#Subordinate Fluidity

[earthling-wolf]

R-5 Subordinate Fluidity

This signal occurs when Rigidity and Fluidity are both present in the body, but Rigidity remains the dominant force while Fluidity is subordinate and supplemental. The head, arms and body may swerve along the way, but ultimately land their hits with decisive punctuations and finality. The decisiveness of the person's Punctuated Motions and Vertical Movements remains consistent, while Gliding Movements and Horizontal gestures fail to smooth-over the decisive hits of Judgment.

Dr. Joe Dispenza: FeNi I-I- Adaptive (ENFJ with developed Se)

Terry Crews: FeSi I-I- Adaptive! (ESFJ with developed Ne)

Tina Fey: TeSi I-I- Unseelie! (ESTJ with developed Ne)

This signal emerges from a Judgment-heavy person who is attempting to integrate some perceptual flow or spontaneity into their otherwise rigid thoughts or views. It represents a "loosening" of conceptual boundaries and linear rationality. Nevertheless, it fails to fully let loose the constraints Judgment has over the body, as the person still lands decisively on a few stances, and will still hold a definite view.

#cognitive typology #vultology #judgment #rigidity #Subordinate Fluidity #INTP #ESFJ #ISTP #ENFJ #ISFP #ENTJ #INFP #ESTJ #Dr. Joe Dispenza #Terry Crews #Tina Fey

[seventh-fantasy]

li xiangyi, yin, and femininity

we all know that li xiangyi is a character of fractured identities. and li lianhua is an unreliable narrator to his own story. these make him not the most straightforward character to study. but I've believed in treating li lianhua as a part of li xiangyi, rather than separates. and there must be a common thread that ties all of him together. thus, I offer what I have found to be the most useful lens to use to view him as a cohesive whole, regardless as li xiangyi, li lianhua, or any other identity he may reinvent into: his 阴 yin qualities. (yin of yinyang)

this framework suggested by the drama's text itself has helped clarify to me his strengths, weaknesses, motivations, and struggles. by identifying this constant, too, makes it so much easier talking about what has changed in him.

[to the, hopefully growing, boli lhl hivemind @markiafc @ananeiah]

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there are some notes on the concept of yinyang and chinese conceptualisation of gender I have to preface with.

[disclaimer: of course, I'm not even trying to cover a tip of what experts have extensively studied and debated in a depth it deserves. all I'm doing is try to parse the broad, fundamental ideas that are needed to explain my blorbos through my own spotty brain filter. so there bound to be nuances I've overlooked or some degree of my own interpretation. pretentious but needs to be done.]

阴 yin and 阳 yang are concepts characterised by passiveness, darkness, gentleness, femininity etc, and proactivity, light, toughness, masculinity etc respectively. a very key and handy concept to have in mind is their relationship to each other - which I'll not attempt at explaining better than literal scholars have:

Yin and yang exist only in relation to one another internally as the way warmth-coldness only exist relative to one another. Furthermore, when using yin-yang as an organizational schema, achieving balancing harmony is always the goal, not domination nor subordination of one to the other. [x]

while yin and yang can be symbols of femininity and masculinity, it doesn't mean all female are yin and all male are yang. it's certainly not a strict 1-to-1 equation. the concept of gender in chinese context is more social than biological. this suggests room for fluidity, and shaping of identities, often through social rituals as one journeys through life. it also means that there can be femininity in the masculine, and vice versa - in fact, that's only healthy because you need a good balance of the two worlds. no one part is better than the other. if you think of the two components as relative to each other, they are always interacting and affecting each other, rather than being strict and inert binaries. simply put, it needs to be kept in mind that there are greater nuances in applying yin and yang to the definitions of gender, and to avoid at all cost a simplification of this framework into a binary.

sure, the show has implied that lxy's powers and energy are yin-coded. but femininity is only one of the multiple attributes of yin. so how are we extending lxy's yin to femininity specifically? it's in the text that substantiates and qualifies lxy as feminine. dead women being used as proxies to his character. being literally dressed as a woman in order to put himself into their shoes and feel what they've felt. adopting a name that happens to be very, very feminine - 莲花 lianhua (lit. lotus flower) (it must be caveated that chinese names are NOT gendered. but there are just some names that are more feminine than others.) him coming to lead a life revolving around traditionally feminine, domestic things as li lianhua. him having interactions with the women around him like he's in his own element - no pressure and tension at all, unlike with all the other men.

as such, I'm more willing to use yin and femininity interchangeably in discussing lxy (while it's not necessarily applicable to every point that will be mentioned albeit there being some degree of implied association). and it's for the sake of elucidating what I feel is an intention or very plausible reading of the canon text in parsing feminine experiences in lxy's character. and thus, his queerness.

one last note is that taoism is going be mentioned quite a bit as well because of how much it as a philosophy honours the yin quality. its key tenets include valuing passiveness and inaction as a form of action, and submitting to the nature of things. and we will see how those come up in lxy's life too. (though I'm not gonna attempt to deep dive into it here beyond broad strokes of it.)

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a huge part of li xiangyi's yin actually manifests in him being a passive person. this applies not just to li lianhua, but also li xiangyi. I know. ok wait hear me out. the idea of yinyang is after all components that can change and are relational to each other: thus, there were points in li xiangyi's life when he was less passive than other points, but they ultimately don't match up to the degree of aggression displayed by other men around him. so relative to their display of proactivity and aggression, he can be considered as passive. the best example is that of shan gudao proposing to launch an offensive on jinyuan alliance, while lxy - as much as he was arrogant about it - was standing his ground on not taking action in favour of peace.

it has already showed up in his childhood as well. he wasn't a particularly competitive child: 从来都没有谁要和你争 nobody has ever thought of competing with you over anything, he told sgd as he recalled of their times growing up. it was in fact sgd who was desperate to control and override lxy's presence. baby lxy did not hesitate at all over giving up on winning in favour of protecting his only rare few close relationships left in the world (given how hard-earned relationships are when they're non-familial !!!!). as much as I resent the one-dimensional writing of sgd, he has served as a very strong marker to highlight on lxy's yin.

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I've harped on it several times before but this is the time I finally get to explain it proper: my own theory is that li xiangyi became an unparalleled swordsmaster because of his yin/feminine quality, not in spite of it. an interesting point that had been out in the open unclaimed until it was brought up in our friend group is that, li xiangyi does not actually fit anybody's conventional image of a 武林盟主 wulin mengzhu (ie. ruler of wulin). it would most likely have been some burly, muscular, ultra-masculine dude. even if they don't look like the demonic monk, it should be someone more like di feisheng. but. it's li xiangyi, the boyish, delicate-looking kid, who came to the top. (no wonder people - mostly men - love or love to bully hate him like weak men hate powerful women??)

"why didn't they cast someone who looks more like a wulin mengzhu (read: traditionally manly)?" no, no that's precisely the point. nobody said wulin mengzhu have to look manly. and also who is to define the manliness required to be in a place of authority? (or in my other meta, we would ask, who is to define anybody gets to have the authority over anyone else at all?)

by taoist ideal, gentleness is the most refined form of strength. li xiangyi has been haunting and distracting me in my chinese calligraphy practices lately because I'm thinking about how this must be the closest to what it felt like lxy becoming the best swordsman in jianghu. (so pretentiously brainrotten of me, I know, BUT IT'S REAL and I'm suffering.) mastering a chinese art is essentially about mastering a delicate balance between force and gentleness; being able to draw force from softness 柔中带刚 and an ability to maintain this balance. a beginner will instinctively hold a brush for the first time with brute, unrefined force. some fairly reputable contemporary calligraphers, according to my teacher, can be seen as being either too soft or too forceful - but are still able to pass off as good enough. it's then, the master of masters who will have the sophistication of a firm yet flexible control of the brush with the appropriate use of gentleness/laxness that produces a harmony of strokes. this idea extends to any other sort of chinese craft or practice including traditional chinese medicine, and I believe, swordsmanship too. I'm taking a fucking leap of faith here to say this because I practise NO sort of (chinese) martial arts, I must caveat. (someone who does may want to say something...) but theoretically that should be how it works.

it is not for no rhyme or reason, or *handwaves* that lxy emerged to the top AND is almost undefeatable. among a competitive, forceful (ie. yang) wulin, li xiangyi stood out with a power and energy defined by yin (ie. gentleness and stability) that led him to create his signature 扬州慢 yangzhouman. it is characterised by 慢 slowness (my calligraphy teacher says to us all the time to take it slow), and also described by dfs as 中正绵长 - which I would best describe by painting a picture of a steady and stable stream. these precisely speak of the essence of a mastery of gentleness as strength to me.

conversely, dfs's way in mastering power is very largely premised on taking action because he literally had no other choice in the environment he grew up in. both of them develop in opposite ways. it was the case of gentleness for lxy clearly because he grew up in a safe, nurturing environment that had allowed him to be slow and steady at his own pace, drawing on his natural gifts.

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now top of the wulin world at 17, li xiangyi founds sigu sect. li xiangyi, the boy before becoming menzhu and li xiangyi the leader of sigu sect are not the same.

how then did a (relatively) passive boy like lxy end up founding sigu sect. this lxy is the one who was fostered into competition - though not in an abusive, twisted way. in fact he was raised in a rather taoist way by his shifu: to be honest with yourself and respect your opponent. so he honoured whatever powers he had been bestowed with by nature. he gives into it. even so, at another level, I just have a sense that shifu and shiniang's competitive marital spat had an insidious effect on the boys...though the detrimental effect was more on sgd than lxy. baby lxy feels like a sweet-natured kid who was just in his own zone, you know - some (aka sgd) would say, too much of him even, to have not realised what was wrong at all with his shixiong for years.

that's not all of course. I've always gotten the vibes that his attitude behind forming sigu sect felt more like, this is what all the good men of jianghu do and I will have to do it now especially that I'm the best. it didn't feel particularly personal to me, but rather what would have been expected of him by the social climate of wulin jianghu (eg. lxy saying to 光耀师门 bring honour to his teacher). it's definitely not an expectation from his shifu, who explicitly told him that he was never expected to become a noble figure of any sort, but just to be alive and contented. as concluded by the man himself as li lianhua: "有些人入了江湖是为了立心，而有的人入江湖为的是立命。我却不知道自己真正想要的是什么。some people enter jianghu for the cultivation of the mind, others for a cultivation of a meaningful life. but I never knew what I truly wanted." he was ultimately, unwittingly a passive player in his own story of becoming the great sigu sect leader.

(at this point, as a side note, I do wonder if there were any other similar sects or alliances that function the same as sigu sect that came before it. because I'm damn well sure there must be something, as likely as there must have been generations of wulin legends who came before lxy. but of course, this is not what the story is concerned with at all and I'm ok with that.)

it's crucial to point out that, even despite this being the phase of his yang in the display of taking action and enacting firmness, lxy had still done sigu sect with the sole purpose and manner of upkeeping peace and order (in the way of the pro-universal love, anti-aggression mohist 侠 xia leader of the people). he's still very characterised by yin in my books, especially when vis-à-vis to sgd.

a li xiangyi full of himself and made himself too useful to the people was only bound for a great asteroidal fall, in the concept of 物极必反 - or in taoist lexicon 反者道之动 (ie. anything that has reached its limit will only start developing in the opposite direction). if you think you're above all, you can only go down.

this manifests during the next time he took action - and it was one so forceful that it overpowered even his opponent, dfs who ended up being the passive, receiving party in this case - was in initiating the battle at donghai 10 years ago... and gee oh boy. it didn't end well - for both of them, but even more so for lxy. (dfs was like 'tis but a scratch (shrugs)' as compared to him being ripped off his tendons by jiao liqiao like nezha did to the dragon prince. truth is he had to go into a 10-year healing retreat served by his entourage. :p) ok, I digress.

xiao zijin was quick to attribute sigu sect's fall to lxy's arrogance - in turn setting the stage for lxy's 10 years of self-hatred and the framing of lxy as a villain? irresponsible figure? by jianghu. (god forbid girls do anything! ok for legal reasons, this a joke.) lxy lost his mind in ways I believe he never had in his life there and then upon seeing his shixiong dead. so, you could say he led the jianghu world to ruins out of love (using this term loosely). but it feels inaccurate to say it's due to arrogance. he did not do that out of self-importance or ego, especially when the revenge for sgd was a collective decision made by sigu sect as we know from the flashback. so when llh pinned all fault on himself for being arrogant in the past, it is with caution to take his words because that's the unreliable narrator in him speaking.

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anyway, it's precisely li xiangyi that is capable of bouncing back from such a fatal crisis, equipped with his yin and a mastery that gave him the power of flexibility.

it's extremely vital to re-establish that literally the only thing that was keeping li xiangyi alive, physically, as li lianhua is yangzhouman. (monk wuliao literally said that to lxy even though he did facilitate in saving him.) it's the yangzhouman that was drawn from lxy's mastery of yin. without yangzhouman, li xiangyi would not even have the chance to become li lianhua and undergo any needed process of transformation. without li xiangyi, there would have been no yangzhouman. no li xiangyi, no li lianhua, get it?

the point is not to deny the change li xiangyi wants to make and has made. but to acknowledge that change isn't about complete erasure and destruction. something from you survives. something in you had kept you alive to have you come so far, regardless of all the bad bits that you want to denounce of. you've always been worth it.

bringing back the thing about his new name: the distinction must be made that he did not pick it because it was feminine but it just so happened a feminine name had resonated with him. (read: he didn't necessarily identify as a woman but identified with femininity. at least within the parameters of canon text.)

he also made an interesting choice to retain his surname for someone who was desperate to sever ties from his past. hmm. or maybe he wasn't that desperate? when li lianhua says li xiangyi is dead, I believe it meant that li xiangyi the sigumen menzhu is dead rather than li xiangyi as an entirety. li lianhua is a returning to the path lxy could have gone if he did not establish sigu sect, the path that shifu wanted him to take. when he walked to the doors of sigu sect in the aftermath, nothing was actually stopping him from going back (people were still around and alive, instead of all dead people, you know)... except for himself. taking that action would have been too much for him. so he went with the flow of life giving him a chance at rebirth and walked away. there, inaction as a form of action.

zhan yunfei and qiao wanmian have said to li lianhua, oh that doesn't sound like li xiangyi at all. but has it been considered that, maybe it was sigu sect's lxy who wasn't the real lxy? sigu sect lxy was one big performance of the values of masculinity and heteronormativity that llh had came to an awareness of, and eventually struggle with again and resist against in the final year of his life. there had only been some glimpses of his true nature allowed (validated by fang duobing talking about lxy at his altar).

imho, most flashbacks of lxy during that period felt impersonal and more like a template of a hero expected to marry his girl at 18. going through all the motions and steps of a normative life even before he was old enough to grasp and explore his own identity and what it meant in the world. no wonder he denounced so much of what he had done as lxy including liking girls. walking away then also meant a walk away from those duties and expectations. li lianhua is li xiangyi liberated from masculine duties and heteronormative performance.

in doing that, he had the opportunity for the first time in his life to explore what he truly wanted, at least within the parameters of what he could afford to do at that point. he could go on to build a domestic, feminine life within the space of jianghu (as I've established here). it's a kind of feminine lifestyle that doesn't quite exist in mainstream society - being a woman there meant to stay put in a domestic space without much room to move socially. nor did it exist in wulin jianghu because even the women there like shi-guniang and jlq were expected to be masculine, aggressive, competitive. so building a mobile home in the space of jianghu is his way of defining the life he wants and can have. li lianhua is the extension of femininity in li xiangyi - and one that can be free.

it's also worth talking about in my opinion what is one of the most important and a favourite dihua moment: when dfs said to lxy that his greatest weakness was to like being a hero. and a swordsman should be without weaknesses. I'm forever wrapped up in how many layers this can be read in. was he mad at lxy for liking to be a hero or having weaknesses, or both? if the former, it was dfs criticising, based on lxy's public reputation, lxy's oversized illusions about being a hero - a figure of masculinity with an unrealistic sense to uphold noble goals eg. saving the world etc. that is actually perfectly logical coming from dfs, the straightforward, no-nonsense, morally neutral guy with no illusions about heroism (in this case, he feels more like a yin). but at the same time, we should understand that lxy's motivations behind the donghai battle are more personal than noble. if any, it was actually the opposite of noble - it was like he was acting out of the role of a caretaker of his family, and at a cost of the peace and order of jianghu he was set on guarding(!!) dfs also knew that lxy was there just for his shixiong. and so, dfs, who happens to be the epitome of yang, can be read as a symbol of masculinity disapproving of lxy for being sentimental and emotional; for having the "feminine" desires to simply want to defend his family (not saying those are exclusively feminine traits but they have been conventionally associated as feminine). I think both layers of reading are correct and should work together to contribute to the complexity of their characters. (we can see how it contributes to lxy and dfs being the perfect yinyang halves to each other, which I will come back to briefly touch on later.)

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for 10 years he lived a life of seclusion and staying-in-his-own-lane a taoist would be proud of. he knew he was dying and has always been ok with dying, as he claimed. but did he want to die? to think of it, it was the opposite. because in those 10 years when he could have 100% just taken action to take his own life, he didn't. in fact, he lived on and took care of himself in the way shifu wanted him to. he had simply preferred letting nature run its course. if bicha didn't take him, he wasn't gonna do anything. but if he died one day very soon, he would be ok with it too. sure, he was maybe banking on a lead to sgd's whereabouts to appear during his last years alive but that clearly wasn't the only thing on his mind for NINE years because he didn't actively go out seeking for that either. this is basically him telling dfs that he would just lie in the sun and wait for the sweet release of death, if dfs were to force him to fight. not even the mortal threat from dfs was enough to move him into action of fighting back or killing himself.

time and again, lxy as llh was dragged into fdb's cases but not only that, he also maintained an impersonal distance with them. it's starkly different from the usual (wuxia) hero archetypes (for eg. fdb) who would be more impassioned and personally invested in the plight of the victims- or unlike most seemingly aloof protagonists who would somehow grow emotionally invested over time. one of the many things I love about llh is that he never tries a second time to persuade people out of their decisions he finds unwise (eg. him just wanting to move on in response to the girls in 女宅 insisting on staying behind with their slave master at first.) he will not interfere in other people's choices made in their own lives. it's not his business. he didn't even want to be there, to be honest.

however as the story progresses, more and more people - especially men, his past, and the leads to the truth came back to demand and taunt him into doing something. they vary from well-meaning people without any harm intended such as fdb intruding upon his private space completely uninvited and qwm wanting him back; to dfs merely seeking him as a mean to an end initially (eg. I only need him to live long enough to have one last fight); and finally, on the other end of the spectrum, outright aggressive and hostile people like sgd and xzj who wanted him to die. under all this pressure, he tried his best to deflect, but he does waver especially when it comes to matters concerning the people he cares about aka his obsession wish of 10 years of looking for sgd's remains that had lied low until fdb entered his life, and then later on taking revenge for his shifu.

looking for sgd became his final bid at taking action. he was operating on a slim chance of getting some emotional closure from finding out his shixiong is dead for real, yes. what a good plan. but objectively unnecessary. or surprise! uhhh...finding out his beloved shixiong is actually alive and would strangle him for one corn chip? AND OH NO IT GOT WORSE- uncovering a devastating truth about his shifu's death that he could have totally gone on with life fine without knowing if he had continued not caring.

but it is sometimes just impossible not to care - it is only human to care. and he is human, not an icon in the image of a hero. so he took a chance, once more, and it killed him in unprecedented ways. it's donghai all over again. things in life don't go as planned. you fuck around and it fucks you back. finding out the truth behind his shifu's death and his family background from the past did nothing for him as li lianhua living in the present.

it's no wonder that this lxy decisively relinquishes the desire to take action in the end. he goes back to letting nature run its course. and this time, stands firmly to it despite everyone begging him otherwise. wangchuan flower could only give him a recovery (or survival?) rate of 30%. there's a 70% chance of failure and even in the 30% he was not sure what he was to become. in comparison, dfs took a 10% chance game of survival in a heartbeat, and it pushed him to new heights. that's how they differ: he thrives by taking risks and action while lxy the other way round. so, something like that has happened before and he wants none of it again.

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he leaves lotus tower, only taking his horse and a sack - relinquishing almost every other material belonging he had - and sets off on a journey. before xzj interrupted...where to was he going?? I wonder. we don't know for sure, I think? and are we allowed to know? that makes the scene he had with xzj an understated inflection point in the very last part of his journey. yes, he was already on his way to...maybe die? but not necessarily. you don't have to travel distances with your belongings for that, right? or speak to dfs personally about not wanting to fight? (borrowing one of @ananeiah's takes.) regardless, he was definitely leaving behind jianghu - not only wulin jianghu (he already did that 10 years ago), but also the jianghu space he had carved out in the last 10 years.

what sparked the decision to jump off the cliff in him was dfs's words from the night of their wedding 10th donghai anniversary: 横扫天下容易，断相夷太剑不易 conquering the world is easy, breaking xiangyi sword is not. in the original context, dfs was talking about defeating lxy being harder than conquering the world. but when it came to this scene, it was to lxy about forsaking the very last worldly possessions he had after already giving up on lotus tower and hulijing (including releasing his horse), especially his only connection left to swordsman lxy.

perhaps it had dawned on him that, wanting things at all was bad for him. in the last 10 years, he lived a life of seclusion, wanting very little. but he had still wanted things. there were still things he couldn't let go of that had led him to this state. despite having lived on an identity inspired by a buddhist teaching for 10 years, maybe it was only at this point that he was finally the closest to reaching an understanding of it. (I wish I was knowledgeable enough right now to dive into the possible buddhist reading here but alas. I'll leave it to our resident expert @markiafc)

it doesn't quite matter in the end where he was going after all. what mattered was that he literally went where the water took him and we're not supposed to know where it ends. I'm not seeing this in a bad and pessimistic way though. I think the relief in all this is that he had tried his best to within his abilities. also it's a form of enlightenment in relinquishing a desire, an obsession, a need to take any more action in order to live well. thus his ending felt to me relatively tender, empowering, and kind - albeit bittersweet and heartaching - than other possible kinds of ending, in a story where it was very possible for him to have died under the knives of his opponents or bicha at any moment, outside of his control.

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if you've come so far in this post, congratulations! but also a reveal is that... you're not immune to the dihua propaganda threaded throughout this post. :P

as mentioned, other men like sgd and xzj in lxy's life were incredibly hostile to him. their yang nature overwhelmingly powers his yin. but dfs is different. dfs is the yang counterpart that fits perfectly to his yin.

dfs's yang is one that contains yin, that mirrors lxy's balance of yang in yin. it was suggested in text they are yinyang-coded meant to complement each other, given that whenever wangchuan flower's yin vs yang properties were discussed, the two men were always spoken about in the same breath. more importantly, as with the above few analyses of dfs's words playing a big role in shaping of lxy's choices with multiple meanings - as well as their day-to-day interactions - we can see that they constantly play off each other.

dfs's yang energy has been used to help lxy prolong his life (though not saving him entirely), while lxy has used his yin energy to save dfs and subsequently helped him attain his breakthrough. dfs has also helped lxy in his breakthrough of yin but not in the same way as dfs's cultivation of his combative powers, and rather, it's for lxy an understanding of his own path to take in life - a cultivation of the mind (both times 10 years before and after). given how significant dfs is in the shaping of lxy's realisation of the yin path - alike his shifu has, it's no wonder that they were the only two people lxy had imagined in his last sword dance of a farewell to jianghu.

with each of them coming together to form the perfect yin-yang model, they're a harmony of yin and yang representing the cosmos. what I also love is that they didn't start out as a perfect fit, but only towards the end of the story was the harmonisation completed, which makes sense for two components that are always in a flux influencing each other. the fact that they were number 1 and 2 of wulin, and being the only ones capable of understanding each other in a level nobody else could... it all reinforces the cosmic sense of their relationship. they're the halves to a whole, fitting in a specific way nobody else can.

(I mean. technically this is going into the space of extrapolation based on a tangential interpretation of canon text, so do take it with a pinch of salt. but of course this pinch of salt can do wonders for a shipper's feast... :P and this certainly could have been a meta of its own expanding on dfs's side of the analysis, but this is it for now in this context.)

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to think of it, li xiangyi has actually died more than that one time that turned him into li lianhua. first was a death of him as a nanyin royalty - I resent having to bring up nanyin like it should hold any weight to the narrative as far as I'm concerned, but the point being that he had a completely different (familial-based) life before that still stands. then he had a rebirth as li xiangyi, disciple and swordsman to his shifu and shiniang, and later died again when li xiangyi the sigu sect leader took over. lxy the sigu sect leader died at sea in the battle 10 years ago and came back as li lianhua. (just like nezha, died after battling at east sea and rebirthed from the lotus) li lianhua then dies by the end of the drama.

there can be a myriad of interpretations as to what exactly happened to him, including the possibility that he's still alive. regardless, we can agree that li lianhua as an identity has ran its course, and he had to evolve again. but into what form?

in the line of thought of yin and femininity, and how his transformation has been in an increasing degree of presentation of femininity - even way back when I was watching the show, I had the idea of him living socially as a woman post-li lianhua. I don't know what he would be realistically doing or what could be practical for him in such an identity. but conceptually it was sensible and compelling to me before diving deeper into the details. (I have more elaboration to do on this that I won't be talking about here publicly but it is in the same strain of idea as this other comparative meta I wrote.)

I think the next possible identity lxy can assume - alive in the material realm or not - is one that will be beyond a material being. a nameless entity. once you've gone through the phases of life - from not knowing to knowing, and perfecting knowledge, then to the surpassing of knowledge - you surpass all worldly existence, and become one with the cosmos.

I end this off with an excerpt from Tao Te Ching's Chapter 41 (I'm not pretending to have read the whole book ok but I couldn't resist including this):

明道若昧，进道若退，夷道若纇 [...] 道隐无名 The bright path seems dim; Going forward seems like retreat; The easy way seems hard [...] The Tao is hidden and without name. (x)

the character translated into "easy" is the same 夷 yi of li xiangyi's name. somehow this seems to encapsulate the journey of his life: one that seems blessed and smooth-sailing but ending up to be rocky and turbulent. but at the end of the day, after all that he had been through, he will become hidden and without name.

#莲花楼 #mysterious lotus casebook #lhl #lhlmeta #my posts #a big win for the inaction fandom. lxy would have been patron saint #this inevitably turned into a 'lhl is a taoist and buddhist story if not a very chinese story' meta hbhjbjhbhjjb #the last thing i do before going to sleep is write this meta. the first thing i do after waking up is write this meta. #i feel so insane writing this. it kept growing like a monster. do you think this is a joke it's like my part-time job now #but it's one of the few times in my life i have confidence in my insanity. so. #crazier thing is. this meta is approaching 6k words yet i still think there must be things i haven't covered. #the last section is so nuts idk how i even wrote it guys i think i was possessed #it's also like the most pretentious way to put that he's dead in this world ok hjbjhbhjbhjbjbh #to be clear iirc the drama didn't say LXY'S POWER/ENERGY IS YIN in the same way it literally said dfs's energy is yang #but it's definitely implied by the explanation of the flower's healing properties for both of them. on top of yangzhouman #also fuck. another reason he didn't choose to save himself was so dfs could have the yang flower which he believed was what dfs wanted #thank u frens mark and ana for indulging my brain in the first time i brought the lxy as woman thing up. for it to have come this far #ofc disclaimer is that a lot of this is my own reading. it doesnt have to be agreed by everyone #i would be very happy though if any part of it resonated with anybody #also a good part of the analysis is based on my memory of the show. though i did revisit parts selectively to verify. sooooo. yeah.

[justafriend-ql]

"let's go swimming" - the significance of water imagery in never let me go

when the trailer for never let me go dropped, one of the first things people noticed was the abundance of water imagery in the series. in addition to simply being pretty to look at, all this water serves an important symbolic purpose in the narrative: it is a "separate world" in which the rules of regular society do not apply, allowing for palm and nueng to transcend the status difference that usually separates them. water is often similarly used in queer stories as a liminal space where the rules of heteronormative society can be transgressed (e.g., the underwater kiss trope). in this post, i'll trace how water acts as a liminal space where palm and nueng can negotiate and ultimately overcome their status difference.

the pool

the first significant "body of water" to make an appearance in the series is the pool - one at nueng's house and one at the school. palm, who is accustomed to swimming in the sea, finds refuge swimming in these pools, which offer him some freedom and fluidity in his otherwise highly restrictive new environment. even so, a pool is a man-made and tightly boxed in body of water, and as such, the status negotiations that occur at the poolside serve to reify the status distinction between palm and nueng rather than break it down.

it's not surprising that palm and nueng's first meaningful interaction takes place in the pool. nueng, believing palm to be an intruder in the middle of the night, aims a gun at him before palm knocks it (and them) into the pool. this moment is important, because it forces them both into the water - palm's world. when they emerge from underwater, they stare at each other, a subconscious connection sparking between them (remember, they're soulmates!). this is the first of nueng's "rebirths" in the water, which are like a baptism of sorts and serve to strip him of his status so he may enter palm's world on equal footing. for a moment, their statuses don't matter; they're just two boys recognizing something strangely familiar in each other.

the moment is soon broken, however, by nueng scolding palm for secretly using the pool and demanding that palm do something for him in exchange for not telling his father about his nighttime excursion. this interaction reinforces nueng's power over palm, who subsequently affirms their status difference by calling nueng "young master."

the second interaction at the pool that reinforces palm and nueng's status difference occurs when nueng comes to watch palm swim at night. their body positions (nueng standing at the edge of the pool looking down at palm) and nueng's rejection of palm's invitation to join him in the pool (which would be representative of him lowering himself to palm's level) but rather watch him from above reinforce their respective dominant and subordinate positions.

the third poolside interaction that reinforces palm and nueng's status difference takes place at school, when palm confronts nueng about telling ben he is nueng's servant. as always when they're by the water, there's potential for status negotiation - nueng maintains that he's never called palm his servant (nor wants him to be), an attempt to equalize their status. but in the world of mansion and school pools, the proscriptions against their relationship are still too salient. palm rejects nueng's attempt and reinforces their status difference by saying he isn't mad and that nueng has the right to "call him whatever he wants." just as before, their body positions (nueng sitting on the edge of the pool looking down at palm) underscore their status difference.

2. the pond

palm and nueng's conversations by the pond in nueng's yard allow for a little more re-nogatiation of their status difference. this makes sense: a pond is a natural body of water and has less rigid boundaries than a pool. thus, the location signals to viewers that fluctuations in their status difference will be introduced during their interactions there. nonetheless, it is still bounded and tied to nueng's property, and thus won't allow them to fully disregard their status difference.

their first interaction by the pond happens when nueng gives palm an impromptu mandarin lesson, after which he asks (then, ironically, orders) palm to stop calling him "young master" and to act like his friend, not his servant. palm, still wary of his father's disapproval, meets nueng halfway, offering to call him "khun nueng" instead. this is a step forward in equalizing their status, but the linguistic formalities between them remain.

their second interaction by the pond takes place when nueng helps tend to palm's bruises after his fight with phum. the barriers between them continue to come down as nueng encourages palm to think of his own safety first and asks palm to stay by the water with him instead of returning to his room (palm's go-to excuse whenever he feels he needs to reinforce the distance between them). palm agrees, and they engage in friendly idle chatter for probably the first time since they've met (lol).

their third interaction by the pond occurs in episode 4, when palm reveals that he saw ben and nueng kiss at school. this is a tense conversation in which nueng attempts to define their relationship as that of friends ("aren't we friends? if we are friends, we should be able to talk to each other about everything") but palm, hurt and defensive, puts distance between them by reasoning that he doesn't "have a right to be mad" at nueng and asking if he can be excused to help aunt nid in the kitchen. notice that palm is standing above nueng (he has the upperhand in the conversation) but nueng pulls him back when he tries to leave (nueng is still dominant overall). like all their conversations by the pond, their relationship is left ambiguous, with some fluctuation in their statuses but no real breakthrough.

3. the sea

finally, the beloved beach episodes. many bls in recent years dedicate an episode or two to the boys heading to the beach to escape their problems and fall in love while they're safe from whatever conflict they'll ultimately return to in the final act of the series. this is the case in never let me go as well, but the sea has a heightened significance given how water relates to fluidity of status in this narrative. the sea, where the water is boundless and the waves continuously re-shape the land, is the place where palm and nueng have the freedom to truly transcend their status difference.

we begin the process in episode 6 with nueng's second "rebirth" in the water. palm invites him to swim with him and, after some hesitation, nueng agrees. by diving into the water with palm, nueng is entering into palm's world, a risk he wasn't willing/able to take in episode 2 when nueng merely watched palm swim from above. there's an interesting shot of nueng sitting among the waves, looking pensive, before his conversation with palm on the beach. after this moment of stillness, there's a shift in nueng. he becomes less spoiled and pretentious, more open to new experiences and getting his hands dirty. as nueng says in episode 7, upon coming to the island, he has "become a new person" - in his words, "an ordinary guy" rather than a "young master." reborn in the water, he's now stripped of his titles, opening up the possibility of having a romantic relationship with palm.

a second important scene in the breakdown of their status difference is palm and nueng's argument on the rocks following mam's death. guilty and fearful that palm will be the next to die, nueng tries to re-establish the distance between them ("don't you see it's impossible between us? ... we are from different classes, different worlds ... a guy like you will never make me happy"). in episode 4 and 5, this kind of language led palm to retreat. but now, palm rejects nueng's harsh words, recognizing that he is lying and refusing to reinforce their status difference again. even though nueng ultimately leaves, ordering palm to stay behind, what's key is that palm no longer believes in their status difference. nueng's attempts to push him away are thus no longer effective.

the third scene by the sea, and the last scene i want to highlight, is the concluding moments on the beach after palm and nueng are reunited. finally, nueng convinces palm to drop the honorifics and speak to him using informal pronouns. finally, palm explicitly rejects his status as nueng's servant. again, it's fitting that this transcendence of status barriers takes place at the beach, where palm is at home and the strict rules of nueng's world do not have as strong a hold.

and to round things out, we end with a third and final "rebirth" in the water as palm and nueng walk into the sea together, hand in hand. palm says, "let's go swimming," an invitation back into his world after their long separation. as they walk into the water together, they are reborn as true equals, marking a a new beginning for them as a couple.

so, we have a story of status difference that takes place across 3 major moments at 3 bodies of water: 3 at the pool (reinforcement of status difference), 3 at the pond (negotiation of status difference), and 3 at the sea (transcendence of status difference). interwoven into this progression are 3 rebirths: the first time nueng falls into palm's world, the first time he enters willingly, and the first time palm and him are made equals. the water imagery isn't totally necessary, but it aligns with and subtly supports these thematic stages in a poetic way. to put it dramatically: palm is the water that nueng is reborn in, and with that rebirth comes a rejection of status in favor of love.

#am i crazy tell me if i'm crazy #never let me go #never let me go meta #nlmg #palmnueng #nuengpalm #mel's meta

[artbyblastweave]

Just watched Free Guy. As is the case with all Ryan Reynolds vehicles, I thought it was reasonably good. Corny at points. But one thing I found genuinely charming was the level of verisimilitude baked into the plot and premise; the writing and art people were both clearly familiar with both the mechanics of MMOS like Free City and the game industry more broadly. 

Taika Waititi’s character- a craven “whiz kid” who uses his power over his subordinates to make an ass of himself playing at being hip, is a Kind Of Guy. The Joe Keery vessel and Millie- Bright Young Developers Eaten By The Machine- are kinds of guys, in Game-Dev. (Hi, ZA/UM!) The kind of off-the-beaten-path player that Guy becomes- and the stark light it throws the actual intended gameplay loop into- is a thing you see constantly in big MMOs where players try to see what the actual affordances of the framework are.  (You saw this a lot with Fallout 76, and the sinking playerbase discovery that it was all violence all the way down.)

The plot point that the stolen content was inadequately dummied out and just left out of bounds for the heroes to discover is something that would look like shitty, overly convenient writing until you remember the ubiquity of lazy dummy-outs and weird legacy code in real life game-dev (and how pointedly lazy the villain who did it was established to be.) The early plot point about the developers going in with cheat-mode enabled to try and root Guy out manually feels like a “NCIS hacking” moment until you remember those old-school MMO stories about developers having to try and go in and manually kill hackers because the only other way to get rid of them would be to scrub the server. EVE online and World Of Warcraft are a mill for stories about emergent systems and dynamics that spiral out of player and developer control. Guy is able to win the end-game fight against Dude because despite being massively overpowered Dude was thrown together in Crunch Time and Guy had years to emerge organically in conversation with the rest of his system.

And-this is crucial- this is the first “video game movie” to successfully bridge what I think of as the “granularity gap” in fictional depictions of video games. The granularity gap is when the in-game worlds are shown with an absurd level of fidelity- avatars having the ability to interact with the environment with the same fluidity and articulation as a human in real life, et al et al. This is done either for the gag (see that one episode of Community Where Abed turns a retro RPG into a factory sim as a bit) or because the writers genuinely don’t have the frame of reference for the limitations on how in-depth a game would be. Either way I’ve watched a bunch of “stuck in a game world” shows where my first reaction is always, “yeah, there’s very little chance a consumer game would have that level of brick-by-brick simulation.” 

In Free Guy, this disconnect is elevated to the status of plot point; the universe of the game was mechanistically engineered with Dwarf-fortress levels of commitment to reproducing reality by a pair of neurotic auteurs doing it for the art. The mass-market, run-and-gun cash-grab GTA clone has such unrealistically complicated under-the-hood modelling because a craven goon butchered a system meant for more interesting emergent behaviors in order to make a marketable shooter that doesn’t use even a sliver of what the engine was coded to allow. If you assume a Black-Mirror-style near-future, this falls back within my suspension of disbelief; even if not, it’s thematically within my suspension of disbelief that a “kiss” functionality exists within NPCS but got dummied out on the player-end because it would detract from over-the-top clownshow streamer-bait violence.

#thoughts #meta #free guy #ryan reynolds #also I really liked the bit in the end where he realizes that his feelings for Millie are reflective of the predelictions of his coder #and they amicably break things off because it would be weird to date your god/ to spend all your time dating a love letter #and the only way for Guy to truly be free is to stop living as a go-between #between his creators #media analysis

[roydeezed]

One Piece-Chapter Round-Up(Chapter 1082)

Haven’t written anything in a while on here manga-wise but there’s no way I miss talking about such a banger One Piece chapter. To start off with we get an adorable cover of Chopper mistaking Zeus for cotton candy. It’s good to know our collective son is being fed. It takes a fandom to raise a human animal hybrid after all. Jokes aside, I’m going to be diving into spoilers for this chapter below the “Keep reading” so check it out if you’re curious. Also, ya’ll should probably hold onto your butts cause this one’s gonna go a lot of places.

R.I.P T-Bone. As a lover of weird and offbeat characters in One Piece, I am genuinely crushed by T-Bone’s death. If you don’t remember, as he was mainly a minor antagonist in Water Seven, here are some reminders. 

He is one of the most lionhearted and kind character’s of One Piece, looking after both his subordinates and innocents. To me, the most logical way for T-Bone to have been killed is to have seen the citizens' plight and laid down on his sword so that he could get the reward money for his family. That’s the kind of man T-Bone was. He transcended the Marines as an institution and stood up to the strawhats as he believed them to be villains on the way to enact evil. After having his car disconnected and facing Rocketman bearing down on him, he faced Zoro in a one move duel, losing but having Zoro acknowledge him in the process. In a certain way he was also used to foreshadow Ryuma in Thriller Bark as he was skeletal looking and a swordsman. But most of all, he was an unquestionably good person in a world where muddled alliances and the forces of the world can waylay and mislead someone from their dreams and ideals. In my heart you will be missed T-Bone.

Moving on, with a heavy heart, I do want to take a second to talk about old One Piece, specifically Water Seven. As I went back to get screenshots I couldn’t help but marvel at the art of Water Seven. While Oda’s art has probably gotten better, his paneling in those days was in my opinion, at the height of Shounen paneling, matching up with the original Dragon Ball in terms of fluidity of action but bringing such a heavy emotional weight to the characters and line work that it really felt like the peak of his art style. His art has gotten a lot more refined but I really missed the adventurous romantic feel of his pre-timeskip art. As a whole, as things get more dense and locked in, the lack of romanticism and sense of adventure is really felt at times. Despite that, it has been replaced, for the most part, with other equally amazing things. Though I can’t help but miss it at times. 

Talking about the actual chapter again, I’ve looked favourably on the Marines in the past, like Garp and Koby, but if I spend an extended period of time thinking about them, that pleasant taste turns to ash in my mouth. Because the Marines as an institution, are broken and corrupt, more intent on perpetuating themselves than they are with forward momentum and progress. As is the territory with institutions. It’s a portion of why policing doesn’t work in real life. Living in Japan, with their harsh views on crime, Oda would know better than most. Despite what this chapter seems to be about, this chapter is actually exploring what I believe to be one of the main themes of One Piece, the inevitability of institutions. There are probably punchier and more accurate ways of conveying this theme, such as systemic oppression and such, but this really resonates and covers the full gamut of ideas that I believe Oda covers. I will expand on this as we move along but I wanted to put it out there so it would be on the back of yalls mind.

I absolutely despise Sengoku. Like as a person. As characters I don’t think there’s any that I actively dislike because the way Oda characterizes just works on me. I need to make that distinction because I think my dislike for Sengoku is something Oda has purposefully generated within me and others. Talking earlier about Koby and Garp and Hibari and T-Bone and other marines, there is a very important distinction to be drawn in that regard as well. And some very important points to be made. Marines that are on the younger side, like Koby and Hibari and Tashigi, are people that have joined the Marines to do good without having yet become fully complicit in its evils. But they have done so because it is, despite its flaws, the best way they can make a difference and not be stopped. It’s the inevitability of the institution, where despite it’s evils it must provide some sort of benefit, and where those with dreams must filter through it and make it greater just to have a shot at their dreams. People like T-Bone and Smoker are clearly different from similarly old people like Garp and Sengoku and Aokiji in that while the former may be in the Marines, they do their best outside of its systems, being forces of good in spite of their association. The latter on the other hand, as a result of their complicity, whether or not they have good hearts, have become tools of the Marines oppression. Garp’s name is repeatedly used to strike fear into the hearts of pirates and as a symbol for common people to look up to, despite his best attempts at changing them from the inside. And the argument for changing the Marines from the inside itself is such a flawed argument as can be seen with Garp himself. Trying his whole life to change things ended up with him being ground into the dirt while watching his grandson be murdered by a coworker. Dragon must have realized this as well and so created an organization to oppose it. The revolutionary army are an institution itself but one built on the premise of opposition rather than self perpetuation. They are meant to end when the World Government and Marines do. Though I do believe Oda also doesn’t think that to be the answer as our hero is a Pirate. Arriving at the end of this paragraph I just realized I didn’t address the moment that made me go on this tangent. As pictured above, Sengoku hears of T-Bone’s death and rather than mourn the man who many looked up to, he worries what it will do to morale. He wonders how the institution of the Marine’s will keep going. If he was ever a good man, the ways of the marines have corrupted him to think this way. In a way Cross Guild, another institution, also occupies a similar area as the Revolutionary Army, but Oda makes it even clearer that it’s not the way as our first big introduction to it is through the death of such a great character. 

Now let’s move on to the meat of this chapter. Buggy and Cross Guild. As we see above, this really down on his luck man was the one who killed T-Bone. Though knowing how strong T-Bone was, being called the ship slasher and being acknowledged by Zoro, as well as how kind he was, it’s easy to believe he let himself be killed to save this man's family. But it’s also through this interaction that we get a repeat of the theme that I mentioned earlier, The Inevitability of Institutions, as well as a great bonus where we see the inherent romanticism of Buggy. Buggy and his lackeys, Mihawk and Crocodile, have propped up Cross Guild to be an institution for Pirates, a much more successful version and iteration of both the Utopia Crocodile wanted and the Pirate Kingdom Blackbeard wants. They have made themselves the doors one must walk through. But this need also sets up the way that Buggy will later reject this monolithic thinking. 

As we see here, these institutions make it so that now, even to live, you must subscribe to one of them. As much as Cross Guild claims to be pirates, they are an entity in and of themselves. Because the whole dream of piracy is the freedom of not having to cater to anyone else's whims or conform. Cross Guild aren’t pirates, they’re Cross Guild. Another thing I want to comment on is the In the Flesh chants. Obviously the dramatic irony makes it funny since most of it is just cloth, but it’s also such a great representation of the makeup of Cross Guild itself. By propping up Buggy as the leader of Cross Guild, he comes to represent something that is mostly not him, just like how his giant persona isn’t him. 

In the panel above incorporates One Piece’s trademark humour, and later levies it into an emotionally resonant and stirring declaration. I know most people are freaking out about Sabo returning but I can’t get over how much I love Buggy. And his crew pulling a similar stunt to Barto Club, and having him be the figurehead of the ship actually also highlights how close Buggy is to Luffy as well. Also I love Buggy’s crying face, it’s so pathetic. 

I know this panel is mainly played for laughs but I can’t help but feel sorry for Buggy. He really hasn’t done that much wrong to deserve this. And seeing the meeting room, it seems Mihawk, the edgelord that he is, really enjoys his torture. Remember, Mihawk’s full name is Dracule Mihawk, the first part being based on the famous Vampire who’s namesake in turn was known to impale and torture people. It’s really interesting how, other than the mentor and goth side of Mihawk, we also get to see his sadistic side here. But Buggy’s declaration that his life wasn’t supposed to be like this really calls my attention. While Mihawk and Crocodile argue about how to make sure Cross Guild and Crocodile’s Utopia can stay afloat and perpetuate its own system, Buggy dreams. 

Buggy is one of Luffy’s best foils in the story, their interactions being so explosive that they can’t help but reveal things about each other. Luffy has a lot of parallels in the story from Blackbeard being a cowardly mirror to him to Koby being a weaker version whose cowardice was driven by his lack of strength. Buggy doesn’t have courage or strength and his circumstances had forced him down quite a dark path by the time the two crossed paths. Buggy was someone, who, seeing the potential of his peers, was forced to give up on his dreams and take the route that life gave him. As he stated, he never wanted to be what he became, he genuinely believed in Shanks and probably would have followed him had he set out for the One Piece as Shanks was the reason he gave up on the dream in the first place. Buggy, in an elevated sense, also represents those swayed by the circumstances of their life into having their path chosen for them and filtering into an institution, this time in the form of Cross Guild but earlier in the form of Impel Down. Buggy is someone who was forced to give up on his dreams and Oda shows what dark paths that can lead to but he also loves Buggy a lot because he doesn’t let Buggy fully give up on his dreams. 

And there it is. With just those words, driven purely by dreams, Buggy injects such a heart-stirring sense of romanticism back into the series. Because here's the thing. We already know Luffy’s unwavering goal has been the One Piece. And he is the most romantic character in the series in terms of love for adventure and exploration. But it’s been a constant and now he has the strength and clout to do all of it without barriers. Buggy is chasing that dream while impeded by some of the strongest people in the verse. In the face of such strong adversaries, Buggy dares to blindly dream and it reminds me so much of Luffy at the beginning of the series, looking down a Sea King as it stood in his path. Crocodile and Mihawk are monstrous but Buggy actively defies them. I love One Piece ya’ll.

So is Buggy a bad guy? Or just a fool who couldn’t hold onto his dreams as the waves of reality slammed into him? Here, he rekindles those dreams by verbalizing the feelings that drove him and every other pirate out to sea. A dream of freedom and treasure. The dream that you could aim for something other than what life had laid out for you. 

This is by far, one of my favourite speeches in One Piece. It reminds me of Rogers speech and delivered by such a pathetic character, hits so much harder. By doing this, Buggy defies Crocodile and Mihawks desires for a self perpetuating kingdom as there is now an end goal and really stands for the ideals of the series itself, a blind dreaming hope, the desire to chase after impossible dreams, and the love of the journey itself. What matters to these people isn’t that they’ll get to the treasure, it’s that they tried to. And were free while doing so. 

Not me crying at Buggy D Clown. One Piece gets me so emotional sometimes. It’s so beautiful. But asides aside, let’s wrap up some other thoughts in this final Buggy panel before getting to Sabo and the Revos (good name for a band?). First of all before we get to what this symbolizes for the series itself, I want to say a few more things about Buggy. His situation of failing upwards has always been shown in a comedic light but I believe it shows the insidiousness of the world. Because while the lower rank people, like the man who killed T-Bone, have to get filtered through these organizations to live, so does someone like Buggy, who doesn’t have the strength to resist such a fate. If you don’t have the strength to resist these institutions, they will use you as tinder, as fuel. Luffy isn’t in an institution because he’s strong. Almost every other character in the series doesn’t have a choice against it. Wheen you think about it, Buggy’s story really is a tragedy. Somewhere along the way, through necessity of survival his values got twisted. He’s always been a dreamer through and through so I think that’s why it’s sent him on an upward trajectory. But it all began with Luffy, who not only set him on the right path, but also gave him hope when he broke him out of Impel Down. 

And now the other purpose of this panel. With Buggy declaring his hunt for the One Piece, all 4 Yonkous are now on the hunt. Do ya’ll realize what this means? What the structure of the next arc is going to be? So this part is going to be mixed with some speculation and some evidence, but I strongly believe the next arc is going to be a showdown at Elbaf for the last poneglyph with every major Yonkou involved, with the final arc possibly after getting the One Piece or at the location itself being a showdown between Luffy, the Revos and the Marines. Or it very well could be a final showdown with all the involved parties at Elbaf. That all depends on how fast Oda wants to end things. I believe one of two people could be the man with the burn scars. The obvious choice is Jaguar D Saul. And that would be the way to go if Oda wanted to end the series faster, as him having the writings of Ohara as well as the last poneglyph would also set the Revos and the Marines scrambling after him. The other could be Scopper Gaban, the third prominent crew member of the Roger Pirates. That would be the final Roger Pirate marking Luffy’s journey and a great source of info. The last possible bead we had on him, if it wasn’t Shiki the lion, was him drinking with Crocus. But effectively, having one person hold the last key to the One Piece makes it so that the four Yonkou’s are on a collision course with them. I would love to see a Mad Max style race where the Yonkou’s are forced to clash purely for the love of adventure and their dreams, instead of ideological differences setting them against each other. It would be a really romantic and fun way to cap off some character’s journey’s. 

Moving on once again, we see some new Revo’s and I particularly love Ushiano and Ahiru. While the other two are also very cool, I love Ushiano’s way of speaking and his character design, he reminds of Barney but if he was soft and lovable. And Ahiru’s character design is just so great. I don’t know if anyone remembers Nami’s early character sketches but she was supposed to have a bionic arm so I’m really glad to see that return in another character. 

And here we get to see them interact with Sabo and find out that Ahiru was going to blast him. Ugh, Oda’s just so great with characterization! In about three panels we find out that she has a stoic demeanor, is a shoot first type of character, and worries about and misses Sabo, letting her guard down and being quite cheery around people she just met. And Ushiano is just adorable. I want to hug him. 

Oh yeah, Sabo’s back by the way. So it appears that Sabo did indeed survive the bombing of Lulusia and he’s seen something. His interaction with Koala is adorable and mirrors Koby and Hobari to a tee. 

And here we get the theme of this chapter rearing it’s head back one last time. Another set of down on their luck, weak citizens forced to filter through an Institution. This time the Lulusians through the Revolutionary Army. Oda has, in every instance possible in this chapter, where we look out into the world, highlighted the absolute despair involved in the inevitability of institutions and the forced choices that come with such a world. And is it a coincidence that this only happened when we took a look out into the world, away from our beloved strawhats? No, as we saw even earlier, through Aokiji being forced into the Blackbeard Pirates and the 100 damned souls onto beehive, in a world of inevitable institutions and forced choices, such decisions are forced on the weak. It’s why our protagonist is Luffy, and why he desires freedom. It’s exactly what he fights against, and it’s reflected in his crew as well as he took them away from the lives they thought they would be forced to lead. 

And finally we arrive at the final panel of this chapter. The truth about Mary Geoise. And a promise of a reveal. Oda usually likes to cut away at moments like this to maintain the breakneck pace of weekly releases but I really hope we get to learn what happened. Because it could very well contextualize for us what the next part will look like and whether or not the final confrontation will include everyone. It’s also very sweet that Sabo thinks about now involving his subordinates as it might get them killed. This information could also line up with the potential release of information that could happen from Egghead coming up so it could be saved for that. I’m really excited to see what it brings. Another thing that this chapter, being so good, makes me think about is how I’ll feel about it later when I binge the series. Because it’s always a balancing act between week to week storytelling and making an engaging continuous story. Back in Dressrosa, the week to week was a bit of a slog but on a reread and binge it was frankly amazing. I wonder if the breakneck speed and absolute amazing experience week to week right now will affect it negatively as a whole later on. Well, the only thing we can do right now is wonder and wait for next week.

If ya'll got this far, thanks for reading. I'm super late on this one but I'm glad I took my time because I could let my thoughts develop. And once again, if anyone wants to talk One Piece or any other manga with me in-depth, don't be afraid to hop into my dm's. See ya'll next time.

#op 1082 #one piece chapter 1082 #one piece 1082 #one piece #one piece spoilers #buggy #one piece buggy #buggy the clown #manga recap

[star-wars-writing]

Galactic Tides of Fortune

A/N: Embark on an adventure through the stars with two of the most iconic characters from the Star Wars universe, reimagined as daring space pirates. This story blends action, intrigue, and unexpected alliances, set against the backdrop of a galaxy far, far away. Please note that while this is a work of fanfiction, all original characters and settings belong to the Star Wars franchise. I hope you enjoy this interstellar journey for @codywanbingo. I combined the prompts: Date night and double date, since it's a lot similar I suppose.

In the uncharted expanse of space, where stars whispered secrets across light-years and black holes hummed with the symphony of the cosmos, lawlessness reigned supreme. Here, in this interstellar wilderness, the rules of civilized worlds bent and broke under the weight of freedom and anarchy.

The galaxy, a canvas of endless night punctuated by the diamond-like sparkle of distant suns, stretched infinitely in every direction. Nebulae swirled in vibrant hues, painting the void with strokes of cosmic artistry. Asteroids drifted lazily, their jagged surfaces telling tales of ancient collisions. Comets streaked past, their icy tails shimmering like celestial veils.

In this boundless arena, space pirates roamed like phantoms. Their ships, cobbled together from scavenged parts and stolen technology, were as diverse as the crews they housed. Some were sleek, predatory vessels that sliced through the darkness; others were hulking behemoths, patchworked with armor and bristling with illegal weaponry. They slipped through asteroid fields and lurked near unstable wormholes, waiting to pounce on unwary travelers or intercept precious cargo.

The void was alive with the silent echoes of their conquests – the crackle of blaster fire, the roar of engines in hot pursuit, the final sigh of a ship succumbing to the vacuum. These pirates were the ghosts of space, elusive and feared, bound by no law but their own.

On distant planets and remote space stations, tales of their exploits were traded like currency. In shadowy taverns and bustling marketplaces, people spoke in hushed tones about the latest daring heist or the most wanted outlaw. There was an air of grudging respect, a recognition of the harsh freedom these space-faring renegades represented.

Yet, amidst the anarchy, there was a code – unspoken, yet understood by all who navigated this starlit underworld. It was a code of survival, of honor among thieves, and the unyielding pursuit of fortune. In the vastness of space, where empires rose and fell like the tides of the oceans on distant, forgotten worlds, these pirates were the only constant, their stories woven into the fabric of the galaxy itself.

As distant suns set on alien horizons and the cold embrace of space wrapped around the countless worlds, the pirates continued their endless dance. It was a dance of shadows and light, of danger and desire, played out against the backdrop of a universe both beautiful and unforgiving.

*** 

In the depths of the cosmos, aboard the Midnight Mirage, a vessel as enigmatic as its captain, Obi-Wan Kenobi stood with an air of composed anticipation. The ship, a sleek phantom against the star-speckled blackness, hummed quietly, as if resonating with the heartbeat of the universe itself. Obi-Wan, a figure both revered and feared in the pirate underworld, carried a reputation that seemed to stretch as far and wide as the galaxy itself. He was known not just for his strategic brilliance but also for his unyielding honor – a rarity in the lawless reaches of space.

Around him, his crew – Plo, Quinlan, Mace, and Tholme – moved with a fluidity that spoke of countless hours spent under his command. They were more than just subordinates; they were disciples of his unique brand of leadership, each reflecting a facet of his complex persona.

Plo, at navigation, was the calm to Obi-Wan's storm. His steady hands guided the Midnight Mirage through asteroid fields and nebulae with an ease that belied the dangers of such maneuvers. "Captain, we're nearing the Dalmar Sector. Sensors are picking up faint, anomalous signals," he reported, his voice a steady thrum in the quiet of the bridge.

Quinlan, manning communications, had a spark in his eyes that mirrored the stars outside. His wit was as quick as his skills, a balance of levity and expertise. "Could be our prize, or could be trouble. With our luck, probably a bit of both," he quipped, casting a sidelong glance at Obi-Wan, whose response was a slight, knowing smile.

Mace, overseeing the ship's defenses, exuded a quiet strength. Her vigilance was a silent promise of protection, a shield against the unpredictability of space. "Defenses are primed. Whatever's out there, we're ready for it," she assured, her voice carrying the unspoken bond of trust that she shared with her captain and crewmates.

Tholme, the quiet observer, monitored the ship's vital systems. His hands moved with a precision that spoke of deep familiarity with the Midnight Mirage's heart and soul. His role was less conspicuous but no less crucial, ensuring their survival in the unforgiving vacuum of space.

Together, they were a microcosm of the galaxy's diversity – different worlds, different stories, all converging under the banner of the Midnight Mirage. The crew's synergy was a testament to Obi-Wan's leadership, his ability to unify disparate elements into a cohesive, formidable force.

Obi-Wan's gaze lingered on the star map, his mind weaving through strategies and possibilities. His crew watched him, their expressions a mix of respect and anticipation. In him, they saw not just a captain, but a mentor, a guardian, a beacon in the vastness of space. His decisions were not just commands; they were lessons in survival, in resilience, in the art of navigating the treacherous tides of the galaxy.

As the Midnight Mirage glided closer to the source of the signals, the tension on the bridge was palpable, yet there was an underlying current of excitement. They were on the brink of something monumental, a discovery that could redefine their place in the cosmos. And at the helm stood Obi-Wan Kenobi, the pirate, the strategist, the legend, guiding them into the unknown with the unwavering certainty of a star guiding ships through the night.

**** 

Meanwhile, in another quadrant of the same star-strewn expanse, the Crimson Corsair, a ship as formidable and audacious as its captain, sliced through space. Commander Cody, at the helm, was a figure of commanding presence, his gaze fixed on the sea of stars before him. His reputation was the stuff of legend in the pirate circles – a master tactician, known for his daring raids and unshakable resolve. He was a captain who navigated the chaotic waves of space with the precision of a seasoned seafarer.

Cody's crew — Rex, Wolffe, Ponds, Fives, and Echo — operated with a well-oiled efficiency that spoke of their deep respect and unwavering loyalty to their captain. They were not just a crew; they were a band of brothers, each battle-hardened and fiercely dedicated.

Rex, the first mate, approached Cody with a datapad in hand. "We're closing in on the Dalmar Sector, Captain. The readings are consistent with the intel we received," he reported, his tone firm yet laced with an undercurrent of excitement.

Cody's eyes, sharp as a hawk's, scanned the data. His mind, a strategic map, plotted their course with meticulous care. "Prepare for a stealth approach. If our information is correct, we're not the only ones after this prize," he said, his voice carrying the gravel of experience.

Wolffe, handling the ship's armaments, nodded in acknowledgment. "Weapons are at the ready, Captain. We'll give them a run for their money if it comes to it," he declared, his hand instinctively resting on the console.

Ponds, the navigator, adjusted their trajectory, his movements precise and deliberate. "Stealth mode engaged. We'll be a ghost in the stars," he affirmed, a slight smirk playing on his lips.

Fives and Echo, stationed at communications and engineering respectively, shared a glance. There was an unspoken bond between them, a shared history that had seen them through the darkest of times. "All systems are optimal. We're ready for whatever this sector has in store for us," Echo stated, his voice a steady beacon amidst the anticipation that filled the air.

The Crimson Corsair moved silently, a shadow against the cosmic canvas. Cody's crew watched him, their gazes reflecting a mix of admiration and readiness. In him, they saw not just a leader but a symbol of their own resilience, a reminder of the paths they had traversed and the battles they had won.

As they neared their destination, Cody's thoughts were a whirlwind of strategies and contingencies. He knew the risks, the perils that lurked in the uncharted territories of space. Yet, there was a thrill in the challenge, a fire that burned in the heart of every space pirate – the relentless pursuit of fortune, of glory, of the unattainable.

Rex studied his captain, seeing the gears turning in his mind. He knew that beneath Cody's stoic exterior was a maelstrom of determination and cunning. "We're with you, Captain. Through every star and storm," he said, his voice a testament to the unbreakable bond they shared.

The Crimson Corsair continued its silent voyage, a spectral vessel on a collision course with destiny. At its helm stood Commander Cody, the pirate, the visionary, the indomitable spirit, leading his crew into the heart of the unknown, where the secrets of the Dalmar Sector awaited, shrouded in the mystery of the cosmos.

*** 

As the *Midnight Mirage* glided through the void, an air of expectancy permeated its confines. Obi-Wan Kenobi, his eyes reflecting the distant galaxies, received the transmission that set their new course. The message, encrypted and subtle, spoke of an artifact of immense power and value, hidden within the Dalmar Sector.

Plo, upon hearing the news, couldn't mask the flicker of excitement in his eyes. "This could be the breakthrough we've been searching for," he said, his voice a mix of hope and caution.

Obi-Wan, ever the contemplative leader, pondered the implications. "Yes, but such power will attract others. We must be prepared for that inevitability." His words carried the weight of experience, a reminder of the countless dangers they had faced in their quest for such relics.

Quinlan grinned, the thrill of the chase evident in his demeanor. "A little competition never hurt, eh, Captain?" he quipped, though his eyes betrayed the understanding of the risks involved.

Mace nodded, her thoughts aligned with her captain's strategic mindset. "It's not just the artifact. It's who we might encounter trying to claim it. We need to stay sharp," she cautioned, her hand instinctively resting on her blaster.

Tholme, the quiet one, adjusted the ship's energy output, ensuring they were battle-ready. "All systems optimal. We'll give them a run for their credits," he stated, his tone steady and reassuring.

**** 

Meanwhile, aboard the *Crimson Corsair*, the atmosphere was equally charged. Cody received the same news, the details of the artifact igniting a fire in his eyes. "This is it. The prize we've been waiting for," he announced, his voice resonant with determination.

Rex stepped forward, his loyalty to Cody as unshakeable as the stars themselves. "We'll need a solid plan. There's no telling what we're up against," he said, his strategic mind already mapping out potential scenarios.

Wolffe, ever the pragmatist, checked their arsenal. "We're ready for a fight if it comes to that. But let's hope stealth can get us there first," he suggested, his gaze fixed on the weapons panel.

Ponds, navigating the ship through the stars, added, "We have the element of surprise on our side. Let's use it to our advantage."

Fives and Echo exchanged looks, their shared history having taught them the value of being prepared for any eventuality. "We'll keep the ship running smoothly. You focus on getting us in and out with that artifact," Echo said, his voice reflecting the depth of trust and camaraderie that defined Cody's crew.

As both the *Midnight Mirage* and the *Crimson Corsair* made their way towards the Dalmar Sector, a sense of destiny hung in the air. Obi-Wan and Cody, though unaware of each other's involvement, were bound by a common goal – a prize of untold power that beckoned them deeper into the cosmos. Their crews, a testament to their leadership and vision, stood ready, each member playing a crucial role in the unfolding drama of space piracy, where risk and reward danced a perilous waltz among the stars.

*** 

As the Midnight Mirage and the Crimson Corsair independently navigated the star-studded labyrinth of the Dalmar Sector, a new piece of intelligence emerged, setting the stage for an unprecedented alliance. A lavish gala, hosted by a notorious crime lord known for his eccentricities and love for extravagant gatherings, was to be the hiding place of the coveted artifact. The only way to gain entry was through an invitation, and the most unobtrusive method was a double date.

Aboard the Midnight Mirage, the revelation caused a stir among the crew. Obi-Wan, his forehead creased in thought, weighed the options. "A gala... it's risky, but it may be our best chance," he mused aloud, his voice calm yet underscored with a trace of unease.

Plo, perceptive as always, noted the hesitation in his captain's voice. "It's not our usual approach, but we've handled worse. We just need the right... partners," he suggested, trying to gauge Obi-Wan's reaction.

Quinlan, leaning against the console, chuckled. "Never thought I'd see the day where we'd crash a party for a job. This'll be interesting," he said, his usual humor masking the underlying tension of the situation.

Mace, ever the realist, added, "We need to be careful. This crime lord isn't known for his hospitality. And who knows who else will be there."

Tholme nodded in agreement, his eyes scanning the room. "We'll need a solid exit strategy. Things could get complicated quickly."

Simultaneously, aboard the Crimson Corsair, Cody and his crew were deliberating the same situation. Cody stood with his arms crossed, his gaze distant as he processed the information. "A gala... it's unconventional, but it could work. We'll need to blend in seamlessly," he stated, his tone revealing a hint of reluctance.

Rex stepped forward, his strategic mind already at work. "We can pull it off, Captain. It's all about appearances. We just need the right cover," he said, his confidence unwavering.

Wolffe, ever cautious, interjected, "We should keep our guard up. This crime lord plays for keeps, and there's no telling who else might be after the artifact."

Ponds nodded, his hand subconsciously adjusting his blaster. "We'll need to watch each other's backs. More than usual."

Fives and Echo exchanged a knowing look, their thoughts in sync. "Let's make sure the Corsair is ready for a quick getaway. We don't want to overstay our welcome," Echo commented, a hint of dry humor in his voice.

As fate would have it, both crews, under the leadership of Obi-Wan and Cody, arrived at the same conclusion. A collaboration, though grudging, was necessary. The idea of working with another notorious pirate crew was fraught with tension and distrust, but the prize was too great to ignore.

The decision to collaborate was communicated through encrypted channels, each captain expressing their terms and conditions. There was a mutual understanding, an unspoken acknowledgment of each other's reputation and skill. The plan was set: they would enter the gala as two pairs of dates, blending in with the opulent crowd, all the while seeking the same elusive prize.

As preparations began, the air was thick with a mix of excitement and apprehension. Crew members from both ships, though seasoned in the art of space piracy, found themselves in unfamiliar territory. The prospect of working alongside former rivals added an edge to their preparations, a silent challenge hanging in the air.

In the depths of space, where alliances were as shifting as the stars, this uneasy collaboration between the Midnight Mirage and the Crimson Corsair was a testament to the allure of the artifact. It was a dance of shadows and deception, set against the backdrop of a gala that promised to be as dangerous as it was dazzling.

*** 

The atmosphere aboard the Midnight Mirage was charged with a mix of anticipation and uncertainty as they neared the time for the gala. Obi-Wan Kenobi, known for his measured decisions, faced a new kind of challenge in choosing a partner for the façade. His eyes scanned over his crew, each member ready to play their part in this intricate dance of deception.

Plo, Quinlan, Mace, and Tholme awaited his decision, their expressions a mix of eagerness and apprehension. "Captain, if I may," Plo began, his voice steady, "I've studied galactic etiquette and can navigate social intricacies. I believe I could be of use in this environment."

Obi-Wan regarded him, a thoughtful expression etching his features. Plo's skills were indeed valuable, but it was more than that; there was a trust built over countless adventures, a bond forged in the fires of space piracy. "Plo, your knowledge will be invaluable tonight. You'll accompany me," Obi-Wan decided, his voice carrying the finality of a captain's command yet softened by the respect he held for his first mate.

Plo nodded, a sense of pride mixed with the gravity of responsibility settling over him. The rest of the crew exchanged looks of quiet support, their confidence in Plo and their captain unspoken but palpable.

Meanwhile, aboard the Crimson Corsair, a similar scene unfolded. Cody stood amidst his crew, the decision of choosing a partner for the evening weighing on him. Rex, Wolffe, Ponds, Fives, and Echo stood ready, each capable and willing to take on the role.

Rex, his first mate, met Cody's gaze. "Captain, I'm ready to step in. But," he paused, glancing towards their co-pilot, "Wolffe has the finesse for this kind of mission. His experience in undercover operations could give us the edge we need."

Cody considered Rex's words. Wolffe, with his keen eye for detail and ability to blend into any situation, was indeed the ideal choice. "Wolffe, you're with me," Cody announced, his tone resolute. Wolffe nodded, a flicker of determination in his eyes. The rest of the crew rallied around their chosen representative, offering words of encouragement and last-minute advice.

Back on the Midnight Mirage, Obi-Wan and Plo were engaged in a detailed discussion of their approach. "Remember, subtlety is our ally tonight. We blend in, gather information, and stay alert," Obi-Wan instructed, his demeanor calm yet underscored with an undercurrent of intensity.

Plo absorbed every word, his mind racing with scenarios and strategies. "We'll make a good team, Captain. We always have," he responded, his confidence in their partnership evident.

On the Crimson Corsair, Cody and Wolffe were finalizing their plans. "We need to be in sync every step of the way. If things go south, we stick to the plan and adapt as necessary," Cody briefed, his eyes scanning the holographic layout of the gala.

Wolffe, ever the pragmatist, nodded in agreement. "I've got your back, Captain. We'll get in, find the artifact, and get out without drawing any unnecessary attention," he assured, his voice a bastion of steadiness.

As both crews prepared for the impending gala, a sense of camaraderie and resolve enveloped them. They were about to embark on a mission unlike any they had undertaken before, a mission that required not just their skills as pirates but as diplomats in a den of vipers. The Midnight Mirage and the Crimson Corsair, once solitary hunters in the vast ocean of stars, were now allies in a game of shadows and deception, with the galaxy's most elusive prize at stake.

*** 

In the dim light of the Midnight Mirage's strategy room, a holographic projection of the space station flickered into life, casting a blue glow over the faces of Obi-Wan and his crew. They gathered around, their eyes tracing the intricate layout of corridors, ballrooms, and hidden passages.

"Here," Obi-Wan pointed to a secluded section of the station, "is where the artifact is likely kept. Heavily guarded, no doubt."

Plo leaned in, his finger hovering over a different part of the hologram. "There's a service entrance here. Less conspicuous. It could serve as an exit route if we need a quick escape."

Obi-Wan nodded, his mind weaving through scenarios. "Quinlan, you and Mace will handle communications and surveillance. We need eyes and ears inside at all times."

Quinlan flashed a wry grin. "So, we're the eyes in the sky? Got it, Captain. Mace and I will make sure you dance through this without stepping on any toes."

Mace, her expression focused, added, "We'll keep the comms open. Any sign of trouble, and we're your lifeline."

Meanwhile, aboard the Crimson Corsair, a similar scene unfolded. Cody, Wolffe, Rex, and the rest of the crew huddled around their own holographic display. Cody's finger traced a path through the station's layout.

"Our main objective is here," he indicated a lavish hall at the center of the station. "But we need to blend in first. The gala will be swarming with the galaxy's most notorious figures."

Wolffe examined the map, his tactical mind assessing each potential hazard. "Rex, Ponds, you two will handle crowd control. Mingle, gather intel, and stay alert for any unusual activity."

Rex nodded, his demeanor serious. "We'll keep our ears to the ground. If anyone's heard rumors about the artifact, we'll know."

Ponds, his voice steady, chimed in. "Fives, Echo, you're on tech and logistics. Make sure our escape routes are clear and our gear is ready at a moment's notice."

Fives grinned, the thrill of the mission igniting a spark in his eyes. "Just another day at the office, huh, Echo?"

Echo's reply was a nod, his focus already on the task at hand. "We'll be ready for anything."

Back on the Midnight Mirage, Tholme was finalizing the technical details. "I've synced our comms to a secure channel. We won't have any unwanted listeners."

Obi-Wan surveyed his crew, a sense of pride mingling with the gravity of the mission. "Remember, we need to be discreet. This is a high-stakes game, and we're playing against some of the galaxy's most cunning minds."

The air was thick with a mix of anticipation and apprehension. Plo, sensing the tension, offered a reassuring smile. "We've faced worse odds. We've got this, Captain."

On the Crimson Corsair, the mood was similarly charged. Cody's eyes met each of his crew members', a silent message of trust and resolve passing between them. "We're more than just pirates tonight. We're players in a game that could change our fortunes forever."

The competitive Maceer, a staple of their interactions, took on a new edge as they prepared for the gala. Each jest, each quip, was a way to stave off the underlying tension, to remind themselves of the camaraderie that had carried them through countless dangers.

As the two ships made their final preparations, the vastness of space around them seemed to hold its breath. The Midnight Mirage and the Crimson Corsair, once lone hunters in the cosmic wilderness, were now unlikely allies, their paths converging in a dance of shadows and intrigue, with the enigmatic gala at the heart of their quest.

*** 

The night of the gala had arrived, a convergence of fate and strategy under the opulent dome of the space station. The *Midnight Mirage* and the *Crimson Corsair* docked discreetly, their crews ready to step into roles that were far from their usual. Dressed in disguises that masked their notorious identities, they blended into the galaxy's elite with a practiced ease.

Obi-Wan Kenobi, his usual rugged attire replaced by the sleek lines of high-class fashion, moved through the crowd with a graceful poise that belied his true nature. His eyes, sharp and observant beneath the facade, scanned the room, taking in the grandeur around him. The station's ballroom was a marvel of galactic architecture, with soaring ceilings that mirrored the night sky and walls adorned with exotic materials from distant worlds.

Cody, his demeanor equally transformed, stood beside Obi-Wan. His outfit, though elegant, couldn't completely conceal the soldier's bearing that defined him. He surveyed the room with a tactician's eye, noting exits, guards, and potential threats among the sea of guests.

Together, they navigated the gala, a ballet of subtlety and subterfuge. The air was thick with the perfumes of a thousand worlds, and the murmur of a hundred languages filled the space, a symphony of the galaxy's diversity.

Meanwhile, Wolffe and Plo, Obi-Wan's chosen companion for the evening, entered the fray. Wolffe, in his disguise, maintained a stoic calm, his eyes constantly on the move. Plo, in contrast, exuded a serene confidence, his demeanor that of a seasoned diplomat.

The guests were a tapestry of the galaxy's most colorful figures - politicians, merchants, adventurers, and those whose wealth and power transcended planetary boundaries. Alien species of all shapes and sizes mingled, their attire ranging from the elegantly simple to the extravagantly bizarre.

As Obi-Wan and Cody moved through the crowd, their interactions were a delicate dance of words and gestures. "Remember, we're not just looking for the artifact. We're looking for allies, information, anything that can give us an edge," Obi-Wan whispered under the guise of a casual conversation.

Cody nodded subtly, his reply masked by a sip of an exotic beverage. "And we need to keep an eye on each other's backs. We're not the only predators in this room," he murmured, his gaze briefly locking with a figure across the room whose gaze was a little too keen.

Wolffe and Plo, operating on the fringe of the gala, were an exercise in contrasts. Plo's gentle demeanor drew inquisitive glances and amiable chatter, while Wolffe's silent vigilance served as a discreet but effective deterrent to any who might probe too deeply.

The gala was more than a gathering; it was a nexus of power and intrigue, where each conversation was a potential clue, each glance a potential threat. The music, a haunting melody that echoed the mysteries of space, provided a backdrop to their mission.

Obi-Wan's mind was a whirlwind of observations and deductions, every detail noted and analyzed. Cody, equally vigilant, was a portrait of focus, his every sense attuned to the subtle undercurrents of the event.

As the evening progressed, the tension beneath the veneer of celebration grew. The artifact, the prize they all sought, was somewhere within these walls, a secret waiting to be unearthed in a den of opulence and danger. And in the heart of it all were Obi-Wan and Cody, two legendary pirates disguised as nobles, playing a game of shadows in a world that was as alien to them as the farthest reaches of the galaxy.

*** 

In the grand ballroom, where the galaxy's elite waltzed under the shimmering artificial stars, a subtle game of cat and mouse unfolded. Cody and Obi-Wan, having split from Wolffe and Plo, moved with a purpose disguised by the elegance of their façade.

Cody, leaning against a pillar, engaged a group of wealthy merchants in conversation. His words were laced with charm, each sentence carefully crafted to draw attention, to create a diversion. "And then, as the moons aligned, we discovered the rarest gem of the Oortas system," he regaled, his voice a melody of feigned bravado and adventure. The group hung on his every word, their laughter a cover for his true intentions.

Meanwhile, Obi-Wan, seizing the opportunity, slipped away from the crowd's view. His heart pounded in a rhythm that mirrored the subtle undercurrents of danger and excitement. Each step was measured, each glance calculated. He navigated the maze of corridors, his senses heightened, aware of every shadow, every sound.

Back at the gala, Cody's stories grew more extravagant, more enthralling. His eyes, however, remained vigilant, scanning the crowd for any signs of suspicion or interference. The merchants, intoxicated by his charisma, were oblivious to the orchestration of events.

Obi-Wan, now in the less frequented parts of the station, moved with the grace of a shadow. He encountered a few guards, but his disguise and the convincing air of belonging allowed him to pass without incident. His mind was a whirlpool of strategy and anticipation, every scenario played and replayed in the confines of his thoughts.

In a different part of the ballroom, Wolffe and Plo engaged in their own dance of distraction. Plo's charm was a gentle wave, lapping at the shores of the guests' curiosity, while Wolffe's silent presence was the rock against which any suspicion broke harmlessly.

The music swelled, a crescendo that mirrored the rising stakes. Obi-Wan found himself outside the chamber where the artifact was believed to be held. His hand hovered over the door's control panel, a moment of hesitation that was a rare occurrence for the seasoned pirate.

Meanwhile, Cody, sensing the climax of their plan was near, intensified his efforts. A flirtatious banter with a dignitary's daughter, a laugh shared with a boisterous trader, each interaction a brushstroke in the larger picture they were painting.

Obi-Wan's hand moved, and the door slid open silently. Inside, the chamber was dimly lit, its contents obscured by shadows. His eyes adjusted quickly, scanning for the artifact, aware that time was a luxury they didn't have.

Back at the gala, a sudden shift in the crowd's mood signaled that their ruse might soon be up. Cody, with the instinct of a predator, knew it was time to retreat. He excused himself with a charming smile and a promise to return, then melted into the crowd, moving towards the rendezvous point.

Obi-Wan, inside the chamber, finally laid eyes on the artifact. It was smaller than he had imagined, its surface reflecting the sparse light in mesmerizing patterns. As he reached out, a sense of triumph mixed with an uncharacteristic twinge of apprehension coursed through him.

In a symphony of carefully orchestrated movements and distractions, the teams began their withdrawal from the gala. Cody, Obi-Wan, Wolffe, and Plo converged, each aware that the hardest part of their mission was yet to come. The artifact, now in their possession, was a beacon that would draw all eyes to them.

As they regrouped, their eyes met in silent communication, a shared understanding of the stakes. They had infiltrated the heart of danger, played their parts in a theater of deceit, and emerged victorious. But the night was far from over, and the escape promised to be as treacherous as the acquisition. The dance of shadows continued, with the entire galaxy as their stage.

*** 

As the quartet converged in the dimly lit corridor, their triumph was palpable yet muted, overshadowed by the looming challenge of escape. Obi-Wan, holding the artifact securely, exchanged a glance with Cody. Their eyes spoke volumes – a shared acknowledgment of the mission's success and the impending danger.

Just as they began to coordinate their retreat, the sound of heavy footsteps echoed through the hall. The group tensed, their senses heightened. From the shadows emerged the crime lord and his entourage of heavily armed guards. His presence was as commanding as the legends that preceded him, his eyes sharp and calculating.

"Well, well, what do we have here?" the crime lord's voice was smooth, yet laced with a dangerous edge. He eyed the artifact in Obi-Wan's grasp, a predatory glint in his gaze.

Obi-Wan's mind raced, his years of experience in deception coming to the fore. "We were just admiring your collection," he said, his voice steady despite the adrenaline coursing through him.

Cody stepped forward, his stance protective yet non-threatening. "It's a rare piece. We couldn't resist taking a closer look," he added, his words carefully chosen to avoid escalating the situation.

The crime lord circled them, his guards poised and alert. "A rare piece indeed. And one that's not for uninvited guests," he replied, his tone deceptively calm.

Wolffe and Plo remained silent but vigilant, their hands subtly inching towards their concealed weapons. The tension in the air was a tangible force, a prelude to a confrontation they all sought to avoid.

The crime lord stopped, his eyes locked on Obi-Wan. "You're not just any thieves. I recognize you, Obi-Wan Kenobi, and Commander Cody. Your reputations precede you." His words were a mix of admiration and menace.

Obi-Wan met his gaze, an undercurrent of respect in his response. "And you are a collector of rare treasures. This artifact would be safer in our hands."

The crime lord chuckled, a sound devoid of humor. "You overestimate your position, Kenobi. This is my domain, and you are at my mercy."

The standoff was a chess match of wills, each player calculating the risks and potential moves. Cody's mind worked furiously, assessing their options, the layout of the room, the positioning of the guards. Every second that passed was a second closer to an inevitable clash.

Wolffe's hand rested discreetly on his blaster, his eyes scanning for an opening, a weakness in the guards' formation. Plo, ever the diplomat, sought a peaceful resolution, his thoughts focused on de-escalating the tension.

"Perhaps we can come to an arrangement," Obi-Wan proposed, his voice a blend of confidence and caution.

The crime lord paused, considering. "I'm listening," he said, his interest piqued despite the undercurrent of suspicion.

Obi-Wan took a subtle step forward, his every word measured. "The galaxy is a dangerous place. An artifact like this could attract unwanted attention. We can ensure its safety, and in return, we ask for safe passage."

The crime lord's eyes narrowed, weighing the offer. The silence that followed was a battlefield of unspoken strategies and hidden agendas.

Cody, seizing the moment of distraction, gave a subtle nod to his crew. In a fluid, coordinated movement, they drew their weapons, the sudden action catching the guards off guard.

The ensuing chaos was a blur of motion and sound. Blaster fire lit the corridor, its echoes reverberating through the station. Obi-Wan and Cody, back-to-back, fought with a synergy born of mutual respect and necessity. Wolffe and Plo provided cover, their shots precise and calculated.

The crime lord, caught in the unexpected uprising, retreated with a snarl of frustration, his guards forming a protective circle around him.

In the midst of the chaos, Obi-Wan's thoughts were clear, focused. This was more than just a fight for survival; it was a testament to their resolve, their unwillingness to bow to the whims of tyranny.

Cody, his blaster a steady extension of his will, moved with a soldier's grace, each shot a statement of defiance against those who sought to claim power through fear and oppression.

As the last of the guards fell, the group made a dash for the exit, the artifact secured in Obi-Wan's grasp. They moved with the urgency of those who knew that every moment spent was a moment closer to capture or worse.

The corridor blurred past them, a tunnel leading to freedom, to survival. Behind them, the sounds of the gala continued, a stark contrast to the battle they had just waged. Ahead, lay their ships, their sanctuary in the vastness of space.

Together, Obi-Wan, Cody, Wolffe, and Plo raced towards escape, their hearts pounding a rhythm of adrenaline and triumph. They had faced the impossible, challenged the powerful, and emerged victorious. But the night was far from over, and the stars awaited their return, silent witnesses to the saga of pirates, artifacts, and the unyielding spirit of those who dared to defy the galaxy.

The corridors of the space station transformed into a labyrinth of danger as Obi-Wan, Cody, Wolffe, and Plo navigated their escape. The sounds of pursuit were a relentless drumbeat at their heels, a cacophony that spurred their adrenaline-fueled strides.

As they turned a corner, a squad of guards blocked their path. Without hesitation, the group sprang into action. Cody and Wolffe opened fire, providing cover while Obi-Wan and Plo engaged in close-quarters combat. Their movements were a fluid dance of offense and defense, honed by years of survival in the unforgiving expanse of space.

Obi-Wan's lightsaber hummed as it sliced through the air, deflecting blaster shots with an elegance that belied the intensity of the moment. Plo, moving with a deceptive calm, dispatched guards with precise, controlled strikes. The bond between them was palpable, a silent communication that spoke of deep trust and understanding.

Cody, his blaster never wavering, kept a protective eye on his companions. "This way!" he shouted, spotting an opening. They moved as one, a unit forged by necessity and hardened by danger.

The pursuit was relentless, more guards converging on their position. Their path to the docking bay was a gauntlet of obstacles, each turn bringing new challenges. Wolffe, ever vigilant, took down a guard attempting to flank them. His actions were instinctive, the result of countless battles fought side by side with his comrades.

As they neared the docking bay, the realization that they were not out of danger yet weighed heavily on them. The vastness of space awaited, but so did the ships of the crime lord, ready to give chase.

Once inside their ships, the Midnight Mirage and the Crimson Corsair, the tension shifted from physical confrontation to a battle of wits and piloting skill. Obi-Wan and Cody took the helms of their respective vessels, their hands steady despite the pounding of their hearts.

"Prepare for evasive maneuvers," Obi-Wan instructed, his voice calm over the ship's comm. The Midnight Mirage responded to his touch, veering into the vastness of space with the grace of a celestial bird in flight.

Cody, his expression one of fierce determination, mirrored the move in the Crimson Corsair. "Wolffe, keep an eye on our tail. We're not in the clear yet," he commanded, his eyes fixed on the starfield ahead.

The space around the station became a theater of pursuit, the ships of the crime lord's fleet hot on their trail. Laser fire streaked through the void, a deadly light show that threatened to end their escape prematurely.

Obi-Wan's mind raced, calculating trajectories and counter-maneuvers. The Midnight Mirage weaved through the onslaught, its engines roaring defiance against the odds. Beside him, Plo worked the controls with a focus born of countless hours of flight.

Cody, in the Crimson Corsair, executed a series of daring maneuvers, the ship twisting and turning through space with the agility of a predator. "Hang on!" he warned, as he pulled a particularly risky move that brought them dangerously close to an asteroid field.

The chase was a maelstrom of tension and skill, a test of their resolve and their ability to outthink and outfly their pursuers. Each evasion, each successful dodge, was a small victory, a step closer to freedom.

As the space station receded into the distance, the relentless pursuit began to wane. The crime lord's ships, unwilling or unable to navigate the treacherous asteroid field, fell back, leaving the Midnight Mirage and the Crimson Corsair to disappear into the starry expanse.

Inside the ships, relief washed over the crews in palpable waves. They had survived, against overwhelming odds. They shared looks of mutual respect and unspoken camaraderie, their bond strengthened by the ordeal they had endured together.

*** 

In the quiet aftermath of their daring escape, the crews of the *Midnight Mirage* and the *Crimson Corsair* gathered to behold the prize that had brought them together in an unlikely alliance. The artifact, now resting on a table in the *Midnight Mirage*'s main hold, seemed almost mundane in the dim light, its enigmatic surface betraying none of the perilous adventure it had incited.

Obi-Wan Kenobi and Commander Cody, standing side by side, surveyed the object. The rest of the crew, Wolffe, Plo, and the others, circled around, their expressions a mix of curiosity and contemplation.

"It's smaller than I expected," Cody remarked, his voice tinged with a blend of amusement and disappointment. His fingers hovered over the artifact, hesitant to touch yet drawn by an unspoken allure.

Obi-Wan, his eyes thoughtful, nodded in agreement. "It's not its size or appearance that matters. It's the power it supposedly holds," he mused, his gaze introspective. "Yet, I can't help but feel that its true value lies elsewhere."

The crew members exchanged glances, their post-mission adrenaline fading into a reflective silence. The artifact, for all its legendary status, was unremarkable to the eye, a stark contrast to the grand tales woven around it.

Wolffe stepped forward, his hand brushing against the artifact's surface. "We risked everything for this. Fought side by side with those we once called rivals," he said, his voice a rumble of deep thought.

Plo, ever the philosopher among them, added, "Perhaps the artifact's real power is not in what it is, but in what it brought out in us. Unity, cooperation, despite our differences."

The room fell into a contemplative hush, each person processing the weight of Plo's words. The artifact had indeed done something remarkable; it had united two disparate crews, two captains who had once navigated the stars as adversaries.

Obi-Wan turned to face Cody, a newfound respect evident in his demeanor. "Commander, this mission... it has shown me that even among the stars, where rivalry and danger are rife, there is room for unexpected alliances, for unity."

Cody met his gaze, a mirror of respect in his own eyes. "Agreed, Kenobi. We may walk different paths, but our journey tonight has proven that together, we can face challenges insurmountable alone."

The crew members, listening to their captains, felt a sense of pride swell within them. They had been part of something greater than a mere heist; they had been part of a testament to the strength found in unity.

The artifact, now almost forgotten in the wake of their realization, sat quietly, its secrets locked away. But the lesson it had inadvertently taught them shone brightly, a beacon of understanding in the vast, often divided galaxy.

As the two crews prepared to part ways, the atmosphere was no longer one of mere professional courtesy but of mutual respect and acknowledgment. They had shared a journey that had changed not just their perception of each other but of the broader universe in which they lived and fought.

Obi-Wan extended his hand to Cody, a gesture of camaraderie. "Until our paths cross again, Commander. May your journey be safe and your battles victorious."

Cody clasped his hand firmly. "And to you, Kenobi. May the stars light your way."

With a final nod to each other, the crews of the *Midnight Mirage* and the *Crimson Corsair* returned to their ships, their engines humming to life as they prepared to chart their courses back into the starry expanse. The artifact, a silent witness to their newfound bond, remained a mystery, its power transcendent in the unity it had inspired.

As the ships drifted apart, each crew member carried with them the memory of the night when rivals became allies, when the pursuit of an enigmatic prize led to a discovery far more valuable – the power of unity in the vast, endless galaxy.

**** 

As the *Midnight Mirage* and the *Crimson Corsair* charted their respective courses away from the space station, a sense of quiet introspection fell over both crews. The vastness of space, with its myriad stars and galaxies, seemed to hold them in a contemplative embrace.

Aboard the *Midnight Mirage*, Obi-Wan Kenobi stood at the helm, his eyes fixed on the endless expanse before him. The stars, once mere points of light in the great tapestry of the cosmos, now seemed to hold deeper meaning. The experience with Cody and his crew had shifted something fundamental in his understanding of the universe.

"Captain, course set for our next destination," Plo reported, his voice pulling Obi-Wan from his reverie.

Obi-Wan nodded, his mind still wrapped in the remnants of their recent adventure. "Thank you, Plo. Keep us on this trajectory," he replied, his tone distant yet composed.

As he gazed out into the void, his thoughts lingered on the camaraderie that had unexpectedly blossomed from rivalry. "We've always known the galaxy to be a place of conflict and competition. But this... this has shown us that even the fiercest of rivals can find common ground," he mused aloud.

Plo, standing beside him, nodded in agreement. "It's a rare thing, Captain. To find respect, perhaps even friendship, in the face of adversity."

Obi-Wan's lips curved in a thoughtful smile. "It gives me hope, Plo. That even in the darkest corners of space, there is potential for unity."

Meanwhile, aboard the *Crimson Corsair*, Commander Cody stood with a similar contemplative expression. The galaxy stretched out before him, a canvas of infinite possibilities and challenges.

"Course laid in, Captain. We're on our way," Wolffe announced, breaking the silence of the bridge.

Cody turned slightly, acknowledging his crewmate. "Thank you, Wolffe. Keep us steady," he replied, his voice carrying a newfound depth.

His gaze returned to the stars, and he found himself reflecting on the unexpected bond formed with Obi-Wan and his crew. "Who would have thought, Wolffe, that in chasing an artifact, we'd find something more valuable?" he said, the question rhetorical yet laden with significance.

Wolffe stepped closer, his demeanor one of respect and reflection. "It's a strange universe, Captain. Makes you wonder what other surprises are out there."

Cody's eyes remained fixed on the void. "Indeed, it does. It makes you reconsider what we know about alliances and rivalries. Perhaps the galaxy is more nuanced than we gave it credit for."

As both ships continued their journey through the stars, their paths diverging yet invisibly linked by their shared experience, the crews carried with them a profound sense of change. The rivalry that had once defined their interactions was now colored with respect and a recognition of shared humanity.

Obi-Wan and Cody, leaders and pirates, had glimpsed a truth often obscured in the chaos of galactic strife: that beneath the banners of conflict and competition, there lay the potential for understanding and camaraderie.

The vast galaxy, with its uncharted worlds and unexplored frontiers, seemed less daunting, knowing that even among rivals, there could be moments of unity and mutual respect. And as the *Midnight Mirage* and the *Crimson Corsair* sailed on, their courses charted under different stars, the memory of their alliance lingered, a testament to the unexpected friendships that could be forged in the depths of space.

"Thanks for reading! If you enjoyed this interstellar escapade, reblog to share with fellow Star Wars fans. Your support means the galaxy to me! 🌟🚀

#ObiWanKenobi #CommanderCody #AlternateUniverse #SpacePirates #HeistStory #DoubleDate #RivalryToFriendly #ActionAdventure #SpaceOpera #Fanfic #GalacticIntrigue #ArtifactHunt #Teamwork #TumblrFic #obi wan kenobi #commander cody #codywanbingo #commander cody fanfiction #obi wan kenobi x commander cody #obi wan fanfiction #codywan #star wars fandom #star wars fanfiction

[inkbone-phalanges]

In His Shadow Part 1 (OC/Buggy)

I watched carefully from my spot crouched behind the long, wooden bench full of people. I peered out from between two audience members and made sure that no one noticed my presence. I have been following and sneaking into this circus for a while now as I don't have a job to be able to afford tickets and I'm not fond of the idea of being held captive alongside the current crowd and those before them. Luckily enough, my frightening appearance has trained me well in the art of stealth.

Tonight's show is different to the others; tonight, a large wooden crate sits in the centre of the stage. I watched as the performers danced and milled around it with fluidity as they performed their usual tricks and acts. I felt the anticipation building as the performers more or less ignored the crate, waiting with bated breath to see what the ringleader had in store tonight. As I theorised about what could be in the crate, my curiosity was sated as it started falling apart panel by panel and was carried off by several performers.

Three people were revealed in this process. A stoic green-haired man, a smiling and applauding brunet and a displeased ginger girl. I noticed the routine for the ringleader’s entrance wasn’t playing out as well as he planned, something which has happened more often than not, it seems…

"No! No, no, no!" The blue-haired clown prince of piracy stormed in, berating his subordinates for their poor coordination and other missteps. The smiling prisoner interrupted the clown's intimidation by misremembering his wanted poster. Hearing the name 'Binky' had me rolling my eyes. Imagine being a pirate of the East Blue and not knowing Buggy the Clown. Or even one of the other names the captain listed.

(Authors Note: I am not entirely happy with this but I have rewritten it four times now so I'm just going to post it as is. Most of my fics are mixes of anime/manga and OPLA)

#Male OC #Male Reader #/Reader #Buggy #Buggy the Clown #One Piece #Fanfiction #In His Shadow #Elijah Crystal-Heart #One Piece Live Action #Original Character #x reader #x male reader #x oc

[havfayth]

NAME: Cao Lee

PATH: The Erudition

COMBAT TYPE: Imaginary

WEAPON: Martial Arts

GENDER: Male

SPECIES: Human ( long lived )

TITLES: White Orchid Dragon, Secretary of Divine Foresight

FACTIONS: The Xianzhou Luofu, Xianzhou Alliance, Disciples of Jing Yuan, Genius Society (Number 87), Xianzhou Yuanqiao ( Former )

WORLD: The Xianzhou Luofu

RELATIONSHIP STATUS: -

FAMILY:

** jing yuan is in references to the muse written on this account aka my own muses. other jing yuan written by other muns would be treated as though they are strangers unless discussed otherwise !

KURO NO KISEKI 2 SPOILERS

Deeply loyal to the Xianzhou Alliance and even moreso to the Luofu, Cao was born and recognized by his family to possess a prodigious intellectual and sought to follow in his mother's footstep to become a renowned head strategist and advisor to some of the former Yuanqiao's Generals within the line of succession and ensured all knowledge was safely passed to the next. When he was a teen, his family was one of the first targeted and slaughtered during the Civil war that broke out in Yuanqiao and following his survival, he also lost his little brother, Fen Lee, on that very day whose corpse was nowhere to be found. For centuries, Cao was constantly searching and on the look out for his long lost little brother but to no avail until recently.

With nothing in his hands, Cao climbed the ladder within Luofu through pure intellect and grasping at any opportunity that came his way. One of his biggest breakthrough happened when he was elected as an officer within the Sky Faring Commission, having instantly grasped the technology, investigative work and used the resources to their fullest potential. During a scheme from the combined forces of a ravager and denizens of Abundance to throw Luofu into chaos by assassinating the General, Cao was able to thwart their plans through deception, initially allowing the third adversarial group access to Luofu and keep close track of their movements from the shadows. Within a few days, Cao was able to flush out their entire operation, from the last arrival to the very first, halt their assassination attempts at an opportune place where they cannot possibly escape and delaying their plans by two centuries.

From then on, the General was able to read Cao's character and talents meticulously, adopting him into the Divine Foresight and granting him title of Secretary while mentoring him through the arts of strategy and skills in preventative operations.

As a secretary, Cao handles military and economical discussions with the other similarly ranked officials from other Xianzhou flagships, Commissions and the Interastral Peace Corporation under Jing Yuan's directives and instructions. He often engages in bargains and negotiations according to the General's intentions, desired outcomes and risk profile, ensuring that both sides fulfill the agreements to the contracts without much obstruction. Likewise, Cao is dispatched to manage the necessary men and resources, directing them to fulfill tasks delegated by the Divine Foresight and coordinate with external alliances. His main role is to assist the General in keeping order within the Luofu and ensure no businesses cross any red lines.

While Cao is adept in the skills of a combatant himself, he very much preferred to allow his subordinates and comrades to do the fighting while he handle other duties.

Behind the scenes, Cao is a brilliant mastermind, coming third behind Jing Yuan and Fu Xuan. One outstanding trait he possessed is his fluidity in entering contracts, even with unsavory parties and is relatively undisturbed when it came to question of morality. As such, the General tends to trust him in negotiating and coordinating with controversial parties to the Luofu, such as the Stellaron Hunters, without tying it to Jing Yuan's name. Cao is noted to be one of the dangerous men within the Alliance due to his unpredictability and manipulative behaviour, putting even other officials at unease over his demeanor, disposition to lay in bed with the snakes and lack of remorse in using underhanded means to achieve his desired outcome. However, because his plans tend to ultimately benefit the Alliance without crossing red lines, the Commissions allow him to work as he please while keeping a close watch on him.

Knowing he has eyes on him, Cao preferred to work in the shadows and avoid being the face of massive operations. However, the letters Jing Yuan received regarding his conduct have dwindled over the years and rumors has it that the Interastral Peace Corporation are interested in forming a longstanding contract with him.

Within the genius society, he was known as a former collaborator of Sserkal, creator of the Metafield Space and have brought this invention into a more advanced and stable universal application. Cao further created a glass cannister apparatus that allows souls access into the dream world with three sighs of their breaths, enabling him to travel to other locations within the galaxy to hold conversations and obtain items without needing his body to be present. He has yet to share this to the public.

Following this invention is another one that is purely his called Material Transference, which takes on the form of an inscribed mirror. Non-sentient objects accepted by the soul within the dream world will appear by their side into the real world and disappear from the giver's once awaken. The IPC seeks to obtain permission and instructions for both inventions but Cao has yet to give a response. Herta, however, managed to obtain approval to use it for the simulated universe and had Cao repurpose another one into a microchip, allowing users to transfer materials obtained from the simulated universe to the real world and their relics from the real world to the simulated universe.

Secretary of the Divine Foresight and one of Jing Yuan's four disciples, while this role may allude to mundane tasks such as keeping schedules or arranging meetings across the commission, Cao's actual work is far more sophisticated and also cover a wide range of management from the mundane to the complex, helping to keep order in Luofu by targeting malicious parties and businesses. He often carried out any tasks given to him perfectly and can handle even extreme levels of workload without showing any signs of stress. While he also answers to the Alliance, Cao often takes the General's orders as priority if any conflict of interests occur.

To most peers and enemies alike, Cao is perceived as incredibly shrewd, untrustworthy and slippery as a person, but does keep his end of any agreement he forged as long as the other party fulfilled theirs. He has no qualms with abandoning or even betraying the other participants of the contract if they were to go back on their word or unable to fulfill their terms regardless of reason. As such, Cao always ascertain how valuable it will for him to cooperate, even if it meant setting his own interests slightly to the side and ascertain if they have the requisite strength and will to reach the end of the bargain.

After that, Cao is no longer obliged and may even become their enemies or obstacles depending on whichever agreement he enters next. Even Jing Yuan describes his calculative personality as 'you have a good piece in your hand if he owes you a favor but avoid letting yourself owe him any'.

He is extremely self-interested, putting the interests of Luofu and himself first and the well-being of others none. From a young age, he acknowledged that they were all embroiled with underlying betrayal, deception and discord through their veins. Learning to borrow the power of others is an artform in navigating through the many self-interests of others and aligning them with one's own. Cao also admitted that this is his one and only way to establish his network of connection, as the means and ability to form a genuine bond have long closed on him and no longer a possibility.

The utter lack of remorse or hesitance in using people and underhanded tactics had many allude him to a demon who has an unrealistic control over his own soul. Some even defining his personality as twisted. He is able to switch sides, assist both opposing parties within the same week and take hold of situations to put himself in an advantageous position. No insults, slanders or accusations can ever anger the man or put him out of his element — and nothing seemed to be able to shame, guilt, shock or scare him. It is this degree of composure that enables him to read and navigate discussions to a staggering ability and manipulate them to his favor.

However, despite his lack of interest in forming social connections, a part of him is sincerely grateful to Jing Yuan and Aaron Wei, who have accepted him for who he is and held no illusions regarding his true character or sought to change him. Although he have committed acts they disagreed with, they always would greet him again with the same degree of warmth and have made much of his days truly enjoyable, even if they were to one day become enemies and stand on opposing sides.

about template was taken from confluxium !

#honkai star rail verse. / cao lee.

[maggatron]

Kidnapped (Daredevil x OC)

Fair warning, I'm pretty self-indulgent with my fanfictions. I don't really like writing Y/N-style fanfics, which is why this one features my OC, Vanessa.

The moon cast an eerie glow over the dock boathouse, where Daredevil had tracked down the latest lead on Wilson Fisk's criminal operations. As he cautiously approached the building, a chilling sense of foreboding settled over him.

He cautiously stepped inside the dimly lit boathouse and saw Vanessa. She was unconscious and bound to a chair. His heart sank, realizing that Fisk had taken her as a pawn in his twisted game of revenge against Matt Murdock, the lawyer who had foiled his plans time and again. Panic threatened to consume him as he fought to remain composed.

"Daredevil, you've finally arrived," Fisk's voice echoed from the shadows. "Do you see what your meddling has cost you? An innocent woman's life is now in your hands."

Daredevil's jaw clenched, his fists tightening. He had to keep his emotions in check; Fisk was a master manipulator, and any sign of weakness could lead to disastrous consequences.

"I didn't come here to play games, Fisk," Daredevil replied, his voice steely. "Let her go. This is between you and me."

"Oh, but it's so much more than that," Fisk retorted, tauntingly. "You claim to be a hero, but you've doomed an innocent woman for the sake of your pointless crusade. Vanessa… lovely name, just like my late wife—what a coincidence, don't you think?"

Daredevil's heart pounded in his chest. The revelation about Vanessa's name being the same as Fisk's late wife only fueled his anger. He knew he had to focus on rescuing her, but Fisk's words stung.

Without warning, Fisk pushed the chair, with Vanessa still tied to it, into the water. Daredevil's instincts kicked in. He dove after her, the cold water enveloping them both.

"Shoot him." Fisk ordered his men as he turned to walk away.

"But… the woman…" One of his henchmen nervously asked.

Fisk paused, only turning to glare at his subordinate. He pulled out a gun and shot his man in the gut. His body crumpled to the floor.

"SHOOT HIM!" Fisk roared to his men, who opened fire at the dark water.

Panic surged through Daredevil as he worked to untie Vanessa from the chair while dodging the bullets fired by Fisk's men. The sound of gunfire reverberated all around them. With every second that passed, he could feel the urgency intensifying, knowing that Fisk's henchmen were still firing shots above them.

He finally felt the scratchiness of the rope pull loose under his fingers. With practiced precision, he swiftly freed Vanessa from the chair as it sank to the depths. He tugged Vanessa into his arms just as the gunfire stopped above the water's surface.

Daredevil knew he had to get them both out of danger quickly.

With Vanessa's unconscious body cradled against his chest, Daredevil swam to the surface. Water cascaded off his sleek red suit. He stealthily looped Vanessa's arms through a lifesaver pinned to a wood beam, keeping her afloat.

He didn't have a moment to waste. With a swift movement, he leaped out of the water, flipping through the air to land amid the henchmen with calculated precision.

His body moved with a fluidity that defied gravity. His movements were fluid and precise, a dance of acrobatics and martial arts. He struck with accuracy, disarming and incapacitating Fisk's men one by one. His heightened senses allowed him to anticipate their every move, evading bullets and disabling their weapons with ease.

He took a moment to catch his breath. His heart pounded, both from the adrenaline coursing through his veins and the fear of losing Vanessa.

He turned his attention back to Vanessa, lifting her unconscious body out of the water. He gently laid her damp body on the dock. He pressed two fingers to her neck, feeling for her pulse and listening intently to her heartbeat. It was unsteady, a reflection of the distress she had endured.

Vanessa's face was pale, and her clothes clung to her shivering body. Daredevil knew she needed warmth and medical attention.

For a moment, Daredevil knelt beside her, unsure of what to do next. He couldn't take Vanessa to a hospital; that would only put her in more danger. Instead, he made a difficult decision—to carry her across the rooftops back to her apartment. He knew it was the only place where he could keep her safe for the time being.

He scooped her into his arms again, determined to get her to safety.

He leaped from rooftop to rooftop, moving swiftly and gracefully across the city. Vanessa remained unconscious, her breathing steady but shallow. Daredevil's heart ached with worry for his friend. He knew she was strong, but he also understood the toll this ordeal had taken on her.

Arriving at Vanessa's apartment, Daredevil gently laid her on the couch. Her clothes were still damp. He knew she needed dry clothes and a warm blanket.

He quickly found a clean set of clothes for her, a pair of his own that she'd somehow stolen from his closet. He smirked as he carried his faded tee shirt and silken pajama pants into the living room.

Gently, he helped her into the dry clothes, tending to her like a guardian angel. He then wrapped her in a couple of warm blankets, carefully tucking her in.

His fingers brushed against her cheek. He fought back the urge to confess his true identity to her—to finally let her know how he felt.

But he knew he couldn't risk her safety. Not now, not like this. So, with a heavy heart, Daredevil kissed Vanessa's forehead gently. He made his way to the window, stepping one foot out onto the fire escape. He looked back at Vanessa's unconscious form wrapped in blankets.

"Stay safe, Vanessa." He whispered.

Then, he leaped from the fire escape.

#daredevil #matt murdock #daredevil x oc #matt murdock fanfic #daredevil fanfiction #matt murdock angst #matt murdock fic

[vinceleemiller]

Exegesis Over Eisegesis: Spiritual Unity | Galatians 3:28

There is neither Jew nor Greek, there is neither slave nor free, there is no male and female, for you are all one in Christ Jesus. — Galatians 3:28

CALL OUT: I want to give a shout-out to Chris DeBoer in Peachtree, GA, who is a new monthly partner. I am thankful for you, Chris, and all who support us monthly and faithfully.

So many people have taken this text entirely out of context. They use it to leverage ideological positions that this Scripture does not endorse. Let me be clear: This text in no way advocates for social equality and inclusion. It does not promote the fair treatment, opportunity, and acceptance of all individuals regardless of their background, identity, or circumstances. However, please do not hear me say this text endorses racism, slavery, economic oppression, and gender fluidity. It does not endorse either side of this argument because these issues are not what this text is about.

Here is why: This text does not speak about social equality. It is speaking about spiritual equality.

Sometimes, when we read Scripture, we are going to be tempted to read into a text from our own cultural perspective. This is called eisegesis. Eisegesis is an interesting word. It is a compound Greek word that forms one word and meaning. "Eis" means "into."  "Egesis" means "interpretation." Thus, eisegesis is when we interpret a text by reading into it our own presumptions and biases. This is something we should always avoid when reading Scripture. It is easy and tempting to do, especially when you have strong beliefs and convictions about specific social issues. There are people in our time who have some pretty strong opinions on social issues. They are triggered when they hear social references to race, ethnicity, economic disparity, slavery, and gender. Thus, it is very hard for them to put these ideas aside when reading the Scripture. When they encounter a text like this one that seems to defend or dismiss their position, they will pounce all over it.

On the other hand, a skilled student of the Scripture exegetes the text. Exegesis is another compound word. "Ex" means "out from." Thus, exegesis is when we draw out the meaning of a text from the text. It's understanding what the text is saying based on its own words, context, and historical background instead of adding your own ideas. You're trying to uncover the original meaning intended by the author.

So, if we exegete this text correctly, we will draw out the author's intent instead of importing, imputing, and inserting our intent. So let's do that. But let's reread the text:

"There is neither Jew nor Greek, there is neither slave nor free, there is no male and female, for you are all one in Christ Jesus."

First, Paul lists three subordinate groupings that are transcended in Christ. They are ethnicity (Jew/Greek), economic status (slave/free), and gender (male/female). Paul never suggests that these categories cease to exist or are no longer a present reality. Our ethnicity, status, and gender are a part of our human existence. But there is something that supersedes them. This leads to Paul making one positive assertion. We (i.e., believers) experience a oneness (i.e., spiritual unity) found only in Christ. Our unity is not found in this world. It is made possible and encountered only in union with Christ. This means our spiritual unity takes precedence over social identity in Christ.

If we now carefully place this exegesis into the greater context of the chapter, it will provide even more precise meaning. Paul says our spiritual oneness in Christ is a status received by faith, celebrated in baptism, superseding but not absolving our ethnicity, economic status, and gender. Spirit-filled believers enjoy the blessing of living in a new spiritual family that comes with serious spiritual blessings. The blessing is found in the next verse, which we will read together tomorrow.

This is a sound exegesis of this text. As you can see, it does not promote social equality and inclusion. It celebrates a spiritual reality in the church, made possible by Christ. This transcendent reality affects how we perceive each other in Christ without absolving our individuality or condoning human sin.

Here's the application of this sound exegesis:

Take another look at a believer in Christ. See them from a spiritual perspective and not only a social perspective. If you tend only to see their natural qualities, look beyond that today. Work in your heart to perceive them differently. See them as your brother and as your sister in Christ. Then treat them like a divine member of the spiritual family because, in Christ, you finally gain a diverse family with one thing in common—one Good Great Father.

#SpiritualEquality #InChristAlone #BeyondSocialDivides #BiblicalInterpretation #UnityInDiversity

ASK THIS:

How can you actively cultivate a mindset that sees fellow believers not just through the lens of societal labels but as fellow members of the spiritual family in Christ?

Reflect on a time when you may have unintentionally allowed societal biases to influence your perception of someone in the church. How can a deeper understanding of Galatians 3:28 shape your interactions and relationships within the body of Christ?

DO THIS: Treat your spiritual family as your family.

PRAY THIS: Father, help me to see others through the lens of Your love, recognizing the unity we share as members of Your spiritual family. Guide me to treat every believer with dignity and respect, as brothers and sisters in Christ. Amen.

PLAY THIS: Good Good Father.

Check out this episode!

[mcbrownartapp]

Virtual Sketchbook #2

Journaling:

Unity brings everything together and creates a sense of harmony throughout the work. Variety is more about creating a range of different components to the work. A work strictly focused on unity can seem dull, while too much variety may come off as scattered. In Circles in a Circle (1923) by Wassily Kandinsky, you can see both qualities. The unity is the circles and lines throughout, and the variety is the differences in size and color.

Balance has two versions, but each work has an equal distribution of visual elements. Symmetrical balance has matching sides, almost mirror images. Asymmetrical is not symmetrical of each side and is more about creating equilibrium with the sizing, placement, and visual weight of each different part of the work. Café Terrace at Night by Vincent van Gogh is an asymmetrical example. Van Gosh uses the dark blue in the sky to balance the brighter yellow of the café. The following work Swan, Rush and Iris by Walter Crane is an example of symmetrical balance, which are perfectly mirrored swans.

Emphasis is used to draw the viewer’s attention to the central point. The artist can accomplish this through color intensities, sizing, and positioning. Subordination helps the artist complete the work while removing attention from unimportant areas by creating neutral areas that don’t grab the eye. Paul Cezanne’s Still Life with Compotier, Pitcher, and Fruit uses emphasis in the bright colors and positioning of the fruit, with the dull colors of the background and table being subordination.

The use of directional forces is another method to pull the eye to where the artist has made the focal point. This is done by implied or actual lines going towards the direction of the center of the piece. In Storm on the Sea of Galilee by Rembrandt, we see the lines made by the ships post drawing the eye to where the action is, the water colliding with the boat.

Repetition is the use of repeating elements to create a harmonious flow to the work.

Rhythm is created using the repetition of elements to imply fluidity. In Fall Plowing by Grant Wood, we can see repetition in the plants, trees, hills, and lines of the field. The rhythm is achieved by the placement of these repeating patterns, creating a direction flow towards the back of the painting.

Scale is the size of one object compared to other separate objects. Proportion is the size relationship between objects as pieces of a whole. Jeff Jordan showed both properties in his work Art Curiosity. The scale of the chick is comically larger than normal, while all the proportions of body parts are accurate.

Connecting Art to Your World:

The color of the sky has always influenced my mood and attitude of the day. One example that sticks out to me is the day after Hurricane Ian. The storm had covered the world with toned down hues of gray, green, and brown. It was like the saturation of bright, colorful Florida had been shaded with gloom. As the day passed, the grayness had been replaced with a beautiful sunset. The dark skies were now filled with an ombre of different hues of blues and pinks, changing my gloomy mood to hopeful. I even took pictures that day and you can see the how contrasting the morning and night was.

The color scheme of my life would be hues of blue. My favorite color has always been blue, and I tend to love everything in that range (purple included). From the sky to the ocean, every shade of blue is pretty to me.

Art Project:

4. Discussion:

Group 3: Photography

Portrait:

Richard Avedon, Janis Joplin, 1969, https://www.avedonfoLinks to an external site.uLinks to an external site.ndation.org/Links to an external site.the-workLinks to an external site..

         This is a portrait of musician, Janis Joplin, taken by Richard Avedon. Joplin's downwards gaze give the impression of sadness or lack of care about taking the photo. Her hand placement on her hip is in somewhat of a defiant stance. Joplin appears to not be wearing any makeup, indicating she prefers to express herself in other ways other than the beauty standards of that time. Her natural, untamed hair and style highlights her free-spirited personality. This portrait of Janis Joplin is a good visual representation of the type of artist that she was, care-free and not conforming to the societal expectations of the 1960's.

Landscape:

Daniel Kordan, Japan fall, https://danielkordan.com/portfolio-item/japan-fall/Links to an external site..

         This landscape photograph was taken by Daniel Kordan in the fall time in Japan. The various natural elements of leaves, water, trees, and a mountain come together and create a serene image. The photographer perfectly positioned the camera in the center of leaves that give the illusion of a heart surrounding the mountain. 

Still Life:

Krista van der Niet, Bezem, https://museemagazine.com/features/2020/12/3/krista-van-der-niet.

This still life photograph is the end piece of a broom, with two glasses of water on either side, and a rolling pin standing straight up on top of it. The photographer, Krista van der Niet, enjoys staging everyday item in a humorous, aesthetically pleasing way. Putting the rolling pin in place of where the broom handle should be adds a twist to normal everyday items. The artist staging selection makes even the most mundane things interesting to look at.

[earthling-wolf]

F-5 Subordinate Rigidity

This signal occurs when Rigidity and Fluidity are both present in the body, but Fluidity remains the dominant force, while Rigidity is subordinate and supplemental. The primarily Fluid individual expresses J signals such as Projecting Hands and Head Pushes, however, these gestures fail to land crisply and decisively, and instead land with a level of smoothness and with rounded stops.

Regina Spektor: NeFi II-- Seelie! (ENFP with developed Fi)

AURORA: NeFi I--- Seelie! (ENFP)

Frank James: NeTi I--- Adaptive (agreeable ENTP)

This signal emerges from a Perception-heavy person attempting to integrate some J order/structure into their otherwise fluid thoughts or views. It represents a "solidifying" of conceptual boundaries and the development of linear rationality. Nevertheless, they fail to fully solidify their cognition into one definite framework. In these moments, the assertions they articulate still hold a level of openness to them, existing as momentary linguistic crystallizations of an otherwise language-less experiential reality.

#cognitive typology #vultology #perception #fluidity #Subordinate Rigidity #ENTP #ISFJ #ESTP #INFJ #ESFP #INTJ #ENFP #ISTJ #Regina Spektor #AURORA #Frank James

[jaynarl]

VIRTUAL SKETCHBOOK 2

1.) JOURNALING 

• Unity and Variety: Unity is the appearance of comparison in art. All parts of the work fit together well, while variety is the elements of art that work differently with one another, not in unity. You can find this in a house where everything fits together well.

• Balance: When art is equal. This type of art can be achieved through symmetrical balance and asymmetrical balance. You can see this in the waves of the ocean.

• Emphasis and subordination: Emphasis is the principle of design of one element, or a combination of elements, create attention than anything else in a composition, while subordination is toning down other compositional elements to bring more attention to the focal point. You can see this when there are red flowers in a garden, but one yellow one is in the group that does not match.

• Directional Forces: Directional focus is the paths created within a work of art that leads the eye through the composition. We can see this in a artwork with mountains going down with land going straight as the horizon line.

•Repetition and Rhythm: Repetition is the simplest item you can use to give a piece of unity and to show the flow, while rhythm involves using spaces between elements to give the impression of movement. We can see this as a daily thing of the cycle of the sun. 

• Scale and Proportion: Scale is the similarity of size to one object to another, while proportion refers to the size of the parts of an object in connection to other parts of the same object as a whole. We can see this in a room like a classroom or kitchen, which contain the objects that make up the room.

2.) WRITING AND LOOKING 

 Vincent Van Gogh’s, The Starry Night is a piece that is brimming with whirling clouds, shining stars, and much more. The setting connects viewers of the swirling sky that directs the viewer’s eye around the painting, with spacing between the stars and the curving contours creating a dot-to-dot effect. These elements ensure fluidity and contours that made this art important.

Vincent Van Gogh's, "The Starry Night"- located in Chapter 3, page 53. 

3.) CONNECTING ART TO YOUR WORLD 

 An experience of how color has affected me is when I redid my room for a nice change. When my sister moved out, I got her room, which had purple walls. The purple was nice, but it just was not me. Me and my dad painted my room and wonderful grey-blue color (my favorite color). The blue lit the room so much better than the purple and brought saturation with everything else. The hue of the blue was an eye opener for me, and this is exactly what I needed in my life for my room, my space. Finally if I had to pick a color scheme it would be grey-blue with rustic white furniture. I love the color balance of the two.

4.) ART PROJECT (artist’s choice) 

I chose to paint this because I am passionate about scenic nature, like mountains and waterfalls/water and how everything comes together as a whole. In reality, I would really like to see mountains like this.

5.) PHOTO/DESIGN 

Photojournalism: Jeremy Hobson. "America's Earliest National Disasters." wbur/hereandnow. August 31, 2017

When I saw this picture, I thought it was surprising how much damage a hurricane can bring to a town. Hurricane Galveston happened in a town in Texas in the early 1900s0s and to this day this hurricane is the biggest hurricane on record. The picture allows us to understand what destruction from natural disasters can cause loss of life. The photograph represents the story showing the devastation disasters like this bring to help acknowledge to readers what future storms can bring. 

Photojournalism: James Nachtwey. From "The Day the Earth Moved." Time.com. March 28, 2011

This photo shows a destruction phase of a tsunami, thus acknowledging the title. I thought the picture looked like a great representation of damage by seeing that a vehicle is upside down. I picked this photo, because it is important to know that tsunamis can be dangerous and life threatening. The photo visually represents the story to the viewer by being at a loss for words of a disaster that seems unreal. 

[gabbysartclass]

Virtual sketchbook 2

1. Journaling

1a) unity and variety

Unity in the basic principles of design is a result of visual harmony and coherence, which results from common use of elements and principles. Moreover, by combining different elements and principles, variety brings a sense of interest and diversity. A balanced and engaging composition is created in combination with unity and diversity. You can see this in everyday life with a garden.

1b)balance

The distribution of visual weight in a composition is referred to as balance in the principles of design. It's a way to achieve coherence and equilibrium through arrangement of elements so they feel like one another. If the elements are uniformly distributed or, in an asymmetrical way, if each element is balanced by contrast and visual tension, balance can be symmetrical. It makes it easier to develop a visually structured and appealing design.this can be seen with out furniture.

1c)emphasis and subordination

In the principles of design, emphasis refers to creating a focal point or center of attention in a composition. It's like highlighting or giving importance to certain elements to make them stand out. On the other hand, subordination is about making other elements less prominent or secondary in order to support and enhance the main focal point. It's like creating a hierarchy of importance within a design. Emphasis and subordination work together to guide the viewer's eye and create visual interest in a composition.this can be seen when we go fishing and a group of bait fish circle around a beautiful vibrant fish.

1d)directional forces

Directional forces in the principles of design refer to the visual elements that guide the viewer's eye and create a sense of movement or flow within a composition. These forces can be created through lines, shapes, or the arrangement of elements. They help lead the viewer's gaze from one point to another, creating a visual journey and adding dynamism to the design.This can be seen when we’re driving and we se street signs.

1e) repetition and rhythm

In the principles of design, repetition refers to the use of recurring elements, such as shapes, colors, or patterns, to create a sense of unity and consistency in a composition. It's like a repeated motif that ties everything together. Rhythm, on the other hand, is about creating a visual beat or pattern through the repetition of these elements. It's like the flow or movement that you can feel when you look at a design. Repetition and rhythm add visual interest and harmony to a composition, making it more engaging to the viewer.This can be be seen when a group of dancers have a choreography and are in sync together.

1f) scale and proportion

Scale and proportion in the principles of design refer to the size and relationships of elements within a composition. Scale relates to the relative size of objects or elements in comparison to each other or to the overall composition. Proportion, on the other hand, deals with the relationship between different parts of a design and how they relate to the whole. It's like the balance and harmony of sizes and shapes. Scale and proportion help create visual balance, emphasize focal points, and establish a sense of harmony and coherence in a design.This can be seen when we sit on our dining room table, our chairs have to be a certain height so we can seat comfortably within our dining room table.

2. Writing and looking

Chapter 7;Fig.7.2 watercolor

My title :“Serenity by the shore”

1. Homer depicted the boys with rounded shapes for their bodies and limbs.

2. The water is portrayed with flowing, curving shapes, capturing its fluidity.

3. The surrounding landscape features organic shapes for trees and foliage.

4. Homer used a combination of bold and subtle brushstrokes to create texture and depth.

5. The colors he employed include vibrant blues for the water, warm tones for the boys' skin, and earthy hues for the landscape.

6. The contrast between light and shadow adds dimension and visual interest to the painting.

3. Connecting art to my world:

As I’ve grown up, color has continued to have a profound impact on my everyday life. From childhood to adulthood, color has played a role in shaping my experiences and influencing my emotions. As a child, vibrant and playful colors may have sparked my imagination and creativity. From the colorful toys i played with to the bright illustrations in my favorite books, color brought joy and excitement into my world. As i entered my teenage years, color may have taken on a new significance as a form of self-expression. The colors i chose to wear, decorate my room with, or incorporating into my artwork reflected my evolving identity and personal style. Now, as a young adult, color continues to impact my daily life in various ways. Whether it's the calming effect of a soft blue wall in my home, the energizing power of a bold red outfit, or the soothing tones of nature during my travels, color remains a constant presence, evoking emotions and shaping my perception of the world around me.If I had to pick a color scheme for my life it would have to specifically blue and pink. Blue signified calmness,serenity and stability.while pink would represent femininity,kindness and gentleness. This would bring a balance of calmness and warmth.

4. Art project:

5. Photo/design:

Group 6

Black and white Vs. Color photography

“The kiss” by Robert Doisneau.

The way Robert Doisneau chose to paint "The Kiss" picture in Black and White is very clear. The classic and timeless quality that could be invoked by nostalgia and romanticism can be found in Black and White photographs. By stripping away color, the focus is solely on the composition, the emotions, and the connection between the couple. Without color, the viewer is allowed to interpret an image in a more complex and universal way. Looking at this photograph myself, it makes me feel very hopeful that romance still exists. The way he seems to comfort her while giving her a kiss making it feel like they’re the only two people down the street must be a wonderful feeling.

“The holi Festival” by Steve McCurry.

In the photograph of "Holi Festival" taken by Steve McCurry, color is used to make it look as vibrant and cheerful as possible. The vivid colors of the festival give a feeling of joy, excitement and cultural richness. The color makes the viewer feel excited and energetic, immersed in a lively and dynamic environment of Holi's festival. The vivid colours reflect the spirit and enthusiasm of those taking part, making this photograph feel alive and lively.As I look at this painting, I feel excited and joyful because they all seem happy. It created a positive and enthusiastic making it feel like I’m there celebrating with them.

[laranjatoranjalaranja]

Academic writing advice inspired by Umberto Eco’s ‘How to Write a Thesis’:

Planning

Determine primary sources/bibliography.

Determine secondary sources/bibliography. 

Find title.

Brainstorm a table of contents with as much detail as possible (with chapters, sections and even paragraphs and sub-paragraphs - see How to Write a Thesis’ own table of contents as an example at the end of this document) (if the first drafted table of contents is good enough, it will not be necessary to start the writing from the beginning).

Do a first draft of the introduction.

Note-taking and research

Use Google Scholar to make sure you do not miss important sources.

Keep the table of contents in mind when researching and take notes of which sources could go where.

While note-taking, differentiate which parts could be used as quotations from the ones that are simply important for the argument.

Eco underlines the importance of what he calls reading sheets, which can be understood as your notes on your readings. According to him, these should contain:

information about the author if he is not a well-known figure;

a brief (or long) summary;

they should mostly consist of quotations (accompanied by all the corresponding page numbers)

any commentaries you might want to add;

an indication of which part (or parts) of your table of contents the information mentioned belongs to.

Keep reading sheets on primary sources (which should be the longest) separate from those on secondary sources (which should only be 1-2 pages long).

In the end, re-read the notes and color-code all the different parts according to where they would fit in your table of contents.

Writing and editing

A good place to start would be by redrafting the introduction.

Define every key/technical term used/mentioned unless indisputably obvious.

General writing tips:

keep sentences short;

do not be afraid to repeat the subject twice (ex: Roberta went to the shop (...) Roberta bought carrots and tomatoes);

avoid excessive details;

avoid subordinate clauses (orações subordinadas);

avoid vague language;

avoid unnecessary adjectives;

avoid the passive voice.

While drafting, write everything that comes to mind. Leave the editing for the end.

Use your tutor as a Guinea pig. Make them read your first chapters (and, progressively, all the rest) well before delivery is due. 

Ask for as much feedback as possible. Ask colleagues, friends and/or family to read your work. They will provide you with more diversified feedback, as well as allowing you to know if your writing is clear to anyone.

Stop playing ‘solitary genius’.

Don’t insist on starting with the first chapter. Start with what you know best and feel more comfortable writing about, then fill in the gaps.

Leave time for editing and try to take at least a one or two days long break in between writing and editing. 

Do not forget to fill in the gaps. When you revisit your writing, go through it with all these writing tips in mind as well as a conscience of what your most common mistakes are.

Use Hemingway in the final editing phase.

Quotations and footnotes

Since there are two kinds of sources (primary and secondary), there are also two kinds of quotations: either we quote a text which we will interpret, or we quote a text which supports your interpretation.

Some quotation rules to know:

“Quote the object of your interpretive analysis with reasonable abundance.”

 “Quote the critical literature only when its authority corroborates or confirms your statements. (...)  when quoting or citing critical [aka secondary] literature, be sure that it says something new, or that it confirms authoritatively what you have said.”

“If you don’t want readers to presume that you share the opinion of the quoted author, you must include your own critical remarks before or after the passage.”

“Make sure that the author and the source of your quote are clearly identifiable.”

“When a quote does not exceed two or three lines, you can insert it into the body of the text enclosed in quotation marks. (...) When the quote is longer, it is better to set it off as a block quotation. In this case the quotation marks are not necessary, because it is clear that all set-off passages are quotes, and we must commit to a different system for our observations. (Any secondary developments [like the quote’s reference] should appear in a note.) (...) This method is quite convenient because it immediately reveals the quoted texts; it allows the reader to skip them if he is skimming, to linger if he is more interested in the quoted texts than in our commentary, and finally, to find them immediately when need be.”

Some footnote rules to know:

“Use notes to add additional supporting bibliographical references on a topic you discuss in the text. For example, ‘on this topic see also so-and-so.’”

“Use notes to introduce a supporting quote that would have interrupted the text. If you make a statement in the text and then continue directly to the next statement for fluidity, a superscript note reference after the first statement can refer the reader to a note in which a well-known authority backs up your assertion.”

“Use notes to expand on statements you have made in the text. Use notes to free your text from observations that, however important, are peripheral to your argument or do nothing more than repeat from a different point of view what you have essentially already said.”

“Use notes to correct statements in the text. You may be sure of your statements, but you should also be conscious that someone may disagree, or you may believe that, from a certain point of view, it would be possible to object to your statement. Inserting a partially restrictive note will then prove not only your academic honesty but also your critical spirit.”

“Use notes to provide a translation of a quote, or to provide the quote in the original language.”

#studyblr #study motivation #studygram #writblr #writeblr #writing #writing tips #essay tips #dissertation #umberto eco #advice #writing advice #dissertation advice #academic #university #humanities #essay writing #academia #dark academia #light academia #literature #anthropology #history

[all-things-are-nothing-to-me]

On Self-Love and Gun Powder

My love for chaos is a fiery passion — a shotgun blast of liberated tension ripping through the levies of emotional suppression. Life and death interchange and overlap, dance and sing, giving birth to spontaneous tragedies that destroy the terminal boredom of immortality. With every death I am submerged in a flash flood of grieving emotion from which I re-emerge celebrating life, liberated from the bankrupt promise of futurist perpetuity, and fluid with the wrath of a riot exploding in every direction. I relinquish the tranquilizing lullaby of totalitarian peace and safety – a normalized artificiality created in response to the non-conforming variations within society. I reject order – like the one enforced by the commune of Western civilization — where sentient life is treated like mechanical units of production, and where those who do not conform to the civilized standards of mental and physical ability are marginalized for social ridicule and disposal.

And for this I praise chaos and all its confrontational hostility toward every god and government — from the institutions of morality to the tallest churches of technological advancement. If nihilism is the rejection of all that which is positioned above the individual, then I joyfully embrace it as my own. And in doing so I realize it would behoove me to regard myself as chaos. Because if I am to emerge from the flash flood of grieving emotions to celebrate life, what life is there of mine to claim without hostility toward all those who attempt to deprive me of it? I want to push on the edges. I want to see beyond the curtains of the communes, the communities, and all other ideologies that offer medicated peace in exchange for dangerous adventure.

If nihilism means life beyond the ideological workerism that builds walls and compounds of safety then I dance and sing as a nihilist to the rhythm of every tsunami that creates art with wreckage. My only tragedy is the moments of life I surrendered to the belief that I was broken, disordered, and disabled. But the death of those moments now resting in pieces gives life to a new discovery of myself, to feral expressions that overwhelm every levy of emotional control, like clandestine flora breaking through asphalt. With gun powder affection and the courage that initiates a first kiss, I find self-love in collapsing those ivory towers of decorum; my melancholy and rage might be profitable targets for control and regulation by the dealers of chemical dependencies and escapes, but they are me! They are elements integral to my existence — informed responses to my surroundings. And even if I find them difficult at times, I embrace their existence as much as I embrace myself. And while I find even myself difficult at times, I am not a fucking science project for chemical escapism; I remain an embodiment of insubordination, the fluidity of unbridled emotions, the nihilist poetry of a tsunami in flux. I do not sympathize with conforming to behavorial servitude in order to preserve the general peace of subordinating civility! Rather than pacify my outrage or silence my despair, I have put all of society’s shame-on-mes and peer pressures to rest in coffins lined up for a bonfire in my head. And during their incineration, I will look up to the stars with a smile of admiration, for they are a dazzling beauty beyond the reach of civilized governance.

For better or worse I am me, the complete I, a storm living and breathing until I become one with the dirt and the infinite sky.

#flower bomb #anarchy #anti civ #individualism #individualist anarchism #Nihilism #green anarchy #anarcho nihilism #post left #anarchism #self care #self love