“There’s no way ghosts exist, right?”
So says Makise, a physics graduate student who in reality, has the innate superability to sense the supernatural. That’s when the handsome Toono, who seemingly unknowingly has the ability to erase ghosts, joins the same research lab. Taking advantage of Toono’s ability to exorcise ghosts, Makise sticks with him and spends his days in peace, when one day Toono ... Read Yuurei Kesunde Tsukiatte Kudasai - Vol.2 Chapter 9.5 - MangaPuma. Read more at https://mangapuma.com/yuurei-kesunde-tsukiatte-kudasai/vol-2-chapter-9-5

^{This Table updates every 15 mins. You can save this post and come back later! ( ´ ▽ `}⁾

Top Manga in last hour

Status	Manga	Upvotes
new	Umeko-chan is in Love - Vol. 1 Ch. 2 (oh hi :D)	1

Top Manga in last 6 hours

Status	Manga	Upvotes
↑	- My Junior at the Company Was A Witch - Ch. 11	189
↑	My Wife Is From a Thousand Years Ago - Chapter 174	59
↑	Gori-sen ~The type of PE teacher to die first during a panic~ Ch. 69.5	42
↑	Moto Ansatsusha, Tensei Shite Kizoku no Reijou ni Narimashita ( Ch. 4.2 )	24
↑	Shinozaki-kun no Mente Jijou - Chapter 26	15
↑	Oroka na Tenshi wa Akuma to Odoru - Ch. 69	10
↑	Sousai Shojo Teien Activity Diary - Vol. 92	8
↓	Under Ninja - Chapter 23	7
new	Umeko-chan is in Love - Vol. 1 Ch. 2 (oh hi :D)	1
←→	Silver Spoon (OZAWA Mari) - Chapter 53.1	1

Top 50 Manga in last 24 hours

Status	Manga	Upvotes
←→	Telework Yotabanashi - Bonus Chapter 20.5 by Kintetsu Yamada (Sweat and Soap)	4093
←→	The Cool Classmate ◯◯ Years Later... - Ch 37&41	2100
←→	The Cool Classmate ◯◯ Years Later... - Chapter 42	1511
←→	Go-Senpai's Counseling Session 9	1304
←→	Otaku Grandma Chapter 1	1190
←→	- Dating the Kind of Girl You Shouldn't Get Involved With - Ch. 49	957
←→	Mato Seihei no Slave - Chapter 108: Shangri-La	869
←→	"100 Days Until the Female President and the New Employee Have xxx" has been cancelled	689
←→	Kaguhara's Fetish Notebook - Chapter 9.1	595
←→	Beat & Motion - Chapter 8	545
←→	Nick & Lever - Chapter 66	517
←→	Survival Story of a Sword King in a Fantasy World Chapter 170 Leviatan Scans	452
←→	Ishigami Senki/Saga of the Stone God, Chs. 1 and 2 (Animated Glitch Scans Version)	337
←→	Kitazawa-kun Is in A class - Ch. 9	290
↑	Hirayasumi by Shinzo Keigo - Chapter 50	281
↑	Tatari (Ch. 2)	262
↑	Modern MoGal Chapter 264 - Beach Memories	253
←→	Maria no Danzai - Chapter 3	247
↑	- Kitazawa-kun wa A Class Ch. 8	229
↑	Mato Seihei no Slave - Chapter 108 RAW	229
↑	J and M (Ch. 1)	215
↑	- My Junior at the Company Was A Witch - Ch. 11	191
↑	Tondemo Skill de Isekai Hourou Meshi - Chapter 56.1	173
↑	The Pension Life Vampire - Chapter 8	159
↑	Infinite Level up in Murim Chapter 151	121
↑	Rosen Garten・Saga - Episode44「自信～Komplex～」 RAW	109
←→	Living With a Kunoichi (Oshinobi Dousei) Ch. 13 by Ponto Gotanda from What's Typesetting?	109
↑	The Incompetent Woman Wants to Be a Villainess ~ The Young Lady Who Married as a Substitute for Her Stepsister Didn't Notice the Duke's Doting! (Ch. 2.2)	87
←→	Me and my gangster neighbour - Chapter 23	86
←→	Living With a Kunoichi (Oshinobi Dousei) Ch. 14 by Ponto Gotanda from What's Typesetting?	82
↑	Gensou Gourmet Ch. 24	68
↑	Shiroyama to Mita-San: Ch. 21 - 30 by Kusakabe Yuuhei	65
↑	My Wife Is From a Thousand Years Ago - Chapter 174	56
↑	Isekai Kokka Alchimaira: Saijaku no Ou to Musou no Gunzei - Ch. 7.2	54
↑	Spotlight - Chapter 13 (END)	52
←→	Baki Dou (2018) - Chapter 150	51
↑	Maou-sama no Machizukuri! ~Saikyou no Danjon wa Kindai Toshi~ - Chapter 51	48
↑	Gori-sen ~The type of PE teacher to die first during a panic~ Ch. 69.5	44
←→	Deatte Hitotsuki de Zecchou Jorei! - Ch. 31	43
←→	Demon Instructor at the Royal Academy of Magic » Ch. 6	43
↑	Player - Chapter 159 - Immortal Updates	34
←→	The Soul Spewing Wielder - Chapter 6	33
←→	How Do I Get Together With My Childhood Friend? - Chapter 12	33
↑	Moto Ansatsusha, Tensei Shite Kizoku no Reijou ni Narimashita ( Ch. 4.2 )	26
↑	Rosen Garten・Saga - Episode44「自信～Komplex～」RAW	20
↑	Magic Level 99990000 All-Attribute Great Sage-Chapter 30	20
←→	Hellper 2: Killberos Chapter 55 Cubari	18
↑	The Ember Knight Episode 105	16
↑	The Knight and Her Emperor - Ch. 185	16
new	Shinozaki-kun no Mente Jijou - Chapter 26	15

Top 50 Manga in last 7 days

Status	Manga	Upvotes
←→	Chainsaw Man - Chapter 131	6836
←→	The inescapable trap (Oneshot by @horideiyasumi)	6229
←→	Telework Yotabanashi - Bonus Chapter 20.5 by Kintetsu Yamada (Sweat and Soap)	4093
←→	- Ganbare, Douki-chan - Ch. 223 (Extra)	3742
↑	The Cool Classmate ◯◯ Years Later... Extra chapter	3543
↓	- One Punch Man - Chapter 185	3541
←→	Please Go Home, Akutsu-san! - Chapter 142	3390
←→	The Cool Classmate ◯◯ Years Later... Ch. 38 & 39	3139
←→	Nan Hao & Shang Feng Ch. 104 - At the beach	3076
←→	When I Returned to My Hometown, My Childhood Friend was Broken - Ch 37 by @zyugoya	3042
←→	SPY x FAMILY - Chapter 81	2991
←→	The Grim Reaper Falls In Love With A Human (ch 0)	2877
←→	Dandadan - Chapter 108	2813
←→	- Senpai of the photography club - Ch. 1-10	2801
←→	What Happens Inside the Dungeon, Side Story - Chapter 1	2473
←→	Ignorant girl ◯◯ years later... - ch.1	2446
←→	- The Cool Classmate ◯◯ Years Later... - Ch. 35	2439
←→	Nevertheless (Oneshot by @horideiyasumi)	2337
←→	Go-Senpai's Counseling 8	2307
←→	I Was Reincarnated As The Scumbag From a Netorare Manga, But The Heroine is Coming On To Me - Chapter 3	2189
←→	The Cool Classmate ◯◯ Years Later... - Ch 37&41	2100
←→	The Cool Classmate ◯◯ Years Later... Chapter 37	2071
←→	- The Story That the Transfer Student Was My Favorite Voice Actor - Ch. 1-2.2	2044
←→	Sukinako ga Megane wo Wasureta (Twitter Extras) - Chapter 66	2021
←→	Jujutsu Kaisen - Chapter 224	2017
←→	Go-Senpai's Counselling Session 5	2006
←→	- Kage no Jitsuryokusha ni Naritakute Ch. 53	1915
←→	Guessing Game - Oneshot (by @POPON050707)	1818
←→	New Senpai Girlfriend - Oneshot (by @POPON050707)	1793
←→	- Until This Social Outcast Becomes My Wife... - Ch. 1 (By Giba-chan)	1728
←→	Go-Senpai's Counseling Session 7	1723
←→	Mato Seihei no Slave Vol. 13 omake raw	1687
←→	Yancha Gal no Anjou-san - Ch 150	1654
↑	- The Case In Which Streaming In Another World Led To The Creation Of A Massive Yandere Following - Ch. 2	1621
↓	- Sad Words Yield Many Blossoms - Oneshot	1620
←→	The Cool Classmate ◯◯ Years Later... - Chapter 36	1568
←→	SAKAMOTO DAYS - Chapter 120	1536
←→	The Cool Classmate ◯◯ Years Later... - Chapter 42	1511
←→	Izakaya Onee-san - Oneshot (by @POPON050707)	1445
←→	- I'm Worried About My Classmate Who's Covered in Bruises - Ch. 14	1421
←→	What Happens Inside the Dungeon, Side Story - Chapter 2	1319
↑	- Less than a Sister - Oneshot	1314
↓	What Happens Inside the Dungeon, Side Story - Chapter 3	1310
←→	Go-Senpai's Counseling Session 9	1306
←→	Mashle: Magic and Muscles - Chapter 157	1265
←→	Go-Senpai's Counseling Session 6	1246
←→	My Girlfriend Gives Me Goosebumps! - Chapter 3	1198
↑	Otaku Grandma Chapter 1	1189
↓	You and I are Polar Opposites - Chapter 32	1176
←→	- Getsuyoubi no Tawawa - Ep. 432	1152

^{Last Update: 08:00:02-03/06 IST}

I'm from EU,so GAMES SHOULD work pretty much anywhere
NOT BUYING GAMES,ONLY TRADES - games for games or selling for paypal
No interest in TF2 keys,CSGO cases or ANY other virtual currency
BUYER covers the FEES (if outside EU,EU F&F only)
My Steam account so you don't offer me something I own
My Wishlist
My SGSRep
My IGSRep

Only looking for Steam games - so don't offer origin,uplay,rockstar,bnet or ANY other launcher
100% of my games keys are bought by me from official stores & I expect the same in return,so don't offer me keyshop games or game keys you got in a trade as I will decline
I retain the right to ask for proof of ownership for ANY game I want - just like YOU have the right to ask me the same

List of games I have:
Also have the Earthquake Relief bundle but reddit wont let me write all the games cause my topic would be too big - just ask
7 Billion Humans
8Doors Arum's Afterlife Adventure
10 Second Ninja X
60 Seconds!
112 Operator
140
198X
911 Operator
A Case Of Distrust
A Year Of Rain
Absolver
Aeolis Tournament
Age Of Wonders III
Ageless
Airport CEO
AI War 2
Alien Spidy
Aliens Vs Predator Collection
All You Can Eat
Almost There The Platformer
American Fugitive
Amnesia A Machine For Pigs + The Dark Descent (1 key for both games)
Amnesia Fortnight 2012
Amnesia Fortnight 2014
Amnesia Fortnight 2017
Amnesia Rebirth (X2)
Among Us (X2)
Ancestors The Humankind Odyssey (EU & Africa lock)
Aragami (X2)
Archamon
Army Men RTS
Attack Of The Earthlings
Automobilista
Aven Colony
Avernum 3 Ruined World
Azkend 2 The World Beneath
Back 4 Blood (EU region lock)
Backbone
Band Of Defenders
Banished
Baseball Riot
Batora Lost Haven
Battlestar Galactica Deadlock
Behind The Frame Finest Scenery NEW
Beholder 2
Bendy And The Dark Revival (X2)
Bendy And The Ink Machine
Betrayer (delisted)
Between The Stars (X2)
Beyond Eyes
Beyond The Wire
Bionic Commando
Bionic Commando Rearmed
Bird Of Light
Black Paradox
Blasphemous
Bohemian Killing
Book Of Demons
Bomber Crew Deluxe
Borderlands 3 + Director's Cut (ask about region locks)
Borderlands 3 Super Deluxe Edition NEW (ask about region locks)
Boreal Blade
Broken Age (X2)
Brothers A Tale Of Two Sons (X2)
Builder Simulator NEW
Butcher
Call Of Juarez
Call Of The Sea (X2)
Call To Arms Basic Edition
Call To Arms Gates Of Hell Ostfront
Car Mechanic Simulator 2018
Chenso Club
Chernobylite Enhanced Edition
Cities In Motion 2
CivCity Rome
Clone Drone In The Danger Zone
Clouds & Sheep 2
Coffin Dodgers
Cook Serve Delicious 3
Company Of Heroes Complete Edition
Control Ultimate Edition
Corridor Z
Cosmic Osmo And The World Beyond The Mackerel
Crash Drive 3
Creatures Inc
Crookz The Big Heist
Crossbow Bloodnight
Crusader Kings Complete
Crying Suns
Dagon The Eldritch Box
Danger Scavenger
Day Of Infamy
Dead Age
Dead In Vinland
Deadly Premonition Director's Cut
Deadbeat Heroes (X2)
Dear Ester Landmark Edition
Death Stranding Director's Cut
Death Squared
Deep Dungeons Of Doom
Deep Sky Derelicts
Demon Turf
Deployment
Desert Child
Destiny 2 Beyond Light NEW
Diaries Of A Spaceport Janitor
Dicey Dungeons (X2)
Dimension Drifter
Distraint 2 + Soundtrack
Divekick
Dog Sled Saga
Double Fine Adventures Complete Series Deluxe
Downwell
Drawful 2
Draw Slasher
Dreadlands
Dread X Collection
Driftland The Magic Revival
Dry Downing
Duke Nukem Forever Collection
Dungeon Marathon
Dungeon Of The Endless
Dungeons 2
Dungeons 2 Complete
Dungeons 3
Dusk
Dwarfs!?
Eador Imperium
EarthX
Eastside Hockey Manager
ECHO
Edge Of Eternity
Effie
Elderborn
Eldest Souls
Elden Path Of The Forgotten
Embr
Emily Is Away
Empyrion Galactic Survival
Epic Manager
E.T. Armies Deluxe Edition
Etherborn (X2)
Euro Truck Simulator 2
Europa Universalis IV
Evergarden
Expeditions Viking
F1 2018 (delisted)
Family Man
Fantasy Blacksmith
Fantasy Versus
Farmer's Dynasty
Farming Simulator 17
FIA European Truck Racing
Figment (X2)
Finding Paradise
Fire Ungh's Quest
First Class Trouble
Five Dates
Fling To The Finish
Fluffy Horde
Fobia St. Dinfna Hotel
Forgive Me Father
Framed Collection (X2)
Friday the 13th: The Game
Fun With Ragdolls The Game
Fury Unleashed (X2)
Gang Beasts
Garage Bad Trip (X2)
Gas Guzzlers Extreme
Gas Station Simulator
Gauge
Generation Zero NEW
Ghostrunner
Giana Sisters Twisted Dreams + Rise Of The Owlverlord
Gloria Victis NEW
GNOG
Go Home Dinosaurs!
Goat Of Duty
Goetia (X2)
Going Under (X2)
Golden Light
Golf Gang
GoNNER
Grand Ages Medieval
Grand Pigeon's Duty
Greak Memories Of Azur
Gremlins Inc.
Grip Combat Racing + Cygon + Nyvoss + Terra + Vintek DLC (X2)
Guts And Glory (X2)
Hack'n'Slash
Haiku The Robot (X3)
Hamilton's Great Adventure
Hammerfight
Headlander
Heal
Hedon Bloodrite
Hell Let Loose
Hellblade Senua's Sacrifice
Hello Neighbor
Hellbound
Hero Defense
Hero's Hour (EU region lock)
Hexologic
Hidden & Dangerous Action Pack
Hidden & Dangerous 2 Courage Under Fire
Hive Jump (X2)
Hiveswap Act 2
Hiveswap Friend Sim (X2)
Hollow Knight
Homeworld Deserts Of Kharak
Hotshot Racing
Hot Tin Roof The Cat That Wore A Fedora
Hot Wheels Unleashed
Hover (X2)
Human Resource Machine
Hurtworld
I Am Bread
I Am Not A Monster First Contact
Ice Lakes
If Found...
Ikenfell
Impact Winter (delisted)
In Between
Industria
Inexistence Rebirth
Infinite Air With Mark McMorris (delisted)
Influent
Inmost
Interplanetary Enhanced Edition
Intruder
Ion Fury
Iron Danger
Iron Harvest
Jack Axe
Jalopy
Jet Set Knights
Juanito Arcade Mayhem
Jump Stars
Jurassic World Evolution
Just Die Already
KartKraft
Kathy Rain Directors Cut
Keep Talking And Nobody Explodes (X2)
Killing Floor 2 Digital Deluxe NEW
Kill To Collect
Kingdom Classic (X2)
Kingdom New Lands
Kingdoms Of Amalur Re-Reckoning Fate Edition
King Oddball
Labyrinthine
Last Oasis
Last Tide
Lawn Mowing Simulator
Lead And Gold Gangs Of Wild West (X2)
Legacy Of Dorn Herald Of Oblivion (delisted)
Legend Of Keepers Career Of A Dungeon Master
Leisure Suit Larry Retro Bundle (1 to 7)
Lethal League Blaze
Liberated (GOG key)
Lifeless Planet Premium Edition
Light Fall
Little Big Workshop
Lone Fungus
Lost Planet Complete Pack
Lost Ruins
Lust For Darkness
Lust From Beyond M Edition
Magicka
Magrunner Dark Pulse
Maid Of Sker
Main Assembly (X2)
Mars Horizon
Masquerade The Baubles Of Doom
Max Payne 3 (Rockstar Launcher)
Mega Man Legacy Collection
Midnight Ghost Hunt NEW
Midnight Protocol
Mind Scanners
Mini Metro
Miscreated (X2)
Monster Crown
Moon Hunters
Morbid The Seven Acolytes
Motorcycle Mechanic Simulator 2021
Motorsport Manager
Mount And Blade Warband
My Lovely Daughter
Naruto To Boruto Shinobi Striker
Nascar Heat 5 Ultimate
Nebuchadnezzar
NecroVisioN Lost Company
NecroWorn
Neighbours Back From Hell
Neo Cab
Neon Abyss
NeuroVoider
Neverout
Nickelodeon All Star Brawl (X2)
Ninjin Clash Of Carrots
No Time To Relax
Northgard NEW
Not Tonight
Obduction
Observation
Octahedron
Odyssey The Story Of Science
Of Orcs And Men
Old School Musical
OlliOlli World Rad Edition
On Rusty Trails
One Finger Death Punch 2
Onikira Demon Killer
Operation Tango NEW
Orbital Racer
Orcs Must Die 2 Complete
Original War
Orwell Ignorance Is Strength
Out Of Reach Treasure Royal
Overlord II
Overpass
Override Mech City Brawl
Oxenfree
Pacer
Paint The Town Red
Paper Fire Rookie
Paradise Lost
Path Of Giants
Paw Paw Paw
Payday 2 + Big Mike mask
Peaky Blinders Mastermind (delisted)
Penarium
People Playground (X2)
Perfect Heist 2
PGA Tour 2K21 (X2)
Phoenix Point Year One Edition
Pikuniku
Pine
Pinstripe
Pixplode
Plane Mechanic Simulator
Poöf
Popup Dungeon
Post Void
Pound Of Ground (X2)
PowerSlave Exhumed
Prehistoric Kingdom
Primal Carnage Extinction (X2)
Project Cars GOTY (delisted)
Project Hospital
Project Warlock
Propnight
Pulsar The Lost Colony NEW
Pumped BMX+
Punch Club
Purrfect Date
Quest Of Dungeons
RAD (X2)
Radio Commander
Rad Rodgers Radical Edition
Railroad Tycoon 2
Railroad Tycoon 3
Railway Empire
Rain World
Raji An Ancient Epic
Rebel Cops
Rec Center Tycoon
Red Faction Armageddon
Red Solstice 2 Survivors
Redeemer Enhanced Edition
Redout Enhanced Edition
Re-Legion
Remothered Broken Porcelain
Resident Evil 4
Resident Evil Revelations (X2)
Resident Evil Revelations 2 Deluxe Edition
Retimed
Retrowave
Reventure
Revita
Ring Of Pain
Rings Of Saturn
Riot Civil Unrest
Rise Of Industry
Rise Of Insanity
Riven The Sequel To MYST
Roarr! The Adventures Of Rampage Rex
Roboquest
Rogue Heroes Ruins Of Tasos
Rogue Lords
Rogue Stormers
Rover Mechanic Simulator
RPG Maker VX
Rustler
Sable
Salt And Sanctuary
Satellite Reign
Satisfactory
Saturday Morning RPG
Say No! More
SCP 5K
SCUM (X2)
ScourgeBringer
Serious Sam 2
Serious Sam BFE (X2)
Serious Sam Classics Revolution
Serious Sam Double D XXL
Serious Sam HD The First & Second Encounter (1 key for both)
Serious Sam HD The Second Encounter Legend Of The Beast
Serious Sam HD The Second Encounter Serious 8
Serious Sam Kamikaze Attack
Serious Sam The Random Encounter
Serious Sam Bogus Detour
Shadow Tactics Aiko's Choice
Shady Part Of Me
She Remembered Caterpillars
She Will Punish Them
Shing!
Shock Troopers
Shogun's Empire Hex Commander
Shuyan Saga
Sid Meier's Civilization VI
Sid Meier's Railroads
Simulacra Collection
Skeletal Avenger
Skullgirls 2nd Encore
Skully
Slime Rancher
Slinger VR
Smoke And Sacrifice (X2)
Sniper Elite V2 Remastered
Sniper Elite 4 Deluxe + Season Pass
SOMA
Song Of Iron
Soulblight
Spacebase DF-9
Space Hulk Ascension (delisted)
Sparkle 2
Sparkle Unleashed
Spellcaster University
Spelunx And The Caves Of Mr. Seudo
Spiritfarer Farewell Edition NEW
Stacking
Starsand (X2)
Star Wars Jedi Knight Jedi Academy
Star Wars Knights Of The Old Republic
Stasis
State Of Decay 2 Juggernaut Edition
State Of Mind
Steel Rats
Stick Fight The Game (X3)
Stories Untold
Streets Of Fury EX
Strider (X2)
Struggling
Stubbs The Zombie
Styx Shards Of Darkness
Submerged Hidden Depths
Suchart Genius Artist Simulator
Super Indie Carts
Super Magbot
Supraland
SurrounDead (X2)
Surviving The Aftermath
Suzerain
Swag And Sorcery
Sword Legacy Omen
Swords And Soldiers 2 Shawarmageddon
Swords And Souls Neverseen (X2)
Syberia II
Syberia 3 Deluxe Edition
Syberia The World Before
Syndrome
System Shock Enhanced Edition
Table Manners The Physics-Based Dating Game
Tabletop Playground
Tacoma
Take On Helicopters
Tales From Candlekeep Tomb Of Annihilation (delisted)
Tales Of Monkey Island Complete
Talisman Digital Edition + City,Frostmarch,Sacred Pool (trading only as a bundle)
Talisman Origins
Tank Mechanic Simulator
Telefrag VR
Teleglitch Die More Edition
Tennis In The Face
Tennis World Tour (X2)
Tesla Force
Tesla Vs Lovecraft
Tharsis (X2)
The Amazing American Circus
The Ambassador Fractured Timelines
The Adventure Pals
The Battle Of Polytopia Moonrise Deluxe
The Blackout Club
The Citadel
The Count Lucador
The Free Ones (delisted)
The Golf Club 2019 featuring PGA Tour
theHunter Call Of The Wild (X3)
The Invisible Hand NEW
The Journey Down Chapter Three
The King Of Fighters 2002 Unlimited Match
The Last Blade
The Life And Suffering Of Sir Brante
The Long Dark Survival Edition (X2)
The Manhole Masterpiece Edition
The Mims Beginning
The Mortuary Assistant
The Night Of The Rabbit
The Serpent Rogue
The Signifier Director's Cut
The Textorcist The Story of Ray Bibbia (X2)
The Uncertain Last Quiet Day (X2)
The USB Stick Found In The Grass
The Walking Dead Season 1 + 400 Days
The Wild Eight (X2)
They Bleed Pixels
Think Of The Children
This War Of Mine
Thronebreaker The Witcher Tales
THOTH
Through The Darkest Of Times
Timeshift
Time Recoil
Titan Quest Anniversary
Toejam & Earl Back In The Groove
TOEM
Tohu
Tools Up
Tooth And Tail (X2)
Torchlight (X2)
Total Tank Simulator
Totally Accurate Battle Simulator
Toto Temple Deluxe
Tower Of Time (X2)
Tower Unite
Townscaper (X2)
Townsmen A Kingdom Rebuilt
Toybox Turbos
Tracks The Train Set Game
Train Station Renovation
Treasure Hunter Simulator (X2)
Tropico 4
True Fear Forsaken Souls Part 1
Tyranny Deluxe Edition
Unexplored
Unloved
Unmetal
Unshaded
Vambrace Cold Soul
Vane
Velocibox
Verdun
Vikings Wolves Of Midgard
Visage
Volcanoids (X2)
V Rally 4
Wanderlust Travel Stories (GOG key)
Warhammer 40K Chaos Gate Daemonhunters NEW
Warhammer End Times Vermintide
Warhammer Vermintide 2 NEW
Warlock Master Of The Arcane
Warpips
Warsaw
Wasteland 2 Director's Cut
We Are The Dwarves
We Should Talk
Western Press
We Were Here Together
When Ski Lifts Go Wrong
Where The Water Tastes Like Wine
While True: Learn() Chief Technology Officer Edition
White Day: A Labyrinth Named School
Windjammers 2 NEW
Wooden Sen'SeY
Worms Rumble + Legends DLC
Wrath Aeon Of Ruin (X2)
XCOM Complete Pack
Xenoraid The First Space War
X Morph Defense + European Assault + Last Bastion + Survival Of The Fittest (1 key for all)
XIII Classic
Xuan-Yuan Sword The Gate Of Firmament
Yet Another Zombie Defense HD
Ylands Exploration Pack
Yoku's Island Express
Yooka-Laylee And The Impossible Lair
Zack 2 Celestine's Map
ZIC Zombies In City
Zombie Army Trilogy

I'm on my NG+ run, trying to catch little things I missed like force tears and optional dialogue. Something that stuck out this time is how abrupt the entry and activation of the Koboh Control Center is, compared to its importance in the story.
In particular, there are voice-over lines at the beginning of the entrance that seem suggestive of a much more treacherous or dramatic journey. Even more noticeable is Zee's appearance at the control center - we get this dramatic shot of Cal at the station as though he's accomplished something important, and when Zee arrives he comments that 'it couldn't have been easy to come all this way'..
Uh, cal, it's like 100 yards from town. All we did was clear it of bad guys...which itself was just a mini gauntlet with Cal asking aloud 'why are these guys here?' good question!
And why is it RIGHT there, anyway, and why does nobody notice or care? With all the wonder and interest in High Republic tech, there's an empty, working tower a stone's throw from the largest settlement?
My suspicion is that there was a plan for another long traversal and exploration segment, similar to the other arrays, but time/resources ran out? So we get a summary of a chapter, with just the important plot points delivered, but not another 1-2 hour sequence leading up to it.
Anyone else get this feeling, that maybe something was truncated here, and taped back together with a bit of dialogue? It wouldn't be the first time a star wars game has had to temper its ambitions that way!

I'm from EU,so GAMES SHOULD work pretty much anywhere
NOT BUYING GAMES,ONLY TRADES - games for games or selling for paypal
No interest in TF2 keys,CSGO cases or ANY other virtual currency
BUYER covers the FEES (if outside EU,EU F&F only)
My Steam account so you don't offer me something I own
My Wishlist
My SGSRep
My IGSRep

Only looking for Steam games - so don't offer origin,uplay,rockstar,bnet or ANY other launcher
100% of my games keys are bought by me from official stores & I expect the same in return,so don't offer me keyshop games or game keys you got in a trade as I will decline
I retain the right to ask for proof of ownership for ANY game I want - just like YOU have the right to ask me the same

List of games I have:
Also have the Earthquake Relief bundle but reddit wont let me write all the games cause my topic would be too big - just ask
7 Billion Humans
8Doors Arum's Afterlife Adventure
10 Second Ninja X
60 Seconds!
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At Royal Rumble 2023, Asuka returned after a brief hiatus, sporting a deranged look reminiscent of her days as Kana. And since that point, the Empress of Tomorrow has solidified her powerful aura, winning the Elimination Chamber match and avenging her disappointing loss to Bianca at WrestleMania 39 by dethroning the EST at Night Of Champions. And while Asuka has been Raw Women’s Champion before, this time feels…different…
Monday Night Raw (5/29/23):
Following Night of Champions with the crowning of Asuka, it would appear the landscape of the women’s division has changed. While some individuals are surely eager to go after singles gold, this isn’t initially the case for the Way. In a backstage interview with Byron Saxton, Candice LeRae and Indi Hartwell express their desire to go after the Women’s Tag Team Titles, only to be interrupted by the lunatic duo of Chelsea Green and Sonya Deville. Deville tries to get under the skin of the pairing, particularly LeRae, mocking her struggles to get victories as of late. However, Candice retorts that Sonya and Chelsea haven’t done anything either, their only actual success as a duo being making Adam Pearce question his own sanity. After a few more moments of bickering, Green tries to slap LeRae, but Hartwell blocks it for her, shoving Chelsea to the ground. Sonya shoves Indi back, and Candice in-turn attacks Deville, forcing several officials to have to separate things.
This results in a singles match later in the evening between Deville and LeRae, with Sonya trying to make an example out of the “Poison Pixie”. It’s a fairly back-and-forth encounter, with LeRae starting the match off hot, but Sonya is able to adapt, using her MMA background to her advantage with increasingly strong shots. However, as Sonya gains control, her emotions also start to fluctuate a bit. Rather than just go for the win at points, she decides to inflict further damage, regularly targeting the right arm in particular with a combination of stomps and armbars. However, the turning point of the match comes when Deville kneels down, once again looking to apply some type of submission hold…only for LeRae to transition it into the Garga-No Escape! While Sonya doesn’t submit, it gives her enough breathing room to mount a comeback, eventually hitting her signature springboard moonsault to finish things.
Candice LeRae def. Sonya Deville via pinfall
After the match, Candice and Indi take a moment to celebrate the win…BUT HERE COMES ASUKA! The Raw Women’s Champion is in the building, and she looks as maniacal as ever. She makes her way towards LeRae…and offers a handshake? Candice is definitely hesitant to accept, and for good reason, as when she starts moving her hand out…ASUKA HITS HER WITH A ROUNDHOUSE KICK! Indi tries to avenge her downed partner, but Asuka takes her out with a spinning backfist. The Empress moves back towards LeRae, staring at the injured right arm…AND SHE APPLIES A VICIOUS ARMBAR, SNAPPING IT IN THE PROCESS! Asuka eventually lets go, with Johnny Gargano and a medical official coming out to tend to LeRae while Adam Pearce wants to know what’s wrong with Asuka…to which she merely replies with a sinister smile…
Monday Night Raw (6/5/23):
About half-way through the show, Johnny Gargano comes to the ring, ready to give an update on his wife Candice LeRae. He says that while LeRae is unable to compete, it’s only for a short period of time, and the fracture to her arm was small enough as to where she won’t require surgery. However, Gargano also says that LeRae wanted him to pass along a message…which is why he’s calling out Asuka to the ring! On cue, the Empress comes out, looking at Johnny Wrestling with a curious look. Gargano says that once upon a time, he and his wife both had respect for Asuka’s accomplishments, especially her record-setting run in NXT. However, with the actions of last week, they no longer have those sentiments, and when LeRae returns from this set-back, she’s challenging you for that Raw Women’s Title! As Gargano says this, Asuka just begins giving a deranged laugh. No one in the arena knows what to make of this…until Asuka picks up a mic…to simply say…bye bye…
As Asuka makes her way to the ring apron, Gargano is left staring in confusion at what transpired…but suddenly, the lights go out! When they turn back on…a trio of masked men are destroying Johnny Wrestling! He tries to fight back, but he’s just overpowered, and left to be stomped on as Asuka just watches on from ringside, enjoying the carnage. The biggest of the three hits Gargano with a top rope splash, before what appears to be the leader hits…a wheelbarrow neckbreaker. As the individual hits this, Asuka comes back into the ring, standing alongside the figures. She whispers something to them, and they move their hand to the top of the masks, pulling them off to reveal…IT’S SAnitY! Eric Young, Alexander Wolfe, and Killian Dain are all back in WWE, and it appears they’ve aligned themselves with the Empress of Tomorrow. But the question left to be answered… Where is Nikki Cross in all of this?
Monday Night Raw (6/12/23):
In a backstage segment early in the show, the camera shows Nikki Cross backstage, alone and looking down, drowning in her own crazed thoughts…until Eric Young enters the shot. Cross raises her head, looking expressionless while a smile slowly creeps across the face of Young. He asks her…
“Won’t you join us?”
However, before Nikki can answer…HERE COMES JOHNNY GARGANO! He dives at Eric, looking to get revenge on one of the men who decimated him the week prior. He’s successful initially, but soon enough, Wolfe and Dain rush in, prying Johnny off Young and starting to beat him down. Luckily for Gargano, he came prepared, as he too has backup in the form of Dexter Lumis! SAnitY backs off as Dexter comes in with a steel chair, but not before Young mouths the words…This isn’t over…
Monday Night Raw (6/19/23): Johnny Gargano and Dexter Lumis vs. Eric Young and Killian Dain
With the tensions continuing to rise between the Way and SAnitY, it was inevitable they’d have to square off at some point, and Adam Pearce decides to see if a tag match can resolve this. The match starts off with Gargano and Young, Johnny Wrestling anxious to annihilate him while Young is more amused than scared. Johnny is able to get the upper hand initially, a superkick giving him the brief opportunity to then apply a Garga-No Escape. However, Killian Dain breaks up the hold by just hitting a Senton on Gargano’s back, a tactical maneuver to give Young the chance to gain control. However, Lumis enters the ring as well, grabbing Dain and trying to set him up for a side slam. However, Killian avoids it, and the pair move to the outside of the ring to brawl. By the end of the match, Gargano is weakened, but he’s still got the power of adrenaline on his side. He’s able to tag in for Lumis, getting in a flurry of offense against the big man Dain, including a pair of superkicks to knock him off his feet. However, as he goes for the One Final Beat, Young grabs his foot by the ring apron, preventing him from springboarding into the ring. Gargano’s able to kick him away, but when Johnny does go for the maneuver, Dain catches him, planting him in the center of the ring. He follows up on it with a splash from the top rope, with Young tagging in as he does so. And with Killian shoving Lumis off the apron, Young is able to hit the Wheelbarrow Neckbreaker to finish the match.
SAnitY def. Johnny Gargano and Dexter Lumis
After the match, Asuka makes her way to the ring, standing alongside SAnitY once again. She looks at the downed Gargano, now with a disgusted look on her face rather than an evil grin. She turns to Young, who nods and motions for Dain and Wolfe to pick Johnny up. But right before Asuka can seemingly hit him with the Mist…Here comes Nikki Cross! She rushes to the ring, sliding in and looking right at Asuka as she does so. Young walks up to her, asking her the question…
“Are you with us, Nikki?”
Cross stares at Young for a moment…then to Wolfe…then to Dain…then to Asuka. It’s to the Raw Women’s Champion that she gives the longest stare, Nikki’s eyes slowly growing wider and her expression becoming more intense. And with that, she mutters just a few words…
“You hurt my friends…she hurt my best friend… now she will pay.”
And with that, Cross dives onto Asuka, unleashing a flurry of strikes and catching everyone in the ring by surprise. However, Young pries Nikki off of the Empress, to which Cross responds by starting to attack him! However, it’s short lived, as Asuka runs up behind Nikki and drops her with a roundhouse kick. She quickly gets her locked in a crossface chickenwing as well, Nikki unable to escape and ultimately passing out. Before she fades, she’s left to only see the disappointed looks on the face of the SAnitY members…”You made the wrong choice Nikki”. But the attention soon shifts back to Gargano and Lumis now. They’ve slowly risen to their feet, and Gargano, looking directly at Young, demands another fight! Young sighs, seemingly bored at the prospect of SAnitY having to dismantle those two again…but it shall be done. However, before they can move in for the kill, we suddenly hear crashes echo throughout the arena. They happen for a few seconds, before the lights dim slightly. An unfamiliar melodic theme starts playing, sounding slightly reminiscent of that of a final boss, but as the lights turn back on, it changes back into the more recognizable song…
…NO ONE WILL SURVIVE! IT’S TOMMASO CIAMPA! After being on the shelf for months, he’s finally back, and as he gets into the ring, he looks at Johnny Gargano…there’s no shortage of history here. And while there’s a momentary tension as to what he’s gonna do, he sides with his former DIY partner, making it a more fair fight! Unfortunately, he doesn’t get the chance to lay into any of SAnitY, as they decide to make their exit, already having made a statement with the victory and assault on Asuka, nothing more needed to be done…tonight, at least.
Monday Night Raw (6/26/23): Indi Hartwell vs. Asuka - Non-Title Match
In her first match since beating Bianca at Night of Champions, Asuka looks to prove why she’s the champion. She starts off the match well, not letting Indi get any momentum by just rocking her with a series of kicks to the chest. After dragging Hartwell to the outside, Asuka begins going after the arm, slamming it several times into the ring post before deciding to inflict some pain to the skull with a tiger suplex. This momentarily causes the ref to check on her, potentially looking to end the match…but Asuka isn’t willing to let that happen. She gets Indi back in the ring, lining her up for a running hip attack…BUT HARTWELL TRANSITIONS IT INTO A GERMAN SUPLEX! Despite having just been on the ropes, Indi managed to use what she had left in the tank to take down Asuka, and as she gets to her feet, she feels the crowd surging behind her. She starts taking it to the Empress, getting her backed into the corner and landing a few solid chops. However, she gets a bit overzealous, trying to get Asuka on the top rope for a potential suplex attempt, only for the former Kana to kick her away and land a knee directly to the back of Indi’s neck. And with that, Asuka remains in the power position, eventually locking on the same Armbar that injured Candice LeRae and forcing Hartwell to tap or get snapped.
Asuka def. Indi Hartwell via submission
But before Asuka really has a chance to even get up…HERE COMES NIKKI CROSS! She runs out with a kendo stick, furious as to what transpired the week prior, and gets in a few shots on Asuka before Alexander Wolfe attempts to pry the weapon away. In response, Nikki shoves it into his gut, before hitting him with a swinging neckbreaker and sending a message to Asuka that she’s just as much of a force to be reckoned with. And it’s later announced that this match has been declared official for Money In the Bank: let’s see if these two dangerous competitors can live up to their classic from NXT…
Money In The Bank (7/1/23): Nikki Cross vs. Asuka (c) - Raw Women’s Championship
Despite not having a stipulation like their Last Woman Standing Match in 2017, the match is still intense from start-to-finish. Cross runs at Asuka immediately, getting in some shots with the elbow to the side of the face. Asuka is forced to a sitting position, allowing Nikki to gather some steam from running along the ropes before landing a kick to Asuka’s jaw! Unfortunately for Cross, her frenzied nature ends up backfiring, as when the action shifts to the outside, Asuka dodges a running attack and sends Nikki nearly head first into the barricade! With Nikki instinctively grabbing her head after the missed maneuver, Asuka sees what to target, dragging Cross to the ring apron and repeatedly crushing her skull into the ring post. And as the action shifts back into the ring, it’s just more of the same, Asuka being momentarily hit by mini-bursts of offense, but the damage inflicted on the skull clearly affecting her. This is evidenced when Cross has Asuka lined up for the swinging neckbreaker, potentially able to get her the win…only to collapse before she can properly hit it. With that, Asuka is able to apply the Asuka Lock, and as happened a couple of weeks ago, Cross passes out in the hold.
Asuka def. Nikki Cross via submission pass-out to retain the Raw Women’s Championship
………………………………………………………………………………………………………………
On the Raw after Money in the Bank, Candice LeRae would make her return from injury, calling out Asuka for a match…only to learn she isn’t in the building. But she decides to still issue a challenge, saying that while she wanted the Raw Women’s Title initially…now it’s about more than that. Asuka took out Candice’s friends and family, and left her away from the ring for too long…now, she wants to beat Asuka for vengeance first, gold later. And later on, it’s confirmed that the match will be taking place when Asuka returns…except it’ll be for the title as well! Pearce claims that the decision is due to Asuka’s recent actions, as after all, letting someone try to break someone’s limb after a match with no repercussions is a pretty bad look. But while this choice of action would normally upset some superstars…it might just put a smile on Asuka’s face…
Monday Night Raw (7/10/23): Candice LeRae vs. Asuka
Before making her entrance, Candice LeRae gets herself prepared with the rest of the Way, with Nikki Cross sitting in a corner nearby as well. Indi tells her to be cautious…Asuka’s a very dangerous competitor. LeRae of course knows this, but she’s caught off-guard by some words of wisdom from Nikki several feet away:
“Destroy her.”
Candice looks at Nikki, who’s staring back at her with something in her eyes…A look of needing something… wanting Candice to kill the Empress. LeRae nods, and she heads out to the ring, more confident than ever…And she truly gives it her all. LeRae’s strategy is simple: prevent Asuka from using her signature kicks. And for most of the match, she executes on her plan, moving herself back whenever she senses a roundhouse coming and catching Asuka off-balance. However, this was never going to last, and once Asuka lands a kick to the gut, she’s able to gather steam. And while this doesn’t finish LeRae, the “Poison Pixie” even managing to hit a springboard moonsault AND lock in a Garga-No Escape at various points, Asuka eventually locks in an Armbar on the previously-injured limb that Candice can’t overcome.
Asuka def. Candice LeRae via submission to retain the Raw Women’s Championship
After the match, the rest of the Way comes out, helping Candice to her feet. As they do so, Asuka stares at them, and then begins…counting them? The Way and the commentary team are confused, but as Asuka only counts four people…a maniacal expression overtakes her. She starts walking quickly to the back, and a few moments later, it becomes clear what her intentions were…
As the Way walks backstage, they’re horrified to discover a brutalized Nikki Cross! They rush over to her, asking who did this…and to no one’s surprise, she says it was Asuka. However, it soon becomes clear to Gargano…Ciampa might be next! While Indi and Candice stay with Nikki, Johnny (and Dexter to a lesser extent) start rushing through the halls, trying to get to the right locker room…but it’s too late, as SAnitY and Asuka are seen moving away from it! While Lumis stands guard, Gargano rushes inside, and finds Ciampa not just taken out…but also sprayed by Asuka’s mist! Johnny rushes over, giving Tommaso a towel, but as Tommaso wipes the mist off his face…there appears to be a dark look in his eyes, something not seen in him since when he destroyed DIY…
Remaining Build To SummerSlam:
While Ciampa, Gargano, and Lumis keep their attention towards SAnitY for a bit, Asuka shifts away from LeRae, Hartwell, and Cross, having beaten all three after all. With an open mic, she begins giving one of her standard energetic promos, seemingly wanting to know who her next challenger is gonna be…even though no one is ready for Asuka. It’s not long before someone interrupts though…and it’s someone who Asuka has grown familiar with in 2023…It’s Bianca Belair! The EST remained off television for several weeks following Night of Champions, but now, she’s back and angrier than ever. Bianca grabs the mic straight out of Asuka’s hand, and cuts a quick promo:
“Asuka… you say no one’s ready for you. But you’re wrong… because I’ve ALWAYS been ready for you. I proved that at WrestleMania 39, when I beat you clean in the center of this ring. And what did you do? You had to use that mist, that cursed, blinding mist. And you know what? Congratulations, it got you the title, but not for long. Because I say we have ONE MORE MATCH. But I think it’s time to have a match where no excuses can be made, and there are no rules to be broken. Asuka… At SummerSlam…I challenge you to HELL… IN A CELL!”
The crowd are clearly in favor of this stipulation…And it appears Asuka is too! She starts nodding repeatedly, and Bianca just stares on with a prepared look, perhaps fazed in the past by Asuka’s personality traits but now just ready to finally vanquish her and get the Raw Women’s Title back in her possession. In the remaining weeks, Bianca competes multiple times, getting the ring rust off with multiple victories, while Asuka is content with sitting at ringside for both contests…studying her competition…
SummerSlam (8/5/23): Bianca Belair vs. Asuka (c) - Hell in a Cell Match for the Raw Women’s Championship
We’ve finally made it to the Biggest Party of the Summer, and what better of a place to host it than in Detroit at Ford Field (definitely no bias as a Lions fan)! Once both Asuka and Belair are locked in the cage, the match starts at a feverish place, Bianca hitting a strong shoulder tackle only for Asuka to respond with a spinning backfist a few moments later! As the dust settles on the first fifteen seconds, the competitors look at each other, giving a momentary smirk and scoff apiece before continuing with the action. Bianca showcases her power, getting the Empress lifted in the Gorilla Press position and just hurling her at the cell wall! The several-foot fall to the floor certainly adds to the blow, and Bianca continues the assault outside the ring, slamming Asuka’s head repeatedly into the cage! However, she decides to look under the ring for a weapon, a table quickly catching her eye. She pushes it into the ring, but makes the mistake of turning her back to Asuka while doing so, the former Kana grabbing her from behind and hitting a Tiger Suplex onto the floor!
With Asuka now the lone woman standing, she follows up Bianca’s decision to look under the ring, pulling out a kendo stick. She feels it around in her grasp, getting a good feel for the damage she’s about to inflict. Once Bianca groggily gets to her feet, Asuka just decimates her back, hitting the stick ten times in immediate succession! However, Bianca’s able to dodge an eleventh shot targeted towards the throat, pulling the kendo stick to her and snapping it in half! Asuka looks briefly stunned, but not before she gives a condescending set of claps. In response, Belair grabs her, picking her up for a powerbomb and sending Asuka’s back to connect with the ring apron! Bianca then drags Asuka into the ring, proceeding to set up a table and initially primed to hit a K.O.D. through it. However, Asuka grabs Bianca’s hair, weakening her grip momentarily and presenting an opportunity to escape. Upon doing so, Asuka roundhouse kicks Belair, before getting her positioned on the table, climbing to the top rope…AND HITS A SPLASH ON BIANCA RIGHT THROUGH IT! 1-2-KICKOUT!
Despite the table spot being unable to put away Bianca, Asuka appears unfazed. She exits the ring, bringing a pair of steel steps back into the squared circle. Asuka picks Belair up, seemingly trying to hit a brainbuster on it…But Belair dodges, landing backwards on the steps before turning around and hitting a mini-elevated Spear! This leaves both women down for a few moments, but Bianca rises to her feet first. She gets in some of her signature offense, including a spinebuster on the steel steps! However, her attempt at a K.O.D. on the steps doesn’t work in her favor, with Asuka once again avoiding it. And unfortunately for Belair, Asuka is able to hit her with a suplex on the steps, this being the key factor for the rest of the match-up. With Bianca’s power lessened a bit AND Asuka’s submission hold targeting the back, she faces a tall task, and is ultimately unable to overcome it, the Asuka Lock resulting in a pass-out.
Asuka def. Bianca Belair via submission pass-out to retain the Raw Women’s Championship
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After an impressive victory at SummerSlam, Asuka has definitely proven that she’s going to be difficult to beat. But soon enough, she finds herself confronted by a potentially harmful numbers game…
Monday Night Raw (8/7/23): Damage CTRL Promo
Despite recent events not going so well for Damage CTRL, with Dakota Kai tearing her ACL and neither Iyo Sky nor Bayley able to capture the Money in the Bank briefcase, they’re still determined to get momentum back on their side. Bayley makes the bold decision to call out Asuka, saying that if she were actually a fighting champion, she’d consider accepting a match for the title. Asuka comes out, grinning at Bayley trying to goad her into a title opportunity. Asuka looks at Bayley as just another poor soul to be destroyed, but Iyo…Iyo has potential. Asuka even tells Sky…”Bayley isn’t your friend…but I am…”
This seems to get in Iyo’s head, as she begins looking questioningly at Bayley, who attempts to diffuse the situation by just pointing out Asuka being a freak who gets in people’s heads. In response, Asuka kicks Bayley square in the gut, and when Iyo instinctively goes to fight, Asuka shakes her head…I don’t want to fight you… You don’t need to be part of this…
Remaining Build To Extreme Rules:
Over the coming weeks, Bayley becomes a little more sympathetic, her intentions appearing less out of pure arrogance and more about striving to win championship gold back and improve her honor. She goes on a winning streak, but when confronting Adam Pearce about getting a confirmed title shot, he says there’s one more person she has to beat…Iyo Sky.
At this same time, Iyo looks perturbed whenever she’s on television, still at Bayley’s side but signs pointing to her being less convinced than when Damage CTRL began. And after Bayley does defeat Iyo to earn the #1 Contendership, Sky is just left sitting in the ring, staring down at the mat whilst utterly disappointed. Bayley offers her a handshake, but Asuka stands at ringside, motioning her to come roll out of the ring and stand tall with her. In response, Iyo moves in neither woman’s direction, rolling out to the entrance ramp and walking away alone, uncertain of what her future holds.
But with Extreme Rules approaching, there must also be a stipulation, and after a set of assaults from Asuka leave Bayley staring at the lights, Bayley decides it’s in both of their best interest to settle on…A Last Woman Standing Match! Asuka can try to keep putting her down, but she’s gotten back up each time, and come the PPV…The reign of the Empress will be history.
Extreme Rules: Bayley vs. Asuka (c) - Last Woman Standing Match for the Raw Women’s Championship
In a rematch of their TakeOver: Dallas encounter, the feel of the match is similar to what it was several years ago. Bayley, despite having been around in WWE longer, is the underdog, looking to prove herself against a terrorizing monster who we’re unsure can truly be beaten. The action quickly spills out of the ring, with Bayley even managing to hit a quick Bayley-To-Belly Suplex. Unfortunately, Asuka gets up before even a count of 5, disturbing Bayley. The action spills into the crowd for a while, with Asuka suplexing Bayley on the staircase and the former “Hugger” sent tumbling down for a solid five seconds. But eventually, Bayley recaptures the momentum, finding a trash can with weapons and using a kendo stick to start wailing on Asuka. And as the action approaches a set-up table, Bayley is able to not just prop her up on it, but successfully hit an Elbow Drop from a ledge through it as well! Bayley gets up at a count of three, and while Asuka is left stunned by the move, she recovers at a count of 8, continuing the match-up.
From there, the match spills back closer to the ring, with Bayley putting Asuka in the ring before grabbing a table. She sets it up, but Asuka manages to recover in time to avoid a Bayley-To-Belly through it, instead tossing Bayley to the side momentarily before going at her with a running hip attack. Asuka keeps control for a bit, but as she looks to put Bayley through the table…Here comes Iyo Sky! She slowly walks to the ring, not attacking Asuka initially, but giving Bayley enough time to send Asuka off the top rope and to the floor. However, with the action back on the outside, Asuka looks to be a bit desperate, using her signature Mist to blind Bayley! After this happens, Iyo rushes over to Bayley to try and help…But Bayley shoves her down hard to the floor, thinking it was Asuka! Meanwhile, the real Asuka appears behind Bayley, dragging her back into the ring. Asuka decides to lock on the crossface chickenwing, attempting to pass out Bayley, but this seems to only increase the fire in her spirit, Bayley able to back her into a corner to break the hold. Bayley rubs her eyes, improving her vision, and she drags Asuka to the table, seemingly able to hit the Bayley-To-Belly through the table this time…
…BUT IYO HITS BAYLEY IN THE BACK WITH A STEEL CHAIR FROM OUT OF NOWHERE! Bayley falls to her knees, slowly turning around with a look of heartbreak and pain on her face. Iyo returns the look with an icy cold stare, before Asuka pops-up behind Bayley, applying the Asuka Lock to pass the former “Role Model” out. But given this requires a ten count for Bayley to be down, and Asuka wanting to see what Iyo can do…she motions to the table. Iyo nods, getting Bayley set-up, climbing to the top rope, and hitting a Moonsault, crushing Bayley’s ribs, her friendship, and her hopes of winning the match in one fell swoop.
Asuka def. Bayley via KO to retain the Raw Women’s Championship
After the match, Sky raises Asuka’s hand, signifying the start of an absolutely lethal new duo in WWE…
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With Iyo Sky now having made her allegiance clear, Asuka would appear set-up to remain dominating moving forward. However, the enemies she’s made over the past several months aren’t so quick to forget what transpired, which could potentially create problems…
Build To Survivor Series:
Despite having already made an impact to this point, Asuka and Iyo Sky aren’t just going to put away challengers…it’s time to take out everyone. After a singles win on Raw, Becky Lynch would be blindsided by Iyo, being laid out with several shots of the Steel Chair before a Moonsault to cap things off. The following week, Bayley expresses her dismay at being left alone, to which Asuka and Iyo interrupt, immediately kickstarting a brawl that would seem to favor them once again…Until out comes Becky Lynch! Despite having been bitter rivals earlier in the year, Becky makes the save for Bayley, the pair nodding at each other afterwards to signify a slight respect…We don’t have to like each other… but there’s a bigger threat to be stopped…
But soon enough, this action spills past just being a two-on-two situation. Zoey Stark, the former tag team partner of Iyo Sky in NXT, decides that Becky didn’t suffer enough during their rivalry after helping Trish at Night of Champions, and that it’s worth it for these veterans like her and Bayley to be ousted. Along with that, Asuka’s power and general craziness draws the interest of the Unholy Union known as Alba Fyre and Isla Dawn, the pair pledging loyalty to The Empress and perfectly willing to destroy Becky and Bayley. However, there are several other competitors backstage sick of seeing Asuka gaining an army, with Bianca Belair and the Way coming to the save to help even the odds. And of course, after a brawl featuring all of these competitors, William Regal comes out briefly to make his patented announcement:
“WAR GAMES!”
To determine which team gets the advantage leading into Survivor Series, we get ourselves a strong match in Iyo Sky vs. Becky Lynch, really the catalyst of what’s led into a two-on-one situation into an upcoming 5v5 match inside a destructive steel structure. Becky more than holds their own, but Iyo Sky shines even brighter, a cheap shot by Stark eventually allowing Iyo to hit the Moonsault and give the “heels” the advantage.
Survivor Series: Bianca Belair, Bayley, Becky Lynch, Nikki Cross, and Candice LeRae vs. Asuka, Iyo Sky, Zoey Stark, Alba Fyre, and Isla Dawn - War Games Match
Kicking off the match is Zoey Stark and Becky Lynch, with Becky initially successful in getting Zoey downed, but Isla Dawn coming in presents a problem. She’s initially able to hold her off, but a chop block by Zoey Stark and a subsequent attack of the leg leaves Becky in a rough spot. She’s able to get some assistance, with Nikki Cross coming in with a trash can lid and just whacking Zoey and Isla around with ease. However, Alba Fyre is next to come out, and upon seeing Cross staring her down from inside the cage, she grabs a kendo stick, ready to defend herself. While Nikki initially gets the advantage, Stark and Dawn are able to pull Nikki back, sending her into the steel cage repeatedly. Bianca coming in next is a game changer however, the EST taking control of the match-up and getting a slight breather while awaiting the fourth competitor…which is Asuka!
But as the rest of the field comes in, with Asuka being the last entrant for her team and Bayley for the opposite side, the action starts to get more and more intense. With all of the competitors brawling in one ring, Iyo sees the chance to hit a Moonsault from the top of the cage, wiping out everybody (including herself)! However, a table being brought into the mix benefits the bayfaces, Bayley hitting Fyre with a Bayley-To-Belly through it (she finally got to hit it… just not on Asuka). However, the ending sequence comes down to Asuka and Iyo on their feet against Bayley and Becky, back where it essentially first started…AND IT ENDS WITH IO HITTING A MOONSAULT ON BAYLEY! 1-2-3!
Team Asuka def. Team Becky via pinfall
Just like that, Iyo Sky has once again proved her worth, defeating her former stablemate to win the match for her team and cementing herself as a force to be moving forward. And though a fairly small shot, we can see Asuka glance over at Iyo, a slight frown on her face for a moment before moving back to stand with the rest of her team. What could that mean…
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Build To Royal Rumble:
Despite the result of the War Games Match, Becky Lynch isn’t through with either Asuka nor Iyo by a long shot. She fights off both of them over the coming weeks, along with picking up several singles victory, establishing herself as the next #1 Contender. And as Lynch points out, she and Asuka have history at Royal Rumble. Asuka beat her in singles action in 2019…before Lynch went on to win the Royal Rumble and headline Mania. But this isn’t about the Rumble match now…it’s time to put away the Empress.
As for Iyo, she also has a run of singles success, carrying a lot of momentum heading into the Royal Rumble Match. And soon, we learn that she requested training from one of the most respected female competitors in the locker room, a former NXT UK Champion…Meiko Satomura! While Satomura doesn’t intend to compete right away, she’s more than willing to help Iyo, with vignettes being shown of them together and Satomura even being at ringside for her matches. However, as this keeps happening, Asuka’s looks towards Iyo become more and more strained. Sky is abandoning me… after all I did for her… something’s going to change soon enough…
Royal Rumble: Becky Lynch vs. Asuka (c) - Raw Women’s Championship
Earlier in the night, Iyo Sky does indeed win the Royal Rumble match, punching her ticket to WrestleMania. This doesn’t seem to affect Asuka’s thoughts however, the Empress looking as ruthless and as calculated as ever en route to using an Armbar to submit Becky after a pretty back-and-forth encounter. And while Asuka proved herself the master of the Armbar between the pairing, Iyo Sky coming out with Meiko Satomura to acknowledge the title win seems to aggravate something in Asuka. Her grin has become a definite frown, and she stares an icy dagger through the pairing. Something isn’t right here…
Asuka def. Becky Lynch via submission to retain the Raw Women’s Title
Build To WrestleMania:
In a conversation between Meiko Satomura and Iyo Sky on an episode of Raw, Satomura asks if Sky would be willing to use her Rumble Victory position to challenge Asuka. Sky doesn’t look too convinced about doing that, which Satomura says is fine, but it’s advisable to weigh all her options. However, in the background, Asuka can be seen, carefully listening to the conversation.
A week later, Satomura addresses the WWE Universe. She’s made the announcement that she wants to have one last run before she retires, and wants to face some of the best names this women’s division has to offer…which is why she’s challenging Asuka for Elimination Chamber! Asuka comes out, her face paint being more red than usual…but while it looks like she’s having to contain herself, she shakes Satomura’s hand, seemingly paying respect to a legend.
Elimination Chamber: Meiko Satomura vs. Asuka (c) - Raw Women’s Championship
Unfortunately for Satomura, this retirement run of sorts looked to hit the ground before it could even get going. While she catches the Empress off guard at the beginning of the encounter, as time moves on, Asuka appears to be getting more and more angry. This comes to a boiling point when after one Tiger Suplex, Asuka hits another…then another…then another…then another! The ref pleads for Asuka to quit the assault, which she does…only to pull a Bryan Danielson and just start repeatedly kicking Satomura in the face! This goes on for disturbingly long, and when it’s become clear that Satomura is passed out, the ref calls for the bell, him having made the discretion for the match to end.
Asuka def. Meiko Satomura via ref stoppage
After the match, Iyo Sky rushes to the ring, checking on the woman who’s helped her out tremendously over the past couple of months. Asuka looks down at Iyo, a look of disgust on her face, before demanding to know who Sky is facing at WrestleMania. And it better be a specific answer…
Iyo Sky: “I… CHALLENGE… YOU!”
The crowd roar in approval, Asuka somehow shocked initially…until a smile comes across her face. I’m not surprised you made that choice…but unfortunately, it’s the wrong one...it’s a shame this has to happen Iyo…so much potential…
WrestleMania 40: Iyo Sky vs. Asuka (c) - Raw Women’s Championship
Despite that inner monologue running through Asuka’s head at Elimination Chamber, Sky proves why she’s not to be taken lightly. On the Grandest Stage of them All, Iyo just looks…better. Having been around Asuka for several months, she knows the mechanics of her offense, doing a good job at avoiding those signature kicks while also having the speed advantage. And at the end of the match, Sky proves herself superior over The Empress of Tomorrow, hitting the second Moonsault of the match to pin Asuka, and end a spectacular title run while opening a new chapter for another one.
Iyo Sky def. Asuka via pinfall to win the Raw Women’s Championship

I came upon a lesser-known volume by Alfred Mann, The Great Composer as Teacher and Student: Theory and Practice of Composition, and thought it contained some interesting history and interpretation. Maybe some of you will find it informative. I've reproduced the first chapter below.

I. The Rise of Conventional Theory

During one of the opening scenes of Faust, Goethe merges the drama's principal characters: Mephistopheles poses as Faust. In a brief farce, the false teacher lectures a young student on theory and practice. Dismissing in turn logic, metaphysics, law, and theology, the conversation moves to medicine whose blunt advantages in meeting the fair sex are stressed by the master and readily grasped by the novice. Here the latter can see, as he says, the "wo und wie"—the "where and how," and Mephistopheles answers with the famous words, "Grau, teurer Freund, ist alle Theorie"—"Gray, my dear friend, is all theory."
A new attitude is caricatured in these lines, a criticism of theory that arose from the Age of Enlightenment. In an aside, the devil gives up "the dry tone" and with it the essence of his disguise—he turns from theory to practice. This attitude, so characteristic of the era, also began to play a major role in the teaching of musical composition. Commenting on this father's method of instruction, Carl Philipp Emanuel Bach wrote to the Bach biographer Johann Nicolaus Forkel on January 13, 1775:

In composition he started his pupils right in with what was practical, and omitted all the dry species of counterpoint that are given in Fux and others.

Bach himself was reported to have used the same word, calling the fugues "of an old and hard-working contrapuntist dry and wooden."¹ But the fundamental distinction inherent in the son's remark is absent from the words of the father. Bach knew no theory of music, only practice, and the maligned species of counterpoint were presented in Johann Joseph Fux's celebrated Gradus ad Parnassum of 1725 as "musica activa"; the complementary term, "musica speculativa," was reserved by the author for the mathematical computations used to elucidate the nature of intervals.
"Speculation" is the equivalent of "theory." Derivatives from Latin and Greek, the two words designated the act of viewing, contemplating; and both "speculum" and "theoria" had served in earlier times as titles for musical treatises. Yet "music theory" in the sense that modern convention has given the term was not associated with instruction in the art of musical composition until the late eighteenth century; in fact, Mozart was not entirely conversant with this meaning of the term, whereas in Beethoven's studies it had gained importance.
What separated Bach and Handel from the masters of Viennese Classicism in their teaching of the craft was their exclusive commitment and individual orientation toward musical practice. Thus, C.P. E. Bach's judgment was based on a misconception. The four-part chorale harmonizations with which his father commenced the teaching of composition represented in fact a practice of musical performance conducted by the keyboard player, while the counterpoint species Fux devised for his students represented a purely vocal practice. Less well known than the Gradus ad Parnassum but closely related to its exercises is Fux's Singfundament, a collection of short motet studies, written without text and intended for the young musician in somewhat the same manner as Bach's Two-Part Inventions.
The concept of musical practice was in itself subjected to a radical division during the century preceding Bach and Handel. Attacked for his bold use of dissonance, Monteverdi declared his style of composition a "second practice" as opposed to the "first practice" of guarded dissonance treatment that marked the works of sixteenth-century composers. One might say that the two practices were eventually codified in the disciplines of harmony and counterpoint, but it took more than a century to arrive at precise didactic categories.
The seventeenth century witnessed a proliferation of musical styles, a widening of musical experience, that resulted from the rise of opera, accompanied solo song, and instrumental music. The first composer to be concerned not only with the clarification of styles but with their implications for the student of musical composition seems to have been Heinrich Schütz. In 1648, the aging composer published his Geistliche Chormusik, i.e. music in the old a cappella style, a series of motets to be performed, as he wrote, "without bassum continuum" (although by a stroke of curious irony his publisher, in the attempt to make the work more accessible, had a continuo part added in the printed score). As Schütz's preface indicated, the work was written with a decidedly pedagogical intent.
Continuo accompaniment had become the hallmark of the new style. Its use signalled the progressive tendencies of music drama, and an estrangement from firm contrapuntal control and the "requirements of a well-regulated composition," namely strict, free, and retrograde imitation, melodic inversion, invertible part-writing, and the simultaneous use of different themes.Schütz, who as a younger man had been one of the initiations of the "second" practice in the North, now found himself surrounded by a new generation of musicians well versed in the modern style. Unlike Schütz who had studied in Italy where the "first practice" remained a living tradition, the young practicioners of the art, working in a Germany physically and culturally exhausted by the Thirty Years War, lacked the "fundamenta" of their profession. Though it might seem like "heavenly harmony," music not founded in solid polyphonic technique was judged by Schütz to be no more than "an empty nutsehell," an he admonished the beginner to "bite open that hard nut whose real substance is the foundation of good composition."
His words represent a prophetic confrontation of the two terms. For a long time, "harmony" continued to be the word used to describe a fabric of independent part-writing. It was not until the publication of Jean-Philippe Rameau's Traite d'harmonie in 1722 that the modern meaning was introduced. Three years later, Fux's Gradus established the modern didactic tradition of counterpoint. Yet this was also the decade in which Handel published his first set of harpsichord lessons, and in which Bach wrote the Inventions and the Clavier Books for his son Wilhelm Friedemann and his wife Anna Magdalena—the decade in which the last two great Baroque composers undertook a systematic exposition of instruction in composition. Though they both made their point of departure the highly-developed execution of figured bass, the technique remained, in their hands, inseparable from polyphonic practice. It did not serve to illustrate how voices are placed but how the move within a harmonic texture. And the balanced blending of harmony and counterpoint was to become the foremost challenge of conventional theory.
The new meaning of the word "theory" entered the study of music largely through the influence of a work which, despite its mixed reception, attained epochal significance: Johann Georg Sulzer's General Theory of the Arts (Allgemeine Theorie der schönen Künste, 1771–1774). The author, director of the Faculty of Philosophy at the Berlin Academy of Sciences, was guided by the ideals of Rousseau in his thesis that the arts must both express and enhance nature. In an approach typical of his time, he attempted to define all artistic terms and concepts that would serve this purpose and gathered them in an encyclopedic dictionary. His musical advisors, Johann Philipp Kirnberger and Kirnberger's student Johann Abraham Peter Schulz, represented a lineage of Bach's teaching. The system of musical theory they devised, however, came under immediate attack; it was questioned above all because Sulzer's basic axiom, namely that music is a "sequence of tones guided by the passions of sentiments," resisted his own scheme of standardization. In the second volume of an Essay for the Instruction in Composition (Versuch einer Anleitung zur Composition, 1782–1793), Heinrich Chrisoph Koch, one of the eminent writers of the period, formulated the critical argument:

The young composer's endeavors in letting his soul form beautiful melodies can never be truly aided by theory.

Nevertheless, music theory—no longer in the old sense of the "science" of music but as the subject of college and conservatory courses—became an established abstraction that was to dominate the teaching of musical composition in succeeding generations. This is all the more understandable since vital musical styles and techniques were changing swiftly to meet the demands of taste and musical imagination. When thoroughbass and fugue no longer represented current practice, they were relegated to the realm of theory. They were perpetuated in didactics though much as the "stile antico" had been retained in the age of the second practice, but with a difference: the very terms "prima prattica" and "seconda prattica" implied that the old style had stayed alive, that it continued to be practicable and valid as an artistic expression. Counterpoint and fugue, as brances of modern theory, became "a metier, not an art."²
The dichotomy thus produced had more complex ramifications than this comparison might suggest. Beethoven, though he defied Johann Georg Albrechtsberger's teaching of fugue as an "art of creating musical skeletons,"³ had been his attentive and dedicated student, and the Beethoven biographer Alexander Wheelock Thayer gives a description, authenticated by contemporary accounts, of Beethoven's daily sessions with a colleague and neighbor in which "the conversation usually turned upon musical theory and composition."⁴
Theory must here still be understood in rather general terms as the study of eighteenth-century writers on various subjects, not in the sense of a more-or-less fixed course of studies in different techniques. Mozart seems to have arrived at the conventional sequence of harmony and counterpoint in his pedagogical experience empirically—this sequence, although practiced at the time, had not been fully established. In teaching the young composer Thomas Attwood during the years 1785 and 1786, he became increasingly aware of a lack of linear skill in his student's harmonizations and—apparently under the influence of Haydn—decided to direct the twenty-one-year-old back to the beginning of contrapuntal studies.⁵
The most striking case of a composer's awareness of the increasing importance of conventional theory is Schubert's legendary lesson, two weeks before his death, with the respected Viennese theorist Simon Sechter. In a letter responding to a request for biographical information, Sechter mentioned this lesson but we had no knowledge of its contents until the manuscript pages on which both Schubert and Sechter had worked were recently brought to light.⁶ Schubert turned to Sechter for advice because he was puzzled by certain technical details of fugal practice with which his generation was no longer conversant. The documentation of his lesson is all the more arresting since it shows that Schubert obtained the answers he sought. Sechter corrected the samples of fugal expositions that Schubert had submitted and added a clear exposition of the principles involved. The lesson was concluded with the assignment of a three-part fugue on which Schubert was no longer able to work. It is a touching postlude to this remarkable encounter that Sechter carried out the assignment and published it, nine days after Schubert's death, in homage to the illustrious student—doubly touching because the mediocre quality of Sechter's work shows that teacher and student met merely as theorist and composer, but not on equal terms.
What had been revealed to the dying composer was a certain historical perspective that the rapid development of the classical style had temporarily obscured, and it was this historical perspective that gave to nineteenth-century theory its most valuable contributions. Albrechtsberger, Beethoven's teacher, had taken an important step in his teaching by adapting the modal technique of counterpoint to the modern tonalities of major and minor. This orientation was subsequently reversed by a historian, Heinrich Bellermann, who, in his manual Der Contrapunkt (1862), returned to the letter and spirit of Fux's Gradus. Bellermann, successor to Adolf Bernard Marx, the first professor of music at the University of Berlin and himself the author of a standard manual on composition, was followed in his restoration of modal counterpoint by several other writers, but his book was denounced as "obsolete at its very appearance" by his distinguished colleague Hugo Riemann—as obsolete, one might add, as Bach's conscious use of modes in Clavierübung III.
In the end, neither historical nor analytical studies could solve the problems inherent in the ascendancy of theory. It was the departure from practice that undermined the textbook literature of the nineteenth century. Composers of the Romantic age in their writings did not deal with the question of how to teach composition—only orchestration. Not until the twentieth century were teaching manuals again produced by prominent composers. That the element of creative thought had been missing in didactic literature is indicated in a treatise by Heinrich Schenker, foremost among twentieth-century theorists: Neue Musikalische Theorien und Fantasien (1910–1920). Schenker, who had been torn in his early years between the careers of composer and theorist, eventually decided that the theorist's profession was for him a greater challenge. Though his work lives up to its title by offering a highly imaginative exposition of harmony and counterpoint, it inevitably points to the crux of the dilemma: in essence, composition must be taught by the composer; the theorist can only teach theory, no matter how refined the method.
Unlike theoretical guidance, practical guidance in the composer's craft is committed to the master-artisan relationship that was abandoned in textbook instruction. The didactic literature of earlier ages, too, was addressed to the individual, not to classes. The following chapters will thus be concerned with documents that show the time-honored direct and special exchange between teacher and student in an age when individualism, though strengthened in so many other ways, was abrogated in the teaching of musical composition.
¹ Frierich Wilhem Marpurg, in a letter to Johann Mattheson, Kritische Briefe über die Tonkunst (Berlin, 1760), I, 266. Translated in The Bach Reader, Hans T. David and Arthur Mendel, eds. (New York, 1966), p. 257.
² Paul Henry Lang, Music in Western Civilization (New York, 1941), p. 974.
³ Letter to the publishers B. Schott's Söhne, January, 1825.
⁴ Thayer's Life of Beethoven. Rev. Elliot Forbes (Princeton, 1984), I. 262.
⁵ Cf. This writer's discussion of Haydn's and Mozart's contrapuntal teachings in Mozart-Jahrbuch 1978 / 79, pp. 197, ff.
⁶ The manuscript was discovered by the Schubert scholar Christa Landon; see her report "New Schubert Finds" in Music Review 31 (1970), pp. 215 ff.

I came upon a lesser-known volume by Alfred Mann, The Great Composer as Teacher and Student: Theory and Practice of Composition, and thought it contained some interesting history and interpretation. Maybe some of you will find it informative. I've reproduced the first chapter below.

I. The Rise of Conventional Theory

During one of the opening scenes of Faust, Goethe merges the drama's principal characters: Mephistopheles poses as Faust. In a brief farce, the false teacher lectures a young student on theory and practice. Dismissing in turn logic, metaphysics, law, and theology, the conversation moves to medicine whose blunt advantages in meeting the fair sex are stressed by the master and readily grasped by the novice. Here the latter can see, as he says, the "wo und wie"—the "where and how," and Mephistopheles answers with the famous words, "Grau, teurer Freund, ist alle Theorie"—"Gray, my dear friend, is all theory."
A new attitude is caricatured in these lines, a criticism of theory that arose from the Age of Enlightenment. In an aside, the devil gives up "the dry tone" and with it the essence of his disguise—he turns from theory to practice. This attitude, so characteristic of the era, also began to play a major role in the teaching of musical composition. Commenting on this father's method of instruction, Carl Philipp Emanuel Bach wrote to the Bach biographer Johann Nicolaus Forkel on January 13, 1775:

In composition he started his pupils right in with what was practical, and omitted all the dry species of counterpoint that are given in Fux and others.

Bach himself was reported to have used the same word, calling the fugues "of an old and hard-working contrapuntist dry and wooden."¹ But the fundamental distinction inherent in the son's remark is absent from the words of the father. Bach knew no theory of music, only practice, and the maligned species of counterpoint were presented in Johann Joseph Fux's celebrated Gradus ad Parnassum of 1725 as "musica activa"; the complementary term, "musica speculativa," was reserved by the author for the mathematical computations used to elucidate the nature of intervals.
"Speculation" is the equivalent of "theory." Derivatives from Latin and Greek, the two words designated the act of viewing, contemplating; and both "speculum" and "theoria" had served in earlier times as titles for musical treatises. Yet "music theory" in the sense that modern convention has given the term was not associated with instruction in the art of musical composition until the late eighteenth century; in fact, Mozart was not entirely conversant with this meaning of the term, whereas in Beethoven's studies it had gained importance.
What separated Bach and Handel from the masters of Viennese Classicism in their teaching of the craft was their exclusive commitment and individual orientation toward musical practice. Thus, C.P. E. Bach's judgment was based on a misconception. The four-part chorale harmonizations with which his father commenced the teaching of composition represented in fact a practice of musical performance conducted by the keyboard player, while the counterpoint species Fux devised for his students represented a purely vocal practice. Less well known than the Gradus ad Parnassum but closely related to its exercises is Fux's Singfundament, a collection of short motet studies, written without text and intended for the young musician in somewhat the same manner as Bach's Two-Part Inventions.
The concept of musical practice was in itself subjected to a radical division during the century preceding Bach and Handel. Attacked for his bold use of dissonance, Monteverdi declared his style of composition a "second practice" as opposed to the "first practice" of guarded dissonance treatment that marked the works of sixteenth-century composers. One might say that the two practices were eventually codified in the disciplines of harmony and counterpoint, but it took more than a century to arrive at precise didactic categories.
The seventeenth century witnessed a proliferation of musical styles, a widening of musical experience, that resulted from the rise of opera, accompanied solo song, and instrumental music. The first composer to be concerned not only with the clarification of styles but with their implications for the student of musical composition seems to have been Heinrich Schütz. In 1648, the aging composer published his Geistliche Chormusik, i.e. music in the old a cappella style, a series of motets to be performed, as he wrote, "without bassum continuum" (although by a stroke of curious irony his publisher, in the attempt to make the work more accessible, had a continuo part added in the printed score). As Schütz's preface indicated, the work was written with a decidedly pedagogical intent.
Continuo accompaniment had become the hallmark of the new style. Its use signalled the progressive tendencies of music drama, and an estrangement from firm contrapuntal control and the "requirements of a well-regulated composition," namely strict, free, and retrograde imitation, melodic inversion, invertible part-writing, and the simultaneous use of different themes.Schütz, who as a younger man had been one of the initiations of the "second" practice in the North, now found himself surrounded by a new generation of musicians well versed in the modern style. Unlike Schütz who had studied in Italy where the "first practice" remained a living tradition, the young practicioners of the art, working in a Germany physically and culturally exhausted by the Thirty Years War, lacked the "fundamenta" of their profession. Though it might seem like "heavenly harmony," music not founded in solid polyphonic technique was judged by Schütz to be no more than "an empty nutsehell," an he admonished the beginner to "bite open that hard nut whose real substance is the foundation of good composition."
His words represent a prophetic confrontation of the two terms. For a long time, "harmony" continued to be the word used to describe a fabric of independent part-writing. It was not until the publication of Jean-Philippe Rameau's Traite d'harmonie in 1722 that the modern meaning was introduced. Three years later, Fux's Gradus established the modern didactic tradition of counterpoint. Yet this was also the decade in which Handel published his first set of harpsichord lessons, and in which Bach wrote the Inventions and the Clavier Books for his son Wilhelm Friedemann and his wife Anna Magdalena—the decade in which the last two great Baroque composers undertook a systematic exposition of instruction in composition. Though they both made their point of departure the highly-developed execution of figured bass, the technique remained, in their hands, inseparable from polyphonic practice. It did not serve to illustrate how voices are placed but how the move within a harmonic texture. And the balanced blending of harmony and counterpoint was to become the foremost challenge of conventional theory.
The new meaning of the word "theory" entered the study of music largely through the influence of a work which, despite its mixed reception, attained epochal significance: Johann Georg Sulzer's General Theory of the Arts (Allgemeine Theorie der schönen Künste, 1771–1774). The author, director of the Faculty of Philosophy at the Berlin Academy of Sciences, was guided by the ideals of Rousseau in his thesis that the arts must both express and enhance nature. In an approach typical of his time, he attempted to define all artistic terms and concepts that would serve this purpose and gathered them in an encyclopedic dictionary. His musical advisors, Johann Philipp Kirnberger and Kirnberger's student Johann Abraham Peter Schulz, represented a lineage of Bach's teaching. The system of musical theory they devised, however, came under immediate attack; it was questioned above all because Sulzer's basic axiom, namely that music is a "sequence of tones guided by the passions of sentiments," resisted his own scheme of standardization. In the second volume of an Essay for the Instruction in Composition (Versuch einer Anleitung zur Composition, 1782–1793), Heinrich Chrisoph Koch, one of the eminent writers of the period, formulated the critical argument:

The young composer's endeavors in letting his soul form beautiful melodies can never be truly aided by theory.

Nevertheless, music theory—no longer in the old sense of the "science" of music but as the subject of college and conservatory courses—became an established abstraction that was to dominate the teaching of musical composition in succeeding generations. This is all the more understandable since vital musical styles and techniques were changing swiftly to meet the demands of taste and musical imagination. When thoroughbass and fugue no longer represented current practice, they were relegated to the realm of theory. They were perpetuated in didactics though much as the "stile antico" had been retained in the age of the second practice, but with a difference: the very terms "prima prattica" and "seconda prattica" implied that the old style had stayed alive, that it continued to be practicable and valid as an artistic expression. Counterpoint and fugue, as brances of modern theory, became "a metier, not an art."²
The dichotomy thus produced had more complex ramifications than this comparison might suggest. Beethoven, though he defied Johann Georg Albrechtsberger's teaching of fugue as an "art of creating musical skeletons,"³ had been his attentive and dedicated student, and the Beethoven biographer Alexander Wheelock Thayer gives a description, authenticated by contemporary accounts, of Beethoven's daily sessions with a colleague and neighbor in which "the conversation usually turned upon musical theory and composition."⁴
Theory must here still be understood in rather general terms as the study of eighteenth-century writers on various subjects, not in the sense of a more-or-less fixed course of studies in different techniques. Mozart seems to have arrived at the conventional sequence of harmony and counterpoint in his pedagogical experience empirically—this sequence, although practiced at the time, had not been fully established. In teaching the young composer Thomas Attwood during the years 1785 and 1786, he became increasingly aware of a lack of linear skill in his student's harmonizations and—apparently under the influence of Haydn—decided to direct the twenty-one-year-old back to the beginning of contrapuntal studies.⁵
The most striking case of a composer's awareness of the increasing importance of conventional theory is Schubert's legendary lesson, two weeks before his death, with the respected Viennese theorist Simon Sechter. In a letter responding to a request for biographical information, Sechter mentioned this lesson but we had no knowledge of its contents until the manuscript pages on which both Schubert and Sechter had worked were recently brought to light.⁶ Schubert turned to Sechter for advice because he was puzzled by certain technical details of fugal practice with which his generation was no longer conversant. The documentation of his lesson is all the more arresting since it shows that Schubert obtained the answers he sought. Sechter corrected the samples of fugal expositions that Schubert had submitted and added a clear exposition of the principles involved. The lesson was concluded with the assignment of a three-part fugue on which Schubert was no longer able to work. It is a touching postlude to this remarkable encounter that Sechter carried out the assignment and published it, nine days after Schubert's death, in homage to the illustrious student—doubly touching because the mediocre quality of Sechter's work shows that teacher and student met merely as theorist and composer, but not on equal terms.
What had been revealed to the dying composer was a certain historical perspective that the rapid development of the classical style had temporarily obscured, and it was this historical perspective that gave to nineteenth-century theory its most valuable contributions. Albrechtsberger, Beethoven's teacher, had taken an important step in his teaching by adapting the modal technique of counterpoint to the modern tonalities of major and minor. This orientation was subsequently reversed by a historian, Heinrich Bellermann, who, in his manual Der Contrapunkt (1862), returned to the letter and spirit of Fux's Gradus. Bellermann, successor to Adolf Bernard Marx, the first professor of music at the University of Berlin and himself the author of a standard manual on composition, was followed in his restoration of modal counterpoint by several other writers, but his book was denounced as "obsolete at its very appearance" by his distinguished colleague Hugo Riemann—as obsolete, one might add, as Bach's conscious use of modes in Clavierübung III.
In the end, neither historical nor analytical studies could solve the problems inherent in the ascendancy of theory. It was the departure from practice that undermined the textbook literature of the nineteenth century. Composers of the Romantic age in their writings did not deal with the question of how to teach composition—only orchestration. Not until the twentieth century were teaching manuals again produced by prominent composers. That the element of creative thought had been missing in didactic literature is indicated in a treatise by Heinrich Schenker, foremost among twentieth-century theorists: Neue Musikalische Theorien und Fantasien (1910–1920). Schenker, who had been torn in his early years between the careers of composer and theorist, eventually decided that the theorist's profession was for him a greater challenge. Though his work lives up to its title by offering a highly imaginative exposition of harmony and counterpoint, it inevitably points to the crux of the dilemma: in essence, composition must be taught by the composer; the theorist can only teach theory, no matter how refined the method.
Unlike theoretical guidance, practical guidance in the composer's craft is committed to the master-artisan relationship that was abandoned in textbook instruction. The didactic literature of earlier ages, too, was addressed to the individual, not to classes. The following chapters will thus be concerned with documents that show the time-honored direct and special exchange between teacher and student in an age when individualism, though strengthened in so many other ways, was abrogated in the teaching of musical composition.
¹ Frierich Wilhem Marpurg, in a letter to Johann Mattheson, Kritische Briefe über die Tonkunst (Berlin, 1760), I, 266. Translated in The Bach Reader, Hans T. David and Arthur Mendel, eds. (New York, 1966), p. 257.
² Paul Henry Lang, Music in Western Civilization (New York, 1941), p. 974.
³ Letter to the publishers B. Schott's Söhne, January, 1825.
⁴ Thayer's Life of Beethoven. Rev. Elliot Forbes (Princeton, 1984), I. 262.
⁵ Cf. This writer's discussion of Haydn's and Mozart's contrapuntal teachings in Mozart-Jahrbuch 1978 / 79, pp. 197, ff.
⁶ The manuscript was discovered by the Schubert scholar Christa Landon; see her report "New Schubert Finds" in Music Review 31 (1970), pp. 215 ff.

I'm new to competitive fortnite and I'm looking for a team to play with pls send your best clips and top 2 wins

Has anybody noticed that all manga units (and also collab units) all have 4XXX Player ID? I was wondering what are people's thoughts on some missing IDs (you may see them at jp.rika.ren Live 2D viewer section)
First, it appears that F4 has an intention of bringing only 10 characters per manga entry. For Oriko, 4001 - 4010 are the Oriko units' ID: 4001 for Oriko (4004 for her Final ver.), 4002 for Kirika and 4003 for Yuma. However, 4005 - 4010 are not filled. My best assumption is that they're gonna bring the Magical Girls from Sadness Prayer. Namely, Lina Hitomi, Mio, Miyako Saki, Mai Akane, Sasa Yuuki and Komaki Asako. Since F4 also has started giving us more unplayable side characters (8XXX ID), I suppose were probably gonna get 2-3 unplayable ones for Oriko as well.
4011 - 4020 is for Kazumi Magica. 4011 and 4014 are for Kazumi and her final form. 4012 and 4013 are for the playable Kaoru Maki and Umika Misaki. Now, 4015 to 4017 belong to Saki Asami, Niko Kanna and Michiru Kazusa, who are yet to be released as playable characters. 4018 to 4020 are not revealed and also Mirai Wakaba and Satomi Usagi are yet to be seen, so they're likely gonna be 4018 and 4019. That leaves 4020... they could bring a villain like the Soujus, Yuuri or Kanna Hijiri. I wonder who's gonna be the lucky one?
Tart is the most complete one. 4021 - 4030 corresponds to Tart Magica. 4021 to 4029 are all filled except for 4030... The odd thing here is that Isabeau could have been put in 4030, but was instead given 4121 and 4122??? Does that mean the final ID before the new series needs to be empty? (eg 4010 has to be empty to create a space between Oriko and Kazumi). This is quite puzzling, I hope we can be given an explanation for this soon.
Finally, here comes Suzune (4031 - 4040). 4031 to 4037 are all filled with the last one corresponding to the unplayable Kagari. If 4038 - 4040 were to be filled, I would probably put Kanami Honoka (yes, the girl Suzune killed in early chapter 1; likely our Kuro for Suzune). 4039 and 4040 could be given to Tsubaki's childhood friend, Ichika Kasumi and her adoptive mother, Yoriko Yanagi. Which I believe by having those three might expand upon Suzune Magica's backstory...

I checked this album out for the first time about a month ago and it's been on HEAVY repeat since. It recently came to my attention that the last 2 songs have backwards narratives and that the album should be played backwards conceptually, so I did just that. Here is my dissection of the story from what I picked up:

At the end of the Spring interlude, you can hear a kid ask "who's up?" which soon transitions into the arcade machine noises at the start of They Resurrect Over New. Throughout the song, there are video game references as well as bars like "trapped in a game were the trap is the game" which allude to the idea that the body of the album takes place within a metaphorical (or physical?) video game.

I had a hard time dissecting Adoration Of The Magi, but the chorus and the third verse make it seem like it's about exposure to a sinful life being common in poor areas. Kids "playing in the streets" and having teardrop tattoos (symbolic of catching bodies) is a real plague, and the third verse talking about "Can't be eyes closed when you side scroll" followed by lines about the reflection of said character's life from birth up until the present contributes to this "life is a video game" concept. Madonna is a storytelling song from the perspective of a kid trying to help his drug-addicted single mother live a better life. He unfortunately gets locked up "working" which implies his work isn't legal. Deliver is pretty self-explanatory, about how Chicago has gotten so bad that even pizza delivery men don't want to step foot into the ghetto. "Too much dough" in the chorus is also pretty dope wordplay. I didn't completely get the concept of Chopper, but there are plenty of lines about people from the hood wandering around in cheap white tees and loaded guns while struggling to afford food and other amenities in life. The chorus also helps this idea.

Winter is completely different lyrically and sonically, perhaps our character's next chapter of life: adulthood, where he has made it out of the ghetto but now has issues with others in his life. No Scratches is about getting out of a bad situation before it is escalated to a point of no return, specifically a relationship. The chorus lines "before we hit a wall, heartbreak, and it crashes, just walk away, no scratches" solidify this, although I had trouble deciphering the verses outside of some lines. Body Of Work seems to be about, in short, Hip-Hop being embedded within Lupe as a part of his "anatomy". As for Little Death, I watched an interview the other day where Lupe said the song has like 5 different narratives running through it, but I really just couldn't pick anything up from the track. I did notice that the chorus was slightly different each time and kinda related to the verse it followed, such as the second chorus saying "howl at the prey" following the verse with animal wordplay.

Now, Prisoner 1 & 2 is a very hefty song lyrically. It starts with a character getting arrested and charged with a double-life sentence while his wife escaped. The second verse takes place ten years into his sentence, where he has studied law books inside of prison and has grown accustomed to the wardens' corrupt ways. His last resort is praying to god for freedom and justice to no avail. He even starts to question religion by "tryna find dinosaurs in the Bible". The third verse shows him much further into his sentence where he is losing his mind. He banged on the glass and fantasized escaping by getting lifted by a helicopter, digging a tunnel out, quite literally everything. The line "when your life is just a number and release date" ties this to Lupe's relationship with his label, who had held this album hostage until they were forced to announce a release date. After a phone call-like interlude from Ayesha Jaco, a HARD synth kicks in with one verse from the perspective of a prisoner mocking the guards for essentially being prisoners to their workplace during their shift, and a second verse from the perspective of a brainwashed prisoner who sides with his overseers and has come to believe that he is being done right by the system. This song is fucking hard and probably my favorite on the album.

After that behemoth of a song comes the Fall interlude where you can hear a menacing violin on top of the sound of kids playing in leaves, which could be the album's main character's life coming full circle and starting from childhood again? This makes sense to me since Dots & Lines has such a cheery sound as well as bars about drawing simple shapes: something kids do at the very beginning of their academic journey. "Go straight, don't sine" is an awesome double entendre, meaning both going straight rather than the direction of a sine wave as well as "don't sign" to a label: a big mistake that Lupe definitely regretted. I was completely lost on Blur My Hands so I'm not even gonna try dissecting that song.

Finally, we get to Mural: an 8-minute-long bar fest. Throughout this track, Lupe paints metaphorical images of many ideas that he wants to see visualized within his lifetime. The "girls reign all over the world"/rain scheme was incredible, and so was the whole "treat your vocal chords like a fortress" rhyme scheme. I picked up a ton of intricate rhyming and imagery throughout the song, but I don't think I should sit here and type out every single detail unless I want to spend the next 5 hours doing so.

Long story short, the album follows a character played in a 2D side-scrolling video game. It starts out from the character's rough childhood surrounded by guns, crime, and drugs. It continues through his adulthood where he has troubles with relationships, sees his friends get locked up, and fights for social issues. The final stretch of the album feels like a new beginning, where our character revisits his childhood in an alternate timeline where he didn't have to suffer through a crime-ridden atmosphere. Mural closes the album by painting a beautiful picture of a seemingly utopian society.

It's 3AM and I doubt any of this is even right, but I needed to write this down somewhere or else I would go insane. What do you guys think?

tl;dr Flawed time travel fic, but still incredibly unique in its own right and has potential for what it can do later in the future. Numbered scores aren't my shtick.
The description of the fic already does a solid job at describing what it's going to be about, but I'll spell it out here as well with some extra details.
but in the end, it will be this way is a time travel fic (Pairings: Aubrey/Sunny) that is one month after the recital, the time travelling protagonist is Sunny who is from 2.5 years after the good ending as he takes on the identity as the mysterious elder brother named Kaito due to him being a separate entity from his younger self.
Stuff below will include spoilers of the fic, use caution.

Sunny/Kaito in this fic takes on a very different personality compared to how most fics depict his character in an older state by taking on a much more brash and aggressive personality, but just different enough to not be a copy of real world Aubrey. He still cares deeply for his friends even when they know nothing of him, has a more mature tone overall, and seems to have undergone new trauma that we've yet to see more of it later on. (This isn't saying that fics that depict him as a quiet person are bad, but the direction this fic has for his character is pretty interesting for me.) (Sunny/Kaito's Personality)
Things begin to take a much more interesting turn as we witness the more careless and reckless side of Sunny/Kaito as his actions so far include: Charging into his family's house's door hard enough to break the hinges off, threatening Hero in blind rage of his own in an argument early on, and broke into Aubrey's house to confront her mother before eventually having Aubrey live with him and Sunny. (Sunny/Kaito's Actions)
The fic also has a heavy focus on his inner turmoil as the flashbacks heavily implies (or just tells, I don't know) that Sunny/Kaito in this fic one slight difference compared to a normal good ending, that is that Sunny/Kaito had never forgiven himself in the first place even with telling the truth to the others. This leads to him having a complex of hiding his true feelings and bottling up many of his selfish thoughts for the sake of not wanting to burden his friends. He also seems to have trust issues and resentment towards his parents, but slightly less to his mother. He deeply misses his old friends and is heavily depressive about the fact that he'll probably never see him again, along with the fact that he never got to confess his love to Aubrey before. (Sunny/Kaito's Inner Turmoil)
There isn't very much to really say about the younger main cast in the story as they don't have much of a focus compared to Sunny/Kaito, but how they act and what they do is serviceable enough for me to still enjoy their presence. Admittedly, the author could do a better job on characterizing them and fleshing them out more. (Though oddly enough, I have noticed that the word counts have been constantly changing during one of my rereads. The first few chapters have seen some serious improvements on their character along with Kaito's because of this, looks like they're focusing on reworking the chapters for the time being...)
The side characters however, is also a big part of why I really like the direction the fic is taking. Sunny's parents seems to have quite the backstory behind them that the author has yet to expand on, but I still like what we have so far. Sunny's mother, who is named Amelia, is the only person who is aware about Sunny/Kaito's true identity because she's the only person he can really tell his identity to without causing too much attention. And plus, he needs some shelter as well. Sunny/Kaito seems to have had quite the resentment and trust issues for her after experiencing trauma related to her breaking a promise that she had made to him in his timeline with the more subtle things that might relate to unwilling child neglect. (Side Characters: Sunny's Mom)
But what's more interesting are Sunny's Father (Kuniharu) and Aubrey's Mother (name have yet to be known), they both have a quite the unique and somewhat fleshed out take for what they have shown so far. It seems that in this universe, Kuniharu had actually seemed to regret what he had done in the past that he was willing enough (or desperate) to call Amelia to apologize. We've yet to see more of him later on, but I'm excited to what the author has for us. (Side Characters: Sunny's Father)
>! Aubrey's Mother also has an established character as someone who is mostly mellow and depressed, but can be easily provoked as well. She seems to have undergone her own trauma as well as her thoughts also state that Aubrey was merely a case of not using a condom and having a terrible husband. Like other fics, she seems to have an addiction to alcohol and watching screens that doesn't show anything. !< (Side Characters: Aubrey's Mother)
What's refreshing is that the only real bad thing she's done is having an uncontrollable alcohol addiction and neglecting her daughter compared to others that depict her as a total psychotic abusive who hit their children. I'm not saying that isn't a possibility, but it's really overdone and generally just depicted awfully to be honest, so it's nice to see her being more laid back. (Side Characters: Aubrey's Mother Continued)
The only real issue here is how quickly the story has her killing herself after giving Aubrey to Kaito by using a gun that she had for some reason, I hope the author improves on that considering his recent improvements on the beginning chapters so far. (Side Characters: Aubrey's Mother Continued, mentions of suicide)
There also some other issues that I personally have is:

The younger characters sometimes don't really act their age and tend to act a bit too mature, excluding Kaito.
The prose is a bit overwhelming and cluttered up sometimes, making things a bit difficult to read.
Dialogue is a bit stale and could be improved on.
The younger characters of the main cast could be fleshed out more and improved on. (Already mentioned.)
The abrupt use of multiple perspectives is a bit odd in the later parts of the story when there really wasn't before.
Etc.

But overall, this has been an incredibly amazing story to read and I await to see what the anonymous (For some reason? They don't really respond to the comments either sadly...) author has for us in store. It has been a few months since the last chapter, but the recent updates on the first few chapters makes me believe there's still hope.

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I. The Rise of Conventional Theory

I. The Rise of Conventional Theory

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