Meal replacement shakes have gained significant popularity in recent years as a convenient and effective tool for weight loss. With their balanced nutrient profile and quick preparation, they offer a practical solution for busy individuals aiming to shed pounds. In this article, we will explore the top 5 meal replacement shakes available in the United States that have proven to be effective for weight loss.
PhenQ meal shake is a suitable substitute for a complete meal. It enhances energy levels by providing ample vitamins and minerals
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1. Shakeology

Shakeology is a premium meal replacement shake that has earned a reputation for its comprehensive blend of essential nutrients. With a diverse range of flavors, Shakeology offers a satisfying taste while delivering a powerful combination of proteins, fibers, vitamins, and minerals. This shake also contains superfoods like chia seeds, quinoa, and goji berries, which further enhance its nutritional value.

1. IdealShape

IdealShape is another popular choice among weight loss enthusiasts. It boasts a low-calorie formula that supports weight management goals without compromising on taste. Packed with proteins and fibers, IdealShape keeps you feeling fuller for longer, helping to curb cravings. With a variety of flavors and easy-to-mix formulas, IdealShape is an excellent option for those seeking convenience and flavor diversity.

1. Garden of Life Raw Organic Meal

For individuals prioritizing organic and plant-based options, Garden of Life Raw Organic Meal is an excellent choice. Made with organic ingredients, this meal replacement shake offers a high protein content derived from a blend of sprouted grains, legumes, and seeds. Additionally, it is rich in enzymes, probiotics, and vitamins, ensuring optimal digestion and nutrient absorption.

1. Isagenix IsaLean Shake

Isagenix IsaLean Shake is a complete meal replacement option designed to support healthy weight loss. It provides a balanced profile of macronutrients, including proteins, carbohydrates, and healthy fats. The shake also contains a blend of vitamins, minerals, and digestive enzymes to promote overall well-being. With its smooth texture and indulgent flavors, Isagenix IsaLean Shake is a favorite among many.

1. 310 Shake

310 Shake is a low-calorie meal replacement shake that focuses on natural ingredients. It is free from artificial sweeteners and contains a plant-based protein blend, making it suitable for vegetarians and vegans. 310 Shake also incorporates a unique Tri-Plex protein formula, which combines three different protein sources for improved satiety and muscle recovery.
PhenQ meal shake is a suitable substitute for a complete meal. It enhances energy levels by providing ample vitamins and minerals
Conclusion
When it comes to weight loss, finding the right meal replacement shake can be a game-changer. The top 5 meal replacement shakes listed above - Shakeology, IdealShape, Garden of Life Raw Organic Meal, Isagenix IsaLean Shake, and 310 Shake - have all demonstrated their effectiveness in supporting healthy weight loss journeys. However, it's important to remember that meal replacement shakes should be used as part of a well-rounded diet and exercise plan. Before starting any weight loss regimen, it's advisable to consult with a healthcare professional or a registered dietitian to ensure it aligns with your specific needs and goals.

Every link on their "Buy Now" page is sold out:
https://www.brookaccessory.com/products/wingmanfgc/index.html
Arcade Shock says their next batch of pre-orders will ship out in mid to late July, but other than that there doesn't seem to be any kind of ETA on when these will restock anywhere.

Source: https://web.archive.org/web/20080104105659/http://www.goddess-project.net/index.php?pid=52
I am not the original creator. Posted on the old GoddessProject fansite
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Sora Unchained Examined to Unconsciable levels.
Part one of an as yet unknown number of posts listing assorted triva, observations, and other neat stuff from the Sora Unchained arc. I've been going back over my old posts on this series and collecting whatever I'd said about the stories while waiting for others to get their copies. Now I'm going to post them in chapter order along with whatever else I might have on that chapter. If anyone else wants to contribute, feel free. Afterwards I'm going to consolidate these posts into one article and post it for general information. If this works out well maybe I'll go back and do this for some of the other arcs.
Sora Unchained arc - Dark Horse Trade Paperback number 19/20 Issued Jan. 2005, To be Reissued Feb. 2012 Kodansha Tankouban Vol. 19 and 20
Part 1 - I Choose You, Sora. Dark Horse issue 105, Feb. 2004 release Let's Decide The New Chief Kodansha chapt. 119, July 1998 release Tankouban Vol. 19
Sora Hasegawa, closet debutant.
The cover illustration shows Sora wearing a "Lolita, Clash, Lolita Lempic... , Paris" shirt. While I'm still looking for details (My daughter seems to recall a punk/SKA group called Lolita Clash) it seems more likely this is a reference to a fancy french perfume label "Lolita Lempicka". It seems to be a fairly high end brand of fragrences with VERY fancy bottles. Further information is desired.
The idea of cheating when drawing lots is a common theme in manga and anime. It's been pointed out on other sites that Tamiya and Otaki are shown setting up poor clueless Keiichi to win the drawing for who gets to be the driver in the OAV's motorcycle contest, and cheating on such selection processes has been used in story plots in Sailormoon and Maison Ikkoku.
There are several ways this supposedly random drawing can be rigged, mostly by whoever sets up the lots in the first place. Hence the comments by the club members about irregularities by Sora's promoters and Keiichi's comeback line of "is this the face of a cheater?!" (Belldandy wouldn't cheat if life itself depended on it. She'd just be sure the right decision would come about.)
The untranslated names of the club members on the bottom of the Choosing Maze are Mitsuwa, Ishii, Hasegawa, Chikafuji, and Kawada. Exactly which name goes with which member other than Sora hasn't been firmly established, but I believe the one with the mustach is Kawada (kon) Suzuki (dou) and the large gentleman is Watanabe (based on wild speculation using information from the Hill Climb Motorcycle and Singing Contest stories). Exactly how this maze game works to select someone is something I'd love to learn, anyone know?
(Addendum - see next post)
Part 2 - The Shortcut To Winning. Dark Horse issue 106, Mar. 2004 release The Way Of Competition Kodansha chapt. 120, Aug. 1998 release Tankouban Vol. 19
The Racing Board shown is a real item. I found an advertisment and website for a Tanaka Paveracer, 40cc power cart that looks remarkably like the ones in the story.
The little creature Belldandy is using is called an Airbug Spiralee. It will be appearing in later chapters. Why Dark Horse felt the need to put an "and" in the name here is unknown.
A most important developement in this story is how a running theme that has existed throughout the series is made absolutely clear here. It wasn't really obvious at first, but a character trait BOTH Belldandy and Keiichi share is that they are gung-ho competitors and nothing makes them happier than squaring off against a new opponent. In the past, their pleasure in such competitions has been clouded by outside circumstances or unhappy results if they lose, but both Bell and Keiichi love a pure challenge they can devote themselves to totally. (This is first mentioned by Bell in the Anime Otoku story.)
This wasn't very clearly shown earlier in the manga, and many stories even made it seem as if Belldandy was rather timid about taking risks. (I know I thought that at first, and from the older posts on the subject I wasn't the only one.) That's why her occasional outbursts of excessive force or effort seemed so out of character. Actually, she's an all or nothing sort of competitor, who is just very choosy about what she decides to get involved in. Normally she tries not to upset things or push herself into situations, but when she decides to go for it (or she feels she's forced to), look out! This aspect of Bell's personality will become more noticable in the manga stories from here on, and if you go back and review the older stories I think you'll see what I mean.
Part 3 - The Director's Curse. Dark Horse issue 107, April 2004 release The Cursed Chief Kodansha chapt. 121, Sept. 1998 release Tankouban Vol. 19
If you didn't notice, Sora is still steering the racing board while riding tandem with Belldandy.
Belldandy HAS driven a go-cart before. She learned by copying Diana Lockheed's moves while racing her back in Winner Take All. However, this race WAS before Chihiro and the other current club members had joined the story.
This is also one of the story arcs where her competitive nature starts showing. (Observe her efforts to win in the races, fight off the sleep demon, and how she can ignore K-1's behavior without embarassment in order to get back on track.)
And for those of you following the TV anime, the next part of the arc (What A Miracle) is where we first see Tamiya in his cheerleader outfit.
It's interesting how Sora never questions just how Belldandy has such an accurate inventory of the interesting wildlife in the area in her head. (Especially as the animals in question would be in motion and not likely to be in the same places day after day. Well maybe the owl would, but otherwise how could a normal person know all those detail with such certainty?) Of course it is Bell saying it, and Sora was distracted.
Still its fun noticing how people just accept what Belldandy tells them without worrying about how she might know such things. (P. S. The Japanese text is just slightly less specific as to the racoons and owls locations, but more specific as to where the starlings are.)
Part 4 - Special Training Dark Horse issue 108, May 2004 release Crash Course Continues Kodansha chapt. 122, Oct. 1998 release Tankouban Vol. 19
The most fascinating aspect of this story is that it shows a 180 turnabout on the part of Bell's sisters. Skuld is going off on a rant about how Belldandy and Keiichi should always be together (at least as far as racing's concerned) , while Urd is saying (at least publically) that it's okay for them to do things apart.
We also haven't seen Skuld do the "PBTTT!" bit for awhile.
I try to not take sides in translation conflicts. I cannot speak or read any Japanese so I don't feel qualified to judge who's version is correct. (I do feel qualified to compare different versions however.) In this story however there are two places where the Dark Horse and independent translations differ in ways that I felt should be pointed out.
In the Japanese version, Keiichi is commenting on how Skuld and Urd are such sisters rather than Belldandy and Skuld.
More importantly, there's a joke in the sequence where the club members are preparing for Sora's next attempt to drive through them that Dark Horse left out. In the panel where the club member in the bandana is standing in front of the really large member, in the English version the smaller member is thinking, "Am I fast enough to dive for cover?" The Japanese version goes more like, "If I have to, I'll hide behind him... " That's what the arrow that Dark Horse left between them is refering to, and if they decided to remove the joke they should have removed the arrow.
Part 5 - Drive Dark Horse issue 109, June 2004 release Everybody Races Kodansha chapt. 123, Nov. 1998 release Tankouban Vol. 19
Not much trivia to report in this story.
The biggest discussion point here is how Dark Horse reinterpreted Keiichi's comments while he's practicing with Sora and what he and Belldandy say to each other that night in the temple garden. The Japanese text doesn't have him actually challanging Sora to follow him or making statements to Belldandy later that he thought he might have been considered as helping Sora. However, the drawings do seem to be depicting him doing just that, so in this case I think the Dark Horse/Studio Proteus version is closer to what Mr. Fujishima intended.
Part 6 - Miles and Miles Dark Horse issue 110, July 2004 release Keiichi's Distance, Hasegawa's Distance Kodansha chapt. 124, Dec. 1998 release Tankouban Vol. 20
Those stamps Tamiya, Otaki, and later Chihiro, are using at their check points are their signature stamps. The letters printed by them are their names.
Keiichi DOES have a Check Point list, his senpais are just choosing to stamp his face to aggravate him.
As a bit of speculation on my part, I'm sure you've noticed how Tamiya and Otaki put on hapi coats with the Whirlwind logos on them after they've stamped both Keiichi and Sora (so Sora and K-1 won't see them wearing them). Such coats are a form of advertising used by shops and worn by people employed by the shop to do things in public places. One of these things is handing out flyers and brochures at special events, which is what I think Chihiro is having them do for her after the racers have passed. More on this in the last story.
Part 7 - The Race Gets Hot, A Goddess Gets Hotter! Dark Horse issue 111, Aug. 2004 release The Race Begins! Goddess Acts Too! Kodansha chapt. 125, Jan. 1999 release Kodansha chapt. 126, Feb. 1999 release Tankouban Vol. 20
One can only wonder how Keiichi heard them tell Sora she might have to pay a toll.
As has been pointed out by many sources, the poster next to the locker room door for the sea slug society is the same poster found on the bulletin board next to the NIT-MCC recruiting poster put up by Keiichi in the movie. I believe this is the first example of a movie reference in the manga.
Urd and Skuld's assistance to Keiichi is interesting for a number of points, not the least of which is that it shows Skuld as probably being able to teleport and levitate the same as Urd. (She seems to have gotten there on her own, and later disappears behind her smoke cloud cover. It doesn't seem like she just ran away and does wind up in the tree with Urd. Now Urd may have been providing transport for both of them, but judging from their conversation I can't see them cooperating to that degree.
They both seem to feel they have a duty to help Keiichi, like he was family. Or to score points with Belldandy. Either way, Keiichi is now an insider in their world view.
The Freaky Potion - Stupid New Machine rivalry is finally firmly established.
Urd establishes the use of a kiss (first seen in the movie) as a method of passing on a spell to someone.
The car next to Belldandy in the parking lot where she's waiting for the race to end is a Caterham Super 7, the same car driven by Sena Wakabayyashi, Ken Nakajima's stepmother in You're Under Arrest. This is the first guest crossover between the two series that I'm aware of.
The conversation between Belldandy and the club members actual marks the end of Kodansha's chapter 125. Chapter 126 starts with the aftermath of Urd's kiss and Skuld's indignation at it. Chapter 126 is then split between Dark Horse issue 111 and 112.
For those (very) few readers who didn't get it, Keiichi is making steam train sounds (chuffa-chuffa! Whoo-woo!)
The trash stalls Keiichi lands in (marked flammable and non-flammable) is a recyling station. Wood and paper goes in the flammable side, plastics and metals are in the non-flammable side. Keiichi crashed in the side with the harder, sharper objects.
911 is not an emergency number in Japan. What Sora is refering to in the Japanese text are emergency procedure numbers in the community disaster response handbook. (There are guideline procedures for fires, floods, earthquakes, car crashes, injuries, heart attacks, etc.)
When Keiichi drives off the ledge and crashes into the recycling bin, he's saved from serious injury by Holy Bell spinning an air cushion for him to land on. But why was she there to save him in the first place? Belldandy is at the finish line in the parking lot, talking to the other club members and waiting for the race to finish, and Holy Bell should be with her. Unless . . .
Maybe Belldandy had already split off a copy of herself at the start of the race and had been keeping an eye on Keiichi, just in case. (The rules of competition are sacred, but she also has a prior commitment to take care of Keiichi.) Which is why she was in a position to dispatch Holy Bell just in time to save him. And also how she knew instantly that Urd had put a spell on Keiichi.
Which would mean she might also have known about Urd kissing Keiichi, but had dismissed it as just the method Urd used to get the spell into him. (So it was probably a good thing K-1 didn't finish saying "incredible kiss". Bell might have reconsidered just how harmless it was and gotten a little jealous.)
As an additional observation, I don't think that angels can be multipled, only the goddesses. As a seperate entity the angel would need to copied seperately and giving each mini-goddess their own angel would be just a bit too much power out there. Rather, I think its more likely that the angel can manifest itself through any one of the copies as needed. Thus, if mini-Bell needs Holy Bell to save Keiichi, she can summon her, but then Bell back at the parking lot cannot while mini-Bell is using her at the recycling center.
Part 8 - The Best Magic Dark Horse issue 112, Sept. 2004 release Aberrant Kiss The Strongest Magic Kodansha chapt. 126, Feb. 1999 release Kodansha chapt. 127, Mar. 1999 release Tankouban Vol. 20
Dark Horse issue 112 contains both Kodansha chapter 126 and 127 Chapter 126 is split between Dark Horse issue 111 and 112. Chapter 126 ends after Belldandy leaves Keiichi to fix his racing board and continue the race.
It was fitting that Dark Horse would celebrate its long established habit of recombining Kodansha manga chapters with its last two comic book issue releases.
When Belldandy and Holy Bell leave Keiichi after he wakes up, they transport themselves through a piece of chromed metal (a mirrored surface).
So Keiichi re-invents the motorized skate board with just the items in his pockets. Now that's a mechanic! I wonder if Mr. Fujishima wanted a chance to do a skateboard montage without making it look like that was what he wanted to do.
It's interesting to note that since the sign says "NO BIKES OR CYCLES" Keiichi is not actually breaking any rules since what he's riding doesn't fit either of those catagories.
As is revealed at the end of this story, a hidden sub-plot of this arc was how mercantile Chihiro can be. Her plot to use the Motor Club's race as an advertising stunt to sell the racing boards is foreshadowed by the scene in the first part of the story where we see how fast Chihiro can put on her "Salesperson Face" and Keiichi's comments on how she can "Turn It On." Later there are hints that she's doing something on her own behind the scenes, then we see she's got Tamiya and Otaki in Whirlwind coats at the check points, but doesn't want Keiichi or Sora to see the coats. Finally, at the end we discover they've been handing out sales brochures, that the race had been advertised as a sales stunt, and that Chihiro has already made a sign exploiting Keiichi's emergency conversion to a motorized skateboard as a sales feature.
This doesn't mean she wasn't honestly trying to help Sora and the NIT-MCC resolve their leadership crisis. It's quite obvious she was. It's just that its also being shown that she's not above using this as an opportunity to further her own mercantile efforts as well.
Kurthy133 Question and Answer
Tim, since you had some speculations about the cover illustration involving Sora's shirt in Part One of the Sora Unchained arc, I was wondering if you had any ideas about Bell's shirt in the cover illustartion of Part Two (39 hat and all.) It is much harder to read, but I figured that if anyone might know, it would be you!
While there might be some significance to the 39, I'm not aware of any. In general what she's wearing seems to be a fairly typical example of race crew wear.
In almost any motorized vehicle race (and many others as well) in Japan where there's enough money available for such things, the support team for a racer is dressed in similar, stylized, color coordinated, semi-casual clothes, often with the name of the sport, the racer's name or number, and the event or team's sponsers on them. (This is common for most professional sports around the world.)
What Belldandy is wearing seems pretty close to what other manga and anime characters I've seen wear at such events (including in the earlier AMG manga and OAV stories.) The board is a lap board where the driver's time is recorded for each lap and held up so the drivers can see how they're doing, Whatever that logo on the shoes is, it's probably a parody of some real sneaker label. And the visible lettering on her sleeve starts with a "G" and ends with "RT", the rest being to my eyes unreadable. While in no way defendable, I'd guess it reads "Go-Cart".
Now, did you notice that Belldandy seems to be wearing the same shirt while sitting on the motorcycle two stories later? The printing on the sleeve is either missing or not visible, but the shirt back has what appears to be "Team Hasagawa" printed on it.

For the past few weeks, Honkai: Star Rail has been a big fixation of mine. I loved the game, the mechanics, and most of all, I found my one true love: Qingque. From the moment that I heard about her, I was enamored. She was probably the prettiest girl I've ever seen in my life, 2D girls included. I immediately fell in love. A lazy civil servant? A gambling addict? I was sold. I took one look at her and decided that I was in love. It took a few days to gather up the courage to ask her to marry me, but she agreed. It was the happiest time of my life. We did everything together. We played mahjong although she called it 'Celestial Jade', and she'd always win by "chonbo"(whatever that is, I don't care), but I didn't care. I was happy. We slept together, ate together, went out together. I loved her, she loved me. It was the happiest time of my life, even if I didn't understand a single word she said(I don't speak Chinese). Then I went onto this sub. THIS SUB!!!!!! Initially, I was a bit skeptical. Qingque and I were browsing Reddit together(she likes to browse wallstreetbets), and we came across this community. Initially, she and I were flattered. My beautiful, amazing wife had a fan club! Then, we looked at the comments. And the posts. Oh, the posts. I was floored at the AMOUNT of PEOPLE who think that it's OKAY to TALK ABOUT MY WIFE'S COCK. MY WIFE'S COCK!!!!!!!! My wife is very sensitive about the topic of her three foot long cock. She takes great pains to keep it hidden, it's a massive trigger for her. I've been trying to break the trauma, and we were almost there. She was almost comfortable with herself. And you people just keep talking about it, like it's something to joke about!!!! MY WIFE is crying in the corner right now because of you 'buddies'. What do you have to say about yourselves? And, if that wasn't bad enough, you DEGENERATES keep TALKING about wanting to fuck my wife. MY WIFE!!!! I belong to Qingque, and she belongs to me, and neither of us are willing to share. I'm the only one who can smell her feet!!! I'M THE ONLY ONE WHO CAN SMELL HER FEET!!!!!!!!!! HER DIVINE SMELLING FEET ARE MINE AND MINE ALONE!!!! STOP TALKING ABOUT WANTING TO SMELL MY WIFE'S FEET!!!!!!!!!!!!!! This sub has ruined both of us. I've had a breakdown. Qingque's had three. We've both lost our jobs due to the stress. Qingque's started playing mahjong professionally to try and keep the house. I had to start working at Wendy's. Three weeks into it, she lost big. That's when things got really bad. Qingque came home, and she just lost it. Right on the rug. She yelled at me to come over, and she just went to town. Just started throwing her mahjong tiles at me while crying. And those tiles, they're heavy. Like little rocks. And she's just hucking them at me, I'm just looking at her, I've got a boner, but the tiles hurt so much, and she's just sobbing so hard. And that's when she saw what I was looking at on my phone. It was a picture of her feet. And she just lost it even more, she just pulled her pants down and started beating me with her cock. Let me tell you, it was like a police baton. It was three feet long and about two pounds, she just whipped it out and started beating me with it, like you see in NYC. And it hurt even more than the mahjong tiles, but it was kind of hot, too. I don't know when I started crying, but when I did, Qingque stopped. I was crying, she started crying, we just cried together for a long time. It took a while to recover from the emotional damage this sub has caused both of us. But we're on the road to recovery, both of us. So, I humbly ask, STOP POSTING ABOUT MY WIFE QINGQUE!!!!!!!

Here’s a collection of clues from S2 ep1-6 to help support a new theory.
((Heads up! I had to split posts several times since the first was way too long for me do so.))
But first! Let’s cover some groundwork from S1, which led to my analyses of S2.
Based on the cave drawings, we learn the place could be an entirely different world. By nature, cave drawings are meant to communicate the history and origins of a civilization, and by trope, they’re further meant to explain the source of the major conflict the characters are facing in the present. Here’s looking at GOT’s White Walker origin story and Raised By Wolves’s Sol and Serpent as both shows used the same device. In From, we see its Natives travel by river to a place where they encountered an ancient evil—the symbol Jade sees is drawn, as well as a giant red entity. It’s safe to assume they are one in the same. The symbol may be the creature’s mechanism to invoke change as we see white stick figure drawings transform into red stick figures, which highly allude to the monsters who torment the town. A monster did confirm they were made that way. The lighthouse Boyd and Sara see implies the strange land is by water which supports the cave drawing. In general, the lighthouse’s purpose is to aid in navigation to either stay away, danger beware and to come this way—all pertaining to the paradox of the town. Lastly, the painting of an Adam and Eve-esque couple with a creature terrifyingly towering over them strongly supports the different world concept—that’s where they’re From.
So here’s my theory—there are TWO forces at work on the town. An advanced civilization operates the town as a fear farm (think Maze Runner) in order to defeat the ancient evil who thrives off fear (think Pennywise creature) which plagues the real world “outside” of the town. The monsters, being a product of their creator, have a simple duty to satiate their creator’s need to feed on fear, whereas the civilization takes advantage of this—Like a cage with a snare trap function, the town is designed to psychologically house people (think Wandavision) to keep them alive and comfortable “for the most part” (electricity, running water, food) in order to continue harvesting their fear by trapping people in with monsters and manipulating them like Boyd, ultimately producing a hero serum—the “worm” blood, which killed the Smiley monster. “They” need to continue this cycle to keep eradicating monsters in the real world and to keep the ancient evil at bay from attacking their own society. Now since From is also a sci fi show, we can make things extra by adding a time element. The world may not even be alien. It could take place so, so far into the future, Earth is no longer what it is. In order to retrieve “stock,” “They” must resort to the past by plucking people from different timelines to accommodate the ancient evil’s cyclical appetite by starting fresh with a new batch of people. The glass bottles hanging from the tree also support this due to the collection of random years. We can go even crazier and say the ancient evil is a consequence of a causal loop where the future event created the past event which in turn creates the future event—I know, mindfuck —which is why this society uses and sacrifices people from humanity’s past in order to justify the agenda as it’s for the common good of humanity—or what’s left of it.
This is why the title is intentionally ambiguous, besides matching the ambiguity of the show, but because from does reference so many things regarding the plot. Also, the beginning credits song hints at the people’s fate being sealed and in general, there is no future to see because humanity's future is way too bleak: “Whatever will be, will be. The future’s not ours to see. Que sera sera.” What a paradox since this song sounds so carefree.
Now let’s look back at a few S1 tea. We know the MCs all experienced major life changes, both good and bad, before getting trapped: Kenny and Tian-Chen managing the dad’s dementia, Kristi was about to enter medical school, Boyd has Parkinson’s, the Matthews lost their baby, Jade just sold his software company, etc. For the most part, they’re all holding onto heavy emotions.
As if the trap “They” created only catches certain people based on their emotional standing in order to produce more favorable fear outputs. So in a sense, the people are chosen.
In episode Book 74, when Father Kahtri found Sara, she said, “Because... they told me things, things they couldn't know (“They” chose her, of course they know about her.) They told me those two cars were coming and to stand out near the edge of town and I would see. (“They” planned to do this). They said it happened before, that two cars came on the same day and everyone died. (Implies it’s a cycle). They said it was because of the people in the cars, (Jim the mechanical engineer and Jade the software developer were chosen) but if... if I did what they said, that we'd be safe, we'd get to go home.”
For as long as Victor has been there, he’s NEVER seen two cars arrive at the same time, let alone have an accident—an important detail—perhaps the element needed to spark the next chain of events, which also prompted “Them” to manipulate Sara to carry out murder plots—the youngest and most vulnerable of them all. It’s like a formula must be followed.
In an exchange between Jim and Tabitha about the same bracelet she found from her past (psychological trigger either to drive behavior or cause more emotional stress), Tabitha said, “I was so afraid I ruined it, but then, when I gave it to you, you said, "Accidents--"
Jim: "Accidents are the best part." Yes. Why? Ah, because it makes it one of a kind. (Call back to their accident with Jade. Adding Jim and Jade together at the same time adds a unique element to the cycle).
With all that being said, there’s too much sleeping and dreaming clues to ignore, which is why I’m hoping it’s more metaphoric like what transpired in Wandavision and not a Matrix or 1899 simulation since that would take away so many supernatural elements—like I want those sick kids to be actual ghosts haunting Tabitha on a land actually inhabited by things we always thought were myth. But then again, I can see “Them” copy the real world of monsters into this simulation in order to get the best results. Contradictory, there are also many Is this real? This is real. references which does imply everything the characters are experiencing is in fact directly happening to them. Agh! The paradox kills me!
Whew! Now that that’s covered, let’s unpack what we’ve seen in S2 so far that supports my reasoning rant above. Here’s the most important details in order, along with brief scene captions for clarity.

Hi all,
So a bit of background, I'm 6 weeks PP, and low supplier. I'm currently combo feeding about 2 oz of breastmilk and 2 oz of formula for most of the day and a few bottles of only formula during the night in hopes that I'll be able to EP in the near future so I can ditch the formula. I've tried about everything to increase my supply and it is increasing but VERY slowly, about 0.5 oz a week per session. My question is this, does anyone have experience with the medela swing maxi? That's the pump I've been using but just got a momcozy S9 pro for on the go (which is fine for occasionally using when driving etc) but I've been debating for weeks if I should get a Spectra instead. My husband thinks I'm being ridiculous to spend >200 dollars (I don't live in the US so including shipping will be around 400 dollars total) on a new pump with the medela already being so expensive. He thinks that it won't affect my supply and will just disappoint me more.
Can someone share their experience with me? Obviously if I want to buy it, i'll buy it regardless what my husband thinks lol but I also have the same doubts as him and not keen on wasting that much money if it's not worth it. Thank you in advance everyone!

Our LO recently turned 4 months old. Two weeks ago, a rash that started as a few dots on her cheek turned into a terrible rash that has spread over her face, ears, back to her neck, and is now slowly moving down her body. Yesterday evening I noticed patches on her arms, today when she came home from daycare her torso showed the rash as well.
Her pediatrician is referring us to an allergist. It will be at least a week before we can get in, let alone get test results back.
Because she just has a rash and no other outward symptoms (no GI issues), her pediatrician said she wouldn’t necessarily change her formula before seeing the allergist.
I’m wondering if anyone who has been through this could advise if they would wait for a diagnosis before trying a hypoallergenic formula?
If we wait, I worry the rash is going to worsen and result in a topical steroid that I think would be best to avoid.

This is the first question that comes to everyone’s mind when they think about it.
Here are some but not all best physical benefits of Boxing.
A killer cardio workout that burns some serious calories real fast, improves your hand-eye coordination, helps build shoulder boulders, improves Bone Mineral Density, increases the endurance & stamina, enhances cardiovascular health, tones & shapes the body, and improves total body strength. These are few to be mentioned. Anyone involved in boxing knows of its power – particularly among working-class kids – to improve health, education, community cohesion and to lower crime.
You hear it all the time: You need to do cardio to protect yourself from heart disease, burn calories, and lose or maintain your weight. There are not enough promoters of boxing as a sport in the modern world. It’s a stressed-out world out there and boxing training really helps you to decrease stress level. Also, you must exercise to improve body composition out of the sedative lifestyle of young people. Easter Queens boxing club is known for its Athletic Training and Conditioning.
Boding experts have pointed out some important benefits for kids as well in the age group of 5 year to 15 year. Boxing focuses on agility, speed, quickness, balance, and hand-eye coordination, Confidence Building, Health and Proper Fitness, Self-Defense, Good Eating Habits, Higher GPAs, Staying out of Trouble, Humility and Patience.
What do boxing coaches look for in a boxer?
It is difficult to find a good boxing coach that gets the best out of you in the ring through his training out of the ring. If we think about a good boxing coach, he must possess the ability to work with fighters that vary in style, size, age, and experience. They will be able to analyze your strengths and weaknesses, then plan a training strategy. A coach will train you to augment your strengths and develop, improve upon and eventually eradicate your weaknesses.
How important is a boxing coach?
There is a famous saying about boxing “Behind every great boxer, there is a great boxing coach”.
Finding the right boxing trainer for you is essential to improve your boxing ability and to continuously develop as a boxer. In fact, trainers are so important, most professional fighters often have multiple coaches specializing in different expertise.
One more question can pop into your mind in this case, that is, do you need a boxing trainer?
Let me clear it for this sport, one cannot become a pro boxer by self-training with no trainers, You can’t. You must have a trainer to be able to do it right. You must also be able to spar unless you like to fight your imagination.
Something about trainers, what to consider while selecting a trainer. A great trainer must have a mental and emotional connection with the fighter, feeling what his fighter feels, and being able to see what the fighter is seeing. Trainers don’t give up on their boxers, and never let them feel unappreciated and incomplete. Remember one thing, a trainer who is in it for the quick buck is not a good trainer.
Same time you need a great boxing club to train yourself. You will never learn how to box without joining a boxing club/gym. A good, equipped boxing club is as much important as a good, experienced trainer, it can be even a friend who has experience from boxing trainings and fights, so he can correct you on your mistakes on boxing mitts, a lot of sparrings to learn how to react to a moving living target, but alone? No chance. If you want to be a recreational boxer, any gym that has a boxing program will do, but if you really want to devote yourself to the sport, you’ll have to find a good gym. Eastern Queen boxing club is one of the great places in the USA to join and get trained from experienced trainers to transform yourself into a professional boxer.
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Created this alt account just to post this.. It's gonna be very long and with many grammar mistakes.. I have been in a long distance relationship with my boyfriend for more than 2 years now. It's been hard but we usually make it work and would spend a lot of time almost every evening playing video games and watching shows. I have always felt a bit more needy in the relationship.. Like I will miss him more, will be the one initiating calls more, text first most often, be the one pushing for the next meeting. Usually we meet every 2-3 months for a week, sometimes just for a weekend, usually in my country, because his family is here and I have my own flat. Meanwhile the whole relationship he was renting a room from his friends and was very against us meeting there, which was always upsetting for me because that meant that we could meet a lot less often. He has a lot of money and could have easily afforded to move out sooner, but honestly.. he was just lazy and didn't want to and would spend most of his free time playing video games.. he would talk how hard finding a place is and how hard it is to move all your things.. he would complain all the time how he didn't like living at that place, but wouldn't do anything about it.. at one point we almost broke up because I told him that I can't handle him living there and barely seeing him anymore, I told him I don't even think he will ever move out at this point..
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But now he has finally moved to his new place and has been moving his stuff, unpacking, etc. for the last few weeks and finally finished everything today (friday).. Obviously this whole time he was quite busy with his job and moving so we weren't spending any time in the evenings, maybe at most watch one episode of some show together and go to sleep immediately after. He wasn't really texting first or calling these weeks too and I was understanding of course that he was busy and tried to not bother him too much, but I really missed him these past couple of weeks, but can't say I felt the same from him.. He did actually have a lot of free time, but besides the whole moving in, he started working out a loooot every day and also just going out in the city, going on walks, runs etc. I was actually happy and proud that he was being active, going outside and not just playing video games all day (he is actually addicted to it and that's a whole other story..), but still feeling quite lonely and hoping he will have some time to spend with me once he's finished moving in.
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And I'm about to graduate university and have been quite busy myself these past months and actually finished my thesis recently and absolutely nailed my thesis defense (is that what's it's called in english?) this friday! Which I consider quite a big milestone for me because these past 6 years in medical school were really challening... And I was really hoping to spend some time today with my boyfriend, celebrate a bit, you know? But honestly I have been feeling like he's not even that interested in my life, like he barely asks any questions about what's going on in my life.. He was actually the only close person of mine that didn't know about this whole thesis defense.. I would mention I have a big thing coming up this friday and he wouldn't ask anything about it, didn't wish me luck, didn't ask me how it went last night, etc.. Anyway, I called him during the day on friday, asked about his plans for the day, he told me he's actually about to finish moving in and talked about some exciting new show he wants to watch with me and got me all hyped up like we are going to watch it today.. I told him I'm gonna be free today and just be resting after my thesis defense and once he's free and want to do something together to let me know..
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Well I haven't heard from him the rest of the day and at about 11 in the evening I got a text from him that an aquantaince is coming over and they are going to go to the city, which is really unusual for him.. I call and ask him what's going on. He told me he's been texting with this aquantaince all day and he (the friend) just got back from a fishing trip and is very tired, but is still coming over?? I asked if they're going to go to a bar or club and he said something about not being in a party mood and they are probably going to just walk/sit in some park/forest.. at 11 in the evening? I actually got a bit upset and cried.. I told him how he didn't find any time for me these past couple weeks and didn't even text or call me, but found time to do this and text his friend all day and I said I was waiting for him to watch that show and I missed him so much.. but we quickly talked it out and I wished him a fun time. At first I didn't question this whole thing, but then I started thinking this whole meeting with the friend in the middle of the night didn't make any sense.. and frankly can't imagine him just meeting a friend for a stroll in a park.. I didn't even sleep today because I felt like he was lying to me.. My gut was screaming that he's probably just going to a club and going to be doing drugs and drinking alcohol till the morning... but he actually didn't seem active on any social media during the whole night so I started thinking maybe he actually just met his friend briefly and went to sleep, but then he reacted to some meems I sent earlier at like 5 in the morning.. and that meant he was out this whole time.. I immediately asked what's he up to, but he just left me on read.. which happens often when he's really drunk..
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I'm just feeling sick.. He actually (in my opinion) has a big drinking problem.. not that he drinks every day, but that once he starts drinking he can't stop.. and he becomes a very mean selfish asshole when he's drunk and just completely can't control his behavior or the things he says.. and he usually doesn't even remember the awful things he says and does to me when he gets like that.. He hurt me a looooot about half a year ago when he was high and drunk and we almost broke up then, at first I forgave him but after some months I realised that I couldn't be with a 30 yo man that can't control his drinking and I don't want to see him do drugs or drink in front of me ever again.. I was actually preparing myself to break up with him till he completely out of nowhere told me that he realised that nothing good comes out of drinking and he wants to at the very least to completely stop drinking beer.. And I gave him a chance and looked at it almost like a new beggining.. And he did really good for like half a year and our relationship got a lot better and healthier, but a few months ago someone got him some beer for his birthday and he kind of started slowly drinking again - occasionally going to bars..
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And I'm just over it.. I don't want him to start doing drugs and drinking again.. I'm terrified of him when he's drunk (not physically, but emotionally..) and maybe that's just me, but it's a huge turn of that a man in his 30s is still spending all night in some club together with his buddy.. and a lot of his buddies are quite scummy people that cheat on their girlfriends.. and while I completely trust him sober, I don't trust him to control himself from doing something while he's super drunk.. Honestly all my family and my friends that have met him and seen how he acts while drunk hate him and want me to break up with him and I was really hyping up the fact that he stopped drinking and hoping to repair his reputation with them.. And I really love him, as stupid as that sounds, and was really hoping he could change and stop drinking.. when he's sober and we spend time together it's so so good.. I know I wrote a lot of negative things but there are lots of very good things too, but it would be too long to write everything.. I was supposed to move to him this summer after graduating and now I'm just so scared and nervous about that and don't know if I should.. I know I have to ask what happened last night, but it will end up with him being upset and angry and starting a fight and gaslighting me.. I have my final exam next week and hate that it all happened now when I really need to focus on studying.. What do I even do in this situation?

Hi, I live in Australia and the small sized Repashy goldfish gel mix appears to be no longer available from Amazon, as I was looking for a replacement, I came across a local Australian company selling gel food for fish, FuzzyFox.
https://www.fuzzyfox.com.au/collections/fish-foods
However they don’t have one for goldfish, was wondering out of the ones they sell what would be the closest to Repashy goldfish gel?
I’m currently leaning towards the insect formula one.
Side note, I’m feeding my fish mostly gel food only as 2 Orandas loves to gasp at surface during and after feeding (can’t seem to stop them) and one (larger one with more round belly) will get floaty at the end and end up sleeping floating at the top at night when fed on pallets or flakes, he appears less affected when fed gel food.
The other fish (fantails) don’t appear to have this trait nor have the floating issue.

WILD MAN: Saint or Sinner Posted on May 2, 2021by Dana Rehn The Representation of Wild Folk During the German Renaissance The wild man was inspired in part by pagan hybrid woodland creatures like the satyr, however, much of the mythology of the wild man stems from barbarians of Europe.[i] For much of the Middle Ages, they were considered the antithesis of the civilised Christian society. They were cannibalistic, sexually deviant predators whose many characteristics were related to monstrous races as well as the insane. Despite the wild folk’s outsider status and the antithesis of Christian morality, the wild man and woman nevertheless became an icon of German nationalism. The image of the wild man and woman became a pervasive figure throughout the German Renaissance, depicted on a vast range of media from stained glass, woolen tapestry, playing cards (fig. 3), and ordinary household objects. The wild man and woman transitioned from a demonic brute beast to a romanticised image of the noble savage. They recall a simpler time in German history and became a part of the image of a united and strong German people. They also posed as an affront to the court culture of Rome and became associated with the virtues of the natural wilderness. Cleric, Johann Geiler von Kaysersberg, associated them with the image of the hairy saints who found redemption in the wilderness by categorising them as a type of wild man in Die Emeis.[ii] The German forests that the Wild Man was thought to reside were starting to be romanticised. Geographer, Johannes Rauw, praised the ancient forests that had long been demonised by Italians as a place of barbarians.[iii] From rapists of damsels, wild men were depicted with the virtues of the nuclear family in the Garden of Eden before ‘The Fall’ (Genesis 3). In this way, the wild man and woman became increasingly mythologised, merged with ancient Germans, ascetic saints as well as Adam and Eve. Although there were a growing number of romanticised images of the wild man and woman during the sixteenth century, negative representations persisted. Their depiction was not a simple shift from demonic woodland creature to the image of holy saints; many possessed both contradictory notions of sinner and sainthood. The multifaceted representation of wild folk reflected many of the contradictions of German Renaissance society. Man or Animal The reputation of the wild man stems from antiquity. Aristotle believed that people who lived outside the civilising influence of the urban city lacked the ability to reason.[iv] In this way, they were considered closer to animal than man, subjected to their impulses.[v] The wild man and woman were also believed to lack speech, used primitive tools such as the club, and lived away from civilisation.[vi] Even the food that the wild folk would eat – berries and uncooked food – was a mark of uncivilisation and thus associated them more with animals than man.[vii] Many were also thought to crawl on all fours, which is illustrated by the often bare knees of wild men and women.[viii] The wild man as well as the woman were characterised for their violence and unhinged rage. They both shared a love of combat and have even been depicted jousting against one another.[ix] It is not just appearance, but also behaviour that made someone bestial like peasants who were described with animal qualities. The wild man has also been associated with bears and mythology exists with bears who were able to transform into wild men.[x] Their unbridled sexuality was also more associated with animals. Wild men were thought to abduct pretty maidens, while the wild woman would transform herself into a beautiful woman and attempt to seduce men with her true ugliness only to be revealed during intercourse.[xi] In this way, they were also associated with other pagan and hairy woodland hybrid creatures from antiquity including satyrs and centaurs, who were also known for their immoral behaviour and insatiable sexual appetite.[xii] Albrecht Dürer combined classical mythology with German folklore in the engraving of the Abduction of Proserpine on a Unicorn (1516) (Fig. 1). The print recounts the mythology of the abduction of the goddess of fertility by Pluto (Hades), God of the underworld – the pagan equivalent to the Devil.[xiii] In place of the classical god is a wild man on the back of a unicorn. Although this wild man is not covered in think body hair, he has wild hair on top of his head and a large bushy beard. He is identified as a wild man by his riding of a unicorn where the wild man was believed to be the only creature strong enough to overpower it by force.[xiv] Unicorns were originally regarded as ferocious beasts who used their horn as a weapon.[xv] Tales and visual art from the fourteenth century tell of wild men who become tamed by love after abducting a woman.[xvi] Yet this print illustrates man’s sexuality was thought to reduce them to a brute beast. Fig 1. Albrecht Dürer, Abduction of Proserpine on a Unicorn, 1516, Etching, 30.8 x 21.3cm, The Institute, Chicago. During the Middle Ages, many people concluded that wild man and woman were degenerative humans. They became an irrational beast in the same way that the insane were believed to be a form of wild people. Medieval romances frequently described people who suffered a crisis and lost their mind and ran into the forest living as semi-human wild people.[xvii] In Hartmann von Aue’s (c. 1160/70- c. 1210/20) Iwein, the protagonist who has broken a promise to his wife and is rejected, roams around in the forest until he is discovered by a lady who saves him from his insanity.[xviii] The wilderness in part created the state for wildness as it was away from civilisation and rationality.[xix] Like many monsters during the period, the wild man and woman were defined by their nudity. In this way, they were symbolically outside civilisation – both physically and behaviourally.[xx] Even those who have become temporary wild men through madness and fled into the forest shed their clothes and only returned to civilisation by again putting their garments back on. While in the forest they begin to grow hair all over their body to signify their move away from the human realm and into the animal one.[xxi] The wild man and woman encapsulated the fears of Europeans and what happens to one if they abandon civilisation.[xxii] The theme of civilising the wild man was popular during the Middle Ages. It was knowledge and acceptance of the one true faith that inevitably brought the wild man back to civilisation.[xxiii] In a thirteenth-century Bavarian epic poem, republished in the sixteenth-century German collection of stories, Das Heldenbuch mit synen figuren (‘The Book of Heroes’), recounts a wild woman called Raue Else (‘Rough Else’). The woman who was hairy all over and walked on all fours approached the knight, Wolfdietrich, who questioned if she was an animal. [xxiv] The wild woman demanded the love of the knight and upon his refusal turned him into a crazed wild man who crawled on all fours for half a year until God commanded her to disenchant him. In return, Wolfdietrich offered to marry the wild woman so long as she was baptised. She took him back to her kingdom at Troy and after bathing in the fountain of youth she was transformed into her former self, the beautiful princess, Sigeminne (‘Love’s victory’).[xxv] Wild Man as Noble Savage Although the wild man and woman were frequently represented in literature during the Middle Ages, they were rarely depicted in visual art until the fifteenth century.[xxvi] Therefore, their most ferocious reputation left little mark in visual culture. Instead, the wild man and woman were frequently represented in Renaissance art as the image of purity, with their family representing the virtues of parenthood and a companion or as a saint. Lynn Frier Kaufmann argues that the idea of chivalry and courtly love during the Middle Ages influenced the way wild men and women were depicted during the Renaissance.[xxvii] Larry Silver on the other hand interpreted their new role as cultural emblems brought by the rise in Germanic nationalism, which inspired the new translation of Tacitus’s Germania, describing wild people who only wore a cape of animal’s hide, as the first proud inhabitants of the Germanic lands (for example, fig. 2) .[xxviii] In this way, Tacitus’s Germania transformed the wild man into the romanticised version of the noble savage during the German Renaissance.[xxix] They lived a simple and virtuous life. They needed no written laws because they had good morals and rejected the habits of outsiders.[xxx] The nobility and urban elite began to romanticise the wild man for their strength and freedom from the rules of society.[xxxi] Conrad Celtis described a counterpart to early Germans in the Lapps. He described them as speechless but also that they had not been corrupted with luxury, fame, or wine. ‘Here no jurist twists the law, no doctor accumulates his blood money, and no tonsured man plagues the people’.[xxxii] Fig. 2. Nicolaes van Geelkerken after Clüver in Philipp Clüver, Germaniae antiquae libri tres, Leiden: Louis Elzevir, 1616, Engraving, London, The Wellcome Library. Source: archive.org On a playing card by Master ES printed in c. 1461, a wild woman is depicted with a unicorn (fig. 3). While wild men overpower the unicorn with their bold ferocity, it was the wild woman’s sexual purity that allowed her to get close to the unicorn. A tale of the unicorn captured only by pure virgin maidens arose during the Middle Ages. This led to the unicorn being represented as a sign of purity and thus underscores the image of the wild woman as epitome of the noble savage.[xxxiii] A sense of innocence accompanies their ignorance of the civilized world. Playing cards usually consisted of four suits with illustrations of plants, animals, and heraldic symbols. The wild woman with the unicorn is one of four cards surviving in the animal suit by Master ES.[xxxiv] Richard Bernheimer suggests that the images on the cards represent a hierarchy.[xxxv] Therefore, it places the wild man and woman in the realm of animals.[xxxvi] This is plausible since this wild woman represents the Queen of the Animals. However, her clasping grip of the unicorn who is dwarfed by the wild woman shows her dominate position in nature. Fig. 3. Master ES, Wild Woman and Unicorn (Queen of Animals from the Small Playing) c. 1461, Engraving on Playing Card, 10.5 x 7.3cm (Sheet); 9.8 x 6.cm (Plate), New York, Metropolitan Museum of Art. The wild man also featured in more than 200 coat-of-arms across Europe, most of which were in German lands.[xxxvii] They were particularly popular during the second-half of the fifteenth century.[xxxviii] Interestingly, the wild man was illustrated beside coats-of-arms of popes and kings as their protector or guardian of the coat-of-arms despite the wild man’s history as a heretical being.[xxxix] Roundel prints of coat-of-arms were likely used as templates for goldsmiths or glassmakers who would fill in the family crest.[xl] It has also been suggested that these roundels were used by the middle class to emulate the coat-of-arms of the nobility. The templates were used as a substitute for commissioned coat-of-arms.[xli] In Wild Woman and Heraldic Shield, c. 1490 (fig. 4), a wild woman suckling her baby is reminiscent of the Madonna and child. This image reveals the redemption of women through childbirth for their responsibility for Original Sin (Genesis 3.16). She also serves as an emblem for fertility for the family whose shield she holds to ensure the family line. Fig. 4. Martin Schongauer, Wild Woman and Heraldic Shield, Colmar, c. 1490, Engraving, 7.7 diam. New York, The Metropolitan Museum of Art. Return to the Garden of Eden The image of the noble savage in turn influenced the idyllic images of the wild family. Master bxg’s Wild Folk Family (c. 1475) parallel Adam and Eve in the Garden of Eden. Adam and Eve who were portrayed in animal skins after ‘The Fall’ are akin to the hairiness of the wild family.[xlii] In Master bxg’s print stands the tree of knowledge, overlooked by an owl in the background, symbolising potential danger as owls served as a symbol for evil.[xliii] A rabbit bounds towards a forest in the top left. Rabbits were used as a symbol for fertility and has been depicted in images of Adam and Eve during ‘The Fall’ and thus can symbolise carnal knowledge. The wild woman’s long hair symbolises her fertility and thus her unbridled sexuality and parallels with the depiction of Eve in the Garden of Eden with long, loose flowing hair.[xliv] Although the representation of the wild family references Original Sin, they are still in a state of nature and innocence and their ignorance of God therefore cannot constitute sin.[xlv] However, it also provides a mirror of the tensions between good and evil within German Renaissance society – between temptation and godliness.[xlvi] The wild family not only recall Adam and Eve in the Garden of Eden, but also the image of the Holy Family who were often represented against the backdrop of the wilderness.[xlvii] In a comparative print in Hans Leonhart Schäufelein’s, Wild Man and Wild Woman originally printed in c.1520 (fig.5), the wild family are still hairy and naked, although they wear fig leaves to help preserve their modesty. The fig leaves allude to after ‘The Fall’ in the Garden of Eden once they have eaten from the tree of knowledge and realise their nakedness and feel shame. In this way, the sins of the past are not completely forgotten. However, the image lies in opposite to the unbridled sexuality of the earlier idea of the wild man and woman. One son attempts to place a leash around a domesticated dog, which further symbolises a new domesticity to the wild family.[xlviii] Despite its clear reference to Original Sin, it illustrates an idyllic family scene, away from the corrupting influences of ‘civilised life’.[xlix] Fig. 5. After Hans Schäufelein, Klag der wilden Holtzleüt, uber die ugetrewen Welt, verse by Hans Sachs, printed by Hans Guldenmundt, Augsburg, 1560 Coloured woodcut, 20.2 x 24.2cm (sheet), 20.2 x 15.2 cm (borderline) The British Museum, London. This image was later copied with an addition of a poem written by Hans Sachs in 1530. In the poem the wild folk lament against the corruption and evils of society such as the lust for wealth, flesh, and violence. The wild folk in Sachs’ verse have chosen to discard worldly pleasures to live the simple and pure life in nature. The verse ends with the wild folk declaring that they will be happy to return to civilisation once the world ‘see the light’.[l] This verse parallels the wild man with ascetic monks whose wildness is a temporary state and who seek redemption away from civilisation. Wild Man as Saints The tales of saints who found redemption in the wilderness by discarding worldly pleasures, growing hair on their body and then returning to civilization and shedding their hair once more became co-opted with the image of wild men and women during the Renaissance. Many stories of anchorites parallel with others, to the point that they can become indistinguishable.[li] Onuphrius is one of the better-known ascetic saints who lived during the fourth century. Paying penance, he lived in a cave for sixty years, as wild men and women were thought to do. His clothes wore away and he grew a thick coat of hair to protect his body against the elements (fig. 6).[lii] Saint John Chrysostom similarly went into the wilderness to pay penance and vowed to crawl on all fours until he found favour with God.[liii] Ascetic saints were similarly depicted with bare knees as wild men and women were also believed to crawl on all fours like an animal, wearing away the hair. In Leben der Heiligen (1499), where Saint John Chrysostom is depicted as covered in thick hair and crawling on all fours in the forest is described as an ‘abominable animal,’ despite being depicted with a halo around his head.[liv] Ascetic saints were therefore reduced to a beast just as the wild men and women had traditionally been as they are seen as degenerating into an animal who grow hair on their body and ate raw food.[lv] In this way, the figure of the hairy monstrosity was able to find redemption, at least in part, cast as the model of repentance. Fig. 6. Anonymous, Saint Onuphrius, c. 1480-1500, woodcut, 14.6 x 11.4cm, New York, The Metropolitan Museum of Art. During the German Renaissance, Saint Mary Magdalene, who was regarded for her beauty,[lvi] was frequently represented covered in hair like a wild woman. Her hairy image found wide devotion through the southern Germanic region.[lvii] In a tale originating in the tenth century, Mary was set adrift by non-believers and by divine guidance found her way to the south of France where she preached and converted the locals. She lived in a cave in Saint-Baume, Provence, paying penance for her former sinful life.[lviii] The name Magdalene means manens rea or ‘remaining in guilt’.[lix] She grew hair all over her body in the same way as a wild woman. In her cave she remained silent and when a hermit approached her, she had trouble speaking after being secluded for so long, not unlike the wild man and woman.[lx] Every hour, angels would ascent her to the heavens where she would gain nourishment as she was so remote that there was no food or water.[lxi] Mary’s ascension into the heavens as a hairy wild woman was a theme in German Renaissance prints and is illustrated in a print by Hans Baldung Grien (c.1484-1545) in c.1512 (fig. 7 ).[lxii] Her ascent represents her body’s transcendence from both worldly pleasures and the wilderness. Fig. 7. Hans Baldung Grien, St Mary Magdalen, c.1512, Woodcut, Sheet: 13 × 8.7 cm Metropolitan Museum of Art, New York. The image and identity of Mary Magdalene during the Renaissance is believed to be conflated with the story of Saint Mary of Egypt who lived in the fifth century. Mary has long been thought to be a prostitute. She travelled to Jerusalem where she became aware of her sins when she could not enter a Church as she was held back by a spiritual ‘force’. She saw the image of the Virgin Mary staring back at her and realised why she could not enter. Mary of Egypt, the antithesis to the Virgin prayed to her for forgiveness and renounced her life of sin.[lxiii] Mary went to live alone in the desert to repent for forty-seven years.[lxiv] The desert was a place to be tested against sins, for punishment, but also for contemplation and redemption.[lxv] Both Mary of Egypt and Mary Magdalene have both similarly been depicted covered by hair that represents their place outside of civilization and discarding worldly possessions. It was also used to provide modesty to discern from their previous occupation of the flesh.[lxvi] As seen in the print by Lucas Cranach the Elder, The Ecstasy of St. Mary of Egypt (1506) (fig. 8) who was thought to levitate in prayer,[lxvii] is similar to the composition of prints of Mary Magdalene being accented by angels. The naked saints signified the return to nature before ‘The Fall’ in the Garden of Eden.[lxviii] Despite this earlier legend, Mary Magdalene was not depicted in art as covered in hair until the mid-fifteenth century but was rather naked with her long hair covering her modesty. The image of the hairy Mary Magdalene was therefore believed to originate in fifteenth-century Germany.[lxix] The detail of the hairy Mary Magdalene was also not included in the popular thirteenth century The Golden Legend by Jacobus de Voragine (c.1230-1298) that combined the tales of Magdalene. Her nudity was implied as the hermit who visited her passed her a garment to wear.[lxx] The hair covering Mary of Egypt was also a later addition to the story and also does not appear in The Golden Legend.[lxxi] She similarly does not seem to appear in art until the fifteenth-sixteenth centuries.[lxxii] The same can be said of other saints who turn into a wild man, at least temporarily such as Saint John Chrysostom.[lxxiii] This suggests ascetic saints who grew hair over their body was a contemporary idea that arose at the same time that the wild man and woman were popular in Renaissance prints. However, as Bartra notes, the idea of the hairy ascetic saint derived from Ancient Egypt when long haired hermits sought solitude in the desert.[lxxiv] Fig. 8. Lucas Cranach the Elder, The Ecstasy of St. Mary of Egypt, 1506 Woodcut, 24.4 × 14.2 cm, The Met, New York, Wild Man in Reformation Propaganda The image of the wild man was also co-opted into the Protestant Reformation in Germany and has been used by both Protestants and Catholics in contradictory ways. The engraving of The Pope as a Wild Man was created by Melchior Lorck (c.1526/7-1583) in 1545. This wild man with characteristic thick body hair with bare knees is a hybrid with long rat-like tail. Perched on top of his head is the three-tiered crown of the pope, but the last tier is a tower of excrement. Beneath his crown are ass ears, which represent folly and dishonesty. The ass’s ears allude to the myth of Apollo who made Midas grow the ears of a donkey to tag him for his dishonesty.[lxxv] On his back appears to be a bat with stretched out wings, which is a symbol for the Devil.[lxxvi] The wild man carries his characteristic wooden club, but this one has three cross branches at the end to represent the papal cross. He holds onto the papal key that is shattered at the end, which is a sign that the temporal powers of the papacy have been broken.[lxxvii] From his mouth pours a stream of toads and reptiles. This appears to reference the beast, the dragon, and the false prophet who release four foul spirits. A version of this image was discovered cast on a canon of Protestant troops captured during the Schmalkaldic War.[lxxviii] Melchior Lorck, The Pope as Wild Man, c. 1545, Etching, 22.9 × 19.4 cm, Staatliche Museen zu Berlin, Kupferstichkabinett Conclusion In Renaissance Germany, complexity existed in people’s relationship with the wilderness. It both conjured up images of the Garden of Eden before ‘The Fall’ as well as the dangers that may lurk beyond. The wild man and woman were just as complex and represented sinfulness, but also redemption and innocence. As Merry Wiesner-Hanks concludes ‘beast, saint, or hero? the wild man was all three’.[lxxix] A closer look at images of the wild man reveals their complexity. There was not a simple evolution between a demonised creature associated with cannibalism and rape to the holy saint. In the age of the apocalypse, the wild man and woman provide a reminder of Original Sin and the need for repentance at a time of social reform. In this way, the hairy woodland creature is not entirely absolved. Further Reading: Abulafia, David, The Discovery of Mankind: Atlantic Encounters in the Age of Columbus, New Haven: Yale University Press, 2008 Bartra, Roger, Wild Men in the Looking Glass: The Mythic Origins of European Otherness, trans. Carl T. Berrisford, Ann Arbor: The University of Michigan Press, 1994. Bernheimer, Richard, Wild Men in the Middle Ages: A Study in Art, Sentiment, and Demonology, Cambridge: Harvard University Press, 1952. Colin, Susi, ‘The Wild Man and the Indian in Early 16th Century Book Illustration,’ in Christian F. Feest (eds.), Indians and Europe: An Interdisciplinary Collection, Lincoln: University of Nebraska Press, 1999, pp. 5-37. Husband, Timothy, The Wild Man: Medieval Myth and Symbolism, exh. cat., New York: The Metropolitan Museum of Art, 1980. Kaufmann, Lynn Frier, The Nobel Savage: Satyrs and Satyr Families in Renaissance Art, Ann Arbor, Michigan: UMI Research Press, 1984. Moseley-Christian, Michelle, ‘From Page to Print: The Transformation of the “Wild Woman” in Early Modern Northern Engravings’, Word & Image: A Journal of Verbal/Visual Enquiry, vol. 27, no. 4, 2012, pp.429-442. Schama, Simon, Landscape and Memory, London: HarperCollins, 1995. Wiesner-Hanks, Merry, The Marvelous Hairy Girls: The Gonzales Sisters and their Worlds, New Haven: Yale University Press, 2009. [ii] Simon Schama, Landscape and Memory, London: HarperCollins, 1995, p. 97; Timothy Husband, The Wild Man: Medieval Myth and Symbolism, exh. cat., New York: The Metropolitan Museum of Art, 1980, p. 12. [i] Bartra, Roger, Wild Men in the Looking Glass: The Mythic Origins of European Otherness, trans. Carl T. Berrisford, Ann Arbor: The University of Michigan Press, 1994, p. 79. [iii] Schama, 1995, pp. 95-6. [iv] Bartra, 1994, p. 9. [v] Richard Bernheimer, Wild Men in the Middle Ages: A Study in Art, Sentiment, and Demonology, Cambridge: Harvard University Press, 1952, p. 11. [vi] Joyce E. Salisbury, The Beast Within: Animals in the Middle Ages, New York: Routledge, 1994, p. 151; David Abulafia, The Discovery of Mankind: Atlantic Encounters in the Age of Columbus, New Haven: Yale University Press, 2008, pp.16-7. [vii] Susi Colin, ‘The Wild Man and the Indian in Early 16th Century Book Illustration,’ in Christian F. Feest (eds.), Indians and Europe: An Interdisciplinary Collection, Lincoln: University of Nebraska Press, 1999, p.8. [viii] Abulafia, 2008, pp.16-7. [ix] Colin, 1999, p.6 [x] Bernheimer, 1952, pp.165, 59. [xi] Colin, 1999, p.8. [xii] Husband, 1980, p. 11. [xiii] Walter L. Strauss (ed.), The Complete Engravings, Etchings and Drypoints of Albrecht Dürer, Courier Dover, 2013, p. 178. [xiv] Bernheimer, 1952, p. 135. [xv] Anne Clark, Beasts and Bawdy, London: Dent, 1975, p. 46 [xvi] Lynn Frier Kaufmann, The Nobel Savage: Satyrs and Satyr Families in Renaissance Art, Ann Arbor, Michigan: UMI Research Press, 1984, p. 34. [xvii] Salisbury, 1994, p. 152. [xviii] Classen, Albrecht (ed.), Meeting the Foreign in the Middle Ages, New York: Routledge, 2002, p. xx. [xix] Colin, 1999, p. 9. [xx] Danielle Régnier-Bohler, ‘Imagining the Self’, in Georges Duby (ed.), A History of Private Life: vol. II Revelations of the Medieval World, trans. Arthur Goldhammer, Cambridge, Mass.: Harvard University Press, 1988, p. 368. [xxi] Régnier-Bohler, 1988, p. 369. [xxii] Colin, 1999, p. 9. [xxiii] Colin, 1999, p.6. [xxiv] Husband, 1980, p. 62; Merry Wiesner-Hanks, The Marvelous Hairy Girls: The Gonzales Sisters and their Worlds, New Haven: Yale University Press, 2009, p. 42. [xxv] Husband, 1980, p. 64; Bartra, 1994, p. 101; Bernheimer, 1970, p. 37. [xxvi] Gilmore-House in Husband, 1980, p. 139. [xxvii] Kaufmann, 1984, pp.32-4. [xxviii] Michelle Moseley-Christian, ‘From Page to Print: The Transformation of the “Wild Woman” in Early Modern Northern Engravings’, Word & Image: A Journal of Verbal/Visual Enquiry, vol. 27, no. 4, 2012, p. 431; Tacitus, Cornelius, Agricola and Germany, trans. Anthony Birley, Oxford: Oxford University Press, 1999, p. 46. [xxix] Schama, 1995, p. 96. [xxx] Caspar Hirschi, The Origins of Nationalism: An Alternative History from Ancient Rome to Early Modern Germany, Cambridge: Cambridge University Press, 2011, p. 169. [xxxi] Colin, 1999, p. 23-4. [xxxii] Lewis W. Spitz, Conrad Celtis: The German Arch-Humanist, Cambridge: Harvard Universtiy Press, 1957, p. 100-101. [xxxiii] Anne Clark, 1975, p. 46. [xxxiv] Gilmore-House in Husband, 1980, p. 168. [xxxv] Gilmore-House in Husband, 1980, p. 167. [xxxvi] Gilmore-House in Husband, 1980, p. 168. [xxxvii] Wiesner-Hanks, 2009, p. 35. [xxxviii] Bernheimer, 1952, p. 180. [xxxix] Husband, 1980, p. 4. [xl] Wiesner-Hanks, 2009, p. 44. [xli] Husband, 1980, p. 187. [xlii] Moseley-Christian, 2012, p. 438. [xliii] George Ferguson, Signs & Symbols in Christian Art, Oxford: Oxford University Press, 1959, p. 22. [xliv] Christa Grössinger, Picturing Women in Late Medieval and Renaissance Art, Manchester: Manchester University Press, 1997, p. 82. [xlv] Husband, 1980, p. 15. [xlvi] Husband, 1980, p. 17. [xlvii] Kaufmann, 1984, pp. 36-7. [xlviii] Schama, 1995, pp. 97-8. [xlix] Colin, 1999, pp. 23-4. [l] Husband, 1980, p. 133. The full translation is found in Appendix B of Husband, 1980, pp. 202-4. [li] Husband, 1980, p. 97. [lii] Husband, 1980, p. 95. [liii] Husband, 1980, p. 102. [liv] Husband, 1980, p. 105. [lv] Bartra, 1994, pp. 83-4. [lvi] Roberta Milliken, Ambiguous Locks: An Iconology of Hair in Medieval Art and Literature, Jefferson, North Carolina: McFarland and Company, 2012, p. 189. [lvii] Wiesner-Hanks, 2009, p. 41. [lviii] Joana Antunes, ‘The Late-Medieval Mary Magdalene: Sacredness, Otherness, and Wildness’, in Peter Loewen and Robin Waugh (eds.), Mary Magdalene in Medieval Culture: Conflicted Roles, New York: Routledge, 2014, p. 117; Wiesner-Hanks, 2009, p. 38; Husband, 1980, p. 100. [lix] Husband, 1980, p. 100. [lx] Antunes, 2014, p. 118. [lxi] Milliken, 2012, p. 189. [lxii] Wiesner-Hanks, 2009, p. 38; Husband, 1980, p. 100; Milliken, 2012, p. 189. [lxiii] Michelle Erhardt and Amy Morris, ‘Introduction’ in Michelle Erhardt and Amy Morris (eds.), Mary Magdalene: Iconographic Studies from the Middle Ages to the Baroque, Leiden: Brill, 2012, p. 9; Else E. Friesen, ‘Saints as Helpers in Dying: The Hairy Holy Women Mary Magdalene, Mary of Egypt, and Wilgefortist in the Iconography of the Late Middle Ages,’ in E.E. DuBruck and B.I. Gusick, Death and Dying in the Middle Ages, New York: Peter Lang, 1999, pp. 240, 242; Milliken, 2012, p. 204. [lxiv] Erhardt and Morris, 2012, p. 9; Friesen, 1999, pp. 240, 242. [lxv] Bartra, 1994, pp.47-8. [lxvi] Erhardt and Morris, 2012, p. 9; Friesen, 1999, pp. 240, 242. [lxvii] Milliken, 2012, p. 206. [lxviii] Friesen, 1999, p. 242 [lxix] Husband, 1980, p. 100. [lxx] Jacobus de Voragine, The Golden Legend: Readings on the Saints (c.1260), ed. Eamon Duffy, Princeton: Princeton University Press, 2012, p. 381. [lxxi] Virginia Burrus, The Sex Lives of Saints: An Erotics of Ancient Hagiography, Philadelphia: University of Pennsylvania Press, 2011, p. 149. [lxxii] Voragine, 2012, p. 228; Milliken, 2012, p. 205. [lxxiii] Husband, 1980, p. 102. [lxxiv] Bartra, 1994, pp. 74-5. [lxxv] Hélène A. Guerber, The Myths of Greece and Rome, New York: Cosimo, Inc., 2007, p. 57. [lxxvi] Russell, 1986, p. 232. [lxxvii] Robert W. Scribner, For the Sake of Simple Folk: Popular Propaganda for the German Reformation, Cambridge: Cambridge University Press, 1981, pp. 135, 80 [lxxviii] Scribner, 1981, pp. 163, 164. [lxxix] Wiesner-Hanks, 2009, p. 35. Share this: Click to share on Twitter (Opens in new window)Click to share on Facebook (Opens in new window)Click to share on Pinterest (Opens in new window)Click to share on Pocket (Opens in new window) Related Wild Men and Heraldry February 20, 2022 In "wild folk" Representations of Monsters in German Renaissance Prints September 5, 2021 In "cynocephali" Monstrous Women: Hair, Gender, and Sexuality in Early Modern German Prints June 6, 2021 In "Human-Animal Relations"

I've seen lots of negative posts today about the newer films so I decided to post a little positivity since Scream 5 and 6 (Along with Scream 1 and Scream 3) Are my absolute favorite films of the franchise. I love those movies.
Let's begin with Scream 5, this movie is the absolute way you return to a franchise, we've we've many franchises return after a long hiatus and they usually end up being bad, but Scream 5 was perfect and shows how you properly return to a franchise. It gave us two of the best Ghostfaces in my opinion. Richie who is my 4th favorite Ghostface, he may not have done much in costume, but his Wes kill was BRUTAL and I love his speech and performance by Jack Quaid in the end. Amber was also amazing for the same reasons. I love how stab happy she was and Mikey's performance. And their motive is still my favorite in the franchise, many hate it but I LOVED it. It was the perfect motive for this movie, it fits with today's events and it was so creative. And it gave us new amazing characters to follow, Sam may have gotten hate in 5, but I think she was always cool. And they brought back the legacy characters in the best way that they could, while I do have some negative thoughts about Dewey's death. I still think he was handled perfectly. And this movie gave me my favorite version of Sidney, she is the badass returning final girl done right. (Sorry 2018 laurie). And the kills and lines from Ghostface were top tier. Say what you want about the writing, but I think this movie was written pretty well.
Now, Scream 6 which is my favorite sequel. This is the movie to finally acknowledge previous events in a non vague way. It was an absolute love letter to Scream fans of all the movies. And it absolutely improved on characters like Sam, Tara and Chad. If 5 didn't do these characters justice to you, this movie absolutely will. Sam was an amazing final girl, and Chad become a fan favorite of many. Say what you want about the few plot holes and weird things that happened with injuries, but that doesn't ruin the movie. It gave us one of the best Ghostfaces ever, and I think all 3 killers were amazing. What Quinn lacked in kills, she made up for her with her acting and her dialogue with Gale. Ethan and Wayne gave us some of the most iconic sequences in the franchises. And I think these 3 killers were Mrs. Loomis but done better and correctly. I still love Mrs. Loomis, but she was mad over a son she abandoned? She's still allowed to be upset but you abandoned him. Bailey never abandoned his son, and his motive wasn't just "You killed my son so now you die!". It was more so "You killed my son in an absolute monstrous way, you are too unhinged to be kept alive." And they did justice to Kirby with her return. And this movie finally changed a lot from the formula of the other 5 (which isn't a bad formula, all of those movies are amazing to me.) But you gotta respect this movie for being different. And the Shrine was an absolute highlight. Most of the movies tend to gloss over the previous ones, but this one didn't. It followed up the events of 5 and went beyond and gave us so many references to the first 4.
All in all, these movies have their issues, yes. But we should be grateful they haven't gone downhill like other franchises like Friday the 13th, NOES and Halloween. These movies still have enjoyability and their problems are extremely small.

Do you have a go to formula or a go to outfit you pack when the trip warrants a formal outfit? Always pack a dress? A blouse/slacks combo you swear by? I’m interested in hearing about any outfits that you would consider formal and work well with one bag. (Bonus for plus size considerations.)
Husband and I are going to England late September. The plan was to be very casual (just us, tourist stuff, visit friends, relax) but now we’ll be attending 3 formal events while there. My husband is bringing a single suit and I’m bringing…? Events are an evening reception at a Michelin restaurant (listed as formal on invitation), a 40th anniversary party at a private club (reached out for dress code, not listed on invite), and (more business) evening dinner with academic colleagues on an international collaborative grant. We will see some people at multiple events and I’ll have access to an iron beforehand.
I’m okay with wearing the same item or a variation for all three events. Right now, I’m leaning towards a dress but would love to skip packing heels so also thought about dress slacks and a lovely over the top vintage silk blouse and leaning heavy on accessories. I thought about renting something and delivering it to my friends place, but the size and fit unpredictability makes me reluctant to go that route. Same goes for mailing to myself before we leave. Bag will be either Tom Bihn Synik 30 or Aeronaut 30.
I’m looking for inspiration and your thoughts!

Welcome to June, and also the latest Project: Gorgon update! This update contains a new much-requested skill, Angling, as well as new UI features, quests, balancing, and a ton of bug fixes.
Bugs!
Update: the following are known bugs in this update -- no need to report them. If you see OTHER bugs, please report them!

• Animal forms are able to angle - kind of - and that is unintentional. Angling is intended to require hands.
• The Angling ability 'Catch and Release' gives 25% XP, not 25% bonus XP.
• You can target certain angling fish before they exist. You shouldn't be able to target them at all.
• Some of the angling abilities have old test descriptions.
• The new AoE indicator doesn't display in some outdoor areas.

Main Story

We've expanded the main story quest-line by a few steps. If you've already reached the point in the storyline where you were asked to have dinner with Jessina (via a hang out), the hang out is now available, and you should log in to see that your character has a "reminder quest" to hang out with Jessina.

New Camera Types

Players come to us from different games with different control schemes and camera views, and they often ask us if we can imitate the camera styles they're used to. So we gave it a try! We know that getting movement behavior just right can be tricky, so please give us feedback on how these work for you.
There are now 3 camera types to choose from, located in Settings > Controls:

• Traditional Camera: How the camera has always worked. Right-click rotates your character, left-click rotates only the camera. Mouse is always available.
• Free Camera: Camera control is completely separate from character control. Mouse is always available.
• Action Camera: Mouse movement always controls character. Mouse cursor is only available when a UI window is open, or when the Toggle Cursor key is pressed (configurable). NOTE: only available in the new selection system!

AoE Visibility

Area-of-Effect abilities that are centered on the caster now have a visualization for their range.

• When an ability is used, the AOE range briefly displays on the ground as a circle.
• When an AOE ability icon is hovered over, its AOE range displays on the ground for as long as it's hovered over.
• Visibility is configurable via Settings > GUI > Windows & HUD > Abilities & Items > "Show Beneficial AOE Areas" & "Show Detrimental AOE Areas". By default they are "Party Members Only" & "Self Only" respectively. Detrimental enemy AOEs will always display.
• Many "aura"-type pets display their aura ranges in a similar fashion, such as a druid's Healing Sanctuary or a fairy's Fae Conduit. These should also follow the visibility settings described above.
• Note: as of this update, all AoE abilities are centered on the caster, except for two Weather Witching abilities that are explicitly centered on the target. Previously, all AoEs were centered on the target, but the game didn't say that anywhere, and most players assumed it was centered on the caster! So this seems much more intuitive. But if there are specific AoE abilities that you feel should be centered on the target instead of the caster, please let us know and we'll consider it.

Angling

Traditionally, fishing in Project: Gorgon has involved scooping fish up out of the water with your bare hands -- what we might call 'tickling' the fish. And that's fine, as far as it goes. It takes real skill! But not all fish can be caught this way. (And more importantly, players have told us that an MMO "needs" to have traditional fishing in order to feel like a complete MMO.)
So we've expanded Fishing with a new sub-skill: Angling. All you need is a fishing pole, some bait, and a body of water with catchable fish. (Also Fishing 15. And hands!) In order to get started, talk to Roshun the Traitor in Serbule.
The precise mechanics of Angling aren't spelled out in the game at the moment. Since this game focuses on exploration, we expect players to be able to figure out how Angling works. Please let us know what parts of the system were hard to figure out, and we'll work to make those bits more obvious.

Skills & Abilities

From here out (and probably through the rest of beta), we'll be making small balance changes. We don't want to overnerf/overbuff things, so most changes will be relatively modest, and then we'll re-evaluate and adjust further after more observation.
Warden:
We've revised the formulae used for damage reflection, which resulted in nerfs to Privacy Field. On the other hand, multiple bug fixes actually increase the Warden's power significantly in other ways.

• Privacy Field abilities: reduced base ability damage (Privacy Field 5 changed from 196 -> 138)
• Treasure: "Privacy Field deals +60 damage to all melee attackers, and the first melee attacker is knocked away": 60 => 42
• Treasure: "Privacy Field also deals its damage when you are hit by burst attacks, and damage is +86": 86 => 47
• Treasure: "Privacy Field also deals its damage when you are hit by ranged attacks, and damage is +57": 57 => 48
• Treasure: "When Privacy Field deals damage, it also ignites the suspect, dealing 156 damage over 12 seconds": => 156 => 80. Note: previously this effect did not work at all, so this is technically a huge buff, not a nerf!
• Treasure: "While Privacy Field is active, melee attacks that hit you have a 100% chance to restore 20 Power to you" : 100% chance => 75% chance. Note: previously this effect did not work at all, so this is technically a huge buff, not a nerf!
• Treasure: "Apprehend deals +48 damage and hastens the current reuse timer of Controlled Burn by 2 seconds (so it can be used again more quickly)" : 2 seconds -> 1.5 seconds. Note: previously this effect did hasten Control Burn at at all, so this is technically a huge buff, not a nerf!
• Controlled Burn: area-of-effect reduced from 15 meters to 10 meters.
• Aggression Deterrent: area-of-effect reduced from 10 meters to 6 meters.

Weather Witch:

• New ability Summon Sandstorm: This is a variant of Summon Tornado intended to be more convenient in groups. It does not knock back foes, instead dealing bonus Armor damage. All tiers of this ability can be learned from the Sand Seer in Ilmari.
• New rare ability Summon Doomstorm: This is a variant of Summon Tornado. It does not knock back foes. Instead it deals Darkness damage. Damage is improved over base version. This pet is marked as undead for purposes of ability targeting. In other words, heals that don't work on undead don't work on this pet either. Buffs that work on undead DO work on this pet. For now, all tiers of this ability can be found as loot scrolls.
• Fixed bug that caused high-level summoned tornados to move incredibly fast. Normalized tornado speeds.
• Summoned tornadoes accidentally had vulnerability stats for Cold Spheres. They now correctly have vulnerability stats for Tornadoes.

Giant Bat:

• "Your Confusing Double deals +67% damage with each attack": 67% => 45%
• "Confusing Double summons an additional figment. Each figment deals +77 damage with each attack": 77 => 50
• "Confusing Double Reuse Timer -15": -15 => -10

Fire Magic:

• "Fire Breath hits all targets within 8 meters and deals +30.5% damage, but reuse timer is +3 seconds and Power cost is +33%" => "Fire Breath hits all targets within 8 meters and deals +60 damage, but reuse timer is +3 seconds and Power cost is +40"

Settings

• The "Reset" button in Settings now resets the currently-selected tab to its default settings. The old functionality, undoing all current changes, is still doable by simply closing the window.
• Added new experimental settings for Tab Targeting. You can find them in settings under GUI > Targeting > Tab Targeting (Experimental).
  • Combat Range: Control the max range of tab targeting when you are in combat.
  • Combat Lock: If your current target is in combat, only other in-combat enemies will be targeted via tab, unless none are in view.
  • Prioritize Unlooted Corpses: When tabbing through corpses, should all un-looted corpses be targeted before looted corpses?
  • You can now tab through targets as quickly as you can press the button.
• Overwriting a keybind that's already bound now shows a confirmation prompt, including the name of the keybind being overwritten.
• Reorganized and renamed several Settings, to make them more intuitively grouped and easier to find.

UI Changes

• "Controls" settings have been organized into Camera & Character controls, with sub-menus.- Allow clicking through entities in the new UI, similar to how it works in the old UI. If you click on something that's already selected, it selects the entity behind it (if there is one).
• Reduced precision of click-selecting entities, so they can be selected without hovering directly over them.
• All stat bars (and globes) now smoothly animate when they change, instead of statically changing to the new value.
• Item stack size font now resizes properly for vaults (including saddlebag).
• Fixed nameplate placement for mounted humanoids.
• Fixed bug causing mouse cursor to disappear completely if mouse-dragging while zoning.
• Fixed bug that caused very large tooltips not to display sometimes.
• Removed hover-text about avatar portraits coming soon -- because they're here now! We live in the future!
• Ability tooltips now display Special Values before Special Info, as those make more sense grouped together with the other numerical data.
• Polished the lootable-corpse particles a bit.
• Nameplates now fully fade out with distance instead of just the names.
• Better handling of left-clicking nothing to deselect your current target.
• Improved display of Crafting button when no hotkey is assigned.
• Fixed quest window display bug when objective count number was very large.
• Removed the "1" from the item slot in the bug report window.
• Fixed bug causing stack sizes of items in the sidebar to get out of sync.

Graphics & Animation

• Wolves & cows now animate at proper speed when going up and down hills.
• Replaced wolf's Hunting Speed animation with a howl animation.
• Polished bard animations, so they flow together better now. The play-lute animation now always plays when you are playing a bard song, even if you use other abilities while playing the song.
• Improved instrument-playing animations.
• New VFX (animations, particles, & shader effects) for all Battle Chemistry abilities.
• You can no longer auto-move while jumping. Doing so previously resulted in some very strange-looking animations.
• Fixed weird animation bug when trying to do certain things while sitting or kneeling.
• Failure to interact with something now returns the player to idle stance.
• Fixed bug with Thentree armor causing weird shadows on male characters.
• Mage Armor is now more polished, a bit darker, and has glowier gems
• Fixed bug that would cause a dancing pig's mud to stick around forever.
• Fixed bug where mounting while dancing would continue some dancing effects.
• Improved texture for Spring Fairy armor.
• Fixed face cam for Pigeons.

Other Bug Fixes & Tweaks

• Some legacy equipment that should have been Mastercrafted wasn't. Those items should be fixed now.
• When you un-legacy equipment by pulling an invalid power off of it at the transmutation table, the legacy and broken state of that equipment is now properly updated.
• Fixed bug allowing recipe items to be summoned from anywhere.
• Updated Shadow Feint tooltip to display the correct AOE distance for blinking back to position.
• Phrenology-based Mentalism & Psychology bonuses to critical chance now properly affect heals.
• Improved logic related to channeling abilities; this should hopefully fix stuck-in-channel bugs.
• Modified Mutation Injection ability descriptions to make it a bit clearer how they work.
• Lycanthropy ability "Become Wolf": the skill check to disable wolf mode is no longer downleveled when your combat skills are downleveled.
• Newly learned abilities, Wild Endurance, & First Aid should now correctly auto-rerank.
• Dying by falling through the world now shows a special button in the death window, "Teleport to Last-Touched Ground", which teleports your dead body to the last ground you were standing on. While this isn't an ideal solution, it should allow you to be revived in party situations
• Fixed bug causing skeleton warrior pets to repeatedly retreat a short distance when fighting something.
• Astounding Cloth Shirt (Max-Enchanted) and Camouflaged Astounding Shirt (Max-Enchanted) recipes now require the correct ingredients.
• Pressing spacebar while in an animal-mount form will no longer play the horse neighing sound.
• Fixed typo in Evasion Boots (Enchanted) recipes.
• Changed icon color for Acid Bomb to more of an acid-y color (and match the new VFX).
• Acid Boost Potion recipe now correctly states that it lasts 30 minutes.
• Fixed typo in quest "Holistic Wellness: Yarn" (twelve -> twenty-four balls of yarn).
• The tsys mod, "Psi Health Wave grants all targets +X Mitigation vs. Electricity, Acid, and Nature attacks for 20 seconds" now displays in the effects list when it's active.
• Fixed Dwarven Fixer causing screen brightness (instead of hiding it).
• "Toxic Flesh" tooltip now takes poison damage buffs into account.
• Using Objective Orienteering on "The Borghild Lead" quest now leads to the correct area.
• Fixed typo in quest "The Borghild Lead" (south -> north).
• Harry now hints more strongly that his Minor Panacea will not cure ALL curses, just a specific one.
• The quest "Goblin Avenger: Ratkin!!!" now correct gives 10 Xedrite.
• JSON users: Note that in skills.json's level-up rewards, "Ability" can now refer to a single ability or an array of abilities.

Do you have any plans for the weekend? It is here finally. Hope it is a chill, relaxing, and fun weekend for you.
Some of my interests/what I do in my free time is watching tv shows. I enjoy action, thriller kind of tv shows. Although it is hard for me to get into a show but then I end up binge watching it.
Similarly same thing for the movies. My recent watch would be Fast X.
I do watch documentaries also. These can be any kind. For most part I have watched like social media related or documentary on a person.
I do watch formula 1 racing. Hopefully one day will get to experience it in person.
I enjoy listening to all genre of music but country. That is how I think most people are. Always trying to find new songs to listen to. I enjoy instrumental songs as well. Especially when I am working.
If you need someone to vent to then I am all ears. Not here to judge etc. can give outside perspective too.
Hope to hear from you.
Looking forward to chatting.

Do you have any plans for the weekend? It is here finally. Hope it is a chill, relaxing, and fun weekend for you.
Some of my interests/what I do in my free time is watching tv shows. I enjoy action, thriller kind of tv shows. Although it is hard for me to get into a show but then I end up binge watching it.
Similarly same thing for the movies. My recent watch would be Fast X.
I do watch documentaries also. These can be any kind. For most part I have watched like social media related or documentary on a person.
I do watch formula 1 racing. Hopefully one day will get to experience it in person.
I enjoy listening to all genre of music but country. That is how I think most people are. Always trying to find new songs to listen to. I enjoy instrumental songs as well. Especially when I am working.
If you need someone to vent to then I am all ears. Not here to judge etc. can give outside perspective too.
Hope to hear from you.
Looking forward to chatting.

I understand that it can be disheartening to encounter narcissistic individuals repeatedly and to feel discouraged in your search for meaningful connections and a romantic partner. It's important to remember that not everyone you meet will possess those negative qualities. There are plenty of kind-hearted people out there who are looking for genuine connections just like you.
Here are some words of support and encouragement to help you in your quest:

Stay hopeful: Remember that the right people are out there, and your experiences with narcissistic individuals do not define your worth or your ability to find true friends or a loving partner. Stay optimistic about the possibilities that lie ahead. Focus on your own growth: While searching for kind individuals, also invest time in personal growth. Cultivate your own interests, develop new skills, and pursue activities that bring you joy. This will not only boost your confidence but also increase your chances of meeting like-minded individuals who share your passions. Engage in communities: Join groups, clubs, or organizations centered around your interests or hobbies. By being part of communities that align with your values, you're more likely to come across people who share similar outlooks and may have the potential for genuine connections. Be open and authentic: When meeting new people, be yourself and allow others to see your true personality. Authenticity attracts genuine individuals who appreciate you for who you are. By being open, you create an environment where meaningful connections can thrive. Take it slow: Building lasting friendships and finding a romantic partner takes time. Allow relationships to develop naturally and don't rush into things. Be patient and let connections grow at their own pace. Quality relationships are worth the wait. Trust your instincts: If you sense red flags or notice behavior that aligns with narcissistic tendencies, don't ignore your gut feelings. Trust your instincts and prioritize your emotional well-being. It's better to distance yourself from toxic individuals early on and continue your search for kind-hearted people. 

Remember, finding genuine connections takes time, but it is definitely possible. Stay positive, continue to put yourself out there, and surround yourself with people who appreciate and value you for who you are.