EXT. CAMELOT - CASTLE DAY
(The castle of Camelot stands over grassy hills and crystal clear rolling rivers and seas. Gray clouds cover the sky and hundreds of soldiers and knights can be seen riding toward the castle. Text appears on the screen reading “CAMELOT” and then “CENTURIES AGO”.)
INT. CASTLE - THRONE ROOM - DAY
(MORGANA LE FAY (Centuries-Old), a beautiful middle aged appearing woman with sharp features and long flowing black hair, sits on the throne and holds Excalibur, the Crown of Camelot sits upon her head. Knights and soldiers march in linear motions through the hall. DEWIN (30s), a scruffily charming magician, enters in handcuffs, with guards behind him. Dewin marches up and presents himself to Morgana. Everyone in the room halts.)
MORGANA: State your name.
DEWIN: You know my name, Morgana.
MORGANA: State your name.
DEWIN: Dewinson of Merlin.
MORGANA: You are being tried with treason and conspiracy against the crown. Do you plead guilty to these crimes?
DEWIN: That depends.
MORGANA: On what?
DEWIN: Who you consider the crown to be.
(Dewin slips his handcuffs off and as he does three Blue Jays come flying out of his sleeve and begin to fly around the room.)
MORGANA: Enough foolishness. I find you guilty of the accusations placed upon you.
DEWIN: Then kill me.
MORGANA: Hm?
DEWIN: Let’s skip past the chatter and get my head on a platter. You see what I did there? Chatter platter.
MORGANA: Silence! Death is far too good for you.
DEWIN: Do your worst, no matter what Camelot will fall.
MORGANA: Is that a threat?
DEWIN: A threat would be something I plan on doing to you myself, the fall of Camelot, well that will be purely your doing.
(Morgana gets off the throne and draws a glowing circle around Dewin with Excalibur, as she does so Dewin lets out a small laugh.)
DEWIN: Binding me? My imprisonment shall not halter the winds of time.
MORGANA: I banish you.
DEWIN: What?
MORGANA: From this plane of time and place I banish you.
DEWIN: Not even you have the power to do that. Banishment spells have been hidden away for ages.
MORGANA: Hidden away in scrolls buried in this very castle. Dilflannu o’r awyren hon.
DEWIN: No.
MORGANA: Dilflannu o’r amser hwn.
DEWIN: No, no, stop.
MORGANA: Dilflannu o’r meddwl. Rwy’n eich gwahardd!
(Morgana’s eyes turn purple and electricity sparks all around Dewin and seems to be sucking the energy out of him.)
EXT. LONDON - FOREST - DAY
(A plain and put together autumnal forest. Text appears over the screen reading “LONDON” and then “EIGHTEEN EIGHTY FIVE”. Electricity sparks and Dewin appears in the forest dazed and confused. He is covered in scars and almost immediately passes out face forward into the ground.)
EXT. LONDON - FOREST - DAY
(As night begins to dawn Dewin is still incapacitated. A carriage led by a horse named, Sally, comes through the forest and halts at Dewin. ALDEN SMITH (Early 40s), a plump and posh man with a defining bushy mustache, cautiously hops out of the carriage. Alden looks around for a moment before spotting Dewin. Alden approaches Dewin and checks his pulse through his arm. Alden’s eyes linger on Dewin for a moment before looking up.)
ALDEN: Hello!? Is anybody there!?
(Alden waits for a moment before looking back down at Dewin. Alden sighs and then lifts Dewin up and into the carriage before hopping in himself. Alden pulls on the horse’s reins and it begins to march forward.)
EXT. LONDON - WICING DRIVE - NIGHT
(Alden drives his carriage down Wicing Drive and parks in front of a townhome, Twenty Six Wicing Drive. Alden gets out of the carriage, carrying Dewin, and walks up the steps. MINERVA SMITH (Early 40s), a stern yet radiant woman, opens the door in shock.)
ALDEN: It’s a long story.
INT. TWENTY SIX WICING DRIVE - LIVING ROOM - NIGHT
(A stereotypical Victorian living room made primarily of oak and illuminated by two small oil lamps and a burning fireplace. Dewin is still incapacitated and lies on the table covered in bandages, Alden and Minerva hover over him. Bottles of ointment sit next to Dewin.)
MINERVA: What were you doing in the woods?
ALDEN: It’s the fastest cut home.
MINERVA: And you just-
(Minerva is interrupted by Dewin’s sighing as he wakes up.)
DEWIN: Ah! Where am I? Who are you?
MINERVA: My name is Minnie, and this is my husband, Alden.
DEWIN: What’s happening?
ALDEN: I found you all bruised in the middle of the forest. Do you know what happened to you?
DEWIN: Morgana le Fay banished me.
(Alden and Minerva glance at each other.)
MINERVA: Oh lord, I think you're a bit confused.
DEWIN: I am not confused. I am Dewin, son of Merlin. Now if you don’t mind, I’d like to ask if you could take me to a sage or healer?
MINERVA: Of course, Alden can take you tomorrow morning, but for the night you can stay here.
DEWIN: Why, thank you.
ALDEN: Minnie, may I speak to you in the other room?
MINERVA: Of course.
(Alden and Minerva step into the kitchen.)
INT. TWENTY SIX WICING DRIVE - KITCHEN - NIGHT
ALDEN: We can not keep this man in our home. He is mentally insane.
MINERVA: Which means we must watch over him.
ALDEN: I am looking out for our safety.
MINERVA: And where would we take him?
ALDEN: I don’t know. He is as mad as the Doeth man!
MINERVA: Then that’s where we’ll take him.
ALDEN: Stick to nuts together?
MINERVA: The man has some common sense and he’s very compassionate.
ALDEN: Perfect.
EXT. LONDON - ALDRICH’S HOUSE - NIGHT
(Alden and Minerva Dewin sit in their carriage with Dewin outside of a small house that is slightly separated from the other homes on the street.)
DEWIN: So this is the home of a healer?
ALDEN: According to him. I will go to the door alone, I do not want to scare him.
(Alden gets out of the carriage and starts heading towards the home.)
MINERVA: So you really do believe that you are the son of Merlin.
DEWIN: I know who my father was. Why is this such a puzzle for you and your husband to wrap your heads around?
MINERVA: Why I’ve only heard stories of Camelot, myths of ancient pasts.
DEWIN: So Morgana not only shifted my place but also the time.
(Alden knocks on the home's door and is greeted by ALDRICH DOETH (Hundreds Of Years Old), an older looking man with crystals strapped around his neck.)
ALDRICH: Doctor Smith, have they finally sent someone to take me away to a nuthouse?
ALDEN: On the exact contrary, I’ve found a wounded man who claims to have been sent here by Morgana le Fay.
ALDRICH: That’s what the shift was!
ALDEN: What? You know what it doesn’t matter, as long as you’re willing to take this man.
ALDRICH: Yes, yes, bring him to me.
ALDEN: Minerva, send him up!
(Dewin comes up to the door.)
DEWIN: Hello.
ALDRICH: My goodness, the energy pulsates off of you.
DEWIN (TO ALDEN): This is the healer?
ALDEN: Yes. Now if you two don’t mind I think I will be headed back on my way.
ALDRICH: Are you sure, Doctor? It’s getting rather late, you and your wife are welcome to stay here.
ALDEN: Thank you, but there’s no need.
(Rain starts pouring out of the sky out of nowhere and thunder and lighting begin.)
ALDRICH: What about now, Doctor?
ALDEN: Minnie! We’re staying here tonight!
INT. ALDRICH’S HOUSE - LIVING SPACE - DAY
(A cluttered mess of books, candles, and potions. Aldrich, Alden, Minerva, and Dewin sit on Aldrich’s circular array of couches and chairs.)
ALDRICH: Before we dive in I suggest you go wash off, Dewin. The washroom is that small one to your left.
DEWIN: Thank you, Aldrich.
(Dewin gets up and goes into the washroom.)
ALDRICH: I know what you two think of me, the neighborhood’s resident crazy.
MINERVA: Not at all, Mister Doeth.
ALDRICH: Don’t lie, Minerva, our actions all come back to bite us.
ALDEN: So we think you're mental, what of it?
ALDRICH: There are dark forces amongst us, Mister and Misses Smith. I believe that Dewin is here to save us.
ALDEN: I appreciate you letting us stay here, but I think it’s time we leave.
ALDRICH: I will change this storm into an earthquake to keep you here if I must.
ALDEN: Come on, Minnie.
(Alden and Minerva get up and go to leave when the whole room begins to shake.)
ALDEN: What’s happening!?
ALDRICH: I warned you.
(Aldrich makes silencing symbols with his hands and the storm and the shaking stops.)
ALDRICH: Now will you listen to me?
(Alden and Minerva both sit back down.)
ALDEN: What are you?
AlDRICH: A magician, a clairvoyant, a healer, I am all of those things and more.
ALDEN: Why do you want us here so badly?
ALDRICH: I don’t think it’s a coincidence that you are the one who found Dewin, Doctor Smith. He needs a guide in this vast new world. Prophecy states that when the second coming of the Camelot war comes, the savior will have a protector.
ALDEN: And why me?
ALDRICH: There are questions that only we can answer ourselves.
(Dewin comes out of the washroom and sits back down.)
ALDRICH: Dewin, please tell me exactly how you arrived here.
DEWIN: Morgana le Fay used an ancient banishing spell on me.
ALDRICH: The fall of Camelot.
(Suddenly a wind sweeps through the room that blows out all the candles.)
MINERVA: Mister Doeth, are you doing this?
ALDRICH: No.
(A match is lit in the center of the room to reveal GWENWYN LIGHTWOOD (Centuries-Old), a green draconic humanoid woman in black robes and a hood.)
GWENWYN: Aldrich.
ALDRICH: Lady Lightwood.
GWENWYN: I’ve tracked a shift in magic to your home.
ALDRICH: It is this boy, he was banished here from Camelot.
(Gwenwyn goes up to Dewin and takes her hood off to reveal her scaly appearance. Alden gasps in disbelief. Gwenwyn runs her finger down Dewin’s cheek.)
GWENWYN (TO ALDRICH): Hm. I presume you wish to let him roam freely?
ALDRICH: With guidance, yes.
GWENWYN: If one thing goes wrong you will be punished.
ALDRICH: I know.
DEWIN (TO GWENWYN): Who are you?
GWENWYN: The last of the dragons. Just as Aldrich is the last descendent of the Family Merlin.
DEWIN (TO ALDRICH): You're a descendant of my father?
ALDRICH: Of his sister, I have many of her poems and spell tombs still intact here.
GWENWYN: Magic is rare these days, endangered, most people don’t even know it exists. So are we under agreement on the boy, Aldrich?
ALDRICH: Yes, but something is still troubling. If you and I both felt Dewin’s presence then-
GWENWYN: Benjamin did too.
DEWIN: Who is Benjamin?
ALDRICH: A descendant of Morgana who wishes to rule the earth under her ideals.
GWENWYN: A very very dangerous man who will certainly kill me if he finds me here.
(Gwenwyn’s match extinguishes and after a moment the candles all reignite but Gwenwyn is gone.)
ALDEN: By Jove!
ALDRICH: So do you all accept this challenge?
DEWIN: What challenge?
ALDRICH: Defeating Benjamin Fayle.
DEWIN: Of course!
ALDEN: Absolutely not.
ALDRICH: Are you that repulsed by compassion?
ALDEN: I can’t risk Minerva of I’s life on what could all be me hallucinating.
ALDRICH: You're risking the world for a craven excuse.
ALDEN: Goodbye.
(Alden gets up.)
ALDEN: Let’s leave, Minnie.
MINERVA: Thank you for your hospitality, Mister Doeth, and good luck.
(Alden leaves, followed by Minerva.)
EXT. LONDON - ALDRICH’S HOUSE - NIGHT
(Alden and Minerva ride through the street in their carriage.)
MINERVA: We were definitely drugged.
ALDEN: Absolutely.
EXT. LONDON - WICING DRIVE - NIGHT
(Alden and Minerva hop out of their carriage.)
ALDEN: I’m going to bring Sally back to the stables.
MINERVA: Goodnight, love you.
ALDEN: I love you most.
(Minerva goes up and enters Twenty Six Wicing Drive as Alden detaches Sally from the carriage and begins to guide her down the cobbled sidewalk with one of his hands on her reins.)
EXT. LONDON - FOREST - NIGHT
(Alden guides Sally through the forest to a set of stables. Sally suddenly rears up and neighs in terror.)
ALDEN: What is it Sally?
(Sally suddenly breaks off her reins and runs towards the stables. A figure in a dark purple hood and robe sweeps past Alden and their eyes glow purple. Alden screams.)
INT. TWENTY SIX WICING DRIVE - BEDROOM- DAY
(Alden and Minerva lay next to each other asleep in bed. Alden wakes up screaming which awakens Minerva.)
MINERVA: What’s the matter?
ALDEN: Just a night terror.
MINERVA: We did the right thing with Dewin, he’s with someone like him now.
ALDEN: Is that really a good thing? I think I’m going to go to the pub.
MINERVA: This early in the morning?
ALDEN: I need to clear my head after yesterday.
INT. GRIFFIN’S TAIL PUB - DAY
(A traditional Victorian pub. Dewin sits at the bar and is served by BRYNN CROWING (Early 30s), a charming bartender.)
BRYNN: What can I get you, Mate?
DEWIN: Just a pint of mead, please.
(Brynn goes and pours Dewin a pint of mead that she brings back to him and he begins drinking.)
BRYNN: I like your outfit, it’s very medieval.
DEWIN: It was made by the tailor of Sir Gawain.
(Brynn gives a light chuckle.)
BRYNN: What’s your name?
DEWIN: Dewin, and yours?
BRYNN: Brynn.
(Alden enters and sees Dewin. Alden leaves, but as he does he spots another person in a dark purple robe and hood with glowing purple eyes.)
DEWIN: You're very beautiful.
BRYNN: Why, thank you.
DEWIN: Would you like to go for a stroll?
BRYNN: My shift here doesn’t end till six.
DEWIN: Then I’ll see you then.
BRYNN: I guess you will.
(Dewin finishes his mead and drops two silver coins with dragons etched into them on the bar before swiftly leaving. Brynn picks up the coins and looks at them with confusion and yearning.)
EXT. LONDON - ALDRICH’S HOUSE - DAY
(Alden knocks on the door and Aldrich opens it.)
ALDRICH: I’ve been expecting you, come in.
(Alden follows Aldrich into the home.)
INT. - ALDRICH’S HOUSE - LIVING SPACE - DAY
(Alden and Aldrich sit across from each other.)
ALDRICH: Can I offer you some tea?
ALDEN: No thank you, I want to be in the clearest state of mind possible here.
ALDRICH: So what ignited your appearance here?
ALDEN: I’ve been seeing these people.
ALDRICH: Who are “these people”?
ALDEN: They wear these dark robes and their eyes glow purple.
ALDRICH: Faley’s society.
ALDEN: What?
ALDRICH: Benjamin Faley, the evil man I mentioned last night. Is this what caused you to believe?
ALDEN: What are you saying?
ALDRICH: That you believe in magic.
ALDEN: You're mad.
ALDRICH: Exactly, so the fact that you came to me shows that there’s at least one lingering thought in your mind that magic is reality and reality is magic.
(There’s a moment of silence between Alden and Aldrich.)
ALDRICH: Where have you been seeing the people you mentioned?
ALDEN: Everywhere that Dewin has been.
ALDRICH: Oh no, oh no, no, no.
ALDEN: What is it?
ALDRICH: Dewin is going out with a woman tonight.
ALDEN: Already? He’s only been here for a day.
ALDRICH: He's charming but also so foolish. You must watch them, in case Faley strikes or even worse this woman is working for him.
ALDEN: What could I even do to stop that?
ALDRICH: You are destined to protect Dewin, and at this point your logic for denying all of this is purely irrational. You're not hesitating because you think it’s not real, you're hesitating because you know it is. He is meeting her at six outside of the “Griffin’s Tail”.
ALDEN: I’m not going.
ALDRICH: We both know that you will.
ALDEN: Farewell, Mister Doeth.
ALDRICH: May the spirit of Merlin be with you, Doctor Smith.
(Alden gets up and leaves.)
EXT. LONDON - GRIFFIN’S TAIL PUB - NIGHT
(Dewin stands outside of the pub when Brynn comes out of the side door and walks towards him.)
BRYNN: I wasn’t expecting you to show.
DEWIN: Why wouldn’t I?
BRYNN: Most men flirt and then leave, half of them are married.
DEWIN: They are not true gentlemen then.
BRYNN: I suppose not.
DEWIN: Shall we begin walking?
BRYNN: Sure.
EXT. LONDON - STREETS - NIGHT
(Dewin and Brynn stroll down the streets of London. Alden follows them from a distance.)
DEWIN: This world is so beautiful.
BRYNN: Compared to all the other worlds you’ve been to?
DEWIN: Well Camelot obviously has a better scenic view.
BRYNN: Camelot?
DEWIN: My home land.
BRYNN: You're full of jokes.
DEWIN: I’m not joking.
BRYNN: What?
(Suddenly someone grabs Brynn into an alleyway and she screams. Dewin quickly turns to see no one beside him and runs after her, followed by Alden.)
EXT. LONDON - ROOFTOP - NIGHT
(The clear skies suddenly turn gray and ominous as Dewin arrives on the roof of a building to see three people with glowing purple eyes in the dark purple robes and hoods with one standing in the center holding Brynn with a dagger to her neck. Alden arrives on the rooftop.)
ALDEN: Bloody hell!
DEWIN: Let go of her!
(The three people take off their hoods and their eyes go to normal shades. The person holding Brynn is revealed to be DABRIA (30s), a menacing looking woman.)
DABRIA: Dim mynd i mewn dim dianc.
(A purple hazy force field appears around the edges of the rooftop.)
DABRIA: So you are the one sent to stop us.
DEWIN: What do you connote?
DABRIA: We are the Citadel of le Fay.
DEWIN: Oh no.
DABRIA: Who are you?
DEWIN: My name is Dewin, I am the son of Merlin, and I demand that you let Brynn go.
DABRIA: Why? Is she your protector?
BRYNN: Dewin, what are they talking about!?
(Dewin starts to move his hands around and a wispy blue energy begins to come out of them.)
DABRIA: Get him!
(The two other people with Dabria rush towards Dewin to attack him, but he uses the energy he created to push them around and drop them both to the ground. Dabria drops Brynn and her dagger and Alden rushes to pick up the dagger and succeeds.)
DABRIA: You are foolish, Dewin.
(Dabria pulls a gun out of her robes and shoots it at Dewin but he turns the bullet into a flower. Dabria shoots more but each time Dewin does the same thing until Dabria is out of bullets. Alden sneaks up behind Dabria and stabs her in the back. Dabria shrieks in pain and then disappears in a cloud of black smoke. Brynn gets up off of the ground.)
BRYNN: What the hell just happened?
DEWIN: Are you okay?
BRYNN: Not mentally. What in the world is going on here? How did you turn bullets into flowers!?
DEWIN: I told you I’m from Camelot.
(Alden drops the dagger.)
ALDEN: Did I just kill that woman?
DEWIN: Most likely not, you didn’t stab deep enough to hit any organs.
BRYNN: What do we do now?
DEWIN: Go home and call it a night.
BRYNN: I can’t forget about this.
DEWIN: I’m not asking you to.
ALDEN: If any of us speak of this people think we’re insane.
DEWIN: Then don’t speak of it.
BRYNN: Will I see you again, Dewin?
DEWIN: Did you enjoy tonight?
BRYNN: I was almost killed.
DEWIN: That doesn’t answer my question.
BRYNN: Meet at the pub on Friday after my shift.
INT. TWENTY SIX WICING DRIVE - LIVING ROOM - NIGHT
(Alden and Minerva lay next to each other.)
MINERVA: Do you think the Citadel will return?
ALDEN: Unequivocally.
MINERVA: What have we gotten into?
INT. BENJAMIN’S LAIR - NIGHT
(A cavern full of crystals and magical runes. BENJAMIN FALEY (30s or 40s), an attractive but uptight looking man, sits on his throne. Dabria enters and walks to face the throne, she bows and then gets back up.)
BENJAMIN: Did you find him?
DABRIA: Yes, Master Faley.
BENJAMIN: And did you find his protector?
DABRIA: Yes, but it’s not the girl.
BENJAMIN: Then who?
DABRIA: A Doctor Alden Smith.
BENJAMIN: Did you kill the doctor?
DABRIA: He deeply wounded me.
BENJAMIN: Then the battle goes on.
DABRIA: For Morgana.
BENJAMIN: For Morgana.
INT. ALDRICH’S HOUSE - LIVING SPACE - NIGHT
(Aldrich and Dewin sit across from each other drinking tea.)
ALDRICH: There are many things in this world, Dewin…
INT. GWENWYN’S CAVE - NIGHT
(Gwenwyn stands in the middle of a circle of candles. She stretches out her hands and forms magic blue charts and graphs with a picture of Dewin.)
ALDRICH (VOICE OVER): Forces we can’t explain…
EXT. LONDON - ALLEYWAY- NIGHT
(Brynn wears only her undergarments and takes a few coins from a man.)
ALDRICH (VOICE OVER): Secrets we hide…
INT. BENJAMIN’S LAIR - NIGHT
(Benjamin sits on his throne.)
ALDRICH (VOICE OVER): And villains we must defeat.
INT. ALDRICH’S HOUSE - LIVING SPACE - NIGHT
ALDRICH: You are the key to this all, Dewin, you are the son of Merlin.

Collanite Season 1: Storyline: one day, during day of the blood ring on monstinia, a portal made of this excess energy formed in the relatively small but populated and active island, known as aphrodite, not only that, but it also created a energy dome around itself, that slowly grew until it covered the entire island, causing strange, anomalous events to occur on the island. On further investigation, it was discovered that these events only affect aphrodite. Later on, from the same portal, a group of people from another world fell through into the island and started colonizing it for themself. Theme: strange, otherworldly characters have entered aphrodite
Locations: Monster Metropolis, Saltwater Shore, Skier Slopes, Doggy Diner, Peace Pond, Mount Anon, Starlit Suburb, Golden Saucer, Cozy Cabins, Sakura Swim Club, Misty Mesa, Sacred Shrines
Skins: Travis Touchdown(1), Link(22), 2b(43), Glamrock Freddy(62), Monika(84), Cloud Strife(100)
Destruction Tools: Blood Berry, Ancient Battle Axe, Virtuous Contract, Glamrock Mic, Heart Pen, Buster Sword
Backblings: Blood Berry, Hyrule Shield, Virtuous Contract, Glamrock Giftbox, Poetry Book, Buster Sword
Emoticons: Ancient Bow Drawn, Well Done Superstar, MonikaHeart, Confident Cloud
Gliders: Demzamtiger, Wild Paraglider, yoRHa Flight Unit, Car Battery, Poetry Book, Hardy Daytona
Contrails: Sheikah Symbol, Pod 042, Blue Boltz, Glitching, Materia Orbs
Emotes: Beam Showoff, Milk Drink, Slate Check, Phut Hon, Glamrock Wave, Glamrock Giftbox, Write Your Heart, Code Panel, Piano Practice, Victory!
Weapon Wraps: Tunic Of Memories, yoRHa Specialist, Glamrock Shell, Doki Hearts, Buster Steel
Music Pack: Berry Beatdown, Open Wilds, Blissful Death, Pizzaplex Performance, Your Reality, Let The Battle Begin
Weapon Charms: Jeane, Triforce Of Courage, Superstar, Chibi Sayori, Chocobo
Loading Screens: View Of The Wild, yoRHa Installation, Below The Pizzaplex, JuSt MoNiKa, Fantasy Evolution
Edit Styles: Purple Jacket(Travis Touchdown), Tunic Of Memories, Tunic Of The Wild, Well Worn Outfit(Link), 2p Mock Machine, Mask Off(2B), Dirty Freddy(Glamrock Freddy), Paper President, Ghost Menu Monika, Ponytail Monika, Jumpscares Monika(Monika), Playstation Polygonal(Cloud Strife)
Wildlife: Goose, Chocobo, Wolf, Horse, Snowcoat Fox
Weapons: Thrasher Assault Rifle, Thrasher Burst AR, Thunder Shotgun, Buster Shotgun, Calamity Submachine Gun, Sacred Submachine Gun, Tactical Pistol, Drum Pistol, Ancient Sniper Rifle, Monster Grenades, Silver Longsword, Royal Guards Sword, Beam Katana, Silver Knife, Bronze Knife
Items: Crafting Station, Pizza Box, Pizza Slices, Maple Sprout, Maple Vines, Apple, Baked Apple, Maple Pie, Raw Meat, Meat Skewer, Knights Shield
Weekly Challenges/Updates:
Week 1.
Visit Named Locations (3)
Deal Damage With The Bronze Or Silver Knife (300)
Search Loot Crates (5)
Plant A Maple Sprout, Then Consume Maple Vines (2)
Eliminations With Beam Katana (1)
Week 2.
Visit Starlit Suburb, Then Block Damage With A Shield (200)
Retrieve A Stolen Item From A Goose
Search Uncommon Or Rare Loot Crates (3), Deal Damage With A Thrasher Assault Rifle Or Thunder Shotgun (500)
Tame Horses Or Wolves (1)
Deal Damage With The Royal Guards Sword While Riding On A Horse (350)
Added: Bows, Arrows, Milk Bottles
Week 3.
Fire Arrows At Opponents (8)
Land At Sacred Shrines And Reach Top 50 (1)
Interact With yoHRa Pods (3)
Craft A Shotgun Or SMG Using The Crafting Station (1)
Deal Damage With A yoRHa Assault Rifle (300)
Added: yoHRa Assault Rifle
Week 4.
Pick Up Or Purchase A Pizza Box (1)
Visit Doggy Diner And Consume Pizza Slices (5)
Perform Dodge Rolls With The Knights Shield (3)
Construct A Stage Inside Of Doggy Diner (1)
Eliminate Opponents With The Silver Knife (5)
Week 5.
Visit The Clubroom At Starlit Suburbs (1)
Eliminate Opponents At Starlit Suburbs Or Sakura Swim Club (3)
Consume Cupcakes (5)
Collect A Fazer Blaster And Stun An Opponent Using It (1)
Delete Opponents By Eliminating Them With Four Hits Or Less (1)
Added: Apple Pie, Fazer Blaster
Week 6.
Visit Sacred Shrines Or Sakura Swim Club, Drink Milk Bottles (3)
Collect Torn Poem Pieces Scattered Around Starlit Suburb (7)
Restore Health And Stamina Using Meat Skewers (75)
Deal Damage Using Monster Grenades (150)
Destroy Structures With Beam Katana In A Single Match (20)
Week 7.
Consume Apple Pie (1)
Investigate Strange Energy Signals At Monster Metropolis, Mount Anon And Skier Slopes (3)
Collect A Tactical Pistol And Deal 150 Damage Using It
Piece Together The Torn Poem Pieces Into A Full Poem (7)
Get An Elimination With The Ancient Sniper Rifle (1)
Week 8.
Deal Damage With The Buster Sword (175)
Land At Golden Saucer
Block Damage With The Knights Shield 30 Seconds After Landing (150)
Visit Skier Slopes And Cozy Cabins In A Single Match
Land At Monster Metropolis And Deal Damage With The Buster Swords Cross Slash Or Blade Beam Attack (100)
Added: Buster Sword.
Week 9. Deal Total Damage With The Calamity Smg and Royal Guards Sword In A Single Match (300)
Consume Baked Apples, Maple Pies Or Pizza Slices In A Single Match (8)
Visit The Clubroom At Starlit Suburbs, Read The Pieced Together Poem (1)
Use The Buster Swords Cross Slash To Deal Damage In Different Matches (3)
Tame A Chocobo And Ride It 250 Meters
Week 10.
Interact With The Strange Gauntlet At Mount Anon (1)
Eliminate Opponents Using The Buster Sword (3)
Investigate Strange Objects Appearing At Monster Metropolis, Saltwater Shore, And Misty Mesa (1)
Defeat Prismarine Warriors (5)
Visit Named Locations In A Single Match (3)
Added: Prismarine Warriors, Prismarine Knife
End Event: Power Theft The event starts players around Mt. Anon. The event starts with an anomaly opening up at mount anon and from ot, Romeo the admin appears and steps out laughing maniacally “it is time, people of aphrodite. Time that I take this islands power for my own!” Romeo then rises up into the air, hovering above the center of mt. Anon.. then 2b rushes up the side of the mountain and slashes Romeo with the virtuous contract, causing him to yell out in pain for a moment before quickly composing himself and fires a blast of lava towards 2b, knocking her off the mountain and onto the ground with a thud. He then fires another blast, attempting to finish off the islanders of aphrodite, but monika forms a shield of code that absorbs the blast before closing it. “Don’t worry about him, we’ll stop him before he can do anything harmful” monika says, and then both cloud and travis run up to the mountain, weapons drawn- and then in sync, they jump up into the air and travis performs quick and powerful slashes with his beam katana, while cloud fires multiple blade beams at Romeo, greatly damaging him and knocking him back down onto the mountain, as they both fall back down sure they’ve beaten him.. and they took that moment to rest, but just then as soon as they let their guards down.. romeo began laughing before getting up and dusting himself off and commanding his army of prismarine colossus to rise up from the water around the island and attack everyone on it. Then saying “Now, back to absorbing this pathetic heart of yours” and forming a small protective shield around himself and firing two guardian beams at the center of the island, glamrock freddy then throws everyone a Fazer blaster to stun the colossi, allowing the rest of them to fire at them while they can’t move. Romeo then attempts to pull the power heart out, causing a small tremor as the power heart is ripped out from the core of the island, then once it’s all the way exposed he begins using the beams to absorb the crystallic energy. once the first set of colossus fall, another one walks up from the water almost immediately, and then monika seeing this, says “it’s no use. They just keep coming..” then she gets an idea, and says “alright, I have an idea. But- it’s a risky one..” “if the powerheart becomes corrupted, then it’s dark energy will drain the energy and power of anything making contact with it..” “but, as the heart is what controls everything on this island. If it gets corrupted, the islands landscape and everything would also become corrupted and sinister.. but it’s the only way” monika hesitates for a moment before manipulating and corrupting the powerheart. as the heart grows darker and begins to crack slightly, the influx of dark energy causes romeos beams to backfire, draining him of all his energy and admin powers and causing him to fall out of the sky, back onto the mountain and sliding down the side of it, hitting various things on his way down before eventually coming to a stop on the ground surrounded by everyone else. Romeo then lets out a weak cough, saying in a weak raspy voice “what.. h-happened?..” and link chimes in saying “you just got defeated by us.. now.” And link draws his sword, ready to finish off romeo.. but before he can, the powerheart lets out a big burst of dark energy, knocking everyone back and leaving a decent sized crater around it.

Chapter 4
Location: Glimmer Fate
POV: Faror Hend
No rain on the plains in Glimmer Fate. High black grasses make the area extremely hot. Faror Hend is patrolling the edge of the Vitr Sea with her cousin Spinnock Durav. The shore of the Vitr Sea is devoid of life and the breeze coming off of it stings the lungs. The liquid of the sea dissolves almost anything it comes into contact with including stones. Spinnock is sharpening his Hust blade on a stone that has been worn away by the sea. His blade is very old and therefore does not sing. It's new to him, but has been passed down for generations. A third rider in their party, Finarra Stone, was scouting the shoreline out of sight. Nothing lived this close, so it was safe to go alone. Today the Vitr is calm, but recently it has not been and storms had resulted in its claiming more land for the sea. The sea is expanding. Eventually it will come to the border of Kurald Galain if they cannot find a solution. The Tiste have no idea what the source of the Vitr is and how to stop it's expansion. Tiste scholars are also unwilling to consult with anyone outside the Tiste.
Faror Hend is extremely attracted to Spinnock Durav, but their houses are too close in relations for her to act on this attraction. Plus she is betrothed and older, although these would not be a barrier to her. Faror thinks of a line from a Gallan poem, "The ground is bare and hard / and will hold all secrets / and the sky cares not / for the games of those beneath it." She desperately wants to act on her lust, but so far has kept in control. Faror is a big Gallan fan. Spinnock seems to know how his cousin feels and teases her.
POV: Captain Finarra Stone
During her patrol of the Vitr coastline, Finarra finds a carcass. This is puzzling as she has never seen one this close to the sea. It appears to have come out of the sea itself. The corpse is huge with scales and a tail. But a lot of the body eaten away by the Vitr. The head and neck were missing and the top of the torso appears chewed. Very few Tiste had ever claimed to have seen a dragon, but this could be one. However, those legends all had them with wings and Faror did not see any evidence of wings on this beast. A breeze brought the stench to the horse and this caused it to back up a few steps making noise. At this the stump where the neck should be lifted. The creature begins shuffling towards her. With an unbelievably fast lurch it closes the distance and swipes at Faror and her horse with two arms catching the horse with both swipes. Faror finds herself tumbling through the air. She lands on her shoulder and breaks something. The beast is still again after decimating her horse. She decides to head for flatter ground to make better time back to her party. She is the daughter of Hust Henarald and possesses his sword. Her biggest threat now were the naked wolves that roamed Glimmer Fate. Faror contemplates the meaning of dark and light and the impossibility of either without the other. She also says that Mother Dark had been a mortal Tiste woman before embracing darkness. While Finarra is contemplating, something screams at her intending to freeze her with fear. Finarra mortally wounds it as it streaks by.
POV: Faror Hend
Hearing the screams of the wolves and no sound of their prey, Faror fears Finarra is the prey. She has not returned and it has been too long. Faror decides to leave Spinnock at camp and go to investigate. He tells her to be careful and he doesn't want to lose her. She responds by saying that he has many cousins. Faror can hear at least a dozen wolves and knows that it is likely that Finarra is fighting by herself without her horse. Thinking of Spinnock's face, she attempts to replace it in her mind with her betrothed, Kagamandra Tulas. A Tiste who the war had made gaunt. Tulas was of a low house and was under the command of Vatha Urusander. This alone would not have made house Durav attempt a betrothal. However, in the war he had saved the life of Silchas Ruin and by doing so had earned the favor of Mother Dark who would reward him by making him the head of a new High House. She thinks that the war stole Tulas's ability to love anything and she is not sure she can love him either, but she will try.
Eventually she finds the place of the wolf attack. There are many dead wolves. The fighting is over, but she does not see Finarra. She thinks further down the trail she will find wolves eating her corpse. Finarra comes out from behind some boulders. Faror begins to speak, but Finarra tells her to speak softly as something has walked out of the Vitr. Finarra chastises Faror for beginning to follow the path through the grasses that would have led to her death. Faror discovers that she had almost welcomed it. Finarra was tracking whatever had walked out of the Vitr when she came upon Faror. "Small footprints, puddles of Vitr pooled in them" She tells Faror that it is their duty to track it.
POV: Finarra Stone
Finarra in a lot of pain from her shoulder and wolf bites, contemplates the look she caught in Faror's eyes. One that told her she was seeking death. She thinks the cause may be Faror's betrothal to a broken man that may be incapable of love and being in close proximity to Spinnock who oozes it. "Spinnock Durav had been pursued by women and men since he had first come of age. He had learned to not give up too much of himself, since those hands reaching for him desired little more than conquest and possession." Finarra has also caught Spinnock's adoration of his cousin turning in to something else. She knows this kind of torture between them will ruin them. She contemplates how to fix the situation. Transferring one might work, but also thinks of another more sure answer.
POV: Faror Hend
Faror and Finarra are both on the back of Faror's horse. Finarra is unconscious and Faror is having a difficult time keeping her on the horse. She thinks about Finarra only being a few years older than her, but already being a battle veteran. She realizes that the wolves she found were not the ones killed by Finarra, but those of the someone that came from the sea. Faror makes it back to the camp. They treat the unconscious woman's wounds fearing infection.
POV: Spinnock Durav
They had burned away the dead flesh and infection on Finarra's leg hoping they got it all. Finarra has not woken up and is fevered. Spinnock outlines their options whether to stay until Finarra wakes up or to try to transport her as is. Faror informs him that Finarra wanted them to track the stranger from the Vitr. Faror tells Spinnock that Finarra needs a healer and soon, but they also need to track the stranger. Faror will go after the stranger and Spinnock will take Finarra to the outpost. Spinnock follows orders, but now there is a coldness between the cousins.
Following the trail she had discovered the previous night, Faror Hend found several more wolf corpses all killed with savage blows. The path she now followed, if kept straight, would lead directly to Kharkanas. Eventually she comes to a clearing and finds a fair-skinned, blonde woman clothed only in a scaled wolf hide over her shoulders. Everywhere else was sunburnt. She appears young and has no weapon, which is curious considering her roughly cut hair and several wolf corpses. Faror says she means no harm and asks if she is an Azathanai. To this the woman responds, "I know your language. But it is not mine. Azathanai. I know that word. Azat drevlid naratarh Azathanai. The people who were never born." After a few questions that the woman cannot answer, she tells Faror that she recalls nothing not even the sea she came out of or her own name. Faror tells the woman that she will escort her to Kharkanas to meet with Mother Dark and gives the woman a Tiste name until she can recall her own. The name is T'riss. Upon hearing this the woman smiles and says, "I am “born of the sea”. Faror asks if she will walk or ride with her. T'riss says that Faror's horse looks useful and she will have one too. She turns to the grasses and conjures a horse out of them. It seems that it's weight is too much for the grasses used. Looking at Faror, T'riss then conjures clothes, lance, and a sword out of the same grasses. This scares Faror because it is god-like sorcery. "‘Mother Dark.’ T’riss smiled. ‘That is a nice title.’"
Location: 3 days out from Neret Sorr
POV: Sharenas Ankhadu
Sharenas likes the heat. She tans nice unlike most of her cohort. She hates the cold and remembers her time in the campaign against the Jheleck unfondly. She is the commander of her cohort. Her sister and cousin, Infayen Menand and Tathe Lorat, are greatly renowned in the legion and being related to them saw high expectations settled onto Sharenas's shoulders. Her relatives are not currently with the legion. Hunn Raal and Osserc are in the vanguard and Ilgast Rend was not happy to be with them. He questions whether or not Urusander knows what Hunn Raal is doing. Osserc backs up Raal and so Ilgast drops the inquiry. Sharenas thinks Osserc is lying when he says his father knows of and approves this expedition. Sharenas thinks, "Hunn Raal is honourable. He knows what he is doing, and he knows, as do we all, that what he is doing is the right thing to do" She thinks Osserc is impulsive and has a thin skin, but Hunn Raal keeps him from making brash decisions. 3 cousins of Hunn Raal also accompanied them. Serap, Risp, and Sevegg all sleep with Hunn Raal, but their second cousins so it's not illegal. The last of their party is Kagamandra Tulas. He is forbidding and dangerous and hadn't spoken since their departure. They are heading towards the Warden outpost where Tulas's betrothed is stationed. Sharenas asserts that every woman could see that Tulas is dead inside and left his soul in the war. That he longs for death. She contemplates that once Urusander remakes the Tiste into a meritocracy, that arranged marriages will no longer be. Ironically because Tulas had given so much in defense of the Tiste he would be a prize as a husband. She pities Faror Hend and her future with this man. However she considers that Faror, just days after the betrothal, signed up with the wardens to get herself as far away as possible. Sharenas is very interested in witnessing the meeting between Tulas and Faror. She resolves to help Faror out of her predicament although it is only for her own amusement.
POV: Ilgast Rend
Ilgast does not like Hunn Raal or Osserc, thinking the former vain and arrogant and the latter nothing like his father except in appearance. Ilgast does not approve of all the debauchery that his fighting had bought for the Tiste. He thinks that Urusander has lost the plot himself. It wouldn't be long before the legion rebelled under his indifference. He would love it if Draconus was put in his place, but fears this would result in great bloodshed and does not want that. He also knows that if Hunn Raal is allowed to lead the legion in Urusander's absence, civil war was assured. "In a world of blood, everyone drowns". Ilgast is disappointed in Sharenas, thinking she would be wise enough not to fall into the wake of Hunn Raal. He feels he is in the middle of this brewing conflict being of a major house and also a cohort commander in Urusander's legion. Hunn Raal thinks he will help him convince the wardens to join his cause. However, he knows Calat Hustain will not join Hunn Raal. He is far too loyal to his own house. Ilgast remembers when Mother Dark was just a Tiste woman until she found the Gate. "Darkness was many things; most of all, it was selfish"

Week 2: Haikus and Free Verse - Lecture and Discussion
Objective: - Explore the concise beauty of haikus and the expressive freedom of free verse. - Understand the traditional structure and themes of haikus. - Discuss the flexibility and artistic possibilities in free verse.
Day 1: Introduction to Haikus - Lecture: - Definition and structure of haikus (5-7-5 syllable pattern). - Explanation of the traditional themes and nature focus.

• Discussion Questions:
  1. What appeals to you about the concise structure of haikus?
  2. Why do you think nature is a common theme in traditional haikus?
  3. Can you identify any famous haikus or haiku poets?

Day 2: Analyzing Haikus - Part 1 - Lecture: - In-depth analysis of classic haikus. - Exploration of the 5-7-5 syllable pattern and its impact.

• Discussion Questions:
  1. How does the 5-7-5 syllable pattern contribute to the rhythm of haikus?
  2. What emotions or images are conveyed through the haikus analyzed?
  3. How does the traditional nature focus enhance the themes of haikus?

Day 3: Analyzing Haikus - Part 2 - Lecture: - Discussing modern variations and themes in haikus. - Exploring the flexibility of the form.

• Discussion Questions:
  1. How have modern haikus evolved from traditional themes?
  2. In what ways does the flexibility of haikus allow for more diverse expression?
  3. Share your thoughts on the artistic possibilities in breaking away from traditional structures.

Day 4: Crafting Haikus - Part 1 - Lecture: - Step-by-step guide on crafting the first two lines of a haiku. - Emphasis on capturing a moment or emotion.

• Discussion Questions:
  1. How can you effectively capture a moment or emotion in just two lines?
  2. What challenges do you anticipate in adhering to the 5-7 syllable pattern?
  3. Share examples of moments or emotions that might inspire haikus.

Day 5: Crafting Haikus - Part 2 - Lecture: - Step-by-step guide on crafting the third line of a haiku. - Emphasis on creating a sense of resolution.

• Discussion Questions:
  1. Why is the third line of a haiku crucial in providing resolution?
  2. How can a haiku evoke a sense of completeness within the 5-7-5 structure?
  3. Share and discuss individual haikus, highlighting successful elements.

Homework Assignment: - Craft a haiku focusing on capturing a specific moment or emotion.
Study Guide Questions: 1. Reflect on the challenges of crafting the first two lines of your haiku. How did you capture a moment or emotion? 2. How did you approach creating a sense of resolution in the third line of your haiku? 3. What insights did you gain from the process of crafting a haiku?
Quiz: Assessment on the understanding of haikus, the 5-7-5 syllable pattern, and the expressive possibilities within this concise form.
Day 6: Introduction to Free Verse - Lecture: - Definition and characteristics of free verse. - Emphasis on the absence of a strict rhyme or meter.

• Discussion Questions:
  1. What intrigues you about the absence of rhyme and meter in free verse?
  2. How does free verse differ from more structured poetic forms?
  3. Can you think of any famous poets known for their use of free verse?

Day 7: Analyzing Free Verse - Lecture: - In-depth analysis of classic free verse poems. - Exploration of the varied structures and rhythms.

• Discussion Questions:
  1. How does the absence of rhyme and meter contribute to the overall feel of free verse poems?
  2. What impact does varied structure and rhythm have on the reader's experience?
  3. Share your thoughts on the artistic freedom provided by free verse.

Day 8: Crafting Free Verse - Part 1 - Lecture: - Step-by-step guide on embracing the freedom of expression in free verse. - Emphasis on the importance of imagery and emotion.

• Discussion Questions:
  1. How can you effectively convey emotion in free verse without relying on rhyme?
  2. What challenges do you anticipate in embracing the freedom of expression?
  3. Share examples of imagery or emotions you might explore in free verse.

Day 9: Crafting Free Verse - Part 2 - Lecture: - Discussing various techniques to enhance rhythm in free verse. - Exploration of line breaks and pacing.

• Discussion Questions:
  1. How can you create a sense of rhythm without a strict meter in free verse?
  2. Why are line breaks important in the pacing of a free verse poem?
  3. Share and discuss individual free verse poems, highlighting successful elements.

Day 10: Peer Review and Feedback - Activity: - Peer review workshop for free verse poems. - Focus on providing constructive feedback on expression, imagery, and rhythm.

Tissue
Polysemous title- Tissue • Tissue- paper + skin (human life is fragile [criticises arrogance, encourages us to protect]) • Also paper (not alive) + skin (alive)- criticises monotony of life, not really living • Tissue paper- found in bibles and holy texts, but fragile (overinflated importance of identity causing wars and discrimination, really it’s very fragile and identity isn’t real, we’re all just people (tissue as in skin)) • Tissue- used to wipe away tears, togetherness can reduce suffering • Tissue- medical term for deep skin- poem shows deeper nature of humans and our potential for goodness, can be wounded and damaged by outside influences but can always heal
"Paper that lets the light shine through, this is what could alter things" - reference to religious texts paper, light as Jesus and Allah (power of religion) - or coexistence with nature (Dharker is a Muslim Calvinist)
Enjambment- freedom, lack of control of humans, rejecting constraints
Free verse- same thing
"Let the daylight break through capitals and monoliths" - power of nature, criticism of authority, weakness of humans- “break” violent personification, destroying authority, daylight + break = sunrise + hope
"The sun shines through their borderlines" - nature overcomes human segregation identity, criticism of war, power of nature) sibilance shows power, “their” still shows separation, criticise that
"fly our lives like paper kites" - childish metaphor, mocking control of money over life (criticism of authority)
"the back of the Koran" - “the” repetition shows importance, “back” shows it is hidden/shunned by society, still holding onto identity
"Transparent" - repetition, criticism of dishonesty of authority
Exposure
"Merciless iced east winds that knive us" - personification of wind shanking people (first line not about war but nature- more significant) (power of nature)- subtle sibilance (just as dangerous as bullets but most people don’t realise)- Germans were in the east, but the only thing from there is wind
ABBAC rhyme, structure is built only to be taken down (tension of soldiers expecting fight but let down)
Pararhyme- unsatisfying for reader, reflects how the soldiers are always nervous but never get to chill
“What are we doing here?” Rhetorical question to criticise authority, or actual question to show PTSD confusion, can be asking what they are DOING or why they are HERE
"For love of God seems dying" ok 1. The soldier's love of God is dying 2. God's love for the soldiers is dying 3. To show love of God, you should die
"forgotten dreams" - juxtaposition, loss of hope, forgotten dreams on purpose to be less sad? war made them forget? “forgotten” disassociated from PTSD, “dreams” as happiness from the past that seems unreal
“a dull rumour of some other war" reference to the Bible and Armageddon, metaphorical end of the world for the soldiers be suffering "sudden successive flights of bullets streak the silence" - sibilance represents sound of bullets, jolting reader out of relative lack of noises, feel like soldiers
Epistrophe "but nothing happens" cyclical structure, stuck in suffering
“we” “us” “our” collective pronouns, shared experience, comradeship, loss of identity, relatable to all soldiers
Kamikaze
Title- single word, only military rank- only seen as a kamikaze pilot by others
Structure- 6 lines per stanza but free verse and lots of enjambment- conflict between control and freedom (military/social expectations/duty vs love for family/nature/memories/life)
Constant shifts between first person and third person- disconnect from family due to shame
“Her father embarked at sunrise” -sunrise as power of nature + Japan’s military flag- conflict
“a shaven head full of powerful incantations” -incantations are deliberately vague- orders from military? prayers? inner conscience against it? It’s “powerful” tho and influences him, and it’s “full” showing his distress, shaved head like most kamikaze pilots
“green-blue translucent sea” beautiful imagery, “translucent” shows how things are unclear but getting clearer- nature helps him decide what to do
Describes fishes “like a huge flag”- patriotic semantic field shows brainwashing, but reduces as the poem goes on, simile shows how he is starting to disconnect and change his mind,
also as “a figure of eight”- shows thoughts of pride and prosperity-
“The dark shoals of fishes/flashing silver as their bellies/swivelled towards the sun” - • sibilance shows ocean noises and beauty, “dark” -> “flashing silver” things get brighter and easier to see- knows what to do thanks to nature • “Silver”- medals he would have gotten for being a kamikaze pilot, but true reward is in nature • “Sun”- represents beauty of nature and also Japanese flag- conflict but now there’s also nature in the mix • Belly up- death on his mind
“bringing their father’s home safe/-yes, grandfather’s boat- safe” repetition of “safe” shows reason to come back- wants to return to family, memories
“a tuna, the dark prince, muscular, dangerous.” • first mention of danger = power in the whole poem, danger to the mission as it causes the pilot to have doubts, true power is in nature and memory • First full stop in the poem and lots of commas- makes us stop and think like the pilot about what he’s abt to do
“laughed” “loved” at the end of the poem- all in past tense- nothing left for the soldier
“we too learned to be silent”- “learned” should be positive but contrasts with what they learnt- criticises how they were taught shame by the older generations- but it’s said in first person, the daughter is criticising this and teaching her children not to think that way
Poppies
Title- honours and grieves dead soldiers, short single word title shows full intent of the poem and how the mother’s life is consumed by grief
Dramatic monologue- emphasis on the domestic impact and how the soldier isn’t present in the poem
Free verse, enjambment- chaotic, lack of control over the son, distressed
Domestic + military semantic fields- life has been ruined by war
“Spasms of paper red, disrupting a blockade of yellow bias”- mix between war + domestic • “spasms” and “red” is injury and pain- mother is worried or is hurt by letting go (spasms is involuntary muscle action- involuntary letting go), • “paper” is the fragility of the son • “blockade” is military language showing her worry abt the conflict, how she wants to “block” her son from going into the military • “disrupting” the fabric - the son becoming a soldier disrupts the peace or she is trying to disrupt him from going to war
“The dove pulled freely against the sky, / an ornamental stitch”- dove represents peace and grief- she and her son is at peace with death, “pulled freely” is an oxymoron- inner conflict with grief or letting her son go, the comma shows a pause to reflect on the grief, the “ornamental stitch” metaphor for the mother (pretends to hold it together)
“I was brave”- takes down ideas of just the soldier’s bravery but also the mother’s, but past tense shows current weakness from grief
“Sellotape bandaged around my hand” • Bandage shows wounds • Sticks them together one last time- cat hairs are removed, no more reason to stay • Claustrophobic feeling- stuck in the domestic role, can’t go and protect the son
“Blackthorns of your hair”- religious connotations of Jesus on the cross, sacrificed for the country- metaphor for the son
History Boys
"Enemy of education" war metaphor and alliteration, opposition between true understanding of literature and grades only used shallowly “Cheat’s Visa”
"a fact of life" indisputable and unchangable, in opposition with Irwin's views on history (truth does not matter to him until now?)
Drummer Hodge: Intertextuality, Tom Hardy (the poet) represents Hector, sympathising with the ordeal of the youth, Drummer Hodge represents the Boys, thrown into the chaos of life without proper guidance
"She's my western front" war metaphor objectifies Fiona, personal pronoun further expresses how women were seen as objects to be owned
“... all the other shrunken violets you people line up" [you people] segregates gay people, [shrunken violets] derogatory language
"Some of the literature says it will pass" looking to literature for solace and comfort during a sexuality crisis
"All literature is consolation" Dakin changes his mind on literature symbolising him changing to Irwin's side. No need to look for solace in literature when he can pursue Irwin
Parallels with "all knowledge is precious" from Hector - A.E. Housman, one of the first intertextualities and used in the intro to establish his character
“cunt-struck” “a cunt”- Mrs Lintott repeats the colloquialism “cunt” twice, to describe Dakin as “cunt-struck” and Headmaster as “a cunt”. This is the hardest swear in the play and is used show that it wasn’t a slip of the tongue, and to break down stereotypes of women being gentle and passive
“history is women following behind with the bucket” - her big scene about women in history at the end of the play (which is typical for Alan Benett’s plays such as “Kafka’s Dick”) so it would be recent and stay in the audience’s mind when the show ended
Irwin intro as politician in the future "etc., etc." while talking abt freedom- that man gives no fucks about freedom really, just waffling on (first impression for the audience too!!)
Parallel with Holocaust debate- Lockwood uses the SAME EXACT PHRASE while talking abt how the holocaust was bad, (dismissiveness of mass genocide? in this education system? it’s more likely than you think) then goes on to argue that they should be unique with their arguments- Irwin passed on thr mindset even on such an important subject
Hector is set up to be looking cool and all (motorcycle scene dramaticness, greek name connotations, fav teacher) but is absolutely uncool when we get to know him- purposeful? "studied eccentricity" and all. clinging onto youth?
Posner is actually rather helpful as the "dictionary person" bc i doubt the audiences know what "otiose" means
SCRIPPS IS THE MOST RELIGIOUS ONE AND CLOSEST TO POSNER it can dismantle the idea that religion is against queerness
Irwin didnt know how nietzche was pronounced bc from what we know of him he would call Dakin out on that

I'm going to try to translate those top comment from Hupu for MSI, I might skip some of them as they are Chinese internet memes that I've no idea how to translate, and those comment related to Honor of Kings, a popular league like mobile game made by Tencent.
The rating is user poll generated, you can give a rating between 2 and 10, and average is used. A total of 725k people participated in this series' rating.
Hupu rating is an in APP feature so it doesn't really have a link, but here is the post match thread for the match, and on the top there is an link you can click on that get you to that page. link

MATCH 1: BLG vs. T1

Bilibili Gaming

	Player Rating	Top Comment
Bin Twisted Fate	9.8	This is our BLG's double marksman!
Xun Xin Zhao	8.3	Good tempo, but what give you the confidence to so steal blue by yourself?
Knight Taliyah	9.7	This game Trist kept getting fed kills, while you are the one controlling the tempo of the game, and give all the kill to your teammates, you are the true MVP of this game.
Elk Kalista	3.7	This game just treat Kalista like Tahm Kench.
ON Renata Glasc	9.6	"I didn't say you could go, did I?"
BigWei	5.5	Don't ban Nid against Gen.G but ban it against T1, are you drunk?

T1

	Player Rating	Top Comment
Zeus K'Sante	6.0	I often think what if Sang-hyeok brother is 10 years younger.
Oner Sejuani	3.8	Tarzan: I logged on.
Faker Tristana	2.8	Hey bro, maybe you should go tryout for the Old Guy Cup.
Gumayusi Senna	3.6	That herald in the baron pit, directly give BLG a way to go in, pure comedy.
Keria Nautilus	7.9	Looks a bit red from player cam.
kk0ma	3.4	Kenzhu: I'm going to keep picking Neeko next game.

MATCH 2: BLG vs. T1

Bilibili Gaming

	Player Rating	Top Comment
Bin K'Sante	8.9	So weird, you are the most in form, but bot lane is getting the highest priority.
Xun Wukong	3.5	You the only one pick Wukong this whole MSI, and last time you tried you got giga gapped, why pick it again, J4 and Xin would be so much better.
Knight Neeko	8.6	Not your fault, same like last series against Gen.G, bot feed a lot of kills and then blame you invisible.
Elk Varus	2.6	You were not human in any of the recent games.
ON Kalista	2.7	If you keep playing like this, I'm gonna go watch KPL.
BigWei	2.7	BigWei and rest of the coaching stuff come out and face the flame, why are you so focused on strong lanes, didn't you learn. Don't waste so many ban for mid, just tell left hand be more confident and pick a tempo champ, don't always think about laning. Pick some engage champ like Naut, Rell, Alistar, Camille for On, Xun could pick carry jungle like Nid or Kindred if there are engage already, else just pick J4, Sej, Maokai, Wukong. Bin watch out for Zeus last pick counter pick, don't be cocky, BLG fighting, please win this!

T1

	Player Rating	Top Comment
Zeus Camille	8.7	Using the T1 formula, if Zeus can carry, this game will be a stomp.
Oner Sejuani	8.7	You tempo is so good, so why are you kept picking Viego.
Faker Akali	7.1	Dude, what use do you have? I mean seriously, you are not really useful.
Gumayusi Draven	9.3	Why kept picking me Senna, am I weaker than them?
Keria Ashe	7.4	If you didn't ult the real Wukong, that last fight will turn out different.
kk0ma	6.8	No difference compared to Ham. (Laker coach.)

MATCH 3: BLG vs. T1

Bilibili Gaming

	Player Rating	Top Comment
Bin Twisted Fate	9.9	Fine red wine glitters in a jade chalice that glows in the night, next card will be a ace of heart. (The first part is a famous Chinese poem "葡萄美酒夜光杯", and the second part rhymes with that in Chinese.)
Xun Xin Zhao	9.2	That flash for flash at top was so critical, as a Yasuo main I felt the pain.
Knight Annie	9.8	Knight: Yagao, I don't know what to do. Yagao: ZhuoDing, maybe its time for Annie.
Elk Senna	9.5	WE.Jiumeng, UP.ELK, BLG.Husband is fighting for control of the body, husband is winning right now. (past name and nickname for Elk.)
ON Ornn	9.7	Gift a kill when fountain diving, champion at karma.
BigWei	7.7	Wow, did you just first pick Senna? (This was a 1 star rating comment, probably made right after the draft.)

T1

	Player Rating	Top Comment
Zeus Yasuo	2.5	Come duo with me, I'm silver, my username is weird top. (It is the name for a steamer 霸哥 that is known for been bad，farming under tower, and possibly using 3rd party software to cheat.)
Oner Nidalee	2.8	Oner: Nidalee, I don't know what to do now. Nidalee: What, who are you again?
Faker Zac	2.8	This Zac pick is like a summary of T1, once Faker dies, four turd pop out.
Gumayusi Kalista	2.8	So you are really an egg, either fried egg, or egg drop soup. (Those are dishes in China, and dish is called 菜, which also means bad when used in league.)
Keria Nautilus	2.9	OP
kk0ma	3.1	Kenzhu:Hmm, did you reuse your old password? 1557, such an easy password.

MATCH 4: BLG vs. T1

Bilibili Gaming

	Player Rating	Top Comment
Bin Twisted Fate	9.6	Tried your best.
Xun Vi	2.4	Fully responsible.
Knight Corki	7.2	When Chovy's Corki had an advantage, his teammate didn't decide to int.
Elk Varus	3.5	You finally got you condition under control, your jungler's is acting up again.
ON Nautilus	6.6	OK I guess, the support Naut is the only one that could face check.
BigWei	3.2	Xun's Vi, Elk's Varus, game is GG at BP.

T1

	Player Rating	Top Comment
Zeus K'Sante	8.0	Showmaker.jpg.
Oner Viego	8.5	Oner: Viego, I don't know what to do now. Viego: Who are you? Oner: I'm Zhao "JieJie" Li-Jie, don't turn around to look.
Faker Aurelion Sol	6.5	Head scratcher, inted at least 4 times.
Gumayusi Senna	8.3	Your ult is so clutch, so many key shields.
Keria Ornn	8.1	I upgrade based on age, Zeus sad :C.
kk0ma	6.0	Kenzhu: You still haven't change your password yet, I get to pick Senna and Asol again.

MATCH 5: BLG vs. T1

Bilibili Gaming

	Player Rating	Top Comment
Bin Camille	9.9	Best top in the world, LPL's pride, you deserves it!
Xun Xin Zhao	7.6	Your entire purpose this game is to facecheck.
Knight Neeko	9.7	Watching you whole game, you were laughing the whole game.
Elk Senna	9.3	I think I kinda get LCK's love for Senna now, and your Senna last year G5 against Gen.G, maybe Senna is actually good.
ON Ornn	9.8	Everyone is even before Letme.
BigWei	5.7	So dumb, I guess you've made enough money and want to retire, how did you BP like this?

T1

	Player Rating	Top Comment
Zeus K'Sante	2.8	Now you really became Bin's son.
Oner Viego	2.6	Viego: Wait, your are not Zhao "JieJie" Li-Jie, byebye.
Faker Taliyah	3.2	Faker, now its time to wake up from the sweet dream.
Gumayusi Varus	2.8	A kid came to T1, his Varus is flying. (A copy pasta for TheShy, original one is something like: A kid came to WE, his Riven is flying. It was an compliment, but in this case Guma's Varus was literality in the sky.)
Keria Nautilus	2.6	That flash hook clone is a bit cringe.
kk0ma	4.1	Password too hard, let me try other side's.

Week 3: Villanelles and Ekphrastic Poetry - Lecture and Discussion
Objective: - Explore the structured repetition of villanelles and the visual inspiration of ekphrastic poetry. - Understand the fixed form of villanelles and their emotional impact. - Discuss the interplay between visual art and written expression in ekphrastic poetry.
Day 1: Introduction to Villanelles - Lecture: - Definition and characteristics of villanelles. - Explanation of the ABA ABA ABA ABA ABA ABAA rhyme scheme.

• Discussion Questions:
  1. What intrigues you about the structured repetition of villanelles?
  2. Why is the ABA ABA ABA ABA ABA ABAA rhyme scheme significant in villanelles?
  3. Can you think of any famous villanelles or poets known for this style?

Day 2: Analyzing Villanelles - Part 1 - Lecture: - In-depth analysis of classic villanelles. - Exploration of the emotional impact through repetition.

• Discussion Questions:
  1. How does the repetition in the villanelles contribute to their emotional resonance?
  2. What themes or emotions are effectively conveyed through this structured form?
  3. Share your thoughts on the impact of repetition on the reader.

Day 3: Analyzing Villanelles - Part 2 - Lecture: - Discussing modern variations and themes in villanelles. - Exploring the versatility of the form.

• Discussion Questions:
  1. How have modern villanelles evolved in terms of themes and structure?
  2. In what ways does the fixed form of a villanelle challenge or enhance creativity?
  3. Share examples of emotions or themes that might work well in a villanelle.

Day 4: Crafting Villanelles - Part 1 - Lecture: - Step-by-step guide on crafting the first four lines of a villanelle. - Emphasis on creating a strong thematic foundation.

• Discussion Questions:
  1. What challenges do you anticipate in crafting the first four lines of a villanelle?
  2. How can you establish a strong thematic foundation within this repetition?
  3. Share examples of themes or emotions suitable for a villanelle.

Day 5: Crafting Villanelles - Part 2 - Lecture: - Step-by-step guide on crafting the final three lines of a villanelle. - Emphasis on creating resolution and impact.

• Discussion Questions:
  1. Why is the final three-line structure crucial in providing resolution in a villanelle?
  2. How can a villanelle evoke a sense of completeness within the repeated lines?
  3. Share and discuss individual villanelles, highlighting successful elements.

Homework Assignment: - Craft a villanelle focusing on a theme or emotion that lends itself well to repetition.
Study Guide Questions: 1. Reflect on the challenges of crafting the first four lines of your villanelle. How did you establish a strong thematic foundation? 2. How did you approach creating resolution and impact in the final three lines of your villanelle? 3. What insights did you gain from the process of crafting a villanelle?
Quiz: Assessment on the understanding of villanelles, the ABA rhyme scheme, and the emotional impact of repetition.
Day 6: Introduction to Ekphrastic Poetry - Lecture: - Definition and characteristics of ekphrastic poetry. - Explanation of the relationship between visual art and written expression.

• Discussion Questions:
  1. What interests you about the interplay between visual art and poetry in ekphrastic works?
  2. How might visual stimuli enhance or influence the creative writing process?
  3. Can you think of any famous ekphrastic poems or poets known for this style?

Day 7: Analyzing Ekphrastic Poetry - Part 1 - Lecture: - In-depth analysis of classic ekphrastic poems. - Exploration of how poets respond to visual stimuli.

• Discussion Questions:
  1. How does the visual inspiration impact the themes and imagery in ekphrastic poetry?
  2. What unique perspectives or insights can arise from responding to visual art?
  3. Share your thoughts on the relationship between the visual and the written in ekphrastic works.

Day 8: Analyzing Ekphrastic Poetry - Part 2 - Lecture: - Discussing modern variations and themes in ekphrastic poetry. - Exploring the diverse ways poets engage with visual art.

• Discussion Questions:
  1. How have modern poets expanded the themes and approaches in ekphrastic poetry?
  2. In what ways does the incorporation of visual art broaden the possibilities in written expression?
  3. Share examples of visual art that you believe would inspire compelling ekphrastic poems.

Day 9: Crafting Ekphrastic Poetry - Part 1 - Lecture: - Step-by-step guide on responding to visual art in writing. - Emphasis on capturing the essence and emotion of the artwork.

• Discussion Questions:
  1. What challenges do you anticipate in responding to visual art with written expression?
  2. How can you capture the essence and emotion of an artwork in your ekphrastic poem?
  3. Share examples of artworks that you find particularly inspiring.

Day 10: Crafting Ekphrastic Poetry - Part 2 - Lecture: - Discussing the role of personal interpretation and creativity in ekphrastic poetry. - Exploring the potential for multiple ekphrastic responses to a single artwork.

• Discussion Questions:
  1. How does personal interpretation influence the creative process in ekphrastic poetry?
  2. In what ways can multiple poets respond differently to the same piece of visual art?
  3. Share and discuss individual ekphrastic poems, highlighting successful elements.

Homework Assignment: - Craft an ekphrastic poem in response to a chosen piece of visual art.
Study Guide Questions: 1. Reflect on the challenges of responding to visual art with written expression in your ekphrastic poem. How did you capture the essence and emotion? 2. How did personal interpretation shape your creative process in crafting an ekphrastic poem? 3. What insights did you gain from the process of crafting an ekphrastic poem?
Quiz: Assessment on the understanding of ekphrastic poetry, the relationship between visual art and written expression, and the creative possibilities in responding to visual stimuli.

Week 1: Introduction to Poetry and Sonnets
Day 1: Overview of Poetry Styles - Activity: Icebreaker - Introduce yourself through a poetic name acrostic. - Lecture: Brief history of poetry, introduction to various styles. - Discussion: What draws you to poetry? Share your favorite poems.
Day 2: Understanding Sonnets - Activity: Analyze a classic sonnet together. - Lecture: Explanation of sonnet structure (Shakespearean and Petrarchan). - Discussion: Share initial impressions and feelings about sonnets.
Day 3: Writing Exercise - Crafting a Sonnet - Activity: Break down sonnet structure with examples. - Assignment: Write a sonnet exploring a personal experience or emotion. - Vocabulary Words: Quatrain, Couplet, Volta.
Day 4: Peer Review and Feedback - Activity: Peer review workshop for sonnets. - Lecture: Discuss common challenges and strategies in sonnet writing. - Discussion: Share insights gained from reviewing peers' work.
Day 5: Recap and Reflection - Activity: Reflect on the week's lessons and exercises. - Lecture: Overview of upcoming weeks. - Assignment: Write a short reflection on what you've learned about poetry and sonnets.
Study Guide Questions for Week 1: 1. What is the basic structure of a sonnet? 2. Compare and contrast Shakespearean and Petrarchan sonnets. 3. How does the volta contribute to the meaning of a sonnet? 4. Discuss the role of rhyme and meter in sonnets. 5. Explore your personal connection to poetry. What emotions or themes resonate with you?
Quiz: A short quiz assessing understanding of sonnet structure, key terms, and the historical context of poetry.
Week 2: Embracing Haiku and Villanelle
Day 1: Understanding Haiku - Activity: Analyze classic haikus. - Lecture: Explain the traditional structure and themes of haikus. - Discussion: Share thoughts on the simplicity and depth of haikus.
Day 2: Crafting Haikus - Activity: Write haikus individually. - Lecture: Discuss the significance of nature in haikus. - Discussion: Share and discuss individual haikus.
Day 3: Unraveling the Villanelle - Activity: Analyze a famous villanelle. - Lecture: Explore the structure and repetition in villanelles. - Discussion: Discuss the impact of repeated lines on the overall theme.
Day 4: Writing Exercise - Composing a Villanelle - Activity: Break down the process of crafting a villanelle. - Assignment: Write a villanelle on the theme of memory or loss. - Vocabulary Words: Tercet, Refrain, Envoi.
Day 5: Peer Review and Feedback - Activity: Peer review workshop for villanelles. - Lecture: Discuss the challenges and beauty of crafting repetitive forms. - Discussion: Share insights gained from reviewing peers' villanelles.
Study Guide Questions for Week 2: 1. What defines a haiku? Discuss its structure and thematic elements. 2. Explore the cultural significance of nature in haikus. 3. What is the structure of a villanelle, and how does repetition contribute to its impact? 4. Discuss the emotions evoked by repeated lines in a villanelle. 5. Reflect on the process of crafting a villanelle. What challenges did you face?
Quiz: Assessment on the understanding of haikus, villanelles, and the effective use of repetition in poetry.

I know that RDR2’s wiki is exist , but what about before when the game just release?
Is there any hint/poem relate to the White Arabian and all other legendary horse breed , coming straight from Rockstar and the game originally? It’s not gonna have a dude running around the whole map and studied all the horse didn’t he ? Is there anyway you can gather all those information without going online and check it?

A: human Todd could you explain this charge of the light brigade again?
HT: well basically there's this bunch of guys on horses right, they are four legged grass eating things we ride around on btw, and they had some cold weapons and charged into a valley surrounded by artillery.
A: did they not see the artillery?
HT: yeah course they did that's why they charged!
A: so it's a cautionary tale?
HT: nah man they opposite, they even wrote an epic poem about it, goes something like;
Half a league, half a league,
Half a league onward,
All in the valley of Death
Rode the six hundred.
“Forward, the Light Brigade!
Charge for the guns!” he said.
Into the valley of Death
Rode the six hundred.

Week 5: Sonnets and Found Poetry - Lecture and Discussion
Objective: - Explore the traditional elegance of sonnets and the creative use of found poetry. - Understand the structure of sonnets and the impact of rhyme and meter. - Discuss the artistic possibilities of creating poetry from existing texts in found poetry.
Day 1: Introduction to Sonnets - Lecture: - Definition and characteristics of sonnets. - Explanation of the traditional sonnet structures (Shakespearean and Petrarchan).

• Discussion Questions:
  1. What appeals to you about the traditional elegance of sonnets?
  2. How does the structure of sonnets, particularly rhyme and meter, contribute to their impact?
  3. Can you think of any famous sonnets or poets known for this style?

Day 2: Analyzing Sonnets - Part 1 - Lecture: - In-depth analysis of classic sonnets (Shakespearean and Petrarchan). - Exploration of rhyme schemes, meter, and emotional depth.

• Discussion Questions:
  1. How does the structure of Shakespearean and Petrarchan sonnets differ?
  2. How does rhyme and meter contribute to the emotional impact of sonnets?
  3. What themes or emotions are effectively conveyed through sonnets?

Day 3: Analyzing Sonnets - Part 2 - Lecture: - Discussing modern variations and themes in sonnets. - Exploring how contemporary poets adapt and expand on the traditional form.

• Discussion Questions:
  1. How have modern sonnets evolved in terms of themes and structure?
  2. In what ways do contemporary poets use sonnets to address current issues?
  3. Share examples of themes or emotions suitable for a sonnet.

Day 4: Crafting Sonnets - Part 1 - Lecture: - Step-by-step guide on crafting the first eight lines of a sonnet. - Emphasis on establishing the thematic foundation.

• Discussion Questions:
  1. What challenges do you anticipate in crafting the first eight lines of a sonnet?
  2. How can you establish a strong thematic foundation within this structure?
  3. Share examples of themes or emotions you might explore in a sonnet.

Day 5: Crafting Sonnets - Part 2 - Lecture: - Step-by-step guide on crafting the final six lines of a sonnet. - Emphasis on creating resolution and impact.

• Discussion Questions:
  1. Why are the final six lines crucial in providing resolution in a sonnet?
  2. How can a sonnet evoke a sense of completeness within the structure?
  3. Share and discuss individual sonnets, highlighting successful elements.

Homework Assignment: - Craft a sonnet focusing on a theme or emotion that lends itself well to the traditional structure.
Study Guide Questions: 1. Reflect on the challenges of crafting the first eight lines of your sonnet. How did you establish a strong thematic foundation? 2. How did you approach creating resolution and impact in the final six lines of your sonnet? 3. What insights did you gain from the process of crafting a sonnet?
Quiz: Assessment on the understanding of sonnets, their traditional structures, and the emotional impact of rhyme and meter.
Day 6: Introduction to Found Poetry - Lecture: - Definition and characteristics of found poetry. - Exploration of creating poetry from existing texts.

• Discussion Questions:
  1. What interests you about the creative use of existing texts in found poetry?
  2. How might the process of repurposing words and phrases from other sources impact the creation of poetry?
  3. Can you think of any famous found poems or poets known for this style?

Day 7: Analyzing Found Poetry - Part 1 - Lecture: - In-depth analysis of classic found poems. - Exploration of the different approaches to selecting and arranging found material.

• Discussion Questions:
  1. How does the process of repurposing existing texts contribute to the unique qualities of found poetry?
  2. What unique perspectives or insights can arise from using found material in poetry?
  3. Share your thoughts on the relationship between the source material and the resulting found poem.

Day 8: Analyzing Found Poetry - Part 2 - Lecture: - Discussing modern variations and themes in found poetry. - Exploring the diverse ways poets engage with existing texts.

• Discussion Questions:
  1. How have modern poets expanded the themes and approaches in found poetry?
  2. In what ways does the incorporation of existing texts broaden the possibilities in written expression?
  3. Share examples of themes or concepts suitable for found poetry.

Day 9: Crafting Found Poetry - Part 1 - Lecture: - Step-by-step guide on selecting source material and extracting words for found poetry. - Emphasis on creating meaning through selection and arrangement.

• Discussion Questions:
  1. What challenges do you anticipate in selecting source material and extracting words for found poetry?
  2. How can you ensure that the selected words create meaning and convey your intended message?
  3. Share examples of themes or concepts you might explore in found poetry.

Day 10: Crafting Found Poetry - Part 2 - Lecture: - Discussing the role of experimentation and creativity in found poetry. - Exploration of different techniques for arranging found words.

• Discussion Questions:
  1. How does experimentation play a role in the creative process of found poetry?
  2. In what ways can different techniques of arranging found words impact the overall effect of the poem?
  3. Share and discuss individual found poems, highlighting successful elements.

Homework Assignment: - Craft a found poem using existing texts and experimenting with different arrangements.
Study Guide Questions: 1. Reflect on the challenges of selecting source material and extracting words for your found poem. How did you create meaning through selection and arrangement? 2. How did experimentation and creativity contribute to the creative process of your found poem? 3. What insights did you gain from the process of crafting a found poem?
Quiz: Assessment on the understanding of found poetry, the creative use of existing texts, and the impact of different arrangements in found poems.

Tier List: https://imgur.com/a/RjE3PTc
There's something special about this battle from the very beginning, with how the announcer is doing these hushed whispers with this ominous music playing.
"Look alive, crème de la Kremlin's arriving! Try to serve Ivan; no surviving!" Ivan saying "look alive" as we get a close-up shot of his face is an attention-grabbing opener. The wordsmithing here with crème de la Kremlin and serve Ivan/surviving is magical. The background looks gorgeous too, great use of colors. "You're a land rover; I'm a land expander! Here to hand you your first loss, Alexander!" Well this is simultaneously a top-tier boast and diss; Alexander's empire fell apart when he died while Ivan's conquerings remained a part of Russia, so he's already making a strong case for being better at the thing Alexander's famous for. "I'll school you like Aristotle; smack you harder than you hit that bottle!" This is fine. A reference to the fact that Aristotle taught Alexander and a diss against Alexander for being a drunk. These aren't particularly powerful lines, but they're functional. I do love the way Ivan's eyes wander to the rhythm when he says 'hit that bottle'. "You're nothing but an overrated lush; I'll crush ya! I'm the first Tsar of all of Russia!" Interesting tidbit that does make Ivan the Terrible seem like a much more significant historical figure than he otherwise would have if you didn't know that. Getting all the guys from the Russian battle in the background is a fun touch, even if the dancer dude does not feel like he remotely belongs up there with the rest of those guys. "You're an asshole with an anastole! I'm heaven-sent, divine and holy!" The first line is quite mediocre, and the second line is mostly just serving to build up to the next line. "So don't even try to approach the God, or you'll get a huge sack like Novgorod!" God fucking damn, this is easily in my top ten closing lines. Not only is it a clever line and a gloriously epic boast, but the line delivery. His voice is so low and monstrous-sounding, especially with how they seem to have layered extra copies of the line recording on top of it. And the visual with all the Ivans on-screen, and the versions on the right and left turning to the camera join the one in the center in delivering this wham line... UNF. I love this!
"Hey fella, swell diss." Gotta cut in early here to acknowledge how funny and iconic this reaction is. "But now you got the Panhellenist from Pella hella pissed." This line speaks for itself, it's got some of the best wordplay ERB has ever crafted. "Stepping up's foolish as well as useless, little Vasilyevich! Let me spell out the list!" Pretty cool wordsmithing here, nice setup to something bigger though I don't think what follows quite lives up. "I brought foes to their knees in Phonecia! Breezed through Gaza to Giza! Had the Balkans, Persia, Syria, Iraq, and Pakistan in my expansion pack!" This comes pretty close to just being a straightforward history lesson, there's not a ton of cleverness here. The expansion pack joke is a little corny. There's a little bit of wordplay going on with bits like knees/Phonecia and Gaza/Giza. Flow's weaker than in the rest of his verse too. The visual with the map is a nice touch. "While you died in the middle of a game of chess; you got vodka bars: flavorless!" Some competent disses here. I really like the visual of the chess board: he even knocks over a King, which is presumably supposed to represent him defeating Ivan. I think the way Alexander paints Ivan as a disconnected figure who's just playing games whilst Alexander is actually out conquering in-person is a nice way to preserve his credibility after that land expander bit from Ivan. "And what I'm about to spit will be the craziest, so go fix me a drink so I can stay refreshed!" Nothing too great here, although I do like the dismissiveness inherent in Alexander ordering Ivan to make him a drink. "Kudos! Greek for the glory I got from winning every single war that I fought." Nothing much to say, this is a good boast, it checks out. "So this will be straightforward: I'll take up this sword that I brought, and slice you in half like the Gordian knot." This isn't the most substantive way of saying he's better than Ivan, but referencing the Gordian knot legend is something. "And I'll soar to the top, like the eagle whose feather I would sport in the helmet I wore, as I swatted my many enemies; shattered them like a porcelain pot, and they'd be praying for the torture to stop!" Okay, now Alexander is just witlessly rambling. This is easily the low point of his verse. "But I would leave 'em contorted and they'd be screaming and roaring until their vocal cords were torn up and shot!" Again, he's just rambling, but I will say that his flow and line delivery starts being so awesome here that I can give it a pass. I also like how the way the music stopped after he yelled "stop!" last line before dropping into this one. "And I would holler "Bucephalus!", hop on my horsey, and trot! I win, Ivan; I vanquish! I'm an immortal; you're not!" He's still mostly just rambling about how great he is without being clever about it, but again, he sounds so awesome here that it works. And the Ivan/I vanquish is good wordplay and a nice parallel to the serve Ivan/surviving bit, so it does have that much going for it in terms of substance. Also the visuals cutting back to Ivan pouring a drink in the creepiest possible manner are fan-fucking-tastic.
Ivan concedes defeat, having actually prepared Alexander a drink. You'd think a little interim bit like this would hurt the battle in repeat viewings/listens, but I enjoy it every time. Zach Sherwin's line delivery of "I WEEP, it's all so EEEEAAAASY!!!" is hilarious. Love the way Ivan comes poking out of the shadows all rat-like as he asks what's wrong. I also dig the way Alexander's facial expression changes when he says 'queasy' and he falls down and his head moving out of the shot gives way to Ivan standing behind him celebrating and it's just so GOOD. This battle is so much fun! The "HA!!! You've been poisoned!" is fun, as is Zach Sherwin's deliberately bad acting with his final words. Ivan declares that he is Terrible and that there's no Great who could defeat this Russian, but a mysterious shadow materializes and quietly suggests a flute-busting Prussian might manage it.
What the FUCK. The flute solo! The chanting of "Old Fritz!" The bird's eye camera angle that Lloid looks up at as the emblem of what is probably his house or country or some other organization related to him is on the floor! That dapper-ass outfit! The little pose he strikes as his title card appears! This is without a doubt the greatest entrance any contestant has ever had in ERB to this day. This new music track kicks ass too. "Out the gate, first servant of state! Oblique attack tactics, ain't exactly straight!" As if he wasn't cool enough already, the king is a queen! Good use of consonance too. Also apparently this is referencing a famous tactic for battle that Frederick used. I looked up 'first servant of state prussia' and was informed that Frederick pursued a policy of religious tolerance and abolished torture immediately when he came to power. What an absolute chad. I wish he brought that up here; at best he vaguely alludes to it. "I've got creative talents and battle malice; hard as steel on the field, genteel in the palace!" These lines aren't substantive, but the line delivery is a ton of fun. And the visuals with him jabbing his cane and sipping from a cup are immaculate. "Russia's fucked up but no wonder why; with your tundras and taigas and bears oh my!" Great flow, the visuals are absolutely top tier. The line itself is competent, definitely getting carried by the presentation, but the tigers/taigas swapout is good. "I would pay a guy to tear out my eyes if I had to look at your troll face every night!" Man... why can't mediocre lines in all of the battles get such good line deliveries? Lloid is selling the absolute fuck out of this weaksauce diss and making it work. "Now, bring me my chair! I'm weary from tearing you a new derrière from here to Red Square!" Wait a minute, is that... chair... wear... tear... derrière... square... IT IS!!! IT'S A 5X RHYME COMBO!!! "Fought a Seven Years' War, I ain't scared of a Tsar! 'Cause beating you only took me twelve bars!" A truly fabulous boast and iconic verse closer.
These interims continue the trend of being hilarious by having Frederick die in his chair without the need for Ivan's intervention, which is a reference to how he actually died! Fancy that. I do think this one doesn't quite stand up to repeat encounters the way the first intermission did; the line about saving money and the little song Ivan sings are a bit drab to sit through again and again, but hey, they were funny the first time and it's still a fun performance from Peter. Pompey comes in to seemingly start rapping, but immediately gets decapitated by Catherine the Great. Poor guy. I would have liked for this to be a five-way battle and to have gotten a verse from Pompey first, but ah well.
"Macedonians, Prussians, and Romans; those aren't worthy opponents. It takes a Russian to take down a Russian. I'm Cat; I'm a cat; you're a rodent!" This is a pretty good opener, except for the fact that she's singing. Introducing singing into these rap battles is always a serious momentum-killer. She's got a great costume, though. "How are you the head of our state when the state of your head was such a crazy one? Such sick shit going through your brain that you stuck a spike through your own son!" Good wordplay in that first line, great visuals with these dancers up to chicanery in the background. "You're unbalanced like I unbalanced the European powers with the wars I waged! I brought the Russian empire straight out the olden days and right into the golden age!" That first line feels a little forced, competent boast in the second line. "I'm the boss bitch that you just can't meddle with! This whole battle's like Alaska 'cause I settled it!" Nice closer.
Ivan briefly interjects as he tries and fails to seduce Catherine with a horse. Peter continues giving the best performance of his career, though I can't help but wish we got a little more here. Feels weird that this is the last we see Ivan onscreen. Would've been nice to at least see an upset reaction to his ploy failing.
Catherine proceeds to inform Ivan that this rumor about her sexual proclivities is false: "That horse story is a pile of shit, though I do keep 'em chomping at the bit." There's three different layers to 'chomping at the bit' going on here, and that's cool. "But you're never gonna get it, nyet! Couldn't spin in my chamber of this were Russian roulette." This is pretty funny, and I think it's for sure her best line. The little interjection of 'nyet' is great. "I'm picking up where Peter the Great left off! Bringing sexy back to House Romanov!" Not much to say here. Kind of filler. "So don't call me Queen, I'm far more great! Empress to Tsar 8, bitch! Checkmate!" This is literally a killer closing line; she's referencing how Ivan died in the middle of a game of chess, as Alexander said, and years later I'm only just getting that now.
So all of these verses have considerable flaws, I think. Ivan's is too short, for as much screentime as he gets he doesn't get much in terms of actual rapping. We could have at least used a few more lines in his first verse. There's a lot of Alexander the Great's verse that is just him droning on about how great he is without actually having much substance or cleverness to what he's saying. It's his godlike FLOW that is carrying him through a lot of this. And that's a legitimate factor to consider in his performance and it does make his verse great to listen to, but I wish there were more meat there underneath Sherwin's kickass performance. Frederick the Great is the most entertaining part of the battle(saying a LOT when Ivan the Terrible is present) and his lines are probably the most consistently good, but none of them are great, y'know? He could have used a killer burn or two in there, his diss game wasn't great. And Catherine the Great... well, she sang for both of her verses. I hate it when rappers sing, it kills the energy, and when going back to listen to this battle(which is very often!) I usually stop once her verse starts. She's got some good lines, they're decent verses on paper, and her actress is obviously a good singer, but I just do not want to listen to a solid minute of someone singing in a rap battle.
And really, having so much of this battle be skippable to me is reason enough to justify putting it in A Tier rather than S. I certainly intended to put it in A Tier for a long time. But... even if I feel Catherine's verse ends up being a drag, and even if the verses that come before have some flaws that might keep them from being S Tier on their own... it's all just so fun. Peter and Lloid and Zach are all at their best, and I genuinely do think Ivan is the best character Peter ever played. I love the performances, and the visuals, and the music(mostly), and the structure of having all these Greats dying off to the Terrible. This has got to be in the top five rap battles in terms of which ones I go back to the most; probably exactly number five. And if that isn't worthy of S Tier, then there's only gonna be four S Tiers on this list, and that seems like too few. Bottom of S Tier.
Ivan = Frederick>Alexander>Catherine. Maybe a little controversial, but I do think that you could make a valid and substantive case for any one of these rappers being the winner.

FIRST CHAPTER
PREVIOUS CHAPTER
This product is a fanfic of the Sexy Space Babes/Between Worlds product of u/Bluefishcake and one I highly suggest you read. It was created with permission, but give the OG works some love.
Imgr gallery of Comissioned and Fan Artworks
I'm Back Bitches! Again!
//////////
Junior Systems Engineer First Class Che’keero knelt before a semi-sparking control panel and sighed. She, and a large band of her fellow Engineers with Marine support, had boarded the pirate frigate with the singular goal of ensuring that the pirates didn’t scuttle their floating hulk and doom the slaves aboard to a, if they were lucky, a swift death in space.
The problem, of course, came with the pirate’s maintenance schedules and decisions to forgo certain… safety measures when it came to repair.
Like the panel before her. Usually a perfectly functional control system for the reverse-magnetic bulkhead doors that ensured void seals in power outages, some pirate at some point in their dumb, dumb life decided to fix the panel blowing a fuse… by ripping the fuse out and replacing it with a high density power cable. Which meant the entire thing was one massive shock hazard and actively sparking as the reactors deep in the ship flickered and surged due to damage.
Che’keero swore as an arc of electricity flashed towards her face after a tool that was not supposed to be magnetized, cheap dick WaDepth requisitions, caught a magnetic field, fusing the entire system shut and turning the formerly barely functional control system into nothing but pretty, decorative wiring and cheap solder. She punched the now utterly unfunctional control box and toggled on her radio. “Three-Two to Three-Lead, this door’s fried. You’ll need to bring in the cutters if we want to get to the rest of the ship. Might as well also bring in an inflatable airlock, I’m not liking how some of the metal strain sensors are flashing at me.”
A semi-synthetic voice replied back to Che’keero, “Three-Lead copies. I’ll be over there shortly with the stuff. Double check those sensors, I’m not getting the same readings, so let’s make sure something isn’t blocking errors from reaching me.”
“Copy that Three-Lead, Three-Two ou-” Something tapped against the back of her helmet and Junior Systems Engineer First Class Che’keero mentally swore.
“Now, now, lassie, how about you sit right there and don’t move.” A nasally, unfamiliar voice called out to her while tapping what a camera she set up to watch her back revealed to be a laser pistol to Che’keero’s helmet. “I think that you’re going to be our new best friend and way off this dead end ship.”
Che’keero paused, letting the situation settle in her mind, “Wait, what? Are… are you taking me hostage?”
“Yes!” The pirate replied.
“Why?”
“Why what?”
“Why are you taking me hostage? This won’t work, none of the shuttles are jump capable and if you try anything, you’ll just end up jumped by marines. They specifically train to deal with pirates taking their engineers hostage. If you want to survive, you should just surrender and take the penal colony when it’s offered.” Che’keero mentioned, shrugging and continuing her inspection of the door.
The pirate seemed baffled at the sheer nonchalance of this response, the pistol slowly falling to merely point at her upper back instead of her head, “You… you really aren’t taking this seriously. I’m a pirate! I’ve killed people! I’ve killed boys, and you’re just sitting there like this doesn’t mean anything!”
“I mean… I wouldn’t say that.” Che’keero replied.
“THEN WHAT DO YOU MEAN!” The pirate screamed, the pistol moving away from Che’keero’s body by a fraction of an inch during an angry gesture.
It was at that point, a ceramic alloyed, carbon steel blade punched clean through the back of the pirate’s suit, slicing through their central nervous system and striking with enough force to shatter the faceplate of said pirate’s helmet on the way out. Muscles twitching, the laser pistol fired off randomly, missing Che’keero and slagging a chunk of bulkhead.
“I’m just buying time,” Che’keero replied cheekily.
“You really need to remember to check your cameras,” The semi-synthetic voice of Ventures Forth Bravely Into Great Unknowns commented as the ex-pirate fell to the ground and blue blood dripped from the long blade sprouting from her right arm and a toolbox hanging from her left hand. “This isn’t the first time you have been flanked, and this one wasn’t during training.”
“Look, I’m sorry. It won’t happen again.” Che’keero replied a bit testily.
“I’m sorry…” Ventures Forth prodded.
“I’m sorry, Ma’am.”
“Much better. Right, now what do we see in this- yeah you were right on it being fried.” Ventures Forth gently shoved the Junior Systems Engineer aside and took her place at the control panel. “Do a sweep of the strain systems. I don’t want this section of the ship breaking apart. Feel free to call up our hull patches. We’ve got plenty to share and this might have to be a lifeboat.”
“Aye, ma’am aye,” Che’keero replied with a crisp salute before rushing off to her duty.
Deeper inside the ship, Ventures Forth could hear laser fire, clashing of metal on metal, and cries for help.
The pirate ship was doomed, it was shattered and broken, but it was not destroyed. Not yet. \
And if she had her way, Ventures Forth Bravely Into Great Unknowns would keep it that way.
//////////
Roshal stood still as her steward continued to clean the dark blue and rapidly congealing blood off her armored form. “Comms,” She called out, “Do we have any contact with the shuttle we sent to the station?”
“Negative, ma’am.” The comm officer replied. She wasn’t the same one that was present when Roshal left to fend off the boarders. At the unspoken question, the woman continued “Communication’s Mate Second Class Lev’tal, ma’am. My superior got a concussion when the pirate ship rocked our ship during boarding. Strap snapped, prior damage. I took over.”
Roshal nodded approvingly, “Good initiative. Send a message to the station, see if we can’t rai-”
“Ma’am! Contact!” One of her sensor techs called out, “Belay that, two contacts. First contact, nav point 782 spinward, possible bogey, cruiser weight. Unknown movements. Second contact, nav point 102 coreward, aerospace assets inbound. Small flight. Hard to determine numbers due to damage. No less than two, no more than five.”
“Focus on getting a hard contact on that possible cruiser. Weapons, what is the status of our anti-aerospace.” Roshal demanded, holding her sword arm out for the steward to scrub at a particularly clotted chunk of blood splattered over her wrist.
The weapons officer shook her head, “If we’re lucky, then we’ve got 20% coverage on half our sides. If we’re very lucky, I might be able to bump that number up to 35%. Not going to quote doctrine, but that’s not nearly enough to fend off a flight of Aerospace assets on a strike run, and that’s assuming they don’t hit us on an unprotected flank.”
Roshal nodded once more, “Sound general quarters and get weapons and tactical back online. Tell the damage control parties to not be distracted and focus on critical systems first. Engine room, report. Can you give me maneuvering thrust?”
The nearby ship phone chimed in with a staticy hiss, “Negative, ma’am. The shot we made with the spinal mount tripped breakers up and down the reactor room. This isn’t an engine problem, we need to make sure our reactor doesn’t blow up when we siphon power. Before you ask, emergency power is still flowing and none of their circuits tripped, but that means we’re down to life support, basic systems, and dockyard thrusters. It will take at least 20 to get the reactor in a safe state. If you want 10, send the chaplain down so we have someone praying for good luck. The fact most of our structural engineers are doing an EVA boarding to ensure the pirate ship next to us doesn’t go critical and render the entire exercise moot isn’t helping matters at all.” The engine room replied Roshal bit down a bit of annoyance at the snark, but engineers were always a finicky sort with authority. They were the first to remind uptight officers that while the Captain’s word may be iron law, it was their work that truly moved the ship.
“Confirmed, engine room.” Roshal instead replied. “Chaplains will be arriving shortly. Do what you can and inform me when you’re three minutes out from full power.”
The engine room didn’t even bother replying, just sending over the affirmative light as they got to work. Roshal approved of that. Sometimes, you just had to insult someone in order to get it working right.
“Captain, we have confirmation on contact. He’s an Alliance Karcharidon class Heavy Cruiser on intercept course. Energy readings are spiking… they’re charging their guns, ma’am!”
“Issue a hostile challenge and give me a firing solution with any gun still functional.”
“No response, ma’am. Hostile Karcharidon is increasing speed. Hard contact in 15 minutes.”
Roshal snarled, emotion breaking through her mask. “Of course, the pirates had one more vessel. Helm, fire our maneuvering thrusters, use the pirate hulk as cover. Weapons, get whoever’s left of our Interceptor flight to engage the enemy. Comms, get me in contact with the merchant fleet, tell them to evacuate. We’ll provide cover.”
“Aye ma’am.” The Communications Mate Second Class said with a shiver in her voice. “Sending-”
“Update on Aerospace assets!” Her sensor tech called out.
“Deliver!” Roshal demanded, cutting off the comms officer with a slice of her hand.
“Weapons fire. Definitely less than four contacts. Seems to be two grou- negative, only two contacts remaining- weaponsfire- one contac- IFF received, oh goddesses, IT’S RUNOFF THREE! FRIENDLY AEROSPACE INBOUND!”
//////////
Milk gripped her crash harness hard as Cookie slammed the Interceptor’s fusion torch clean past its safe thrust marker and into the red as g forces crushed her chest. “Last target down.” She reported after Cookie’s final laser burst hit something critical inside the final Aerospace fighter’s frame. “That’s 20 for 20. All enemy bogeys down. All standard munitions are in the black. Static drive is 48%, dump core ejected. All we’ve got left is our ASM and front laser.”
Cookie flashed back an affirmative signal.
“We going for that cruiser?”
Another affirmative.
“Well, I’m braced and ready on the release. Ready.”
“Ready.” Cookie spoke, his voice horse.
It’s funny what people think when their lives are on the line. Because charging towards a fresh enemy Heavy Cruiser, nothing but a single anti-shipping missile worth a damn, no allied support but the faint glimmer in IFF screens of their fellow flight doing the same… all Aoibhinn McDermott could think of was a poem she had read at least a decade ago or more at the Naval Academy.
Half a league, half a league,
Half a league onward,
All in the Valley of Death
Rode the six hundred.
//////////
Ventures Forth Bravely Into Great Unknowns could do nothing but furiously swear as the basic sensor system her engineering team had restored on the thoroughly ventilated secondary command bridge of the pirate hulk revealed an enemy Heavy Cruiser bearing down upon their homeship.
“Weapons are trashed. We cored their reactor, anyway.” One of the tangential engineers reported, “Other teams are calling in. Things are worse where they are. We’ve found the slaves, though, luckily it was one of the few airtight bays. Also, have some more captives, but that really doesn’t matter right now.”
“No shit.” Ventures Forth replied, “Can we do anything?”
The engineer looked back to her, visor depolarizing so the Gearschilde can look into the black and yellow eyes of her Shil coworker.
“Pray.” The woman replied simply.
Ventures Forth Bravely Into Great Unknowns did just that.
//////////
Low chanting filled the engine bay as a small group of priests stood around the engine praying to whichever god that would listen to allow them one more shot. One more fight.
Around them, black handed engineers scurried, ripping out blown fuses and replacing them with soldered in high strength wire. A final measure of desperation. Sparks flew as engineers swore and chaplains prayed, power still remaining in circuits needing to be bled out before bypasses could be installed, turning every bit of solder and every ripped out fuse into a deadly gamble.
Already, someone was lying on the ground, no longer twitching.
They didn’t have time to check on their fallen comrade, the work was too important.
A clock ticked down. Four minutes elapsed.
//////////
Lieutenant Commander Cenywyn swore as she watched Runoff 2 die.
Their single Interceptor had mistimed a maneuver and had been caught dead in the middle of an Anti-Aerospace array, shredded in an instant. The only consolation she could take was that, seeing as the first shot went clean through the cockpit, they didn’t even notice they died.
“Runoff 4, stay in formation.” She ordered over the radio, “We’ll lead you in for the run.”
“Yes ma’am.” The hesitant voice of Junior Flight Lieutenant Griogill replied. She swallowed, “We’re- we’re ready when you are.”
“No fear, Lieutenant,” Cenywyn called back to the child she was leading to her death. “We’re pilots in the Imperial Patrol. We do our duty. No fear.”
A clock ticked down. Six minutes elapsed.
//////////
“Talk to me!” The last remaining senior engineer in the reactor bay called out to anyone who was able to reply.
Someone, she didn’t even bother looking to see who, called back “We’ve bypassed 60% of the fuses. Should be able to give ourselves a burst of combat power. No more than 10 minutes of it before the entire system overheats and we either die, or the reactor shuts off.”
“Any chance we can get more than 10 minutes?”
“Not before that Heavy Cruiser delivers us straight to the stars.”
“Fuck it, good enough.” She slammed her fist on the ship phone’s dialing button resting near the console the engineer had just ripped the last safety override out of. “Captain. We’ve got your power. You give us the word, and we’ll give you ten minutes.”
//////////
Roshal breathed in, breathed out, and nodded. 10 minutes of combat power before the entire ship shut down into uselessness. She’d done more with less. She couldn’t remember when, but she had. Luckily, this was a Patrol Carrier instead of a standard ship, so it was more than capable of combat maneuvers with nothing but RCS thrusters. That should give her some time.
Movement, movement was going to be the key.
“Comms, tell the engineering crews on the hulk that they are ordered to figure out anything that could draw the attention of the Heavy Cruiser,” She began, “Systems, break our mooring lines. We’re going to have to split from the hulk. Helm, prepare for maneuvers. RCS only. We are going to have to do this carefully. Engineroom, prepare for power activation, but hold until my command.”
This needs to be perfect, Roshal thought, A single mistimed action ruins it all.
A clock ticked down. Ten minutes elapsed. The Karcharidon had entered maximum weapon’s range.
//////////
He of Slender Tail shivered where he stood. The secondary command bridge was silent as Roshal began giving orders to fight. This was… this was insane.
They were in a ruined ship with nothing but a merchant fleet beginning to flee and a three thirds dead pirate hulk on their side against a fresh Karcharidon class Heavy Cruiser.
They couldn’t win.
This was suicide.
They would die here.
\ So why didn’t He of Slender Tail feel afraid?
He stood at his post, a secondary bridge console where he would relay orders to other departments, freeing up the other Watchkeeper to collate those orders, there was nothing he could do to help win this impossible battle, and yet…
And yet he felt heat blossoming inside his chest with every single order delivered.
“Mooring teamsss, you are to cut your linesss immediately.” He relayed to a crew of Shil scurrying around the ruined bulkheads, “Damage control, prepare for electrical firesss and arcsss.” He commanded, switching between teams instantly.
He didn’t feel fear. He could see his Watchkeeper shiver every time the sensors reported the enemy contact was still closing, but he didn’t feel the same.
What he felt… was indignation.
How dare this pirate scum threaten his vessel, his crew. How dare they ambush this valiant ship after they had fought so hard to win. How dare they.
He let his fangs fold out as he spat the next order, “Anti-Aerossspace teamsss, prepare your batteriesss for grouped fire. Gunnery calculationsss are on their way.”
How dare they stand up to him.
A clock ticked down. 12 minutes elapsed. Weapons fire.
//////////
Roshal swayed slightly as she could feel the ship beneath her feet move. Movement is life in naval warfare, movement is death. “Right RCS fire, bring us clear of the hulk. Bow thrusters, up twenty.”
“Aye, ma’am, aye, right standard and bow up twenty.” The Helmswoman replied.
“Confirmed. Next maneuver, give us rear thrust-”
“Torpedo!” The sensor operator called out in a shrill voice, “Two marks on intercept course! Range, twelve K and closing fast!”
“Decorum!” Roshal snapped at the panicking sensor technician. “Comms, order Runoff flight to divert and intercept those torpedoes. Rear RCS to full, give us momentum.”
Roshal turned away from the bridge as affirmations were shouted, and the ship began to move, “Engineering, prepare to activate combat power on my mark and prepare for hard maneuvers. Mark in five.”
//////////
Griogill swallowed bile and tried not to feel too thankful that the enemy vessel had fired torpedoes at their home ship. Being diverted from an attack run had a much higher chance of survival than striking through an AA bubble.
“Runoff 4 engaging far torpedo. Moving in for intercept. Bre’kas, give me lock.”
Griogill’s backseater muttered something, and a target lock appeared on the far torpedo as Runoff 1, their previous Drill Sergeants, dashed by in a hard burn and blazed away at their own target.
“Right. We can do this. We can do this. No fear.” The rookie muttered as the sight of her friends in Runoff 3 being turned to vapor echoed in her mind. “I can do this.”
The target locked. She fired. The torpedo detonated.
A clock ticked down.
//////////
“Mark in four.”
//////////
The Heavy Cruiser loomed closer as the comparatively tiny Patrol Carrier spat its defiance in the form of two Interceptors dancing between the stars.
As a pair of torpedoes detonated, four more were launched, the anti-shipping weapons built for this specific purpose. Destroying disabled vessels.
And so the last two remaining Interceptors on CAP dove into the fray, risking themselves against an ever approaching AA bubble in order to save their ship.
A clock ticked down.
//////////
“Mark in three.”
//////////
All Cookie could do was stare and push his meager aerospace fighter further on its nuclear thrusters as shimmering dots of torpedoes lanced out from the Heavy Cruiser attacking his new home.
He pushed his hand forward and felt the throttle once more push back against him, the lever pushed all the way past safe thrust and into the further setting on his console.
The Interceptor was fast. It didn’t feel fast enough.
And so he spoke the words he spoke once before, back when he’d had to listen to his backseater’s screams of pain and the rush of wind after shrapnel pierced his fuselage, and the hospital was so, so far away.
Father, I pray that you will not hide your face from me. Whenever I pray, Lord please hear me and answer me speedily in Jesus' name. God, I pray that you will grant me speed through your help.
A clock ticked down.
//////////
“Mark in two.”
//////////
The Heavy Cruiser shifted, engine flaring and it began to close the range. A single disabled ship on emergency RCS thrusters and a pair of Aerospace fighters was nothing it would have to deal with.
It fired a third spread of torpedoes.
A clock ticked down.
//////////
They took the bait. Roshal thought with a vicious grin.
“Mark in one.” She paused, “Execute.”
In an instant, power flowed through the ship, emergency lights flickered off as the burning red boarding lights returned their fiery glow. The entire ship shook as the main thruster came back online, and capacitors began to charge for maneuvers.
“Hard burn, full thrusters, right, on my mark.” Roshal watched as the Heavy Cruiser began to react to her movements, the enemy ship was alive, you needed to roll to broadsides to begin bombardment, come on come on…
Roshal watched as a torpedo flickered out of existence, Runoff 4 gaining another kill.
Come on, dammit, you don’t get put in charge of a Heavy Cruiser without- THERE!
The Heavy Cruiser flinched, turning her bow away from the no longer stricken vessel, preparing for broadside.
The Captain’s grin showed more teeth than smile. “Execute! Full right thrust!”
“Full right thrust! Aye ma’am aye!” Her helmswoman called out as maneuvering thrusters dead cold roared to life and physically threw the vessel to the side, causing everyone not strapped in on the bridge to rock as a barrage of fire flew past their former location, manual targeting systems in play since the automatic systems would still be getting warmed up.
“Full thrust forward, prepare to divert all power to secondary weapons. Weapons, give me a firing solution.” Roshal commanded, hand raised and pointed at the enemy’s display as if she were commanding from a tall ship.
A chant of “Aye ma’am aye” flowed out across the bridge as the weaponsmistress was silent before calling out. “Port side is up to 45% secondary fires and 32% point defense. That’ll be our best bet.”
Roshal nodded. “Make it so. Target their main weapons. Helm, get us that facing.”
“Ma’am. We’re getting a call from Runoff 3. They are entering the AO and are asking for a target.”
Roshal smiled, “Weapons, shift target. Aim for the anti-aerospace systems. Let’s give Runoff 3 the opening they need.”
A clock ticked down.
//////////
“Cookie, we’ve got a targeting path.” Milk called forward. “Putting it up on your HUD.”
“One second… I’ve got it. Moving to comply. Did the Captain give us a plan?” her front seater replied, causing her stomach to do funny things as the Aerospace Fighter maneuvered while under high thrust.
“Something like that. She asked for a munitions report and specifically about our anti-shipping weapon.”
Cookie paused.
“Ah.” He finally said.
“Yeah.” She replied.
“Well, let’s hope they’re able to open us up to a window of opportunity. Or this will be a short charge.”
“Not our place to question why.”
“Just our place to do and die.”
Time to target… three minutes.
Into the valley of Death, rode the six hundred.
A clock ticked down.
//////////
Two vessels, three Aerospace fighters, one chance.
Six minutes of power remained. All actors took their places on the stage.
One hundred kilometers, close enough to check the weld quality of hull seams, the two ships danced across from each other. Maneuvering.
Five minutes of power remained.
The Karcharidon Heavy Cruiser rolled itself trying to keep the vulnerable top deck away from the Patrol Carrier’s presumably still working main gun as Roshal’s vessel jumped to the side. Thrusters roared.
Four minutes of power remained.
Runoff 1 and 4 shot towards their formerly separated comrade, forming up behind them in a wedge. The trio climbed towards the sun as their captain continued to chase and harass the Karcharidon.
Three minutes of power remained.
Roshal spoke. The lances of her vessel fired. Laser blasts carved across the hull of the enemy ship as it rolled.
The rolling ceased. A helmswoman swore as a full broadside caught the Patrol Carrier in the flank. The port hangar pod was ruined, armor shattered and all inside exposed to hard vacuum. Those who could scream died the fastest. The Interceptors had their opening.
Two minutes of power remained.
Silent wings swept through vacuum as three Interceptors began their dive, their formerly speedy arrowhead shape giving way to an inverted t as their wings swept out for stability, the ASF dove and dove and dove.
Five Kilometers away.
The range was too wide. They had one shot. It had to be perfect.
One minute of power remained.
The Into Harm’s Way spat its defiance into the world, limited power drained to give her pilots a seconds more of time.
30 seconds of power remained.
Three Kilometers.
Hard Lock! Milk shouted from the back seat of Runoff 3. Cookie was silent. The range was still too wide.
15 seconds of power remained.
Two Kilometers.
The Karcharidon seemingly began to roll before the Patrol Carrier once more fired, its last remaining weapons spouting their defiance against the world. Deep in engineering, systems began to blow, wires that replaced fuses sparked power and delicate circuit boards shorted out into useless scrap.
The lights went out.
No power remained.
Roshal, in her head, began to count down as lances of light began to sweep across her ship. Damage control did what they could, but the beams began to cut like an overly enthusiastic shipbreaker.
Five.
One Kilometer.
Four.
Cookie’s thumb depressed the firing stud as the Interceptor screamed at him.
Three.
The ASF launched its deadly payload.
Two.
Three Interceptors pulled back hard on their sticks to avoid colliding with the deck.
One.
The thruster of the anti-shipping missile roared as it rocketed the point blank aerospace distance to target.
Impact.
The armor piercing tip of the missile punched into the upper deck plating of the Heavy Cruiser, classified alloys allowing it to pierce into the armored plating just enough to allow the shaped charge to open up a hole as momentum kept the weapon moving.
Within the frame of a single second, the warhead of the missile had entered the ship and, before the alarms even had time to sound, detonated.
A new sun appeared in the void for a split second as a plasma-fusion warhead detonated inside the Karcharidon heavy cruiser’s hull.
//////////
Roshal allowed herself to breathe a sigh of relief inside her head as the emergency power lights flickered overhead and the gravity ever so slightly lightened. What was left of their sensor arrays showed the enemy vessel powering down. “Engineering. Good work, your 10 minutes were just what she needed.” She called out, picking up the ship phone.
There was no answer from engineering.
She signed externally before pointing at one of the marines guarding the bridge, “Find a crewmate in a void suit. I have need of runners.” The marine clasped a fist to her chest before leaving to execute her captain’s commands. “Comms, do we have any contact with the engineering teams on the pirate hulk?”
The Comms officer held up a hand, Roshal waited, “No, ma’am. We aren’t getting- wait. We’ve got visual on flashing lights from the hull. Apparently, something shorted, so they’re having to rebuild broadcast arrays. They can receive just fine, though.”
“Good, once we can maneuver, bring us broadside of them. What’s the status of the merchant fleet?”
Navigation spoke up now, “Still heading for the Jump Point. Should we send the recall order?”
“Not yet, we are still unsure if the area is safe. If we have any sensors remaining, begin sca-”
The mentioned sensor technician interrupted Captain Roshal, “Ma’am, new contact, signature unknown. Just jumped in from outside the starlane!”
“Give me details. Course, range, and speed?” She demanded.
“Signal confused, can’t get a lock!” Navigation called out, “Can’t tell if confusion’s from them or us.”
Not another one… Roshal sighed, “All forces prepa-”
“Ma’am, we’re being hailed.” Communications called out.
“On squawk.”
“This is Captain Al’yosha Cal’rada of Her Imperial Majesty’s Ship Spear of the Knyaginya, responding to Merchant vessel distress calls. Imperial Patrol Carrier, are you in need of assistance at this time?”
Roshal recognized the voice. A junior officer from her days in the Navy and a fellow Sevastutavan. The memory of the fresh faced girl when she’d joined her as an Ensign straight of the Naval Academy flashed before her eyes. “Captain Cal’rada. Your timing is impeccable as always.”
“Admiral?” Roshal could hear the shock in her old protege’s voice.
“That’s Captain, now, Al’yosha. I require your aid in ensuring the disabled vessel still glowing from an ASM strike remains disabled along with Search and Rescue teams for our sister Carrier.
“Whatever you want, you’ll have it, Admiral_… Helm! All ahead flank and plot course to intercept. Launch gunships and prepare to deploy Bluejackets. We’ll test our _Orcas’ teeth today!”
The line cut out a moment later than it should have, and Roshal nodded in approval.
“Captain, I still don’t have a read on new contact. What is it?” Sensors asked.
“A Drep’na inspired vision, come to life.” Roshal watched, feeling an odd sort of parental pride as Al’yosha’s experimental warship began closing the distance towards the Karcharidon at breakneck speeds. “A swift sailing vessel and ten carriage guns…” Roshal murmured the line from an old Vaasconian poem from the ancient Age of Sail. She had heard Cal’rada had succeeded in petitioning the Navy to build her dream-ship, burning every favor and passing out favors to any and everyone to see the program through. Now, there she was, standing on the bridge bearing down on a ship twice her size, but if the rumors were true, only half her guns.
“Ma’am, contact is still not resolving, but IFF confirms Imperial Navy designation. An Akula Class Attack Transport. I’ve… I’ve never even heard of this class.”
“Perhaps we shall hear of them more in the future. Fortune favors the active.”
“Contact is disgorging multiple signals, moving at speeds consistent with aerospace assets.”
“That is our signal we may disengage. Comms, inform the merchant fleet that the area is secure and to begin refueling procedures. Helm, get us alongside the pirate hulk, we have people to recover. Marine, get me a runner to the MP’s, we shall need the port hangar prepared for an old tradition the Navy has regarding pirate prisoners…” Roshal commanded. The fight was over, it was time to begin the cleanup.
//////////
So… that took a while. Sorry about that.
Turns out when a combination of writer’s block, decision paralysis and LIFE hits you over the head, it becomes a touch difficult to get your shit together long enough to write something down.
On the plus side, we are out of the “unplanned bits” and right back into the parts I have brainstormed, so I won’t be staring at a screen trying to think how to make things connect as much anymore. On the other hand, that means we are now entering the epilogue of book 1 of Top Lasgun.
Don’t worry, the story isn’t ending, I’ve got “three” books plotted out in my head, so we’ll see how that shakes out, but for the most part, this is where I start wrapping up plot threads, laying down threads for what comes next, and all that other good stuff.
So yeah, next chapter is going to involve everyone wrapping up what happened here, some fun little Military Justice, and potentially a bunch of plot. Also, I’m planning on starting a “rewrite”/edited version of this to go up on AO3, so keep an eye out for that. Early installment weirdness is a bitch and I’m not proud of what the older stuff looked like.
Well, I hope you have a wonderful morning, afternoon or evening whenever you read this and I will see you next chapter.
[NEXT CHAPTER]

A clerihew is a whimsical, four-line biographical poem that follows a specific rhyming scheme (AABB). It was invented by English novelist and humorist Edmund Clerihew Bentley. Clerihews often feature humorous or satirical content, and they playfully capture peculiarities or anecdotes about a person.
Key features of a clerihew include:

1. Structure: Four lines with a rhyming scheme AABB.
2. Subject: Typically focuses on a person, often a public figure, in a humorous or light-hearted manner.
3. Irregular Meter: Clerihews often have irregular meter, with lines of varying lengths. 🤫🤫🤫🤫🤫🤫🤫🤫🤫🤫🤫🤫🤫 Here's a simple example:

Albert Einstein Had a mind so divine He unlocked gravity's mystery Over tea and afternoon history. 🥴🥴🥴🥴🥴🥴🥴🥴🥴🥴🥴🥴🥴🥴 Joe, the grease monkey, hands grease-smeared and bold (A) Underneath hoods, his stories unfold (A) With a wrench in hand, he conquers each glitch (B) Engines hum thanks to his mechanical pitch (B)

I know this is a long shot, and it is a strange thing to be asking about to be fair!
When I was little, my grandad (my grandma did too though I don’t remember her doing it, that’s just what my mum told me) did this great fun thing which was you’d sit on his lap facing him and he’d hold hands with you and then he’d go “little fat girl on a little fat pony goes walk, walk walk” whilst moving his knees in time with the walk, walk, walk, and then it would get quicker and you would end up bouncing really fast at the end when it got to the big horse cantering over hedges and over ditches! It would ramp up from walking to trotting, there was a gallop too!
Thing is I only have a little memory of this, and I would love to know the rest of the words to that rhyme (?) I don’t know what to call it, but it was a good time!
My family remembers them doing it but they can’t remember the words either and my grandparents are gone so I can’t ask them.

Poetic Form: Ballad

Definition: A ballad is a narrative poem that tells a story, often about love, adventure, or tragedy. It typically consists of quatrains with a rhyme scheme and a refrain.
Example: "The Rime of the Ancient Mariner" by Samuel Taylor Coleridge
Freewrite Prompt: In the quiet tavern, the bard strummed his lute and began to sing a ballad of heroes and villains, transporting the listeners to a world where the boundaries between reality and folklore blurred.