InterProcessPyObjects Python package

github.com/FI-Mihej/InterProcessPyObjects
pypi.org/project/InterProcessPyObjects

What My Project Does

This high-performance package delivers blazing-fast inter-process communication through shared memory, enabling Python objects to be shared across processes with exceptional efficiency. By minimizing the need for frequent serialization-deserialization, it enhances overall speed and responsiveness. The package offers a comprehensive suite of functionalities designed to support a diverse array of Python types and facilitate asynchronous IPC, optimizing performance for demanding applications.

Target Audience

This project is designed for production environments, offering a stable API suitable for developers looking to implement fast inter-process communication. Whether you're building complex systems or require robust data sharing and modification across processes, InterProcessPyObjects is ready to meet your needs.

Comparison

Comparison with multiprocessing.shared_memory
While both InterProcessPyObjects and multiprocessing.shared_memory facilitate inter-process communication, there are several key differences to note. Unlike multiprocessing.shared_memory, InterProcessPyObjects offers the following enhancements:

• High-Performance Mutable Objects: Both connected processes can modify shared objects at runtime, and these changes are immediately reflected on the other side. This feature not only increases flexibility but also delivers exceptional performance, with the capability to handle up to several million changes per second.
• Synchronization Features: Ensures that operations are thread-safe and data integrity is maintained across processes.
• Message Queue: Integrates a system for queuing messages, making communication between processes more structured and reliable.
• Extended Type Support: Supports a broad range of data types, including custom classes, which goes beyond the basic types typically handled by multiprocessing.shared_memory.

These features make InterProcessPyObjects a more robust option for developers requiring advanced inter-process communication capabilities.

API State

Stable. Guaranteed not to have breaking changes in the future. (see github.com/FI-Mihej/InterProcessPyObjects?tab=readme-ov-file#api-state for details)

Key Features

• Shared Memory Communication:
  
  • Enables sharing of Python objects directly between processes using shared memory.
  • Utilizes a linked list of global messages to inform connected processes about new shared objects.
• Lock-Free Synchronization:
  
  • Uses memory barriers for efficient communication, avoiding slow syscalls.
  • Ensures each process can access and modify shared memory without contention.
• Supported Python Types:
  
  • Handles various Python data structures including:
    • Basic types: None, bool, 64-bit int, large int (arbitrary precision integers), float, complex, bytes, bytearray, str.
    • Standard types: Decimal, slice, datetime, timedelta, timezone, date, time
    • Containers: tuple, list, classes inherited from: AbstractSet (frozenset), MutableSet (set), Mapping and MutableMapping (dict).
    • Pickable classes instancess: custom classes including dataclass
  • Allows mutable containers (lists, sets, mappings) to save basic types (None, bool, 64 bit int, float) internally, optimizing memory use and speed.
• NumPy and Torch Support:
  
  • Supports numpy arrays by creating shared bytes objects coupled with independent arrays.
  • Supports torch tensors by coupling them with shared numpy arrays.
• Custom Class Support:
  
  • Projects pickable custom classes instancess (including dataclasses) onto shared dictionaries in shared memory.
  • Modifies the class instance to override attribute access methods, managing data fields within the shared dictionary.
  • supports classes with or without __dict__ attr
  • supports classes with or without __slots__ attr
• Asyncio Compatibility:
  
  • Provides a wrapper module for async-await functionality, integrating seamlessly with asyncio.
  • Ensures asynchronous operations work smoothly with the package's lock-free approach.

Main principles

• only one process has access to the shared memory at the same time
• working cycle:
  1. work on your tasks
  2. acacquire access to shared memory
  3. work with shared memory as fast as possible (read and/or update data structures in shared memory)
  4. release access to shared memory
  5. continue your work on other tasks
• do not forget to manually destroy your shared objects when they are not needed already
• feel free to not destroy your shared object if you need it for a whole run and/or do not care about the shared memory waste
• data will not be preserved between Creator's sessions. Shared memory will be wiped just before Creator finished its work with a shared memory instance (Consumer's session will be finished already at this point)

Examples

• An async examples (with asyncio):
  • sender.py
  • receiver.py
  • sharedobjects_types.py

Benchmarks

• CPU: i5-3570@3.40GHz (Ivy Bridge)
• RAM: 32 GBytes, DDR3, dual channel, 655 MHz
• OS: Ubuntu 20.04.6 LTS under WSL2. Windows 10

Throughput GiB/s

Refference results (sysbench)

bash sysbench memory --memory-oper=write run
5499.28 MiB/sec

Benchmarks results table

Approach	sync/async	Throughput GiB/s
InterProcessPyObjects (sync)	sync	3.770
InterProcessPyObjects + uvloop	async	3.222
InterProcessPyObjects + asyncio	async	3.079
multiprocessing.shared_memory *	sync	2.685
uvloop.UnixDomainSockets	async	0.966
asyncio + cengal.Streams	async	0.942
uvloop.Streams	async	0.922
asyncio.Streams	async	0.784
asyncio.UnixDomainSockets	async	0.708
multiprocessing.Queue	sync	0.669
multiprocessing.Pipe	sync	0.469

* multiprocessing.shared_memory.py - simple implementation. This is a simple implementation because it uses a similar approach to the one used in uvloop.*, asyncio.*, multiprocessing.Queue, and multiprocessing.Pipe benchmarking scripts. Similar implementations are expected to be used by the majority of projects.

Todo

• Connect more than two processes
• Use third-party fast hashing implementations instead of or in addition to built in hash() call
• Continuous performance improvements

Conclusion

This Python package provides a robust solution for interprocess communication, supporting a variety of Python data structures, types, and third-party libraries. Its lock-free synchronization and asyncio compatibility make it an ideal choice for high-performance, concurrent execution.

Based on Cengal

This is a stand-alone package for a specific Cengal module. Package is designed to offer users the ability to install specific Cengal functionality without the burden of the library's full set of dependencies.
The core of this approach lies in our 'cengal-light' package, which houses both Python and compiled Cengal modules. The 'cengal' package itself serves as a lightweight shell, devoid of its own modules, but dependent on 'cengal-light[full]' for a complete Cengal library installation with all required dependencies.
An equivalent import:
python from cengal.hardware.memory.shared_memory import * from cengal.parallel_execution.asyncio.ashared_memory_manager import *
Cengal library can be installed by:
bash pip install cengal
https://github.com/FI-Mihej/Cengal
https://pypi.org/project/cengal/

Projects using Cengal

• CengalPolyBuild - A Comprehensive and Hackable Build System for Multilingual Python Packages: Cython (including automatic conversion from Python to Cython), C/C++, Objective-C, Go, and Nim, with ongoing expansions to include additional languages. (Planned to be released soon)
• cengal_app_dir_path_finder - A Python module offering a unified API for easy retrieval of OS-specific application directories, enhancing data management across Windows, Linux, and macOS
• cengal_cpu_info - Extended, cached CPU info with consistent output format.
• cengal_memory_barriers - Fast crossplatform memory barriers for Python.
• flet_async - wrapper which makes Flet async and brings booth Cengal.coroutines and asyncio to Flet (Flutter based UI)
• justpy_containers - wrapper around JustPy in order to bring more security and more production-needed features to JustPy (VueJS based UI)
• Bensbach - decompiler from Unreal Engine 3 bytecode to a Lisp-like script and compiler back to Unreal Engine 3 bytecode. Made for a game modding purposes
• Realistic-Damage-Model-mod-for-Long-War - Mod for both the original XCOM:EW and the mod Long War. Was made with a Bensbach, which was made with Cengal
• SmartCATaloguer.com - TagDB based catalog of images (tags), music albums (genre tags) and apps (categories)

License

Licensed under the Apache License, Version 2.0.

VIII: The Flight from Feeling: Sociopsychology of the Sex War
The Trivialization of Personal Relations
Bertrand Russell once predicted that the socialization of reproduction - the supersession of the family by the state - would “make sex love itself more trivial,” encourage “a certain triviality in all personal relations,” and “make it far more difficult to take an interest in anything after one’s own death.” At first glance, recent developments appear to have refuted the first part of this prediction. Americans today invest personal relations, particularly the relations between men and women, with undiminished emotional importance. The decline of childrearing as a major preoccupation has freed sex from its bondage to procreation and made it possible for people to value erotic life for its own sake. As the family shrinks to the marital unit, it can be argued that men and women respond more readily to each other’s emotional needs, instead of living vicariously through their offspring. The marriage contract having lost its binding character, couples now find it possible, according to many observers, to ground sexual relations in something more solid than legal compulsion. In short, the growing determination to live for the moment, whatever it may have done to the relations between parents and children, appears to have established the preconditions of a new intimacy between men and women.
This appearance is an illusion. The cult of intimacy conceals a growing despair of finding it. Personal relations crumble under the emotional weight with which they are burdened. The inability “to take an interest in anything after one’s own death,” which gives such urgency to the pursuit of close personal encounters in the present, makes intimacy more elusive than ever. The same developments that have weakened the tie between parents and children have also undermined relations between men and women. Indeed the deterioration of marriage contributes in its own right to the deterioration of care for the young.
This last point is so obvious that only a strenuous propaganda on behalf of “open marriage” and “creative divorce” prevents us from grasping it. It is clear, for example, that the growing incidence of divorce, together with the ever present possibility that any given marriage will end in collapse, adds to the instability of family life and deprives the child of a measure of emotional security. Enlightened opinion diverts attention from this general fact by insisting that in specific cases, parents may do more harm to their children by holding a marriage together than by dissolving it. It is true that many couples preserve their marriage, in one form or another, at the expense of the child. Sometimes they embark on a life full of distractions that shield them against daily emotional involvements with their offspring. Sometimes one parent acquiesces in the neurosis of the other (as in the family configuration that produces so many schizophrenic patients) for fear of disturbing the precarious peace of the household. More often the husband abandons his children to the wife whose company he finds unbearable, and the wife smothers the children with incessant yet perfunctory attentions. This particular solution to the problem of marital strain has become so common that the absence of the father impresses many observers as the most striking fact about the contemporary family. Under these conditions, a divorce in which the mother retains custody of her children merely ratifies the existing state of affairs - the effective emotional desertion of his family by the father. But the reflection that divorce often does no more damage to children than marriage itself hardly inspires rejoicing.
Battle of the Sexes: Its Social History
While the escalating war between men and women have psychological roots in the disintegration of the marital relation, and more broadly in the changing patterns of socialization outlined in the preceding chapter, much of this tension can be explained without reference to psychology. The battle of the sexes also constitutes a social phenomena with a history of its own. The reasons for the recent intensification of sexual combat lie in the transformation of capitalism from its paternalistic and familial form to a managerial, corporate, bureaucratic system of almost total control: more specifically, in the collapse of “chivalry”; the liberation of sex from many of its former constraints; the pursuit of sexual pleasure as an end in itself; the emotional overloading of personal relations; and most important of all, the irrational male response to the emergence of the liberated woman.
It has been clear for some time that “chivalry is dead.” The tradition of gallantry formerly masked and to some degree mitigated the organized oppression of women. While males monopolized political and economic power, they made their domination of women more palatable by surrounding it with an elaborate ritual of deference and politesse. They set themselves up as protectors of the weaker sex, and this cloying but useful fiction set limits to their capacity to exploit women through sheer physical force. The counterconvention of droit de seigneur, which justified the predatory exploits of the privileged classes against women socially inferior to themselves, nevertheless showed that the male sex at no time ceased to regard most women as fair game. The long history of rape and seduction, moreover, served as a reminder that animal strength remained the basis of masculine ascendancy, manifested here in its most direct and brutal form. Yet polite conventions, even when they were no more than a façade, provided women with ideological leverage in their struggle to domesticate the wildness and savagery of men. They surrounded essentially exploitive relationships with a network of reciprocal obligations, which if nothing else made exploitation easier to bear.
The symbiotic interdependence of exploiters and exploited, so characteristic of paternalism in all ages, survived in male-female relations long after the collapse of patriarchal authority in other areas. Because the convention of deference to the fair sex was so closely bound up with paternalism, however, it lived on borrowed time once the democratic revolutions of the eighteenth and nineteenth centuries had destroyed the last foundations of feudalism. The decline of paternalism, and of the rich public ceremonial formerly associated with it, spelled the end of gallantry. Women themselves began to perceive the connection between their debasement and their sentimental exaltation, rejected their confining position on the pedestal of masculine adoration, and demanded the demystification of female sexuality.
Democracy and feminism have now stripped the veil of courtly convention from the subordination of women, revealing the sexual antagonisms formerly concealed by the “feminine mystique.” Denied illusions of comity, men and women find it more difficult than before to confront each other as friends and lovers, let alone as equals. As male supremacy becomes ideologically untenable, incapable of justifying itself as protection, men assert their domination more directly, in fantasies and occasionally in acts of raw violence. Thus the treatment of women in movies, according to one study, has shifted “from reverence to rape.”
Women who abandon the security of well-defined though restrictive social roles have always exposed themselves to sexual exploitation, having surrendered the usual claims of respectability. Mary Wollstonecraft, attempting to live as a free woman, found herself brutally deserted by Gilbert Imlay. Later feminists forfeited the privileges of sex and middle-class origin when they campaigned for women’s rights. Men reviled them publicly as sexless “she-men” and approached them privately as loose women. A Cincinnati brewer, expecting to be admitted to Emma Goldman’s hotel room when he found her alone, became alarmed when she threatened to wake the whole establishment. He protested, “I thought you believed in free love.” Ingrid Bengis reports that when she hitchhiked across the country, men expected her to pay for rides with sexual favors. Her refusal elicited the predictable reply: “Well, girls shouldn’t hitchhike in the first place.”
What distinguishes the present time from the past is that defiance of sexual conventions less and less presents itself as a matter of individual choice, as it was for the pioneers of feminism. Since most of those conventions have already collapsed, even a woman who lays no claim to her rights nevertheless finds it difficult to claim the traditional privileges of her sex. All women find themselves identified with “women’s lib” merely by virtue of their sex, unless by strenuous disavowals they identify themselves with its enemies. All women share in the burdens as well as the benefits of “liberation,” both of which can be summarized by saying that men no longer treat women as ladies.
The Sexual “Revolution”
The demystification of womanhood goes hand in hand with the desublimation of sexuality. The “repeal of reticence” has dispelled the aura of mystery surrounding sex and removed most of the obstacles to its public display. Institutionalized sexual segregation has given way to arrangements that promote the intermingling of the sexes at every stage of life. Efficient contraceptives, legalized abortion, and a “realistic” and “healthy” acceptance of the body have weakened the links that once tied sex to love, marriage, and procreation. Men and women now pursue sexual pleasure as an end in itself, unmediated even by the conventional trappings of romance.
Sex valued purely for its own sake loses all reference to the future and brings no hope of permanent relationships. Sexual liaisons, including marriage, can be terminated at pleasure. This means, as Willard Waller demonstrated a long time ago, that lovers forfeit the right to be jealous or to insist on fidelity as a condition of erotic union. In his sociological satire of the recently divorced, Waller pointed out that the bohemians of the 1920s attempted to avoid emotional commitments while eliciting them from others.
Since the bohemian was “not ready to answer with his whole personality for the consequences of the affair, nor to give any assurance of its continuance,” he lost the right to demand such an assurance from others. “To show jealousy,” under these conditions, became “nothing short of a crime…. So if one falls in love in Bohemia, he conceals it from his friends as best he can.” In similar studies of the “rating and dating complex” on college campuses, Waller found that students who fell in love invited the ridicule of their peers. Exclusive attachments have way to an easygoing promiscuity as the normal pattern of sexual relations. Popularity replaced purity as the measure of a woman’s social value; the sentimental cult of virginity gave way to “playful woman-sharing,” which had “no negative effect,” as Wolfenstein and Leites pointed out in their study of movies, “on the friendly relations between the men.”(*) In the thirties and forties, the cinematic fantasy in which a beautiful girl dances with a chorus of men, favoring one no more than the others, expressed an ideal to which reality more and more closely conformed. In Elmtown’s Youth, August Hollingshead described a freshman girl who violated conventional taboos against drinking, smoking, and “fast” behavior and still retained her standing in the school’s most prominent clique, partly carefully calibrated promiscuity. “To be seen with her adds to a boy’s prestige in the elite peer group…. she pets with her dates discreetly never goes too far, just far enough to make them come back again.” In high school as in college, the peer group attempts through conventional ridicule and vituperation to prevent its members from falling in love with the wrong people, indeed from falling in love at all; for as Hollingshead noted, lovers “are lost to the adolescent world with its quixotic enthusiasms and varied group activities.”
These studies show that the main features of the contemporary sexual scene had already established themselves well before the celebrated “sexual revolution” of the sixties and seventies: casual promiscuity, a wary avoidance of emotional commitments, an attack on jealousy and possessiveness. Recent developments, however, have introduced a new source of tension: the modern woman’s increasingly insistent demand for sexual fulfillment. In the 1920s and 1930s, many women still approached sexual encounters with a hesitance that combined prudery and a realistic fear of consequences. Superficially seductive, they took little pleasure in sex even when they spoke the jargon of sexual liberation and professed to live for pleasure and thrills. Doctors worried about female frigidity, and psychiatrists had no trouble in recognizing among their female patients the classic patterns of hysteria described by Freud, in which a coquettish display of sexuality often coexists with powerful repression and a rigid, puritanical morality.
Today women have dropped much of their sexual reserve. In the eyes of men, this makes them more accessible as sexual partners but also more threatening. Formerly men complained about women’s lack of sexual response; now they find this response intimidating and agonize about their capacity to satisfy it. “I’m sorry they ever found out they could have orgasms too,” Heller’s Bob Slocum says. The famous Masters-Johnson report on female sexuality added to these anxieties by depicting women as sexually insatiable, inexhaustible in their capacity to experience orgasm after orgasm. Some feminists have used the Masters report to attack the “myth of vaginal orgasm,” to assert women’s independence of men, or to taunt men with their sexual inferiority. “Theoretically, a woman could go on having orgasms indefinitely if physical exhaustion did not intervene,” writes Mary Jane Sherfey. According to Kate Millett, “While the male’s sexual potential is limited, the female’s appears to be biologically nearly inexhaustible.” Sexual “performance” thus becomes another weapon in the war between men and women; social inhibitions no longer prevent women from exploiting the tactical advantage which the current obsession with sexual measurement has given them. Whereas the hysterical woman, even when she fell in love and longed to let herself go, seldom conquered her underlying aversion to sex, the pseudoliberated woman of Cosmopolitan exploits her sexuality in a more deliberate and calculating way, not only because she has fewer reservations about sex but because she manages more successfully to avoid emotional entanglements. “Women with narcissistic personalities,” writes Otto Kernberg, “may appear quite ‘hysterical’ on the surface, with their extreme coquettishness and exhibitionism but the cold, shrewdly calculating quality of their seductiveness is in marked contrast to the much warmer, emotionally involved quality of hysterical pseudo-hypersexuality.”
[*. The transition in American movies from the vamp to the “good-bad girl,” according to Wolfenstein and Leites, illustrates the decline of jealousy and the displacement of sexual passion by sexiness. “The dangerousness of the vamp was associated with the man’s intolerance for sharing her with other men. Her seductive appearance and readiness for love carried a strong suggestion that there has been and might be other men in her life…. The good-bad girl is associated with a greater tolerance for sharing the woman…. In effect, the woman’s attraction is enhanced by her association with other men. All that is needed to eliminate unpleasantness is the assurance that those relations were not serious.”]
Togetherness
Both men and women have come to approach personal relations with a heightened appreciation of their emotional risks. Determined to manipulate the emotions of others while protecting themselves against emotional injury, both sexes cultivate a protective shallowness, a cynical detachment they do not altogether feel but which soon becomes habitual and in any case embitters personal relations merely through its repeated profession. At the same time, people demand from personal relations the richness and intensity of a religious experience. Although in some ways men and women have had to modify their demands on each other, especially in their inability to exact commitments of lifelong sexual fidelity, in other ways they demand more than ever. In the American middle class, moreover, men and women see too much of each other and find it hard to put their relations in proper perspective. The degradation of work and the impoverishment of communal life force people to turn to sexual excitement to satisfy all their emotional needs. Formerly sexual antagonism was tempered not only by chivalric, paternalistic, conventions but by a more relaxed acceptance of the limitations of the other sex. Men and women acknowledged each other’s shortcomings without making them the basis of a comprehensive indictment. Partly because they found more satisfaction than is currently available in casual relations with their own sex, they did not have to raise friendship itself into a political program, an ideological alternative to love. An easygoing, everyday contempt for the weaknesses of the other sex, institutionalized as folk wisdom concerning the emotional incompetence of men or the brainlessness of women, kept sexual enmity within bounds and prevented it from becoming an obsession.
Feminism and the ideology of intimacy have discredited the sexual stereotypes which kept women in their place but which also made it possible to acknowledge sexual antagonism without raising it to the level of all-out warfare. Today the folklore of sexual differences and the acceptance of sexual friction survive only in the working class. Middle-class feminists envy the ability of working-class women to acknowledge that men get in their way without becoming man-haters. “These women are less angry at their men because they don’t spend that much time with them,” according to one observer. “Middle-class women are the ones who were told men had to be their companions.”
…
Strategies of Accommodation
Because the contradiction exposed (and exacerbated) by feminism are so painful, the feminist movement has always found it tempting to renounce its own insights and program and to retreat into some kind of accommodation with the existing order, often disguised as embattled militancy. In the nineteenth century, American feminists edged away from their original programs, which envisioned not only economic equality but a sweeping reform of marriage and sexual relations, into a protracted campaign for woman suffrage. Today many feminists argue, once again in the name of political realism, that women need to establish their influence within the two-party system, as a kind of loyal opposition, before they can raise broader issues. Such tactics merely serve to postpone the discussion of broader issues indefinitely. Just as the women’s rights movement of the nineteenth century drew back from discussions of love and marriage when they met with public hostility, so strong forces in the National Organization for Women today propose to improve woman’s image, to show that feminism in no way threatens men, and to blame “social conditions” or bad attitudes, not male supremacy, for the subordination of the female sex.
More subtle forms of accommodation pose as radical challenges to mainstream feminism and the status quo. Some militants have revived discredited theories of matriarchal origins or myths of the moral superiority of women, thereby consoling themselves for this lack of power. They appear to the illusory solidarity of sisterhood in order to avoid arguments about the proper goals of the feminist movement. By institutionalizing women’s activities as “alternatives to the male death-culture,” they avoid challenging that culture and protect women from the need to compete with men for jobs, political power, and public attention. What began as a tactical realization that women have to win their rights without waiting for men to grant them has degenerated into the fantasy of a world without men. As one critic has noted, the movement’s “apparent vigor turns out to be mere busyness with self-perpetuating make-work: much of it serving in the short run to provide its more worldly experts with prestige, book contracts, and grants, its dreamers with an illusory matriarchal utopia.”
“Radical lesbians” carry the logic of separation to its ultimate futility, withdrawing at every level from the struggle against male domination while directing a steady stream of abuse against men and against women who refuse to acknowledge their homosexual proclivities. Proclaiming their independence from men, militant lesbians in fact envision a protected enclave for themselves within a male-dominated society. Yet this form of surrender - the dream of an island secure against male intrusion - remains attractive to women who repeatedly fail to find a union of sexuality and tenderness in their relations with men. As such disappointments become more and more common, sexual separatism commends itself as the most plausible substitute for liberation.
All these strategies of accommodation derive their emotional energy from an impulse much more prevalent than feminism: the flight from feeling. For many reasons, personal relations have become increasingly risky - most obviously, because they no longer carry any assurance of permanence. Men and women make extravagant demands on each other and experience irrational rage and hatred when their demands are not met. Under these conditions, it is not surprising that more and more people long for emotional detachment or “enjoy sex,” as Hendin writes, “only in situations where they can define and limit the intensity of the relationship.” A lesbian confesses: “The only men I’ve ever been able to enjoy sex with were men I didn’t give a shit about. Then I could let go, because I didn’t feel vulnerable.”
Sexual separatism is only one of many strategies for controlling or escaping from strong feeling. Many prefer the escape of drugs, which dissolve anger and desire in a glow of good feeling and create the illusion of intense experience without emotion. Others simply undertake to live alone, repudiating connections with either sex. The reported increase in single-member households undoubtedly reflects a new taste for personal independence, but it also expresses a revulsion against close emotional attachments of any kind. The rising rate of suicide among young people can be attributed, in part, to the same flight from emotional entanglements. Suicide, in Hendin’s words, represents the “ultimate numbness.”
The most prevalent form of escape from emotional complexity is promiscuity: the attempt to achieve a strict separation between sex and feeling. Here again, escape masquerades as liberation, regression as progress. The progressive ideology of “nonbiding commitments” and “cool sex” makes a virtue of disengagement, while purporting to criticize the depersonalization of sex. Enlightened authorities like Alex Comfort, Nena and George O’Neill, Robert and Anna Francoeur insist on the need to humanize sex by making it into a “total experience” instead of a mechanical performance; yet in the same breath they condemn the human emotions of jealousy and possessiveness and decry “romantic illusions.” “Radical” therapeutic wisdom urges men and women to express their needs and wishes without reserve - since all needs and wishes have equal legitimacy - but warns them not to expect a single mate to satisfy them. This program seeks to allay emotional tensions, in effect, by reducing the demands men and women make on each other, instead of making men and women better able to meet them. The promotion of sex as a “healthy,” “normal” part of life masks a desire to divest it of the emotional intensity that unavoidably clings to it: the reminders of earlier entanglements with parents, the “unhealthy” inclination to re-create those relations in relation with lovers. The enlightened insistence that sex is not “dirty” expresses a wish to sanitize it by washing away its unconscious associations.
The humanistic critique of sexual “depersonalization” thus sticks to the surface of the problem. Even while preaching the need to combine sex with feeling, it gives ideological legitimacy to the protective withdrawal from strong emotions. It condemns the overemphasis on technique while extolling sexual relations that are hermetically free of affect. It exhorts men and women to “get in touch with their feelings” but encourages them to make “resolutions about freedom and ‘non-possessiveness,’” as Ingrid Bengis writes, which “tear the very heart out of intimacy.” It satirizes the crude pornographic fantasies sold by the mass media, which idealize hairless women with inflated mammaries, but it does so out of an aversion to fantasy itself, which so rarely conforms to social definition of what is healthy minded. The critics of dehumanized sex, like the critics of sport, hope to abolish spectatorship and to turn everyone into a participant, hoping that vigorous exercise will drive away unwholesome thoughts. They attack pornography, not because they wish to promote more complicated and satisfying fantasies about sex, but because, on the contrary, they wish to win acceptance for a realistic view of womanhood and of the reduced demands that men and women have a right to make of each other.
The Castrating Woman of Male Fantasy
The flight from feeling, whether or not it tries to justify itself under an ideology of nonbinding commitments, takes the form above all of a flight from fantasy. This shows that it represents more than defensive reaction to external disappointments. Today men and women seek escape from emotion not only because they have suffered too many wounds in the wars of love but because they experience their own inner impulses as intolerably urgent and menacing. The flight from feeling originates not only in the sociology of the sex war but in the psychology that accompanies it. If “many of us,” as Ingrid Bengis observes of women and as others have observed of men as well, “have had to anesthetize ourselves to [our] needs,” it is the very character of those needs (and of the defenses erected against them) which gives rise to the belief that they cannot be satisfied in heterosexual relations - perhaps should not be satisfied in any form - and which therefore prompts people to withdraw from intense emotional encounters.
Instinctual desires always threaten psychic equilibrium and for this reason can never be given direct expression. In our society, however, they present themselves as intolerably menacing, in part because the collapse of authority has removed so many of the external prohibitions against the expression of dangerous impulses. The superego can no longer ally itself, in its battle against impulse, with outside authorities. It has to rely almost entirely on its own resources, and these too have diminished in their effectiveness. Not only have the social agents of repression lost much of their force, but their internal representations in the superego have suffered a similar decline. The ego ideal, which cooperates in the work of repression by making socially acceptable behavior itself an object of libidinal cathexis, has become increasingly pallid and ineffective in the absence of compelling moral models outside the self. This means, as we have seen, that the superego has to rely more and more on harsh, punitive dictation, drawing on the aggressive impulses in the id and directing them against the ego.
The narcissist feels consumed by his own appetites. The intensity of his oral hunger leads him to make inordinate demands on his friends and sexual partners; yet in the same breath he repudiates those demands asks only a causal connection without promise of permanence on either side. He longs to free himself from his own hunger and rage, to achieve a calm detachment beyond emotion, and to outgrow his dependence on others. He longs for the indifference to human relationships and to life itself that would enable him to acknowledge its passing in Kurt Vonnegut’s laconic phrase, “So it goes,” which so aptly expresses the ultimate aspiration of the psychiatric seeker. <“Western” Buddhism>
But although the psychological man of our times frightens himself with the intensity of his inner needs, the needs of others appall him no less than his own. One reason the demands he inadvertently imposes on others make him uneasy is that they may justify other in making demands on himself. Men especially fear the demands of women, not only because women no longer hesitate to press them but because men find it so difficult to imagine an emotional need that does not wish to consume whatever it seizes on.
Women today ask for two things in their relations with men: sexual satisfaction and tenderness. Whether separately or in combination, both demands seem to convey to many males the same message - that women are voracious, insatiable. Why should men respond in this fashion to demands that reason tells them have obvious legitimacy? Rational arguments notoriously falter in the face of unconscious anxieties; women’s sexual demands terrify men because they reverberate at such deep layers of the masculine mind, calling up early fantasies of a possessive, suffocating, devouring, and castrating mother. The persistence of such fantasies in later life intensifies and brings into the open the secret terror that has always been an important part of the male image of womanhood. The strength of these pre-Oedipal fantasies, in the narcissistic type of personality, makes it likely that men will approach women with hopelessly divided feelings, dependent and demanding in their fixation on the breast but terrified of the vagina which threatens to eat them alive; of the legs with which popular imagination endows the American heroine, legs which can presumably strangle or scissor victims to death; of the dangerous, phallic breast itself, encased in unyielding armor, which in unconscious terror more nearly resembles an implement of destruction that a source of nourishment. The sexually voracious female, long a stock figure of masculine pornography, in the twentieth century has emerged into the daylight of literary respectability. Similarly the cruel, destructive, domineering woman, la belle dame sans merci, has moved from the periphery of literature and the other arts to a position close to the center. Formerly a source of delicious titillation, of sadomasochistic gratification tinged with horrified fascination, she now inspires unambiguous loathing and dread. Heartless, domineering, burning (as Leslie Fiedler has said) with “a lust of the nerves rather than of the flesh,” she unmans every man who falls under her spell. In American fiction, she assumes a variety of guides, all of them variations on the same theme: the bitchy heroine of Hemingway, Faulkner, and Fitzegerald; Nathanael West’s Faye Greener, whose “invitation wasn’t to pleasure but to struggle, hard and sharp, closer to murder than to love”; Tennessee Williams’s Maggie Tolliver, edgy as a cat on a hot tin roof; the domineering wife whose mastery of her husband, as in the joyless humor of James Thurber, recalls the mastery of the castrating mother over her son; the man-eating Mom denounced in the shrill falsetto of Philip Wylie’s Generation of Vipers, Wright Morris’s Man and Boy, Edward Albee’s The American Dream; the suffocating Jewish mother, Mrs. Portnoy; the Hollywood vampire (Theda Bara), scheming seductress (Marlene Dietrich), or bad blonde (Marilyn Monroe, Jayne Mansfield); the precocious female killer of William March’s The Bad Seed.
Child or woman, wife or mother, this female cuts men to ribbons or swallows them whole. She travels accompanied by eunuchs, by damaged men suffering from nameless wounds, or by a few strong men brought low by their misguided attempts to turn her into a real woman. Whether or not the actual incidence of impotence has increased in American males - and there is no reason to doubt reports that it has - the specter of impotence haunts the contemporary imagination, not least because it focuses the fear that a played-out Anglo-Saxon culture is about to fall before the advance of hardier races. The nature of impotence, moreover, has undergone an important historical shift. In the nineteenth century, respectable men sometimes experienced embarrassing sexual failures with women of their own class, or else suffered from what Freud called “psychic impotence” - the characteristic Victorian split between sensuality and affection. Although most of these men dutifully had intercourse with their wives, they derived sexual satisfaction only from intercourse with prostitutes or with women otherwise degraded. As Freud explained, this psychic syndrome - “the most prevalent form of degradation” in the erotic life of his time - originated in the Oedipus complex. After the painful renunciation of the mother, sensuality seeks only those objects that evoke no reminder of her, while the mother herself, together with other “pure” (socially respectable) women, is idealized beyond reach of the sensual.
Today, impotence typically seems to originate not in renunciation of the mother but in earlier experiences, often reactivated by the apparently aggressive overtures of sexually liberated women. Fear of the devouring mother of pre-Oedipal fantasy gives rise to a generalized fear of women that has little resemblance to the sentimental adoration men once granted to women who made them sexually uncomfortable. The fear of women, closely associated with a fear of the consuming desires within, reveals itself not only as impotence but as a boundless rage against the female sex. This blind and impotent rage, which seems so prevalent at the present time, only superficially represents a defensive male reaction against feminism. It is only because the recent revival of feminism stirs up such deeply rooted memories that it gives rise to such primitive emotions. Men’s fear of women, moreover, exceeds the actual threat to their sexual privileges. Whereas the resentment of women against men for the most part has solid roots in the discrimination and sexual danger to which women are constantly exposed, the resentment of men against women, when men still control most of the power and wealth in society yet feel themselves threatened on every hand - intimidated, emasculated - appears deeply irrational, and for that reason not likely to be appeased by changes in feminist tactics designed to reassure men that liberated women threaten no one. When even Mom is a menace, there is not much that feminists can say to soften the sex war or to assure their adversaries that men and women will live happily together when it is over.

I want to take a moment to thank the RWBY Fandom for coming together on post www.tumblr.com/iamafanofcartoons/714857308133441536/lets-talk-about-what-makes-rwby-good-or-enjoyable
And discussing why RWBY was an enjoyable show for each of them. Everyone here had a fantastic reason, and I am grateful to each of you!
Hmvw2015: For me, RWBY filled the void left behind by Avatar: The Last Airbender and The Legend of Korra. It’s one of the few shows I’ve seen (aside from Adventure Time) that grows up with its audience. The fight scenes are so incredible! They’re lightening fast I would have to rewatch the same episode at least twice or thrice! Easily rivaling those done by Studios Gainax or TRIGGER, or Titmouse. Since every character, place, and object have connections to fairy tales, mythologies, folklore, and classic novels, it did a great job portraying them to their root inspirations. Plus, I’m always digging deep into their designs and backstories. The music is almost top tier to the music from the Disney Renaissance Era. Maybe even better than that. The songs add another layer of foreshadowing for the characters, and they’re fun to listen to~! It tackles issues like self-worth, abuse, and death. The series basically screams “Women’s Rights” and “Gay Rights” and proud of it. :D www.tumblr.com/hmvw2015/715987868852666368/lets-talk-about-what-makes-rwby-good-or-enjoyable
Ammy246: I've always enjoyed the characters, and I like how there are 4 badass female protagonists who are each enjoyable to watch. I also like how the villains are actually threatening, so the heroes have to put effort into earning victories unlike many works of fiction. The animation always excites me, because you never know what you're going to get. And, don't even get me started on the amazing soundtrack.
Cinnamonrollfuckhead: it tickles all the right things about me. i got in trouble for reading in classes when i finished my work early at school, it was nearly always history or mythology. i was an ancient Egypt kid. i read outside my age group. if Snapple wanted to employ me to write factoids for their caps i would take it. i was hooked on RWBY immediately despite being older than any of the main characters. i found an unlikely character to relate to in Jaune. i loved how it balanced serious and goofy themes.
Satoshi-mochida: Some stuff I like about the show is that it's pretty fun and entertaining to watch, has constantly improving writing and animation(the CRWBY recognizing ACTUAL criticism, and working on those), with smarter and deeper than some may think moments, well-done characters, great music and songs, and probably more. I even cosplayed as Jaune(and the 'HuntsMan' with a Wonder-Zwei plush)with my then-girlfriend before COVID hit and other stuff happened, and enjoyed doing that.
Haunted-meatsack: I'm waaaaay behind but I started watching for the fight choreography, music, and battle skirts. Plus I'm a sucker for small girls who kick ass with GIANT weapons. Then the story and characters kept me coming. I need to catch up.
www.tumblr.com/haunted-meatsack/715895495101497344/lets-talk-about-what-makes-rwby-good-or-enjoyable
Bumblebyfan: I like RWBY due to a lot of reasons, for starters, the relationships between the main characters, and how they constantly help each other, I also really like the whole fantasy setting and how funny it is at times, I also really liked how they handled Ruby’s arc during season 9, as someone who has had... intrusive thoughts
www.tumblr.com/bumblebyfan/715730749688561664/lets-talk-about-what-makes-rwby-good-or-enjoyable
XLBINGO10: one thing that i particularly like about rwby is that the characters aren't dumbasses. i feel like so often in shows i watch there's an episode conflict where the characters make an obviously terrible plan that will clearly backfire horribly just for the sake of the episode plot and it's always painful to watch, so it's really nice to watch a show where that doesn't happen.
www.tumblr.com/xlbingo10/715707865708527616/lets-talk-about-what-makes-rwby-good-or-enjoyable.
Sir-Somewhat: I love the cast. I honestly can't say there is a character I am not fond of in some way and that includes the villians. I love the idea of semblances and the faunus. Also I want more faunus lore. Given the existence of the Ever After I have to wonder if the Faunus came from another world created by the Brothers.
www.tumblr.com/sir-somewhat/715323283721076736/lets-talk-about-what-makes-rwby-good-or-enjoyable
Ghost-of-Sparda: Rwby was a show I found in college that I wasn’t sure I was going to enjoy, but as I watched it- I found myself completely enthralled in the world created by Monty Oum and his friends. It’s story has me on the edge of my seat every episode, and it’s anime vibes make it a treat to watch. It’s not perfect, I will admit that- and there have been times where I didn’t agree with a direction of story telling at first. However there hasn’t been a show that gets me as excited as RWBY does since I was a kid. If you grew up watching anime, or grew up watching anime- I’d give RWBY a go. If you are still not over the Owl House/ She-Ra/ ATLA/ LOK/ Naruto/ or any other amazing series with crazy fights and an amazing story: I recommend Rwby as your next obsession. And if you want to give anime a try, but are still dipping your toes into the medium- Rwby is a good half way point for newcomers.
www.tumblr.com/ghost-of-sparda/715237926532956160/lets-talk-about-what-makes-rwby-good-or-enjoyable
Aspiringwarriorlibrarian: I really like the characters and their arcs, tragic villains, the triumph of hope and healing, and the fantasy elements.
www.tumblr.com/aspiringwarriorlibrarian/715056039519830016/lets-talk-about-what-makes-rwby-good-or-enjoyable
Miki-13: I love how they use fairy tales and myths as inspiration but execute them in really interesting ways, as well as how human and grounded everyone feels while inside such a fantastic setting.
www.tumblr.com/miki-13/715136165044469760/lets-talk-about-what-makes-rwby-good-or-enjoyable
Thatringboy: For the same reasons above, I’m also in love with the complex motivations behind the antagonists. Mercury hated the world and needed an enabler, Emerald needed security, Cinder snapped after a lifetime of abuse (just like Mercury), Hazel wanted revenge, Lionhart wanted to save himself, Raven wanted to save herself, Tyrian is just insane (based), Watts wanted petty revenge, Neo wanted revenge but doesn’t know what to do afterwards, CC wants to fulfill their cruel purpose, and Salem just wants to finally die. Torchwick was a comical villain who posed a dangerous threat, the Malachite sisters were doing their jobs, Ironwood was a victim of his own paranoia, Cardin was just racist, Cordovin worships her superiors, the Fennec brothers too, Adam wanted total control over everything and everyone in his life and would stop at nothing to get it, Ilia believed in a cause, Tock was following orders, it’s all so varied and exciting!!
www.tumblr.com/thatringboy/715138435689676800/lets-talk-about-what-makes-rwby-good-or-enjoyable
Pyrokinetic-murder-hobo: I honestly fell in love with this project immediately back when the red trailer was first introduced to me. Though the animation for RWBY was simple and understandably a lot of people regard it as not the best. Even V1 and the original 4 trailers had a living soul to me and there was a certain charm to the characters and the animation. What kept me coming back is I find myself being unable to predict where the show will go and it honestly keeps me drawn in that my thoughts and predictions are completely circumvented. The show doesn’t follow the trajectory of really any other media and Monty navigated it masterfully. There’s so many relatable characters and the situations they are put in are approached not perfectly but in a human way as to be a human (even if you have copious amounts of power) means you’ll definitely trip up. But simply put I’ve loved this project since the beginning with the 4 trailers and could write a dissertation on why I love this show and include a long list of different things I love ranging from OST to characters to design animation. But maybe a talk for another day And it made me some awesome friends on tumblr of course too which is a major plus (you better know who you are lol)
https://www.tumblr.com/pyrokinetic-murder-hobo/715072709057478656/lets-talk-about-what-makes-rwby-good-or-enjoyable
iamafanofcartoons: For me, RWBY is a change of pace. It allows for women to be shown as independent characters, just as smart and strong as male ones. It doesn’t use fanservice , you don’t have internal monologuing during fight scenes, you don’t have people screaming random attack names, and the music and designs are great. I appreciate the humor, its not toilet humor or degrading humor like a lot of anime. It also tackles difficult themes like abuse, leadership, morality, and debate. It also takes the white male savior trope so common in the fanfics that people use to promote their OCs, and takes a giant dump on that garbage. If anything, when people say “the fanfics are better than the show” you’ll see them promoting a white male savior trope above all else. Finally? Its a pro-LGBT show on many aspects, which amusingly infuriates a lot of straight shippers who defend their straight white male character who they put on a pedestal.
www.tumblr.com/iamafanofcartoons/715040015347040256/lets-talk-about-what-makes-rwby-good-or-enjoyable
Grimmgrinningghouls: for me RWBY is a comfort It has been for 10 years I literally would not be who I am today without this show I'd probably still be a closeted lesbian living in a conservative household with an abusive father and a mother who hated me hell I may not even be here But instead I'm living across the world from them and I'm okay As okay as I can be Its helped me through so much and its introduced me to people I have become life long friends with These funky little lesbians are part of my life and they will be till the day I die
www.tumblr.com/grimmgrinningghouls/715064091163721728/lets-talk-about-what-makes-rwby-good-or-enjoyable
Snowqueenofmyheart: Agreed to the above, as well as being able to enjoy a story that centers women in a way that doesn’t reduce them to simplistic tropes or fanservice. I’ve been looking for more female-centered material over the last several years, and stumbling upon RWBY turned out to be a real joy in that regard. Across the board, you have so many compelling female characters, heroes and villains alike. Not to mention two main characters being explicitly in a queer romance is a delight and a relief. www.tumblr.com/snowqueenofmyheart/715058819349233664/lets-talk-about-what-makes-rwby-good-or-enjoyable
Youraveragecatastrophe: well first i love fantasy so we're off to a good start between the monsters heroes and magic the characters are a very strong point of this show. they're well fleshed out (even many secondary characters including villains and despite the big cast!) and they get the opportunity to develop and evolve i love the themes! love and hope and caring about each other and all that the fights are really fun to watch especially with the unique weapons and everyone's different fighting style the story is really compelling and well written too! also gayness. can't forget the queerness really this show has everything
www.tumblr.com/youraveragecatastrophe/715058708953071616/lets-talk-about-what-makes-rwby-good-or-enjoyable
Foulfirerebel: The music was what first made me get interested in RWBY. The hard hitting rock that also carried quite a bit of meaning into it if you truly took a moment to listen to the lyrics. So, from there I watched V1 at a friend's house and felt it was good. It did a good job with the action scenes, and setting things up for the characters. Volume 2, however, is where I truly fell in love with the show. The appearance of Cinder, of Ironwood, the food fight, the investigation into Torchwick and the White Fang, the dance and hacking sequence! Everything pointed to something more going on. Something hidden waiting to spring forth! V1 was a great entry point, V2 convinced me to stay and hooked me, and when I finally marathoned V3 I was EAGER to watch V4 and onward. Any and all quibbles I may have had melted away when the Fall of Beacon happened. So, long story short, I love the story. I love how things are built up and come back further down the line (Jaune's issues, Ruby's issues, etc.). I love how the characters do go through a lot and need help getting back up. I love how sincere and earnest everything is without a hint of irony. I love the slow burn relationships, and that the show doesn't end with those relationships just being established. I love that, despite everything, this one little indie show has continued going past everything that's happened in a decade since it started. I love that the story is engaging, the characters are deep, the writing is great, and that I'm even feeling bad for the villains which I don't normally do. RWBY may not be the most perfect thing ever, but frankly I love that the writers do see and incorporate feedback into their work. I love that, unlike how Halo or Star Wars do things, you don't necessarily need to have read all the side content to understand things too. Most of all is I love how this show has improved on every level: animation, writing, voice acting, etc. It's just so refreshing. It's the Little Engine that Could continuing onward and getting better as it goes. And hey, being a Bumbleby shipper since V3 and being vindicated in V9? Cherry on the sundae. It's been a wild ride, and I'd love it to continue.
www.tumblr.com/foulfirerebel/714989613562904576/lets-talk-about-what-makes-rwby-good-or-enjoyable
Maor-Koren: RWBY is one of my favorite shows, it take a unique concept and make it very enjoyable to watch. The main and side characters are all unique in their own way and very enjoyable. The story is really good. The animation, fight scenes and the design of the characters and places are all very pleasing to the eye. And the music is phenomenal. Don’t let other people make your opinion! look at the show and see for yourself if you like it or not!
www.tumblr.com/maor-koren/714954350873788416/lets-talk-about-what-makes-rwby-good-or-enjoyable
But-a-humble-goon: Rwby is, in a word, earnest. Its characters are unashamedly sincere, affectionate and vulnerable and the show understands not only that these things are not a weakness but that there can be no greater measure of strength. It’s a story overflowing with heart that categorically rejects stoicism and nihilism and never once apologises for itself. Nothing has ever hit me harder and I do mean that.
www.tumblr.com/but-a-humble-goon/714953671346176000/lets-talk-about-what-makes-rwby-good-or-enjoyable
mikey-polo420: I watched RWBY Because i was drawn in by the trailers when Monty was alive and i liked the idea of cute girls fighting monsters with giant weapons, then i wanted to see their journey through beacon and now i've become invested with the Messages of hope the show presents, i love each of my precious children and want to see them achieve their happiness , i want to support RWBY to it's conclusion because that's what Monty wanted, it's what his friends wanted and they deserve to complete his Brain child.
www.tumblr.com/mikey-polo420/714951464721743872/lets-talk-about-what-makes-rwby-good-or-enjoyable
mooninoir: i started watching when vol. 1 was still going, with a fansub (!) working hell and back to translate each episode as they came out. i remember waiting every week to see a new episode, and when the last episodes came, i was entirely invested in this sci-fi fantasy series with fairytale elements and wanted to know what would happen next. and, for me, it's an endearing series that i enjoy watching, even with its flaws. it's fun, but it also has a heart. i like how it didn't shy away from telling a broader story. vol. 3's gut-wrenching finale was for me what made me realize i was not there just for the amazing fights and cool soundtrack, but for the characters and how they live in this crazy world. it was amazing to watch its worldbuilding evolve to such great lengths and see the characters i like to grow and learn and evolve along with it. they are done well and don't feel misplaced in the narrative. it just flows nicely and i guess the latest volume proved that to me (the themes, the motifs, the characters' choices, and the visuals) everything comes together, y'know? and i just... like it. i like rwby. i really do.
www.tumblr.com/mooninoi714949733681102848/lets-talk-about-what-makes-rwby-good-or-enjoyable
Tumblingxelian: Why do you watch this show? I watch RWBY for the cool characters, interesting setting and engaging overarching story and arcs, plus some gorgeous animation, sets and awesome music. What makes it appeal to you? Women, including queer women, are center stage and given tons of dynamic personality, agency and exploration in ways I rarely see done in other series.
www.tumblr.com/tumblingxelian/714943623381303296/lets-talk-about-what-makes-rwby-good-or-enjoyable
feifiefofum: look, the ad on the tin was cute girls doing violent things and looking great while doing it. that was the impetus for me to follow the show, i was there when it started with the famous red trailer to yellow trailer. the writing then wasn't bad, a bit condensed because, y'know, shoestring budget so everything was very tight time wise. but y'know, you didn't watch the four trailers and get sold on the story- which was good by the by, but it wasn't exceptional. it was by the numbers, hitting what they need to hit, but good. you didn't think it was spectacular. but then volume 3 hits you out of nowhere, and you realize, oh, the writing is phenomenal actually. rwby has deceptively good writing that on the surface is good par for the course that lulls you into complacency, and then manages to sideswipe you with incredible twists that you don't see, but on looking back, the seeds for the twist were planted from book 1 on. the world is slowly and meticulously rolled out to the viewer, the characters shine, and the action, while still spectacular, become secondary to the characters and the world. i started watching rwby, expecting cute girls doing violent things. and they deliver on that, and if you come watch rwby just for that, it delivers that. i didn't come in for hearty world building, intrigue, and lore so deep you can get lost in it. the writers write on a razor's edge, giving enough lore for a backdrop and setting the stage, but if you decide to dig at any trail, you can get lost in it. the concept of dust, the name of the world itself- frankly i think it's a masterclass in giving enough to keep the story going but having enough in the back that every new twist that they lay out can be found to have grown from a seed that was planted in an earlier volume. i dunno who traded their soul away to keep track of all that world building and lore, but that excel sheet must be something to behold. rwby throws u-turns that you don't expect at you, lulls you with a sense of 'okay, i see your tricks now' and somehow manages to turn you around again, and have it make sense. frankly, it's a little frustrating, i've been bamboozled and led by the nose. and i love it for that. i'm delighted by the ride i'm on, and i hope the show keeps going.
www.tumblr.com/feifiefofum/714920887601790976/lets-talk-about-what-makes-rwby-good-or-enjoyable
aspennntree: I watch rwby for several reasons- mostly for the characters, i find some of them really relatable also i just genuinely enjoy the story and the visuals and find the show very comforting i also like the people i’ve met in this community that are kind and i like having people to share my interests with i’ve made many new friends being in this community and it’s something i’m very passionate about, i just really enjoy it genuinely
www.tumblr.com/aspennntree/714906439613906944/lets-talk-about-what-makes-rwby-good-or-enjoyable
Tokufan400: Even with everything, I can't bring myself to stop watching RWBY. I got back into it after talking with some friends in highschool, and I've been doing my best to keep up with it since. I have love for the characters (Weiss is the best), and I do feel a sence of amazement that a western project like this ha s grown so much. Not to mention the amount of art, comics, manga, and fanfics that have spawned from the show. Do I have problems with RWBY? Yes. I will probably never stop ranting about something the show does to tick me off. But I do the same for Star Vs and Kamen Rider Zero One, both shows I still hold a love for. Hell, I might do the same for Amphibia and Owl House down the line if I do a re watch. So yeah, still love RWBY and I want to be around to see how this story ends.
www.tumblr.com/tokufan400/714910475313446912/lets-talk-about-what-makes-rwby-good-or-enjoyable
Howlingday: So, I was in high school and I was watching Red VS Blue. Then I started watching Rage Quit. Then Achievement Hunter. Play Pals. Then my sister and my high school crush were like, hey, try out RWBY. I mocked them by saying "It should be Ar-Dubyoo-Bee-Why". Then I got into it and, well, I liked it the more I got into it until I was caught up to Volume 2. Then Death Battle had the Yang VS Tifa fight (PLEASE, NO REMATCH), and I was rooting for Yang. Then I saw Volume 3, and I was shocked, dismayed, and devastated at the sudden heel turn. I've been hooked ever since. So, to answer your questions. I watch RWBY because it's fun, and I want to know where the story goes. I loved the fun had at Beacon, and I want to know what happens next. The appeal comes from the desire to see these group of friends fight to save the world from the Grimm. I want to see them thrive against a world where everything is stacked against them! And I want to see them flying kick someone in the face to the sound of the most amazing butt-rock since Crush 40 Sonic (No offense MGR)! So, yeah, I love watching RWBY because it's a story to be told. And I'm going to openly sob when the story finally comes to an end.
www.tumblr.com/howlingday/714865441082851328/lets-talk-about-what-makes-rwby-good-or-enjoyable
Gorillageek27: i watch because, okay i was kinda turned off by it at first, just "what is this anime shit?", but i watched it and it's the most out there animated thing i can think like. Rwby is a show that somehow got me appreicating animated projects and you can tell the writers and animators have fun with it.
www.tumblr.com/gorillageek27/714864574777671680/lets-talk-about-what-makes-rwby-good-or-enjoyable
lithominium: Its endearing, the lack of amazing animation in vol 1-3 is made up for in how much love was put into it. The characters are fun and loveable and the writing is goofy but unlike some other media ive watched its very good at knowing when to keep the tone consistent. Its very gay and i love gay and its got one of the greatest slow burns ive ever seen with great payoffs which always happen when they should. I like the setting and the lore and the weapons and the semblances. Its such a good show
www.tumblr.com/lithominium/714869719134535680/lets-talk-about-what-makes-rwby-good-or-enjoyable
Everafterfrisk: I love RWBY for a ton of reasons but to keep it short: • The Facial Expressions of the characters match really well with the tones of each scene • Amazing character designs that can just tell you so much about them before you get to know them •The animation: RWBY imo is best 3D animated series, most of the time 3D animes tend to be stiff and lifeless But RWBY gives its fights alot of finesse and creativity to go along with Like here's a few examples:
(V9) Weiss and Blake using gambol shroud's blade to propel Yang while simultaneously having Yang use Arma Gigas's Sword www.youtube.com/watch?v=q9RQnk7Oueo
(V3) Yang closing Flynt's Trumpet making his quartet backfire on him www.youtube.com/watch?v=bLu3_LKG_A8
(V4 Short) Ruby using the recoil of her weapon to bounce out of the way from a Grimm and trip him up using her Scythe catching him into a Hurricane formed by her semblance (13:54) www.youtube.com/watch?v=ivns4_clQ_c
There's even a full in depth analysis on the fight choreography from the earlier volumes to check out www.youtube.com/watch?v=LMQfm0RsY6o • Themes of Unity,Self identity,Acceptance,Loving oneself, Finding hope in the most dreadful scenarios and the list goes on • The Protagonist Ruby Rose is a breath of fresh air similar to say Deku from BNHA where both know the world isn't exactly kind but still try to help the best they can; even if it results in them destroying themselves to get there as their series's goes on •The Villains are all pretty realistic in their motivations being not afraid to fall victim to arrogance while simultaneously being victims of either the world's actions or their own °The show doesn't swindle you into thinking that just cuz they have sympathetic backgrounds that they're immediately good They have to work for it and atone for misdeeds such as Ilia,Emerald and Hazel or doesn't believe their actions are unwarranted like Salem and Cinder or has a lack of empathy for the world around them like Mercury or Tyrian or Wants to do the right thing but lets the ends justify their means(Ironwood) or Living only on the fear of your actions(Lionheart) or The world has dealt so much injustice to you that you felt giving it by ten thousand fold would remedy it ( Ilia and Adam)
▪︎ The Music is just PEAK for me The Sound design,everything just speaks volumes of the scene www.youtube.com/playlist?list=PLS4HvQ5BP-1gKp4Ou4PRkqdEDvnNqdTGS
www.tumblr.com/everafterfrisk/714883876389044224/lets-talk-about-what-makes-rwby-good-or-enjoyable
Blakistan: I think RWBY was first suggested to be me on the grounds of “lots of really cool fights” which, while not ultimately the point of the show is still a big plus! Monty was an absolute wizard when it came to fight choreography and CRWBY has done a fantastic job keeping up that legacy. Ofc that was only the thing that got me to look at the show in the first place - what made me stay was the incredibly well done character-driven story. Following along and exploring the arcs of all the different characters in the show helped me through tough times and shaped a lot of who I am as a person today - Blake and Weiss’ stories in particular did so much in helping me find hope that I could grow as a person because that what the show is: hope. So uh yeah, if you like deep, interwoven character narratives that don’t shy away from growth, change, or the ugliness that sometimes crops up along the way with those things, definitely give RWBY a watch www.tumblr.com/blakistan/714867196992585728/lets-talk-about-what-makes-rwby-good-or-enjoyable
Well....point is? There's so many reasons to love RWBY

I just returned to the rough draft of a story I wrote over a year ago and I'm going over some feedback I got from DestructiveReaders. One of the reasons I'm posting on a different sub is because I've found I often see some of the same advice floating around that I don't agree with and I want to get a second opinion, not on my work specifically, but on the underlying ideas I tend to see in critiques.

• Splitting hairs over dialogue tags. It seems like a constant back and forth between using "said," using more colorful dialogue tags, or eliminating tags entirely. Most recently I find people recommend using "said" for everything. My personal bias is to have no dialogue tags for maybe 80% of my dialogue, but to use a variety of tags every time I do use them.
• Hyper fixation on suspense and hooks. I understand that a full paragraph (or several) that don't move the plot forward can make a story slow or interrupt pacing, but I've seen complaints about one or two (very short) sentences describing the scenery.

Specifically on that sub it seems like people will make a mountain out of a molehill because more words in your critique will appease mods that will otherwise mark your critique as leeching (personally I've noticed my no-nonsense critiques are marked as leeching but are received better by the mods if I really lay into the author or ramble) and have extremely low patience for any writing that doesn't provide instant gratification as if they're solely reading your work in order to bank a critique as quickly as possible. They want the conflict and details immediately, but call it info dumping if you do what they suggest. They complain about white room syndrome but will complain about slow pacing and lack of action if you describe the setting. I've been tempted to find an obscure Kurt Vonnegut story and post a passage from it anonymously just to see what mental gymnastics people go through to argue "it needs a ton of work."
So first of all, am I alone in the experience I've had with this sub? Partly I want a sanity check to see if I'm just not taking criticism properly or if these are issues that other people that have used the sub can attest to.
Second, do things like dialogue tags or hooking the reader within the first paragraph matter that much? Is there any objectivity to this dialogue tag discussion or is it just personal preference? And regarding suspense, I get that there are a lot of amateur writers that will write prose that drags on forever with no real direction, but it seems like a lot of people are overcorrecting on this account. I can't help but imagine these people would walk out of the theater five minutes into a Kubrick film.

Just like the eclipse - the fascinating stuff is what is happening around them. The UAPs are “usual” and should be ignored. Sure, it’s cool, but more importantly WHY do we see them? Like this episode 5-3, they are astounded by the errors in the GPS readings. What they should be doing is comparing the GPS rocket readings with all the information they have collected about the triangle. I saw them comparing the directions the rockets took with the magnetic readings for that area, but not the lidar data showing what appeared to be a Lorentz wormhole.
I’m also curious about the object that appeared above the rockets. Instead of an insect or aircraft, could that be an aquatic creature? If this truly is a wormhole, then is it possible that we are seeing an intersection of wormholes on different planets? The general idea of a wormhole is usually depicted in outer space, but what if it is possible to create one anywhere? And would we see not just objects traveling through it, but objects near it?
As to the tunnels under the mesa, it could be possible that the tunnels aren’t filled with air, but instead with another easily permeable substance.

Concepts in the mind are mixed and matched in a logical rational fashion to create a win condition called truth.
You win the game if you come up with something true based on the rules of some kind of socially accepted thinking process, that we all have been thought to do from birth because it’s useful for every day tasks.
Why would this language game ever give rise to any true answer concerning existential questions?
It’s like picking up a red block and then putting it next to an orange block and saying look at that these objects represent truth!
Concepts and ideas are just basic objects like anything else.
A object cannot ever represent all of reality. Just like a chair cannot represent all of reality, A description of a chair is not a chair, it’s a description. A concept like the explanation of God is just another concept. A part of something can never represent the whole. There are no ideas or thoughts to think that will ever explain reality.
Reality is beyond describable by language. Because reality is infinite and language is a finite part of that.
Rational thinking is a long long road people are travelling in an attempt to escape the labyrinth of their own mind.
Thinking is you walking in some random direction in attempt to escape this labyrinth of conditioning.
Let this sentence represent the wall in the box of language. Now I’m going to walk through that wall, this sentence will end with no period Because it continues beyond the The box of language

Long time Nance player, first time poster! I was hyped for Seven Keys bc I'm hyped for anything Nance. I played Midnight in Salem on release day, and I liked it while I was playing, but it is leagues behind Seven Keys in story and gameplay. If anyone is on the fence bc of Midnight, just know that Seven Keys is a completely different game.
My Stats: Playtime: ~17hrs (if I take off the hours that I spent tinkering with settings) Level: Junior Sleuth Movement style: toggled between classic point n click and modern, but classic for most Graphics: All medium except texture low Computer: 2018 Macbook Pro (aka I had to do a lottttttta tinkering)
Overall: I was super impressed and got big Nancy vibes after surviving the latte art massacre (no, your computer is not freezing up, you're just bad at latte art LOL). Loved the story. I have no interest in replaying Midnight, but I will replay Seven Keys soon. My biggest suggestion is to tinker with your computer settings for a while in the beginning, then really get into it. Don't be afraid to toggle the movement style! I have huge hopes that Her has settled on these teams to make the next one, because it can only get better from here. I like that they were gutsy about exploring religion, socialism, and royal hierarchies. Compared to Midnight, it felt thoughtful and not fan service-y. The characters are fleshed out and don't act in archetypal ways. There are quite a few twists and turns that left me guessing but not frustrated! There was a hint at the end of the game that indicated that Nancy Drew games are not dead yet, nor did this game feel like a swan song for Her Interactive.
Gameplay: Seems like the classic mode was added late in production, maybe because of us wanting it so bad! There are definitely moments where you think "What am I supposed to be looking at here?" when it's actually just a wall, lol. However! You can still use the right click (or two-finger drag on touchpad) to look around, which might save you a lot of hassle. The point and click arrows have a narrow window of availability, so you might think you're stuck when you're not.
The new phone/journal was really nice. The texting mechanic from Midnight is still used, but in a much smoother and fun way. Finding objects in Classic mode is DIFFICULT, so use that look around feature often.
(Oh, and I fully missed a location for the first half of the game because I was using classic, so be aware as you go through the game.)
Voice acting and cutscenes: I was left wanting MORE cutscenes, because they were done really well. I was especially impressed by one scene where a character locks a door (lol) because their hand looked like they were really doing it. Each cutscene was timed nicely, and the game was not propelled by them as in Midnight.
Nancy's voice is definitely grating, but there were handful of moments where I thought she sounded closer to Lani. So this feels like a step in the right direction! Accents were a bit whacky across the board, but I've never been to Prague so what do I know.
Characters and story: I really liked the storyline! I was super impressed by how broad it is. The writers did a nice job of making Nancy (and me) truly suspicious of everyone. Characters looked significantly better than Midnight. The mix of phone/live characters was solid, but I would have liked a little more phone call time. It felt like I was lacking some information at the end, but I think that was a skill issue not a game issue (I mean, I missed a whole LOCATION for half the game).
Puzzles: Still pretty difficult, as in Midnight. Puzzles felt thoughtfully included and based on historical lore. I liked the "new" puzzles in this game more than in Midnight. I often thought of Blackmoor Manor, so keep that in mind if you're struggling with the puzzles and use the strategy guide to help for the first playthrough.
Chase sequences: FFS, use the strategy guide for these. Buuuuuuuut they were legit spooky and really fun! It is great to read the second chances and die a few (hundred) times!!! lol

look directly into your nature and don’t get involved in diversions, and the flower of your mind will bloom. Thus the sutra says, “Give life to the mind that has no dwelling place.” The tens of thousands of phrases uttered by the buddhas and ancestors are just this one phrase. This mind is one’s true nature distinct from all forms. Nature is the Way, the Way is Buddha, and Buddha is mind. This mind is not inside, it is not outside, and it is not in the middle. It is neither existence nor is it nothingness. It is neither nonexistence nor non-nothingness. It isn’t mind, Buddha, or object.

—Bassui Tokusho, Mud and Water
"Give life to the mind that has no dwelling place" seems like a useful reminder.

So I was hoping to get some eyes on this, and see if anyone has suggestions. Also just hoping to get general thoughts on the whole thing.
Groth, the White Death, The Walking Blizzard, let out a low growl and gingerly dabbed at his head wound, as he made his way towards the ship’s bridge. With XO Gwip, and Chief Security Officer Diroon, still stuck in medical; after the events of the most recent raid. It fell to him as Captain, to shut off the ship’s proximity alarm. In his haste, and still half asleep, he had once again smashed his head into the low doorframe of his quarters. He was unsure if a piece of metal had finally worked its way free from the constant blunt force trauma of skull meeting metal; or if he had simply slammed into the door with enough force to cause his skin to split open. Either way, he now had a streak of magenta blood staining his otherwise pristine white face fur.

Groth was by no means the smartest or most friendly looking Aolthundian; which said quite a bit, since the Aolthundians as a race were not well known for their intellects or charming visages. Aolthundians were known for their massive frames, immense strength, and durability/resistance against most forms of small to medium caliber weapons. These traits made them some of the most sought-after mercenaries within the Galactic Union. It also made them some of the most dangerous pirates, that the GU had to contend with.

Groth was a prime example of his race, standing at a massive 30 Galactic Standard Units [12.835 feet] when bipedal, and a still respectable 11.3 GSU [4.83451667 feet] while quadrupedal. Groth was descended from one of the largest and most powerful sub-species of his race. Hailing from the farthest northern cotenant of Aolthun, his ancestors had evolved to both blend in with their frozen environment, while also having grown massive to better fight against their ancestral opponents, the Bif. While it had been several millennia since the Aolthundians had gained sapience, and the Bif had long since died off, some ancestral traits still manifested within the bloodlines of families like Groth’s.

Groth didn’t know many things, he’d left much of that “big picture” stuff in the hands of his XO, and lifelong friend, Gwip. The only things he knew for sure at the moment; was that he absolutely hated being stuck on this third hand shoebox sized Nimean1 rust bucket; he absolutely despised the high pitches screaming of the proximity alarm; and that the last four [weeks] were somehow all Gwip’s fault.

Groth could still hear Gwip’s words from all those [Years] ago. “Man, screw fighting and dying for someone else’s petty squabbles. Let’s become privateers! Think of the fame and fortune... What are you stupid? Don’t buy new. Might as well throw your credits into the void? Save some chits, and get a used ship... No, no! Not an Aolthundian frigate, they’ll turn most of the ship to slag before risking getting within a light hour of us if they think they’re up against Aolthundians. Our best shot is to catch them by surprise, as they say “No one expects the Aolthundian Inquisition” ... Get this one, no one’s going to except a bunch of Aolthundians to be on a Nimean freighter. It’s the perfect cover”

Groth had to begrudgingly admit that at least some of that advice had proven correct thus far. Every single ship they had encountered, had vastly underestimated them. But who could blame them? A ship design so old, that it hadn’t seen production in over 30 [years]. No doubt crewed by a group of Nimeans. Nimeans who were so strapped for cash they couldn’t even afford to hire a security corvette, despite needing to travel through such a dangerous patch of grey space. Clearly, the Nimean captain had to be up to their eyestalks in debt if they were risking not only their own life, but also the lives of their crew, on an “all or nothing” run like this. Traveling through grey space, could often cut [weeks] off your travel time. It also meant one could avoid the costly travel permits, and toll fees, you were required to pay if you used the GU controlled space lanes. Surely such a run meant a ship filled to the brim with easy to move loot. Or perhaps it was a group of Nimeans who were running illegal goods. They hoped that the age of their ship, and their race’s pacifistic reputation would shield them from being accosted. Either way, the whole thing screamed “easy score” to the pirates who trolled these back alley short cuts. It was also well known that Nimeans went for a high price on the slave markets of the Outer Rim.

Everything had been going great for 4 [years]. Near constant raids by pirates, slavers, and the other low lives of the galaxy, meant that the crew wanted for little in regards to food or entertainment. The bounties Groth collected from dealing with these groups, along with the profits from selling off their illegally gotten goods, allowed for an immense amount of custom work to be done on the freighter. Modified smuggler hatches, enhances shield arrays, retrofitted heavy armor that doubled as prevention against internal scanning, not to mention the upgraded ‘asteroid defense system’ were but a few examples of the modifications Groth and Gwip had made since buying the rust bucket. All the upgrades meant that the ship could punch well above its weight class. Not that all those upgrades had mattered during their last raid.

It had all started off as it normally did. The enemy ship had “caught them by surprise”, Groth’s crew had hidden away in the modified smuggler hatches. The enemy boarded the ship and began to fight their way through the automated defense system. Once they were a good distance into the ship, Groth and the crew exited their hiding spots. Gwip and his team would flank the enemies from behind, while Groth and his team would secure the enemy ship.

Everything was going like clockwork; at least until the enemy’s combatants decided to self-detonate rather than be captured. Groth had lost half a dozen crew in the blink of an eye, as their prey literally exploded underneath them. Another dozen, including Gwip and Diroon, where only critically injured during the chaos. Saved the worst of it by either being further away from the detonating invaders, or simply happening to be behind a crew member who bore the brunt of the explosive force and super-heated shrapnel.

The enemy ship had tried to flee, only to find that when they had latched onto the freighter; the freighter had latched onto them as well. High intensity Grav-beams made sure that no ship could escape once they docked, at least not without tearing a massive chunk out of their hull and superstructure.

Their hopes for escape dashed, the enemy captain had chosen to do the unthinkable. Rather than surrender or even go down fighting, the cowardly bastard had scuttled his ship. The resulting explosion, coupled with the proximity of the two ships, had caused massive damage to the Nimean freighter. The containment fields on the FTL engines where cracked, meaning the ship risked catastrophic system and structural collapse anytime it made a jump. The weapon systems were FUBAR. Even the impulse engines were down to sub 50% efficacy. The only silver lining was that by some miracle, the electronic warfare suite (EWS) had managed to come out of everything relatively unharmed.

Groth finally reached the bridge, and turned off the alarm. As he scanned the incoming data, the rest of the crew, most of whom had been hibernating, slowly check in. It seemed there was a ship that had just come into sensor range. It wasn’t broadcasting any identification signal, and its make doesn’t match anything Groth had seen before. Preliminary scans indicated that the ship was damaged, but still held multiple life signs. Given the damage reports and the ship’s current location, it stood to reason that it had recently been engaged in a raid. Though if it had been the aggressor or victim remained unclear.

Taking a risk, Groth hailed the ship using a high end Nimean VI/VR program he had installed to mask who was really on the freighter. Seconds seemed to pass like hours as he waited for a reply. Eventually the opposing ship responded, seeming to finally acknowledge the presence of the Nimean ship. The creature that responded was not one that Groth was familiar with, it appeared to be bipedal with two arms that sprouted from near the top of its chest. The arms were neither overly long nor stubby, seeming to have a joint about half way down. Each arm ended in a five-digit grasping appendage. They were clearly of mammalian ancestry, but for some reason lacked almost any hair. What limited hair Groth could see, seemed to be focused around the top of their skulls and for some around their primary consumption / communication orifice.

Doing a quick data search, Groth was finally able to pull up a species name. Apparently, the beings had many names for their race, but the two most common ones seemed to be Human or Terran. Apparently, their race had only recently, about 15 of their [years], made contact with the Union. The data logs held little information about the race; only some basic anatomy charts, a rough translation of a few of their more prominent languages, and some rough design documents about Terran ship styles.

As the human captain greeted the Nimean avatar Groth used, it spoke of happiness at having found another friendly ship in this sector. The EWS sent a silent message to Groth’s screen, it had managed to break through the, frankly juvenile, security protections that the human ship had used. The EWS had identified that the “human” ship was using their own form of VR overlay. This revelation set Groth on edge, a feeling made worse when a moment later the EWS identified that ship was not actually being piloted by humans. The EWS informed him that it detected no human life signs still aboard the ship. Groth pressed a button, and the EWS projected the image of the ship’s bridge onto a new screen.

The sight that met him, caused him to thank the Ancients for his own VR overlay. The bridge of the enemy ship was splattered with dark crimson blood. Dozens of human corpses still floated where they had been shot. Scattered around the room were various Anstenii2, Groth watched as one of them tore the arm off a human corpse, before shoving the bloody limb into its toothy muzzle.

Groth had no love for the Anstenii, hell he doubted anyone loved the Anstenii. Groth could understand pirates and slavers. He didn’t agree with what they did, but he could understand why some of them did terrible things. When you had no other options, you’d do damn near anything for money or simply to survive. The Anstenii though, no, those monsters didn’t attack ships out of need or even greed. They raided ships for the sheer enjoyment they found in ending other sapient life.

A small part of Groth was happy they had found this group of Anstenii. Groth was not a good person; one does not become a privateer if they are a “good person”. The job required its practitioners to be willing and able to kill at the drop of a hat. Those who did this job needed to be able to end dozens of sapient lives, and still go to sleep with a clear conscience. No, Groth was not a good person, that said he could at least make the universe a little better by purging some true evil.

The “Human” ship had begun to approach the freighter, by some twisted luck their engines seemed to have been damaged when the Anstenii had assaulted the craft. With the human ship moving at limited impulse, Groth was afforded precious few extra minutes to prepare. While Groth had never been a “big picture” or “plan for the future” kind of guy, he had always excelled at combat and battle planning. With his crew already down more than half their numbers, he would have to be extra careful engaging the Anstenii. Sure, the little bastards could never hope to match him or his boys in one-on-one combat. However, he highly doubted the Anstenii would call for honorable single combat; no, the monsters would use their numbers. Hell, even a group of Nimeans had been known to take down an Aolthundian before. All they had to do was swarmed their opponent with enough beings, and be willing to suffer heavy losses.

Groth made the call, all able hands to the hatches, double time. Anyone too injured to move freely, needed to grab a weapon and report to medical. If his plan failed, they would be the last line of defense between the Anstenii hoard and their comatose companions. Anyone not in their assigned position after 5 [minutes], risked being marked as a hostile by the automated defenses or suffocating as Groth sealed bulkheads and depressurized several sections of the ship. He specifically left a path that led deeper into the ship under ‘minimal’ defense. Careful to balance ease of access, with enough mechanical defenses to give the illusion that the crew had fled down the twisting corridors. Too much defense, and the enemy were like as not to simply cut their way through the bulkheads, as they made a direct line for the mass of life signs deeper in the ship. Too little defense and even a fool could smell this for the trap it was.

It ended up taking the “human” ship about 15 [minutes] to finally reach the Nimean freighter. Time Groth was happy to use moving around what various defense systems he could. He had just finished setting up a particularly devious trap when the sensors informed him of the imminent arrival of his “guests”.

Before heading to his personal hatch, he had the system send out a wide band sensor pulse. such pulses were common procedure when ships docked with each other. It allowed for the automated systems of both ships to sink up and calculate an optimal connection solution. The pulse however had another effect, due to proximity, it allowed each ship to scan the other much more thoroughly. Such a deep scan would have been enough to alert the Nimean captain, that the “human” ship was infested with Anstenii. The problem was, that at such a close distance there was no way to cancel the docking program. Groth knew that the human ship would report the use of the pulse, thus alerting the Anstenii captain that the ruse was up... But if luck was on Groth side, it would not make the enemy captain question the lack of resistance he and his crew would face at the docking bay.

Groth had just made it to his hatch when he felt the docking claps latch onto his ship’s hull. Slipping inside he shut the door as he heard the telltale sounds of the airlock cycling. Moments dragged by as he waited for the airlock to finish. Then he was forced to wait as the Anstenii flooded into the cargo hold. Taking deep breaths, he slowly counted down from 300. As he reached 89, the system begun to send him reports about the automated defense system opening fire on the invaders. 40 seconds passed, and the system sent him an updated report; the Anstenii had managed to clear the first 4 compartments. 40 more seconds and the system reported that the Anstenii had cleared an additional 2.5 compartments. Only 3.5 more compartments till they reach medical.

They were moving way too fast; the defenses shouldn’t have fallen so quickly. Had he made the path too easy? No, the data was clear, a normal assault force would not have had the numbers to make this kind of progress. It took only a moment for the thought to form.

“Computer, how many hostiles are there compared to projected calculations?”

“Accounting for losses among the enemy, hostile force deployed 237% more troops then originally projected.” came back the cold voice of the ship’s VI.

Groth both winced and cheered at the news. His projection had been wrong, he had expected the Anstenii leader to send a normal amount of his people to claim the freighter. If he had, the defenses should have stopped them by the 3rd or 4th compartment. The assault leader would have then called for back-up. Instead, the crazy bastard had sent damn near every one of his people in the initial assault. Something deep in Groth’s gut told him that the Anstenii leader would not be the kind of Captain to lead from the front. No... Attempting to hide behind the VR overlay and trick Nimean merchants, said that this Anstenii wasn’t the type to risk his own hide. But committing this many troops also meant he was sure of his inevitable victory and was simply impatient to reap the spoils of conquest. A plan took shape in Groth’s mind.

Groth issued new orders to his men. He would infiltrate the enemy ship by himself, while the rest of the crew pincered the enemy force. The increased size of the enemy assault force had allowed them to puncture much deeper than expected into the freighter. But it also meant that the enemy’s troops were likely exhausted from the speed of the push, bogged down by the worst of the defenses, and lacked reinforcements to threaten the Aolthundian flanks.

As Groth made his way through the human vessel. As he hurried through the human storage bay, he couldn’t help but notice how little sign of struggle the humans seemed to have put up. Wall after wall was coated in the thick dark red blood of the humans. Human corpses littered the floor, most of whom looked like they had been killed from behind. All of the bodies were without weapons. As the passed through storage and followed the direction towards the bridge, he noticed the strangest thing. Despite the general lack of Anstenii corpses; the few times he did find them, there was always a pile of at least half a dozen. Always in close proximity to a human or small group of humans that looked like they had gone down fighting.

As he rounded a corner, Groth run straight into the object of his search. An Anstenii who was flanked by a pitiful two lackeys; the same Anstenii Groth noted, that he had seen using the human VR avatar. The subsequent fight, if one could even call it that, was a one-sided bloodbath. Groth used his massive size and strength advantage, along with his [5 inch] claws, to rip and tear the Anstenii scum limb from limb. The Anstenii fought like cornered [rats], but their plasma bolts and energy blades barely broke Groth’s skin, mostly they just burned his fur.

Groth made sure to cripple the leader by crushing one of his legs, before he turned and mauled the lackeys into a fine violet paste. The chaff dealt with, Groth took his time with the sniveling captain. [Section redacted due to graphic nature of events]. The monster’s punishment was unfortunately cut short as Groth received a message from his crew. They had just finished mopping up the Anstenii invaders. They enemy assault team had decided to fight to the last. Not that it had mattered much. While an Anstenii could make quick work of a Nimean; they had been ill equipped to deal with even a single Aolthundian, much less the tidal wave of tooth, claw, and kinetics that had crashed into them.

This message was shortly followed by the EWS informing him that it had managed to finally gain complete control of the human ship. Groth waved away the message, opting to finish playing with the Anstenii, but stopped when a follow up message appeared. Apparently, there were unaccounted for life signs that had been hidden in the captain’s quarters. Due to various security programs and the reinforced design of the cabin, the EWS had been unable to identify the life signs. Even with its control of the human ship, it could not manage to get a proper sensor reading of the beings inside. It was however, 98.756634% sure that the readings were not those of an Anstenii.

A couple [minutes] later, and Groth was standing in front of the locked door. Its face was pot marked with various plasma and laser burns, Groth was pretty sure he also noticed the remnants of a breaching charge where he expected the hinges should be; despite that, the door looked none the worse for wear. He sent a mental command to the EWS to open the door. With an almost silent hiss, the door depressurized and swung open to reveal a lavishly appointed room. Sitting on a couch on the far side of the room, facing away from him, sat what Groth assumed to be a human in a pink space suit. On a table just behind it, sat some sort of space helmet. The helmet was strange though, Groth was pretty sure that humans didn’t have massive ears that grew up from the top of their head like a Plaxian3. He was also pretty sure that Plaxians were not a common occurrence on this side of the galactic arm.

His unease lessened, as the human bobbed its head from side to side and its real ears poked through the long auburn hair of the human. Groth decided that the ‘ears’ on the helmet were simply a strange astatic design choice, instead of one aiming for functionality. Stranger still however, was the small fluffy creature that sat upon the human’s lap.

The human just sat there lightly spanking the strange small creature, singing to the beat of a ‘song’ it had made up. “Big man. A big big man. A big big stinky man”. The creature, for its part, just swished its tail back and forth. Groth could not for the life of him, tell if it was doing so in a display of anger or contentment. Having somehow caught sight, or perhaps smell, of him before the human; the creature turned and stared at Groth with a look stuck somewhere between boredom and displeasure. After a few moments of tense silence, as Groth stared at the creature and the creature stared back at Groth, it let out some kind of yowl. The noise hadn’t translated, but it had managed to shock the human out of its stupor, as if the small creature just used actual words.

“Stinky boy,” the human said, in the same sing song voice it had been using with the creature. The creature again yowled in the direction of Groth, swishing its tail with added intensity. Following the creature's eyes, the human finally noticed Groth standing in the doorway. The breath caught in her throat. At least Groth was pretty sure it was a female human; enlarged mammary glands were rare on male mammalians.

“Oh, looks like we have even more friends come to visit.” the woman commented in an offhand manner.

Groth wasn’t totally sure, but he thought he picked up a combination of confusion, fear, and... was that lust in the human’s words? No, he must have been mistaken with that last bit. He was not ugly, by his people’s standards, but that was by Aolthundian standards. Sure, he had met a few aliens he might have called aesthetically pleasing, but it was unheard of for one race to be attracted to another. At least outside of a few freaks.

“Are the other aliens still here?” the woman inquired. “I was just getting ready to go greet them, when the system glitched and I got stuck in here.” She got up, which caused the small fluffy creature to leap from her lap and start padding its way over towards Groth. “God, I’m glad the crew finally managed to get the door fixed; it’s been hell trying to relax, much less sleep, with them constantly trying different ways to force it open.” The small fluffy creature finished its slow trek over to Groth and began to rub its face and body against his leg. The human for her part looked towards her helmet and seems to decide against it, if this alien didn’t need a helmet, she shouldn’t either. She slowly began walking towards the massive Aolthundian; rolling her shoulders as she tried to work out the aches and pains of being cooped up for the last couple days. An audible *CRACK* and *pop* could be heard as she finally managed to work out a particularly nasty knot.

“Since you’re standing there, instead of any of the crew, I assume they must have eventually given up and called a professional. I suppose I should say thank you, Mister...” She let the question hang in the air.

“Groth,” Groth replied sheepishly. He silently thanked the fact that his massive frame was taking up so much of the door way. As he thought about how to break the news of what happened to her crew, something she had said bubbled to the surface of his mind. The way she talked about the Anstenii, it almost sounded like the humans had welcomed them aboard. But that was ridiculous, everyone knew that the Anstenii were sadistic sapient murderers. Then he remembered that humans had only joined the Union a scant 15 [years] ago. It was not beyond reason, that none of their people had encountered an Anstenii before. He needed answers, and he needed them quickly, lest he say something to traumatize the young woman.

“I’m sorry Mrs...?” He let the question hang in the air, trying to imitate the human’s calm demeanor.

“Oh god, how rude of me.” the woman flushed as she realized that she hadn’t even bothered to introduce herself yet. “I’m Tori Perez, but please just call me Tori.” She replied in a chipper tone. “Oh, and it’s Miss, not Mrs.” So distracted by each other, neither Groth or Tori noticed the small furry creature as it paced around their feet, until it yowled up at them. “Oh, and this is [name redacted due to copyright claim]. Also known as my Big Stinky Man.”

“If I may ask you some quick questions Miss Perez” she shot him a glare. “Sorry, Tori. If I could ask you a few questions Tori. Are you familiar with the other race of aliens that were on your ship? You see, they have a bit of a reputation; so, I'm curious how they ended up here.”

“What kind of reputation?” Tori looked mildly concerned at this reviolation. “As for how they got aboard, we found them stuck adrift and brought them on to the ship. From the reports I heard, once people got a good look at them, everyone simply fell in love. Who would have guessed that evolution could produce such an adorable hybrid of so many friendly Earth creatures.”

Groth sharply sucked in air, before letting out a sad groan. “Tori, I’m sorry to have to tell you this, but those beings are known as the Astenii. And they are as far from friendly, as one can get.”

“But if they aren’t friends, why are they friend shaped?” Tori asked. Groth could see her mind starting to make connections.

“Tori... I’m sorry to have to tell you this, but I don’t think you got locked in here by a glitch. The Anstenii appear to have taken advantage of your people’s generosity, and friendly disposition. From what I saw, I think your crew knew what was coming, and decided to lock you in to keep you safe... I’m sorry, but sensors say that you are the only human left on this ship.”

She turned away from him as teardrops streamed down her cheeks. “Those bloody idiots.” Several [minutes] slowly ticked by as Tori bawled her eyes out for her fallen crew. Groth did what he could to comfort the small human, holding her against his soft fur and awkwardly stroking her head with his massive paw. Eventually she managed to choke out a question.

“D... Did... Did they at least die well?” she finally managed to ask.

“The few not struck down in the initial ambush, managed to take down at least half a platoon between them. Looks like one of the crew even managed to sabotage the engines and distress buoy. Even knowing their end was coming, they must have wanted to protect anyone else from falling victim... The crew were eventually overrun, but they made those Anstenii bastards pay.” Groth replied in a somber growl.

“Good... Good.” she was silent for a while as she tried to process the new information. After what felt like an eternity of silence, Tori finally spoke again. “Groth? If the engines and distress buoy were down, then how did you manage to find the ship?”

“Honestly? Dumb luck. Our last raid went wrong and my ship has been limping along for the last couple [weeks] on impulse. Proximity system woke up the whole damn crew. With the lack of a signal at first, I thought I'd just found some wreck I could salvage to pay for repairs.” Groth chuckled at the absurdity of it all.

“Raid?” Tori scoffed. “Did I just get saved by a bunch of pirates?”

“I prefer the term ‘Privateer’, thank you very much.” He scrunched up his face in his people’s version of pride. “Anyway, after our EWS figured out that the ship was infested with Anstenii, I figured we could just kill them and take whatever booty the ship had.”

“Oh? The big space pirate wants to plunder my booty, does he?” Tori asked in a sultry voice.

And I think it's underused.
In this video, YouTuber Ryken XIV calls the HMG Emplacement

"...two Anti-Materiel Rifles duct-taped together, with a keg full of bullets glued below it, which is then mounted on a lazy Susan."

And I think that's a pretty accurate description. If you can't already see some use-cases for a full-auto pair of AMR's with negligible recoil and no reload time, I don't think we're even playing the same game.
I cannot understate how much POWER this thing brings to the table. Against the Automatons (which is admittedly not the best use case), the HMG will shred all the chaff bots, Scout Striders, Devastators of all kinds, and can headshot-kill or legshot-kill Hulks in a fraction of the time that it would take a Quasar or AMR to kill it. It also shoots down gunships at long range, while having enough ammo to camp a gunship facility for its entire cooldown time.
The only thing holding it back against the bots is the HMG Emplacement death bug, which I've already submitted to Arrowhead but I haven't gotten a response yet.
Against the bugs it's even more one-sided. Everything that isn't a Charger or Bile Titan dies to the HMG Emplacement in about a second. Moreover, you can use it to take out Spore Spewers or -- my favorite use case -- Shrieker Nests from long range. This one stratagem turns those flying assholes into a non-issue in about 30 seconds, as long as you have line-of-sight.
Now, that being said, there are some detracting features that I'll talk about. The most common one is first.

The HMG is just a Sentry that requires a Helldiver to operate... why not just bring the Autocannon or Gatling Sentry?

Excellent question!
The downsides of the Gatling Sentry and Autocannon Sentry are that they a) have very limited ammo, b) will despawn after a set time, c) have limited range, and d) don't always pick the best targets (especially if they get stuck shooting at bot fabricators).
The HMG Emplacement addresses every one of these complaints. As a human operator, you're able to limit your ammo usage by burst firing or only firing on select targets. The HMG doesn't despawn, meaning you can run back to it in case of emergency. Its range is only limited to what you, the operator, can see. And it has much better target discretion thanks to its manual operation. An added bonus is that it's much less likely to friendly-fire teammates! (unless you want to lol)
Thanks to an upgrade, the HMG Emplacement benefits from a faster call-in time than all the sentries -- though it does lose out on the sentries' ammo, health, and explosive resistance buffs as a result.

But it turns so slowly!

Yes, it does. But there's a trick to deal with that.
When you spawn an HMG Emplacement, it will appear facing the direction that you threw the stratagem ball. The same applies for sentry guns too, meaning you can aim your gun where you'd like it to fire before it even appears! This cuts down on a lot of turning-time, which can be lethal.
By the way, the same applies to Hellbombs -- the terminal for the Hellbomb activation will face the direction you threw the stratagem, so AWAY from you.

Sitting still is a death wish in [insert difficulty]

This is the most damning argument for the HMG Emplacement. Particularly against the bugs on Helldive, it's usually a bad idea to sit still (especially sitting on an item that will kill you if it's destroyed!). And I do agree wholeheartedly with this point, but there are still ways to mitigate it.
Firstly, you probably should give the HMG Emplacement a miss on missions where the objectives require you to move fast. That means probably no blitz missions and maybe even give it a miss on the eradicate missions. But for every other objective, staying in the area is often required -- ICBM launches, geological surveys, power plant activation, E-710 extraction -- and being able to lock off a sector of fire (or the entire zone) can be useful.
In addition, you can use your radar while you're on the HMG Emplacement to see if enemies are trying to flank you!
If you're aware of and play around these weaknesses, you should be firing 90% of the time and turning only 10% of the time. And as long as you focus down Rocket Devastators, Raiders, and Gunships as soon as you see them (and hop off the emplacement when a Charger or Titan gets too close), you should be happily mowing down hordes of enemies.
Obviously the HMG Emplacement isn't for everybody, and that's fine, but I wanted to show some love to one of my favorite stratagems.

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About the role:
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• Facilitate cross-functional collaboration with Product, QA, Data, and DevOps teams, ensuring the delivery of projects on time and with exceptional quality.
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• Take ownership of the management of production support SLAs, focusing on optimizing performance while minimizing cost.
• Ensure the highest data quality standards are maintained within the AWS cloud data platform, leveraging innovative strategies and technologies to ensure accuracy and consistency.
• Mentor and develop data engineers, encouraging innovation, timely project completion, and career growth.
• Act as a communicator, ensuring that team members, stakeholders, and other relevant parties are kept abreast of team activities, project statuses, and strategic decisions.

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• 5+ years of data engineering management experience with a proven track record of leading engineering teams to deliver world-class data solutions.
• Bachelor's or a related field of study
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Cleaning eyes - You must stare at the mess you'd want clean for 10 seconds without blinking or looking away. This ability can put cluttered items into its proper place, remove dust/debris or pieces of something broken (ie glass shards, broken dishes, etc) that would need to be thrown away. It works on everything in your peripherals.
Fixing Touch - You must remain in direct contact (skin to object) with whatever it is you want to fix for 1 hour and it will be fixed as if it was new. Complicated machines that have multiple parts ie cars, planes, etc) will require you to either touch the broken part for an hour, or fix the entire object as a whole by touching it for however many hours as there are pieces to the object in question, not including small items such as nuts, screws, etc. Ability cannot fix organic/living things.
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So while I was reading what Marx had written about the liberal-centrist July Monarchy (1830-1848), I came across this passage from his essay The English Revolution that startled me:

M. Guizot has applied the most banal platitudes of French parliamentary debate to English history, believing he has thereby explained it. Similarly, when he was Minister, M. Guizot imagined he was balancing on his shoulders the pole of equilibrium between Parliament and the Crown, whereas in reality he was only jobbing the whole of the French State and the whole of French society bit by bit to the Jewish financiers of the Paris Bourse.

I thought maybe he was just having a heated gamer moment here, but with the way he described the July Monarchy in the opening of his Class Struggle in France though:

After the July Revolution, when the liberal banker Laffitte led his compère, the Duke of Orléans, in triumph to the Hôtel de Ville, he let fall the words: “From now on the bankers will rule”. Laffitte had betrayed the secret of the revolution.
It was not the French bourgeoisie that ruled under Louis Philippe, but one faction of it: bankers, stock-exchange kings, railway kings, owners of coal and iron mines and forests, a part of the landed proprietors associated with them – the so-called financial aristocracy. It sat on the throne, it dictated laws in the Chambers, it distributed public offices, from cabinet portfolios to tobacco bureau posts.
[...] the faction of the bourgeoisie that ruled and legislated through the Chambers had a direct interest in the indebtedness of the state. The state deficit was really the main object of its speculation and the chief source of its enrichment. At the end of each year a new deficit. After the lapse of four or five years a new loan. And every new loan offered new opportunities to the finance aristocracy for defrauding the state, which was kept artificially on the verge of bankruptcy – it had to negotiate with the bankers under the most unfavorable conditions.
[...] the smallest financial reform was wrecked through the influence of the bankers. For example, the postal reform. Rothschild protested. Was it permissible for the state to curtail sources of revenue out of which interest was to be paid on its ever increasing debt?
The July Monarchy was nothing other than a joint stock company for the exploitation of France's national wealth, whose dividends were divided among ministers, Chambers, 240,000 voters, and their adherents. Louis Philippe was the director of this company – Robert Macaire on the throne.
[...] the same prostitution, the same shameless cheating, the same mania to get rich was repeated in every sphere, from the court to the Café Borgne to get rich not by production, but by pocketing the already available wealth of others, clashing every moment with the bourgeois laws themselves, [...] lusts wherein wealth derived from gambling naturally seeks its satisfaction, where pleasure becomes crapuleux, where money, filth, and blood commingle. The finance aristocracy, in its mode of acquisition as well as in its pleasures, is nothing but the rebirth of the lumpenproletariat on the heights of bourgeois society.

...it makes it seems like to me he viewed the French constitutional monarchy the same way fascists, like the JQ posters on 4chan, view modern Western bourgeois states: a financial aristocracy that was subservient to the interests of the "financial Jewry". Am I missing some crucial context here?

So while I was reading what Marx had written about the liberal-centrist July Monarchy (1830-1848), I came across this passage from his essay The English Revolution that startled me:

M. Guizot has applied the most banal platitudes of French parliamentary debate to English history, believing he has thereby explained it. Similarly, when he was Minister, M. Guizot imagined he was balancing on his shoulders the pole of equilibrium between Parliament and the Crown, whereas in reality he was only jobbing the whole of the French State and the whole of French society bit by bit to the Jewish financiers of the Paris Bourse.

I thought maybe he was just having a heated gamer moment here, but with the way he described the July Monarchy in the opening of his Class Struggle in France though:

After the July Revolution, when the liberal banker Laffitte led his compère, the Duke of Orléans, in triumph to the Hôtel de Ville, he let fall the words: “From now on the bankers will rule”. Laffitte had betrayed the secret of the revolution.
It was not the French bourgeoisie that ruled under Louis Philippe, but one faction of it: bankers, stock-exchange kings, railway kings, owners of coal and iron mines and forests, a part of the landed proprietors associated with them – the so-called financial aristocracy. It sat on the throne, it dictated laws in the Chambers, it distributed public offices, from cabinet portfolios to tobacco bureau posts.
[...] the faction of the bourgeoisie that ruled and legislated through the Chambers had a direct interest in the indebtedness of the state. The state deficit was really the main object of its speculation and the chief source of its enrichment. At the end of each year a new deficit. After the lapse of four or five years a new loan. And every new loan offered new opportunities to the finance aristocracy for defrauding the state, which was kept artificially on the verge of bankruptcy – it had to negotiate with the bankers under the most unfavorable conditions.
[...] the smallest financial reform was wrecked through the influence of the bankers. For example, the postal reform. Rothschild protested. Was it permissible for the state to curtail sources of revenue out of which interest was to be paid on its ever increasing debt?
The July Monarchy was nothing other than a joint stock company for the exploitation of France's national wealth, whose dividends were divided among ministers, Chambers, 240,000 voters, and their adherents. Louis Philippe was the director of this company – Robert Macaire on the throne.
[...] the same prostitution, the same shameless cheating, the same mania to get rich was repeated in every sphere, from the court to the Café Borgne to get rich not by production, but by pocketing the already available wealth of others, clashing every moment with the bourgeois laws themselves, [...] lusts wherein wealth derived from gambling naturally seeks its satisfaction, where pleasure becomes crapuleux, where money, filth, and blood commingle. The finance aristocracy, in its mode of acquisition as well as in its pleasures, is nothing but the rebirth of the lumpenproletariat on the heights of bourgeois society.

...it makes it seems like to me he viewed the French constitutional monarchy the same way fascists, like the JQ posters on 4chan, view modern Western bourgeois states: a finance aristocracy that was subservient to the interests of the "financial Jewry". Am I missing some crucial context here?

1. Make Your Summary Strong: Your resume should begin with a strong summary that highlights your skills, strengths, and career goals. You can highlight what you have to offer, such as your education, relevant coursework, extracurricular activities, volunteer work, internships, or other experiences that show you have the potential.
   
2. Emphasize your transferrable skills: Even if you haven't worked traditional jobs, you probably have skills that are valuable to employers. Skills such as communication, teamwork, problem-solving, time management, organization, and adaptability should be highlighted. Demonstrate these skills by supplying examples from your education, projects, or other activities.
   
3. Highlight education and training: If you're a recent graduate or are currently enrolled in school, you should highlight education and training on your resume. Provide details about your degree, majominor, GPA (if high), academic honors, relevant coursework, and relevant research projects.
   
4. Taking part in extracurricular activities and volunteering can demonstrate your dedication, leadership skills, and ability to make a positive impact. Any volunteer roles, leadership positions, or significant projects you have been involved in should be included, along with the skills and accomplishments you gained.
   
5. Tailor Your Resume to Each Job Application: Tailor your resume to each job application by emphasizing the skills and experiences that are most relevant to the particular job. Employ keywords from the job description to illustrate how your background matches the employer's needs. Incorporate a targeted objective or summary that speaks directly to the job requirements.
   
6. Prepare your resume professionally and proofread it thoroughly: Structuring your resume professionally, making it easy to read, and ensuring that it is error-free is key. Keep your layout clean and professional, and keep your font styles, sizes, and bullet points consistent. Make sure your resume is error-free before submitting it.
   

The reality is that everyone starts somewhere, and employers are aware that not every candidate has extensive work experience.Whether you're a new college graduate or a seasoned professional, showcasing your strengths, skills, and potential will help you land your first job!

Hey all. My printer (BIBO Dual Extruder) advertised printing two objects at the same time. Finally have a bunch of small items to print so wanted to try it out. Problem is I can't find any information on the feature except for a Pursa Forum that mentions it. Does anyone know anything about it?
I have tried researching it, going through all the settings in Cura and PrusaSlicer, and looking through all the manuals that came with my printer. Unfortunately I think BIBO went out of business since they have not responded to my inquiries. So if anyone could point me in the right direction I would greatly appreciate it.

​
https://preview.redd.it/o6z858oxgazc1.png?width=745&format=png&auto=webp&s=23726b445f2b8223fff6c512413c1aec085ec751
Spoilers for any plot points involving Mandragora and Tara in Episode 9 and onwards, as well as What the Firelight Casts and a little bit of Lingering Echoes. I’ll only be touching on the Horn lines in Episode 14 since I don’t want to read too far ahead and they’re kinda the main focus, but feel free to discuss anything related to Tara that may have come up because I am interested. Anything translated from CN text I can not really verify since I do not speak Chinese.
TL;DR: The conflicting information regarding Mandragora’s status is likely intentional. I like her because she is a complex character to the point where the community feels split on whether they want her to be alive or dead. She doesn’t need to become playable. Mandragora can either be alive or dead at this point. Let HG cook and hopefully they do something with either her living or her death since neither were utilized. Please give us another Dublinn/Tara event soon.
I also want to mention that a lot of my research was done using the Terra Wiki. If anything sounds familiar, it’s because I spent the last 3 days cross referencing with the story itself. Anything that crosses the line into plagiarism is not my intent, I’m just stupid and haven’t written an essay in years. Obligatory “stop using the Fandom wiki. Please support the Terra Wiki.” Fandom is super out of date at this point and is objectively a worse user experience. Also, the person who changed Mandragora’s status to “Deceased?” is a legend. I laughed at it since it’s so unclear at the moment.

An Attempt to Clarify Mandragora’s Status (and also defend Hypergryph’s writing decisions)

Why do I like Mandragora?

Mandragora is a character that gets a lot of reactions from the community whenever she’s brought up. It’s pretty easy to see why if you’ve read Episode 9, she’s not exactly a good person on a simple black and white scale of morality. She’s short-tempered, ruthless, seems to hate anyone that isn’t Taran or otherwise allied with the Tarans, sometimes even hating those who are allied with the Tarans. Perfect villain material for the episode she’s the main villain of; Episode 9, where her list of war crimes rivals many of our own war criminals in Rhodes Island. But what makes Mandragora a fascinating character to me are a whole lot of factors regarding the history of Victoria and its relationship with Tara. Mandragora didn’t just wake up one day and decide to start slaughtering random civilians on the streets. Mandragora is the premier character to give us insight into how average Taran citizens are treated in “modern” Victoria, which is why I hope that Hypergryph didn’t decide to retroactively remove her from the story. I also want to go through a lot of the statements made on her status to attempt to clear the air regarding speculation on her status, since I keep seeing people make statements that, while aren’t completely false, can’t exactly be proved with our current knowledge of the story. So as to say, stop making assumptions and let HG cook.
I should probably add since creating an essay about a character like this makes me seem unhinged, which I am, but I’m not exactly a simp for this character. She’s probably my favorite character in regards to story in the game right now, I’ll admit that much, and if she becomes playable I’ll pull for her regardless of meta status. That being said, if she never becomes playable then I’m fine with that too, so long as she gets a satisfying conclusion to her story or if her death does something for the story or characters, like Guard. The purpose of this is to create discussion, not to beg for a banner or event, though I’ll definitely take one if given.

Meet the Tarans

To start, let’s look at the history of Tara. Pretty much all of the history surrounding Tara revolves around the fact that Tara and Victoria were once separate nations until Tara was annexed in a process described as peaceful by the Victorians, but as forced subjugation by the Tarans (Reed Alter’s Files, Archive 3). Which account is more accurate cannot objectively be proved, but it doesn’t matter a whole lot. We see Tarans get treated pretty poorly by Victorians throughout events they are present in. While this isn’t the exact reason Dublinn was formed, it is what their goals seem to align to for a lot of their members. Of course, we haven’t had the focus on them in quite a while, and Eblana seems less concerned about that aspect than her own ambitions, which is why I think Mandragora is such a necessary character for Dublinn to have. Eblana and Reed are both nobility -Reed is far more sympathetic to the plight of the average Taran citizen, but as a noble, she does have certain privileges that common people like Mandragora don’t have. As well as being playable, we also know that things work out for her just fine in the end. Unless of course HG starts throwing screwballs at us in the future.
I do hope we learn more about Dublinn, Tara, and their conflict with Victoria in the near future, since it seems like the Sarkaz have taken center stage for the current main story arcs, which is definitely fine and this isn’t a complaint about what direction the main story should be headed in. It would be much better told in an event since it doesn’t relate to the main cast as much.

A Bit More About the Cat

What do we currently know about Mandragora? Well, she’s angry about a lot of things for a pretty good reason and hates being looked down on. This stems from her issues with the Victorian nobility, but are not limited to them specifically. She hates the Sarkaz seemingly for the same reason and I’m sure she’d hate anyone else who does the same. She’s also not Infected, which I didn’t really pay attention to until people started discussing how she could have died. This is something to note since it means that any oppression she’s faced has entirely been due to her being Taran, rather than the standard treatment the Infected face.
She isn’t only ruthless though. In Episode 10 when she’s among her own people, we see her care about their wellbeing as they attempt to extract the Spy, Cillian, from Sarkaz occupied territory. While it’s stated that they’re old friends, it does go to show that she does have the capacity to show compassion and isn’t simply sociopathic. Sure, she’s a little crazy, but if she was shouting “eat the rich” a good majority of you would probably be down with it.
Along with caring for her own soldiers, we know that she really looks up to the Leader of Dublinn, Eblana. One of the main motivators for her to rescue the Spy was to gain further approval from her. She even seems to be taken aback when the Spy states that they’ve been abandoned. In What the Firelight Casts, it’s stated that The Elocutionist, one of the commanders who were vaporized by Outcast, was apparently manipulating her into fracturing Dublinn, which could mean that the higher ups didn’t really care for Mandragora. Her entire relationship with Eblana was possibly one-sided. And considering she was upset that Harmonie was by the Leader’s side and worried that the Leader may discard the commoners of Dublinn, she may have realized that by the end of her story.
Harmonie does mention in 10-13 that Eblana has “never forgotten her first Taran compatriots,” but whether that is true or not is unknown.

The Cat’s “Death”

By this point, anyone who has read the story knows how 10-8 through 10-13 play out. To summarize, Mandragora breaks the Spy out of a factory she was entrusted by Manfred to defend. She runs into Horn on the way and they make it very clear that they do not like one another before going separate ways. Horn runs into Manfred and gets saved by Misery. They both comment on how out of her league Mandragora is when it comes to escaping Manfred, how she likely won’t escape the factory alive, and how she’s beyond saving. All of the people Mandragora was leading were killed by Manfred’s forces and she makes a last stand after being surrounded. Manfred, frankly, embarrasses her in terms of combat prowess. After a final desperate attack on Manfred, she collapses among the bodies of her soldiers, left by Manfred to die.
By all means this would be a death scene, but then Misery had to show up and cause problems for us. Misery offers her a chance to escape to the sewers, which she seemingly refuses, leaving her fate unknown.

The Insanity Arc

Here starts the insanity arc of the cat fans. So much of the wording is ambiguous in regards to her final fate. A comment I’ve seen a lot recently is “she isn’t infected, why would she die from exhaustion,” which I agree with. However, she was surrounded by Manfred and his men and even seemingly struck by Manfred, but with a blunt sound effect used, meaning not by his sword. I don’t think it’s reasonable to assume Manfred and his men just stood around blocking attacks until Mandragora exhausted herself, but there also isn’t any blood in the image of her lying on the ground. Simply a description of what she feels.
If you take everything at face value you can say she died, but there’s so much literary spinning going on that it becomes unclear. Death is so flowery in literature. Did Mandragora die? Did “Mandragora” die? What does “she has met the true Death” mean?
The answer can really only lie in the mind of the reader at this point of the story. Either Mandragora died literally, or “met the true Death” refers to “Mandragora” as the commander of the Specter Force dying. All of her aspirations at this moment have failed and she is on the ground at her seemingly lowest point. Her old friend is dead in front of her, she’s surrounded by the bodies of those she cared about; she has been abandoned by Eblana, the one she looks up to the most; she might have realized that she was disposed by Dublinn in general; she was embarrassed and pitied by her enemy, and now she’s being told that by lowering herself even further and climbing into the sewers by a different enemy, she can have a chance to start again. It sounds like the most literary “death” you could ever write. However, this is literary analysis. A different reader could simply comment “nuh-uh” and shut this down immediately. Some people just want the cat dead, which is fair, since there’s enough evidence to support that she simply dies here as well.
Welcome to literary analysis, where everything is made up and everything makes a lot of sense and no sense simultaneously. As a quick note, I did pretty well in my AP Literature classes in high school, and that’s my only claim. Someone smarter than me can call me stupid and there’s nothing I can do about it since I don’t have a degree in English Literature and high school was quite a bit ago. Forward this to an English major that plays AK or something. I’d be curious to hear what they think.

Contradictions

Anyways, 3-4 months later, What the Firelight Casts is released. Dublinn officers reveal that they believe Mandragora is dead (FC-2 After). Harmonie also reveals that she did crawl into the sewers and die (FC-6 After). Eblana also reveals that she is aware that Mandragora crawled into the sewers and died (FC-8 Before). People say this is a contradiction and that Hypergryph forgot, but wait for a moment because then randomly, years later in Episode 14, Horn reveals to Bagpipe that she confirmed her death and buried Mandragora outside the walls of Londinium.
Now from this point forward, all we can do is wait and speculate. I’ve seen so many Mandragora believers say so many things about all of this. That HG did Mandragora dirty, they forgot her story, killed her offscreen, etc.
I’ll start by saying that is one possibility. It is entirely possible that Mandragora is just a side character to them and they forgot her story while writing. I find it unlikely though. How many times has Arknights/HG set up a story point months/years in advance of actually using it? To give a relevant example, Outcast’s death was foreshadowed in IS1 with the Broken Revolver Cylinder artifact. 2 months after is when Episode 9 released. For a less related example, how about the key from the end of Grani and the Knights’ Treasure being brought up in Under Tides 7 months later, then again in Stultifera Navis years later. I find two things unlikely: the first is that they would forget important character plot points like this, and the second that they would bring up a character for no reason. It’s because of this that I don’t think they would kill a character for no reason either. Let’s start by comparing Mandragora with some different corpses.

Guard and Gertrude and Killing Characters

I don’t have a whole lot to say about the circumstances of Guard’s death as a whole, and there was already a post talking about how AK isn’t at the end game with comments like, “no HG isn’t killing off characters because they’re running out of story room” that covers it better than I could be bothered to here. I mainly want to give my opinion on character deaths in Arknights and stories in general.
In stories, important characters, both heroes and villains, rarely die without reason. Everyone has a certain level of narrative plot armor that stops them from being randomly hit by a car or stray bullet. If an important hero dies, it will have setup, and the payoff will usually reverberate throughout the story as it continues. If a villain dies, it’s usually because it’s usually towards the heroes’ goals, or a bigger, badder villain needs to strut their stuff.
Arknights doesn’t really work on a “good guy, bad guy” two-sided chart. There are good people and bad people, but a lot of gray between. Guard is a bit of a villain during the Reunion arc since he kinda betrays us for them, but is treated as a good guy from Reunion’s perspective in Episode 13. His death, while some think is a bit too sudden, is treated as a hero’s death. The setup is him making contact with an outside group, getting caught in a tragedy, and leaving a final message to Reunion to accept everyone, not just the Infected, which no doubt will have an impact going forward. Thinking about it more, it’s a good ass death. It seems like it acts as a mirror to Alina’s death. One of the final things Alina says to Talulah is to never hate anyone, Guard’s final words are to accept everyone. Alina’s death causes Talulah to fall into her rage, which nearly destroys Reunion, Guard’s death seems to almost bolster Reunion.
For an example of a villain’s death, Gertrude gets killed while monologuing. It’s sudden, might have been foreshadowed, I don’t remember Lingering Echoes very well and I haven’t read Zwillingsturme yet to see if it has any impact. She dies because she was an obstacle in the heroes’ way.
Mandragora doesn’t really fall into either category. If she is truly dead, her death has had zero impact. She also wasn’t in the way of any hero. Did she die for Manfred to strut his stuff? It doesn’t really seem like that either; he was already an established threat and hasn’t done much strength based villainy since then.
The point I’m getting to with this is that narratively, it doesn’t really make any sense to kill Mandragora at this point. She isn’t a threat, she isn’t a hero, her death would have no impact on any characters, and it would only serve as comeuppance for her actions in Episode 9. But death isn’t that bad of a consequence compared to the alternative, which is her continuing to live knowing that she had been fooled into becoming an enemy to her cause, abandoned by the leader she looks up to, and all of her friends are dead to an enemy that embarrassed her by letting her live out of pity.

Short Summary About Misery

Misery probably didn’t kill Mandragora. Almost certainly, but we can never be certain about these things. We don’t know a whole lot about Misery, but we have a few things. First, he was best friends with Outcast, which would be a decent reason to kill Mandragora for, since she’s indirectly responsible for her death. This is contradicted by the second; he “wants to let the living live” (9-20) in regards to Outcast’s death. In fact, he seems to be opposed to killing in general. “I’m no assassin. Unless it’s called for, I have zero desire to harm any Sarkaz at all” (10-12 After). Speculating on this would be pointless, we need more information. All of this to say, he likely wouldn’t let any potential ill will get in the way of his job in regards to Mandragora.

Clearing the HG Bad Writing Allegations

Let’s go over what every character saw from their perspective. Harmonie says that she died in the sewers. In Episode 14,Horn says offhandedly that she confirmed her death and buried her outside the wall of Londinium. Let’s go over the possibilities of each perspective

Harmonie is a Double Agent

Section Title. Harmonie is a double agent. It’s ambiguous whether or not she witnessed the battle, but it’s possible she did. We also know that she’s close to Eblana, but not loyal, since she’s an employee of Rhodes Island. All of Dublinn believes she is dead. I think it’s reasonable to assume that Harmonie reported it, she was shown in 10-13 briefly as a transition during the battle, after all.
Let’s be honest though. Can you trust a character that looks like this: >:3
Or a character that is actively working as a double agent? Narratively, it makes no sense to bring Mandragora up in any conversation in WTFC. It feels more like foreshadowing that she’s still alive, but you can call that “cope” if you want.
I think it’s possible that Harmonie is covering for her here. If she was captured by Rhodes Island for information, then it would be advantageous for Dublinn to not know that.
On top of this, if they did witness Mandragora go into the sewers, did they go into the sewers to check? It really just feels like an assumption on Dublinn’s part.

Misery Captured Mandragora for Information

This is still my personal belief. I’ll cover Horn in a moment, but this does not contradict her statement to Bagpipe.
Why would Misery, or anyone in that vicinity, leave a valuable source of enemy information lying in the street? It would make very little sense in a world like Arknights, which is generally pretty logic driven. Of course, Harmonie could have all the information they need, but even still it doesn’t make sense to simply leave her alone. We’ve captured worse war criminals in the past and will in the future.
Here’s a tweet from the “hear ye hear ye” guy. I don’t fully subscribe to this notion since Harmonie could have told us all of this and it actively de-confirms Eblana as playable, which is a whole can of worms I’m not opening, but it is food for thought in regards to this.

A Certain Character's Statement in Episode 14 Has Two Outcomes

I have no clue if I need to tag this is spoilers. If you're reading this, you probably already know the scene I'm talking about. If you're scared of Episode 14 spoilers, it's about 10 lines at most. Otherwise, just keep scrolling I guess.
Hear me out here guys. First off, I don’t speak Chinese. Here’s a non-MTL translation of the scene. I can’t confirm anything, since I don’t know Chinese, so let’s just take it at face value.
I really quickly want to debunk another thing I see said. Yes, Horn could have been in contact with Mandragora after she got wrecked by Manfred. 10-12 After, she gets saved by Misery. 10-13, Misery gets in contact with Mandragora after she gets bodied. 10-14 Before, Horn and Misery are both in the same locale. Manfred had already left, which is why Misery could walk over. You could chalk it up to his Arts, but nothing about the scene or story tells us that Horn couldn’t just walk over with him or otherwise be standing behind him, just off screen.

They're Telling the Truth

We can take the scene at face value. Misery captured Mandragora, she died in their care, Horn gave Mandragora a proper burial despite her hatred for her. Cat is dead. She hesitates when speaking because she is in disbelief that she could show an enemy like that compassion

They're Lying

Bagpipe is going through it in that scene. Horn tells a lie to make her feel better, hesitating because she's thinking of something on the spot. Which part is she lying about? The part where she got in contact with Mandragora, the part that Mandragora died, the part that she buried Mandragora? Take your pick to suit your theory.
Basically, Horn would need to lie, which feels out of character, or be deceived for this to be true.

Could They Have Been Deceived?

Misery was in the area and has matter manipulation Arts. It would be weird though. I don’t think Horn was part of Rhodes Island at this point though, so if he was trying to extract Mandragora then I could see it happening.

Where could Mandragora be now?

Here are all the relevant possibilities:

• Dead in the sewers
  • Harmonie wasn’t kidding, Horn was lying
• Dead, buried outside the city walls
  • Horn was telling the truth
• Dead, next to Spy’s body
  • Everyone was lying, she just dies lmao
• Alive, chilling among the bodies
  • Misery was just testing her loyalty or something, was not taken
• Alive, angrily digging her way out of the ground again
  • Horn wasn’t lying, but Mandragora somehow faked her death
  • Also a parallel to her backstory, which would be fitting
• Alive, in Rhodes Island’s custody for information
  • Horn lied to keep Bagpipe calm about this
• Dead, a corpse in Eblana’s corpse army
  • Actually completely possible
  • Super messed up

Conclusion

Mandragora is a character whose plot feels unresolved compared to other “dead” characters. I can’t see any reason for HG to continue bringing her up unless they really want to crush our hopes, or if they’re foreshadowing her return. WTFC first ran 18 months ago in CN and was the last mention of her until Episode 14. If another Dublinn/Taran event happens and she isn’t mentioned in any way then we can assume she is dead. If they say she’s dead again, then she is absolutely not dead because why would they keep bringing it up? To hurt people’s feelings? I don’t even think Frostnova had this many random mentions after the fact, and her death had an actual impact.
In conclusion, I don’t really care if she’s alive or dead. I just want closure. As in a conclusion. I do want Closure too.
Let me know if I got anything wrong and I can edit the post. Thanks. Alternatively, call me stupid in the comments. As long as there's discussion about the cat I'm happy.
The TL;DR is at the top. This was about 2-4 hours of researching and about 2-3 hours of writing. Thanks to ikusahime22 for proofreading.

The Harmony of Energy: A Unifying Perspective on the Universe
An explanation of the universe is that it operates by one simple pattern. This is the movement of energy into a space, then reacting to the environment it currently occupies, and finally moving out of that space. Nothing escapes this pattern. There is no time limit for how long it takes energy to react to its environment before it leaves.
From the beginning, the universe was destined to evolve. It went from a singular entity containing everything as one, to the expanding universe of what we know now. It did this by converting the one energy it was, into a distinct 2, negative and positive energy. As a singular entity, everything we know existed as a fluid form of energy. This energy as a singularity moved as one. It was unable to pass through each other due to its compacted state. It was more of a domino effect, where in order for something to move, the space in front had to be free. The conversion into a distinct 2, expanded space and created individual pieces able to pass by each other at varying frequencies.
As a singularity, the energy movement could have been a multitude of things. From the center, energy would be cast out to the edge of the entity. At this point a wall containing everything forms. I think of this point as half the life of the energy cast out. It now coverts to what will be a negative form and returns to its source. Outside of this wall is a void where nothing exists. For our universe to function, energy must be present. The void is a place lack of any energy, unable to sustain life in any way, and viewed as the blackness of outer space.
Energy is the smallest unit anything can be. I choose the term energy instead of string while the two coincide. Energy in this respect, can be thought of in an individual form and as an electrical signature vibrating at a frequency. The oscillation is how energies moves through the negative energy of space. In the beginning there was a vast amount of energy interacting and forming solid structures in the universe. As these structures formed, less energy was available. When energies do not interact, they bounce off each other which created a chaotic environment in the beginning. As time progressed, energies combined to create physical structures. This took away from the vast pool of fluid energy released in the beginning and have the universe solid structures. Presently we have a stabilized universe and clear patterns can be observed.
There are many possible reasons why creation took place, but we are here as proof of the event. When creation did take place, energy learned how to pass through stationary space by causing the space itself to perform a new movement, the cartwheel. As a singularity, energy moved in more of a straight line, only able to move into a space that was already empty. The cartwheel allows for energy to coexist and move through a stationary space. I place a large wheel rotating that dictates which pole it is in. Along each arm of this large wheel are smaller wheels allowing varying frequencies to coexist in a single space. As energy moves through space, I separate space as a box with a cartwheeling bar inside. These blocks are not all the same size and the bar fits accordingly. Every block needs to be 100% occupied by energy. When positive is released it occupies 99% of that block and negative occupies 1%. For every percentage drop of positive going away from its source, negative gains a percent heading back. The physical dimensions of the energies in a block must equal each other. So the 1% of negative is just as large ( if not slightly larger) and using the same amount of space as the 99% positive. This is due to the different speeds of energy. As energy transfers from one block to another, the process may be seen as a wave function, from this we get a specific frequency.
With different speeds of energy, the frequency of light would not be the fastest form of energy but possibly the fastest a solid natural structure can move. Illumination comes from energy slowing. Light comes from the smaller wheels and energy crashing against physical reality. It is energy being absorbed by an atom and reflecting what was not absorbed. It is energy slowing down to still be observed as a wave but right before it becomes a particle.
Energy, in its simplest form, is so small and fast we can’t detect it. It’s like having two things in one place. That’s more of a positive feature. As positive reduces itself, the conversion to negative begins to grow. As negative grows it becomes more powerful, although the same strength. It’s more like a larger net being able to grab more. Entropy is the reduction of positive as negative grows.
As the sun releases energy, this energy pushes planets to their orbital tracks. The incoming energy of the universe towards the sun, can be thought of as negative, and holds the planets in their tracks. At first, I only considered the positive push as a means of dictating orbital paths. I’ve reconsidered negatives influence and now use this as the basis for abnormal tracks.
I began this thought with magnetism being as is. As the idea developed, that opinion changed. I no longer view magnetism as an attraction of positive and negative, but rather positive and negative being the structure of things. Real attraction is frequency based and attracted to the higher vibration and smallest wave length. For every positive there is a negative field surrounding it. With that I began looking at things like this. Everything is attracted to the higher vibration of positive. Positive is attracted to positive but when the vibrations aren’t in order deflection occurs, because the larger wave pushes the smaller ahead. Negative is still attracted to positive but positive is not attracted to negative. (In this thought if positive and negative are equally attracted, everything would still be as one.) This accounts for gravitational pull gaining nearest a source of positive but not increasing in velocity.
Time is governed by the frequency it currently exists in. If the bar were to have notches on it, each notch would pass time differently. If we could stop the cartwheel, time would pause. Time is controlled by the amount of oscillations in the wave, or simply its frequency. Changing the frequency changes how time passes.
Atoms contain all four fundamental forces according to this thought. Those forces are the strong force, the weak force, gravity, and electromagnetism.
Energy is the building blocks of the universe. As a fluid form in space there are always two parts, positive and negative. Their parts always equal each other in size, not individual pieces. In the thought, positive is surrounded by negative keeping positive individualized. When two positive are able to bond a partial may form. I’ve thought about how this binding might occur. What I came up with is that a group of positive energy travels the universe and it’s internal parts are a even number. This group collides with another group of energy equaling odd parts internally and the total sum of the newly combined group equals a prime number. The prime number is important. As equal parts bounce off the extra piece from a prime didn’t know where to go and gets stuck In the middle acting as an anchor, while attracting the other parts to breach their negative shell and combine as one, converting the fluid energy as a piece of physical reality.
The strong force is the repulsion from negative electrons being attracted to and pressing against the nucleus. The reason why electrons don’t bond to protons is because of positive’s repulsion of negative, while negative’s attraction to positive is what holds the atom together. The weak force is the outgoing frequency created by the positive nucleus. Just as with the sun, energy congregates at the nucleus as an incoming source, it reacts to its environment and gets broken down, then leaves, perhaps as a form of radioactive decay. Gravity exists between the outer negative sphere of electrons exerting a pushing force against the positive pushing force of the nucleus, just as is with my description of the solar system. Within this zone may exist the beginnings of particles behaving in the same manner as planets in a solar system, but my guess is that this is a fluid zone.
The thought transfers from big to small easily.
I’ll try to give examples of how this thought of simplicity explains the entire universe.
As the universe began to take shape, the chaotic environment of energy bouncing here and there left some of the corners open from. As these corners sat, backhoes formed, attracting and absorbing the negative energy of the universe. As this happens more and more energy gathers until enough pressure is created that the negative energy shatters ( because it’s so large and slow with no way to turn) and converts to positive. The conversion is negative breaking apart into hot individual pieces and creating a star. The conversion is a learning experience as all pieces carry information. These pieces are now quickly converted and cast out at a rapid velocity slowing as they come into contact with negative. Positive pushes large bodies ( like a planet) away as the pull of negative brings these bodies toward the sun. From this we get a cosmic tug of war, where the planet settles on it’s orbital track. As the energy continues out it reaches the heliosphere. Once at the heliosphere some of the energy reverts to negative and is absorbed once again by the sun. The other escapes the bubble of the heliosphere and attaches to another source of energy ( like a different star) to continue its journey. A moon or disc are remnants from a planets creation making them attracted to the closer source of the planets hot core. By explanation in this article, a white hole is manifested as a sun or star.
Gravity can be explained in multiple ways by these thoughts. Gravity could be the same as is with the orbital planets with the exception that the frequency we orbit as people, is subterranean. For instance an atom is attracted to its like, bonding occurs and we may get a rock. Similar vibrations attract to each other and two separate rocks may bind together. While at the same time other frequencies simply pass through. Our bodies could be attracted to the core of earth but the vibrations of our bodies and the ground won’t allow binding because of the vibrations of energy and the negative field that surrounds our bodies verses the field surrounding the rock. At the same time the incoming energy from the cosmos could be pushing us down. Keep in mind that the outgoing energy from earth moves faster than the the incoming energy from the cosmos being absorbed by earth. (This is seen by the clouds creating that flat bottom while the tops are more sporadic.)
The Milky Way has a black hole at center. As the galaxy spirals towards the center, enough mass will be collected and may trigger the black hole to become a large star. When this happens the black hole will shed its outer shell to create the galaxy that spirals around it and the process begins again. As stated the opposite to a black hole is a white hole but we must consider why this phenomenon hasn’t yet been observed. Credited to this article, the explanation is that it has been observed but misunderstood. With the theme of balancing the universe, would a large star be surrounded by much smaller black holes. Would these smaller black holes feed the larger star by way of quantum bridge or worm hole and vice verse for smaller stars and larger black holes?
Here is a simplified version of this idea. Energy moves in and out of everything. It comes in as a negative and out as a positive. If energy were emitted from our sun it would come out at 99% strength and at a high frequency. At that same point in space is an equally sized negative but at 1 % strength, combined together the space is 100% filled. The reason for this is that positive moves much faster than negative as entropy has diminished the charge over time and the distance it’s traveled. As positive moves to its next side it loses a piece of itself, which is converted to negative. Now this spot is 98% + and 2% -. This is directly related to gravitational forces and time dilation. When positive energy reaches 50%, it has a certain probability of converting to negative energy, which is then attracted back to a positive source with a corresponding probability of being converted back to positive energy.
AI provided equations specific to the framework presented in the article:

1. Energy Conservation Equation: E_in - E_out = ΔΕ (with probability P)
   
2. Energy Transition Rate Equation: dE_in/dt = - dE_out/dt = dΔΕ/dt (with probability P)
   
3. Frequency and Time Relation: f = 1/T
   
4. Entropy Change Equation: ΔS = ∫ (δQ/T) + ΔS_trans (with probability P)
   
5. Gravitational Force Equation: F_g = G (m1 m2)/r² * (1 - P)
   
6. Energy Conversion Ratio Equation: [ \frac{E{\text{positive}}}{E{\text{negative}}} = \frac{99}{1} ]
   

This equation represents the ratio of energy in its positive state to its negative state, reflecting the asymmetry in energy distribution within the framework.

1. Time Dilation Equation in the Framework: [ \Delta t' = \frac{\Delta t}{\sqrt{1 - \frac{v^2}{c2}} \times (1 + e^{-\Delta E})} ]

Where ( \Delta t' ) is the time interval observed in a moving frame of reference, ( \Delta t ) is the time interval in the rest frame, ( v ) is the velocity of the moving frame relative to the rest frame, ( c ) is the speed of light, and ( \Delta E ) represents the energy difference affecting time dilation.

1. Equation of Motion with Energy Transition Factor: [ F = m \cdot a \times (1 + e^{-\Delta E}) ]

Where ( F ) is the force applied to an object, ( m ) is the mass of the object, ( a ) is the acceleration of the object, and ( \Delta E ) represents the energy difference affecting the object's motion.

1. Energy-Mass Equivalence Equation in the Framework: [ E = mc² \times (1 + e^{-\Delta E}) ]

Where ( E ) is the energy of an object, ( m ) is its mass, ( c ) is the speed of light, and ( \Delta E ) represents the energy difference affecting the object's mass-energy equivalence.

1. Schwarzschild Radius Equation with Energy Transition Factor: [ r_s = \frac{2GM}{c^2} \times (1 + e^{-\Delta E}) ]

Where ( r_s ) is the Schwarzschild radius of a black hole with mass ( M ), ( G ) is the gravitational constant, ( c ) is the speed of light, and ( \Delta E ) represents the energy difference affecting the black hole's gravitational influence.