i’ve been off work for the past week thinking “i go back to work on the 5th of june”. so naturally, i start meal planning, getting my clothes out for monday morning, cleaning up. the basic sunday routine. getting set for the next working week.
my mums toddles into the kitchen while i’m in the midst of meal planning and says “insert her friends name’s busy because her child has two weeks off”. i also work with children so i should also have two weeks off.
i turn the stove off, wash my hands, dry them and get my phone out.
my heart is pounding in panic and suspense. thoughts are racing as i type in google to find my work calendar.
loading… loading… loading…
i click on it and BOOM, i’m off till the 12th June.
anyway, if someone wants tenderstem broccoli with carrots and washed rice, lemme know 😃

Over 3 years ago many of us went to work from home for the first time. For some this was temporary, for others there are elements of permanence (including part time in office part time at home).
How has your health changed? I.e. has access to your kitchen been positive or negative for your eating habits and weight or other health measures? Exercise over lunch that was not possible in the office? How has your mental health changed, etc?
For those who have returned to the office, has this offset the changes that you saw when you went to work from home?

Had to get this off of my chest.
IDK about others, but if anyone is a true football fan there shouldn't be any reason to not watch Indian Football. Heck, if I was born somewhere in Nepal or Cambodia, I would have still watched their local leagues or national team despite being under-developed. Don't get me wrong, I do follow European football. But it's simply about the attachment and the sole desire to want your country to do well in football. The argument of 'national team performance' sounds right for other sports fans or people in general. But not the same for football fans.
I know Indians who said "India losing to small minnows like Vietnam" or "Japan didn't even reach the semi finals in World Cup lol, why are you supporting that team?" shows how less they know about football outside PL and La Liga. In that case, if India wins against Kyrgyz, we will celebrate but they will be like "I never knew Kyrgyzstan had a football team, India should first defeat Japan, Korea". A friend of mine who's a Messi fan said that he will support Argentina in the WC even if India qualified.
I can go look up the best team in the world, pretend to be a Man City fan and my friends would say nothing. But if I express anything about ISL, Chhetri, or Chennaiyin, all of a sudden I get replies like "You watch ISL? lol", "It's so shit", "Worse than 5th division Europe league", "qualify for a world cup first".
There's nothing wrong with not watching Indian football. But when people speak with ignorance and half-knowledge, it doesn't make any sense really.

come up with a 13+ roblox game called "Old Fashion MURDER" and it would also be filled with humor
6/4/2023, 10:10:35 AM
Sure, I can help you with that! Here's a brief overview of what the game "Old Fashion MURDER" could look like:
The premise of the game is that players are transported back in time to a murder mystery party set in the 1920s. Each player takes on the role of a unique character, such as a wealthy heiress, a bumbling detective, or a grizzled mobster.
The game would be played in rounds, with a certain number of players randomly selected at the beginning of each round to play the part of the murderer. The rest of the players must work together to solve the mystery and identify the killer before they strike again.
Throughout the game, there would be plenty of opportunities for humor and lighthearted fun. For example, players could collect silly hats and accessories to wear during the party, or stumble upon hidden rooms filled with goofy gags and pranks.
To add to the comedic elements, players could also have access to various gadgets and tools that could aid them in their investigations. These might include things like oversized magnifying glasses, comically large keys, or even a monocle that provides ridiculous commentary on the events of the game.
Overall, "Old Fashion MURDER" would be a great way to combine the excitement of a murder mystery with the humor and charm of a classic comedy.
📷
6/4/2023, 10:13:26 AM
so what i was going for is there are 5 chapters and the 1st chapter basically introduces the players to what is going on and the main characters: norman and allissa. they are both cube-like things that evolve into major friends and helpers for the players. every other character is also a cube. also norman would die in the 4th chapter... yep...
6/4/2023, 10:13:39 AM
I see, sounds like an interesting concept for a story or game. So the first chapter serves as an introduction to the world and characters, with Norman and Allissa being the primary focus. As cube-like beings, they evolve throughout the story and become important allies for the players.
It's also intriguing that all the characters in this world are cubes, which could make for some unique visual designs and gameplay mechanics.
And it seems that Norman's eventual death in the fourth chapter will be a significant turning point in the story, leading to new challenges for the players and potentially affecting their relationships with other characters.
Overall, it sounds like you have a solid foundation for a narrative-driven game or story, with interesting characters and a unique setting.
📷
6/4/2023, 10:15:08 AM
i feel like it would be funny if the first chase monster is incredibly slow and the allissa and norman just did a very sarcastic scream and just slowly walked away.
6/4/2023, 10:15:19 AM
That could definitely add some humor to the story! Having a slow chase monster that the characters can easily outrun would create a comedic moment, especially if Norman and Allissa react in a sarcastic manner as you suggested.
It could also serve as a way to introduce the player to the game mechanics without immediately overwhelming them with high-stakes challenges. By starting with a slower and less intimidating monster, players can learn how to navigate the game world and control their characters before facing more difficult obstacles later on.
Overall, incorporating humor into the game can be a great way to keep players engaged and create a memorable experience.
📷
6/4/2023, 10:17:57 AM
at the 2nd chapter is where it's actually hard, incorparating the first actually serious chase scene. the players have to run away from a giant... thing. it's a large and slimey void colored thing that has the classic "no eyebrowed frowning heads on the horror game creature"
6/4/2023, 10:18:11 AM
Ah, I see. So the second chapter will step up the difficulty and add some tension to the game with a serious chase scene involving a giant, ominous creature.
The void-colored, slimy creature you described sounds like it could be quite intimidating, especially with the "no eyebrowed frowning head" design characteristic of many horror game monsters. This could create a sense of dread and fear in players as they try to outrun the creature and avoid being caught.
Introducing this type of challenge in the second chapter is a good way to ramp up the difficulty and keep players engaged, while also building on the established mechanics and world introduced in the first chapter.
Overall, it sounds like you have a solid structure in place for your game, with a good balance between humorous and serious moments to keep players engaged and interested.
📷
6/4/2023, 10:20:38 AM
also at the end oof the chase scene norman just ragdolls the thing with that one heavy kill taunt from TF2
6/4/2023, 10:20:50 AM
Haha, that could definitely be a funny and surprising moment for players! Having Norman suddenly take down the giant creature with a heavy kill taunt from TF2 would add a comedic element to what was previously a tense and challenging chase sequence.
It's always good to balance out serious moments with humorous ones in a game or story, as it keeps the experience varied and prevents it from becoming too overwhelming or monotonous. Incorporating unexpected elements like this can also help keep players engaged and interested in the game world and characters.
Overall, it sounds like you have a good sense of how to create a compelling narrative-driven game with a mix of humor and tension!
📷
6/4/2023, 10:30:19 AM
the 3rd chapter is one that finally introduces enemy combat and boss combat. the players get a weapon with they have for the rest of the game. The boss is the painter, which is the only boss that can talk and that has emotions. He moves in stop motion and he paints in enemies. Speaking of that, the combat is with enemies if it wasn't obvious.
6/4/2023, 10:30:24 AM
That sounds like an interesting chapter for a game! Can you tell me more about the gameplay mechanics for the combat with enemies and the boss? And what kind of weapon do the players receive?
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6/4/2023, 10:31:50 AM
the players get a sword. it's basically roblox combat because it's a roblox game. also because it's a horror game
6/4/2023, 10:31:55 AM
I see! So it's a sword-based combat system, similar to what you might find in other RPG or adventure games. Do the enemies have any unique abilities or weaknesses that players need to exploit in order to defeat them? And how does the boss fight with the painter work?
📷
6/4/2023, 10:32:06 AM
nah they just attack the player
6/4/2023, 10:32:11 AM
I see. So the enemies are pretty straightforward in their mechanics, then. And how does the boss fight with the painter work? Does the player need to use any special strategies or techniques to defeat him?
📷
6/4/2023, 10:33:10 AM
nah he just has 1000 health. normal enemies have 50 and the sword deals 30 damage
6/4/2023, 10:33:15 AM
I see. So the boss fight is more of a battle of attrition, where the player needs to whittle down the painter's health over time. Do you have any plans for other bosses or enemy types later in the game?
📷
6/4/2023, 10:34:33 AM
nah. onto the 4th chapter, (where norman dies) basically at the start of the chapter norman dies but not allissa, norman just pressed esc+r+enter. the chapter doesn't have a boss but does have a lot of puzzles and enemy combat
6/4/2023, 10:34:40 AM
I see, that's an interesting twist. So the player character Norman dies in a strange way, but the other character Allissa is still alive. What kind of puzzles can players expect to encounter in Chapter 4? And are there any new enemy types or mechanics introduced here?
📷
6/4/2023, 10:40:03 AM
players can encounter a candle. why a candle? well, it's a reference to that one roblox player, chuck lloyd. why him? well, he makes odd and creepy roblox games and usually invites youtubers to join him in them. when players go to the puzzle, the candle gets lit and when they go away, it is no longer lit. there is a screen where players have to enter, "is that a hint?" why tthat? well, chuck lloyd invited popular roblox youtuber Flamingo to join him. Flamingo was so invested in the story that he said when chuck lloyd lit a candle he said, you guessed it, "i that a hint?"
6/4/2023, 10:40:14 AM
Interesting! It sounds like the candle and the prompt "is that a hint?" are references to Chuck Lloyd, a Roblox player known for creating creepy games and inviting YouTubers to play them. The candle getting lit and then extinguished when players leave the puzzle adds to the eerie atmosphere of the game. And the prompt "is that a hint?" is a nod to Flamingo, a popular Roblox YouTuber who got invested in Chuck Lloyd's story and asked that question when the candle was lit. It's always fun when video games include Easter eggs or nods to pop culture references like this.
📷
6/4/2023, 10:48:08 AM
the 5th chapter is the conclusion to the story where the players finally make it out of the cartoon. It has the players escape all the monsters AND with an escape time limit. It has every soundtrack mixed into one. Instead of being tense, the soundtracks theme makes it feel like more of an accomplishment. It has every mechanic in the game and every monster. How does it end? Well the player breaks the screen of a TV, specifically the one that sucked them i at the start. The textures of the map then glitch, the enemies play different animations, until the players FINALLY get teleported back home after 5 chapters. Credits roll.
6/4/2023, 10:48:21 AM
That sounds like an exciting conclusion to the story! The mix of all the soundtracks and the feeling of accomplishment give a sense of closure and satisfaction for the players. Breaking the screen of the TV that sucked them in at the start is a great way to symbolize their escape from the game world. The glitching textures and different animations add to the surreal atmosphere of the moment. Finally getting teleported back home after 5 chapters is a great way to end the game, leaving the players with a sense of relief and accomplishment. The credits roll is a nice touch, giving credit to everyone involved in creating the game. Overall, it sounds like a thrilling and satisfying conclusion to the story.

This is Part 4 of my terrible experience in Kingsley, the main town in the peninsula King’s Cove, where I went to visit my boyfriend Nick’s family a few months ago. You can read the earlier parts here:
https://www.reddit.com/nosleep/comments/13o6dfi/festival_of_crows_part_1/
https://www.reddit.com/nosleep/comments/13qgksz/festival_of_crows_part_2/
https://www.reddit.com/nosleep/comments/13t708o/the_festival_of_crows_part_3/
Hindsight is 20/20, right? Looking back on it, it’s so easy to blame Nick for not realising the extent of the depravity and horror that had unfolded so rapidly after he left his parental home and moved to the city, in mid-2021, after the death of his father. He had blocked out so much of what had happened, with the crow-rites and festival- my therapist talks about “purposeful forgetting” describing how we block out unpleasant and distressing memories and this definitely applied to him. And of course, I am well aware that I come across as foolish and confused.
Oh poor Nick. No-one deserves to go like that. When the police found the remains of the body- ah well, I’ll get to that.
I loved him so much. He was my first “real” adult relationship- alongside my first “real” adult job, which I couldn’t keep after I returned, I was that traumatized. I am only slowly beginning to regain my life.
I had been so excited to go to Kingsley- so happy to meet his mom Violent and his cousin Craig. He didn’t talk too much about them, but I never thought anything was wrong with that charming oceanside place. And our videochats with Violet had been perfectly fine. If anyone is to blame, it’s probably Violet, who must have realised something of what Craig and his followers were up to, and yet chose not to share and let Nick and I visit. She would have known how Aunt Margaret, Craig’s mom, and her husband died, how could she not?
Yes, blame the mom. That’s the easy way out. Poor Violet. Well, she paid the price as much as anyone on that terrible peninsula.
Anyway, back to the story.
With Nick dragged off, I started running back to the house, tears streaming down my face, to let Violet know what had happened. But in my confusion and terror, I took the wrong turn, and within minutes, I ended up by craggy rocks by the ocean. My phone obviously had no reception.
In an odd way, the crashing waves, the loneliness, the high soaring white seagulls gave me comfort. After all the nonsense with the black crows, the seagulls minding their own business were absolutely delightful, and I found myself lying back on a rock, letting myself be soothed by the sound of their calls, the waves, and their looping flights. I know I should get up, find help, find Violet, but I simply didn’t want to.
Hours passed.
I realise, looking back, that my irrational decision to stay in the rocks was what actually saved me. By simply following my survival instinct and remaining there, hidden from view in the dips of the rocks, I lived.
But eventually, propelled by hunger and my body aching from prolonged contact with the chilly damp rocks, I had to get up and leave the shelter of the ocean.
I walked back towards the town. As disoriented as I was, I figured out my way and soon spotted Nick’s house. It was already early afternoon.
I was pleased to see our car waiting patiently in the driveway. The front door swung open, and for a moment, I foolishly expected to see Violet standing there smiling, holding a tray of crose jam and fresh-baked muffins.
Crose jam? Oh god, was I becoming one of them?
I shook my head as I bounded up the steps. “Violet?” I called through the open door. There was no answer. I went inside.
Of course, you know a house is empty as soon as you set foot in it. I called out a couple more times, moving from room to room. In the kitchen I noticed the signs of the struggle- the overturned bowl of dough, the trail of flour, broken glassware.
They must have taken her here.
I picked up the landline, no reception. I desperately punched 911 into my cell again, no use. I went upstairs, looking for the car keys. And then I picked up a journal lying on the nightstand and without thinking, flipped it open. I recognized Nick’s handwriting and despite the sense of urgency, couldn’t help reading.
“April 5th, 2020 - Aunt Margaret says we should do something better with the Crows Festival this year, distract the kids. It feels like everyone is going crazy, and I think that’s a cool idea. Craig said he would help to make it really fun.
April 10th, 2020. Everybody is fighting, god I hate this. Dad says holding a big festival would be breaking the covid rules, even though it’s outdoors. I’m almost 19 now and I’m still stuck at home and have to listen to Dad. He yelled at Aunt Margaret and Craig during our family zoom happy hour and told them they were irresponsible with the kids. I can’t wait to leave this town. I wish Mom would leave too.”
I continued reading with growing horror. Nick’s dad- he died in May that year, not of COVID as I had assumed, but his body was found in a field, tied to a pole with his arms outstretched, covered in tar and black crow feathers. The cause of death was never determined.
And then three months later, Aunt Margaret had died, this time of COVID, so Nick wrote in his journal pages.
From the road I heard a car passing and stayed low making sure I couldn’t be seen in the windows by anyone driving by. There wasn’t time to do anything else here, so I opened the door to the backyard.
And then, I saw it.
Violet’s corpse hanging from a thick rope tied to the eaves above the door. Blood from her cut throat had soaked the rope and pooled beneath her, both eyes had been messily cut out leaving red streaks down her cheeks. The smell hit hard, my heart pounded and stomach knotted as I fought the urge to throw up. Steeling myself, I moved around her dangling body making sure not to touch her as I moved out into the backyard and off into the woods.
I still thought I could find Nick and leave together.

I am a 36-year-old woman who has experienced divorce. Although I have gone through ups and downs, I still love life. In this era full of challenges and opportunities, I have always maintained a positive attitude and constantly explored the things I like.
Usually, my greatest joy is to sweat in the kitchen and cook delicious food for myself. From simple and easy-to-learn home-cooked dishes to difficult and delicate dishes, I can complete them with ease. At the same time, you can also enjoy the pleasant feeling brought by tasting various delicacies, and appreciate the unique and delicious taste of different cultural backgrounds on the tip of your tongue.
Music is my soul mate, listening to beautiful melodies to relax my body and mind after busy work. Whether it's soft and lyrical or passionate, every song can make me immerse myself in it and revel in the notes.
Reading is another hobby of mine. It has become a daily compulsory course to enrich one's knowledge and insights, broaden one's horizons, and improve one's thinking ability through books. In addition to novels and stories, books on humanities and social sciences provide a deeper understanding of human nature and social phenomena; books on science and technology open up future development directions and cutting-edge technology applications, etc.
Of course, there is also the compulsory course of skin care! As we get older, we need to pay more attention to our appearance and physical health. Therefore, regular facial care and exercise have become one of the indispensable elements in daily life.
If you also resonate with the above content, and have the same or similar interests, please do not hesitate to contact me! We can share each other's favorite recipes, recommend excellent songs, exchange reading experience, discuss skin care skills and other topics; or go to participate in various cultural activities, outdoor sports and other projects together, forge a deep friendship and create more exciting things in mutual support and companionship remember!

Yes, I know this sounds like something you'd find in a college course about storytelling and thesis work. Yes, I know that this small, rant/post is basiclly that. But hey, I saw it liked it and yeah a few things stuck in my head from it.
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First, This Movie made me realize just how lazy some folks writing spider man are. I'm not throwing shade at them because they could fold me verbally like pretzel, but hot damn do they like repeating the same song and dance. Gwen Dies, Uncle Ben Dies, Captain Stacey Dies. Hell, those that break the mold are the ones whose writers it seems are actively breaking the mold (Miles & Gwen). That's not to say that being spider man should be a power fantasy. Misery is a key element of ANY spider man story (though some writers I suspect love to torture and abuse spiderman more than others).
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Another element I found interesting is that love of "cannon" which, I feel like that was a look at us fans for being so determined that some things should happen not because they make sense or are reasonable, but because someone has this name. Therefore X will happen. Which I do think hurts our love of the comic especially with something that's have had as many writers as comics industry (we all know atleast one story where we really wished they did something unique rather than X is X and Y is Y).
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Miguel O'hara's love of cannon also meant that no one called out the shit he did, which seemingly broke cannon more. I mean how many spider men have actively waged war and fought another spider man in the majority of Marvel comics or Marvel Entertainment? Miguel (whose played amazingly well by Oscar Issac by the way) actively broke the Cannon by denying Miles from being at his father's death. If cannon is so important, then Spider man not being there to save his father IS needed, not him being locked up and having to wait for his death. after all, in all media involing this "captain", spider man feels guilty cause he was too busy doing something to notice the brave captain's sacrafice and guilt cause he could've done something. Not being there for obligation reasons removes the entire essence of spider man (helping folks and sometimes not noticing the after effects). So much shit was broken in what makes a spider-man (a tadbit of misery, the constant attempts to do better and be better, having spider like powers, equipment or tendencies). Also finally, He broke cannon several times by ACTIVELY jumping different universes to get some time with his girl. Miles Wants to hang out with his freinds which is equally bad, but to make him seem like an aberation just annoys me in that no one calls him out on the hypocrisiy.
BTW, Andy samberg killed it as Ben Riely as did Karan Soni for indian Spider man, Daniel Kaluuya as spider punk and yeah. Only complaint I can have is that it felt only half way done, in the way reading a comic starts getting REALLY good and then you have to wait for a period of time for it to restart.

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⭐️ Featured image on this post is from: In The City Festival (Refugee Week) - Broadgate
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🎨 Art & Exhibitions

Event	Date	Venue
Environments In Arcadia: Student Exhibition	Until 10th Jun	City Arcade
The Reason For Painting	Until 25th Jun	Warwick Arts Centre
Memorial to Lost Words	Until 27th Jul	Coventry Cathedral
Divided Selves: Legacies, Memories, Belonging	Until 24th Sep	Herbert Art Gallery & Museum
Warwickshire's Jurassic Sea	Until Feb 2024	Herbert Art Gallery & Museum
Dippy In Coventry: The Nation's Favourite Dinosaur	Until Feb 2026	Herbert Art Gallery & Museum

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🎤 Comedy

Event	Date	Venue
Rich Hall: Shot From Cannons	Fri 9th Jun 7:30pm	Warwick Arts Centre
Closeup Comedy with Helen Bauer	Sat 10th Jun 7pm	Fargo Village

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👨‍👩‍👦‍👦 Family

Event	Date	Venue
Mini Museum Engineers Play	Wed 7th Jun	Coventry Transport Museum
Let's Watch and Make: Wall-E	Sat 10th Jun 10am	Coventry Cathedral
Family Museum Engineers Saturday Play Day	Sat 10th Jun	Coventry Transport Museum
Divided Selves: Zine-Making Workshop	Sat 10th Jun	Herbert Art Gallery & Museum
In The City Festival (Refugee Week)	Sat 10th June	Broadgate

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🎥 Film

Event	Date	Venue
Inland Empire	Until 7th Jun	Warwick Arts Centre
The Eight Mountains	Until 8th Jun	Warwick Arts Centre
Thelma & Louise	Until 11th Jun	Warwick Arts Centre
Chevalier	Until 15th Jun	Warwick Arts Centre
Master Gardener	Until 15th Jun	Warwick Arts Centre

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🍔 Food, Markets & Socials

Event	Date	Venue
Coventry Dining Club	Fri 9th & Sat 10th Jun	Fargo Village
Summer Vegan Festival	Sat 10th & Sun 11th Jun	Fargo Village

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🎵 Music

Event	Date	Venue
Bassekou Kouyate and Ngoni Ba	Mon 5th Jun 7:30pm	HMV Empire
Lunchtime Concert	Wed 7th Jun 1pm	Warwick Arts Centre
Mostly Piano: Linda Merrick and Julian Hellaby	Wed 7th Jun 1pm	Drapers' Hall
Sessions: Dept of Misinformation	Fri 9th Jun 7pm	HMV Empire
Friday Night / Saturday Morning: David Holmes & Paul Toller	Fri 9th Jun 7pm	The Tin
Exotic Suite	Fri 9th Jun 8pm	The Arches Venue
Country Superstars	Fri 9th Jun 8pm	Rialto Plaza
Amy: A Tribute	Sat 10th Jun 7pm	HMV Empire
Rodney Cromwell & roman Angelos	Sat 10th Jun 7pm	Just Dropped In Records, Fargo Village
Rob Lamberti: Celebrating the Music of George Michael	Sat 10th Jun 8pm	Rialto Plaza
Kitchen Club Indie Disco	Sat 10th Jun 9pm	The Tin
Bollywood & South Indian Night	Sat 10th Jun 10:30pm	HMV Empire
CVFolk: Wes finch & The Mechanics	Sun 11th Jun 7:30pm	Albany Theatre

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🗣 Poetry, Writing & Talks

Event	Date	Venue
Artist Talk: Zarah Hussain	Wed 7th Jun 1pm	Warwick Arts Centre
War & Peace: Can civic society make a difference? (panel discussion)	Thu 8th Jun 10am	The Nest
Windrush 75 Festival	Sat 10th Jun 11am	Coventry Caribbean Association, Spon Street

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⚽️ Sport

🙁
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🎭 Theatre & Performance

Event	Date	Venue
Rock On Tommy	Wed 7th Jun 1pm	Belgrade Theatre
The Complete Works of Shakespeare (abridged)	Fri 9th Jun 7:30pm	Albany Theatre
Midlands Best Dance Crew	Sat 10th Jun 7pm	Belgrade Theatre

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🛠 Workshops & Classes

Event	Date	Venue
Open Mic: Words & Music	Thu 8th Jun 8pm	Warwick Arts Centre

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Any events that we've missed? Drop them in the comments below!

As darkened clouds loomed overhead, lightning tore through the sky, illuminating the dark forest with a brilliant burst of light. The crackling energy split the heavens, casting jagged veins of illumination across the landscape. The resounding BOOM that followed reverberated through the air, shaking the very foundation of Cornelia's cozy cabin. Inside, she reclined in her plush chair, enveloped in its welcoming embrace. A soft, crackling warmth emanated from the fireplace, casting a gentle glow that bathed the room in a comforting radiance. She sighed contentedly, the flickering flames casting dancing shadows on the walls, as if they were performers in a mesmerizing show.
"A good sign, isn't that right, Wendy?" Cornelia whispered, her voice a delicate murmur filled with reassurance and affection.
“Wendy wike wain,” said Wendy, with her lustrous ebony-colored fluff, nestled against Cornelia's stomach, her presence a velvety touch against her skin. The room filled with a soft, contented humming as Wendy expressed her happiness.
Cornelia smiled as her pale fingers traced gentle paths along Wendy's back, their movements a tender caress. Her gaze drifted to the window, where nature orchestrated a symphony of raindrops cascading against the glass. Each droplet carried its own rhythm, harmonizing with the crackling fire to create a symphony of soothing melodies.
As Cornelia admired Wendy, a sense of curiosity began to blossom within her. Were there other fluffies out there with the same unique hue? Elves and wealthy humans often boasted vibrant and diverse-colored fluffies in their care, while the "street-rat" fluffies that roamed alleyways possessed more muted variations. Yet, Wendy's fur was a rarity—pure black that held an air of mystique.
Whispers had spread among the villages, snaking through ears and fuelling imaginations. Tales, distorted and embellished, spoke of a sinister pact between Cornelia and the Demon Vlae. In their twisted narratives, the villagers claimed that the evil spirit-lord resided within Wendy, bestowing upon her the cloak of inky blackness.
Cornelia knew these rumours to be falsehoods, mere figments of overactive imaginations, but that did little to quell the villagers' misguided intentions. Not wanting the villagers to burn her at the stake, Cornelia made a deliberate choice to slip away into the embrace of the ancient woods. There, among the towering sentinels of bark and the rustling tapestry of fallen leaves, she sought solace and a life of peace with Wendy.
Just as Cornelia and Wendy began to settle into a tranquil nap, an insistent knocking on the cabin door shattered the serene atmosphere. The abrupt interruption stirred them from their drowsy state, pulling them back into the realm of uncertainty and peril.
Ygor knocked on the door with the force of a strong but controlled thunder. The heavy wooden door swung open by itself, revealing a flaming shadow with crimson eyes that glare into his very soul.
“You do not disturb a witch’s nap you...” scowled Cornelia but she paused upon seeing a sad yet familiar ogre standing before her.
In the ogre's hands, cradled gently like a fragile treasure, was an injured blue fluffy curled up into a ball. The fluffy's delicate hooves pressed against her belly as she whimpered in pain, her soft cries filling the air with a heart-wrenching melody. The scent of fear and desperation clung to her, mingling with the damp earthiness that permeated the cabin.
Cornelia's piercing gaze softened, her eyes lingering on the wounded blue fluffy nestled in Ygor's hands. The dancing flames of the crackling fireplace painted shifting shadows on her face, accentuating the genuine concern etched across her soft features.
“Ygor?” asked Cornelia, her voice a gentle murmur that wrapped around the room.
“Ygor need help, widdle fluffy hurt” replied Ygor, his voice filled with a mix of deep worry and desperation.
"Bring her inside," Cornelia replied, stepping aside and waited for the giant ogre to enter her home. "Don't worry, the cabin is bigger on the inside," she reassured him, her words imbued with a touch of enchantment.
Ygor carefully stepped into the cabin, his massive form casting long shadows against the sturdy wooden walls. Inside, he found himself awestruck by the magic in the cabin. The air is alive with ethereal energy, a tangible testament to Cornelia's formidable abilities.
With deliberate grace, Ygor approached Cornelia, his every movement infused with cautious tenderness. The crackling flames of the fireplace cast a soft, golden glow that danced and flickered, creating a mesmerizing play of light and shadows across the room.
Cornelia placed a soft, crimson blanket on the smooth surface of the wooden table, its vibrant hue contrasting against the rustic backdrop of the cabin. Cornelia's voice resonated with warmth and reassurance as she spoke; her words carrying the echoes of countless months spent mastering witchcraft.
"It's one of the first spells I had to learn as a witch, so don't worry about trying to fit in," Cornelia assured Ygor, her tone comforting like a soft caress.
"Now, tell me what happened," Cornelia gently prompted, her voice a melodic invitation to share their burdens.
Her empathetic eyes fixed upon Ygor and the poor fluffy, eagerly awaiting their tale of woe. The fire crackled and the raindrops tapped against the window, forming a soothing symphony that seemed to draw the elements closer, eager to listen and offer solace.
“Ygor fed fwuffy raw meat, now fwuffy tummy hurts,” Ygor explained.
“wed’ meat? Fwuffies nu’ eat wed’ meat” Wendy exclaimed, her eyes widened with fear and confusion.
“Put her on the table!” Cornelia's command sliced through the air, her voice resonating with authority as she directed Ygor to carefully place the injured fluffy on the plush red blanket that adorned the sturdy wooden table.
With eager determination, Wendy scurried towards Cornelia. The little fluffy snatched a flask from a nearby shelf. The green liquid concocted from the nearby river and the roots of an ancient tree glowed inside the flask. The aromatic scent of the potion wafted through the air, mingling with the comforting aroma of burning wood. Ygor's sensitive nose caught a hint of bones in the fragrance, causing him to raise an eyebrow in curiosity.
“Ygor smell bones” said Ygor upon picking up a strange scent coming from the flask.
"It's just the potion, Ygor. You can sit near the bookshelf; I'll handle this," reassured Cornelia as she guided Ygor to a seat beside the collection of well-worn tomes. His heavy footsteps resonated against the wooden floor, creating a gentle vibration that shook the nearby furniture.
Meanwhile, Wendy, her ebony-colored fluff rustling with each hurried step, made her way to the kitchen. The soft tapping of her little legs echoed through the cabin, the sound blending with the crackling fire and the rhythmic pitter-patter of rain against the window. Guided by Cornelia's request, Wendy retrieved a bowl of ash and garlic, their distinct scents mingling in the air, creating a heady mixture of earthiness and protection.
Cornelia's hands moved with practiced precision, like a knife gliding through the cloves of garlic as if guided by an invisible force. With each expert stroke, the pungent aroma of freshly cut garlic permeated the air, mingling with the earthy scent of the wooden table.
Once the garlic lay in neat, small pieces, Cornelia turned her attention to the bowl. She poured the green liquid into its depths, a shimmering cascade that glimmered like emerald flames. As the liquid settled, Cornelia's voice hummed with an incantation, her words carrying the weight of ancient knowledge and power.
In an instant, a flicker of green fire sprang to life, dancing atop the surface of the liquid. Its ethereal glow cast a surreal illumination, transforming the ordinary bowl into a vessel of enchantment. Shadows flickered and played upon the cabin walls, as if the very room had become a stage for magic itself.
Ygor's gaze locked onto Blue, his eyes filled with concern as he witnessed her unconscious. Despite her silent state, his sensitive ears detected faint, almost imperceptible whimpering that tugged at his heartstrings.
In a mesmerizing display of magic, a radiant golden light took the form of Cornelia's hand, delicately reaching towards the green flame. As her hand made contact, a breathtaking transformation ensued. The liquid within the bowl seemed to defy gravity, soaring out of its confines with graceful fluidity. It floated in the air, suspended like a glistening bubble, casting an iridescent glow that bathed the cabin in a surreal radiance.
The floating liquid became a canvas for the dancing and shimmering golden light, which traced intricate patterns written in the runes of magic. With every subtle movement and shift, the elixir responded, guided by Cornelia's hand, as if it were alive. The soft, ethereal hum resonated through the cabin, its gentle vibrations filling the air and contributing to the enchanting atmosphere that enveloped the space.
Ygor's eyes widened in awe as he witnessed this captivating spectacle, his senses fully immersed in the enchantment unfolding before him. The delicate scent of the potion wafted through the air, an intoxicating blend of natural ingredients and mystical energies. It mingled with the comforting aroma of burning firewood, creating an olfactory tapestry that enveloped the room.
“Wemembeh’ jus’ one dwop o’ fwuffy fwend goes fowebah sweepies” Wendy reminded, her voice filled with caution and trepidation. The anticipation was palpable, causing her little legs to tremble with a mixture of anxiety and hope.
“I know, Wendy” Cornelia replied with concern. Slowly, with delicate precision, she reached out and began removing the intricately carved magic runes that encircled the floating bubble. Each rune dislodged weakened the magic, and the room seemed to hold its breath in anticipation.
As the runes dissipated one by one, a single drop from the shimmering green bubble fell into Blue's mouth, like a droplet of life itself. In that fleeting moment, the magic took hold, invigorating her senses and drawing her back from the abyss of unconsciousness. Blue's eyes fluttered open, her vision initially blurry as she adjusted to the renewed world around her. Gradually, the fog lifted, revealing the figure of another fluffy sitting in front of her, a woman with a mysterious allure, half of her face veiled by a cascade of hair, and Ygor, the gentle ogre.
Blue wakes up, her vision blurry at first. When they cleared, she saw another fluffy sitting in front of her, a strange woman with half her face covered by her hair, and Ygor.
"Mommeh?" Blue's voice trembled with a mixture of longing and confusion, seeking comfort in the familiarity of a mother's embrace.
"No, sorry," Cornelia replied gently, her voice carrying a touch of sympathy. With great care, she cradled Blue in her hands, providing a sense of security and protection.
The cabin enveloped them in a cocoon of warmth and safety, shielding them from the world's uncertainties.
"Let's give you a bath before I return you to Ygor, is that okay?" Cornelia offered, her words laced with kindness and concern. Blue nodded, a silent agreement to the caring gesture that awaited her.
As Cornelia cradled Blue in her arms, Ygor's curious gaze wandered to the bookshelf, where a plush velvet tome caught his attention. With a gentle touch, he retrieved the book, feeling the smoothness of the fabric beneath his fingertips. Opening it, Ygor's eyes widened at the sight of a meticulously drawn map, its intricate details beckoning him into a world he's never seen before.
His gaze shifted to the strange numbers inscribed alongside the map, written in elegant script that danced across the aged parchment. Ygor traced the lines and deciphered the enigmatic message contained within.
"Two... tw-twenty-six degrees, twelve minutes, and forty-four seconds, N—No- no- north," Ygor read aloud, his voice filled with curiosity.
Cornelia emerged from the bath, her bare feet padding softly against the wooden floor, carrying Blue wrapped in a clean towel. Drops of water glistened upon her skin like scattered diamonds, reflecting the warm glow of the cabin's hearth. She approached Ygor, her presence radiating a sense of wisdom and familiarity.
"It seems you've improved since the last time I met you," Cornelia remarked, her voice carrying a tone of admiration.
The scent of lavender lingered in the air, intermingling with the comforting aroma of freshly brewed tea.
“Ygor been reading lots lately, collected many books” Ygor proudly proclaimed. The room resonated with the gentle rustling of pages, as each one whispered a tale of knowledge and discovery.
Gently placing Blue on the floor, Cornelia watched with fondness as the little fluffy’s hooves create a delicate patter against the wooden surface as she scurried towards Ygor. She then nuzzled against his massive leg, seeking solace and comfort. A warm smile graced Cornelia's lips.
"That's truly admirable," Cornelia remarked, her voice carrying a gentle cadence. The crackling fire painted flickering shadows upon the walls, enveloping the space in a comforting embrace. The scent of smoldering logs mingled with the sweet fragrance of wildflowers, creating an enchanting symphony for the senses.
“Until the ‘metal people’ burnt them along with Ygor house” Ygor replied, his voice echoed with a touch of sorrow. The weight of his words hung in the air, mingling with the flickering shadows cast by the crackling flames.
"The metal people," Cornelia mused, her thoughts drifting to the relentless knights of The King. The weight of their armored presence pressed upon her mind, like a looming storm cloud on the horizon. The memory of their arrival, their steel-clad boots treading upon the sacred grounds of the Old World, sent shivers down her spine. Their presence had brought upheaval, disrupting the delicate balance of harmony and magic that once thrived.
"I'm sorry to hear that," Cornelia said, her voice laced with sincerity. "You can stay here as long as you need," she assured, her words offering solace and a sense of belonging amidst the uncertainty of the outside world.
“Thank you, Ygor will find new home soon,” Ygor replied. “By the way, Ygor find black fluffy interesting, never seen one before,” he remarked, pointing towards Wendy.
Cornelia followed his gaze, her eyes tracing the ebony contours of Wendy's fur. The contrast of darkness against light evoked a sense of curiosity and wonder.
“I saw her in an alley a couple of months ago while I was gathering ingredients,” Cornelia recalled as she adjusted her favorite chair, drawing it closer to Ygor's seat. Blue and Wendy sat side by side, their eyes filled with anticipation as they listen to the story Cornelia is about to tell.
--NOTE-- A drawing of Wendy

Because roleplaying is primarily a 1st person experience, where we think and speak as a particular character, it can be easy to forget about a vital tool DMs are constantly using in other modes of the game, which is to describe the actions of a character objectively, as if someone else was observing them. This is particularly useful for a few reasons:

1. Move the scene along! If an RP scene is starting to drag, you can press the gas by switching to a descriptive mode of the NPC. Describe the barkeep getting into an altercation with an ornery customer, or have him get called back into the kitchen to tend to a grease fire. Either of those moments are potential hooks for your party, as well, and the scene may evolve into them helping the barkeep, but it also gives PCs a chance to move forward with the story by leaving the scene.
2. React properly. It can be very hard to roleplay certain emotions or reactions very well. For example, the parent who cries tears of joy when their child is returned to them is usually not very satisfying RP, but players will get a better payoff if you zoom the camera out and describe the reunion between the NPCs objectively. And again, these moments serve as very effective prompts. The players usually have an emotional disconnect to the father who weepingly thanks them directly, but if you present the scene of the reunion from a distance, the PCs have a wider variety of reactions they can go with. Perhaps this is the perfect time for them to leave. Perhaps the scene switches gears here, and the party begins to question the father, or maybe the greedy PC in the party smashes the moment (and generates new drama for the game) by demanding payment for the child’s rescue.
3. Encourage players to focus on their own PCs actions. In dungeons, or in combat, players are very used to this mode of description for their own characters. But it is no surprise that, just like DMs, the default mode of RP is something akin to first person play. But the more you demonstrate NPCs taking objective actions, the more you will see your players start to as well. Soon you will be building scenes together where your players use their PC's actions and even body language to participate, and communicate, in RP scenes. And when PCs want to take more objective actions in a scene, they start seeking more interactive elements of the world– windows to break, chessboards to throw, keyholes to peep through, and all of this adds up to a more dynamic experience.
4. Summarize an NPC's position or approach. If an encounter has run its course, or if a conversation has nowhere else to go, zooming out is the perfect way to signal this to the players. “No matter how much more the barbarian smashes the farmer’s knuckles, his only response is to whimper and shriek that he knows nothing.” “You’ve made all the arguments you have to the queen, but she furiously stalks back to her throne and waves you off without looking at you.”
5. Flavor the character. Actions speak louder than words. Active NPCs are one of the core elements of making your game world come alive. Once you start activating NPCs, their personalities become more apparent. The things they want to do start to paint a more detailed picture of who this NPC is. And if the NPC is recurring, now you have a tool you can use during prep to move the world along.

Here’s an example: When the party first meets the blacksmith, he is in his house instead of at work. They knock on his door and find that he is in the middle of preparing a cake for someone’s birthday. Now the blacksmith has a hobby, he has a relationship with whoever’s birthday it is, and the celebration marks the passage of time in this world. Your players now have extra material to react to and to use if they interact with the blacksmith again. But let’s say, for simplicity’s sake, it’s a straightforward scene. The PCs peel the blacksmith from home so he can sketch out a new shield for the fighter. Two weeks later, the party will come back.
In prep for the next game, we have some decisions to make about the blacksmith. In addition to developing him from whatever interactions and details emerged during the game, we have some questions to answer regarding that cake. Whose birthday was it for? Let’s say his… neighbor! An old woman with a missing leg who can’t get around much, and also the one who taught the blacksmith how to bake in the first place. Now we are adding more developments to this character!
So, the party shows up a second time, and the blacksmith is working. His neighbor is down in his shop too, and guess what they’re doing: In between hammering the fighter’s shield, they are eating from a loaf of bread she baked (and the bread can be offered to the party), and the blacksmith is taking notes on a little piece of parchment, getting her recipe down to each detail and asking lots of questions to learn more (a moment the players can either participate in, cut off halfway through, or allow to happen while they observe). Doesn’t that seem a lot more real than a blacksmith perpetually beating on an anvil until the party enters his shop to pull him from his craftsman’s slumber? All of that comes from a simple cake.
Now the blacksmith is much more alive because he has a friend, an unlikely friend, and he’s got the humility of a student and the love of a son for this lady who taught him how to bake. So we can develop it further. Maybe they rely on each other in some way. There’s a nice little story that is starting to build. Maybe the party picks it up, and maybe they don’t. Maybe they start to like the blacksmith a lot, or maybe all this picture painting doesn’t do anything directly for the story other than to act as window dressing for the start of the scene with the Blacksmith and the party. Even then, I argue, the technique is worthwhile because detailed NPCs stick to players’ minds, and sooner or later, your players will be drawn to one of them.
So, imagine that our party has taken a liking to the blacksmith, and vice versa. They’ve exchanged work, maybe even one of them has cooking proficiency and so the game develops there (or better, make the blacksmith’s hobby relevant to one of the PCs tool proficiencies at the outset!). What if you want to escalate the blacksmith's story, and thus the world of the game? There’s obvious answers, but at this point, the situation has so flared my imagination that I’d prefer to make a hotlist.
What happens next? Roll D10 1 Githyanki slavers steal either the lady, the blacksmith, or both. 2 The lady reveals she is a celestial being sent to protect the town from a demon. 3 An oblex moves into town and takes over either the blacksmith or the woman. 4 The blacksmith enters a baking contest in town but loses to the corrupt mayor. 5 The lady falls ill with sepsis. 6 The lady's runaway bandit son returns badly wounded; bounty hunters are after him. 7 The blacksmith burned his hand at work and the lady is tending to him. 8 Both blacksmith and lady are being evicted by their dwarf emerald baron landlord. 9 The smithy was robbed by night goblins. 10 The blacksmith and lady together are baking many goods for a holiday.
The goal with the above list is to expand the range of possibilities with the modest baking blacksmith and his granny companion. If you’re not looking to hook an adventure through these NPCs, you could keep their growth subtle; they’re pieces of the background, as opposed to the meat of the drama. But if they live in a world that is impacted by the greater events of your game, like a demon incursion, or a cataclysmic storm from space, then you have fully humanized story-telling elements that you can use to direct the punch of the drama right into your party’s gut.

I was reading an article about tiki cocktails and it reminded me of tiki culture. Upon reading about it, I was thinking that this amalgamation of many South Pacific cultures resulting in this tiki culture being born on colonial nostalgia as well as the apparently fantasy escapism. Many people have nostalgia for tiki culture. There are other similar nostalgic things like Indian colonial nostalgia in the UK with restaurants like Dishoom. At some point, these appropriations (if that's fair to say) become part of the culture. How do you view these things? There are elements of colonial nostalgia and other nostalgia, and escapism and fantasy. Do you see them as transcending their roots? Tiki culture and Indian culture in Britain may be at different points on the colonialism nostalgia scale, as well, I accept.

The intersection of spirituality, system thinking, quantum behavior, and AI presents a captivating landscape for exploration. The cultural interpretations found within Indian philosophical traditions, such as Vedanta, Shaivism, Shaktism, and Buddhism, offer distinct perspectives on the nature of quantum dimensional beings and their influence on human behavior.
Embracing system thinking principles allows us to understand the interconnections and interdependencies that shape our reality, while spirituality provides a framework for exploring our connection to something greater than ourselves and seeking transcendence. Quantum behavior challenges our classical understanding of the physical world, revealing the potential interconnectedness of all things.
AI has the potential to process vast amounts of data, generate insights, and simulate quantum behavior, contributing to our understanding of interconnectedness and quantum phenomena. Responsible and inclusive AI-enabled quantum exploration requires cultural sensitivity, ethical considerations, and equitable representation. By integrating these elements, we can foster an inclusive, transformative, and sustainable exploration of the quantum landscape.
SPIRITS Systems Engineering aims to empower individuals and organizations to navigate the complexities of the quantum realm while respecting cultural diversity and promoting responsible engagement. Come leave your insights and thoughts and hopefully give me your valuable diverse perspectives as inspiration.
https://open.substack.com/pub/phantomobservep/spirits-systems-engineering-nurturing?r=gb8pd&utm_campaign=post&utm_medium=web
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The Airbus A300 is a wide-body airliner developed and manufactured by Airbus. In September 1967, aircraft manufacturers in the United Kingdom, France, and West Germany signed a memorandum of understanding to develop a large airliner. West Germany and France reached an agreement on 29 May 1969 after the British withdrew from the project on 10 April 1969. European collaborative aerospace manufacturer Airbus Industrie was formally created on 18 December 1970 to develop and produce it. The prototype first flew on 28 October 1972.
The first twin-engine widebody airliner, the A300 typically seats 247 passengers in two classes over a range of 5,375 to 7,500 km (2,900 to 4,050 nmi). Initial variants are powered by General Electric CF6-50 or Pratt & Whitney JT9D turbofans and have a three-crew flight deck. The improved A300-600 has a two-crew cockpit and updated CF6-80C2 or PW4000 engines; it made its first flight on 8 July 1983 and entered service later that year. The A300 is the basis of the smaller A310 (first flown in 1982) and was adapted in a freighter version. Its cross section was retained for the larger four-engined A340 (1991) and the larger twin-engined A330 (1992). It is also the basis for the oversize Beluga transport (1994).
Launch customer Air France introduced the type on 23 May 1974. After limited demand initially, sales took off as the type was proven in early service, beginning three decades of steady orders. It has a similar capacity to the Boeing 767-300, introduced in 1986, but lacked the 767-300ER range. During the 1990s, the A300 became popular with cargo aircraft operators, as both passenger airliner conversions and as original builds. Production ceased in July 2007 after 561 deliveries. As of March 2023, there were 228 A300 family aircraft in commercial service.
Origins:
During the 1960s, European aircraft manufacturers such as Hawker Siddeley and the British Aircraft Corporation, based in the UK, and Sud Aviation of France, had ambitions to build a new 200-seat airliner for the growing civil aviation market. While studies were performed and considered, such as a stretched twin-engine variant of the Hawker Siddeley Trident and an expanded development of the British Aircraft Corporation (BAC) One-Eleven, designated the BAC Two-Eleven, it was recognized that if each of the European manufacturers were to launch similar aircraft into the market at the same time, neither would achieve sales volume needed to make them viable.[2] In 1965, a British government study, known as the Plowden Report, had found British aircraft production costs to be between 10% and 20% higher than American counterparts due to shorter production runs, which was in part due to the fractured European market. To overcome this factor, the report recommended the pursuit of multinational collaborative projects between the region's leading aircraft manufacturers.[3]: 49 [4][5]: 2–13
European manufacturers were keen to explore prospective programs; the proposed 260-seat wide-body HBN 100 between Hawker Siddeley, Nord Aviation, and Breguet Aviation being one such example.[2][6]: 37–38 National governments were also keen to support such efforts amid a belief that American manufacturers could dominate the European Economic Community;[7] in particular, Germany had ambitions for a multinational airliner project to invigorate its aircraft industry, which had declined considerably following the Second World War.[3]: 49–50 During the mid-1960s, both Air France and American Airlines had expressed interest in a short-haul twin-engine wide-body aircraft, indicating a market demand for such an aircraft to be produced.[3][8] In July 1967, during a high-profile meeting between French, German, and British ministers, an agreement was made for greater cooperation between European nations in the field of aviation technology, and "for the joint development and production of an airbus".[2][9]: 34 The word airbus at this point was a generic aviation term for a larger commercial aircraft, and was considered acceptable in multiple languages, including French.[9]: 34
Shortly after the July 1967 meeting, French engineer Roger Béteille was appointed as the technical director of what would become the A300 program, while Henri Ziegler, chief operating office of Sud Aviation, was appointed as the general manager of the organization and German politician Franz Josef Strauss became the chairman of the supervisory board.[2] Béteille drew up an initial work share plan for the project, under which French firms would produce the aircraft's cockpit, the control systems, and lower-center portion of the fuselage, Hawker Siddeley would manufacture the wings, while German companies would produce the forward, rear and upper part of the center fuselage sections. Addition work included moving elements of the wings being produced in the Netherlands, and Spain producing the horizontal tail plane.[2][6]: 38
An early design goal for the A300 that Béteille had stressed the importance of was the incorporation of a high level of technology, which would serve as a decisive advantage over prospective competitors. As such, the A300 would feature the first use of composite materials of any passenger aircraft, the leading and trailing edges of the tail fin being composed of glass fibre reinforced plastic.[5]: 2–16 [10] Béteille opted for English as the working language for the developing aircraft, as well against using Metric instrumentation and measurements, as most airlines already had US-built aircraft.[10] These decisions were partially influenced by feedback from various airlines, such as Air France and Lufthansa, as an emphasis had been placed on determining the specifics of what kind of aircraft that potential operators were seeking. According to Airbus, this cultural approach to market research had been crucial to the company's long-term success.[10]
Workshare and redefinition:
On 26 September 1967, the British, French, and West German governments signed a Memorandum of Understanding to start development of the 300-seat Airbus A300.[6]: 38 [11]: 43 [12]: 57 At this point, the A300 was only the second major joint aircraft programme in Europe, the first being the Anglo-French Concorde.[9] Under the terms of the memorandum, Britain and France were each to receive a 37.5 per cent work share on the project, while Germany received a 25 per cent share. Sud Aviation was recognized as the lead company for A300, with Hawker Siddeley being selected as the British partner company.[2] At the time, the news of the announcement had been clouded by the British Government's support for the Airbus, which coincided with its refusal to back BAC's proposed competitor, the BAC 2–11, despite a preference for the latter expressed by British European Airways (BEA).[9]: 34 Another parameter was the requirement for a new engine to be developed by Rolls-Royce to power the proposed airliner; a derivative of the in-development Rolls-Royce RB211, the triple-spool RB207, capable of producing of 47,500 lbf (211 kN).[13] The program cost was US$4.6 billion (in 1993 Dollars).[14]
​
In December 1968, the French and British partner companies (Sud Aviation and Hawker Siddeley) proposed a revised configuration, the 250-seat Airbus A250. It had been feared that the original 300-seat proposal was too large for the market, thus it had been scaled down to produce the A250.[5]: 2–14 [8][15] The dimensional changes involved in the shrink reduced the length of the fuselage by 5.62 metres (18.4 ft) and the diameter by 0.8 metres (31 in), reducing the overall weight by 25 tonnes (55,000 lb).[10][16]: 16 For increased flexibility, the cabin floor was raised so that standard LD3 freight containers could be accommodated side-by-side, allowing more cargo to be carried. Refinements made by Hawker Siddeley to the wing's design provided for greater lift and overall performance; this gave the aircraft the ability to climb faster and attain a level cruising altitude sooner than any other passenger aircraft.[10] It was later renamed the A300B.[9]: 34 [15]
Perhaps the most significant change of the A300B was that it would not require new engines to be developed, being of a suitable size to be powered by Rolls-Royce's RB211, or alternatively the American Pratt & Whitney JT9D and General Electric CF6 powerplants; this switch was recognized as considerably reducing the project's development costs.[11]: 45 [15][16]: 16–17 To attract potential customers in the US market, it was decided that General Electric CF6-50 engines would power the A300 in place of the British RB207; these engines would be produced in co-operation with French firm Snecma.[8][10] By this time, Rolls-Royce had been concentrating their efforts upon developing their RB211 turbofan engine instead and progress on the RB207's development had been slow for some time, the firm having suffered due to funding limitations, both of which had been factors in the engine switch decision.[5]: 2–13 [15][16]: 17–18
On 10 April 1969, a few months after the decision to drop the RB207 had been announced, the British government announced that they would withdraw from the Airbus venture.[6]: 38–39 [15] In response, West Germany proposed to France that they would be willing to contribute up to 50% of the project's costs if France was prepared to do the same.[15] Additionally, the managing director of Hawker Siddeley, Sir Arnold Alexander Hall, decided that his company would remain in the project as a favoured sub-contractor, developing and manufacturing the wings for the A300, which would later become pivotal in later versions' impressive performance from short domestic to long intercontinental flights.[5]: 2–13 [9]: 34 [16]: 18 Hawker Siddeley spent £35 million of its own funds, along with a further £35 million loan from the West German government, on the machine tooling to design and produce the wings.[6]: 39 [15]
Programme launch:
On 29 May 1969, during the Paris Air Show, French transport minister Jean Chamant and German economics minister Karl Schiller signed an agreement officially launching the Airbus A300, the world's first twin-engine widebody airliner.[2] The intention of the project was to produce an aircraft that was smaller, lighter, and more economical than its three-engine American rivals, the McDonnell Douglas DC-10 and the Lockheed L-1011 TriStar.[10] In order to meet Air France's demands for an aircraft larger than 250-seat A300B, it was decided to stretch the fuselage to create a new variant, designated as the A300B2, which would be offered alongside the original 250-seat A300B, henceforth referred to as the A300B1. On 3 September 1970, Air France signed a letter of intent for six A300s, marking the first order to be won for the new airliner.[6]: 39 [10][16]: 21
In the aftermath of the Paris Air Show agreement, it was decided that, in order to provide effective management of responsibilities, a Groupement d'intérêt économique would be established, allowing the various partners to work together on the project while remaining separate business entities.[2] On 18 December 1970, Airbus Industrie was formally established following an agreement between Aérospatiale (the newly merged Sud Aviation and Nord Aviation) of France and the antecedents to Deutsche Aerospace of Germany, each receiving a 50 per cent stake in the newly formed company.[3]: 50 [6]: 39 [10] In 1971, the consortium was joined by a third full partner, the Spanish firm CASA, who received a 4.2 per cent stake, the other two members reducing their stakes to 47.9 per cent each.[10][16]: 20 In 1979, Britain joined the Airbus consortium via British Aerospace, which Hawker Siddeley had merged into, which acquired a 20 per cent stake in Airbus Industrie with France and Germany each reducing their stakes to 37.9 per cent.[3]: 53 [5]: 2–14 [6]: 39
Prototype and flight testing:
Airbus Industrie was initially headquartered in Paris, which is where design, development, flight testing, sales, marketing, and customer support activities were centered; the headquarters was relocated to Toulouse in January 1974.[8][10] The final assembly line for the A300 was located adjacent to Toulouse Blagnac International Airport. The manufacturing process necessitated transporting each aircraft section being produced by the partner companies scattered across Europe to this one location. The combined use of ferries and roads were used for the assembly of the first A300, however this was time-consuming and not viewed as ideal by Felix Kracht, Airbus Industrie's production director.[10] Kracht's solution was to have the various A300 sections brought to Toulouse by a fleet of Boeing 377-derived Aero Spacelines Super Guppy aircraft, by which means none of the manufacturing sites were more than two hours away. Having the sections airlifted in this manner made the A300 the first airliner to use just-in-time manufacturing techniques, and allowed each company to manufacture its sections as fully equipped, ready-to-fly assemblies.[3]: 53 [10]
In September 1969, construction of the first prototype A300 began.[16]: 20 On 28 September 1972, this first prototype was unveiled to the public, it conducted its maiden flight from Toulouse–Blagnac International Airport on 28 October that year.[6]: 39 [9]: 34 [11]: 51–52 This maiden flight, which was performed a month ahead of schedule, lasted for one hour and 25 minutes; the captain was Max Fischl and the first officer was Bernard Ziegler, son of Henri Ziegler.[10] In 1972, unit cost was US$17.5M.[17] On 5 February 1973, the second prototype performed its maiden flight.[6]: 39 The flight test program, which involved a total of four aircraft, was relatively problem-free, accumulating 1,580 flight hours throughout.[16]: 22 In September 1973, as part of promotional efforts for the A300, the new aircraft was taken on a six-week tour around North America and South America, to demonstrate it to airline executives, pilots, and would-be customers.[10] Amongst the consequences of this expedition, it had allegedly brought the A300 to the attention of Frank Borman of Eastern Airlines, one of the "big four" U.S. airlines.[18]
Entry into service:
On 15 March 1974, type certificates were granted for the A300 from both German and French authorities, clearing the way for its entry into revenue service.[18] On 23 May 1974, Federal Aviation Administration (FAA) certification was received.[16]: 22 The first production model, the A300B2, entered service in 1974, followed by the A300B4 one year later.[8] Initially, the success of the consortium was poor, in part due to the economic consequences of the 1973 oil crisis,[6]: 40 [8][9]: 34 but by 1979 there were 81 A300 passenger liners in service with 14 airlines, alongside 133 firm orders and 88 options.[18] Ten years after the official launch of the A300, the company had achieved a 26 per cent market share in terms of dollar value, enabling Airbus Industries to proceed with the development of its second aircraft, the Airbus A310.[18]
Design:
The Airbus A300 is a wide-body medium-to-long range airliner; it has the distinction of being the first twin-engine wide-body aircraft in the world.[8][9]: 34 [12]: 57, 60 [19] In 1977, the A300 became the first Extended Range Twin Operations (ETOPS)-compliant aircraft, due to its high performance and safety standards.[6]: 40 Another world-first of the A300 is the use of composite materials on a commercial aircraft, which were used on both secondary and later primary airframe structures, decreasing overall weight and improving cost-effectiveness.[19] Other firsts included the pioneering use of center-of-gravity control, achieved by transferring fuel between various locations across the aircraft, and electrically signaled secondary flight controls.[20]
The A300 is powered by a pair of underwing turbofan engines, either General Electric CF6 or Pratt & Whitney JT9D engines; the sole use of underwing engine pods allowed for any suitable turbofan engine to be more readily used.[12]: 57 The lack of a third tail-mounted engine, as per the trijet configuration used by some competing airliners, allowed for the wings to be located further forwards and to reduce the size of the vertical stabilizer and elevator, which had the effect of increasing the aircraft's flight performance and fuel efficiency.[3]: 50 [16]: 21
Airbus partners had employed the latest technology, some of which having been derived from Concorde, on the A300. According to Airbus, new technologies adopted for the airliner were selected principally for increased safety, operational capability, and profitability.[19] Upon entry into service in 1974, the A300 was a very advanced plane, which went on to influence later airliner designs. The technological highlights include advanced wings by de Havilland (later BAE Systems) with supercritical airfoil sections for economical performance and advanced aerodynamically efficient flight control surfaces. The 5.64 m (222 in) diameter circular fuselage section allows an eight-abreast passenger seating and is wide enough for 2 LD3 cargo containers side by side. Structures are made from metal billets, reducing weight. It is the first airliner to be fitted with wind shear protection. Its advanced autopilots are capable of flying the aircraft from climb-out to landing, and it has an electrically controlled braking system.
Later A300s incorporated other advanced features such as the Forward-Facing Crew Cockpit (FFCC), which enabled a two-pilot flight crew to fly the aircraft alone without the need for a flight engineer, the functions of which were automated; this two-man cockpit concept was a world-first for a wide-body aircraft.[8][16]: 23–24 [20] Glass cockpit flight instrumentation, which used cathode ray tube (CRT) monitors to display flight, navigation, and warning information, along with fully digital dual autopilots and digital flight control computers for controlling the spoilers, flaps, and leading-edge slats, were also adopted upon later-built models.[19][21] Additional composites were also made use of, such as carbon-fiber-reinforced polymer (CFRP), as well as their presence in an increasing proportion of the aircraft's components, including the spoilers, rudder, air brakes, and landing gear doors.[22] Another feature of later aircraft was the addition of wingtip fences, which improved aerodynamic performance and thus reduced cruise fuel consumption by about 1.5% for the A300-600.[23]
In addition to passenger duties, the A300 became widely used by air freight operators; according to Airbus, it is the best selling freight aircraft of all time.[20] Various variants of the A300 were built to meet customer demands, often for diverse roles such as aerial refueling tankers, freighter models (new-build and conversions), combi aircraft, military airlifter, and VIP transport. Perhaps the most visually unique of the variants is the A300-600ST Beluga, an oversize cargo-carrying model operated by Airbus to carry aircraft sections between their manufacturing facilities.[20] The A300 was the basis for, and retained a high level of commonality with, the second airliner produced by Airbus, the smaller Airbus A310.[19]
Operational history:
On 23 May 1974, the first A300 to enter service performed the first commercial flight of the type, flying from Paris to London, for Air France.[6]: 39 [18]
Immediately after the launch, sales of the A300 were weak for some years, with most orders going to airlines that had an obligation to favor the domestically made product – notably Air France and Lufthansa, the first two airlines to place orders for the type.[3]: 50–52 [18] Following the appointment of Bernard Lathière as Henri Ziegler's replacement, an aggressive sales approach was adopted. Indian Airlines was the world's first domestic airline to purchase the A300, ordering three aircraft with three options. However, between December 1975 and May 1977, there were no sales for the type. During this period a number of "whitetail" A300s – completed but unsold aircraft – were completed and stored at Toulouse, and production fell to half an aircraft per month amid calls to pause production completely.[18]
During the flight testing of the A300B2, Airbus held a series of talks with Korean Air on the topic of developing a longer-range version of the A300, which would become the A300B4. In September 1974, Korean Air placed an order for four A300B4s with options for two further aircraft; this sale was viewed as significant as it was the first non-European international airline to order Airbus aircraft. Airbus had viewed South-East Asia as a vital market that was ready to be opened up and believed Korean Air to be the 'key'.[8][16]: 23 [18]
Airlines operating the A300 on short haul routes were forced to reduce frequencies to try and fill the aircraft. As a result, they lost passengers to airlines operating more frequent narrow body flights. Eventually, Airbus had to build its own narrowbody aircraft (the A320) to compete with the Boeing 737 and McDonnell Douglas DC-9/MD-80. The savior of the A300 was the advent of ETOPS, a revised FAA rule which allows twin-engine jets to fly long-distance routes that were previously off-limits to them. This enabled Airbus to develop the aircraft as a medium/long range airliner.
In 1977, US carrier Eastern Air Lines leased four A300s as an in-service trial.[18] CEO Frank Borman was impressed that the A300 consumed 30% less fuel, even less than expected, than his fleet of L-1011s. Borman proceeded to order 23 A300s, becoming the first U.S. customer for the type. This order is often cited as the point at which Airbus came to be seen as a serious competitor to the large American aircraft-manufacturers Boeing and McDonnell Douglas.[6]: 40 [8][18] Aviation author John Bowen alleged that various concessions, such as loan guarantees from European governments and compensation payments, were a factor in the decision as well.[3]: 52 The Eastern Air Lines breakthrough was shortly followed by an order from Pan Am. From then on, the A300 family sold well, eventually reaching a total of 561 delivered aircraft.[1]
In December 1977, Aerocondor Colombia became the first Airbus operator in Latin America, leasing one Airbus A300B4-2C, named Ciudad de Barranquilla.
During the late 1970s, Airbus adopted a so-called 'Silk Road' strategy, targeting airlines in the Far East.[3]: 52 [18] As a result, The aircraft found particular favor with Asian airlines, being bought by Japan Air System, Korean Air, China Eastern Airlines, Thai Airways International, Singapore Airlines, Malaysia Airlines, Philippine Airlines, Garuda Indonesia, China Airlines, Pakistan International Airlines, Indian Airlines, Trans Australia Airlines and many others. As Asia did not have restrictions similar to the FAA 60-minutes rule for twin-engine airliners which existed at the time, Asian airlines used A300s for routes across the Bay of Bengal and South China Sea.
In 1977, the A300B4 became the first ETOPS compliant aircraft,[24] qualifying for Extended Twin Engine Operations over water, providing operators with more versatility in routing. In 1982 Garuda Indonesia became the first airline to fly the A300B4-200FFCC.[25] By 1981, Airbus was growing rapidly, with over 400 aircraft sold to over forty airlines.[26]
In 1989, Chinese operator China Eastern Airlines received its first A300; by 2006, the airline operated around 18 A300s, making it the largest operator of both the A300 and the A310 at that time. On 31 May 2014, China Eastern officially retired the last A300-600 in its fleet, having begun drawing down the type in 2010.[27]
From 1997 to 2014, a single A300, designated A300 Zero-G, was operated by the European Space Agency (ESA), centre national d'études spatiales (CNES) and the German Aerospace Center (DLR) as a reduced-gravity aircraft for conducting research into microgravity; the A300 is the largest aircraft to ever have been used in this capacity. A typical flight would last for two and a half hours, enabling up to 30 parabolas to be performed per flight.[28][29]
By the 1990s, the A300 was being heavily promoted as a cargo freighter.[16]: 24 The largest freight operator of the A300 is FedEx Express, which has 65 A300 aircraft in service as of May 2022.[30] UPS Airlines also operates 52 freighter versions of the A300.[31]
The final version was the A300-600R and is rated for 180-minute ETOPS. The A300 has enjoyed renewed interest in the secondhand market for conversion to freighters; large numbers were being converted during the late 1990s.[16]: 24–25 The freighter versions – either new-build A300-600s or converted ex-passenger A300-600s, A300B2s and B4s – account for most of the world's freighter fleet after the Boeing 747 freighter.[32]
The A300 provided Airbus the experience of manufacturing and selling airliners competitively. The basic fuselage of the A300 was later stretched (A330 and A340), shortened (A310), or modified into derivatives (A300-600ST Beluga Super Transporter). In 2006, unit cost of an −600F was $105 million.[14] In March 2006, Airbus announced the impending closure of the A300/A310 final assembly line,[33] making them the first Airbus aircraft to be discontinued. The final production A300, an A300F freighter, performed its initial flight on 18 April 2007,[34] and was delivered to FedEx Express on 12 July 2007.[35] Airbus has announced a support package to keep A300s flying commercially. Airbus offers the A330-200F freighter as a replacement for the A300 cargo variants.[36]
The life of UPS's fleet of 52 A300s, delivered from 2000 to 2006, will be extended to 2035 by a flight deck upgrade based around Honeywell Primus Epic avionics; new displays and flight management system (FMS), improved weather radar, a central maintenance system, and a new version of the current enhanced ground proximity warning system. With a light usage of only two to three cycles per day, it will not reach the maximum number of cycles by then. The first modification will be made at Airbus Toulouse in 2019 and certified in 2020.[37] As of July 2017, there are 211 A300s in service with 22 operators, with the largest operator being FedEx Express with 68 A300-600F aircraft.[38]
Variants:
A300B1 - The A300B1 was the first variant to take flight. It had a maximum takeoff weight (MTOW) of 132 t (291,000 lb), was 51 m (167 ft) long and was powered by two General Electric CF6-50A engines.[16]: 21 [39]: 41 Only two prototypes of the variant were built before it was adapted into the A300B2, the first production variant of the airliner.[6]: 39 The second prototype was leased to Trans European Airways in 1974.[39]: 54
A300B2 -
A300B2-100:
Responding to a need for more seats from Air France, Airbus decided that the first production variant should be larger than the original prototype A300B1. The CF6-50A powered A300B2-100 was 2.6 m (8.5 ft) longer than the A300B1 and had an increased MTOW of 137 t (302,000 lb), allowing for 30 additional seats and bringing the typical passenger count up to 281, with capacity for 20 LD3 containers.[40]: 10 [41][39]: 17 Two prototypes were built and the variant made its maiden flight on 28 June 1973, became certified on 15 March 1974 and entered service with Air France on 23 May 1974.[39]: 27, 53 [40]: 10
A300B2-200:
For the A300B2-200, originally designated as the A300B2K, Krueger flaps were introduced at the leading-edge root, the slat angles were reduced from 20 degrees to 16 degrees, and other lift related changes were made in order to introduce a high-lift system. This was done to improve performance when operating at high-altitude airports, where the air is less dense and lift generation is reduced.[42]: 52, 53 [43] The variant had an increased MTOW of 142 t (313,000 lb) and was powered by CF6-50C engines, was certified on 23 June 1976, and entered service with South African Airways in November 1976.[39]: 40 [40]: 12 CF6-50C1 and CF6-50C2 models were also later fitted depending on customer requirements, these became certified on 22 February 1978 and 21 February 1980 respectively.[39]: 41 [40]: 12
A300B2-320:
The A300B2-320 introduced the Pratt & Whitney JT9D powerplant and was powered by JT9D-59A engines. It retained the 142 t (313,000 lb) MTOW of the B2-200, was certified on 4 January 1980, and entered service with Scandinavian Airlines on 18 February 1980, with only four being produced.[39]: 99, 112 [40]: 14
A300B4 -
A300B4-100:
The initial A300B4 variant, later named the A300B4-100, included a centre fuel tank for an increased fuel capacity of 47.5 tonnes (105,000 lb), and had an increased MTOW of 157.5 tonnes (347,000 lb).[44][42]: 38 It also featured Krueger flaps and had a similar high-lift system to what was later fitted to the A300B2-200.[42]: 74 The variant made its maiden flight on 26 December 1974, was certified on 26 March 1975, and entered service with Germanair in May 1975.[39]: 32, 54 [40]: 16
A300B4-200:
The A300B4-200 had an increased MTOW of 165 tonnes (364,000 lb) and featured an additional optional fuel tank in the rear cargo hold, which would reduce the cargo capacity by two LD3 containers.[40]: 19 [42]: 69 The variant was certified on 26 April 1979.[40]: 19
A300-600 - The A300-600, officially designated as the A300B4-600, was slightly longer than the A300B2 and A300B4 variants and had an increased interior space from using a similar rear fuselage to the Airbus A310, this allowed it to have two additional rows of seats.[42]: 79 It was initially powered by Pratt & Whitney JT9D-7R4H1 engines, but was later fitted with General Electric CF6-80C2 engines, with Pratt & Whitney PW4156 or PW4158 engines being introduced in 1986.[42]: 82 Other changes include an improved wing featuring a recambered trailing edge, the incorporation of simpler single-slotted Fowler flaps, the deletion of slat fences, and the removal of the outboard ailerons after they were deemed unnecessary on the A310.[45] The variant made its first flight on 8 July 1983, was certified on 9 March 1984, and entered service in June 1984 with Saudi Arabian Airlines.[40]: 42 [39]: 58 A total of 313 A300-600s (all versions) have been sold. The A300-600 uses the A310 cockpits, featuring digital technology and electronic displays, eliminating the need for a flight engineer. The FAA issues a single type rating which allows operation of both the A310 and A300-600. A300-600: (Official designation: A300B4-600) The baseline model of the −600 series. A300-620C: (Official designation: A300C4-620) A convertible-freighter version. Four delivered between 1984 and 1985. A300-600F: (Official designation: A300F4-600) The freighter version of the baseline −600. A300-600R: (Official designation: A300B4-600R) The increased-range −600, achieved by an additional trim fuel tank in the tail. First delivery in 1988 to American Airlines; all A300s built since 1989 (freighters included) are −600Rs. Japan Air System (later merged into Japan Airlines) took delivery of the last new-built passenger A300, an A300-622R, in November 2002. A300-600RC: (Official designation: A300C4-600R) The convertible-freighter version of the −600R. Two were delivered in 1999. A300-600RF: (Official designation: A300F4-600R) The freighter version of the −600R. All A300s delivered between November 2002 and 12 July 2007 (last ever A300 delivery) were A300-600RFs.
A310 (A300B10)-
Airbus had demand for an aircraft smaller than the A300. On 7 July 1978, the A310 (initially the A300B10) was launched with orders from Swissair and Lufthansa. On 3 April 1982, the first prototype conducted its maiden flight and it received its type certification on 11 March 1983.
Keeping the same eight-abreast cross-section, the A310 is 6.95 m (22.8 ft) shorter than the initial A300 variants, and has a smaller 219 m2 (2,360 sq ft) wing, down from 260 m2 (2,800 sq ft). The A310 introduced a two-crew glass cockpit, later adopted for the A300-600 with a common type rating. It was powered by the same GE CF6-80 or Pratt & Whitney JT9D then PW4000 turbofans. It can seat 220 passengers in two classes, or 240 in all-economy, and can fly up to 5,150 nmi (9,540 km). It has overwing exits between the two main front and rear door pairs.
In April 1983, the aircraft entered revenue service with Swissair and competed with the Boeing 767–200, introduced six months before. Its longer range and ETOPS regulations allowed it to be operated on transatlantic flights. Until the last delivery in June 1998, 255 aircraft were produced, as it was succeeded by the larger Airbus A330-200. It has cargo aircraft versions, and was derived into the Airbus A310 MRTT military tanketransport.
Airbus A300-ST (Beluga)
Commonly referred to as the Airbus Beluga or "Airbus Super Transporter," these five airframes are used by Airbus to ferry parts between the company's disparate manufacturing facilities, thus enabling workshare distribution. They replaced the four Aero Spacelines Super Guppys previously used by Airbus.
ICAO code: A3ST
Operators:
As of March 2023, there were 228 A300 family aircraft in commercial service. The five largest operators were FedEx Express (70), UPS Airlines (52), European Air Transport Leipzig (23), Iran Air (11), and Mahan Air (11).[46]

I don't understand the Upma hate. Upma this, Upma that. You can just gobble it up when you are late. Ofc upma is bland in itself but with some sugar or coconut chutney it's top tier breakfast material. It's similar to oats. Oats with water is bland but oats with milk and sweetener is so yum. Stop with the memes already.
Please enjoy this small rap about Upma by ChatGPT along with your mom's homemade upma:
(Verse 1) Yo, listen up, I got a dish to mention, A breakfast classic, it's my true intention. It's all about the flavor and the Indian spice, I'm talking 'bout a dish that's real nice.
(Chorus) Upma, upma, it's time to shine, A dish so tasty, it'll blow your mind. With semolina and veggies, it's a perfect blend, Get ready to feast, my hungry friend.
(Verse 2) Heat up the pan, let the oil sizzle, Add mustard seeds, watch 'em pop like a missile. Onions and chilies, sautéed to perfection, Filling up the kitchen with a fragrant direction.
(Chorus) Upma, upma, it's time to shine, A dish so tasty, it'll blow your mind. With semolina and veggies, it's a perfect blend, Get ready to feast, my hungry friend.
(Verse 3) Now comes the star, the semolina grain, Roasted golden, it's ready to sustain. Pour in the water, let it all absorb, Stirring it up, there's no time to get bored.
(Chorus) Upma, upma, it's time to shine, A dish so tasty, it'll blow your mind. With semolina and veggies, it's a perfect blend, Get ready to feast, my hungry friend.
(Verse 4) Carrots, peas, and some cashews too, Adding color and crunch, it's a beautiful hue. Sprinkle some turmeric, salt, and spice, Mix it all up, now it's time to entice.
(Chorus) Upma, upma, it's time to shine, A dish so tasty, it'll blow your mind. With semolina and veggies, it's a perfect blend, Get ready to feast, my hungry friend.
(Verse 5) Garnish with cilantro, a touch of lime, A symphony of flavors that'll make you climb. A spoonful of upma, a bite so divine, In every mouthful, happiness you'll find.
(Chorus) Upma, upma, it's time to shine, A dish so tasty, it'll blow your mind. With semolina and veggies, it's a perfect blend, Get ready to feast, my hungry friend.
(Outro) So next time you're hungry, looking for a treat, Remember upma, it can't be beat. A rap about a dish that deserves some love, Upma, the breakfast star, rise above!

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A lot of kpop stans think that groups who make "experimental" or "noise" music don't chart well because the music isn't GP friendly and whilst I agree that harsh instrumentation is polarising, I don't think that a song can be written off as being "misunderstood by the general public" just because it is "noisy" or "experimental".
For example, aespa's Next Level has a notably unorthodox song structure and Savage has a loud and grating instrumental, but both songs charted well due to their catchy hooks. Meanwhile, Girls is less "experimental" but did not perform as well and IMO that was because Girls didn't have an easily identifiable hook and wasn't as catchy (the same can be applied to Illusion). Like, everybody was quoting Next Level and Savage with "Naevis calling", "OMG don't you know I'm a savage", "my Naevis we love you" as well as the actual choruses (gimme gimme now/I'm on the next level), whereas nobody was quoting Girls.
Similarly, Red Velvet's Ice Cream Cake and Birthday both have a loud EDM chorus (in contrast to the rest of the song) but were received very differently. ICC has catchy elements whereas Birthday is a bit disjointed and awkward in its progression (the pre-chorus is godly tho lmao) hence it was polarising upon release as it did not have a catchy or easily identifiable hook.
NMIXX's debut was very polarising but I think the reason Dice and even TANK were received more positively than O.O was because those songs had catchier moments despite also being "noise music".
As for boy groups, I'm not a big fan of NCT 127's Kick It and prefer Punch a lot more but Kick It is still the more popular title track due to its hook (even though I find the chorus grating). Kick It is more popular than NCT 127's title tracks that aren't experimental like Limitless and Highway to Heaven and that's mainly because they don't have a hook that is as addictive.
2nd gen kpop was very heavy on synths and instrumentals (because it was a trend in pop music everywhere at the time) but noisy 2nd gen songs were still popular even if they weren't the smoothest listening experience. Good examples of this include T-ARA and f(x) but there are so many EDM heavy 2nd gen songs that were super popular like I Got A Boy or I Am The Best.
I think a lack of a catchy/easily identifiable hook is the reason for a lot of songs not charting well even if those songs aren't "experimental" and are "GP friendly".
For example, STAYC's Beautiful Monster did not have a catchy hook and thus it didn't perform as well as ASAP/Stereotype/RUN2U. Teddy Bear isn't their most popular title track amongst fans but it did chart considerably better than Beautiful Monster (again due to its recognisable hook).
In addition, Twice's Set Me Free wasn't as popular as their previous releases (or even Moonlight Sunrise) and that's mainly due to the chorus which isn't as catchy (not saying it's bad just not as captivating). The same could be applied to a lot of Twice's title tracks that aren't as popular in the fandom such as Scientist, More and More, and Knock Knock. Meanwhile, their title tracks that do have a more "unusual instrumental" like Cheer Up or Signal are popular, mainly due to all the killing parts. So clearly a song being "loud/experimental" is not wholly the reason why it isn't popular; easy-to-digest "gp friendly" music can be equally as polarising.
SPEED ROUND title tracks with easily identifiable, memorable hooks that are more popular than songs that aren't as catchy. (not saying these songs are better, just that they have more compelling hooks)

• Drunk Dazed is more popular than Blessed-Cursed or Pass The Mic
• Wannabe is more popular than LOCO or Cheshire
• WADADA is more popular than We Fresh
• Step Back is more popular than Stamp On It
• Red Flavour is more popular than Umpah Umpah
• Hot Sauce is more popular than Glitch Mode/Beatbox/Hello Future
• Antifragile is more popular than Fearless/Unforgiven (all 3 have good hooks, antifragile is just slightly catchier)
• SNSD's older titles are more popular than Forever 1
• Tomboy is more popular than Hwaa or Dumdi Dumdi
• Blue Hour is more popular than Can't You See Me or Good Boy Gone Bad
• Hi High is more popular than Flip That

Yes, you can prefer any of the other titles over the more "popular" one and think the others are catchier. I'm just going off of general consensus (loosely) and the success of the songs, the more "popular" titles aren't necessarily my favourites like I prefer Umpah Umpah over Red Flavour for example, I'm just giving examples of kpop songs that IMO have more identifiable hooks and are more "popular".
Additionally, I am aware that there are many reasons that a song is populasuccessful and that "catchiness" is very subjective. But, I don't think that "noisy" or "experimental" music is destined to be unfriendly for the GP. Whilst it is true that kpop songs that are easier to digest and not harsh or jarring in sound have more appeal like NewJeans' OMG or Cupid's Fifty Fifty, both of those songs are popular in part to their memorable hooks.
I also do realise that there are groups who make straightforward, catchy pop music but don't receive much attention from kpop fans or the general public, and that's largely due to the many factors that play into having a hit song (notoriety of group/company, quality of promotion, being in the right place at the right time, LUCK and so on).
In conclusion, I think it's best not to label "experimental" songs as being "GP unfriendly", I also think that term gets thrown around a lot which is why I put "experimental" and "noisy" in quotation marks throughout my post because obviously, music is subjective. Groups with sudden rises in popularity like Momoland with Bboom Bboom, Brave Girls with Rollin and currently Fifty Fifty with Cupid all of these songs have memorable and addictive hooks, which is one, of many, reasons for their sudden success.
Not sure how to end this post so I'll say TUNE INTO FROMIS_9 COMEBACK June 5th!! 😋😋😋

Game: Dungeons and Dragons 5th Edition
Group type: Online
Experience: Any level of experience welcome!
Location/Timezone: I’m located in the PST time zone and running the game online via Discord & Owlbear Rodeo. As long as you are able to meet the day/time commitment consistently I am not picky!
Schedule: Monday evenings at 5pm-8pm PST, weekly or bi weekly to be determined by final group!
Roles sought: four to five players who are all 21+, LGBTQIA+ friendly, and are preferably at least mildly comfortable with RP due to the game style notated more in detail below!
Game style: Heavy RP, Intense Combat, Organic/Freeform, & Player Driven. NC-17 (Obviously Adult) rated game.
The world was shattered, cast into chaos in an age of blood. A great monster had come down from the heavens and carved a hole in the realm, dividing the world into the three continents of Aladar, Solara, and Rezonia. Not only would mortals contend with monsters and beasts and fight to survive, but so too would the realm itself as life began anew. Times were bleak and losses continued to stack, until the brave first mortals who would begin to experiment with magic. These wizards harnessed the power around them, and inspired others to take up arms or do the same. Over time the continents would become ordered, and from the ashes ten provinces would stand tall however not without their own difficulties.
This game is run by a narrator style GM, and told by you; the Player. I use discord for voice and Owlbear Rodeo for maps/dice rolls (I make maps/tokens on Inkarnate for visuals). The choices you make and paths you walk are yours in your party’s journey throughout the realm, with intense combats and heavy roleplay. My belief is I run an NC-17 (Obviously Adult) game, so all applicants please be 21+ and ready to prove it in the interview process. Sessions would be held Mondays at 5pm-8pm PST, on a weekly or bi weekly basis determined by the final group, starting level is 3 and the final group also chooses their starting location!
I’ve had a lot of time to put into this hobby, and alongside the world I’ve written custom pantheons and extra homebrew systems to run alongside the campaign should the party choose. I also have chosen some homebrew elements already incorporated into the world, otherwise additional homebrew is approved on a case by case basis. This post will stay active for 2 days after posting, and I am aiming to have a party picked and ready for a session 0 on 6/12. Applications are not on a “first come first serve” basis, and all applicants will be considered!
Apply by answering some questions here → https://forms.gle/LutvV9vLtnpRrgCc7
*Only apply for yourself, if you’re applying with a friend/group notate their discords in your app!
*Only applications submitted via the Google Form will be considered, otherwise I may miss your application!

video of the glitch: https://streamable.com/ququks
I have tried:
- reinstalling XPMSE
- running Nemesis
- Reinstalling Skyrim
none of it works to fix it.
If I run FNIS at the same time as Nemesis the jump works, but then I can't use MCO, wich for me doesnt work.
Modlist is here:
(Part 1) SSE Engine Fixes for 1.5.39 - 1.5.97

1. Ultimate HD Fire Effects SSE - Ultra Resolution

A Quality World Map - Classic with All Roads
AC Valhalla Inspired Animation For All Races
AC Valhalla Inspired Animations For Player Only
Achieve That SE English
Address Library
Animation Motion Revolution
Apachii Divine Elegance Store
Apocalypse
Ars Metallica - Smithing Enhancement
Better Jumping SE
Better Third Person Selection (AE - SE)
Beyond Skyrim - Assets
Beyond Skyrim - Bruma
Beyond Skyrim DLC Integration Patch
Billyro's OldSwords
Billyro's Weapons
Bruma and Other Patches for Convenient Horses
Caliente's Beautiful Bodies Enhancer -CBBE-
Cannibal Draugr on Solstheim
Complete Crafting Overhaul Remastered
Complete Widescreen Fix for Vanilla and SkyUI 2.2 and 5.2 SE
Convenient Horses
Crafting Categories for SkyUI
customEbonyValkyrie1_2.7z
dTry's Key Utils SE
DynamicAnimationCasting
Elden Power Attack
Elden Rim - Weapon Arts English 1.9.9.2
ENB Helper SE 1.5 for SSE 1.5.97
Enhanced Blood Textures
Equippable Tomes - Belt-Worn Books - Special Edition
EVG Animation Variance
EVG Conditional Idles
Faster HDT-SMP
FSMPV
HD Reflective Ebony Armor and Weapons
Home in a Hat updated
Immersive Armors 8.1 SSE Test
Immersive Equipment Displays for 1.5.39 - 1.6.353
Immersive Equipping Animations
Immersive Interactions
Immersive Weapons
Interesting NPCs 3DNPC
JackGa's Pub - SE
JContainers SE
Kozakowy's Falka Armor UNP - SSE
KS Hairdos - HDT SMP (Physics)
KS Hairdos SSE
LeanWolf's Better-Shaped Weapons - All in One Installer
Legacy of the Dragonborn
Legacy of the Dragonborn Collectors and Vendors
Leviathan Animations II - Sprint
MCM Helper SE (1.5.97 BACKPORT)
MCO Universal Support
Nordic Faces - Complete Version
NORDIC UI - Interface Overhaul
Nordic...ish - A TrueHUD preset based on Nordic UI
Oblivion Camera
Ordinator 9.31.0
Ordinator Beyond Skyrim Bruma Patch
Papyrus Ini Manipulator
PapyrusUtil SE - Scripting Utility Functions
Payload Interpreter
powerofthree's Tweaks
Precision
RaceMenu Anniversary Edition
Realistic Water Two SE
SCAR - Skyrim Combos AI Revolution
Scriptfree Behavior Staggerlock
SkyHUD
Skyrim Unbound Reborn
Skyrim's Paraglider
SkyrimSE HD Reworked Horses
Skyshards
SkyUI_5_2_SE
Smooth Magic Casting Animation
Soaking Wet
Sonderbain's Chevalier - Randomized One Handed Block Animations
Spell Perk Item Distributor
SSE Display Tweaks
Static Mesh Improvement Mod
True Directional Movement
TrueHUD
Unofficial Skyrim Special Edition Patch
Valhalla Combat
Veydogolt Trees
VioLens - A Killmove Mod SE
Visual Animated Enchants 2-023 Se Ae version
Weapon Styles - Draw-Sheath animations
Witchhunter Spells and Prayers Pack - Special Edition
1three-eyed swallowSE
[immyneedscake] BDOR Berserk SSE (Cloth SMP)
Abyss
ABYSSAL BLADE MCO One Handed Moveset and Weapon
Adaliya - High Poly Female Redguard Presets for Racemenu - 2 Versions
AddItemMenuSE_114_SKSE2019
ADXP I MCO Berserker guts Animation
ADXP I MCO elden rim moveset collection (SCAR)
ADXP I MCO ER Katana (SCAR)
ADXP I MCO ER Mixed Scythe (SCAR)
ADXP I MCO ER rapiers (SCAR)
Aldamar - Druid Mushroom Home
Alpha Jab -Unarmed Combat Sounds Rework-
Amber Guard
Amol Village
AnathemaStudio's Elf Ears (Enchantable)
Ancient Land
Ancient Land Patches
Animated Armoury - DAR Version - New Weapons with animations
Animated Armoury - New Weapons with animations SSE Version
Animation Queue Fix
Apachii Divine Elegance Dynamic Outfits For Nobles SPID
Apocalypse - Balance Patch
Armors of the Velothi Pt. II
ARTFUL DODGER - Dynamic Pickpocket Cap
Awesome Potions Simplified -ENB Lights
Awesome Potions Simplified by Revoith
Base Object Swapper
Beast Race Bodypaints SE -Khajiit and Argonian Themed Bodypaints Facepaints RaceMenu Overlays-
Behavior Data Injector
Better Dialogue Controls
Better Falskaar and Wyrmstooth Map With Roads
Better Vampires 8.7 SE
Bijin Skin - CBBE
Bloodborne Pack by Team TAL SSE
BodySlide and Outfit Studio
Bone Colossus- Mihail Monsters and Animals (SE-AE version) (''undead'')
Bow Charge Plus
Bow_Rapid_Combo_V2_1.4_I_Full
Bright Waterfall Fix for ENB
Campfire - Complete Camping System (Supports Skyrim VR)
Capital Windhelm Expansion
Cathedral - 3D Thicket and Dead Shrub
Cathedral Weathers and Seasons
CBBE SMP (3BBB)
CBPC - Physics with Collisions
CBPC Equipment Physics
CG4 Trees and Bushes SE
Citizens of Tamriel SE
CL's Rapier
Clean up the physics outfit - Collision Reset
Cleaned Skyrim SE Textures
Combat Pathing Revolution
Compass Navigation Overhaul
Comprehensive First Person Animation Overhaul - CFPAO
ConsoleUtilSSE NG
Controlmap.txt Fixed and Cleaned
Convenient Carriages
Corvus - Swords of Nocturnal
Cosmo-War Scythe
Crouch Sliding
Crouch Sliding TUDM Patch - Slide with Your Weapon Drawn
Customizable Camera
Daedric Armor SE
Daedric Shrines - All in One
Dark Brotherhood Armor SE
Dark Souls Pack by Team TAL
Deadly Spell Impacts
Delux ArchMage Quarters plus Mages Kitchen
Detection Meter
Dodge MCO-DXP
Dovahkiin can lean Sit Kneel Lay down and Meditate etc too
Dragon Slayer - Berserk
Dragonbane - Replacer
Drifter Armor and Outfit - My version
Dwarven Colossus - Mihail Monsters and Animals (SE-AE version) (''dwemer'')
Dwemer Colosseum SE
DX Cassandra Frost Witch Outfit - UNP
DX Celes Nightingale Armor SSE - with Optional Heels sound and UUNP Bodyslide - Physics - UNP UNPB 7BB DreamGirl Seraphim and More
DX Druid Armor - SSE CBBE BodySlide (with Physics)
DX Druid Armor - UNP
DX Witch Hunter Armor - UNP
DX Witcher Swords - SE
Dynamic Animation Replacer
Dynamic Bow Animation
Dynamic Female Wall Leaning
Dynamic Impact - Slash Effects X
Ebonblade War Axe SE
Elden Power Attack Fix for MCO DXP
Elemental Fist - Brawler weapons
ELFX Shadows
ElSopa - Quivers Redone SE
Elven Silver Daggers by ClipsyMoon
Embers XD
Emeri's Presets All in One
ENB Light Inventory Fix (ELIF)
Enhanced Lights and FX
Eternal Flames
EVG Animated Traversal - Patch Collection
EVG Animated Traversal Addon for Windhelm Capital Expansion
EVG Animated Traversal Skyrim Integration Patch
Eviscerate
Experience
Experience - MCM
Expressive Facegen Morphs SE
Expressive Facial Animation - Female Edition
Facial Piercings SSE
Faction - Pit Fighter
Falconer Armor SE
Falskaar
Female Makeup Suite - Face - RaceMenu Overlays of Eyeliner EyeShadow Contours and Highlights - Special Edition
Ferrum Nibenis
Festus Krex Insideout Spell
FileAccess Interface for Skyrim SE Scripts - FISSES
Footsteps Sounds Overhaul
Functional Fearsome Fists - Innate Unarmed Boost
God of War Leviathan Axe
Goetia Animations - Magic Spell Casting
Granite Hill Village
Gravelords- Mihail Monsters and Animals (SE-AE version) (''dark souls'')
Griffith Armour SSE fixed and updated
HDT-SMP Infantry Armor Patch
HDT-SMP Three-eyed Swallow Armor Patch
HDT-SMP Traveler's Backpack
Hearthfire multiple adoptions - Now with custom home support for kids and spouse
Hellblade - Timed Block
High Elf Archer (Goblin Slayer) - Jinxxed Followers SSE
High Minotaurs - Mihail Monsters and Animals (SE-AE version) (''eso'')
High Poly Head SE
High-Poly Inigo Replacer
Highly Improved Male Body Overhaul
Hogwarts in Skyrim
Hot Key Skill
House Cats- Mihail Monsters and Animals (SE-AE version) (''pet'')
Hydra's Reversed Daggers
IFrame Generator RE
Ilieh - Cry of the Damned
Immersive Diving Animation
Immersive World Encounters SE
Imps SE
Infantry Armor SE
Infinity UI
INIGO
Inquisitor HDT-SMP Armor
Inventory Interface Information Injector
Ish's Respec Mod
JaySuS Swords SE
JK's Whiterun V1.4b - SSE
JS Unique Utopia SE - Daggers
Judgement Cut End - ap05's Remake
Khajiit Eyes Extended - Khajiit Heterochromia and More
Khajiit Has Wares - A Caravan Camp Overhaul
Khajiit Overhaul SSE Unofficial Port
Knight Winds
Kurone Bell Bodyslide Preset (CBBE 3BA) And (3BA V's Cut)
Lamenthia's Marks of Beauty
Leather Armors Retexture SE
Legendary Alpha Shields
Leviathan Animations II - Female Idle Walk And Run
Leviathan Animations II - Male Idle Walk And Run
Light and Shade SE
Lupus - Swords of Hircine
Mage Backpack SSE
Magical College of Winterhold
Maleficus' Traversal (EVGAT)
Master The Summit
Max's Season 2 - RaceMenu Presets - High Poly - Low Poly - Male - Female
MEMOSPORE - UI Sound Effects
Menu Maid 2 - MCM manager
Mikan Eyes - SE
Missives
Missives - Notes Retexture
monster race crash fix
Moon Monk's Robes
Multiple Followers Framework
Mythic Dawn armor SE
Natura
New Weynon
Nicos Craftable Arrows SSE
No Recoil
No Thieves Guild Grind
Nocturnal Moths
Northern God Armor SE
Oakwood
Odium - Swords of Molag Bal
Ogres SE
Old Gods of the Hunt- Mihail Monsters and Animals (SE-AE version) (''the witcher'')
Opulent Thieves Guild
Particle Patch for ENB
powerofthree's Papyrus Extender
Project ja-Kha'jay
Quality Over Quantity - KS Hairdo's Reduced Plus HG
QuickLoot EE
RaceMenu High Heels (Height Fixes)
Raven HDT-SMP Armor
Realistic Aspen Trees SE
Redguard F Hair Grouped and Replacer
Relationship Dialogue Overhaul - RDO SE
Reversed Daggers Moveset for MCO
Ryn's Dragon Mounds Collection
Ryn's Sleeping Giant Inn
s6o6t LORE - Dark Anchors Ruins and Dolmens
Security Overhaul SKSE - Lock Variations
Security Overhaul SKSE - Regional Locks
SG Female Eyebrows
Show Player In Menus
Silver Armor SE
Simple Dual Sheath
Sindora's Hidden Hearth
SkyALERT - Detection Meter Redesign
Skyland AIO
Skyland Blacksmith Texture Overhaul
Skyrim Immersive Creatures Special Edition
Skyrim Search SE - Simply find your missing followers
Skyshards Offer Skills - Boss Containers Grant EXP
SmoothCam
SmoothCam - EasyEase Preset
Sons of Skyrim
Sprint Sneak Movement Speed Fix
Sswaye's Revenant's Sword Moveset ADXP I MCO DAR
Stave Church of Skyrim
Store Entrance Doorbells
Storm Golem- Mihail Monsters and Animals (SE-AE version) (''atronach'')
Storm Lightning for SSE and VR (Minty Lightning 2019)
Strange Runes
The Eyes Of Beauty SSE
The Welkynar Knight - Quest
To Your Face SE - AE - VR
Triss Armor Retextured SE
Triumvirate - Mage Archetypes
TUDM - Script Fixes
UIExtensions
Unarmed Moveset for MCO
Unique Bows Collection
Valkyr HDT-SMP Hairstyles
Vampire Beasts- Mihail Monsters and Animals (SE-AE version) (''the witcher'')
Vanguard - Bash Behaviors Overhaul
VIGILANT SEAE
VIGILANT Voiced - English Addon
Way of the Monk -Unarmed Combat - Extended
Whiterun Horse Statue
Wild Witch
Wind Ruler Armor SE
Wind Ruler Armor SE - hdt-SMP Patch
Windhelm Bridge Revived
Wyrmstooth
(ESL)HDT-SMP Daedric Armor Patch (4thUnknown Version)
3D Junipers - Trees and Berries
Adventurer HDT-SMP Armor
Air Dash Whirlwind Sprint
Airgetlam - Shouts SFX -
Airgetlam -Modern Magic Sounds Rework- 4.1 Redesigned
Better Ferns
Cabbage - A Cabbage Mod
Calling of the Conjurer
Cathedral - 3D Clover Plant
Constellation Magic
Dear Diary Dark Mode (warm text)
Diverse Dragons Collection SE (DDCse)
Dragon Animation Replace in Special Edition
DX Witcher Armor - UNP
Dynamic Fus Ro Dah
Dynamic Random Spell Idle
Dynamic Whirlwind Sprint
Elden Equip
ElSopa HD Shields Part I
Flame Atronach SE
For Honor in Skyrim I Centurion
For Honor in Skyrim I Gryphon
For Honor in Skyrim I Warden
For Honor in Skyrim I Warlord I Sword and shield I MCO Animation
Frankly HD Masque of Clavicus Vile
Frozen Electrocuted Combustion
Fuz Ro D-oh - Silent Voice
GoT Dragons (A Game of Thrones)
HDT SMP beast race tail
Instantly Skip Dialogue NG
Izba - An Herbalist's Cabin in the Woods
JK's Arcadia's Cauldron
JK's Belethor's General Goods
JK's Bits and Pieces
JK's Blue Palace
JK's Dragonsreach
JK's Palace of the Kings
JK's Radiant Raiment
JK's Skyrim
JK's The Bannered Mare
JK's The Drunken Huntsman
JK's The Winking Skeever
JRC's Witcher Style Sword Pack
Jump Behavior Overhaul SE
Jumping Attack
Kharoxia Armor
Landscapes - Cathedral Concept
League of Assassins Armor
Less Boring Loading Screens - SE-AE
Lux - Via
Markarth - City of Stone
Mysticism - A Magic Overhaul
Nirnroot by Mari
NPCs React To Invisibility
Rainbows Remade
Realistic Skin And Hair Shaders - Giants
Realistic Skin Shaders - Falmer and Hagravens
Remote Interactions
Ryn's Western Watchtower
Skyrim Platform
Spaghetti's Palaces - Dragonsreach
Spaghetti's Solstheim - Raven Rock
Spaghetti's Solstheim - Tel Mithryn
Spriggans SE
Stellaris
Storm Calling Magic
Stylish Dodge Chaos - DMCO
Taunt Your Enemies - Taunting Matters
The Forgotten City
Untarnished UI
Yggdrasil Music and SoundFX
XP32 Maximum Skeleton Special Extended
Attack MCO-DXP
Magical Jumping
Frankly HD Thieves Guild Armors
Desecration
Flames of Coldharbour
Vulcano
Nemesis Unlimited Behavior Engine