterdam, a handle basically bankrupts me. I hate it here and I have no idea how or where my next drink is coming from. Down to pennies. That would be 3 days worth of drinking back at home but here?? Bout to start begging or selling this dick. (or ass if I'm that desperate)
cheers.

As seen with Paper Mario Nintendo became a lot less explorative with their franchises, and instead started to lock things down into brand identities. That's long been blamed on Miyamoto as a producer, but he's more likely a spokesperson for the overall leadership directions at Nintendo, and Nintendo Corporate, than he is just as an individual.
Nintendo have gotten much more corporate in the last 10 years; as have any company like Sony, Microsoft and EA, and the like, because the industry itself is growing in revenue. This is not just gaming, it's the way of business.
As for Zelda, they always looked to it as a premier franchise, taking up vast amounts of time and resources, but after Skyward Sword selling much less than Twilight Princess despite trying to switch things up in order to make the franchise more acclaimed, they knew they couldn't just repeat the same process. I believe this is when corporate leadership won the argument to start injecting popular ideas into Zelda, and thus Aonuma and the rest complied to actually go play different games, to get ideas and inspiration outside of Zelda. You already saw bits and pieces of this in SS which IMHO had some Monster Hunter influences with Skyloft (very, very light MonHun, mind you!) but that's a sort of inbred home-inspired approach, but Zelda is worldwide, so they had to branch out further.
It's been on record before that Mr. Aonuma and director Fujibayashi played respectively Minecraft, Far Cry and Skyrim, when thinking of how to make a bigger Zelda product.
And like it or not, BotW did have Ubisoft towers, as taken out of an Ubisoft sandbox game. It also had a combinative creative approach where the entire fun of the game is about the player making objectives for themselves, and pursuing self-invented goals. On a tangent, Animal Crossing New Horizons also emphasized crafting and stretch goals, which are respectively traits of mobile games and the crafting is so common in most AAA games. Suffice it to say, Nintendo's latest games are filled with market-research-oriented design.
You see it in Mario Odyssey too. A lot of people praised the game for how, "you can go up on a faraway ledge that seems out of bounds, but they put hidden coins on it!" but to me that's exactly not surprising because what it tells me is that they have the same toolsets as all developers do nowadays, and they run playtesting sessions, and they track where their players go. "Oh, they went up there? I didn't intend for that to happen! Well, let's reward that." So every thing you see as a consumer in their game was designed and pre-read due to good playtesting. That's also research.
This all leads to my argument that Zelda, BotW and now TotK are made through market-research oriented design. Minecraft is the big target-group they're aiming for with the "you can combine anything" gameplay. And the fear of zero actual dungeons even at the exclusion of Shrines could turn out legitimate, because the Zelda team's goal was to focus 100% on the thing that critics and consumers loved about BotW: The freedom of the overworld and self-invented objectives. TotK is like BotW on crack. And it all started with Skyrim, Minecraft and Far Cry 2.
Granted, a lot of good game design always came down to good product testing and focus groups. I just think that the amazing thing about Zelda since its inception and up to even the (IMHO) underwhelming DS games was how much the franchise's gameplay structure stood apart from everything else in the industry, and yet it was still incredible all without taking cues from its peers. it was unique. Now it isn't.
TL;DR: There's been a loss of uniqueness and self-creativity in the development of these games, as they shifted to market-oriented design, where the focus groups based on more popular games on the market take precedent to the game-decisions Nintendo made, to develop BotW and TotK. As a result, they're terrific games but lost a lot of what made Zelda amazing despite being almost completely unique to any other game on the market.

Venomous. Heart- eating. She truly is a monster, the webs she spins to entrap and ensnare, the way she waits for her opportunities to hunt and hurt. But ultimately, she's powerless.
I have taken her out of my heart, taken that special place you hold for your mother and reassigned it. I've taken her throne, I'm Mommy now goddammit because she's so bad at it that I might as well go ahead and parent myself, be my own support and comfort, love myself the way she was supposed to but never could. I've taken that throne for myself. She doesn't deserve it.
Once there was no place for her in my heart, I turned out, flipped over and sorted through my mind to find her tracks. Those marks and cuts she made on my spirit, I found their memories in my mind. I took the pain, the loss and grief, all of my understanding of who and what she is and who I am to her, and I put it in a jar. The entire concept of her, the essence of my mother that lives in the crevices and caves of my mind, I sought out and trapped. I became the hunter, stalker, trap-layer for myself. Therapy, reading, learning, growing my awareness. Finding the pieces of me that are like her, finding the ones that have been corrupted or damaged. I've been finding them. Fixing, changing, cutting out the parts that aren't me, aren't who I want to be.
You're aware. You know how insidious they can be. Really looking into yourself takes courage, because they're there, lurking in the darker parts of your mind. When you're laying in bed wondering what's wrong with you, when you're desperate for approval, connection, acceptance, belonging, when you're wondering whether it's really you, whether you're the narcissist... it's not you. None of that is you. It's them, their influence and energy permeating and destroying. You don't need to be with them or around them to feel their vicious and malignant energy, it's the darkness that makes you feel alone and afraid. But it's not you. I refuse to be that. It's taking all of my willpower and energy, but I will not be like them. I'm going to do better, be better.
It's my mind. I own it, it belongs to me and I can decide where things go. Skittering, sly creatures who make my life worse get put into jars and left on the shelf. I've got better things to think about, like what I'm going to do to help myself help others. I want to heal, and help others heal too. I want to learn, grow and change how the world works, bring just a bit more joy and kindness into it wherever I can. I want to be free enough to decide my own fate, to have control and power over my own life. I will be successful. I will fail too, but I can do that and handle it just fine too. I'm going to be all of what I can be, and nobody can stop me. Nothing can break the jar, and the spider will never be free in my mind again. It's mine, all mine. Nothing left for her but the jar on a shelf in the back of my mind.

PODCAST: https://ayearofwarandpeace.podbean.com/e/ep1521-hail-and-farewell-george-moore-ave-chapter-11/
PROMPTS: Poor Edward. Something quite wrong about what went on here...
Today's Reading, via Project Gutenberg:

XI

While Edward revised his play Yeats and I talked of The Shadowy Waters, and the Boers crossed one of our frontiers into Cape Colony or Natal—I have forgotten which; but I remember very well my attitude of mind towards the war, and how I used to walk every day from Tillyra to Ardrahan, a distance of at least two Irish miles, to fetch the newspaper, so anxious was I to read of a victory for our soldiers.
Before starting I would pay Edward a visit in his tower, and after a few words about the play, I would tell him that the way out of our South African difficulties was simple—the Government should arm the blacks; and this would make Edward growl out that the English Government was beastly enough to do it; and I remember how I used to go away, pleased that I had always the courage of my morality. Other men do what they know to be wrong, and repent, or think they repent; but as it would be impossible for me to do what I believe to be wrong, repentance is for me an idle word; and, thinking that to raise an army of seventy thousand blacks would be a fine trick to play upon the Boers, I often returned through the park full of contempt for my countrymen, my meditations interrupted occasionally by some natural sight—the beauty of the golden bracken through which the path twisted, a crimson beech at the end of it, or the purple beauty of a line of hills over against the rocky plain freckled with the thatched cabins of the peasantry. Nor do I remember more beautiful evenings than these were; and, as the days drew in, the humble hawthorns shaped themselves into lovely silhouettes, and a meaning seemed to gather round the low, mossy wall out of which they grew, until one day the pictorial idea which had hitherto stayed my steps melted away, and I became possessed by a sentimental craving for the country itself. After all, it was my country, and, strangely perturbed, I returned to the castle to ask Edward's opinion regarding the mysterious feeling that had glided suddenly into my heart as I stood looking at the Burran Mountains.
It is difficult for anybody to say why he loves his country, for what is a country but a geographical entity? And I am not sure that Edward was listening very attentively when I told him of a certain pity, at variance with my character, that had seemed to rise out of my heart.
It would be strange if Cathleen ni Houlihan were to get me after all. That is impossible ... only a passing feeling; and I sat looking at him, remembering that the feeling I dreaded had seemed to come out of the landscape and to have descended into my heart. But he was so little interested in what seemed to me transcendental that I refrained from further explanation, concluding that he was thinking of his play, which had gone to Coole yesterday. I was led to think this, for he was sitting at the window as if watching for Yeats. We were expecting our poet.
Here he is. I wonder what he thinks of your revisions?
And to save Edward from humiliation I asked Yeats as soon as he came into the room if he liked the new third act.
No, no; it's entirely impossible. We couldn't have such a play performed. And dropping his cloak from his shoulders, he threw his hair from his brow with a pale hand, and sank into a chair, and seemed to lose himself in a sudden meditation. It was like a scene from a play, with Yeats in the principal part; and, admiring him, I sat thinking of the gloom of Kean, of the fate of the Princes in the Tower, headsmen, and suchlike things, and thinking, too, that Yeats, notwithstanding his hierarchic airs, was not an actual literary infallibility. The revised third act might not be as bad as he seemed to think it. He might be mistaken ... or prejudiced. Yeats's literary integrity is without stain, that I knew. But he might be prejudiced against Edward without knowing it. The success of The Heather Field had stirred up in Edward, till then the most unassuming of men, a certain aggressiveness which, for some time past, I could see had been getting on Yeats's nerves. Nor am I quite sure that myself at that moment would not have liked to humble Edward a little ... only a little. But let us not be drawn from the main current of our resolution, which is entirely literary, by a desire to note every sub-current. Yeats looked very determined, and when I tried to induce him to give way he answered:
We are artists, and cannot be expected to accept a play because other plays as bad, and nearly as bad, have been performed.
Saints, I said, do not accept sins because sins are of common occurrence.
He did not answer, but sat looking into the fire gloomily.
He takes a very determined view of your play, Edward. It may not strike me in the same light. If you will give me the manuscript I'll just run upstairs with it. I can't read it in front of you both.
There was no reason why I should read the first two acts; Edward had not touched them. What he had engaged to rewrite was the last half of the third act, and a few minutes would enable me to see if he had made sufficient alterations for the play to be put forward—not as a work of art—that is as something that would be acted fifty years hence for the delight of numerous audiences, as proof of the talent that existed in Ireland at the end of the nineteenth century—but as a play to which literary people could give their attention without feeling ashamed of themselves afterwards. There was no reason why we should ask for more than that; for the subject of the play was merely one of topical interest, and it is a mistake—I pointed this out to Yeats—to be very particular about the literary quality of such a play. All the same it would have to be put right, and this Edward could not do. It was more a matter for a cunning literary hand than for a fellow like Edward with a streak of original genius in him, and very little literary tact.
On these reflections I sat down to read, but the play was so crude, even in its revised form, that I fell to thinking that Yeats's thoughts must have wandered very often from the page. He should have remembered, however, whilst we discussed the play with Edward, that Edward was a human being after all, and not made it apparent that he looked upon the play as something the local schoolmaster might have written, and of all, should have kept looks out of his face which said as plainly as words could: Your soul is inferior, beneath my notice; take it away. He did not even seem to apprehend that Edward was torn between love of self and love of Ireland. Abstract thinking, I said, kills human sympathies, and Yeats is no longer able to appreciate anything but literary values. The man behind the play is ignored ... Yeats can no longer think with his body; it is only his mind that thinks. He is all intellect, if that isn't too cardinal a word. And seeing before me quite a new country of conjecture, one which I had never rambled in, I sat thinking of the cruelty of the monks of the Middle Ages, and the cruelty of the nuns and the monks of the present day. Their thoughts are abstracted from this world, from human life—that is why; and Yeats was a sort of monk of literature, an Inquisitor of Journalism who would burn a man for writing that education was progressing by leaps and bounds. Opinions make people cruel—literary as well as theological. Whereas the surgeon, whose thought is always of the flesh, is the kindliest of creatures. It is true that one sometimes hears of surgeons who, in the pursuit of science, willingly undertake operations which they know to be dangerous, and we know that the scientists in the laboratory are indifferent to the sufferings of the animals they vivisect. Even so, Nature thinks like the surgeon who risks an operation in order that he may discover the cause of the disease. The knowledge he gathers from the death of the patient is passed on, and it saves the life of another. But the artist cannot pass on any portion of his art to his pupil; his gift lives in himself and dies with him, and his art comes as much from his heart as from his intellect. The intellect outlives the heart, and the heart of Yeats seemed to me to have died ten years ago; the last of it probably went into the composition of The Countess Cathleen.
Yesterevening, when we wandered about the lake, talking of The Shadowy Waters, trying to free it from the occult sciences that had grown about it, Fomorians beaked and unbeaked, and magic harps and Druid spells, I did not perceive that the difficulties into which the story had wandered could be attributed to a lack of human sympathy. But Yeats's treatment of Edward proved it to me. The life of the artist is always at difficult equipoise; he may fail from lack of human sympathies, or he may yield altogether to them and become a mere philanthropist; and we may well wonder what the choice of the artist would have been if he had to choose between the destruction of Messina and Reggio or of Herculaneum and Pompeii. Were he to choose the ancient ruins in preference to the modern towns, he might give very good reasons for doing so, saying that to prolong the lives of a hundred thousand people for a few years would not be, in his opinion, worth a bronze like the Narcissus. A very specious argument might be maintained in favour of the preservation of the bronze, even at the price of a hundred thousand lives. Perhaps he might let the bronze go, but if all Greek art were added he would hesitate, and when he had let one hundred thousand men and women go to their doom he would probably retire into the mountains to escape from sight of every graven thing. To write a play our human and artistic sympathies must be very evenly balanced, and I remembered that among my suggestions for the reconstruction of The Shadowy Waters, the one that Yeats refused most resolutely was that the woman should refuse to accompany the metaphysical pirate to the ultimate North, but return somewhat diffidently, ashamed of herself, to the sailors who were drinking yellow ale.
Yeats has reflected himself in the pirate, I said. All he cares for is a piece of literature. The man behind it matters nothing to him. But am I not just as wicked as he? Worse, indeed, for Edward is my oldest friend and I do not defend him. Whereupon the manuscript fell from my hand, and I sat for a long time thinking; and then, getting up, I wandered out of my room and hung over the banisters, looking down into the central hall, asking myself what Yeats and Edward were saying to each other, and thinking that their talk must be strained and difficult, thinking too that my duty was to go down to them and bring their bitter interview to an end.
And I resolved to say that I could see no reason why the play should not be acted. But half-way down the stairs my conscience forbade so flagrant a lie. Yeats would not believe me. And what good would it do to allow Edward to bring over actors and actresses for the performance of such a play? It's kinder to tell him the truth. In the middle of the hall I stopped again. But if I tell him the truth the Irish Literary Theatre will come to an end.
Well, Edward, I've read your play ... but the alterations you've made aren't very considerable, and I can't help thinking that the play requires something more done to it.
You've read my play very quickly. Are you sure you've read it?
I've read all the passages that you've altered.
I had only glanced through them, but I could not tell him that a glance was sufficient.
If there were time, you might alter it yourself. You see, the time is short—only two months; and I watched Edward. For a long time he said nothing, but sat like a man striving with himself, and I pitied him, knowing how much of his life was in his play.
I give you the play, he said, starting to his feet. Do with it as you like; turn it inside out, upside down. I'll make you a present of it!
But, Edward, if you don't wish me to alter your play—
Ireland has always been divided, and I've preached unity. Now I'm going to practise it. I give you the play.
But what do you mean by giving us the play? Yeats said.
Do with it what you like. I'm not going to break up the Irish Literary Theatre. Do with my play what you like, and he rushed away.
I'm afraid, Yeats, his feelings are very much hurt.
And my heart went out to the poor man sitting alone in his tower, brooding over his failure. I expected Yeats to say something sympathetic, but all he said was: We couldn't produce such a play as that. It was perhaps the wisest thing he could say under the circumstances. For what use is there in sentimentalising over the lamb whose throat is going to be cut in the slaughter-house?
The sooner the alterations are made the better.
And I asked Yeats to come over tomorrow.
You see, you'll have to help me with this adaptation, for I know nothing of Ireland.
It is a pleasure to be with him, especially when one meets him for the purpose of literary discussion; he is a real man of letters, with an intelligence as keen as a knife, and a knife was required to cut the knots into which Edward had tied his play, for very few could be loosened. The only fault I found with Yeats in this collaboration was the weariness into which he sank suddenly, saying that after a couple of hours he felt a little faint, and would require half an hour's rest.
We returned to the play after lunch, and continued until nearly seven o'clock, too long a day for Yeats, who was not so strong then as he is now, and Lady Gregory wrote to me, saying that I must be careful not to overwork him, and that it would be well not to let him go more than two hours without food—a glass of milk, or, better still, a cup of beef-tea in the afternoon, and half an hour after lunch he was to have a glass of sherry and a biscuit. These refreshments were brought up by Gantley, Edward's octogenarian butler, and every time I heard his foot upon the stairs I offered up a little prayer that Edward was away in his tower, for, of course, I realised that the tray would bring home to him in a very real and cruel way the fact that his play was being changed and rewritten under his very roof, and that he was providing sherry and biscuits in order to enable Yeats to strike out, or, worse still, to rewrite his favourite passages. It was very pathetic; and while pitying and admiring Edward for his altruism, I could not help thinking of two children threading a bluebottle. True that the bluebottle's plight is worse than Edward's, for the insect does not know why it is being experimented upon, but Edward knew he was sacrificing himself for his country, and the idea of sacrifice begets a great exaltation of mind, is in fact, a sort of anaesthetic; and sustained by this belief we, Yeats and I, worked on through the day, Yeats tarrying as late as seven o'clock in order to finish a scene, Edward asking him to stay to dinner, a kindness that proved our undoing, for we lacked tact, discussing before Edward the alterations we were going to make. He sat immersed in deep gloom, saying he did not like our adaptation of the first act, and when we told him the alterations we were going to make in the second, he said:
But you surely aren't going to alter that? Why do you do this? Good heavens! I wouldn't advise you—
Yeats looked at him sternly, as a schoolmaster looks at a small boy, and next morning Edward told me that he was going to Dublin, adding that I had better come with him. On my mentioning that I expected Yeats that afternoon, he said that he would write, telling him of his decision, and a note came from Lady Gregory in the course of the afternoon, saying that she was leaving Coole. Would it be convenient to Edward to allow Yeats to stay at Tillyra for a few days by himself? He would like to continue the composition of The Shadowy Waters in Galway.
Lady Gregory's request seemed to me an extraordinary one to make in the present circumstances, and it seemed still more extraordinary that Edward should have granted it, and without a moment's hesitation, as if Yeats's literary arrogance had already dropped out of his memory. Such self-effacement as this was clearly a matter for psychological inquiry, and I turned Edward over in my mind many times before I discovered that his self-effacement should be attributed to patriotism rather than to natural amiability. He believed Yeats to be Ireland's poet, and to refuse to shelter him might rob Ireland of a masterpiece, a responsibility which he did not care to face.
Extraordinary! I said to myself, and as in a vision I saw Ireland as a god demanding human sacrifices, and everybody, or nearly everybody, crying: Take me, Ireland, take me; I am unworthy, but accept me as a burnt-offering. Ever since I have been in the country I have heard people speaking of working for Ireland. But how can one work for Ireland without working for oneself? What do they mean? They do not know themselves, but go on vainly sacrificing all personal achievement, humiliating themselves before Ireland as if the country were a god. A race inveterately religious I suppose it must be! And these sacrifices continue generation after generation. Something in the land itself inspires them. And I began to tremble lest the terrible Cathleen ni Houlihan might overtake me. She had come out of that arid plain, out of the mist, to tempt me, to soothe me into forgetfulness that it is the plain duty of every Irishman to disassociate himself from all memories of Ireland—Ireland being a fatal disease, fatal to Englishmen and doubly fatal to Irishmen. Ireland is in my family. My grand-uncle lay in prison condemned to death for treason; my father wasted his life in the desert of national politics. It is said that the custom of every fell disease is to skip a generation, and up to the present it had seemed that I conformed to the rule. But did I? If I did not, some great calamity awaited me, and I remembered that the middle-aged may not change their point of view. To do so is decadence.

Fallout 4 is my all time favorite game. A game I've come back to hundreds of times and put thousands of hours into. The beauty in this game is in its infinite replay-ability. With the numerous endings, plethora of side Quests and characters, infinite character builds, and compelling main story lines it's a world that sucks you in and watches you grow. The first time I peered out of the vault I easily found my way through the starter Quests. I built up sanctuary and got lost in the apocalyptic Sims settlement. Willing to help out my new friends as much as I could I was introduced to my first real challenge. Venturing to and from corvega taught me the value of stealth in this unforgiving wasteland. The first time I ever seen a super mutant I was helping some friendly umpires, as fragile as I was the team support gave me the confidence to take on this hoard. The world slowly expanded yet I remained grounded to my sanctuary. I remember exploring the map for the first time and how well the enemies scaled based on distance from my home. This made the map terrifying but I always had the quicksave safety net to keep me confident. Radiant Quests opened the map while main story opened the world. The first time I seen the Prydwen it was jaw dropping and when I met its army of super soldiers I felt at home like my indoctrination was natural. As I leveled I gained power, as I was given better weapons and armour I felt the power. This game made me feel the progression better than any other. I started as a scared child crouch walking accross the wasteland but I ended up laughing in the face of death claws. After my first playthough I was lvl 70+ but my difficulty was normal, my build favored stealth and range as that is what the world pushed me towards. I knew I could do better. What other settlements could I max out? What weapons had I never found? How many companions were available? What benefits did other endings hold? The game compelled me to explore it again as a better version of my previous self. Playing the game on very hard kept the world terrifying when I knew where to get the better weapons early. I wanted to take down the super soldiers I'd been so close with before just to see if I could. Introduce supply lines, settlement vendors, junk duplication (to let my settlement building creativity thrive), the world kept giving me more to do and I kept getting better. I was a stealth sniper, vats gunslinger, automatic weapon Chemist, power armour heavy weapons, charismatic smooth talker, mele one hitter, Institute coarser. Every time I maxed a character I just wanted to try something else. Playing side Quests kept the game fresh, somehow missed the pirate ship till like my 10th playthrough. When you combine the character build with the infinite combinations of side and main quests this makes every playthrough totally unique. Introducing dlcs. I'm king of the Commonwealth. Next logical objective is to rule farharbour and nuka world, maybe ill bring a robot to help. If I'm using a robot companion maybe I don't need weapons, try using nothing but fists and let my robot be my enforcer. Maybe this time I'll talk with mama Murphy so I can sadistically giggle telling the coarser his recall code. Once mastered the difficulty can be upped to survival adding in plenty more difficulty but these difficulties put my knowledge of the game to good use. Knowing where beds are and having to plan my trips efficiently added a new layer to the game. This game was perfect for me. The ultimate rpg where I explored MY wasteland. When 76 approached I pre-ordered. It would be the second game in the fallout universe I play. I wanted multi-player fallout 4. Dying light style co-op multi-player in the fallout genre would have allowed me to introduce my friends to the game I loved to much. We all know how 76s release went.... getting griefed by randoms was not what I bought the game for....so back to fallout 4 I go. Now it's 2023 and I'm telling you my rpg craving has been temporarily satiated. I have 36hours into cyberpunk 2077 and everything I love that pulls me to play fallout is there. The infinite character customization, the BEAUTIFUL world begging to be explored, the side Quests with intriguing characters. I'm on my first playthrough but it will not be my only one. I have the same craving to memorize the map that I had with fallout 4. One day I will be king of night city, maybe it'll be on my 12th playthrough but when I am I'll sit back and think of Nora.
Ps. I didn't even mention mods. When you run out of content, add some more.

Friday nights have a new meaning now. Every Friday is another week since I last held our beautiful whippet, since we fed him all the forbidden foods and took him on a walk where every treat was a jackpot and I let him bury his face in the treat pouch until it was empty. Since we played on the lawn and I got out all his confiscated toys (mostly in the mending pile, full of holes; and his cuddlepillar and fox toy that got put away because he wouldn't stop humping them) and laughed at his antics then cried. Since we made him a bacon and chicken pizza for his dinner and let him try Tim Tams and icey pole.
Every Friday is another week since the vet came to our house, and he barked at her to warn us about the intruder, and then sniffed her shoes. Since she sat with us on the patio and we talked through everything again and I cried and cried about how wrong all of the options we were facing felt. And we talked about how no 2.5 year old dog should be facing a repeat liver surgery off the back of multiple hospitalisations in such a short life, and how doing nothing wasn't an option when he was bleeding internally and could hemmorage at any time. And how there was no certainty and no clarity, just the knowledge that he wasn't well and was unlikely to ever be well. And she told us that it was okay that it wasn't easy and okay that we couldn't tell if it was time, but gently encouraged us to think about the whole picture of his health and what the future might hold.
Every Friday is another week since we sat with him and held him as he passed and told him how much we love him and what a good boy he was. Since we buried him wrapped in his blanket with his favourite toys. Under the plum tree, where we can see him from our bedroom window.
Every Friday is another week of a too-quiet house and a too-empty bed and a lonely couch. A week of looking at photos and videos and smiling and laughing; and then looking up and remembering he's not here. A week of waking up, or of coming home, and seeing an empty space where he's meant to be. A week of bursts of crying, which is okay; and what if ruminations, which are less okay. Of writing down our memories and asking "do you remember when" and sharing the shadows of a dog who filled our days and hearts.
As each Friday passes the grief does shift and change, and I find more spaces to breathe and smile between the tears.
Oh sweetheart, I miss you so. I love you forever, my darling Jónsi pup.

This is not for high elo because I know that you can't duo there. But in lower elos, premades consistently drop the quality of the games, I feel like every game. Every combination of premade except for top-adc, just feels boring and infuriating to play with/against. If one flames a teammate, there are usually 2 flaming which encourages the other 2 to join. If one doesn't want to surrender, then game will be held hostage. If one wants to stop playing, then game is not 4v5, it becomes 3v5. They are griefing and we should report them? sure, but its now 25% less reports too! If one wants to make a risky play, it becomes a double kill for the enemies. If they want to first time try rengar with ivern mid, or tarik/zil with yi jungle who can stop them?
All of this and much more, reduces the enjoyment of every game. Playing through strong side of the map becomes irrelevant because the premades will play for each other, regardless if they are carrying or not. And I'm not even talking about those 2v5 plays sometimes occur late game, where you think "why the hell are those 2 there?" and then after the game you check their history and all becomes clear. Early game is also ruined by making it clear to both you as teammate and the enemies where plays will be done. This is exuberated if your jungler is the one premade with someone.
Let us see some examples:

• TOP-JUNG: Ride or die. No drakes are going to be done early, enemy support can roam for free because no jungler will ever be in bot river. Dives will be done regardless of the enemy toplaner, diving jayce or ornn doesnt matter as long as they are having fun together.
• MID-TOP: Compass with only North. Has to roam top. Drops waves for no reason. Drops plates for no reason. Is not there for drake even though bot is winning and jungler is rotating because top is friend, friend means family and family is not left behind.
• ADC-SUPP: The classic. The support is not the team support, is the adc support. No other players get heals/shields/exhausts. Map does not get warded because adc proximity is too important.
• ADC-MID: Remember Duo Top? now its duo mid. Sharing xp is fun. Be prepared to deal with enemy anivia 2 lvls up at 15min because pyke support is trying to make plays mid. Does he ward at least? Nope, cause he can't get the item to upgrade because all he does is sit in bush waiting for the opportunity. Meanwhile, bot tower is gone, jungler cant gank bot cause it will be a 2v2, and cant gank mid cause enemy midlaner is playing under tower. Even when support goes bot again to get a bit of xp, he comes back 0 2 0, with no summs. Adc is so much fun!
• SUPP-JUNG: The roaming duo. Can work but it is done regardless of the matchup. "Samira naut enemy botlane? play safe jinx, im gonna roam top with jungler making sure they know you are completely alone at that side of the map"
• Yummi-X: This one deserves a special spot. The premade yummi will sit on its friend and not leave for any reason, even though the friend is a shaco 2 9 and the adc, who has the yummi passive, is 7 2.

I understand it's fun to play with friends but we do have other queues for that don't we riot? Why are we still allowing premades to come and ruin a game. If you want to try something, go on other queues. If you want to play together, go blind pick. People like the competitiveness of soloq but when you come and have fun with your friend, and by fun I mean going 0 20 5 combined, it is not fun for the rest of us. Not to mention, this would reduce the amount of people that buy accounts to boost their friends, but hey, that's another problem for another thread.
Oxford dictionary defines solo as:

done by one person alone, without anyone helping them

RiotGames, if you are fine with this on soloQ, can you please make a singleQ or soleQ or lonelyQ?

I (20, F, 5’7 ~180lbs, 1/2 Korean 1/2 Caucasian) am diagnosed with bipolar 1. I was diagnosed during a psychotic episode in January 2022. I have a family history of bipolar, schizoaffective, and OCD. I also have CPTSD and BPD.
I recently was in jail where I could not have my medications (400mg Quitiapine, started in January. 150mg Lamotrigine, same dose since middle of last year. 25mg Hydroxyzine, on and off as needed. Gamma-aminobutyric acid, 1000mg as needed ((which my psychiatrist didn’t even write me a prescription for, he had me order them through Amazon. My PCP was shocked by this.))) During this time, I also ate nothing except for 2 bags of the fruit mix you get with breakfast and rarely drank water.
I have been under so much stress that my period was late by 5 weeks (I took a pregnancy test each week, not pregnant), and had a seizure-like event after I was sick with norovirus. I had norovirus so badly that my psych thought I was pregnant. I ended up having to go to the ER and was incontinent for the first 3 days I was sick. At the ER again after the seizure like event, which lasted for 2 hours on and off. I requested that the person I was with time it, but that was ignored and that person did things to hurt me. I’ll spare you the details about the drama. The seizure thing most reminded me of a tonic clonic with absence. I saw flashing rings with my eyes shut, lost vision in each eye at different times, had dissociation/time distortion. I also got very sweaty and was gasping for air, I couldn’t breathe, it felt like I was holding my breath by default.
I’ve had some conflict with my psychiatrist in the past. He ended up needing to talk to his therapist about me, and tried telling me about how he felt all emotionally. He’s been badgering me to read “attached” which is a relationship book, but I am not interested in dating or love with anyone. It’s been months. He brought up the idea of transference, and talked more and passionately about counter transference. Then reaction formation. I felt like we weren’t a great match after we’d been keeping up appearances for almost a year. I tried to talk about seeing other psychiatrists, multiple times throughout the months, and he always tried to talk me out of it. Most recently, he begged just to see me in person one last time. He sounded so emotional, it caught me off guard. He’s always threatened me by saying that if I leave him, I won’t be able to see another psychiatrist within the clinic at which he works. I told my PCP, she said that can’t be right. She said it might be because of an intake window. I called the clinic, asked to talk to someone who schedules the psychiatric appointments, she said that there was no one there at 2pm on a Wednesday. She said that I cannot transfer my care within the department. I’m in Washington State. She had no idea about an intake window, it felt like she was just playing dumb though. I also have tried talking to the schedulers multiple times throughout the months, they all say I can’t transfer.
I’ve been having what we’re first described by my PCP as tics, which I notice get worse with stress. I didn’t consider them tics at first because the movements can happen slowly. I also am still having that breathing issue when the tics happen sometimes. I can try to hold the tics in, but it feels kind of like if you’re addicted to nicotine and you need nicotine and don’t get it. Kind of tight, light, anxious, restless. Vocal, motor, and I don’t know if I’m having mental tics or intrusive thoughts. I’ve been more outwardly obsessive and compulsive, which has now manifested as rituals. Prior, it was just mental processes and intrusive thoughts.
When I’m alone and relaxed, it feels like I have a hat on or my brain is buzzing. I also feel like I have bugs crawling on my skin when I lay down to sleep. I also started having more frequent and harder to distinguish from reality auditory hallucinations.
I think that since I didn’t have my medications, I may have had an overdose. My psych wants to put me on 500mg now.
I’m technically homeless right now, (staying at a motel), and his visits cost a lot, it seems he doesn’t care. He says it’s “unethical” to discuss pricing. To sum up our whole relationship, it feels like he’s mad at me, judging me, or in appropriately emotional. I feel trapped. This is not the first time something he’s done, or neglected has potentially put my life in danger. Maybe he considers it a sort of mercy kill? I don’t know what appropriate expectations would be, but I would think he should tell me about interactions, side effects etc. I feel like he’s trying to silently kill me with neglect and cutting me off from potential support. Is it even legal to prevent my transfer of care within the same institution when it’s not a scheduling issue? If I overdosed, why does he want me to take more? Isn’t the cocktail he put me on dangerous anyways?
I would like A psychiatrist’s point of view, second opinion, and to know if these are major red flags I shouldn’t be ignoring. I just have no idea what’s going on anymore.

This is a bit wordy but I’m venting and on the fence on what to do next. I had LO 4 months ago and returned to work full time 2 months ago. I make very good money and I’m in a niche field at the top of my game so I know my value. A couple weeks ago a friend approached me about needing some basic tech/social media help for their work. It’s a seasonal business for vacationing families and they have very little online presence. Said friend is the operations manager so the only person above him is the owner, who jet sets all over the world most of the time for other business ventures. Given the minimal effort it would take and the understanding that I’d work on my schedule around my current job, I figured it was just a great opportunity to help a friend out and make some extra cash. I agreed to an informal sit down dinner to discuss and drafted a one page sales pitch. The owner even agreed to let me bring LO.
Last night the owner, myself with baby, and my friend met at a local restaurant where the owner is close with the restaurant owner, who I’ll refer to as RO to avoid confusion. Owner began talking about app designs and the business goals right away. After 15 minutes of this, I politely interrupted and explained that I was not pitching app design or management but social media marketing and support only. He chuckled and said he understood but was just trying to “help me understand how business works.” My friend looked shocked but when I didn’t say anything, he opted not to interrupt and sat back and observed. The meeting continued with the owner mansplaining things to me and me politely correcting him here and there. Initially I thought this was some insane old school tactic to test my skills but it grew tiresome. Then RO sat down…
The owner and RO began talking about their home countries and how stupid Americans are about politics. It’s important to note that I work in government so my friend was very uncomfortable at this point. RO then turned and asked how I was enjoying staying home with baby. I explained that I work full time and was there for a second gig but that my husband stays home during the day. His eyes finally left my chest and looked at me in total shock. RO asked what I did for work which I summarized and he proceeded to completely ignore me from then on. I finished my meal, mentioned the food was always a little bland there and told owner we could meet this week to discuss further.
It’s easy money and I’d only have to meet with the owner rarely. Do I just continue or end it now? I feel I could manage the misogyny as long as we never do business at RO’s place again. Thoughts?

Hello, so I am having trouble with tendonitis for the last 3 years... I am desperate to heal it and after going to many doctors, physios etc. I looked for the solution on the internet. I've found some stretches and exercises which I do daily and do help me, but for one exercise which helped MANY people I need Thera band flexbar. Also, many professionals recommend it and I am currently doing the same exercise but with a cloth which is ok for now. The problem is, thera band flexbar is out of stock almost everywhere. So my question, or rather questions are:
A) Where can I buy it? (I live in the Balkans, so southeastern Europe)
B) Is there an alternative which works equally as well but is not out of stock? (one that I found is Dmoose's flexbar which seems ok)
C) Are webpages (which do have thera band in stock) like performancehealth.com and virtualhandcare.com safe?
Please help me someone I think this would also help many others which live in Europe and are having the same problem. Thank you.
Oh yeah, and I am trying to find the red one (light).

Ok so I care deeply about my girlfriend. Love her. She is a great person, but there are so many little things that have been bothering me since I have moved in, and they somewhat disgust me as well.

1. She stopped taking care of herself. She eats and eats and has constantly put on weight. She used to be really hot! Now, she's doubled in size. Not an exaggeration. 200+ pounds. However, some of it is genetics. Her mom and sisters are really big. I thought that maybe she was the exception, but no, she gained so much weight, so fast, and she's getting bigger every week. I have made comments like WE should eat better, or work out more, but it never seems to happen. I could make a better effort to make sure it happens, but I think that it is a little difficult for me because I don't have weight issues and I always take care of my personal appearance. She also works a lot! So she doesn't necessarily have the time and it's not a job that she can just ditch. It's a great job, but requires many hours.
2. She has these cats, and they are nice cats, but 2 cats, possibly 4 if she brings the others from her moms house like she has been discussing for a while now. It is a tiny apartment and honestly, anymore than 1 cat seems excessive. But they are her cats and I don't want to tell her no. I am not that type of person. She had them before I met her and it would be wrong to try and influence her to keep them at her moms. However, I'd like to point out that she added 2 cats since her and I have been together. It was originally 2 and now it's 4. But the way she interacts with them absolutely disgusts me! A) She leaves the litter box in the second bedroom and you can smell it throughout the house. B) She lets them do whatever they want. She lets them jump on the kitchen counter and the dining room table. They start putting their faces in the glasses and on the plates smelling or licking them. She asks them to come on the bed and go underneath the covers, and that absolutely disgusts me! These cats are walking around the litter box in their shi* and pee and then coming on the bed licking their paws after being in the litter box and then going underneath the covers so we can bask in their fecal matter from their mouth and a**hole. I find it absolutely disgusting and so I then get out of the bed to go sleep on the couch and she ends up getting upset with me.
   I really care about her and would never want to hurt her. I also should point out that she can get extremely emotional and I would never want to hurt her or put her through any type of depression.
   

Any advice would be much appreciated.

2018 interview with Marisa Tam
—
T. A. Wardrope (TCG): What brought you to The Blacklist? What about the show appealed to you?
Marisa Tam: I did a program called NBC’s Writers on the Verge, which is an initiative from the network to train writers who are almost ready to be on a writing staff as well as an effort to increase diversity among writers for NBC and Universal shows. At the end of the program, the NBC folks sent the script I wrote in WOTV to the shows that were looking for new writers. It caught the eye of someone at The Blacklist, and they brought me in to meet with Jon Bokenkamp, the creator and executive producer, who liked me well enough to hire me.
I wasn’t a viewer of the show before someone at NBC gave me a heads-up that I was in the running for a job, so I had to watch three seasons over the span of a few weeks. But that race-against-the-clock marathon to get up to date with the show showed me the sheer breadth of James Spader’s abilities as an actor and the wide, ambitious variety of crimes and action sequences the show tackles on a regular basis. It was both daunting and an exciting prospect for a baby writer staring down her first paid writing gig.
TCG: Did you do any background reading or research into other shows or films or did you approach this as a “blank page”?
Marisa: My research tends to be more in the vein of weird news: articles about unusual jobs or brain disorders or missing nuclear weapons, of which there are more than you’d like there to be. We’re always looking for new sandboxes to play in that would give us either a weird backdrop for an episode or a persona for the Blacklister or even someone who provides a service to the criminal world—a venture capitalist for criminal endeavors, for example.
But sometimes the bosses like something from another show or from ’80s or ’90s movies that will be the framework on which we build a Blacklist episode. We were even once asked to try structuring an episode like an hour-long When Harry Met Sally.
TCG: Can you talk about the process in the writers’ room? The show can be fairly intricate, and I’m curious how that works itself out with the writing team.
Marisa: This show works differently from a lot of other shows, where the writers will be together in a room for most or all of the day. The showrunners, Jon Bokenkamp and John Eisendrath, generally figure out a story arc for a section of the season and pitch it to the room, which consists of 12 writers right now—though last year, we had 15! Then the writers pitch episodes that fit into that arc, and Jon and John run a “mini room” with a couple other upper-level writers, bringing individual writers in to break stories as they fit episodes into that arc. What that means for the rest of the writers is that we tend to work in smaller groups to flesh out ideas before the showrunners hear them.
The structure of the show can be pretty complex, but there is a loose formula, which helps when we’re coming up with stories. Generally, James Spader’s character, Red, brings a case to the FBI that presents as something like a kidnapping, but by the episode’s midpoint, the FBI team discovers that it wasn’t a kidnapping but a jailbreak, because the kidnap victim arranged her own abduction.
So sometimes we’re essentially coming up with two different ideas and trying to find a fun way to connect them through an interesting twist. Plus, we also have to fit a couple of action sequences in there somewhere, along with any smaller character storylines that need to be serviced. It can be a really difficult thing to do, but that’s why it’s great to have other writers to talk through the plot snarls—if I were trying to write this show without help, I probably would have put my head through a wall by now!
TCG: The show sits at an intersection of crime drama, tech thriller, and superhero science fiction. How do you feel about that? Are you inclined to any specific genre elements?
Marisa: I grew up on a lot of crime shows, but we were also loyal viewers of Star Trek: The Next Generation and Voyager, and stuff like Xena, so I hold a lot of different genres near and dear to my heart. The Blacklist is pretty grounded in comparison, though we definitely bend the rules on science that isn’t quite real yet and characters who do things like take off their noses at the end of the day.
But I like that the show is wide ranging, because it gives us the opportunity to explore different worlds and the criminal possibilities that come from each of them. It also gives me a chance to use a lot of the disparate, random knowledge that I’ve accumulated, even if it’s just to write a monologue for Spader about a tidal causeway.

There are going live on some sites, seems like Riot hasn't officially gone live with them themselves yet. But here are the meme patch notes: AGENT UPDATES
Wingman can now pick up and shoot guns say less—our bestie, Wingman, can now pull up onto site with an Op Proximity to Brimstone’s beard adds rapid fire Brim looked us square in the eye and gave us a good firm handshake and we just couldn’t say no COMPETITIVE UPDATES
VALORANT e-daters in Ranked will automatically be funnelled to a dedicated queue where they can only hear one another’s voice comms Cuffing season may be over, but if you and your situationship are tryna link over VALORANT without getting absolutely merked by your teammates, we gotchu fam. GAMEPLAY SYSTEMS UPDATES
Shots fired while in spawn will now shoot into enemy spawn map control is mid anyway Jett dash is now cooldown based instead of charge based and the cooldown is now set to 0.5 seconds we love Jett and we love cars so we made her dash cooldown 0.5 seconds. Jett boutta pull up skrt skrt
MAPS UPDATES
Breeze is now the only map, and it comes with cabanas and adirondack chairs Your timeshare is once again open for business.
MODES UPDATES
Suss Teammate Mode: Solo queue with scoreboard and comms turned off because like why are you bottom fragging and not using comms — pick a struggle. PERFORMANCE UPDATES
In Game Leads will now get an “aged” effect face filter applied to their Agent When I was your age they used to say, “youth is wasted on the young.” Different times. PROGRESSION UPDATES
You can now progress the Battlepass on your stationary bike not you forgetting to complete the last Battlepass SOCIAL UPDATES
Use of “VALORANT Accent” in voice comms is now automatically translated WEAPONS UPDATES
We've seen the online banter of which is better: Vandal or Phantom. To make the decision easier, we are removing the Vandal from the shop. friendship ended with Vandal now Phantom is your best friend #phantoms4life

I'm playing this game (Stram version) for a few months now and don't have those Girls? Where are they?

The Lineup:

• Chapter 1 (2013-2017):
• The Batman
• Superman: Man Of Steel
• The Batman 2: Heart Of Ice
• Batman Vs Superman: World's Finest
• Wonder Woman
• Green Lantern Corps
• The Flash
• Aquaman
• Suicide Squad
• Justice League

HBO Television Series:

• The Batman: The Early Years
• Catwoman: The Jewel Thief
• Doctor Fate
• Hawkman and Hawkgirl
• Blackhawk

OUTLINE OF THE MOVIES
A detailed outline of plot-lines, changes and in-universe connections.

The Batman:

The Plot: This events of this movie would stay exactly the same.
My Major Changes: Batman is in his fourth year in my version of the film, he's not an experienced veteran like Ben Affleck's interpretation, he still has a lot to learn, but he isn't totally inexperienced like in the film we got. This would be done in a similar way to The New 52. I believe that Pattinson can play a Batman who has sidekicks before, but after Jason's death, he becomes more emo, like in the movie we got.
Batman, in my DCEU, already had adopted Dick Grayson, Barbara Gordon, Jason Todd and Helena Bertinelli. Bruce hasn't adopted or even met Tim Drake, Stephanie Brown, Cassandra Cain, or Damian Wayne yet.
Dick Grayson left on extremely bad terms with Batman in a similar way to in the animated series episode "Old Wounds"
Jason Todd gets lured into a circus, similar to Titans, and is killed on live television by The Joker, similar to Earth-27.
Huntress left Bruce, due to the trauma of Jason Todd's death, since they were dating at the time, similar to Earth 27.
Barbara Gordon got shot in the spine and raped by The Joker, like in The Killing Joke storyline, it happened shortly before Jason got killed. Barbara doesn't become Oracle until a few months after the events of the first movie.
Batwoman is a cousin of Batman, and Bruce is aware of her activities.
This would be subtly mentioned in my version, and Dick leaving and Jason's death are a few additional reasons why Bruce acts like an edgelord and doesn't have that playboy persona anymore (at least until the sequels)
Batman, before the events of this film, has already fought The Joker, Killer Croc, Harley Quinn, Killer Moth, Deadshot, Poison Ivy and Ra's Al Ghul. There would be newspaper clippings that mention these off-screen encounters.
The Joker deleted scene is added in my version, to establish that he exists in this universe, if the post-credit scenes didn't do it already.
Metropolis and Queen Industries are mentioned during Bruce's meeting with Falcone. Setting up the larger DC Universe, in the future.
I would place emphasis that Batman is struggling to make change in Gotham on his own, without his sidekicks to assist him, he only has Alfred, Catwoman and Gordon to rely on, since Dick, Barbara, and Helena, have left on bad terms or to do their own thing in neighboring cities, and Jason is deceased (for now).
That also explains why Batman calls himself "Vengeance". He's on his own with barely anyone to help him, just like how he was when his parents died. (Aside from Alfred)
Bruce's utility belt gets blown up during the final battle. Which sets up him getting a more comic accurate one, in the future.
However, he still uses the adrenaline injection, and I'd later tie that to Bane and his venom formula, in a future movie as a prototype.

Superman: The Man Of Steel

The Plot Act-1: I’d heavily change the opening, develop Zod more, and make a cleaner Krypton that actually has crystals covering the planet, just like in the comics and in Superman (1978)
(I'd replace General Zod with Metallo as the antagonist, because Zod has already appeared in Superman ll and Smallville, by 2013, so I'd use a new villain that never appeared on the big screen in Metallo, who only appeared on Smallville with a small budget and we never fully saw his robotic form. I'd save General Zod for the third movie)
We see a small meteor found in the ocean, near Metropolis, by Lex Luthor, with a glowing green substance.
We flashback to many years ago, Kal-El is born, they name him. We cut to General Zod who is sitting in his home alone, having violent flashbacks of robotic creatures with symbols on their foreheads attacking krypton, killing people, even Zod’s family, the flashbacks are brief, but just enough to see the Kryptonian council surrender to their attacker, a dome encloses over Kandor and make it disappear, but a pod flies away as Kandor disappears.
(That will set up Supergirl in Chapter 2, and Brainiac fighting Superman eventually)
Dru-Zod is haunted and angry about this traumatic event that happened ago. Jor-El is studying problems in the planet’s core, but their computers say everything is fine. Jor-El asks Zod to come with him to check a fault line, as a scientist needs to be accompanied by a soldier when going to the outer lands, to access military equipment or whatever, just as a soldier needs authorization by a scientist to access scientific equipment.
They talk, it’s clear they’re friends, Jor-El tells Zod about his son, happy for him. Suddenly a violent earthquake erupts, causing Jor-El to quickly check his readings. They’re off the charts. Jor-El and Zod quickly rushes back to his lab to check his main computers, which are all reading things as fine, he digs deeper into the programming and finds the same symbol that was on the robotic creatures head embedded into the computers programming, corrupting it.
Jor-El is horrified, Zod is furious, yelling about how that thing destroyed their families, their brightest city, and now it’s destroyed them, Zod blames the council for bowing to the thing and proclaims them weak. Jor-El warns the council, as Zod rallies any soldiers loyal to him to save their world while they still can, he does so easily, they attack the council headquarters and take them out, Zod finds Jor-El, and asks him to help him save their world through allowing access to The Codex.
The Codex is a computer chip, essentially it’s the brain, it has info on everything, from the genetic code from which all kryptonian children are created, to the entire history of Krypton and all its knowledge, and the how to build and operate a terraforming device called the World Engine, as such a thing has been illegal for a long time due to it requiring a planet with an already habitable environment and thus life.
(Brainiac would get the information about how to build and use The World Engine in a sequel)
Jor-El refuses Zod, saying he will not allow Zod to destroy an entire race. Jor-El escapes, accesses the codex, steals it and goes to Lara, telling her they have to leave. Jor-El has set a warning for the planet to give them time to escape, but doubts they’ll be able to as a military security system destroys any ship entering or leaving krypton, but Jor-El has a plan:
A space probe, small enough to sneak past the security systems, but big enough to carry maybe one person, or one person and a baby. The probe was designed to send robotic drones to other planets and test the planet’s atmosphere and environment. He sends Lara and Kal-El to the probe, and she goes, begrudgingly, as Jor-El gives her the codex and a special command key for the probe that will guide them when they get to earth, telling her he has to distract Zod’s men to keep them from the probe.
Lara is wounded fatally, from a plasma shot by one of Brainiac's drones, but she gets into the probe with Kal-El and takes off. She hides the codex in the main engine of the probe just before this happens.
Zod captures Jor-El, and sees the probe doing that teleporting thing, he puts two and two together and takes Jor-El prisoner, gets on a large ship with his army, and shuts down the security systems, so he can track the ion trail or whatever science mumbo jumbo before it dissipates.
Jor-El, though, has thought ahead, and damaged the teleportation device thing, making it so it would trap them in the “phantom zone” between the teleportation destinations, giving the trail time to dissipate so they can’t track it.
General Zod, Faora and Nam-Ek are all caught in the vortex, and sent to The Phantom Zone, by the teleportation device.
(General Zod and Faora will return in a future sequel)
Jor-El closes his eyes as he is caught in the planet destroying explosion, as we see Krypton blown to smithereens, as a green remnant goes through a radiation storm and crashes in The Atlantic Ocean. As we cut to Earth, where the probe crashes in Kansas at night, near a farm in winter, Jonathan and Martha come out. Lara, barely alive, opens the probe, by pulling the command key out, and they find her, Jonathan tries to save her, but she dies, her last words before passing away are asking them to protect her son.
Jonathan and Martha lie to a friend of theirs in the hospital by telling them that the baby had been left on their doorstep and asking him to write down that Martha had given birth to the baby over the winter, during a recent snowstorm.
Meanwhile, Clark Kent hitchhikes across Metropolis and starts working odd jobs, researching extraterrestrial sightings, and secretly using his powers to help people in need, which results in him having to hit the road again. Clark Kent starts developing journalistic skills as he talks to people and gathers information in his quest to figure out where he came from.
We flashback to Clark Kent's backstory, with Clark's parents trying to raise him right and help him control his powers. In the scene where Clark Kent asks his father in the original movie, which is "Should I have just let those kids on the bus die?".
Jonathan Kent tells Clark, no, and that he did the right thing, but he shouldn't expose his powers too much. During the scene, these flashbacks show that Jonathan Kent wants to keep his son Clark safe, but what kind of father would he be if he didn't encourage his son to do the right thing, even when it is hard?
Jonathan Kent is inspired by his son's selflessness and rushes in to help a lady that is about to be run over, and he succeeds, but the excitement and fear cause him to have a heart attack. Jonathan Kent gets rushed to the hospital by Martha Kent and Clark, but he dies. Years later, Martha says goodbye to Clark as he's moving to Metropolis.
Back in the present, Clark Kent goes to a bar to eat some food, but when he eats, Clark notices a drunk and rude Truck Driver harassing a female waitress.
Clark Kent hesitates a bit, but he notices no one else is stopping it, so he decides to do something about the situation. As the drunk and rude trucker is about to grab the woman inappropriately again, Clark Kent grabs his arm and he angrily tells him to leave the girl alone, which surprises the truck driver and makes him a bit scared.
However, Clark notices that his strength is hurting the man's arm, and in order to not expose his powers in front of people watching, he lets his hand go to show A bit of restraint, but Clark pushes his own to the floor, so he doesn't attack him. The truck driver gets back up from the floor and attempts to punch Clark, but Clark dodges the punch before he can be hit.
A few police officers notice the fight happen, and they decide to arrest the drunk trucker for intoxication and attempted assault against Clark Kent. Clark Kent gets thanked by the waitress for standing up for her, but Clark decides to head out to avoid any suspicions.
(The waitress will later be revealed as Lucy Lane, the younger sister of Lois Lane)
Clark decides to go downtown in Metropolis to apply for a better job. He drives there and we get shots of Metropolis. The design of Metropolis, in my rewrite, strongly resembles the version from Superman Returns.
Act 2: Later, after seeing The Daily Planet building, Clark decides to apply for a job there, and he succeeds, and this is where he first meets Lois Lane, Jimmy Olsen, Chloe Sullivan and Perry White.
Jimmy Olsen is the new kid in The Daily Planet, fresh out of college, and he becomes fast friends with Lois and Clark.
Perry White is the very stern Editor-in-Chief of the Metropolis newspaper the Daily Planet. He is Clark's boss. (I would still cast Lawrence Fishbourne)
Chloe Sullivan is witty, feisty, and cheeky reporter of The Daily Planet. She is Lois's close friend and she vaguely was acquaintances with Clark, back in his Smallville days.
Clark and Lois hit it off, despite their bickering at first, and they even agree on a date, a few weeks later. Clark and Lois interview Lex Luthor, about LEXCORP's new achievements in cybernetics. During the interview, Lex makes some unwanted advances towards Lois, which irritates Clark but he keeps his cool and stays professional.
(That is a creepy politician metaphor, kinda like a certain president from 2016, who has sexual assault allegations from at least 5 women)
Clark decides to help people publicly as Superman, as he pulls out the old black suit that Martha had made for him. After work, Clark hears an explosion, he walks as Clark rips his shirt to reveal his (Silver) Superman symbol.
After that, then John Willlams score starts as we see a montage of Clark helping people from life threatening situations and stopping robberies, as the reports of a guy flying in a gray cape stopping crime is flooding in. However, it's not entirely confirmed by the public, so some cynical people in Metropolis say it was an urban legend of some "Superman".
It's during one of these robbery encounters that Clark fought a former marine, John Corben, though his own machine gun's bullets bounced off Superman, and they ricocheted back at Corben and he's paralyzed and his body was mutilated beyond repair. A regretful Superman jumps him to a hospital, near The LEXCORP Building, (We'll get back to that later)
Later, Lois is involved in a helicopter mishap. Clark publicly uses his powers for the first time to jump high enough to catch Lois Lane falling off the damaged helicopter, as it explodes, near 'The LEXCORP tower, astonishing the crowd gathered below. Very similar to the 1978 film.
Superman is now publicly recognized, but not everyone is welcoming of this, some seeing him as dangerous for having this much power. Lex Luthor was quick to become an enemy of Superman when he accused the hero of being an alien threat to humanity. Lex also did research on the meteor that crashed, and he found out that it is deadly to Superman, Lex dubbed the green radioactive substance, "Kryptonite".
The Daily Planet was the only newspaper in existence to portray him in a positive light, with his first recorded photograph being taken by Jimmy Olsen.
Lex, along with Mercy Graves, plans to kill Superman, before he can interfere with LEXCORP and he sees Superman as a threat, due to his alien origin. It's basically Batman's motive for being against Superman in Batman Vs Superman, but pasted onto Lex Luthor, instead. Eve Teschmacher doesn't see what is wrong with Superman. She's very reminiscent of her counterpart in the 1978 film. Meanwhile, Lex Luthor goes to pay a visit to John Corben, in the hospital, after he heard the new story of his encounter with Superman.
John, by this point, is a man that was screwed over by Superman (inadvertently) and Lex made a deal with Corben that if he killed Superman, he'd get millions after the U.S. Government screwed him out of getting benefits after years of being in the marines. Feeling that he had nothing to lose, Corben agreed to the cybernetic enhancements.
LEXCORP scientists transfer his mind into an indestructible android body made of titanium alloys and powered by a Kryptonite heart. Upon the completion, Corben's android body was covered with a layer of artificial skin, which, aside from a rectangular seam which could expose his Kryptonite heart, allowed him to pass himself off as his original body.
Lex Luthor orders Metallo to cause destruction and collateral damage around Metropolis, to catch the attention of Superman. Reluctantly, Metallo rips off his human skin, revealing his robotic body from underneath.
Act-3: We see Metallo decimate Metropolis with his kryptonite powered weapons. The Military is sent in to neutralize Metallo. However, none of the machine gun rounds from the soldiers can pierce Corben's android body. Meanwhile, Clark hears a psychic call and he discovers a glowing blue crystal from the remains of his spacecraft that he keeps around. It compels Superman to fly to the Arctic where he uses the blue crystal to find The Fortress of Solitude, which strongly resembles the architecture and design of Krypton.
Inside, a hologram of Jor-El explains Clark's true origins, and after educating him on his reason for being sent to Earth and his powers, and he says to Clark,
"The people of Earth are different from us, it's true, but ultimately, I believe that is a good thing. They won't necessarily make the same mistakes we did, but if you guide them, Kal, if you give them hope. That's what this symbol means. The symbol of the House of El means "Hope". Embodied within that hope is the fundamental belief in the potential of every person to be a force for good. That's what you can bring them. They will race behind you. They will stumble. They will fall. But in time, they will join you in the Sun, Kal. In time, you will help them accomplish wonders."
Clark leaves the Fortress wearing a blue and red suit with a red cape and the House of El family crest emblazoned on his chest. It's basically the classic Superman outfit.
After seeing news coverage of Metropolis getting decimated, Clark decides to learn how to fly to save everyone, and it's the same exact scene from Man Of Steel, except when Clark does fly, The John Williams Superman Theme plays in the background instead. When Superman arrives in Metropolis, he evacuates civilians out of the city. (Because that's what Superman is supposed to be written as)
Meanwhile, Lois is about to get shot and killed by Metallo's plasma cannon, especially since she was too close to Lex's operations, as a reporter, but Superman swoops in and punches Metallo, sending the cyborg crashing into a Wayne Enterprises Building. (That's hinting at a Batman crossover)
After Superman saves her life, Lois grabs a nearby AK 47, on the pavement and evacuates Jimmy, Chloe, and Perry out of the city to be safe from all the chaos and collateral damage that Metallo is causing. Superman and Metallo have a brawl across Metropolis.
Metallo activates his kryptonite blaster and Superman is shot in the chest with it, weakening him and sending Clark crashing into a car, destroying it on impact.
Metallo absolutely bodies Clark in his weakened state. Corben is a master martial artist during his time with The Marines, and Superman is reliant on his abilities. Metallo beats down on Superman.
Metallo fires a missile at Superman, but using his reaction time, Clark turns the missile right back at Metallo, and the explosion blows a huge chunk in the torso of Metallo's cybernetic body.
Superman flies away from Metallo, momentarily for extra sunlight, to nullify the effects of the kryptonite, but Metallo has thrusters that allow him to fly at supersonic speeds.
The two engage in an aerial fight, but Superman grabs Metallo by his robotic skull and throws him into The LEXCORP Tower, tearing a hole through the skyscraper.
Superman and Metallo continue fighting in the LEXCORP Tower. When they are in close quarters, Superman freezes one of Metallo's arms and blows it up with his heat vision, knocking Metallo backwards, losing his right arm in the process.
When Metallo rushes towards Superman, Clark, in slow motion, sees an exposed chunk of wiring on the side of Metallo's torso, fires his heat vision and Metallo explodes and he is left a fiery mess, and Metallo shuts down.
Lois does find and confront Lex, thanks to Eve Teschmacher, the intern, next to Lex screams "She's got a gun!!" as Lois shoots Lex in the left arm.
When Superman arrives, Lex explains that they cannot arrest him, since he already covered the Metallo incident up, so Superman leaves with Lois, and flies away, vowing to put Luthor away in prison, one day.
Superman reveals his identity to Lois, and they still stay together as the two kiss, as the camera pans out to see the ravaged Metropolis. News Coverage, the papers and social media posts around the globe publish that Superman saves Metropolis from Metallo's terrorist attack and is a beacon of hope, just when it looked like Metropolis was about to be wiped off the map. Meanwhile, Metallo is sent back to LEXCORP and Lex repairs Corben and keeps him in a room, for something darker and nefarious…
(That is set up for The Legion Of Doom for a future Justice League sequel, especially since Steppenwolf is the villain for my rewrite of the first Justice League film)
The film ends with Superman and Lois being on their date that they promised each other, and after the date is over, Clark hears a crime, Lois kisses him and Clark suits up as Superman and flies off, with the John Willlams theme playing in the background, as the credits roll.
Post Credit Scenes: In the Batcave, Batman is watching a live video of Superman's fight with Metallo, setting up their meeting in World's Finest.
A giant skull-ship with tentacles orbits Saturn, and inside, the computer coldly states, "Kryptonian detected" and a green humanoid alien in silver armor, with his eyes glowing pink, states "Target Acquired" and smiles sinisterly.
This will set up Brainiac as a villain for a future Superman sequel, right after The Justice League.

The Batman 2: Heart Of Ice:

The Plot Act 1: The Batman 2 takes place during Christmas, and a year after the first movie. The opening scene is a flashback montage of Victor Fries and Nora falling in love and would end with the doctor saying she has cancer.
After this revelation, Victor developed a special cryogenic cell and planned to cryogenically hold Nora in there, to keep her alive, until a cure was found. However, Fries had been misappropriating GothCorp's money, which left the company in debt and the experiment unauthorized.
Fries was interrupted by GothCorp's CEO Ferris Boyle and a fight ensued and Fries grabbed a handgun, pointing it at Boyle and the security guards. Fries was then calmly ordered by Boyle to drop the gun, reasoning that it was not his nature to resort to violence and that a possibility may have existed to legitimately bankroll Nora's experiment.
Boyle's smooth talk got to Victor as he relaxed and let down his guard, allowing the deceitful CEO to kick the scientist into a lab table full of beakers which exploded. The explosion smashed him into his cryogenic freezing tanks and the accident soaked his entire body with the freezing solution and rendered him unable to survive outside of a sub-zero environment.
In the present day, Bruce Wayne has been trying to help and go out in public more and has his playboy personality, to help Gotham City recover from the flood that The Riddler caused in the previous movie. Ferris Boyle would be one of the head leaders for Gotham's rebuilding, even after the flood being frozen solid. However, it's another lie and secretly, Boyle is secretly taking money supposed to rebuild Gotham into his own bank account.
We have an opening action sequence of Batman fighting Killer-Croc, in the flooded waters of Gotham City, in the sewers. It's very similar to Bruce's fight with Killer Croc in Arkham Origins video game, where Batman uses his electrical gauntlets to wail on Croc, knocking him out and Bruce leaves Killer Croc for the cops.
After that, we see Batman as Bruce Wayne attending a charity event for Gotham's reconstruction, after the flood. It's led by Ferris Boyle. However, the door is busted down, thugs begin aiming their guns and an armored figure with glowing red eyes slowly walks towards Boyle, as Mister Freeze is introduced and he attacks The Charity Event, and tries to get the diamonds in the area and kidnap Boyle. He begins freezing people with his Freeze-Gun.
Taking advantage of the chaos, Bruce disappears into the panicked crowd and suits up as Batman, and he jumps out and kicks Mister Freeze, directly in his glass dome, cracking it. Due to his limited mobility in his armor, Freeze struggles against Batman, as Bruce continues landing several blows on him. However, Freeze gets Batman off of him and freezes Batman's feet to the floor with his Freeze-Rifle.
Mister Freeze steals the diamond and kidnaps Boyle. Victor takes Boyle to his hideout where he freezes his body. Boyle had caused his body to turn a bluish blue and for him to feel like he's constantly burning and his only comfort is his suit which cools him down. We now cut to Gordon and Batman investigating the crime scene.
Mister Freeze is using the diamonds to power his armor to find a cure for Nora who is permanently frozen. We have a similar scene to the animated series to show Freeze's lack of empathy and cold demeanor towards his goons.
Freeze has also been targeting executives of Ferris Boyle. Which leads to an action sequence in the frozen waters in Gotham City, where Freeze is surrounded by the executives, who all carry assault rifles. Mister Freeze kills them all by smashing the ice and freezing them underneath the frozen water, causing them to drown.
Finally, Batman figures out who Victor Fries is, through some research on The Batcomputer and which bank he's gonna rob next and chases after him with The Batmobile. However, Mister Freeze freezes the vehicle causing Batman to lose him.
Act-2: After his loss to Mister Freeze, Batman goes to The Iceberg Lounge to get some answers and information on Freeze but instead of getting met by The Penguin, it's two super strong thugs who are Tweedledee and Tweedledum.
Batman fights the duo, but he gets overpowered and just when Batman is cornered and about to be beaten to death, Catwoman jumps behind Tweedledum and kicks him in the head and says playfully to Batman,
"I figured you'd be here".
Together, Bruce and Selena knock out both Tweedledee and Tweedledum in a bloody fist fight. After dealing with those two, Bruce and Selina get to Penguin, who does actually have information this time as he is doing a weapons deal with Freeze where he'll trade for this new freeze tech.
Batman attacks The Freeze Thugs, alongside Catwoman. These thugs have less advanced versions of Freeze's gun and interrogate one and figuring out Freeze's hideout and his motivation for his crimes. After they are subdued, Batman and Catwoman go to Mister Freeze's hideout taking out his goons stealthily and finding Freeze looking at his wife in the tube.
Batman sympathizes with Freeze and tries to convince him that he'll help Freeze with his wife and that he doesn't need to steal diamonds and shatter Boyle, who has been frozen all this time. Freeze doesn't care and doesn't trust Batman because Boyle lied to him in a similar way. They battle for a while, with Freeze having an upgraded version of his armor for better mobility.
Mister Freeze catches one of Batman's kicks and throws him aside into one of his ice structures, shattering it to pieces.
As Batman is in a fist fight with Freeze, Bruce begins to freeze up, because his main suit is not built for this low temperature environment, as Mister Freeze pulverizes Batman with a fury of punches, which breaks his cowl.
Catwoman tries to slice into Freeze's armor with her claws, but Freeze shoots her in the neck, causing Selena to suffocate.
(As for the effects of The Freeze-Rifle, The freezing itself doesn't actually kill you but it's the hypothermia that ensues that does it)
Batman breaks the ice and stealthily retreats with a wounded and suffocating Catwoman, back to The Batcave.
Act-3: After this, Batman quickly gets out of his armor and shatters the ice around Selina's neck. During Catwoman's recovery, Bruce reveals his identity to her and the two make out and get into an official relationship. Bruce and Selina come up with a plan to stop Freeze and find some way to cure his wife. His original suit is too damaged and they don't have time to repair it, as Freeze plans to storm GothCorp and steal all their latest technologies to help Nora.
Lucius Fox and his son, Luke, create Batman's new extreme environment suit created to stop Freeze specifically. The Extreme Environment Suit is armed with Thermo Charged Batarangs. Batman with his new XE suit will find Freeze and they battle.
All of Freeze's blasts from his Freeze-Rifle do nothing as they melt quickly on Batman's XE suit.
Batman bombards Mister Freeze with explosives and blasts from his Thermo Charged Batarangs, which ends up weakening Mister Freeze.
Batman punches Freeze across the room.
Catwoman fights off Freeze's thugs. It's a similar action sequence to Black Widow's hallway fight with Whiplash's thugs in Iron Man 2.
Batman reasons with Mister Freeze, to turn himself in for the sake of his wife, Nora, and Victor agrees and surrenders to The GCPD. Mister Freeze is put away in Arkham Asylum, in an extremely cold cell. The movie ends with Wayne Enterprises announcing that they are working on a cure for cancer, and they are almost there, as Victor cries with happiness, as the film ends on a hopeful note.
Post Credit Scenes: We see a dark haired woman, looking at photos of Batman and Superman's past sightings and footage of their battles with past supervillains, including Batman's final battle with Mister Freeze.
She says "The Silver Age of Heroes is happening, huh." As we zoom in on her amazonian armor, tiara, and lasso, hung up in her penthouse. As we hear the Hanns Zimmer Wonder Woman Theme quietly plays in the background, as it cuts to black…
(Yep, it's a small glimpse at Wonder Woman)
Tweedledee and Tweedledum are in the streets of Gotham, and they are suddenly hypnotized by a mysterious man. That will set up Mad Hatter for a future Batman film.

{READ THIS} [p] = that Italian round food split in 6 slices. It's because automod bans that word, and this post is about tomatoes, not [p].
It's simple, just read the title. This is happening with me since I was a toddler. Now I'm 22 and it still hadn't changed. I always refuse to eat tomatoes. Only one time, when I tasted one, it literally tasted like shit to me.
But wait, this isn't just about tomatoes. When I order [p], I always ask them to do not put the tomato sauce under the cheese. A few times, when they didn't listen, I just gave the whole [p] to my friends/family.
Pasta is an even weirder thing. I can only eat pasta without tomato sauce and only with cheese or NOTHING at all on it.
My parents tried so many methods and they gave up, because they didn't manage to do anything to make me eat them.
And also, finally don't forget ketchup. It always felt disgusting to see my friends eating fries or other foods with ketchup. It just made me almost threw up on my plate. And even at most restaurants where they include ketchup with your fries, I just give it to someone there.
I know this is weird, like I only met 2 people in my whole life that hate tomatoes.

This is a repost of my post in lookismcomic.
Here are some ground rules to set

1. Only the strongest forms of characters will be considered in this list (eg- Ultra instinct Daniel and not base version Daniel)
   
2. The strength of the characters will only be counted to what we have seen until chapter 442 and not potential to be stronger in the future or else Jake Kim would be an easy number 1.
   

Keep in mind this is going to be a long post which will need to be updated after zack's, vasco's and Jay's strength will be seen at our fullest extent.
Let's begin

1. Original Daniel Park

We always knew of him to be a fat kid who got bullied and mistreated by others his entire life. However after losing weight by systema training by the war hero Alexander Sophia and formal fighting training by the shiro oni Yamazaki Gun Park the disciple of Tom Lee the fighting genius of Charles Choi himself, he is bloomed into becoming a monster in his own right. Firstly he has the ability to copy fighting moves by just a glance which is so hax that it basically renders any talent or mastery the opponent has for a certain fighting style useless. Till now only 5 people have been shown to have this ability first he original Daniel himself, then perfect body Daniel, then Johan Seong, then Jinyoung Park and lastly the unnamed person who defeated the world Muay Thai champion Brekdak using this ability. Now lets talk about feats, in his first fight, one of the workers strongest fighters Xiaolung admitted that Daniel is now a monster and he defeated Xiaolung very easily, remember this guy is so strong that Jake himself had to go all out to defeat him, he was also able to fight Yoosung who was judged at the Level of a first generation King by eugene, the smartest guy in the series and was aknowledged by gun to be a worthy opponent. Moreover he is a different beast in ultra instinct, he is able to go toe to toe with one of the stronger first generaion kings going all out and could potentiality be stronger than him which is a very big feat as no one in the second gen has subdued even the weaker first generation kings by themselves.

1. Perfect body Daniel Park

He is the person who has the most perfect body for fighting according to the medical genius of Charles Choi, Jinyoung Park. He also possesses the copying ability but according to me his ability of copying is actualy the best compared to all as his body has mastered all the fighting styles so he can sub-consciously improve those moves. Moreover his fighting prowess has been aknowledged by gun himself as all his moves are perfect. However since he has not honed his body himself and all of it is given to him he can't use it to its full extent leading to his base form fighting ability to not be very impressive comparing to the 4 crews so ya'll must be thinking, 'why is he even number 2?' Well it's because of a form only he and his other body can attain- ultra instinct. This form of his is so good that it made mortal enemies Jake Kim and Samuel Seo fight together to defeat him because they know how dangerous he is, he is the man who made SAMUEL SEO feel fear, the reason why it's crazy is because the reason Samuel didn't get aknowledged by gun even though he defeated all the 4 major crew heads is because he is too vicious, someone like him felt fear due to the mere presence of this man, he is so good that he made Charles Choi's fighting genius Tom Lee's student Goo who is on the same level as gun and stronger than all first generation kings go all out with his best weapon to defeat him, he is so good that when ge regained consciousness from fighting gun, he was in a favorable position and he actually broke gun's arm which is something no crew head has even come close to achieving.

1. Johan Seong

He is also one of the users who weild the copying ability and is regarded as one of the strongest fighters by many people in the entire series including the white tiger job center, he has gone toe to toe with Tom Lee, and is acknowledged by gun to be strongest crew head, infact he is so strong that he makes an entire crew God Dog by himself which is part of the 4 major crews. The fact that he makes an entire crew by himself is just astounding. Next in terms of feats, his strength is also aknowledged by gun and goo too, moreover in the 4 crew heads free for all, even though he lost first, gun and goo themselves stated that in 3 years (right now) johan will surpass all the crew heads. Moreover in the 4 crew heads meetup 3 years later with the strongest executives of workers and Eli Jang after training from Tom Lee , he was told to be the strongest in the room. Moreover in his rage form which his not even his strongest form he one shotted vasco and another guy on vasco's level. However his strongest form is when he copies perfect body ultra instinct Daniel, the beast mentioned above. With that he can copy him for a short time, but he is so strong that in that limited time he manged to defeat Yoosung, Eugene's twin brother who was rated to be in the level of or even stronger than a first gen king. Moreover Johan has the ability to improve during the fight due to copying the opponents moves, also he has now learnt cqc the most dangerous move of senior manager kim which is even feared by Tom Lee.

1. Yoosung The person we were just talking about, keep in mind this is going to be a much shorter deception Than the others since he hasn't fought all that much compared to the others. He is an extremely powerful and swift person despite his small body, his physical attributes have also been aknowledged by Tom Lee himself and even gun. And as also told above, he is judged to be on the level of or better than a first gen king.
   
2. Sinu Han
   Lastly, here we are at the end of the list which took 5 rereads of the last 140 chapters or so and 2 weeks of procrastination.
   

Let's begin, Sinu Han or the god of combat, or the protector of big deal street or the boy of promise. He is a man of many titles. He is one of only 3 people who have the ability of attacking so fast that their opponent can't even see their attacks. To be honest, if this were a list of strongest base form then he will be in the top 3 but since he does not have any other forms like a crazed form where the persons heart feels warm or an ultra instinct form, he is not higher on this list. He is so strong that gun acknowledged him to be the strongest crew head in gangseo, keep in mind that back then sinu wasn't at his strongest form. Currently he is so strong that he surpasses first generation kings which was said by I think Seokdu Wang or Taesoo Ma, I don't remmeber properly. He has fought many people in workers second affiliate to surpass all levels and reach this stage. When he is angry, he managed to defeat all big deal executives and workers executives with ease. So far only Jake has been able to see his attacks that is also all because of his no genes. Right now also, he alone is able to take on both Eli Jang and Warren Chae both at their strongest.
Characters who barely missed the list- Eli Jang and Warren Chae
Characters too strong for the list- Doo Lee and Yenma

Today is April 1st, so I've completed the first 90 days of this year (currently at day 94). This is the longest I've gone without pornography since I first got 'saved' 4 years ago, when I lasted about 4 months but then I fell back to my old habits. Last year I got 93 days ending on March 7th, which was a new record since that time, but at the 90 day mark I was not celebrating, just exhausted and wanting to watch pornography.
This time (hopefully because of God) I have easily completed January, February and March without desiring to watch pornography. I don't want to get too celebratory, because there is still a laundry list of things that is really wrong with me (like pornography was more of a cherry on top that put me into Sodom territory), but its still kind of nice to be like, hey I'm no longer addicted to pornography.
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I wrote this in my last post, but I am going to include it again:

• If you are able to get month long streaks but then fail, I would put focus on not failing multiple times after a fall from a long streak, but immediately trying to get clean again. If you failed yesterday, and are intent on failing today, try to set a minimum interval of a week before you fail again. Even if it is the wrong intention, having a "sin schedule", it will give you more time to reconsider, and more time to read your bible. You will feel better 1 week after failing from a month long streak, knowing that you immediately got up, rather than failing multiple times that week, feeling hopelessly stuck. This was the last step (1 of 2) that happened to me before I finally got to where I am now.
• If you are in a circumstance where it is difficult for you to find a group to regularly worship with every week, go to youtube, and find a livestream from a doctrinally sound church. This was the last step (2 of 2) that happened to me before I finally got to where I am now. When I would have failed hopelessly in NovembeDecember, instead I kept waiting until the next worship service, which got me 51 days when I almost failed on day 15.

Hello everyone. Posting this because I don’t really understand if I’m on Fe-Ti or Fi-Te axis. I already determined I’m Ni-Se over Ne-Si, so I’ll try to post things related to Feeling:

• In my head I’m always concerned of what others are feeling, thinking.
  
• I tend to act based on how others might react, and I’m talking about body language, what I say, what I avoid to say. This might be learned behavior from being bullied in the past or low self esteem, I’m not sure.
  
• Sometimes I find excuses not to go out because I think I look horrible, don’t have good clothes, etc.
  
• I developed a lot of self confidence over the years, however I still have moments when my self esteem is very shifting based on a comment by a third party.
  
• I used to be able to make friendships more easily in the past, now it’s very hard for a number of reasons. I can make friends/network very easily online if that counts.
  
• I feel the happiest when I have a group of friends I’m going out with. Basic thing to say, but I kind of lost irl social circles because I pushed people away for a number of reasons, now I regret it because I don’t go out and feel miserable.
  
• As a result of previous point, I’ve been more introverted for years now but deep down I know it’s not my natural state. As a kid I was extremely extroverted, almost like that person wasn’t even me.
  
• When I’m in a rut or angry I’m extremely cynical and cold, nihilistic. Then I guilt myself for it.
  
• It’s 5am I get a message from an overseas friend and I start to overthink how to answer back instead of going to sleep.
  
• My mother says I have a very diplomatic way of talking especially with strangers, and that I don’t have to fake it but still comes across natural.
  
• Strangers ask me for help constantly, this probably doesnt mean anything. But when I help it makes my day brighter.
  
• I hate dramatic people, arguments, they stress me out and literally ruin my day/week.
  
• I don’t feel confident showing how I really feel. Again I think it’s more of a learned trait, because it mostly happens in social environments where I’m scared of losing face.
  
• I wouldnt say I’m a people pleaser, probably have been a ‘nice guy’ sometimes.
  
• Not sure if it counts but being born to an immigrant family I used to deal with feeling different, some racism. But I learned very gracefully how to deal with all that.
  

If you reached the end, thank you very much for reading.

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The Private lives of Elizabeth and Essex (1939)
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The private lives of Elizabeth and Essex is a 1939 historical romance drama movie starring Erol Flynn (still riding high on his success from his most memorable of roles in "The Adventures of Robin Hood" just a few years earlier), Bette Davis (who wasn't all that fond of sharing top billing with Flynn, a glorified stuntman in her eyes), and Olivia de Havelland (fresh from the set of her most memorable work in "Gone with the Wind", and making this her fifth out of nine movies sharing co-starring credits with Flynn). Directed by master movie maker Micheal Curtiz (already known for his works on "Captain Blood" and "Angels with Dirty Faces", and later to be known for his larger than life movies such as "Casablanca" and "White Christmas"), stretching his legs with the new technicolor process of filming, and reuniting him yet again with his usual cast of star studded actors\actresses, to whom he had each given their big breaks on screen.
We start this movie off on a large and lavish note, with trumpets and fanfare welcoming home Robert Devereux the Earl of Essex (Flynn) from his victories at war with Spain. But the celebritory mood is cut short when Queen Elizabeth I (Davis), scorns and berates the Earl of Essex for his wreckless sinking of a Spanish treasure galleon, other than the capture of it. Essex then resigns himself from the Queen's service and retires back to his lands. Over the next chunk of the movie, we're taken into life at Elizabeth's court, and quickly come to learn that the Earl of Essex and the Queen are both secretly in love with each other, though none can come to submit themselves to the other publicly. We're introduced to the Lords of Elizabeth's privy council; Lord Raleigh (Vincent Price), Lord Burghley (Henry Stephenson), Sir Robert Cecil (Henry Daniell) and Sir Francis Bacon (Donald Crisp), who all plot and vie to replace Essex as favorite to the Queen. We also come to meet one of the Queen's ladies in waiting, Lady Penelope Gray (de Havilland), who also has a deep secret love for Essex, and will do anything to sour the relationship between the two. A high point of these scenes has Lady Penelope signing a ballad of an old maiden wishing she was still young and fair, which sends the Queen into an extreme fit of rage, breaking all the mirrors in her chamber (a truly great scene on Bette Davis' part).
A messenger soon comes stumbling in from Ireland telling the Queen of their losses to the native forces. This causes Elizabeth to send out a new force to Ireland, as well as giving her a reason to call in Essex and make him master of the city's defences, should they face and invasion. But the Lord's of the privy council all too easily goad the Earl of Essex into volunteering to lead the attack force to Ireland himself, with the Queen's own objection's meaning naught to him.
This then leads us to the bog land battlegrounds of the good old "Emerald Isle" (Ireland for those of you who don't know), smack dab in the middle of the "Nine Years War" (1593-1603), where Essex's men have now been suffering heavy losses due to lack of reinforcements and supplies from the Crown, and only scant letters of reply from the Queen; none of them directly addressing the situation at hand. Essex is furious.
Back in England, Elizabeth is also furious, apparently having being given little to no word from Essex on the situation in Ireland. We now learn that her conniving Lord's and jealous Lady in waiting have all been aiding each other in the omission of certain letters to and from the Queen, in order to ruin the Earl of Essex in her eyes.
Meanwhile in Ireland, Essex finally surrenders to the leader of the rebel Irish army, Hugh O'Neill (Alan Hale, Sr.), when the last of their supply camp is burned out. This, on top of a now angry letter from Elizabeth demanding that he "surrender" himself to the court for treason, sends the Earl into a state of rage. He soon leads his army back to England and storms the court of the Queen, but Elizabeth easily tricks him into standing down his army then having has him arrested and sent to the Tower of London, to Essex's shock and dismay. Lady Pennelope then tearfully admits her crimes to her Queen in hopes of saving the Earl of Essex's life, though this is to no avail.
The final scene of the movie has the two lovers face to face one last time, with Elizabeth begging Essex yet again for his public submission, to which he boldly denies, then marches head held high straight to the executioners block, bringing to us one final look at Queen Elizabeth I, as we pan out and bring up the end credits to this tale (a final scene in which we actually see Flynn on the chopping block was apparently cut after early test previews).
To sum it all up in so many words, "The Private Lives of Elizabeth and Essex" is a fantastically crafted piece of retro cinema, packed full of great quality acting from both our leads and supporting cast, amazingly epic scale sets and costuming effects, elevated by the grand quality symphony score laid down by Eric Wolfgang Korngold, and shot beautifully by Cinematograher Sol Polito, with this being one of the earliest full length live actions movies ever released in color on the big screen. All this is rounded together by director Michael Curtiz, further cementing and solidifying his name in the annals of Hollywood forevermore, hopefully.
And that's all she wrote folks.
Thanks for reading.
Ryan D. Hurley