#might help with developing some more coherent thoughts on the topic

[mastermatoyas]

There's no way to explain this without coming across as at least slightly insane. But. I feel like a lot of the time, when I'm playing a female character in a game with both male and female romance options, the female romance options end up feeling a bit less appealing to me despite how much I like the character.

And I think it's because the romantic scenes in a lot of games are written with heterosexual players in mind. So when I interact with male love interests, I feel like I'm being acknowledged as a woman, but when I interact with female love interests, I feel like I'm being treated as a man. The player always seems to take on a more active and masculine role in these encounters, and it just feels heteronormative and weird a lot of the time. I'm sure there are plenty of gay and bi male players who feel similarly weird about being kinda feminised in their interactions with male love interests.

The end result is that I don't feel like a woman dating another woman in these scenarios. I feel like a man with tits, and I find that really uncomfortable, because that's not me or the character I'm playing.

Like, ultimately it's made me realise that I do not want to be the man in a straight relationship, physically or metaphorically. I like women and I am a woman, and if there's one thing I want out of a video game romance, it's for those two facts to be able to coexist.

At the very least, I would like it if there were more female romance options in video games who aren't super femme bottoms. Because otherwise I have to just keep flashing back to this image.

#does this make any sense whatsoever #lemme know in comments/tags/reblogs if you have any thoughts on this #might help with developing some more coherent thoughts on the topic

[familyabolisher]

Hi! I realized someone has asked a similar question, but on the topic of essay writing are there any specific skill sets that you’ve worked on extensively to make the process less daunting & do you have any advice from your own experience on how to start dabbling with litcrit/theory to apply to your own Thoughts? I’ve been wanting to write down my silly brainworms on Things but they’re very fragmented and it’s quite a struggle to glue it all together,, I really enjoy your writing!! Hoping I can eventually be as eloquent.

well the way i normally do it is to write down my various thoughts in bullet-point format and see if i can wed them together into a coherent thesis, and then work from there; most essays and similar such pieces of writing will have the thread of a thesis statement running through them to which every point they make has to eventually return. so if you have a lot of scattered thoughts about something, the best advice i can give you is to try and make them less scattered, and see if you can identify a common point of origin from which they all emerged. there are guides to essay-writing available on the internet put together by people far more qualified than me who manage to go into far greater depth with the planning details, but imo the important thing is to have an overarching point to which you consistently return. and, i guess, have that point be extending beyond the internal barriers of a text; rather than merely describing the text’s internal world as though everything happening within it sprung up organically, the drive of the essay should come from an understanding of everything contained within the text coming about as a result of deliberate choices made by an external agent (writer, editor, translator…) such that your job as a critic comes back to describing and evaluating which choices were made and why.

as for literary criticism, i don’t know if i can help you here beyond some very broad advice – having a fluency in critical theory and a sense of when it might be relevant to your argument is something that i find comes organically, and trying to marry X theorist to Y text without a solid sense of where X theorist was coming from or the myriad other forces that might be acting on Y text risks missing the woods for the trees. so, reading widely and actively (writing down arguments, keeping track of what you think of them, identifying points of conflict) will be incrementally beneficial in developing your own critical voice.

i guess my only other piece of advice would be to give primacy to your own argument and locate the frameworks given to you by your working knowledge of literary theory within it; the arguments made by lit theorists should be treated as arguments, developed under particular conditions and accountable to particular forces, rather than irrefutable ‘facts.’ asking, for example, ‘how do we apply edward said’s theory of orientalism to X text’ can be illuminating, but risks atomising or flattening the text in a way that ‘how does X text affirm or alter our understanding of edward said’s theory of orientalism’ might circumvent. the latter question understands literary epistemic frameworks to be influx depending on the contents of the texts to which they are accountable, and privileges the individual’s ability to read the text holistically and form a judgement about the precision of the literary theory in question in relation to their findings. (this doesn’t always apply – sometimes X to Y theory application is effective enough to cover all the bases without need for this kind of intervention – but it’s a good way to develop an evaluative rather than analytical practice.)

so, have a clear sense of an overarching argument, develop a consistent theoretical reading habit that helps to support your development of your personal critical voice, and treat literary theory as something with which you are in dialogue such that you don’t lose sight of the primacy of your argument. is my advice.

#ask #resources

[armoricaroyalty]

dev diaries #1 - april 12, 2023

A couple weeks ago, I ran a poll to see what story-related topic(s) people would like to hear my thoughts about. The winner was 'how I plot my story,' and I started working on a write-up, but I kept running into road blocks because it was really hard to explain myself without an example, and I didn't want to provide an example from my story because it'd give away too much about upcoming plots.

After turning it over in my head, I decided that I was going to try something different: in the vein of the Dev Diaries published by Paradox Interactive, which are periodic blog-style updates about ongoing projects.

I'd still like to write a coherent guide at some point, but in the meantime, I'm going to use this tag #dev diaries, to talk about my process as I work on some new plots tied to a new character.

I'm going to avoid spoilers for the larger plot, but this series will have spoilers for the new character I'm introducing, as well as her plot.

With that said, let's get on with the show!

I needed to make a couple sims for a minor role in an upcoming scene, and I came up with this Sim:

She's super cute, and I really like that she's a bit distinctive when compared to my usual Sims. For those reasons, I want to keep her around and incorporate her into the story, but I don't want to introduce a new character for the hell of it, so I need to come up with stuff for her to do within the story that's interesting and ties into my ongoing plot.

I created this sim (Jo Bakker, although her name will be changing) to be a coworker for Emily, and I think I'll keep her in that role. Emily is going to begin to play a larger role in the story, so she needs some supporting characters. She's got her family, but no close friends--giving her a bestie her own age would give her a way to talk about her thoughts and motivations and help me develop her character.

That said, I don't want Josie (I like that better than Jo) to be just a Black Best Friend, so I gotta make sure that she's interesting and well-rounded in her own right. That's kind of a tricky balance to maintain--purely logistically, you can't give every character a super fleshed-out backstory and rich inner life. There's just not room in the story for it. So she needs to feel like a complete person, but at least right now, I don't think she'll become a main character.

She's Emily's friend and coworker. Emily works for the royal family (she's Freddy's assistant) so that's where Josie works, too. Knowing that she works for the royal family introduces a few constraints--she has to be the kind of person who would work for the royals. To me, this probably means she's going to come from a wealthy background and have family ties to The Establishment.

I considered having Josie be one of Theo's posh cousins, but I decided against it. Emily's family are part of Armorica's aristocratic class, so having another character be part of that might feel a bit redundant. I don't have any specific ideas for her family, so I'll leave this as a blank to be filled in later.

Right now, Emily is working to present herself to Freddy as the ideal candidate for the role of royal wife. Everyone she's spoken to about it has told her it's a terrible idea, so Josie should probably think it's a good idea. This ties into what I said earlier about wanting to give Emily a friend to talk about her motivations with--Josie being supportive would probably make Emily more likely to confide in her.

So, far, I've decided that Josie is a friend of Emily's, she works for the royal family, she is outspoken, and she supports Emily's marriage scheme. That feels like a pretty good starting point for her character, so I'll wrap my first Dev Diary up and put Josie on the back burner for now.

My next step is going to be fleshing out more details about Emily and Josie's friendship, so that'll be the topic of my next dev diary.

If you have suggestions, please share them below!

#dev diaries #armorica ooc

[voxceleste]

i used to say stuff like this all the time when i was at a different point in my personal journey thru ideology... but there comes a point where you have got to stop taking the occasional dumbshit posts of some people on tumblr dot com as emblematic of a widespread trend of politically correct transgender strawmen who refuse to admit that systemic misogyny or patriarchy exist and are the reason “we” “can’t” talk about structural inequality and institutionalized violence against women. this “”issue”” in as much as it is one (which... it is and it isn’t) isn’t exactly new in online discourse, and i remember when i did use to go off on these topics (7-8 years ago now), it came in part from seething resentment towards transmasculine people specifically, which came from a place of internalized self-hatred. that’s probably not relevant to op, i just can’t help remembering what a nasty pit stop this was on my way through the cognitive dissonance of being a man experiencing misogyny (and it’s a big part of why i still feel a need to apologize for centring myself in these conversations, despite being in no material way more privileged than cisgender women on issues of reproductive rights or other sites of gendered oppression, due to... the highly fluid and precarious position of being a transmasculine person living in a patriarchy.)

one of the crucial tenets of radical feminism is that women experience oppression as a discrete, coherent, and unified social class, in a similar way to how traditional marxism conceives of the proletariat. not only that, but that this class divide is the fundamental organizational principle of society, the one that underlies and preexists all other axes of oppression. that’s why it’s called “radical” feminism, because it conceives of patriarchy as being the root of social inequality on all levels. that ideological concept attached to a related movement has been around for ~50 years, but one of the more recent developments of it, specifically in response to shifts in how gender as a social organizing principle is thought of--in response to the growing theorizing and self-advocacy of trans and queer people within and without of feminism--has been to pivot to the position that the aforementioned tenet is the secret of the emperor’s clothes, that the existence of the coherent social class of “women”--who experience gendered socialization and oppression in essentially the same manner despite superficial differences--is a self-evident fact that people have to pretend they don’t believe, in order to not face social reprisal.

the “we” in this post (which goes on for like six more paragraphs) is doing a lot of work wrt constructing a dichotomy between Reasonable people being shouted down by the Unreasonable trans thought police for acknowledging that we live in a patriarchy. i have no doubt that there are people making unreasonable demands on the way that other people talk about gender and inequality and misogyny OnHere, because people say a lot of unreasonable stuff online. the reason i’m going in on this person’s specific post is that sometimes it’s better to address an individual annoying post you saw then to rant about things in a very vague, broad way that encourages broad-stroke characterization about the way that Certain People exert undue influence on the discourse as a whole, which is honestly the main issue i have with it. because OP says a lot of reasonable and important things, but they say it in a way that boils down, whether they intended it or not, to “TRAs gone wild are bullying people away from being able to address crucial feminist issues.”

feminism is in dire fucking straights right now. but the reason that “[op] see[s] people who are so afraid to touch anything related to feminism with a ten foot pole out of a fear that they might accidentally be engaging with r*dfem thought” is because you legitimately can’t throw a stick in the notes of a tumblr feminism post without hitting people who have been actively radicalized by a wing of the contemporary far-right which has been making consistent cultural inroads for years through these and other channels. that is not an exaggeration. that is fact. the fear of tee ee arr effs hiding behind the tumblr post bushes is not actually a strawman, and the material relationship between those people’s sordid political alliances and attacks on, for example, reproductive rights, is documented. also like. idk man maybe you need to follow better blogs because i have a pretty trans-heavy social circle and people talk about structural misogyny a lot!

i just get so depressed when non-trans feminists place blame for The State Of Feminism Today on “[trans] people crying wolf on gender essentialism, thereby Silencing Women.” it is really hard to navigate these conversations. everyone is frustrated and traumatized. and people do need to talk more about the ways that patriarchy works in action, so that t/e/r/f/s don’t get to suck all the air out of those dialogues. but for the love of god, people being worried about talking points getting coopted by r_df_ms is not a bogeyman, and the positioning of “rigorous materialist feminist analysis” as oppositional to “loosey-goosey queer theory, which is decoupled from structural critique” is itself a classic r_df_m talking point regardless of op’s own personal politics

framing matters

[englishwiseae]

PTE Exam: How to Get a Better Essay Writing Score

Are you a little behind in your writing skills? You’re not alone. This section poses a significant challenge for many test-takers. But fear not! In this blog post, we deconstruct the art of essay writing and study various ways to improve your skills and, thus, your overall score in the PTE exam in Dubai. Whether you aim to enhance your vocabulary, structure your arguments more coherently, or boost your confidence, this guide will meet your needs.

Overview of the Writing Section

As you might already know, your PTE exam in Dubai has four primary areas—speaking, writing, reading, and listening. In the PTE writing section, you will encounter two tasks: Summarise Spoken Text and Essay Writing. Here’s what you need to know about each task.

Summarise Spoken Text:

In this task, you will receive a paragraph to summarise in your own words. Your summary should be concise, containing over 75 words, and capture the main points of the given paragraph. You will have 10 minutes to read, summarise, and proofread your response.

Essay Writing:

The second task involves writing an essay between 200 and 300 words. You will receive a prompt, and you must construct an essay addressing the topic within 20 minutes. Your essay will be assessed based on varied criteria:

Content

Formal requirements

Development

Grammar

Linguistic range

Vocabulary

Spelling

Keeping these aspects in mind while writing is crucial for a higher score.

Tips to Improve Your Essay Writing Skills

Crafting a stellar essay in your PTE exam in Dubai demands a strategic approach. More importantly, improving writing skills does not happen overnight. One needs to practise consistently to see the required level of improvement.

Here are some tips to elevate your writing prowess and ace this crucial section:

1. Find the Core Concept

Students often begin writing their essays with blank minds. It not only creates confusion but also takes more time. To avoid this issue in your PTE exam in Dubai, make sure to pinpoint the essay’s essence first. Whether it's a controversial issue, current event, or any other subject matter, identify the central theme and weave it seamlessly throughout your essay.

In simpler terms, begin by jotting down key points as you read the prompt, guiding your essay's direction and coherence. Such a laser-focused approach to the topic ensures your arguments revolve around its core.

2. Structure Your Essay

After jotting down the essential points of the prompt, your next step is creating a framework, as the structure is the backbone of any well-crafted essay. Split your essay into 3 distinct sections:

Introduction

Body paragraphs presenting your arguments,

A conclusive summary.

Even during the note-taking phase, adhere to this structure to maintain clarity and organisation. A clear structure not only streamlines your thoughts but also helps you stay within the prescribed word limit.

3. Incorporate Examples and Facts

Now, you begin to write content for the defined framework. But how do you make it work for you? The best way to inject life into your essay is by including suitable examples, convincing facts, or intriguing anecdotes. These elements not only enrich your content but also bolster its credibility and engagement.

So, use your knowledge to its fullest, integrating dates, statistics, or notable personalities to substantiate your arguments effectively.

4. Harness the Power of Quotes and Idioms

Quotes and idioms infuse your essay with personality and flair, making it memorable for the reader. You can learn some common idioms and quotes on a daily basis, which can help tremendously in your PTE exam in Dubai.

However, you need to be careful with your usage:

Ensure they align with the tone and formality of academic writing.

Prioritise grammatical accuracy.

Employ popular quotes judiciously to add depth and direction to your arguments.

By doing this, you can enhance the overall impact of your essay.

5. Opt for Clear and Concise Vocabulary:

Lastly, pay attention to your word choice. Complex vocabulary doesn't always translate to a higher score. Instead, focus on using a language that is easy to comprehend. Keep a balance between simplicity and sophistication, ensuring your writing style stays polished and coherent.

For better clarity and seamless expression, you can also integrate appropriate introductory phrases and conjunctions, such as "in my opinion," "furthermore," and "given the facts".

Final Word:

Remember, mastering essay writing in the PTE exam is a journey, not a destination. So, tailor your approach to suit your unique strengths and weaknesses, and don't hesitate to experiment with different strategies until you find what works best for you.

If you truly want to take your essay-writing skills to the next level, consider joining a coaching program. English Wise is one of the best we can recommend for both PTE and online IELTS coaching. Check it out if you need their help for your upcoming PTE Exam in Dubai.

#online ielts coaching #pte exam

[prepare-ielts-exam]

Unlocking Success: Mastering the IELTS Academic Speaking Test

Are you gearing up to conquer the IELTS Academic Speaking Test? Brace yourself for an exciting journey where you'll learn the ins and outs of acing this crucial segment of the IELTS exam. In this comprehensive guide, we'll delve into top-notch tips and strategies to help you shine in the IELTS Academic Speaking Test.

Understanding the IELTS Academic Speaking Test

Before we dive into the tips and tricks, let's ensure we're on the same page regarding what the IELTS Academic Speaking Test tip entails. This test assesses your ability to communicate effectively in English, specifically in academic contexts. It consists of a face-to-face interview with an examiner and is divided into three parts:

Part 1: Introduction and Interview

This initial phase might seem like a breeze, but it sets the tone for the rest of the IELTS Academic Speaking Test. Here's how you leave a lasting impression on people:

1. Warm-Up Your English: Start your day by thinking in English. Narrate your morning routine or describe your surroundings in English. It helps get your brain into English mode.

2. Expand Your Answers: Don't just stick to 'yes' or 'no' answers. Elaborate on your responses. For instance, if asked about your hobbies, instead of saying, "I like reading," say, "I'm an avid reader, and I particularly enjoy delving into classic literature."

3. Practice with a Partner: Find a study buddy or a language exchange partner to simulate interview scenarios. This will help you get comfortable speaking in English for the IELTS Academic Speaking Test tips.

Part 2: Long Turn

This is where you get to shine by delivering a mini-speech. Here's how to ace it:

4. Structure Your Response: Use one minute of preparation wisely. Make brief notes to structure your speech with an introduction, main points, and a conclusion.

5. Speak Clearly and Coherently: Focus on pronunciation and fluency. Don't rush through your speech. Maintain a steady pace, and enunciate your words clearly.

6. Expand on Ideas: Don't just scratch the surface. Dive deep into the topic. Explain your thoughts, provide examples, and show the examiner that you can sustain a conversation.

Part 3: Discussion

In the final segment, you'll engage in a more in-depth conversation with the examiner. Here's how to excel:

7. Listen Actively: Pay close attention to the examiner's questions and comments. Respond directly to what they say, showing your ability to comprehend and engage.

8. Provide Balanced Responses: When discussing topics, present a balanced view. Acknowledge different perspectives, even if you strongly agree or disagree with them.

9. Use Advanced Vocabulary: Impress the examiner with a rich vocabulary. Avoid repetition and explore synonyms to convey your ideas effectively.

General Tips for the IELTS Academic Speaking Test

Now that we've covered each section let's dive into some overarching IELTS Academic Speaking Test tips to boost your performance:

10. Practice Regularly: Consistent practice is the key to improvement. Use sample questions, cue cards, and speaking prompts to hone your skills.

11. Record Yourself: Use your smartphone or a recording device to capture your responses during practice. As you listen to them critically, look for areas that could be improved.

12. Time Management: Practice within the time limits of each section. Develop a sense of how long you should speak to stay within the allotted time.

13. Seek Feedback: Don't hesitate to ask a teacher, tutor, or fluent English speaker for feedback. Constructive criticism can help you pinpoint your weaknesses.

14. Relax and Breathe: On the IELTS Academic Speaking Test day, take a deep breath and stay calm. Nervousness can affect your fluency and pronunciation. Just keep in mind that it's a dialogue, not a questioning.

15. Expand Your Vocabulary: Read books, articles, and essays to broaden your vocabulary. Make a habit of jotting down new words and using them in your speech.

16. Cultural Awareness: Familiarize yourself with common cultural topics and social issues. Being well-informed can enrich your responses during the discussion phase.

17. Stay Updated: Here are some IELTS Academic Speaking Test tips. Keep up with current events and trending topics. You might be asked about recent news, so stay informed.

In Conclusion

Preparing for the IELTS Academic Speaking Test requires dedication and consistent effort. By following IELTS Academic Speaking Testtips and practising regularly, you can boost your confidence and performance. Remember, the key is to communicate effectively and showcase your English language skills. With the right mindset and preparation, you'll be well on your way to success in the IELTS Academic Speaking Test.

#ielts academic speaking test #ielts academic speaking test tips

[lunarsilkscreen]

Autistibrain, ADHD, and my thought process

Somebody just told me: the reason why people think you're ADHD or autistic from an external perspective is because your thinking is a lot like an ADHD person's thinking, the difference is: you've found a way to turn the scramble brain topic jumping into an incredibly useful skill."

I use stimulants as a form of self-medication. So way too much caffeine.

If I'm on the spectrum (and I've been told I am) I'm either very high functioning, or on the low end of the spectrum. Or just so intelligent that it's indistinguishable from autism.

Or neurodivergence is linked to intelligence in ways we're not entirely clear on. (Since pop culture says autism is only linked to low intelligence except for a random super power or hyper focus. Which we know isn't the case.)

I think what it is, is that I allowed myself to go into other tracks of thinking, and in some cases encouraged it by frequent multitasking. Technology or a notebook allows me to jump though processes and return to another one.

At work, I have a "Main Task" or "Daily Quest" that I keep on the forefront.

This thing *NEEDS* to be done. But I'll have several other tracks in the back brain. (These things I wanna get done.) They might be important, they might not even be work related (like an article I wanna read)..but how I avoid spending too much time on the small things, is by remembering there's a daily thing I need to do. I don't even break it into pieces, I work at it until there's a stoppage, like my timer tells me to go on break for a walk. Or I need to go talk with somebody else in order to get this next part done (and while I wait on them, I allow the subquest to take hold)

Or when I'm waiting on a meeting to start, because there's always meetings you're required to attend, but you always gotta be 15minutes early.

Or when I need to poop. (Which might be why I routinely stayed late, cuz I felt bad for taking too much break time)

Things that allow for task switching are always around, and so I let my brain wander a bit before I force it into the main track.

I suppose my writing and streaming has a functional version of that too. Since I make an outline first, and not a complete script, it allows my brain to happily fill in the blanks until I reach that "main quest" goal, and if I stray to far off topic, it's just habit to make note of it, write it down somewhere, and continue going where I need to go.

This is how I'm able to jump topics between everything I've ever learned, or anything I've ever experienced, and still make it somewhat coherent. My brain says "I wanna talk about this now" and then I politely ask it to make it relevant to the daily quest.

It probably doesn't hurt that in order to explain something to somebody you have to explain it several ways until you find a way to connect with that person sometimes.

Practice makes perfect I guess, which I've probably got quite a bit.

Having a vast variety of skills and experiences helps make learning new things easier as well. For example: working with layers in both music and art helped me tackle new problems by layers as well. (Breaking things into pieces) which also helped me get better at troubleshooting both in programming and electrician work.

For me: learning a little bit about things that I enjoy (that I might not be great at) helped me develop skills to learn more things in depth by tricking my brain into seeing a thing from an angel I enjoy, than from a perspective of facing a cliff.

Or in the case of languages: I didn't really get much anywhere at learning any language besides English, but I got real good at linguistics for some reason. If only that was a monetizable skill...

[pynkhues]

I found your blog through your incredible Succession meta (and have since checked out Good Girls because of your posts and am really enjoying it!). I really love reading your views and find you’re often able to articulate things I’ve been thinking but had struggled to convey succinctly. Do you enjoy writing out commentary and metas and are there ever any that either take a long time to find the words for to answer or that stump you as far as pulling coherent thoughts into an organized form? Also, for future reference, are there some topics you’d prefer not to touch or be asked about?

Hi! Thank you so much for your kind words, anon, and I love that you've been watching Good Girls. It's a very different show from Succession (in more ways than one, haha), but I think it was a more interesting show creatively than it got credit for (especially when you compare it to shows of a similiar genre), and it's a shame it never really got the broader audience or attention that I think it deserved.

And yes! I do enjoy writing out commentary and meta. I'm a writer by trade, so I enjoy thinking pretty deeply about the things I watch and read in general, but I find answering other people's questions can really prompt me to think about things at a different angle or to articulate thoughts that might be only half-formed in my head. Understanding both the mechanics and the artistry of storytelling is something that's important to me, on both a personal and a professional level, and writing meta is both fun and also a great sort of exercise that I think has definitely helped me develop as a writer and deepen my own stories.

There are definitely things that take me longer to answer though. Funnily enough, I don't think it's so much areas of questions (I'm happy to be asked about any topic, really), but I do find really broad questions can be difficult to answer. Like I have a few questions in my inbox now that might just be like 'what do you think of Shiv' or 'talk about the music on the show', which I find are both interesting topics, of course, but also kind of hard to write straight forward answers to because my thoughts on both are big and vary across the 39 episodes of the show.

Specifics though like, what do you think was going through Shiv's head when she did x, or talk about the music in x scene makes it a lot easier to hone in on the details and I think (hope, haha) give a more satisfying answer to the person who sent the ask too.

#thank you again anon! #i miss writing more meta i have a few asks in my inbox right now i've been meaning to get to #might try and reply to some this afternoon #none of the shows i'm watching at the moment feel big enough to prompt meta haha #i could talk a LOT about the clearing right now but that's mostly because it's frustrating me so much hahaha #i've been watching the changeling though on apple too which has been interesting #the good in that show is extremely good but the bad is pretty bad tbh #it's really patchy #and i don't entirely think the mosaic style works #but that's neither here nor there #i am starting to read the s3 succession scripts so that's exciting #welcome to my ama

[twnenglish]

Importance of Reasoning: The Art of Thinking Well

Reasoning is more complicated than it seems at first glance. It is not merely an intellectual pursuit but a way of life that includes logic, belief, ethics, and emotion. With this new understanding of mental processes, we can better design the world around us to promote better reasoning and more logical choices. Here are some ways to incorporate reasoning into your life. 

corporating reasoning into our lives is crucial for success in various areas of life. It helps us to make sound decisions, communicate effectively, and grow and develop as individuals. By cultivating this skill, we can become more confident and capable individuals who are better equipped to navigate the challenges of life.

Importance of Reasoning: The Art of Thinking Well

What is reasoning?

Reasoning is the process of using logic and critical thinking to make informed decisions and solve problems. It involves analyzing and evaluating information, considering different perspectives and options, and making judgments based on evidence and reasoning. Reasoning is an important cognitive skill that is used in all areas of life, from personal decision-making to professional problem-solving.

It is essential for making sound judgments and developing effective solutions to complex problems. In essence, reasoning allows us to make sense of the world around us by applying logic and critical thinking to make informed decisions.

Reasoning is a vital component of living a happy and fulfilling life. We do it every day. Logic and rationality allow us to make decisions and solve problems. Reasoning is the tool we use to make sense of the world.

We use reasoning when we decide what to wear, where to live, how to spend our free time, and who to spend time with. It's a way of thinking that we use every day to figure out what we believe and want.

Reasoning is something we can improve through practice and education. When we improve our reasoning skills, we become better thinkers and feel more fulfilled in our lives. We can't avoid reasoning!

The Significance of Critical Thinking

Critical thinking is a fundamental aspect of reasoning that involves analyzing information, questioning assumptions, and evaluating arguments. In an era of misinformation and fake news, honing critical thinking skills is essential to distinguish fact from fiction.

Studies have shown that individuals with strong critical thinking abilities are better equipped to make sound judgments, solve problems effectively, and adapt to changing circumstances.

Enhancing Logical Reasoning

Logical reasoning is another integral component of the art of thinking well. It enables individuals to construct valid arguments, identify fallacies, and draw logical conclusions. Developing strong logical reasoning skills fosters clear and coherent thinking, facilitating effective communication and persuasive abilities.

Moreover, logical reasoning helps individuals identify potential biases and make informed decisions based on evidence and rationality.

The Role of Decision-Making

Skills Reasoning and decision-making go hand in hand, as the ability to make informed choices is an essential outcome of sound reasoning. Effective decision-making skills involve gathering relevant information, considering various perspectives, weighing pros and cons, and anticipating potential outcomes.

Individuals with well-honed decision-making skills are more likely to make thoughtful choices that align with their goals and values, leading to better outcomes and minimized regrets.

How do Emotions affect our Thinking?

How do emotions affect reasoning? Emotions can distort how we think. When we feel an intense emotion, it's more difficult to think deeply about the topic at hand. This can lead to poor reasoning. For example, say you are in the middle of a heated debate with your spouse, and you find out that they have been a misunderstanding between both of you.

You might not be able to think about anything but the fact that they were unfaithful. Your anger distorts your reasoning and prevents you from thinking about other reasons why they might have cheated on you. You might think that you're never going to get married again because of this experience.

This is one of the instances of how emotions can affect our reasoning. If we want to reason better, we need to take emotional values into account. The more intensity you have in your emotion, the less likely you will think logically.

How does Limited Attention Impact our Reasoning?

With limited attention, we are in a constant state of information overload. And it shows in the way we think. There are so many stimuli bombarding us at any given moment that it is impossible to process them all. We need to pick and choose what to focus on. But when our attention is limited, it cannot be easy to make rational decisions.

For example, one study found that shoppers are less likely to buy healthy food when they are in a hurry. With limited attention, people are less likely to think critically about their choices.

For example, they are more likely to purchase fast food, even when they know it's not the healthiest option. If we want to make a proper decision, we need to be aware of how limited attention affects our reasoning process and avoid this mental trap.

One way to do this is by taking a break every once and a while and refocusing your attention on something else. It will be difficult to avoid the temptation of instant gratification, but taking time for yourself will accept you to make better decisions in the long run. To learn more about how little attention impacts reasoning and how it can be improved, read on!

What are the Consequences of these Observations for Designing a World that Promotes Better Reasoning?

The implication of these findings for designing a world that promotes better reasoning is to prioritize our ability to reason well. When designing a world that promotes better reasoning, it is essential to make it easier for people to make logical decisions. For example, you could make it easier for people to make clear and straightforward choices.

You can do this by taking benefit of our tendency for "choice paralysis" and creating limited options. Another way to design a world that promotes better reasoning is by providing space and time for people and minimizing distractions. This will allow people to think more clearly.

To Read This Full ARTICLE, Click Here

#importanceofreasoning #whyisreasoningisimportant #whatisreasoning #improvereasoningskills #promotebetterreasoning

[education112434]

GRE Exam: Dates, Fees, Syllabus and Preparation

The Graduate Record Examination, or GRE, is a crucial requirement for graduate, law, and business programmes worldwide. The ETS created and developed the computer-based standardised test. Most schools consider these scores along with your supporting documents and academic records to assess your capability to pursue a graduate program. 94 nations and more than 1000 leading business and graduate schools throughout the world accept the GRE. Students can apply to a variety of graduate programmes using their GRE scores. When applying to graduate programmes, the GRE is frequently necessary or advised. Determine whether the GRE is required by looking at the graduate program's admissions standards. The GRE might help you stand out from other applicants. A strong GRE score could demonstrate to admissions panels that you have the knowledge and abilities needed to succeed in graduate school. With the GRE, you might be eligible to apply for assistantships or scholarships. Some assistantship and scholarship programmes may require or favour applicants with a certain GRE score. The GRE (Graduate Record Examination) is a standardized test that is commonly required for admission into graduate programs in the United States and other countries. The exam is designed to assess the verbal reasoning, quantitative reasoning, and analytical writing skills of test takers. Let's explore the different sections of the GRE exam in paragraphs. The first section of the GRE exam is the Verbal Reasoning section. This section measures a test taker's ability to understand and analyze written material, as well as their ability to evaluate and synthesize information. Test takers are presented with passages and questions that assess their reading comprehension skills, as well as their ability to identify relationships between words and concepts. This section also includes questions that test a test taker's vocabulary skills, such as word meanings and word usage. The second section of the GRE exam is the Quantitative Reasoning section. This section measures a test taker's ability to understand, interpret, and analyze quantitative information, as well as their ability to solve problems using mathematical concepts and techniques. Test takers are presented with questions that assess their skills in arithmetic, algebra, geometry, and data analysis. This section requires test takers to apply mathematical reasoning and problem-solving skills to solve complex problems. The third section of the GRE exam is the Analytical Writing section. This section measures a test taker's ability to analyze complex issues, articulate and support their ideas, and communicate effectively in writing. Test takers are required to write two essays - an Issue Task and an Argument Task. The Issue Task requires test takers to analyze and respond to a given topic, while the Argument Task requires test takers to evaluate and critique a given argument. Test takers are assessed based on their ability to present well-reasoned arguments, provide evidence to support their ideas, and organize their thoughts in a coherent and persuasive manner. Each section of the GRE exam is scored separately. The Verbal Reasoning and Quantitative Reasoning sections are scored on a scale of 130 to 170 in one-point increments, with a maximum score of 340 for both sections combined. The Analytical Writing section is scored on a scale of 0 to 6 in half-point increments, with the scores from the Issue Task and Argument Task combined to give an overall score.

#GRE Classes #GRE Classes in Mumbai #GRE Coaching Mumbai #gre practice test #gre mock test #online gre mock test

[activetranslationdubai]

Translation of Documents Without Attestation?

Arabic translation in dubai is a powerful tool. It makes a document easily understandable and more accessible. But translations should be done in a coherent, natural way so that the audience understands exactly what they’re reading. The language that is being translated should be something that is not very difficult for the reader to understand or trouble them because there is no other way to make sure that the content is correct. If you are unsure how to do it all correctly, or if you have any questions, it would be best to do some research on your own before deciding on how much time and money you are willing to spend on translation projects. Sourcing a reliable translation company in Abu Dhabi for your document translations can seem like an impossible feat. There are so many different sources of quality translators available, and most of them will work with almost any project you put their skills into. But there’s one significant advantage we have over those people who can only supply their friends with glasses: we know where our source of quality translators comes from! 

What is a legal translation services job? Translating documents is one of the most challenging aspects of any job. The first step is to identify the content you are translating and the stages of its development. Then, the work is divided into four main categories: keyword research, grammar, word usage, and style. Keyword research is researching keywords or topics that will be translated. You will conduct independent research on your own, but using keywords as guideposts to help you organize your thoughts. 

Grammar : This step is the translation of everyday words and phrases. You will try to understand the meaning of words and phrases and choose the most natural alternatives. Word usage - The word usage is selecting the most appropriate word(s) or expressions for each task. We make use of those words and expressions in everyday life so that we can communicate with others. 

Style :  This step is the grammar extension: you will choose the most suitable expressions for each task. You can use only the most appropriate words for each task if everything else has gone well. 

Residual problems in translations There are a number of issues that can cause translators to provide less than optimal results. Especially for shorter documents, there may be issues with word usage, sentence structure, or sentence breakage.

Word usage : If the words you choose to replace with your own are not standard or ambiguous, you will have to do without them. Again, your job is to understand what the other person is using, and pick the most natural versions. sentences - There may be a problem with the order of words in your sentences. You will have to look into the issue if that is the case. phrasing - If your phrases are not easy to understand or ambiguous, you will have to make do without them. Again, your job is to choose the most natural phrases for each task.

No verification of translation accuracy: It is important to verify the accuracy of your translations before making any decisions on how much time and money you are willing to spend on translation projects. This is because the more accurate your translation is, the easier it will be to check and correct any problems you might have. There are various methods for doing this. One of them is the use of an encapsulator. encapsulators are tags that will stick around when a translated document is opened in an app. The tags will help you to skip the messy steps of pasting texts into a spreadsheet or creating a new spreadsheet each time you need to change something. You can also use annotation tags to assist you in making corrections.

Time consuming process of translating documents several Challenges may throw a spanner in the works for your translation project. These challenges can be difficult to estimate or even see as a possible cost. It is best to hire a professional translator to tackle these challenges. You should ensure that he/she has the skills to do the task. Sometimes, the problem is more specific: for example, you’ve translated a certain text and have an idea about how to interpret it. You have to find the right moment to start the task but don’t know where to start. If you are stuck, you can always use the online learning platform to make your work easier. There you can learn new skills and find exercises to help you progress.

Conclusion Translating documents is a challenging and time-consuming job. Several challenges may throw a spanner in the works for your translation project. These challenges can be difficult to estimate or even see as a possible cost. It is best to hire a certified translator Abu Dhabi to tackle these challenges. You should ensure that he/she has the skills to do the task. Sometimes, the problem is more specific: for example, you’ve translated a certain text and have an idea about how to interpret it. You have to find the right moment to start the task but don’t know where to start.

#certified translator Abu Dhabi #document translation dubai #legal translation office in dubai #arabic translation in dubai #interpreters in dubai

[siswritesyanderes]

Wow we just love to put Sadie through it don’t we? Which Doctor would you pair her with? Or a Torchwood person, if you think they’d fit her better.

Oh boy, it would be so interesting for all of them. And obviously, we're assuming this happens slightly later in her life; she's a teenager in Rule One because it's Twilight, but for a Doctor Who story she'd be in her twenties. Also, jury's out on whether it's platonic or romantic yanderes.

(For clarity, we're still working with the premise, as expressed in earlier posts, that all versions of the Doctor eventually get to kidnapping, so in most of these scenarios, she's already at full-time companion status. For Twelve, though, let's say it takes a bit longer for her to get there. If it doesn't squick you out, we could say she meets him the same way Bill does; at a college in which he's teaching. Either way, she'd have more Earth-bound interactions with Twelve than anyone else.)

Nine would probably be the most coherent and straightforward, for her. (Well, it's a tie between him and Thirteen.) He'd be frank about everything he's thinking and feeling, with regards to her, and he would be easy to talk to about it. Kinder and more reasonable than his edgy attire might suggest. Even when he doesn't bend on the whole kidnapping thing, he'd be easy to have a discussion with. Sadie tries probing about why he feels that he needs to keep her close, but he's resistant to telling her anything about his past. Admittedly, it makes her very curious. He's an alien, physiologically and mentally and emotionally distinct from humanity, and he's secretive, and he won't let her leave. The mystery of it all is very engaging. Obviously, she'd still rather not be kidnapped, but since that hadn't been made an option, she would like to learn everything.

Ten would be so complicated, because Sadie knows that the dynamic between them isn't healthy, but she also really doesn't like hurting people's feelings. She would try to help him talk through his problems and his trauma and his crimes, and that would only make him more obsessed and dependent. After all, who would help him to pick through all these painful memories, without her? It's like the pain of each old shame, each loss, is dulled just by discussing them with her; like she's left fingerprints of salve through his mind, and if anything were to happen to her, all of the salve would disappear at once. That's all in addition to the love he already felt for her. Sadie can see this increasing neediness developing, but he would just break down again if she stopped now (He wants to tell her everything, soothe more memories, wrap her more thoroughly around his emotional wellbeing.), and anyway, hopefully if they keep digging, they'll come out on the other side of this. Right?

Eleven would be hilarious just because Sadie would keep trying to manage a coherent, meaningful conversation about the parameters of the relationship, and he just keeps jumping from topic to topic and talking around her protestations and not addressing things as deeply as she wants to. His restlessness and Sadie's tendency to dwell and think things through would take some reconciling. She would try to adapt to his personality; she learns that asking him one question or making one request doesn't work as well as giving him a list. If she only says one thing, even if she repeats it, it can get lost in the deluge of his constant activity, but if she says, "Doctor. Four things. One: I need to eat. Two: Can I at least stop by my house to pick up some of my own clothes? Three: If so, can I bring my dog?...(etc.)", he'll likely remember and address each point. For the record, he would let her bring Brillig onto the TARDIS. He would start calling him "our dog". And he can speak dog, so he really treats Brillig more like their shared son. If Sadie wants to seriously discuss something, Eleven will whistle and tell Brillig something like, "Off you go; your mother wants to chat with me alone." And Brillig would go because, again, the Doctor speaks dog. Brillig is a good outlet for his energy, which makes it easier for Sadie to actually talk with him without him bouncing off the walls.

Twelve would be interesting because, like I've said in previous posts, he'd have a bit of tsundere energy, and Sadie would take that largely at face value at first, so he'd be acting all surly and she's just like, "Well, if you don't like me, then we don't have to interact, right?" Eventually, this train of thought would lead to her surmising that Twelve is more invested in her than he initially shows (since he keeps actively seeking her out), but she'd still be pretty blindsided by how much so. When it gets to the point that he does kidnap her, she would be scared stiff; she misread his feelings for her so many times, she has no idea what to expect anymore, so she just goes silent. He would initially try to reassure her that she's safe in a prickly, dismissive way, but when that doesn't help, he softens up and speaks honestly with her about his feelings. It still takes a while for her to relax. Twelve becomes really sweet, in his treatment of her, to make up for having confused and frightened her.

Thirteen would be frank and communicative, like Nine. More forgetful, though; she often has to say things like "Have I already said that?" or "Have I told you that yet? I meant to..." But she's trying to be communicative, and Sadie learns to periodically ask, "Now, Doctor, is there anything you think you should tell me but aren't sure you have?" Like I've said before, Thirteen is more of a slow burn, boil the frog yandere than most of the others, so as far as Sadie is concerned, she's just a companion at first. Enjoying the universe, and all of the alien cultures she gets to see. There's time for Sadie to develop camaraderie and fondness for Thirteen, before Thirteen's possessiveness becomes obvious, so Sadie talks her through it as a friend more than as a matter of survival or anything else. Thirteen is her quirky alien friend who sometimes has a bit of a dark side; it's fine. When Thirteen suddenly suggests that they're dating, Sadie goes with the flow. But eventually, she's going to ask to go home, and Thirteen will keep finding reasons not to, and they'll have their first argument. It isn't their last; Sadie and her time lord BFF go back and forth about this all the time.

I never watched Torchwood, but I do know Captain Jack from Doctor Who, and it blows my mind that I hadn't thought about him as a yandere before now. Hot, flirtatious, can't die, apparently armed with a gun even when he's naked. Thinking of him flirting with Sadie is delightful. I think he'd be closer to a jovial stalker than a kidnapper.

Aah, thank you for this question!

#sadie lily gilder #rule one sadie #yandere nine #yandere ninth doctor #yandere ten #yandere tenth doctor #yandere eleven #yandere eleventh doctor #yandere twelve #yandere twelfth doctor #yandere thirteen #yandere thirteenth doctor #yandere captain jack harkness #male yandere #female yandere #possessive #obsession #yandere doctor who

[gunterfan1992]

Season One of “Adventure Time”: Short Episode Reviews

At the start of 2021, I had this idea to write up a book wherein I reviewed every episode of Adventure Time, condensing my thoughts down into a few paragraphs. It seemed easy enough at the time —I could knock a season out in a week, no prob, I thought — but it turns out it was quite the challenge. Part of this was the difficulty of boiling everything down into a few coherent paragraphs that didn’t just repeat the ideas that “This episode is wacky. This episode is bad.” (I was also dealing with untreated ADHD, so that probably didn’t help.) Even though it was a hurdle, I still got through seasons 1-4, and I thought I’d post my reviews here. Maybe one day I’ll do something with ‘em, but for now, enjoy!

Season 1, Episode 1. “Slumber Party Panic” (692-009)

Airdate: April 5, 2010

Production Information: Elizabeth Ito and Adam Muto (storyboard artists); Tim McKeon and Merriwether Williams (story writers); Larry Leichliter (director), Patrick McHale (creative director), Nick Jennings (art director)

Synopsis: Princess Bubblegum accidentally resurrects a violent mob of candy zombies, which leads to Finn doing the unthinkable: He breaks a royal promise to Bubblegum.

Commentary: It is always a delight to remind people that Adventure Time—a show that would go on to win a slew of prestigious awards and be lauded by critics as one of the smartest kids show that has ever been made—begins with Princess Bubblegum “add[ing] three more drops of explosive diarrhea” to a scientific mixture with which she hopes to bring the dead back to life. This elision of a macabre topic like the resurrection of the dead with a poop joke is in many ways emblematic of the sort of humor upon which Adventure Time was built, and while “Slumber Party Panic” might not be the season’s best episode, it does a solid job introducing the odd, madcap energy that would allow the show to flourish in its youth.

The plot to “Slumber Party Panic”—storyboarded by future series director Elizabeth Ito as well as eventual showrunner Adam Muto—was hammered out well before the show’s mythology was set in stone, and so some of the more hyperbolic plot points from this episode (e.g., the dramatic revelation that candy citizens explode when scared, or the fact that the Gumball Guardians are also the nigh-omnipotent Guardians of the Royal Promise, who can stop and reverse time itself) had to be ignored in later seasons. Nevertheless, the main characters’ personalities are all firmly established, allowing them to play off one another in a way that does not feel forced or misguided; Jeremy Shada and John DiMaggio, in particular, have excellent chemistry, breathing whimsical life into Finn and Jake right off the bat. All things considered, “Slumber Party Panic” is a fun entry and a solid preview of the silliness that was to come. (3.5 stars)

Season 1, Episode 2. “Trouble in Lumpy Space” (692-015)

Airdate: April 5, 2010

Production Information: Elizabeth Ito and Adam Muto (storyboard artists); Tim McKeon and Merriwether Williams (story writers); Larry Leichliter (director), Patrick McHale (creative director), Nick Jennings (art director)

Commentary: “Trouble in Lumpy Space” is a Ito-Muto production that introduces us to Lumpy Space Princess, the loquacious and dramatic drama queen who was destined to become one of the show’s breakout stars. A sentient blob of “irradiated stardust,” Lumpy Space Princess is an alien valley girl parody voiced by none other than series creator Pendleton Ward himself, and this episode does a commendable job illustrating the character’s immaturity and her ridiculously inflated sense of self-importance. This makes for good entertainment in and of it itself, but what really bumps this episode up a peg is the vocal delivery of the cast. Adventure Time always excelled when it came to its voice acting, but in this episode it is obvious that in this episode Jeremy Shada, John DiMaggio, and Pendleton Ward had extra fun playing around with their ridiculous “lumpy space” accents.

Aesthetically, this episode is quite the sensory experience. Lumpy Space itself is a hauntingly beautiful alien dimension of dark magenta skies and purple, pillowy clouds; it is a right shame that the show very rarely made use of this unique environment, considering how pleasant it is to look at. The episode’s soundtrack is also deserving of recognition, with much of the background music—especially the vapid pop tune that plays while Finn, Jake, and Lumpy Space Princess hitch a ride in Melissa’s car—recalling the elastic hyperpop that electro-wizzes from PC Music produce. The tunes add an extra dimension to the whole experience, helping to sell the idea that Lumpy Space is a silly but alien otherworld. (3 stars)

  Season 1, Episode 3. “Prisoners of Love” (692-005)

Airdate: April 12, 2010

Production Information: Adam Muto and Pendleton Ward (storyboard artists); Craig Lewis and Adam Muto (story writers); Larry Leichliter (director), Patrick McHale (creative director), Nick Jennings (art director)

Commentary: Ladies and gentlemen, meet the Ice King! Beginning the series as a cartoonishly incompetent antagonist, Ice King would grow into one of the show’s most well-developed characters. While “Prisoners of Love,” being the character’s debut episode, sees the Ice King still in his one-dimensional “wicked wizard” stage, there are hints even at this early juncture—like the character’s dramatic insistence to pluck out a yogurt chip from his trail mix, or his spasmodic attempts to play the drums—that the Ice King is more than just a textbook baddie. Is he evil? Judging by his actions, it often looks that way, but there is also a deep sadness to him that makes even his worst behavior somewhat pitiful.

But as pathetic as he may be, Ice King’s lecherous habit of kidnapping princesses is completely unacceptable (Princesses, Adventure Time would like to remind us, should never be married against their will), and by episode’s end, Ice King receives his just desserts—a feminist-fueled kick to the face, courtesy of Finn the Human. The moral of the story is clear: Poor old Ice King might just be lonely, but that does not excuse him for acting like a frost-bitten incel. (‰3.5 stars)

  Season 1, Episode 4. “Tree Trunks” (692-016)

Airdate: April 12, 2010

Production Information: Sean Jimenez and Bert Youn (storyboard artists); Tim McKeon and Merriwether Williams (story writers); Larry Leichliter (director), Patrick McHale (creative director), Nick Jennings (art director)

Commentary: “Tree Trunks” introduces the audience to the eponymous character, voiced by Polly Lou Livingston, an eccentric octogenarian with a pronounced southern drawl whom Pendleton Ward knew growing up in Texas. Despite Tree Trunks appearing as a sweet old pachyderm, much of her dialog is riddled with double entendres and subtle sex jokes that go over the heads of children, and as such, she is something of a divisive character in the Adventure Time fandom: While some viewers find her hilarious, others find her decidedly off-putting. In this episode, however, storyboard artists Sean Jimenez and Bert Youn strike a decent balance between the character’s funny and creepy sides (case in point: The scene wherein Tree Trunks, in the gawdiest of makeup, tries to seduce an evil monster with her “womanly charms and elephant prowess”). The major exception to this overall balance is the episode’s decidedly morbid conclusion, which features Tree Trunks exploding after tasting the crystal apple. This was perhaps the show’s first non sequitur ending, and almost certainly left an indelible imprint on the minds of viewers young and old alike. (3 stars)

  Season 1, Episode 5. “The Enchiridion!” (692-001)

Airdate: April 19, 2010

Production Information: Patrick McHale, Adam Muto, and Pendleton Ward (storyboard artists and story writers); Larry Leichliter (director), Patrick McHale (creative director), Nick Jennings (art director)

Commentary: According to the annals of cartoon history, the initial storyboard for “The Enchiridion” was whipped up by Ward and his crew members to prove to Cartoon Network that Adventure Time could be developed into a full-fledged series. This was almost certainly a stressful task, which necessitated that Ward et al. dissect the pilot, determine what elements worked, and then infuse those elements into a new storyboard. As a result of this “open art transplant,” there are quite a few analogs between the pilot and “The Enchiridion!”—e.g., the wacky dancing, the dream sequences, the ridiculous language—but this episode does a solid job of emulating the style of the pilot without wholesale duplicating it.

In terms of plot, “The Enchiridion!” is a fairly predictable adventure story, but it is one with enough clever variations that prevent the whole affair from dragging or being too boring; standout scenes include Finn and Jake having to deal with granny-zapping gnomes, and the D&D-inspired reverie in which Finn is tempted to slay an “unaligned” ant. The episode is further buoyed by several fun guest stars (including Mark Hamill, Fred Tatasciore, and even Black Flag’s Henry Rollins) that sprinkle a little additional energy on top of the whole thing. Given the exuberant fun of the episode and the way it easily introduces us to supporting characters like Princess Bubblegum, it is intriguing why the producers did not choose “The Enchiridion!” as the series premiere. That question aside, “The Enchiridion!” is one of the season’s stronger episode and an excellent place to start if you want a crash course in what made early Adventure Time so unique. (4 stars)

  Season 1, Episode 6. “The Jiggler” (692-011)

Airdate: April 19, 2010

Production Information: Luther McLaurin and Armen Mirzaian (storyboard artists); Tim McKeon and Merriwether Williams (story writers); Larry Leichliter (director), Patrick McHale (creative director), Nick Jennings (art director)

Commentary: “The Jiggler” opens on a fun, hyperactive note, with Finn singing “Baby,” a catchy song coated in layer upon layer of sweet, crisp autotune. But soon after Finn and Jake discover and “adopt” the titular creature, the affair quickly devolves into a cartoonish snuff film of two dullards accidentally torturing a wild animal; the whole thing is made worse by the high volume of bodily fluids excreted by the Jiggler. Thankfully, Finn and Jake are able to return the Jiggler to its mother before it keels over, but this victory is undermined given that the whole situation was Finn and Jake’s fault to begin with. Perhaps it is best to view all of this as a cautionary tale: No matter how cute a wild animal may look, you probably should not take it home and make it dance for you. (2 stars)

  Season 1, Episode 7. “Ricardio the Heart Guy” (692-007)

Airdate: April 26, 2010

Production Information: Sean Jimenez and Bert Youn (storyboard artists); Tim McKeon, Adam Muto, and Merriwether Williams (story writers); Larry Leichliter (director), Patrick McHale (creative director), Nick Jennings (art director)

Commentary: “Ricardio the Heart Guy” introduces the titular villain, the brainy-but-sleazy heart of the Ice King voiced to perfection by the sonorous George Takei. Given how arrogant the character acts even before his true intentions are revealed, it is not much of a shock that Ricardio is a rotten egg, and this lack of mystery drags the whole episode down to some degree. Nevertheless, Takei’s histronic performance injects into the episode a funny sort of melodrama, with is further reinforced by Casey James Basichis’s sparklingly dark score, which mixes in elements of opera alongside the usual chiptune blips and bloops to emphasize Ricardio’s pretentiousness. (3 stars‰)

  Season 1, Episode 8. “Business Time” (692-014)

Airdate: April 26, 2010

Production Information: Luther McLaurin and Armen Mirzaian (storyboard artists); Tim McKeon and Merriwether Williams (story writers); Larry Leichliter (director), Patrick McHale (creative director), Nick Jennings (art director)

Commentary: On the surface, “Business Time” is but a silly parody of corporate culture that sees Finn and Jake become the veritable CEOs of an adventuring firm. It is a silly little set up, and the show has good fun poking fun at business-speak and the deleterious effects of rampant corporatization. At the same time, by relegating Finn and Jake to the sidelines near the middle of the episode, “Business Time” does itself a disservice by focusing not on the wacky shenanigans of the business men, but rather on the mundanity of Finn and Jake’s “managerial life.” It all comes together in the end, when Finn and Jake are forced to jump into the fray and destroy the Business Men’s vacuum robot, but the noticeable lag there in the middle of everything throws the pacing of the episode off.

But while “Business Time” might not be the strongest first-season entry, it has gained respect in the fandom for being the first episode to underline that the Land of Ooo exists in the far future after some sort of nuclear holocaust. In an interview with USA Today, Ward explained that this was a natural development that he had never planned: “[When] we did [the] episode about businessmen rising up from an iceberg at the bottom of a lake … that made the world post-apocalyptic, and we just ran with it” (X). Considering how major the post-apocalyptic trappings would become to the show’s mythology, it is a bit startling to learn that it was added in on a whim. Regardless, it was an inspired choice that added a tinge of sadness to the story of Finn and Jake. They were not just frolicking in some fantasy world; they were frolicking in the ruins of our world, long after nuclear war had devasted the planet. Is it bleak? Absolutely! But this bleakness contrasts nicely with Adventure Time’s colorful surface, resulting in a deeply rich ambivalence. Not many shows—let alone children’s shows!—have managed to fuse such extremes into a workable whole. (3.5 stars)

  Season 1, Episode 9. “My Two Favorite People” (692-004)

Airdate: May 3, 2010

Production Information: Kent Osborne and Pendleton Ward (storyboard artists); Tim McKeon and Merriwether Williams (story writers); Larry Leichliter (director), Patrick McHale (creative director), Nick Jennings (art director)

Commentary: Almost all the first-season episodes that we have considered so far have placed a heavy emphasis on comedy. The point of these episodes is to make you laugh, and anything beyond that is gravy. “My Two Favorite People,” in contrast, may be the first that is grounded on a solidly emotional foundation, and while the episode is very funny, it is primarily interested in telling the poignant story of two brothers and a gal they both like. If anyone has ever found themselves caught up in a love triangle—whether real or, as in the case of this episode, imagined—Jake’s actions, although immature, will likely feel relatable. It is a cheesy cliché, but the story’s strength is that it all feels so real (which I recognize is a funny thing to say about a cartoon dog and his unicorn-rainbow beau).

“My Two Favorite People” is the first episode that really features Lady Rainicorn as a mover of the plot rather than just a fun side character, and it is a wonderful showcase for her. While a handful of later installments—namely season four’s “Lady & Peebles” and season eighth’s “Lady Raincorn of the Crystal Dimension”—would try to highlight Lady, “My Two Favorite People” is arguably the character’s funniest episodes, thanks in large part to her use of a universal translator, which allows the other characters to understand her. To some, a device such as this may seem like a cop-out, but storyboard artists Kent Osborne and Pendleton Ward cleverly preempt this criticism by making the device’s only useable setting one that gives Lady the voice of a great-great grandfather. Lady’s “old-man voice” is an episode highlight, and it makes many of the character’s lines (e.g., “Come on my darling! Wrap your legs around me!”) both hilarious and unsettling. (4 stars)

  Season 1, Episode 10. “Memories of Boom Boom Mountain” (692-010)

Airdate: May 3, 2010

Production Information: Sean Jimenez and Bert Youn (storyboard artists); Tim McKeon and Merriwether Williams (story writers); Larry Leichliter (director), Patrick McHale (creative director), Nick Jennings (art director)

Commentary: During the production of season one Ward exerted considerable effort trying to shepherd the show’s crew in a coherent direction, all the while responding to critiques levelled by dozens of Cartoon Network executives. Many of these critiques were contradictory, and in the process of creating something that he was proud of while also appeasing everyone around him, Ward very nearly went bananas. The experience provided the bedrock for “Memories of Boom Boom Mountain,” and to anyone who has been given the arduous task of pleasing a whole slew of prickly critics, the episode will be immediately relatable.

In terms of the show’s budding mythology, “Memories of Boom Boom Mountain” is notable because it firmly establishes that Finn was adopted as a baby by Jake’s canine parents, Joshua and Margaret. This plot point was likely guided less by worldbuilding and more by humor (perhaps playing on the whole “raised by wolves” idiom). Nevertheless, this decision would have major ramifications for the show’s overarching narrative. Finn’s nature as the only human in Ooo was no longer a silly afterthought—it was now a mystery. Just who is Finn the Human, and where did he come from? These questions would linger for seasons, finally culminating in season eight’s touching miniseries Islands. (4 stars)

  Season 1, Episode 11. “Wizard” (692-020)

Airdate: May 10, 2010

Production Information: Pete Browngardt, Adam Muto, and Bert Youn (storyboard artists); Tim McKeon and Merriwether Williams (story writers); Larry Leichliter (director), Patrick McHale (creative director), Nick Jennings (art director)

Commentary: “Wizard”—co-storyboarded by Pete Browngardt, an artist who storyboarded on Chowder and The Marvelous Misadventures of Flapjack before creating the divisive Uncle Grandpa for Cartoon Network—is an absolute bonkers installment that throws logic out the window by giving Finn and Jake magical powers. It is a plot setup almost guaranteed to be fun, and you can tell that the writers likely a good time coming up with increasingly asinine magical powers (e.g., “endless mayonnaise”).

But underneath all the distraught dust motes and captivating new hairstyles, “Wizard” also has a degree of depth, reading like a biting commentary on higher education-industrial complex in the United States. It does not seem coincidental that the strategies employ by Bufo’s scam wizard school are strikingly similar to those used by predatory colleges, which offer students a worthless degree alongside thousands of dollars of debt. The parallels are made stronger when it is revealed that all those whom Bufo has tricked are reluctant to upset the oppressive status quo, because they believe “newfangled thinking will get [everyone] killed”; this eerily mirrors those who downplay the student loan crisis, arguing that “that’s just the system works.” Finn will have none of this, however, and by episode’s end, he—channeling his myriad wizard powers and the vigor of “youth culture”—proves that if a system is broke, it has got to go. Maybe we could learn a thing or two from that. (4 stars‰)

  Season 1, Episode 12. “Evicted!” (692-003)

Airdate: May 17, 2010

Production Information: Sean Jimenez and Bert Youn (storyboard artists); Adam Muto (story writer); Larry Leichliter (director), Patrick McHale (creative director), Nick Jennings (art director)

Commentary: “Evicted!” is considered a classic by most Adventure Time fans for one simple reason: It introduces the audience to Marceline the Vampire Queen. This iconic undead rocker chick managed to steal the spotlight whenever she appeared in an episode, and eventually she became one of the show’s more well-regarded characters. Given all this, there is some irony to the fact that in her debut, Marceline is the antagonist who steals our heroic duo’s beloved Tree Fort. Marceline is therefore similar to other season one baddies in that she tests Finn and Jake’s patience before engaging them in direct combat. But Marceline is set apart from other foes in how Finn and Jake defeat her—namely, that they do not. In fact, she pounds them into the ground almost effortlessly! Besting Finn and Jake is no easy task, meaning that while “Evicted!” might showcase Marceline’s nastier side, it nevertheless does an excellent job emphasizing how much of a badass she is; this goes a long way in explaining the character’s huge popularity.

But Marceline alone cannot an episode make. Luckily, “Evicted!” is further bolstered by several excellent design choices, including a bevy of fun background critters whipped up by character designer Tom Herpich, a slew of colorful background designs courtesy of Ghostshrimp and Santino Lascano, and a killer soundtrack. Regarding the latter, the stand-out tune is inarguably “House Hunting Song,” a comically overblown ballad detailing Finn and Jake’s arduous quest to find a new place to live. The song, sung mostly by Ward with a few lines delivered by Olson, is an emotion-laden earworm guaranteed to wiggle its way into your brain. (I mean, how can you not love a song that blames the murderous tendencies of vampires on simply being “burnt out on dealing with mortals”?) It very much is the blood-red cherry on top of everything, which helps to make “Evicted!” one of the season’s strongest episodes. (5 stars)

  Season 1, Episode 13. “City of Thieves” (692-012)

Airdate: May 24, 2010

Production Information: Sean Jimenez and Bert Youn (storyboard artists); Tim McKeon and Merriwether Williams (story writers); Larry Leichliter (director), Patrick McHale (creative director), Nick Jennings (art director)

Commentary: “City of Thieves” is a workable if somewhat forgettable mid-season entry. The episode’s main strength is its titular setting, a bizarro municipality where theft is the law of the land. Unfortunately, the city is nothing more than a silly plot device, and the episode itself never really rises above “fine.” (2.5 stars‰)

  Season 1, Episode 14. “The Witch’s Garden” (692-022)

Airdate: June 7, 2010

Production Information: Adam Muto, Kent Osborne, and Niki Yang (storyboard artists); Tim McKeon and Merriwether Williams (story writers); Larry Leichliter (director), Patrick McHale (creative director), Nick Jennings (art director)

Commentary: If you think the idea of Jake sassing Ooo’s cattiest witch is funny in and of itself, wait until you see this episode’s visuals. From Jake’s grotesque but silly “manbaby body” to the abject horror of Gary the Mermaid Queen, “The Witch’s Garden” is replete with several memorable character designs that make it a satisfying entry. (3 stars)

  Season 1, Episode 15. “What Is Life?” (692-017)

Airdate: June 14, 2010

Production Information: Luther McLaurin and Armen Mirzaian (storyboard artists); Tim McKeon and Merriwether Williams (story writers); Larry Leichliter (director), Patrick McHale (creative director), Nick Jennings (art director)

Commentary: Giving Finn and Ice King a son is not a move that I thought Adventure Time would ever make, let alone in the first season, but here we are. The bouncing baby boy in question is actually a clunky robot named NEPTR, voiced to sadsack perfection by comedian and musician Andy Milonakis. If you had told me prior to this episode that Milonakis could give a sentient microwave a sense of pathos, I would have never believed you, but in “What Is Life?” he does a commendable job conveying NEPTR’s pitiful nature. As for the episode itself, “What Is Life?” is a solid entry that introduces viewers to several recurring characters (one of whom being Gunter the penguin) while offering us a peek into the Ice King’s sad, lonely mind. (3 stars)

  Season 1, Episode 16. “Ocean of Fear” (692-025)

Airdate: June 21, 2010

Production Information: J. G. Quintel and Cole Sanchez (storyboard artists); Tim McKeon and Merriwether Williams (story writers); Larry Leichliter (director), Patrick McHale (creative director), Nick Jennings (art director)

Commentary: “Oceans of Fear”—storyboarded by Cole Sanchez and J. G. Quintel, the latter of whom would go on to create Regular Show for Cartoon Network—is in an interesting installment that establishes Finn’s fear of the ocean, reminding the viewer that even great heroes will be forced to deal with irrational phobias at some point in their life. The character designs in this episode are quite amusing (with the standout being Finn’s grotesque “fear of the Ocean” face), and Mark Hamill, as always, does a wonderful job, using his trademark “Joker voice” to give the Fear Feaster a delightful air of villainy. But as with “Business Time,” many of these elements are upstaged by the episodes’ post-apocalyptic trappings. In fact, when I watched the episode for the first time, I paused it in several places, asking to myself, “Is that a wrecked battleship? Is that a bombed-out tank? Why are there ruins of a city underwater?” It is an understatement to say that this episode is positively littered with rusted debris and centuries-old detritus that testifies to Ooo’s traumatic history. For eagle-eyed fans hoping to piece together Adventure Time’s mysterious mythology, this episode is an absolute hoot. (‰3.5 stars)

  Season 1, Episode 17. “When Wedding Bells Thaw” (692-013)

Airdate: June 28, 2010

Production Information: Kent Osborne and Niki Yang (storyboard artists); Tim McKeon and Merriwether Williams (story writers); Larry Leichliter (director), Patrick McHale (creative director), Nick Jennings (art director)

Commentary: One of the first episodes to team Ice King up with Finn and Jake, “When Wedding Bells Thaw” is a goofy lampooning of bachelor parties and the institution of marriage in general. Although the episode ends on a fairly predictive note (spoiler alert: Ice King tricked his fiancée into marriage), seeing Ice King get along with our heroes is charming, and in many ways it presages the Ice King’s future character growth. The episode’s strongest part is the short dialogue-free montage near the middle depicting Finn, Jake, and Ice King getting into all sorts of “manlorette party” shenanigans; this sequence is made all the stronger by Tim Kiefer’s chiptune score, which enlivens the party with a burst of synthesizers and electro-drums. (3 stars)

  Season 1, Episode 18. “Dungeon” (692-013)

Airdate: June 28, 2010

Production Information: Elizabeth Ito and Adam Muto (storyboard artists); Tim McKeon and Merriwether Williams (story writers); Larry Leichliter (director), Patrick McHale (creative director), Nick Jennings (art director)

Commentary: If there is one episode that feels like the entirety of Adventure Time’s first season distilled down into 11 minutes, then it would be “Dungeon.” An episode replete with outrageous monsters and wacky action, “Dungeon” is a high-energy installment that pays homage to the sprawling world of table-top gaming; indeed, it is not hard to imagine storyboard artists Elizabeth Ito and Adam Muto reaching for a D20 or a well-worn copy of the Monster Manual whenever it came time to block out a new scene. Stand-out moments from this episode include Finn’s encounter with the Demon Cat (famous for having “approximate knowledge of many things”), his visitation by a “guardian angel,” and the deus ex machina ending that see Princess Bubblegum swoop in to save the day. (“Get on my swan!”) And amidst all the silliness, “Dungeon” even manages to sneak in a sweet little message tucked snuggly in between all the wacky monsters about the importance of recognizing your weaknesses. (‰4.5 stars)

  Season 1, Episode 19. “The Duke” (692-023)

Airdate: July 12, 2010

Production Information: Elizabeth Ito and Adam Muto (storyboard artists); Tim McKeon and Merriwether Williams (story writers); Larry Leichliter (director), Patrick McHale (creative director), Nick Jennings (art director)

Commentary: For most of season one, the audience is presented a version of Princess Bubblegum that is bright, effervescent, and totally nonthreatening; the monarch, it seems, is as aggressive as a marshmallow. But in “The Duke,” this all changes, and we finally get to see the princess’s darker, authoritarian side. Unhinged Princess Bubblegum is quite a sight to behold (as is the sight of green-and-bald Bubblegum), but it adds another layer of to the saccharine sovereign, setting her up for substantial character development a few seasons down the road. (3 stars)

  Season 1, Episode 20. “Freak City” (692-008)

Airdate: July 26, 2010

Production Information: Tom Herpich and Pendleton Ward (storyboard artists); Tim McKeon and Merriwether Williams (story writers); Larry Leichliter (director), Patrick McHale (creative director), Nick Jennings (art director)

Commentary: “Freak City” introduces the audience to Magic Man, a deranged and flamboyant Martian wizard known for meaninglessly harassing the citizens of Ooo. Although the character’s backstory would be fleshed out in later seasons and eventually come to play a major part in the mythology of the series, this episode was storyboarded well before these developments were dreamed up, meaning that here, Magic Man functions as a simple (albeit funny) villain-of-the-week whose nihilistic tendencies clash wonderfully with Finn’s optimistic worldview. Finn is so used to dividing the world up into “good guys” and “evil guys,” but his run-in with Magic Man is proof that morality is far more confusing than he would like to believe. The main problem is that Magic Man is not really evil: He is clinically insane—a violent psychopath—who does not care about his actions impacting others. No climactic fight or eleventh-hour pep talk is enough to fix him.

On top of this rather weighty consideration of morality and mental instability, “Freak City” contains another, more straightforward message about the power of teamwork and how people should work as one to overcome common problems. Storyboard artists Pendleton Ward and Tom Herpich have quite a bit of fun taking the idiom literally by forcing Finn and the other denizens of Freak City pile on top of one another to function as a single, grotesque being that is capable of fighting Magic Man. While “Freak City” loses some points for espousing rhetoric that folks who are depressed can simply will themselves out of their funk, it makes up for these deficits elsewhere with its character designs—ranging from the inside-out bird to the two-headed monster that Finn groin-strikes—which are all bizarre in the best, most creative way possible. (3.5 stars‰)

  Season 1, Episode 21. “Donny” (692-018)

Airdate: August 9, 2010

Production Information: Adam Muto, Kent Osborne, and Niki Yang (storyboard artists); Tim McKeon and Merriwether Williams (story writers); Larry Leichliter (director), Patrick McHale (creative director), Nick Jennings (art director)

Commentary: A rather forgettable protagonist and only a smattering of memorable lines make “Donny” the season’s weakest link. The episode does get points for introducing us to “whywolves” (“Creatures possessed by the spirit of inquiry—and bloodlust!”), but they are not enough to completely save it from mediocrity. (2 stars)

  Season 1, Episode 22. “Henchman” (692-021)

Airdate: August 23, 2010

Production Information: Luther McLaurin and Cole Sanchez (storyboard artists); Tim McKeon and Merriwether Williams (story writers); Larry Leichliter (director), Patrick McHale (creative director), Nick Jennings (art director)

Commentary: While “Evicted!” depicted Marceline as an apathetic asshole, “Henchman” starts to soften the vampire queen by showing that her evil exterior is an elaborate facade, and that deep down she is really just a prank-loving trickster—or, as Finn puts it, “a radical dame who likes to play games.” This might seem nothing more than a subtle tweak, but it does wonders for Marceline’s characterization; by episode’s end, as Finn and his vampiric “master” chat quite cheerfully in a field of strawberries, it is clear that the writers are setting up Marceline to become a legitimate pal to Finn and Jake, rather than just an avatar of chaos who drops in every once in awhile to shake things up. This was a wise decision, as it provided Marceline with the chance to grow into a hero in her own right with whom the audience can happily cheer along.

Since “Henchman” is predicated on Marceline pranking Finn, storyboard artists Luther McLaurin and Cole Sanchez have a great deal of fun mocking up outrageous scenarios that seem evil at first glance, but are revealed to be quite benign. Perhaps the funniest of these situations is Marceline raising an army of undead skeletons only to throw them a concert, and the vampire queen’s demand that Finn kill a little dimple-plant, which looks like a cutie before it turns into an Audrey II-esque abomination from John Carpenter’s darkest nightmares. (4 stars)

  Season 1, Episode 23. “Rainy Day Daydream” (692-002)

Airdate: September 6, 2010

Production Information: Pendleton Ward (storyboard artist); Tim McKeon and Merriwether Williams (story writers); Larry Leichliter (director), Patrick McHale (creative director), Nick Jennings (art director)

Commentary: “Rainy Day Daydream” is a beautiful representation of creativity in its purest form. Channeling his love of multilevel video games and Dungeons and Dragons, solo storyboard artist and series creator Pendleton Ward uses the pretext of Jake’s imagination affecting reality as an opportunity to bounce from one ridiculous plot point to another to great effect. The whole thing feels like an exercise in jovial spontaneity, and while “writing the story as you go” can sometime result in disjointed or sloppy final products, here Ward makes it work, using the approach to illustrate the almost limitless potential of imagination. Another strength of the episode is the way it throws dozens of ridiculous obstacles at Finn and Jake without the aid of equally ridiculous visuals; in fact, almost every hindrance in the episode is invisible to both Finn and the audience, and we only learn what is going on thanks to Jake’s narration. The fact that this approach works and is not boring is a testament to Ward’s skills as a storyteller and dialogue writer. (‰4.5 stars)

  Season 1, Episode 24. “What Have You Done?” (692-027)

Airdate: September 13, 2010

Production Information: Elizabeth Ito and Adam Muto (storyboard artists); Tim McKeon and Merriwether Williams (story writers); Larry Leichliter (director), Patrick McHale (creative director), Nick Jennings (art director)

Commentary: In addition to providing us with another glimpse of Bubblegum’s dark side, “What Have You Done?” also serves as an interesting meditation on morality and preemptive punishment. As earlier episodes have confirmed, the Ice King is a creepy little deviant, but is it right for Finn and Jake to imprison him without a cause? This is a real legal question, and the show handles it in a surprisingly sophisticated way, concluding more or less that the writ of habeas corpus must be preserved. Of course, this is all undermined to some degree when we learn that the Ice King actually is to blame, but thanks to some quick thinking on the part of Finn, our heroes are able to save the day without having to turn to the carceral powers of the state. (And people say Adventure Time is not sophisticated...) (3 stars)

  Season 1, Episode 25. “His Hero” (692-026)

Airdate: September 20, 2010

Production Information: Adam Muto, Kent Osborne, and Niki Yang (storyboard artists); Tim McKeon and Merriwether Williams (story writers); Larry Leichliter (director), Patrick McHale (creative director), Nick Jennings (art director)

Commentary: Who is the greatest hero ever? If you answered, “Finn!” it is obvious that you have yet to see “His Hero,” for the correct answer is Billy, of course! Lou Ferrigno guest stars in this episode as the aforementioned defender of Ooo, enlivening the character with his distinctive voice. As for the episode itself, storyboard artists Kent Osborne and Niki Yang—with an assist from the ever-dependable Adam Muto—produce some of their best work this season, filling each scene with witty dialogue and zany shenanigans. Arguably, the episode’s pièce de resistance is the short montage of Billy’s past achievements, which plays alongside a song, sung by Muto, extolling the hero’s greatness; energetic and wacky, the song in many ways typifies the “chaotic heroism” that defined the show’s first season.

Like many other first-season episodes, “His Hero” ends with a counterintuitive “anti-moral,” stressing that while a commitment to non-violence might seem subversive on the surface, it is actually an ineffective way to make the world a better place; instead, the episode argues that direct physical action—i.e., beating the snot out of monsters and bad guys—is necessary if heroes want to save people from oppression. This may all come across as contrarian silliness, but I would argue that it is profoundly radical, rejecting “common sense” ideals about peace that really only help those in positions of power. (Side note, if the kids who grew up watching Adventure Time turn into a bunch of revolutionaries, I think we will know the cause.) (4 stars)

  Season 1, Episode 26. “Gut Grinder” (692-024)

Airdate: September 27, 2010

Production Information: Ako Castuera and Bert Youn (storyboard artists); Tim McKeon and Merriwether Williams (story writers); Larry Leichliter (director), Patrick McHale (creative director), Nick Jennings (art director)

Commentary: Much like “Ricardio the Heart Guy,” this episode suffers due to a lack of a solid mystery; from the start, it seems obvious that Jake is not the one responsible for the robberies. Furthermore, the reveal that Sharon is the one behind the robberies comes with almost no dramatical weight, since we have no idea who she is. The whole thing is forgettable, which is a shame given that this is the season finale. (2 stars)

(Huge shout out to @sometipsygnostalgic​ for reading over these a few months ago and offering feedback. Also, I want to thank @j4gm​ for posting his “Slumber Party Panic” review, which made me remember these write-ups!)

#adventure time #atimers #season 1 #season one #reviews #finn #jake #finn the human #jake the dog #marceline #pb #bubblegum #princess bubblegum #marceline the vampire queen #ice king #pen ward #pendleton ward

[the-blue-fairie]

When I think about my reservations with Elsa’s arc in Frozen 2, the first thought that comes into my head is, Why?

People defend Elsa’s arc in Frozen 2 by saying it connects to her feelings of liberation and freedom during Let it Go, but then why does the film itself have Elsa cringe at Let it Go?

Why does the film, instead of building on what would seem to be a coherent emotional through-line between the two films, undermine that through-line?

Well, for a cheap joke for the audience-members who got sick of Let it Go - because the moment isn’t for Elsa. It’s for the audience-members... but not for the audience members who... felt something... because of Let it Go.

And you can say, “Well, it’s just a joke,” but why a joke that imparts a sense of shame, a joke that isn’t really character driven but just an attempt by Disney to seem “hip” while still reinforcing the brand?

You can try to defend it all you want in-universe by saying, “Well, it’s okay to be ashamed of certain aspects of yourself and still retain things from your embarrassing past that were formative,” but that just makes me ask again - why does she have to be ashamed of that moment? Why does she have to be ashamed of her shamelessness? (And my heart answers, Because it’s not about Elsa’s character. It’s an in-joke for the audience, even if it undermines Elsa’s character.)

Why undermine that emotional through-line? Now, when people try to bring up Let it Go as an emotional through-line to Show Yourself, I can point out, “Yes, but if that’s the film’s point, then the film goes out of its way to undermine its own point.”

Why not further explore Elsa’s interactions with the Northuldra? Why not give more scenes of Elsa bonding with Yelana, bonding with Honeymaren, bonding with other Northuldra characters? Why not give the Northuldra more screentime? Even if you feel the film gave the Northuldra a decent amount of screentime, why not give them further development when doing that would only be helpful to Elsa’s arc?

Why spend more time on Elsa bonding with the spirits than with the Northuldra? I know you can say, “Well, the spirits are magical and magic is deeply personal to Elsa and she wants to explore this side of herself,” but unfortunately, that focus makes Elsa’s arc less relatable because the spirits don’t really have dialogue. It’s harder to connect with Elsa bonding with the nokk that just tried to drown her. 

But do you know what it’s easier to connect with? Elsa, the character who was forced to live in isolation for years, getting a chance to connect with more people. That’s why Elsamaren was such an explosive ship - because people connect more to people bonding with people - even when they only share a few lines. Because audiences WANT to build upon Honeymaren’s character because the film didn’t do that for them. 

Do you know what it’s easier to connect with? More scenes of Elsa interacting with and learning from her mother’s people after learning her mother’s heritage.

Why not taken advantage of the most deeply human aspects of Elsa’s story? Just because the nokk... looks cooler and you can sell more plushies if you focus more on the abstract magical elements than the human elements?

Also, this is unrelated to Elsa’s arc, but I wished F2 explored Anna’s connection to the Northuldra more. F2 really stresses Anna’s connection to Arendelle, and the deleted song Home stresses that connection to Arendelle even more - and I know it’s to set up Anna as Arendelle’s future queen, but has the unfortunate side effect of feeling like the film is putting the sisters into boxes. Elsa is the magical one so she connects more with the magical Forest. Anna connects more to Arendelle. “Mythic character” vs “fairytale character” as Jen Lee put it. Neat little character boxes. But Anna is as much Northuldra as Elsa and I just wish all the attempted foreshadowing and building of Anna’s connection to Arendelle didn’t take focus away from Anna’s connection to the Northuldra.

(Also, to anybody out there who might use what I just said as an excuse to be overly negative towards Elsa to prop up Anna... don’t do that. Please.)

And I know F2 is an ambitious film already cluttered with many ideas, but some of these topics would actually convey those ideas more clearly and cohesively than the finished film.

#frozen #frozen 2 #elsa

[coffeeandcalligraphy]

Hello! I just found your yt channel (it's amazing) and watched your video on writing diversely. What an awesome video, I learnt and took away a lot from you and your thoughts, especially as a white writer. I am still however a little conflicted on one thing. Not just writing the characters as another race or gender or identity of any kind from the writer, but the actual main character. Would it automatically be offensive and destined for failure for a white author to write a black main protag?

Hi there! I’m happy you found the video helpful, thank you for watching! This is a link to the video if anyone reading this has not watched it.

To be honest, I think I explained this as concisely and accurately as I could in the video as it’s truly the thesis of the video itself. I don’t want to fully reiterate what I said in the video because I feel like I won’t be as accurate/coherent, so I urge you to rewatch the video and take care to look at the timestamps as that may clarify your particular question, first and foremost! Taking a look at some of the comments too might also be helpful.

Stay in your lane as a detrimental, albeit well-intentioned, mantra

As I say in the video, it’s not as easy as saying “white people can’t write XYZ main character” or “we can write whatever we want”, nor is it as easy as and saying “stay in your line” , which may inadvertently enforce the majority as publishing is majorly white (stats are in the video). I believe I did address main characters too in that video, but whatever I said about characters in general 100% applies to POV/main characters as I was rebutting the well-intentioned, but perhaps detrimental idea that it’s only appropriate for a marginalized POV character to be written by someone marginalized in the same way (IMO, long-term, this will cause an influx of white POV stories which is the opposite of the intention [people say “stay in your lane” will allow marginalized folks to represent themselves rather than have white people represent us] as the publishing industry a) is mostly white and b) only seems to care to actively publish white people. “Stay in your lane” may also inadvertently define the role a marginalized person should play in the writing industry [responsible for writing stories about their marginalization]).

Writing POC main characters = automatically offensive/destined to fail?

If you’re viewing or questioning if writing a POC MC is “automatically offensive” or “destined for failure” I really urge you to rewatch the video because this is covered quite extensively but particularly take a look at the “trade fear for empathy” section as this question in itself is laden in a black and white binary of right versus wrong. If you’re asking this question, it might be that you are lacking the empathy to understand what I’m saying in the video (which is okay! there are many others who I’ve further discussed with in the comments). Writing POC isn’t something that’s destined to fail just because you’re a white author IF you do your research, be respectful, write empathetically and craft well-rounded, complex people. If you’re thinking you might automatically fail in this department because you are a white person, I did mention in the video that you may not be ready to write diverse characters in the respectful, robust ways necessary because you may be viewing POC as a “pass or fail” system which is obviously not what we are. If you want to write a diverse POV character and you do your research, write empathetically, speak to those people from that community (with their consent) and be willing to adjust your representation with that feedback without getting defensive, I don’t see how this would be automatically offensive or destined for failure, just like anything else that requires research.

Disproportionate amounts of white versus POC writers being published

In terms of publication failure, white people are actually the ones being majorly represented to write marginalized stories (when they don’t share that marginalization), so you probably wouldn’t have a problem getting a POC-lead story published (not saying I think this is right) because publishers treat diversity as a quota/marketing tactic and IMO, don’t seem to actually care about representation on a structural level, but rather on a topical, superficial level (which is why my main point in that video is that publishers, not individual writers, need to be held accountable).

White writers accidentally “dehumanize” POC in a misguided attempt at being empathetic

I think some white people, (and I don’t exactly want to use this word because it is quite severe but illustrates what I mean) may accidentally “dehumanize” people of colour in worrying that whatever move they’re going to make is automatically going to offend us, when in reality, if you take the time, and put in the effort to research and get to know people of colour (from my comments, these worries often stem from white people who don’t know many people of colour IRL), you will see that yes, we are different from you and difference is good, but no, this difference does not make us an untouchable, unknowable species. I don’t mean to make this seem like an “I don’t see colour” or “the only race is the human race” argument, which would be harmful, but rather a reminder that people of colour are also human beings and as you would write a white character with empathy, integrity, and vigour, you should also do the same when writing characters of colour (I address this in more detail in the video).

Doing personal research in times of confusion

I understand that as a white person, thinking about and understanding these issues may not be particularly easy, and even after a nearly hour long video of me expressing these thoughts, I genuinely do understand why someone who is not affected by these issues daily may still struggle with grasping these concepts. That’s because anti-racism is not something you can accomplish by watching one video, or reading a few articles--it’s a lifelong commitment, and so that’s when you would take your privilege as a white person to do more digging before you ask questions to those who have to expel emotional labour to answer them for you (not saying I have any problem answering your question at all, but putting this out there because there are many well meaning white people who I’ve encountered in my comments that do ask me or other BIPOC questions before turning to other resources that wouldn’t require free labour). Take some time to ruminate with this info, and then do some digging of your own. If you haven’t checked out these, these are my favourite anti-racism resources, all of which are free to access (noted otherwise):

Jane Coaston - The Intersectionality wars

A pretty comprehensive place to start with Kimberle Crenshaw’s theory of Intersectionality

Peggy McIntosh - White Privilege: Unpacking the Invisible Knapsack

Wonderful place to start in understanding white privilege for those who don’t understand the differences/nuances between race VS class VS gender privilege etc

Article that explores white privilege beyond McIntosh’s ideas

It’s really important that white people also learn the systemic ways in which they benefit from white privilege and not just the “bandaids are made in my skintone” examples (though those examples are often used first because they’re the easiest to understand for a white person who is affected by other intersections, i.e. class, sexuality, gender, who does not feel they are privileged in other ways i.e. race).

Documentary on white privilege (Jane Elliott’s Brown Eyes VS Blue Eyes experiment)

Angela Davis - How Does Change Happen?

bell hooks - Ending Domination: The Struggle Continues

Abena Busia - In Search of Chains Without Iron: On Sisterhood, History, and the Politics of Location

I was able to access this reading through my university but IMO it is a must-read, especially for non-POC who may not fully understand the privilege of whiteness.

Claire Heuchan - Your Silence Will Not Protect You: Racism in the Feminist Movement 

**Absolute must-read: “The theory did not emerge in order to aid white women in their search for cookies – it was developed predominantly by Black feminists with a view to giving women of colour voice (Heuchan).”

Tamela J. Gordon - Why I’m giving up on intersectional feminism 

Powerful perspective on Intersectionality and how it’s been used in white feminism

Jennifer L. Pozner - How to Talk About Racism, Sexism and Bigotry With Your Friends and Family

Really good place to start if you have loved ones in need of education.

Maria Lugones - Playfulness, “World”-Travelling, and Loving Perception

This is the absolute crux of my points in writing empathetically.

"The paper describes the experience of 'outsiders' to the mainstream of, for example, White/Anglo organization of life in the U.S. and stresses a particular feature of the outsider's existence: the outsider has necessarily acquired flexibility in shifting from the mainstream construction of life where she is constructed as an outsider to other constructions of life where she is more or less 'at home.' This flexibility is necessary for the outsider but it can also be willfully exercised by the outsider or by those who are at ease in the mainstream. I recommend this willful exercise which I call "world"-travelling and I also recommend that the willful exercise be animated by an attitude that I describe as playful" (Lugones 3). 

^^^ For writers struggling with the prospect of diversity and trying to find a place to start in what I call in my video "letting go of fear and voraciously welcoming empathy" I highly recommend this article as it is a powerful account of travelling across each other's "worlds". Read it for free with a free JStor account or through your institution, like your public library.

How to BLACK: An Analysis of Black Cartoon Characters

A FANTASTIC video that is an absolute must-watch (covers writing empathetically, writing with care)

If you have not already, read through the sources I used to formulate and argue my thesis in my video (much more detailed than I could do in an hour!):

Corinne Duyvis (ownvoices creator) on # ownvoices

CCBC - "Publishing Statistics on Children's/YA Books about People of Color and First/Native Nations and by People of Color and First/Native Nations Authors and Illustrators"

Hannah Heath - "5 Problems Within the Own Voices Campaign (And How to Fix Them)"

Saadia Faruqi - "The Struggle Between Diversity and Own Voices"

Kat Rosenfield (Refinery29) - "What is # ownvoices doing to our books?"

Lee and Low - "Diversity Baseline Survey 2019 Results"

Vulture - "Who Gave You the Right To Tell That Story"

School Library Journal - "An Updated Look at Diversity in Children's Books"

TL;DR: if you’re more overcome with the fear of offending people (often grounded in white fragility) instead of making the active, albeit sometimes uncomfortable, decision to do the hard work necessary to empathetically represent someone outside of your marginalization in fiction, I don’t think you’re ready to write POC in the nuanced, complex, empathetic ways necessary for good representation, and I would encourage you do more independent anti-racist work. (Note that “you” is not individualistically aimed at the asker!!)

Questions like this don’t necessarily have a clear-cut answer, and that is essentially the point of my video (I know, not super helpful, but I hope that makes sense!).

Hope this helps!

--Rachel

#asks #writing

[fuckingrealityshifting]

1// hi there, before you get too far, I want to say that I am trying to say this with all the kindness in my heart, and that I do, truly care for yall, and this is why im typing this now. I stumbled across your blog via your 'shifting terms' post, and I explored the idea of shifting and the shiftblr community a bit. I read all of your sources (although I don’t really believe most of them are credible enough) ((it could just be the uni student in me tho)) and I can't help but worry for you and

2// the shifting community. As I understand, most of you are still quite young, and while I haven’t tried to shift (I have a deep paranoia of developing a psychotic disorder), I fear that this practice could affect the young minds in this community in an unprecedented way. I am /not/ saying that any of you are delusional, im not saying its fake, im not saying i dont believe you. But many of you have mentioned how shifting is a) not dangerous and b) similar to astral projecting.

3// This is where I begin to worry, in my understanding, astral projecting is VERY dangerous, so if what you are doing is similar i dont believe it is a good idea. Especially for young people. Adolescent brains are very prone to mental illness, and I fear by placing yourselves in this situation you could eventually damage your mind. I dont mean to preach or anything, i just know a lot of you are young and i think you should be aware of the dangers of what you are doing,

4// because it could affect you in the long run. But stay safe, watch over each other and i wish yall the best. (ps. im sorry this was long)

/////end of ask

Okay so I just wanted to first say it would be okay if you didn’t believe or thought I was mentally ill and stated such! An ask like this is useful because it can start an actual conversation; I have concerns besides just disbelief to go off. Astral projection, being young, etc. I thank you for that and for leaving asks.

I don’t want people to think it’s not okay to be open about not believing. I know with the whole rating stuff rather than responding to comments it might seem like that, but I’m just going to brush off what doesn’t have a purpose other than bringing people down because there’s no point in repeating myself.

If it’s clearly meant to be sarcastic or has a punchline or comment for the sake of being rude or feeling like you’re superior (“get a hobby”) then I’m just not gonna humor you. I’m not intending to shut down all concerns at all.

About the sources—yeah, I do agree, a lot of the sources aren’t very credible, I totally acknowledge that. I also acknowledge even if they were all done by very credible sources the findings wouldn’t be absolutely decisive.

That’s kind of the fault of a lack of experimentation in scientific/professional spaces regarding anything spiritual and just the nature of spirituality itself. At the end of the day it’s mainly the suggestion of the findings that are important to spiritual people looking for evidence. I’m not sure if I worded that all coherently lol

I’m gonna answer these two points in reverse

Shifting is b.) similar to astral projection

So when I say similar to astral projection, I mean mainly in the fact you are perceiving stuff outside of your body and projecting. It’s a similar concept, and a bit of a similar practice, but not entirely.

With shifting, you are projecting your consciousness, and with astral projection, you are projecting your astral self/soul.

(I haven’t researched as much into the specifics of astral projection as I have for shifting so feel free to correct me! My understanding of astral projection is that your soul/astral self projects from your body to wander the astral realm.)

I’m gonna copy and paste some stuff I said in a dm message to someone who had a similar concern.

When a person shifts, their soul remains in their body. Your consciousness/awareness of reality is what is in another universe. When a person asteral projects, their soul leaves their body and can travel different realms of the universe.

When a person astral projects, they can come across spirits, deities, and harmful entities. They can take damage to the soul. They can change their astral form. Astral projection is dangerous. It is highly recommended not to astral project without protection.

When a person shifts, they are in a normal reality and do not need protection. Protection doesn’t hurt, as it doesn’t hurt to have protection in this reality, but its not necessary. (Precautions should always be taken.)

If they die in their desired reality, their soul is fine so they just come back. There is no danger of death. Your consciousness or alternate self (“clone”) can also go about your day while you are shifted which I have never heard about for astral projection.

The differences between your spirit projecting outside of your body and your consciousness projecting into another reality is why shifting is generally regarded as safer and as needing less precaution.

shifting is a. not dangerous

Well, not inherently. But like most anything it can be used dangerously. Some of the precautions that should be taken are:

•educating yourself properly before shifting

•grounding yourself (an ungrounded shifter can have issues)

•making sure you are not depending on shifting for anything or using it as unhealthy escapism

•understanding spirituality concepts even if you’re not practicing

I have a Staying Safe While Shifting post that has been in my drafts forever because I want to finish my mental health series to link it in the post, but I’ve been procrastinating finishing the mental health series because of the ADHD and shifting topic, which I believe I have.

We do have a majority of young people on the community—middle to older teens, I think. Most adults interested in this sort of thing participate under Quantum Jumping, a term that’s been around longer, which seems more online forum based.

Overall, yes. Shifting when exposed to the wrong people can absolutely harm mental health. I think we’re seeing it on TikTok. I just don’t have the power to make sure only people who can mentally take it see it. I just have to do my best to educate people on how reality shifting works so delusions or misunderstandings are hopefully easier to spot.

I absolutely thank you for the thoughtful message and if I brought up more concerns let me know.

#shifting #shiftblr #reality shifting #spirituality #desired reality #dr #shiftblrs #cr #shifting community #shiftblr discussion #shifting disbelief #not really but just in case #unreality #long post