Han solo costume adults

After a 1940 defined by gathering strengths and refinement across the feature, the early months of 1941 bring a few troubling portents behind-the-scenes for Fox's affectionately termed Grainy Gladiator. Nothing ruinous in itself, but signs of an upcoming radical shift away from what the character represented to start.
For one, the April issue of Adventure Comics (#61) brings with it a new cover feature, Ted Knight AKA Starman, courtesy writer-artist Jack Burnley. Already the second lengthiest entry in the book at nine pages, Starman quickly managed what neither Sandman nor Hourman could during their respective years as star attractions and upgraded to a full thirteen pages by his third appearance in #63. For context, Sandman only went from six pages to ten with its upgrade, while Hourman has remained rockstaedy at eight pages, and neither took down another non-superhero supporting feature to justify the page increase like Starman did Barry O'Neil and Mark Lansing. Moreover, from Starman's second appearance on, he is only drawn by Burnley; writing duties now belong to the Sandman's own Gardner Fox.
Which loops in with two other issues at play over Wesley's tossing, turning figure. Starting with issue #61, available online sources no longer fully agree who wrote what for the Sandman feature. You must understand, outside superstar figures with major pull like the creators of Superman or Batman, very few creative teams are properly credited in these Golden Age comics - my credits the last few posts have all been crossreferenced across numerous wikis and databases who owe their credits to investigative work by fans like Jerry Bails back in the 1960s. Such work was sadly not exhaustive, and while a few places (like DC Continuity Project and Wikipedia) state or else imply Fox stayed on as writer for the next few issues, from June to November there is no consensus as to who penned the stories.
I shouldn't be surprised if Fox's involvement terminated with the March issue, for April also saw All-Star Comics shift its format slightly, with Fox writing all nine interior stories for the 64 page mag in addition to his duties on the longer Starman feature. Man would have to work double time to keep pace, even if Sandman didn't drop to eight pages with #62 in May. Either way, Fox is certainly gone following #64 in July, as that issue features the final story drawn by regular artist and co-creator Creig Flessel, who departs to work on Shining Knight later in the year. As I say, things are changing fast for Sandman, and not all changes seem necessarily for the better. Best, however, to take the stories on their own level before drawing any final conclusions!
^{Coverage note: This entry goes to July rather than June for the sake of my sanity. If I stopped midway through the year, I'd only need cover seven features here, but the back half of '41 would require coverage of eleven. A nine-nine split feels much more feasible.}

• ADVENTURE COMICS #58 (January)

Orchids of Doom - Gardner Fox, Creig Flessel, Chad Grothkopf

Once again, a socialite friend to Wes and Dian is at the center of a minor mystery with big implications - namely, how can Pedro Nogades, father to Carla, rightly claim he breeds otherwise purely wild orchids in captivity? Investigating as the Sandman, Wes and Dian find a dead man in the Nogades greenhouse with his head stripped to the bone, and in following another fellow who sniffed an orchid before promising a shipment of such to some ruffians on the bad side of town, see his own face dissolve to bare skull. A visit to the police chemist reveals the orchids on the dead men's persons were laced to release a deadly flesh-eating gas on exposure to natural air, which is enough probably cause for Wesley to enlist Carla's boyfriend Bill in staging a raid on the Nogades manor. Some close shaves and fisticuffs end with the group discovering a diorama of the local coast, laid out to assist enemy agents in an invasion. Pedro is put away and the orchids revealed as concealing microfilm copies of the coastal plans, but how do we square the mystery that started it all? Simple: Nogades was no botanist, and called the flower by the wrong name when concocting his cover story!
An alright yarn to kick of the calendar year. As per usual when Fox tries for a somewhat complicated mystery, he's no adequate means of tying off loose ends other than large blocks of text, but it's lively and keeps the situation evolving with decent justifications for mid-story action and dragging Bill along for further fisticuffs. Hooking the entire mystery on, "Oh, the bad guy misspoke," is a tad lame, if understandable in the context of Fox's passion for slipping general knowledge flexes into his stories. Flessel and Grothkopf get some good mileage out've the skull imagery that crops up whenever the flower kills, and I rather like the brief bout of fisticuffs towards the end. The minor social awkwardness when Bill gets in the car with Wes and Dian is pretty good too, and I'm sorry to report I can't add this story to the "Wesley getting shot" count, as the bad guy only plugs his hat. Kinda funny having a Golden Age Sandman story involving orchids given Neil's own pre-Sandman work with Black Orchid, innit?

• ADVENTURE COMICS #59 (February)

The Story of the Flaming Ruby - Fox, Flessel, Grothkopf

There exists a ruby of blazing red, which has driven men to rage and madness wherever it appears, and today it sits in the hand of a young man in the local jeweler's shop, who flashes it cross Dian's vision. Later in the evening, she wakes in a trance consumed with the urge to kill her father, stopped only by Sandman as he rushes in from investigating a similarly queer case. A bank teller friend from his private life has found himself driven to steal from the vault and deliver it to some crooks on a lonely road every night, all after one of those men flashed him the ruby. Wes and Dian are unable to stop this night's transaction (on account of the ruby briefly turning Dian against Sandman), but seeing the gem in action gives Wes an idea on how to counteract its effects, and go into battle during the next drop armed with blue cobalt glasses. A brawl puts down all the blackmailers except one, but Wes opts instead to go after the head of the operation, knocking him out and lurking in the dark to catch the last as he reports in, revealing the bank teller! Turns out the ruby DOES have hypnotic properties and was used to assist their robberies, but the teller - hoping by playing at the victim to lure Sandman into his cohorts' midst and rub him out - spoke as if he remembered the whole experience, where Dian forgot herself on every exposure. Oops!
Same basic mystery structure and resolution type here as last month, complete with overly-wordy explanation, although I find the hook of pitting Dian and Wesley against one another gives it a minor leg up, as does the relatively straightforward nature of the criminal operation compared to planting microfilm in deadly flowers. There's a more even balance between the rush in bust 'em up style of crime-fighting the feature has developed and the stealthy skullduggery I think suits the character best, with nice action art to match each. Dian has some silly faces whenever she wakes from her hypnosis, and the four panel sequence of Wes halting her murder attempt works pretty well. This is, unfortunately, the final pencil-inking collaboration between Flessel and Grothkopf, and much as I've kvetched over the second man's solo work, I'm sorry to see the back of him in this capacity. When the two were in proper tune, they were the best artistic team Sandman enjoyed yet.
(Stop dodging bullets, I want to see you gunshot.)

• ADVENTURE COMICS #60 (March)

Mystery at Malay Mac's - Fox, Grothkopf

^{Hey, a rare post-Hourman, pre-redesign cover appearance! That's always nice. "Hello, officer? Yeah, coupla chucklefucks right here, the alley off Fourth, can't miss 'em."}
What's this? Dian breaking into a notorious criminal slumlord's safe in the bad part of town? A safe, as Wes discovers after he scares the lady off, filled to the brim with poison gas! Evidently not, as Dian is sound asleep when Wes arrives at Belmont manor to investigate, and a subsequent visit to Mister Mac reveals the only person who'd know the safe was booby-trapped is a local kidnapping organizer. Some blind, flailing fists turns up the girl, Dian's perfect duplicate, snatched from out of state to replace Dian and gain leverage over the cops. Too bad the kidnapper's made of strong stuff, knocking out Sandman and taking both woman for a ride to get back at Mac. Fortunately, Dian leaves Wes a trail of jewelry out the window, enabling him to follow and take down all the crooks with one throw of his gas pistol, revealing in the process 'twas Mac himself who tipped Dian's duplicate to his safe, in hopes of spoiling his rival's big plot.
Art-wise, this is probably Grothkopf's best work for Sandman to date. His tendency to exaggerate is translated into some properly goonish faces for the villains and really, really strong action poses, with some properly atmospheric shots sprinkled in for good measure. He cannot draw the gasmask for piss, but there's such an improvement I almost thought this was a Flessel joint before checking the wiki credits. Makes me wish we could see what he'd do if he kept on as a solo artist - free from the impulse to treat the feature as a cartoon, he produces damn fine work. As a story, this makes good time to mention my misgivings with Wesley's tendency to burst through windows and start swinging long before he thinks to use his sleeping gas. While it's great fun to describe and hype up as the mark of a madman who's even cooler as the badass normal than Batman, it also encourages a faster degradation in the character's identity. I'm sure you'll notice it's been yonks since lurking in the shadows and thinning the ranks by knocking them out in advance has factored into the stories. That Wes handles the bad guy by literally clonking him over the head with the gas gun rather than pulling the trigger speaks to the influence other, punchier superhero features have exerted over the strip.

• ADVENTURE COMICS #61 (April)

The Menace of the Metal Gun - Fox?, Flessel

From aboard a mysterious aircraft, a madman fires upon the city with a metal-melting ray that dissolves the skyscrapers into slag! Alerted to Doctor Borloff's activities, Wesley meets with swift defeat when the rogue scientist melts his gas gun and escapes in his cylindercraft to terrorize afresh. There IS a bright side, as seeing the ray firsthand gives Wesley some idea how to counteract its effects, and he sends Dian and her father warning for the local airforce to coat their planes in sand as a silicate buffer against the ray. Alas, only one officer heeds his message, leaving Sandman alone to get aboard the machine via his new wirepoon gun and defeat Borloff from within. For his brawling process, a good midflight fight is nothing if the hero gets tossed out an open door, but fortunately he can grapple onto the lone surviving plane, recover his bearings, zip back up, and put a stop to Borloff's dreams of world conquest once and for all!
Action is the name of the game here, and even without Grothkopf's inking enhancements, I think Flessel does a fine job on his own. I'm wary of the wirepoon in the future, as by year's end it will completely replace the gas gun as Sandman's sidearm of choice in further drift from the original Christman concept, but taken as a neutral in its debut, giving Sandman greater aerial mobility does lead to some cool shots and enhance the sense Wes goes stark bananas in the mask by pulling some stunts that would almost certainly pull his arms from their sockets in real life. There are, however, some particularly stiff action shots, and in one panel Flessel cocks up the design on the mask worse than Grothkopf last ish. Based on the opening vignette, Borloff decimated millions of innocent lives in addition to all the planes he melted out of the sky, making him easily the deadliest foe Wes has faced to date, and in turn making the "We did it, gang, everything is bright and peachy again!" ending sorta offputting. They'll have to organize mass funerals tomorrow, Wes. Show a little respect.

• ALL-STAR COMICS #4 (April)

For America and Democracy: The Grey Shirts - Fox, Grothkopf

In the top-level story, the JSA learn of their mission for the FBI: a group of Nazi insurgents known as the Grey Shirts are plotting subversive and destructive activities all across America, and are now posed to badly destabilize the nation in a series of disruptive attacks. Each is assigned a mission at critical points cross the nation, though given the widely-ranging disparity in their powers, their usefulness to the cause varies equally wildly. The Atom humiliates some goons spreading Nazi ideology at a single college, Hawkman barely prevents the destruction of an aviation plant in California, and Hourman's defense of an Oklahoma oil field ends with him toppling one of the oil towers to stop his quarry. Meanwhile, Green Lantern detonates a zeppelin secretly jamming radio transmissions nationwide, the Spectre casually annihilates some otherworldly vampiric globes sympathetic to Hitler's cause, and Doctor Fate uses his magic to out every single spy on the eastern seaboard. Uneven efforts or not, the group converge on the Grey Shirts' ringleader, and with a little help from Johnny Thunder, turn him over to good ol' J. Edgar Hoover's custody. Alas, Wesley does not get the blood he's thirsting after.
(Also Doctor Fate alerts Wesley to the identity and location of the ringleader before his mission starts rather than letting him figure it out on his own like everyone else. Prick.)
For his six-page leg of the assignment, the Sandman is off to El Paso, Texas to assist a local newspaper under threat from the Grey Shirts for printing pro-democracy and anti-Hitler editorials. Of course, this being Wesley Dodds on the job, he gets this information by roughing his way into the newspaper offices, then acts on it by beating on the guard at the Grey Shirts' camp and pounding down a band of brainwashed young men to prove he's a better American than them. After sending the wannabe Nazis for a whirl by running their bomb shipment off the road, Wesley doubles back to completely break the recruits' spirits, daring them to prove their hard enough by shooting an unarmed man in Hitler's name, chiefly himself. When none can cut the mustard, he marches them back into town with collars strapped to his car, and inspires the lot to join the Army to a few shirtless bars of "God Bless America."
Cripes but jingoism produces some heady results, doesn't it? I'm not sure I can rightly condone the ridiculous levels of patriotism on display here, even against such classically anti-American enemies as Nazis, yet at the same time, look at this and tell me it isn't the hardest shit you'll see all week. Again, though I've my misgivings about Wes as a brawler no matter how entertaining the results prove, there's something endearing about him being so raring for a fight his first move is to altercate the receptionist at the place he's assigned to defend. On the whole, Grothkopf's final Sandman contribution also shows refinement from his earlier works, the broader, thicker elements of his linework now tempers on a somewhat more grounded approach. Certainly the Sandman himself keeps a consistent look better than he does in any other issue published thus far this year. I DO notice he reused Flessel's design for the District Attorney wholesale on the newspaper publisher. Since he's going and heading out on a job well done, let's not hold it against him, eh?

• ADVENTURE COMICS #62 (May)

The Purple Death Ray - Fox?, Flessel

At the nightly planetarium show, a member of the audience screams and falls down dead, stricken by a litany of strange symptoms with no obvious cause. Wesley, believing the man was killed by a death ray, examines the auditorium's projector, only to find no obvious alterations or fault. Undeterred, he purchases himself a seat next to the murdered man's for the next show, which is now occupied by another fellow who received a last-second courtesy invitation. Acting quickly, the Sandman reexamines the projector from the shadows and finds a replacement bulb screwed into the socket pointed directly at the man's chair. With assistance from his wirepoon, Sandman swings down and wrenches the man from his seat just as the show starts, the bulb bathing his seat in deadly radiation. On learning the man is a former judge and the deceased a former DA, it's not long before Wes ferrets out the killer; it's the cashier, a former scientist sent to jail for misappropriating university funds years ago, out for revenge and now stopped cold.
See, while I'm skeptical about the growing presence of science-fiction elements in the series, they make fine fodder when they play to Sandman's strengths. Lurking high above a crowd of people seeking the answer to some deadly mystery is exactly Wes' bag, and plus or minus some strange mask drawings, Flessel captures that thrill of closely examining a big deadly machine in secret before it fires. I'd submit the page where Sandman saves the judge from the beam as an easy contender for best of the year thus far, and the shot where [Wes pushes Dian away from the killer's bullet](blob:https://imgur.com/7247f414-8a57-489f-a9bd-d85bc9e19a6a) is another fine piece of work. My memories of this one before sitting down to reread and write were a lot chillier, probably because I wish the series remained in crime pulp rather than raygun pulp, but a good outcome is a good outcome. Seriously, though, why is the mask going so bobble-eyed of late?

• ADVENTURE COMICS #63 (June)

The Voodoo Sorcerer - ???, Flessel

As Dian and Wesley tiff over his interest in an exotic dancer they know through a mutual friend, the woman's tail-lashing dance is interrupted when she sees a great glowing triangle materialize before her eyes. With the shock straining her bad heart, the Sandman brings her to boyfriend's house, where he reveals the triangle is a voodoo witch doctor's means of accusing someone of murder - just as news comes over the wire that the man the woman lashed with her costume tail has died! Smelling a rat, Wes rushes to the scene of the crime to find the taile barbed with poison quills, only for the titular sorcerer to bumrush him out the window. It's a big misunderstanding, thankfully: he's as shocked by the murder as Sandman, and only summoned the triangle on suggestion from an acquaintance, forgetting the dancer would know its significance through her partner. By happiest coincidence, this provides Wesley the solution to the mystery right quick, for only his friend's chauffeur would have motive, opportunity, and knowledge to frame his employers and their associates for the murder of a stock broker who owed them money.
Hmm, ah, see, on the one hand, it IS nice that the voodoo guy is innocent of everything except a lapse in judgement and the real twist is an unassuming little man exploiting the mystery and fears around his craft to cast suspicion off his person. On the other hand, eek, yike, zoinks! None good. Bad, even. Outside unfortunate depictions of non-white persons from the 1940s, the story's pretty weak for a murder mystery, as numerous elements are evidently known to the characters well in advance, yet only made clear to the reader right before they become relevant, like the exact identity of the murdered man. It's only eight pages, so there's little opportunity to piece information together on your own time, and as such it is heavily reliant on narrative cheats to generate cheap surprise. About the best thing here is the big page-dominating panel of Wesley swinging through the city on his wirepoon, unconscious woman tucked under arm. Kinda hard to convincingly raise my dander about what it means for the character and his feature when it's successfully operating on the long-standing principle of "masked mystery men swinging on a wire through skyscrapers looks really cool." S'like a solid fifth of the formula behind why Spider-Man is so enduringly popular.
(Also not a big fan of how Wes dismisses Dian from participating in the case without any adequate reason why. She calls him out over it, even, and nothing in the story justifies his decision to fly solo on this one.)

• ADVENTURE COMICS #64 (July)

The Unseen Man - ???, Flessel

Dian's purchase of paints from a local hobby shop includes quite the unusual accidental item: a paint that turns anything and everything invisible on contact. Determined to solve this mystery on her own, Dian investigates the shop with the dealer's cooperation, only for the dread Unseen Man to get the drop on her. Fortunately, Sandman is there to save her because he won't let Dian do anything on her own; unfortunately, Dian doesn't know Wes can see her attacker through his blue cobalt lenses and pulls him away, thinking him mad and letting the Unseen Man go free. As reward for her screw up, she's targeted in her home the next night, only for Wes to barge in again, having anticipated the only possible secret identity for the crook would make him likely to strike back at Dian. It is, unsurprisingly, the hobby shop owner, who Wes turns over to the police before heading out to patent his invisibility paint with the United States Army.
Alright, it's definitely not Gardner Fox writing anymore, because I cannot imagine Fox treating Dian so poorly. I gave her some dignity in summary, but this story is plain dumping all over her as a fussy, incompetent tryhard who fails at investigating on her own on account her womanly ways. Just look at the sheer antagonism between her and Wes; you two are partners, she's saved Sandman's skin like a dozen times, worn his costume and wielded his gas gun to do it once, even! Don't try to BS me into thinking Wes would run this paternalist "let me handle it, Dian, I wear the pants in this relationship" crap on her. You're only alive because she's worn your fucking pants. Otherwise, 'nother instance where the story and art alike don't give me much of note. I reckon Flessel was about done with the series with Fox gone and sorta phoned in his last few assignments. They're nowhere near the standard of his early solo artistic duties on the title. There IS another good wirepoon swinging shot, if one counterbalanced by a crummier instance with yet another weirdly-proportioned mask.

• ALL-STAR COMICS #5

The Mysterious Mr. X: The Kidnapper's Union - Fox, Cliff Young

The Justice Society are bored. Bored, bored, bored. Why are they bored? There is no crime. Not a single ruffian or scoundrel or roughneck lawbreaker anywhere in the city! Where did crime go? Crime has taken an enforced vacation, courtesy the plans of big crime boss Mister X (hats off), as prelude to his big plans for taking out the JSA and putting all his criminal enterprises back on easy street. It's quite the collection of rackets out against the superheroes - an arsonist ring for Flash, a jewel snatching gang for Hawkman, leader of the phony fortune teller underworld against Doctor Fate, even hard-pressing gym membership shakedowns for the Atom! Naturally our heroes triumph, though every one also encounters a strange little man idly strolling through their battlegrounds. He's so omnipresent despite his mousiness, he's even there when they convene at the police station to organize Mister X's (hats off) arrest. Except this unassuming slip of a man? He IS Mister X (hats off), and with the Justice Society having taken all the fun out've crime, he's turning himself in to live comfortably on the state's dollar in jail. WHOOPSY-DOODLE!
For his six-page part in the game, Sandman must contend against the kidnapper's union, who naturally enough have abducted Dian to get his attention. Not only have these lowlives taken Dian hostage (though she doesn't particularly mind), they've taken out phony accident insurance claims against themselves should the hero injure any of them en route to his untimely death! Nobody quite expects Wes to avoid the sniper-guarded roads to their remote hilltop hideout, though, and a quick wirepoon swing over the canyon (complete with Mister X - hats off - sighting) puts him right in the criminal den. From there, it's a simple biff wham boom to take down the punks and disarm their supporting fire. Alas, Sandman is once again only in the loop on the true nature of the threat against the JSA because someone notifies him from their own investigation, this time Flash via telegram. Let him do his own detective work, you pricks!
Right. You see these panels? You see Dian being calm and collected in the midst of a kidnapping operation? You see Wes trusting her with a submachine gun to keep watch on the fools who mean them harm? Yeah, THAT'S Fox writing Dian. Whoever's writing the Adventure feature at this time ought've taken notes. Artistically, Young makes a fine replacement for Grothkopf and Flessel in Adventure - he can match the first for goons, the second for action, manages a nice turnaround effect before Wes swings on his wirepoon, and even gives us a by-now all-too-rare heavy shadow shot on Wes and Dian. I'm a big fan of the lead kidnapper who calls the JSA the "Justiss Sassiety," and find this instance of Mister X (hats off) the second best in the book, behind only his appearance in the Hourman story, which I think speaks for itself. Probably the only time I'll express preference for something Hourman related over Sandman.
The loss of all three major contributors to the Sandman feature across early 1941 and the crunch down to eight pages has certainly made the Adventure Comics side of the Sandman line a rockier experience. It's still possible to derive enjoyment from the wonky mysteries and higher-concept criminals, but one must accept atmosphere and and particularity have been near-entirely sacrificed for generalized bombast and louder appeal. Don't misunderstand, I've become a fan of Wesley Dodds, Fist-Swinging Bullet Sponge, and my past praises for him aren't diminished by the realization of what this has done to his integrity as a character circa today's stopping point. The trouble is, while I enjoy this half-mad, impossibly reckless read on the character, it simply no longer bears any resemblance to the early days' lurking and creeping through the seedier parts of town. There's a great series of justifications running through the Sandman concept - he's no powers, so he uses the gas gun, so he needs the gas mask, which hides his identity so perfectly it frees him to wear the ordinary business suit, which highlights his vulnerability. Fling him around like a ragdoll who knows no fear of injury or death, although I'll clap for the bravado of it all, I must object if it means any notion he should be sneaky or cautious degrades.
Especially if it means the gas gun vanishes from the character. It hasn't met its final end just yet, but for this seven month block it's proven a very perfunctory aspect of the strip, hung by his side and occasionally brandished without acting as an integral part of the action or storytelling. The wirepoon has subsumed its function as the sidearm, and while I must stress there are plenty aces shots of Wes swinging that fully justify its prominence, taking precedence over the thing that makes him the Sandman, Crimefighter What Fights Crime By Putting The Criminals To Sleep plain rubs me the wrong way. Be awful nice i we could have both without the new toy putting the old out to pasture, y'know? It's not led to anything I'd full-throatedly object over just yet, but... ach, you'll see next time. Speaking of...
Next time! 1941 comes to a close as Wesley picks up another feature to his name, and also a stupid, ugly new costume!
(Previous write-ups: 1939, 1940 pt 1, 1940 pt 2)

Hola, justamente hace 15 días salí con un chico que me gusta, pasó lo que tenía que pasar, no usamos preservativo y pues obviamente se vino adentro, al día siguiente me tomé la pastilla, después de tomarla a los dos días mi olfato cambió, las cosas me daban asco y no quería casi comer y además dormía muchísimo, lo tomé normal quizá eran los efectos de la pastilla 💊 Hace 15 días que me tome la pastilla y me han estado dando ascos, casi no quiero comer y me he estado enfermando muchísimo del estómago, a tal grado que ni siquiera puedo terminarme un plato de comida porque no puedo y además me cae mal en el estómago al día siguiente, después me da mucha hambre y luego dejo de comer y solo ceno al día.
¿Ustedes que creen?😭 graciass

All picked up on 4/20 week.
Top upvote gets next review, second highest after that and the third highest after that. So Top 3.
Please check for comments before typing duplicates.
Beautiful Day by Walker Cannabis
Cats Under the Stars by Resin Remedies
Tickle Burger by Funk House Farm
Blockberry/Superboof by Boros Bud
MacRib by Firefly Organics
Secret Cookies by Firefly Organics
Lime Bars by Hazy Hill (bulk)
Appalachian Fog by Hazy Hill (bulk)
Pineapple Fields by Hazy Hill
GMO Rootbeer by Discerning Med
Motorbreath #15 by Skunkfoot
MTN Trop by Skunkfoot
Gas Cap #11 by Skunkfoot
Pink Lemonade by Skunkfoot
Khalifa Kush by Skunkfoot
Bahama Berry #2 by Elm
Mendo F2 by Doomsday
Meat Nut by Doomsday
Ballerz by Doomsday
Cookie Breath by Doomsday
White Nightmare by Doomsday
Han Solo Hash Plant by Doomsday
Slap N Tickle by Str8 Chronic
Paradigm Shift by Art & Craft
Radiation Exposure #1 by Weaving
Sweat Helmet by Dolph
Stardog Daydream by Weaving
Dragonfruit Thai by Blackwood (bulk)
Swagyu by Laughing Lobster
Neon Groove by Brave Boat
Grapefruit Gelato by Brave Boat
Banana Macaroon by Mentation
K1 (Ice Cream Cake x Secret Genetics) by Frost Factory
Iced Mocha by Royal River Botanicals
Garlic Juice by Mentation
Wizard Punch by Maine Craft Cannabis
Cheers for all the good reccos. Hash reviews also coming soon after I get more experience!
Appreciate y’all!

So I'm thinking about starting a mild longterm world no speed run since I've never gotten past the hedge area solo... is anyone is down to join me lol we can built a multi bedroom fort or whatever that way everyone has their own loot rooms!! Preferably adults

Dune: Part One

Directed by: Denis Villeneuve

Based on the novel by: Frank Herbert

Starring: Timothée Chalamet, Rebecca Ferguson, Zendaya, Oscar Isaac, Jason Momoa, Stellan Skarsgård, Stephen McKinley Henderson, Josh Brolin, Javier Bardem

A noble family becomes embroiled in a war for control over the galaxy's most valuable asset while its heir becomes troubled by visions of a dark future.

Info:

• Rated: PG-13
• Running Time: 155 Minutes
• Genre: Science Fiction Action Drama
• Release Date: October 22, 2021
• Country(s): USA
• Language(s): English
• IMDb user rating: 8.0/10
• Rotten Tomatoes Critic: 83%
• Rotten Tomatoes Audience: 90%
• Metacritic Critic: 74/100
• Metacritic Audience: 7.9/10

Awards: 170 wins and 281 nominations

• Oscar winner - Best Sound
• Oscar winner - Visual Effects
• Oscar winner - Production Design
• Oscar winner - Music - Original Score - Hans Zimmer
• Oscar winner - Film Editing - Joe Walker
• Oscar winner - Best Achievement in Cinematography - Greig Fraser
• Oscar nominee - Best Picture, Makeup and Hairstyling, Costume Design, Best Adapted Screenplay

Links:

• IMDb
• Wikipedia
• Rotten Tomatoes
• Metacritic
• Movie Trailer
• Movie Poster

Streaming Options:

• Max (formerly HBO Max) - external links are unreliable
• Amazon Prime HBO Max channel

^{Select free options listed above, view the full list of streaming and purchase options on JustWatch}
Discussion topic(s):

• We have chosen this somewhat obscure Villeneuve film to complete the weekend.

PLEASE DON'T RUIN ANY MOVIE FOR ANYONE WHO HASN'T SEEN IT!
Please tag any spoilers with the code:

>!X kills Y!!< 

Which will read as: X kills Y!

I know there's some costume aficionados here, maybe someone could help? I can't find much info on a Scream 4 adult classic costume. I'm told it's rare, I'm not convinced.

§163 Mi ética es a todas las de la filosofía europea lo que el Nuevo Testamento al Antiguo, de acuerdo con la concepción que de esa relación tiene la Iglesia. En efecto, el Antiguo Testamento coloca a los hombres bajo el imperio de la ley, lo cual, sin embargo, no conduce a la salvación. El Nuevo Testamento, en cambio, considera la ley insuficiente y hasta exonera de ella (por ejemplo, Romanos 7, Gálatas 2 y 3). Frente a ello predica el reino de la gracia al que se llega mediante la fe, el amor al prójimo y la completa negación de sí mismo: este es el camino para salvarse del mal y del mundo. Pues a pesar de todas las tergiversaciones protestante-racionalistas, el espíritu ascético es verdaderamente el alma del Nuevo Testamento. Mas ese espíritu consiste precisamente en la negación de la voluntad de vivir; y aquel tránsito del Antiguo al Nuevo Testamento, del imperio de la ley al imperio de la fe, de la justificación por las obras a la salvación a través del Mediador, del dominio del pecado y la muerte a la vida eterna en Cristo, significa sensu proprio el tránsito de las virtudes meramente morales a la negación de la voluntad de vivir. — En el espíritu del Antiguo Testamento se han mantenido todas las éticas filosóficas que me han precedido, con su absoluta (es decir, carente tanto de fundamento como de fin) ley moral con todos sus mandatos y prohibiciones morales, a los que se les añade mentalmente el Jehová que los decreta; lo cual es común a todas, por diferentes que resulten las formas y presentaciones del asunto. Mi ética, en cambio, tiene fundamento, propósito y fin: primero, demuestra teóricamente el fundamento metafísico de la justicia y la caridady, luego, indica el objetivo al que estas han de conducir finalmente si se logran por completo. Al mismo tiempo, admite con franqueza el carácter reprobable del mundo y señala la negación de la voluntad como el camino para salvarse de él. Según ello, está realmente en el espíritu del Nuevo Testamento, mientras que las demás en su totalidad se hallan en el del Antiguo y, en consecuencia, terminan también desde el punto de vista teórico en un mero judaísmo (puro teísmo despótico). En este sentido se podría llamar a mi teoría la verdadera filosofía cristiana, por muy paradójico que esto pueda parecer a quienes no llegan al núcleo de la cuestión sino que se quedan en la superficie.
§164 Quien sea capaz de pensar con algo más de profundidad alcanzará pronto a ver que los deseos humanos no pueden empezar a ser pecaminosos en aquel punto donde, cruzándose casualmente en sus orientaciones individuales, ocasionan el mal por un lado y la maldad por otro; sino que, de ser esto así, han de ser pecaminosos y reprobables ya en origen y esencia, y por consiguiente toda la voluntad de vivir es ella misma reprobable. De hecho, todo el horror y la miseria de los que el mundo está lleno son simplemente el resultado necesario del conjunto de los caracteres en los que se objetiva la voluntad de vivir, dentro de las circunstancias que se presentan en la cadena ininterrumpida de la necesidad, las cuales les proporcionan los motivos; son, pues, el simple comentario a la afirmación de la voluntad de vivir. (Véase Teología alemana, p. 93.) — Que nuestra existencia misma implica una culpa lo demuestra la muerte.
§166 Si en la concepción del mundo partimos de la cosa en sí, de la voluntad de vivir, encontramos que su núcleo, su máxima concentración, es el acto genésico: este se presenta entonces como lo primero, el punto de partida: es el punctum saliens del huevo del mundo y la cuestión fundamental. ¡Qué contraste se da, en cambio, cuando se parte del mundo empírico dado como fenómeno, del mundo como representación! Aquí, en efecto, cada acto se presenta como algo totalmente individual y especial, de importancia secundaria, incluso como una cuestión accesoria disimulada y encubierta que se introduce furtivamente, una anomalía paradójica que da frecuente materia de risa. Pero también podría parecernos que el diablo hubiera querido ocultar ahí su juego: pues el coito son sus arras, y el mundo, su reino. ¿No hemos notado que illico post coitum cachinnus auditur Diaboli? ("Inmediatamente después del coito se oye la risa del diablo.") Lo cual, expresado con seriedad, se debe a que el deseo sexual, sobre todo cuando se concentra en el enamoramiento por la fijación en una mujer determinada, es la quintaesencia de toda la estafa de este elegante mundo, ya que promete una cantidad tan inexpresable, infinita y exagerada, y cumple una tan miserablemente pequeña. — La parte de la mujer en la procreación es en cierto sentido menos culpable que la del hombre, por cuanto este da al hijo que va a engendrar la voluntad, que es el primer pecado y por lo tanto la fuente de toda maldad y mal; la mujer, en cambio, le da el conocimiento, que le abre el camino de la salvación. El acto genésico es el nudo del mundo, ya que declara: «La voluntad de vivir se ha afirmado de nuevo». En este sentido se lamenta una expresión retórica del brahmanismo: «¡Dolor, dolor! El lingam está en el yoni». — La concepción y el embarazo, por el contrario, dicen: «A la voluntad se le ha vuelto a agregar la luz del conocimiento»; con ello puede volver a encontrar su camino, y así se le ha presentado de nuevo la posibilidad de la salvación. De ese modo se explica el notable fenómeno de que, aunque cualquier mujer quiere morir de vergüenza cuando se le sorprende en el acto genésico, en cambio hace ostentación de su embarazo sin asomo alguno de ella, e incluso con una especie de orgullo; porque en los demás casos, un signo indefectiblemente seguro es siempre equivalente a la cosa señalada, y por eso cualquier otro indicio de haber consumado el coito avergüenza a la mujer en alto grado, con la única excepción del embarazo. Esto se explica porque, de acuerdo con lo anterior, el embarazo es en cierto sentido un pago de la deuda que el coito contrae, lleva consigo o al menos deja entrever. De ahí que el coito cargue con toda la vergüenza y oprobio del asunto; en cambio, el embarazo, hermanado tan de cerca con él, permanece puro e inocente, e incluso se hace en cierta manera respetable.El coito es principalmente asunto del hombre; el embarazo es exclusivo de la mujer. El hijo recibe del padre la voluntad, el carácter; de la madre, el intelecto. Este es el principio que libera; la voluntad, el que ata. El signo de la continua existencia de la voluntad de vivir en el tiempo, pese al incremento de la iluminación del entendimiento, es el coito: el signo de la luz del conocimiento que, en su grado máximo de claridad, vuelve a acompañar a esa voluntad abriéndole la posibilidad de la salvación, es la renovada encarnación humana de la voluntad de vivir. La señal de esta es el embarazo, que por eso camina franco y sincero, hasta orgulloso, mientras que el coito se esconde como un criminal.
§167 Algunos Padres de la Iglesia han enseñado que incluso la cohabitación conyugal está permitida solo cuando se practica con el único fin de la procreación de los hijos, como dice Clemente de Alexandría en Stromata II, capítulo 11. (Los pasajes al respecto se encuentran recopilados en P.E. Lind, De coelibatu Christianorum, c. 1). Clemens Alex. Stromata III, c. 3 atribuye esa opinión a los pitagóricos. No obstante, esta es, tomada con exactitud, errónea. Pues cuando el coito no se quiere ya por sí mismo, ha aparecido la negación de la voluntad de vivir y entonces la propagación del género humano resulta superflua y vacía de sentido, en la medida en que el fin se ha alcanzado ya. Además, traer un hombre al mundo sin pasión subjetiva, sin voluptuosidad y sin ímpetu físico, simplemente por pura reflexión y fría intención, con el fin de que exista en él, sería una acción muy delicada desde el punto de vista moral, que muy pocos asumirían y de la que quizás alguno podría decir que es a la procreación por mero impulso sexual lo que el asesinato premeditado a sangre fría al homicidio en un ataque de ira. En la razón opuesta se basa en realidad el carácter condenable de todas las satisfacciones sexuales antinaturales; porque con ellas se complace el impulso, es decir, se afirma la voluntad de vivir, pero falta la propagación, que es sin embargo la única que mantiene abierta la posibilidad de la negación de la voluntad. Así se puede explicar que la pederastia fuera reconocida por vez primera como un grave pecado con la aparición del cristianismo, debido a su tendencia ascética.
§168 Un convento es una congregación de hombres que han hecho voto de pobreza, castidad y obediencia (es decir, de renuncia a la propia voluntad) y a través de la vida en comunidad intentan facilitar, por una parte, la existencia misma, pero aún más aquel estado de dura renuncia, ya que la visión de otros que tienen los mismos sentimientos y renuncian de forma semejante refuerza su decisión y les consuela; además, la sociabilidad de la vida en común dentro de ciertos límites es adecuada a la naturaleza del hombre y constituye un alivio inocente dentro de las muchas y duras privaciones. Este es el concepto normal del convento. ¿Y quién puede llamar a una sociedad así una reunión de chiflados y necios, como sin embargo hay que hacer de acuerdo con todas las filosofías salvo la mía? —El espíritu y sentido interno de la auténtica vida monacal, como del ascetismo en general, es este: que uno se ha reconocido digno y capaz de una existencia mejor que la nuestra y quiere reforzar y mantener esa convicción despreciando lo que este mundo le ofrece, rechazando todos sus placeres como carentes de valor y esperando con tranquilidad y confianza el fin de esta vida suya despojada de vanidosos cebos, para dar un día la bienvenida a la hora de la muerte como la de la salvación. Los saniasis tienen exactamente la misma tendencia y significado, al igual que los monjes budistas. Desde luego, en ningún asunto concuerda la praxis tan raramente con la teoría como en el monacato, precisamente porque su pensamiento fundamental es tan elevado: y abussus optimi pessimus. Un auténtico monje es un ser sumamente venerable: pero en la mayoría de los casos el hábito es una simple máscara tras la que no se oculta un monje real en mayor medida que tras una mascarada.
§170 El número de los trapenses ordinarios es pequeño; en cambio, la mitad de la humanidad está formada de trapenses involuntarios: pobreza, obediencia, falta de todos los placeres e incluso de los medios de alivio más necesarios, y con frecuencia también castidad obligada o causada por alguna carencia, son su suerte. La diferencia es simplemente que los trapenses ejercitan el tema por libre elección, metódicamente y sin esperanza de mejora, mientras que la primera forma se ha de contar entre aquello que en mis capítulos sobre ascetismo he llamado δεύτερος πλούς; la naturaleza ya ha cuidado suficientemente de provocar esto mediante el fundamento de su orden, sobre todo cuando a los males que surgen directamente de ella se le añaden además aquellos otros que originan la discordia y maldad de los hombres, tanto en la guerra como en la paz. Pero precisamente esa necesidad del sufrimiento involuntario para la salvación eterna se expresa ya en aquella sentencia del Redentor: "Le es más fácil a un camello entrar por el ojo de una aguja que a un rico entrar en el Reino de los Cielos." Por eso, aquellos para quienes la salvación eterna era algo muy serio han elegido la pobreza voluntaria cuando el destino se la había negado y habían nacido ricos: así el buda Shakya-Muni que, nacido príncipe, tomó voluntariamente el báculo de mendigo; y el fundador de la Orden de Mendicantes, Francisco de Asís, al que, cuando era un joven mozo, estando en un baile donde estaban sentadas juntas las hijas de los notables se le preguntó: «¿Don Francisco, no va a elegir pronto a una de estas bellas damas?». Y respondió: «¡He escogido una mucho más bella!». — «¡Oh! ¿Cuál?». — «La povertà»;— y poco después lo abandonó todo y atravesó el país mendigando. El que a través de tales consideraciones tenga presente lo necesarios que en la mayoría de los casos son para nuestra salvación la necesidad y el sufrimiento, sabrá que no deberíamos envidiar a los demás tanto por su felicidad como por su infelicidad. Por la misma razón, también el ánimo estoico que desafía al destino es, ciertamente, una buena coraza contra los sufrimientos de la vida y sirve para soportar mejor el presente: pero se opone a la verdadera salvación. Pues esconde el corazón. ¿Y cómo habría de mejorar este a través de los sufrimientos si, rodeado de un anillo de piedra, no los siente? — Por lo demás, no es muy infrecuente un cierto grado de estoicismo. A menudo puede ser afectado y reducirse al "Al mal tiempo, buena cara" : sin embargo, cuando no es disimulado, la mayoría de las veces nace de una simple insensibilidad, de una falta de energía, de vivacidad, de emoción y de fantasía, cualidades estas que son necesarias incluso para una gran pesadumbre. A esta clase de escepticismo son especialmente favorables la flema y la lentitud de los alemanes.
§171 Las acciones injustas o malvadas son con respecto a quien las ejercita signos de la fuerza de su afirmación de la voluntad de vivir y, en consecuencia, de la distancia a la que todavía se encuentra de él la verdadera salvación, la negación de la voluntad, y con ello la redención del mundo; y luego también, de la larga escuela de conocimiento y sufrimiento por la que ha de pasar hasta llegar allá. — Pero con respecto a aquel que ha de sufrir con aquellas acciones, desde el punto de vista físico estas son un mal; mas desde el metafísico son un bien y en el fondo una buena acción, ya que contribuyen a conducirle hacia su verdadera salvación.

Here are some different ideas I have for stories about girls being enslaved by Jabba.
1: Shaak Ti; in an alternate universe, Grievous, after defeating her on Coruscant, sells her to Jabba the Hutt, who tries to break and humiliate the once proud and powerful Togrutan Jedi Master into becoming his sex slave. Note, this particular story is inspired by this: https://www.reddit.com/jabbaleia/comments/l41394/fanfic_suggestion_jabba_enslaves_shaak_ti/
2: Azula (from Avatar the Last Airbender): Four years after her imprisonment, Azula, now eighteen years old and officially an adult, escapes from prison, only to be captured by Jabba's minions and made his slave. From there, Azula is caught between a seemingly never ending battle between her growing sexuality, her unbearable humiliation, and her cunning plan to outwit Jabba. My idea for Azula's slave outfit is a skimpy red bikini like the second costume she wears in the episode 'The Beach', but slightly more revealing; it shows off more of her legs e.g.
3: Rayla (from the Dragon Prince): Set in an AU where season 4 of The Dragon Prince takes place not two but three years after season 3, making Rayla eighteen in this story, Rayla gets enslaved and put into a skimpy outfit by Jabba, which leads to much awkwardness when her boyfriend, Callum comes to save her. My idea for the slave out Jabba forces Rayla to wear is basically Leia's metal bikini, but colored teal, navy, and black like Rayla's Moonshadow assassin outfit as an additional mockery.
4: Rainbow Dash (from Equestria Girls): Set in a more medival universe, Rainbow Dash is enslaved by Jabba and forced into a skimpy red outfit, which leads to much awkwardness when her girlfriend, Twilight Sparkle, comes to save her. Inspired by this: https://www.fimfiction.net/story/474981/2/cinematic-adventures-star-wars-episode-vi-return-of-the-jedi/rancor-battle
5: Catra (from She-Ra and the Princesses of Power): Set after Season 5, Catra is enslaved by Jabba and and forced into a skimpy outfit, which leads to much awkwardness when her girlfriend, Adora, comes to save her.
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So, what do you think of these ideas?

I (m24) been dancing for 11 years with the same dance group. I was going from middle to high school when I joined and I still remember the first day I walked in when it was just me and 40 girls. I’ve never felt so awkward. I stuck around because honestly it’s my favorite thing to do. I have friends there, some I consider family, but it doesn’t make it all easier. I’ve the years we’d have a guy or two join us and some would leave, it was mostly just me for years until a friend of mine joined our group. He and I had each others back until he left earlier this year, leaving me solo again. The problem with being the only guy is you already stick out like a sore thumb, but sometimes the girls make you feel excluded without realizing it. Anytime they do pictures for instagram they’ll get the whole group in their dressing room but I won’t be in it because I have my own room. They’ll get with their girl groups and go to lunch, just small stuff like that. I know they don’t have to include me and I don’t ask to be, it’s not why I’m there. Over the years I’m not nearly as bothered by it and now I just don’t think anything of it. The other hard part about being the only guy is having to deal with the girls being uncomfortable around you, for being a guy. When it comes to quick changes on side stage or having to partner up for others, I can tell some still get uncomfortable when I’m around. It’s not as bad now as we’re all adults in our early twenties but just for example, we had our huge recital and they had a changing station in the corner for 2 people and I was in a chair near it because it was a seating area near the side stage. Most of us congregated and waited to go on stage there so it’s normal I was near it. I noticed early on there was a mirror behind the area that could show them changing. (They weren’t in there when I noticed this) so when they rounded the corner into it I immediately put my head down and starred at my phone. I overheard one of them say what sounded like they weren’t a fan of being there with me near so I just walked away to make them feel better. They were wearing tights and leotards underneath everything so in no way could I see anything anyways but I did this more of our respect for them then anything. Another girl was quick changing near us on the side of the stage and again I turned away even though she was still fully covered. Even when we’re all stretching together I look away anytime anyone bends over or anything, I’ve just trained myself to do so. I know it’s hard for so if then but it’s hard for me to because I always feel like I’m walking on eggshells. Now don’t get me wrong I love these girls and my dance family as a whole and don’t plan on leaving. I know I’m just being self conscious on most of this but I had to vent it. I know most of them still love and want me around but some still make it hard for me.

NOTICIERO 2PM
-¿Es el fin? Muchos miembros de la NCAR se han empezado a preguntar eso con el increíble descubrimiento de los dientes del misterioso animal que ataco a la ballena hace unos días, los dientes de esta pasan los 60 centímetros una cifra demasiado grande esto asusta a los científicos de la NCAR, animales así de grandes se supone que ya no deben existir, pero es un hecho comprobaron una cuentas veces mas pero daba el mismo incluso mas, al final la altura del diente pasaron los 61.7 centímetros una cifra muy imponente, será nuestro fin, y si este animal pudiera andar fuera del agua, y si hay de estos monstruos-
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Rayan no se encontraba en casa, este se encontraba junto a unos amigos en un Bar hablaron de sus tragedias, Rayan conto como perdió la custodia de sus hijas debido de un ataque de ira, Alex como su padre murió de una bala perdida mientras conducía y como eso casi lo mata y German como su esposa lo engaño solo por no ser bueno en la cama como ella miraba en las porno según ella, me rieron de los noticieros otra vez por prestarle tanta atención a esa criatura inventada y antes de irse llamaron a Alex lo vieron con dos chicas dejándolo con ellas, ¨Que suerte tiene el miedoso, esperemos que las complace se miraban de las difíciles¨ reclamo Rayan.
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German llamo a Rayan a las 4 am ¨¿¡Qué te pasa!?¨ grito Rayan ¨Alex esta en el hospital al parecer recibió diferentes disparos¨ Rayan preocupado corrió rápido al hospital, afortunadamente Alex no sufrió heridas graves y Rayan pudo ir a verlo inmediatamente, Rayan y German preguntaron por lo ocurrido ¨Las chicas, las había conseguido e íbamos a un lugar mas apropiado, pero antes de salir empezaron a asaltar el lugar, a una de las chicas se las iban a llevar así que lo enfrente y me dispararon¨ Rayan y German lo felicitaron por defender, felicitaron que no sintiera miedo según ellos, pero, Alex sabia que ese su momento de su vida donde mas miedo sintió, solo lo invadió la adrenalina por lo que el no creía que tenia que ser felicitado. ¨Para celebrarlo que tal que para la próxima semana nos vamos a pescar¨ Alex y German aceptaron y Rayan y German se fueron para dejar descansar a Alex.
-En una playa del sur de chile-
Unos niños disfrutaban de su pelota, cada rebote de la pelota lo molestaba, cada rebote abría cada vez mas sus ojos,¨1-2-3-4-5-6¨, contaban los niños como si hicieran un ritmo,¨-7¨, el séptimo rebote arruino todo, de las aguas salto ¿un pez? ¿una ballena? ¿un tiburón? Sea lo que sea era lo mas grande que el ojo humano haya visto, cada pequeño aleteo hacia una gran explosión de aire, era el fin del humano, o eso veían los ojos humanos.

Toda mi vida está hecha "mierda" la verdad es q desde hace tiempo tengo muchas cosas . Problemas familiares q han acarreado a mi presente . Deudas q tengo .problemas en los estudios y unas ganas de solo querer liberarme de todo . Recurro a ser uno con una persona y otro con otra . Sólo mis amigos de niños saben quién soy de verdad y es muy hiriente para mí aparte he descubierto q tengo una especie de temor para ligar con las mujeres "me faltan huevos" estoy completamente queriendo dejar de existir solo estoy cansado duermo poco no conozco a nadie y si lo hago simplemente soy demasiado feo apresar de q todas las.personas dicen q soy demasiado extrovertido quizás es mi propia cara q no es agradable a la vista pero aún así todos los días me levanto hago mis cosas . Doy lo mejor de mi pero aveces me fatigo tanto q quiero irme de la realidad estoy cansado . Todos los días es lunes a miércoles cualquiera de esos días descanso . Los lunes en caso no descanse entro a las 8 am y llegó a mi casa a la 1 am por estudios q demoronuna hora en llegar de la universidad a mi casa salgo a las 11. El martes llego a las 9 o 10 pm miércoles igual q el lunes jueves igual q martes y de viernes a domingo tengo q hacer todas mis tareas, investigaciónes y tengo q pagar mi universidad haciendo horas extra en el trabajo para pagar a tiempo tengo q comer en la calle porq soy humano tengo hambre y es cara la comida fuera con un sueldo mínimo pagar la universidad y mantenerte a medias es bastante tedioso . Estoy aburrido de mi rutina y aveces salgo como hoy fui a una disco y me faltaron huevos para encarar a una flaca creo q es porq inconscientemente siento q me rechazaran y me siento mal al no intentar ni lo más mínimo con nadie .

Hola nunca me he expresado en texto o escribiendo ni palabras, pero bueno al grano, quisiera poder decir que es lo que me pasa pero ese es el problema no lo se...Siento como si me estuviera quemando vivo pero no mi cuerpo solo mi corazon me siento fatal, siempre me digo a mi mismo que no debo hqcer daño y una vez estuve en una pelea no di ningun golpe, pero me senti arrepentido llore mucho pero no entendia, no habia hecho nada solo estaba nervioso pero bueno...Siempre dicen que debes y me DICEN debes escuchar a tu corazon y mi corazon dice: No hagas daño aunque esa persona te haya traicionado...Pero a la vez, mi mente dice: Debes tratar a las personas como te han TRATADO pero, no quiero...