tiny, messy, lunch break sketches absolutely MUST include wonder woman rn…
I love love LOVED this look (and i want to do a more finished piece with it eventually). i can’t not go hard about costuming and the history of dress and i’m going to flail about this for a sec. Costume designer Lindy Hemming clearly knew what she was doing. This wasn’t just a “this outfit is plain and practical after those nonsense ‘fashionable’ options” it was a definite, intentional nod to WWI Women’s uniforms (and Diana is going to the front, it makes sense for her to be in something uniform-ish).
Although WWII is better known for women going to work for the first time (i.e. the iconic ‘Rosie the Riveter’) - women absolutely served in various capacities in WWI and were considered crucial to the war effort. Even though most of the women who served still did so in tradition-friendly roles of relief & aid work, WWI is notable in that it was one of the first times that women served either in an enlisted or civilian capacity in uniform.
Here are some examples of WWI women’s uniforms to show the clear tie between these and Diana’s outfit:
Women’s Motor Corps 1916-1918 (American) - If you look at men’s uniforms from the same time period the core design elements are basically identical, they’ve just been ‘feminized’ in the women’s versions.
UK army recruits 1917 (check out those hats! definite link between those and Diana’s, Also the clear distinction between what’s worn by the recruits and the commander)
Women Police Service, 1916 (British) - women served in uniform at home - filling traditionally male roles while men were away (MOST women served at home, with a relatively small % actually ending up at the front). below are some women firefighters in london around the same time wearing similar uniforms (i can barely go down a ladder period, much less do so with someone over my shoulder - so badass!!!):
The costuming design is perfect in context of the movie’s storyline, wonder woman as a property, and as a tribute to the tens of thousands of women who enlisted and volunteered during the war and it made me SO HAPPY.
*side note - while pulling together these photos I learned about the Women’s Death Battalions (no, seriously) and Holy. CRAP. apparently around 6,000 russian women were actual combatants during the war and not just aid & relief and jfc how had I never heard about this? the rest of the world is like “we guess women can be nurses and ambulance drivers, we are so progressive!!!” meanwhile russia: GETS TIRED OF WOMEN DISGUISING THEMSELVES AS MEN AND SNEAKING INTO THE ARMY. FORMS WOMEN-ONLY UNITS AND CALLS THEM ‘BATTALIONS OF DEATH’*
Sorry if you anticipated but I didn’t draw anything for Namjoon’s birthday. A lot of ppl loved my Jk comic and I felt a lot of pressure, I didn’t have any ideas and I was scared to disappoint someone.
But its mainly because I’m a bit done with the competitiveness in the fandom. I feel like this days it’s more about who will draw faster and who will get more attention. And this affects me a lot because I’m really not a competitive person, I hate the competition. I don’t want to draw something because I want my drawings to be the best or idk. I just want to draw because it makes people happy, myself included. I don’t care if I’m popular or not, I just want to make things that I like whenever I want.
Maybe I’m the only one who feel this way but I just wanted to talk about this stuff. Now that I figured out I’m feeling way better! Thank you for being so kind to me💘💘
And why the Attack on Titan anime adaptation once again proves itself to be incredible.
Sasha reading her bow and telling the kid to keep going is an amazing moment in the manga already–Isa deserves all the credit here. In the og flashback, Sasha refuses to abandon her principles just because outsiders are in trouble, she refuses to help them; a perhaps egocentric, but also human point of view-we tend to prioritize us and those closest to us over strangers. Then, in the current time, Sasha tells the kid to run bc she’ll certainly find kind and helpful people ahead; and stays herself behind to fight; she fights knowing that proper victory cannot be achieved, to save a random stranger; a kid, further emphasising that Sasha herself has grown into a great person and abandoned that egocentric child she once was.
It’s great stuff, but the animated execution of it made me realize just how good it actually is.
In the yumikuri flashback the S1 version of counterattack mankind starts…its positive a track expressing a sense of optimism and peace, it suits the “ordinary moments” she thinks about. Then, we cut back to present time. A newer arrangement of the track, led by faint strings with hints of an organ in the background–there’s a distant but growing intensity in there.
As Sasha talks to the kid, most of it is shot from the kid’s perspective, so we get to look up to Sasha–she’s seen as the grown up here, perfectly fitting the above characterization. In the meantime, the music grows ever stronger-the organ is very present, and drums are added too. The buildup to the sequence is thus heavily emphasized. Also, listen carefully to Kobayshi Yuu (who’s performance here I loved). There’s definitely exasperation in her voice–they’ve been running for some time and are chased by a titan, not to mention that she’s afraid. Yet, you can still find a lot of tenderness in there–the kid is supposed to feel safe and secure, despite everything going on, and it just makes you love Sasha even more.
Let’s get to the real meat
I LOOOOVE this scene. Sasha spinning on her feet to stop and get into position looks really cool…but its’ the following take that I adore the most
The spin kills her entire momentum…she stands still and ready, and the camera lingers on her. But the kid didn’t do any spin, kid’s still going, not slowing down. Sasha however wants kid to keep going, seems to use her spin as a way to propel kid forward. And the moment her arm is separated from kid, the camera moves on as well–doing so, Sasha’s staying-behind-to-fight is visually translated and further emphasized without the viewer consciously realizing it. I have a hard time describing it, but there’s an incredibly powerful sense of organic dynamism in there that just sells the scene. It’s excellent visual storytelling, not only of the situation, but also of Sasha’s character–she’s strong and altruistic now, and she’ll fight against all odds to save the kid in need. Yuu’s performance here is perfect as well–there’s now definitive desperation to be heard, alongside remaining hints of kindness but also a certain intensity. Sasha is afraid–she has no equipment to protect herself, she has no weapons to eliminate the threat, but in spite of that, she still sends the kid away, she still stays behind, she still stands in the way of the titan.
And THAT shows just how brave she is–Sasha overcomes her weaknesses, she fights against all odds, she dedicates her heart–and that is what the anime manages to portray so masterfully here.
And of course, that is what the best shot of the episode does.
We get an incredibly gorgeous wide shot…starting off once again from below, keeping both the titan and Sasha in frame, reminding us of the threat ahead of her, but in one amazing panning zoom, we fly all the way to a closeup filled with nothing but fierceness. The visual alone is amazing in its own regard, but the sound is what truly rounds it up. Counterattack Mankind A reaches its climax, going all out on instruments, cue-ing the all-so-familiar melody in an immensely epic arrangement worthy of the scene it accompanies. Kobayashi Yuu 100% sells it too–her first “now-go” is still a bit feeble and unsure as mentioned above, the 2nd “run” already stronger but there are still hints of fear….and then, with the musical cue behind, after getting a full frontal close-up–the all out “get runnin’!”, filled with nothing but raw energy and determination–Sasha’s abandoned all fear and is in all out character-climax-badass mode. Her shout echoes through the woods, the kid is literally hit by a shockwave and finally starts running (sidenote–her eyes were dark and lifeless throughout the ep, but only after that do they lighten up, adding once more weight to Sasha’s moment). And of course, Sasha’s accent arc comes to full circle in the same frame as well, as she yells the command out in her native dialect she’s tried to hide for so long. Pretty much everything that could’ve come full circle did–in terms of writing, performance, sound and visuals.
It’s an amazing sequence deserving of ludicrous praise for the creative staff–they’ve proven once more that Attack on Titan is a work of art. The manga is already without a doubt amazing–most of the points above stem from it after all-but the anime is so ridiculously good at presenting I sometimes can’t believe it with my own two eyes.
In case you couldn’t tell, I fucking loved this sequence and I’m gonna yell about Sasha all week long.
Okay so I crunched some numbers re: that panel with Touka’s due date and Yoriko’s notice, and here’s some fun stuff I figured out:
(Credits to @juuuzo and their post for the pic above and for illuminating some things for me!)
x Firstly, I don’t think it takes a genius to glean from this panel that the Touken baby is due 12/28(which apparently is Ishida’s birthday… making the Ishida the One Eyed Prince?? dundundunnnnn)
x For the Obstetrics nerds: It’s hard to see based on just this panel if Touka really did use Naegele’s rule to figure it out, but if the due date really is 12/28, a couple of the numbers highlighted above (and a few that I squinted at) correspond to the formula. But it’s really hard to tell because Touka’s writing is shit lmao.
x But using some reverse engineering (not really, I just like that term; I used the Qx calculate app), if the due date is 12/28, Touka’s last menstrual period was 3/23.
x This is Yoriko’s execution notice:
x The penalty was placed 4/15, and Kaneki received the notice approximately 4/17, which would be the current date of the story right now. (How did I figure that out? See this post.)
x By simple math, we can estimate Kaneki Jr’s current gestational age as 3 weeks and 4 days. Taking things further, the end of the first trimester will be on 6/15.
x I have the urge to discuss the stage of embryonic development Kaneki Jr is currently in, but 1) ghoul biology might be different, and 2) really? do we really want to get into that? lmao.
x Interestingly, I looked back in the calendars, and comparing Touka’s calendar, the story seems to be taking place in 2016.
So I’m watching the very first ep again and realize that when Shiro crash-lands and gets taken in by the hazmat crew he’s wearing what we learn later is his gladiator/prisoner getup:
but immediately following the rescue and subsequent getaway (during which he is out cold and still obviously in the same clothes) we see him the next morning,
clearly wearing his own clothes.
But where did they come from??
The other three paladins-to-be left the garrison with just the clothes on their backs (and lbr Shiro’s height and shoulder-to-waist ratio means he’s not going to fit into anything of theirs anyway), and there’s absolutely no way he’d fit into anything of Keith’s either for the same reasons.
That outfit is also not generic officers’ or instructors clothing from the garrison either, because I’m like 95% sure we see examples of both earlier in the ep:
Honestly Percy’s not much for armor - it’s too constricting and he never manages to put it on quite right. He’s got the standard Alliance blue gear but only wears it because Commander Chase makes him and the helmet is always the first thing to go if he ever puts it on at all. He much prefers to steal Annabeth’s N7 hoodie for all day every day.
All right, so this is essentially the beginning of energy related witchcraft that I’ll be posting about as I try it and learn new things. Feel free to try out some of the stuff I talk about here but please remember that this is your journey and you can and should edit and tweak everything to best fit you.
Types of Energy
Reserved Energy floats either just above or below your skin. It should feel like it’s attached to you and resist most attempts to use it. It is minimally pliant, minimally workable, and mostly just exists as a backup or protection.
Latent Energy is typically a ball of energy that is extremely malleable and easily visualized. This type of energy is more ‘for your use’. It can be visualized anywhere in the body; however, where ever it best seems to fit (i.e. a ball of energy in your stomach, chest, head, etc) is normally where it stays. Latent energy is great to work with to give yourself a better mastery over molding both Reserved and Latent energy.
Neighboring (or Immediate) Energy is an amalgamation of your energies and outside forces. It’s best visualized and felt by meditating. If you’ve meditated and felt like you were basically out of your own body and hazy, you’ve felt Neighboring Energy. It’s less you and, as a by product, significantly harder to work with. It’s not as difficult as Reserved Energy since that’s an active rejection to change, and this is simply difficult because you’re reaching beyond yourself.
Visualizing Your Energy
Visualizing energy can be a bit tricky, but seeing your energy, in my opinion, is equally important as feeling it. Being able to see and acknowledge your energy makes feeling and moving it so much simpler. There are a couple of ways to visualize your energy, so we’ll hop into those first:
First Plane Visualization (FPV)
If you close your eyes to visualize your energy and the first thing you see is your body, this is where you’re at. First Plane Visualization essentially means your energy best manifests itself to you as a physical part of you. Personally, I feel this makes it easier to work with Latent and Reserved Energy, but harder to work with Neighboring.
Second Plane Visualization (SPV)
If attempting to visualize your energy brings up empty space with your energy in some form or shape in it, congrats, this is you. This type of visualization makes it significantly easier to work with energy that isn’t yours but more difficult to work with your own as well. Your energy seems to best manifest itself as a construct in your mind, essentially on a different plane than your physical body. To use it, you have to get around your own barrier between it and physicality whereas outside energies that are already on your plane don’t need any extra work for you to work with them.
When you visualize your energy, you’re essentially introducing yourself and greeting it. In the same way you most likely wouldn’t hand a stranger a thousand dollars, your energy isn’t likely to do much for you if you don’t at least know it.
Moving Your Energy
Think of your energy as a muscle, if you never use it, it becomes that much more difficult to begin using and to strengthen it. Please don’t expect to hop in, visualize your energy once, and suddenly have it do everything you want it to.
First try visualizing your energy with your eyes closed. Spend some time with it, don’t demand anything of it. Is your energy naturally calm? Does it spin lazily as you sit with it? Is your energy a spitfire, constantly flinging out strands of itself and wrapping around everything it can without leaving it’s basic shape? Who is your energy? What kind of personality do you get from it?
Try to learn and love your energy every time you visualize it. When you’ve got the image of your energy firmly in your head, preferably to the point where you can almost feel it wherever it’s best visualized, try moving it. Try to get a strand of it to detach from the bulk of your energy and pull it towards you. If that’s difficult, simply work on moving the bulk of your energy towards and away from you (SPV) or around your body (FPV). This should honestly take awhile. Remember that you’re not simply trying to visualize it, but feel it. As it moves, you should feel it. Once you’ve got a mastery of that, try opening your eyes and doing it over again.
When you can move your energy in bulk or pieces with a bit more ease, I recommend pushing it to the surface. The easiest place to feel Latent Energy is between your palms. If trying to move your energy with in yourself simply won’t work for you, try this instead, then move back to that later. To push your energy to your hands for FPV, imagine it wherever it tends to manifest itself. Push it, either in whole or (preferably) in part, down or up your body and into your palms. If you need your eyes closed to direct it, by all means, close them; however, once you’ve got it comfortably in your palms, open your eyes and try to get used to keeping a hold on your energy with your eyes open. Allow it to do as it pleases within the space between your palms. Start out with maybe half a foot between your hands and slowly increase the distance as you grow more confident.
For SPV, visualize your energy and bring it towards you. Bring out either two bits of it, still connected to the whole, or the bulk of it towards yourself until it feels like you’ve stepped inside of it or as though it’s encompassed you. Carefully, without losing that feeling, visualize it (either with your eyes opened or closed depending on what works better for you) sparking its way down your arms and into your hands. If that’s too far to visualize, simply imagine it condensing between or in your palms for the get-go. Because your own image is less involved in your own energy, expect to have a harder time keeping it where you want it to be.
Energy, like most objects, rejects movement without force. When you move it at first, it may feel like it snaps back to where it started no matter what you do. Keep practicing and remember that it hasn’t really moved in years, so it’ll take some work to get it to move now.
We’re finally at the end of what I can share for the time being. I only have a couple of practices that I’ve been using lately, only one of which I’ll add here, specifically for Reserved Energy because that’s what I’m practicing working with currently. I will update this as time goes on but I do want to be sure before I give put any exercises. For example, one of them uses hunger as a basis and I don’t know how I feel about giving a purpose to staying hungry, so I’ll wait to add that if at all.
Find a cold room or area, cold enough to give you goosebumps but not enough to shiver. Furthermore, if it’s outdoors, make sure there’s little to no wind. Wear short or no sleeves. Allow the cold to seep into your skin. Visualize your reserved energy; this may be a thin layer above or below your skin.
If it appears above your skin, give it intent, push it to separate you from the cold. In practice, this literally felt like a wash of lukewarm warmth sliding down from my head. The cold felt like someone holding an ice cube near my skin, but didn’t actually make me cold.
If it appears below your skin, incite it to heat itself. The cold should sink into your skin and meet that barrier of energy and fizzle out. I can’t tell you how it feels in practice because my Reserved Energy appears above the skin. If you try this out and are okay to share, I’d love to know how it differs.
I’ll either update or make new posts on this as I learn. I love energy based craft and I’ve got a lot more things I’m practicing that I’m not confident enough in quite yet to share…but soon. Here’s a mini-list of what you can expect in the future:
Moving Energy Into Objects
Visualizing Neighboring Energy
Using Neighboring Energy
Taking Energy from an Object
NOTE: All of the names I’ve given energy, energy types, etc were made by me simply to make it easier to refer to and talk about. If you call any of the feelings or activities something else, by all means, continue doing so. This is just what makes it easiest to understand for me.
(A note: gay bars of this particular type (”okama bars”) in Japan are pretty popular with straight people, and sometimes even called “tourist bars” (where straight people come to be entertained by gay people). They are staffed by gay men, cross-dressing gay men, and sometimes transgender women (that’s… rare though), and don’t necessarily cater to a gay clientele. This type of bar often functions same as a host club.)
my gf is playing fallout 4 at the moment and we were chatting about how the game had lots of possibly cool things but wasted its own potential (i feel) because of 1. railroading and 2. pacing problems.
take the intro segment of the game for example. (spoilers for those who haven’t played i guess). you start off by customizing the couple spoken of in the intro of the game, a husband and wife, one of which will be playable by you. but, you get the chance to customize them both, which in turn changes your baby’s appearance.
that’s really cool!
what isn’t cool, however, is the lack of ability to name your own partner or child. you only get to name the player character.
to add to that, the game expects you to, after little interactions with barely any choice, to be bonded enough with your spouse and child to be upset when they’re taken from you and invested for the rest of the game in finding your baby and avenging your partner.
it just kinda falls flat to me.
what i feel would’ve had more impact would be if the module that thawed out the pods was remotely accessed from outside or from the very beginning of the vault. this would’ve meant that, when the player is woken up along with their spouse and child, they have no clue why or what is waiting for them.
the player could then have some time to learn more controls and get situated in the game by traveling through the falling-apart vault with their partner and kid in tow. maybe make choices, like if they should interact with others’ pods. who carries the baby. searching for staff assistance or means for self defense.
once you make it to the exit of the vault, you’d find the elevator isn’t there. confused, you could begin trying to call it down, only it’s already on its way down.
just as the elevator stops, the player is faced by the institute, on their way to steal your baby. maybe you get a dialogue choice prompt here, decide to try to take your baby into safety yourself, or tell your partner to flee, or just try to attack the institute members. in the end, in the scuffle, your partner gets fatally shot (along with anyone you let free from pods), your baby taken, and you get dragged back into stasis.
if you’d had the chance to actually play a part of the game, a stage, with these other characters i feel there could have been some more legitimate attachment and drive to doing something about it later on.
I tried to reblog your question @officious-seeing-eye-bitch with this answer and couldn’t, and I also can’t tag you! But I hope this is a little helpful.
tel abelas = “nothing sorry” or “not sorry” or “not sorrow” or maybe even “empty sorrow” - or “I’m not” when used as a response to “I’m sorry.”
banal abelas = “To the Void with your sorrow” or “Your sorrow is nothingness” or “Dark sorrow” or “(You were/are/I was) Never sorry” or “Blighted sorrow”
ROUGH AND UNCERTAIN. Yes. The difference between tel and banal:
The translation of tel as “nothing” comes from Ameridan in Jaws of Hakkon, the quest “Where Once We Walked.” Ameridan translates the name “Telanadas” as “nothing is inevitable.”*
*Note that this is is exactly the fan translation of Solas’ response to the nightmare demon in the Fade. “Banal nadas” was untranslated in the subtitles, and popularized in fandom before Hakkon came out as “nothing is inevitable.” The unconfirmed theory is that this new ancient Elvhen wording for “nothing is inevitable,” telanadas, was provided by the writers to course-correct the fan translation of Solas’ words in the Fade.
tel also appears as “nothing,” or as a confused concept of nothing, in the old bedtime song about Mythal which starts “Ir sa tel‘nal,” roughly translated by our in-game source as “I am empty, filled with nothing(?),” (sic) (ref DA:I Codex entry Torn Notebook in the Deep Roads, Section 3)
The translation of tel as “not” comes from Wisdom in the quest All New, Faded for Her. “Tel'abelas,” the spirit says to Solas, and the subtitles directly translate these words to “I’m not.” So clearly, you can see from just that that all of the translation of Wisdom’s words done in the subtitles should not be used to cipher the language. Notably Wisdom’s words are only translated in subtitles for an Elven Inquisitor, so we can assume her words are filtered through the Inquisitor’s broken understanding of the language.
What is displayed as Wisdom’s dialogue in translation is clearly an interpretation of Wisdom’s meaning, and not a direct representation of how each word she speaks translates into English. Her full subtitled dialogue is “I’m not. I’m happy. I’m me again.” from her spoken Elvhen “Tel’abelas. Enasal. Ir tel'him.”
Solas says: “Lethallin. Ir abelas.” ( “I’m sorry.” is what’s translated in an Elven Inquisitor’s subtitles.)
A one-to-one translation of Wisdom’s response would be: “Nothing’sorrow. Joyful relief/joy in triumph over loss. I become not/I become nothing.”
When a sad romanced Inquisitor responds to Solas saying “Ir abelas, vhenan” ( “I am sorrowful/sorry.) by saying “Tel abelas. If you care, give me the truth.” they could be saying so many things! Possible translations include:
“I’m not,” a standard conversational answer to ir abelas meaning you don’t feel the same as the person who feels sorrow.
“Not sorry” as in, I’m not sorry (sameish as above)
“Not sorry” as in, you’re not sorry, an accusation
“Not sorrow” as in, I reject that sorrow - I don’t want sorrow in our story
Or even, in this case, the meaning of “Tel abelas” in-context could be “Don’t apologize.”
“Nothing’sorrow,” sorrow is nothing (maybe meaning useless)
“Nothing’sorrow,” nothing to be sorry for (I doubt it’s this one lol)
:) Elvhen is a mess.
(Tel also appears a bunch of times in the song Where Willows Wail, but that is a discussion for another time.)
The Inquisitor flings “banal” at Solas a couple times if they’re angry. If they’re like, “Ma harel lasa,” and he’s like “Only by omission,” they’re like, “Ma lasa banal’ghilana!” to which he replies “What would you have had me say?” etc.
@slayerofkillabee made a great post about the banal’abelas banal’vhenan breakup option (since deactivated) here (link!).
I will now expand on this, keeping in mind that Elvhen is a not-language. :)
The word banal is translated three times in Dragon Age materials. It appears in other untranslated sentences, but we have three sort of solid-ish refs for what it might mean.
In the name of the Vir Banal’ras armor: “Most Dalish hunters follow the Vir Tanadhal, the “Way of Three Trees” that consists of three codes of wisdom to which they adhere. Seldom spoken of, however, is a fourth way: the Vir Banal'ras, the “Way of Shadow.” Assuming it when a debt of blood must be repaid, such hunters dedicate themselves to vengeance and nothing else. Thus were born the legends of Dalish assassins.” (emphasis mine)
Banalhan: A name for the Blight or its place of origin; the place of nothing. (World of Thedas Vol 1, presented as a vocabulary word)
(*deep heavy breathing* Okay so I have a lot of HCs about the place where the Blight comes from, what it’s name is (I think we have already been given this name in the game) and what its defining feature is, but I’m selfishly and foolishly withholding this HC to write it in as a reveal for a fic I’m writing. Doubtless someone else is going to come up with what I’ve worked out before me and post it and I’m going to just try and enjoy it when the devs confirm it lol and not be petty.)
But basically, banal is taken to mean “nothing” because of “banalh an” meaning “place of nothing,” but potentially this is a false equivalence of this phrase.
Banal could mean shadow/nothing/Void/Blight.
And banal means never, from that same old bedtime song about Mythal which says “Banal malas elgara,” translated by our in-game source as “Never yours the sun.” (sic) (ref DA:I Codex entry Torn Notebook in the Deep Roads, Section 3) (Let’s also note that ‘not having the sun’ and ‘being in shadow’ are pretty similar concepts, for fun.)
The context of banal in the Crestwood scene is:
“And I am sorry. I distracted you from your duty. It will never happen again.” “Wait. What? You bring me here, take the vallaslin from my face, and now you just end it?” “I’m sorry. I never wanted to hurt you.” amazing dialogue wheel option “YOUR LOSS, ASSHOLE.” = “Banal’abelas! Banal’vhenan!”
When an angry broken up Inquisitor responds to Solas saying “I never wanted to hurt you” by saying “Banal’abelas! Banal’vhenan!” with the intent of “your loss, asshole,” they could be saying wayyy too many things. Possible translations include:
“Nothingness sorrow! Nothingness heart!” (Either I or you feel no sorrow, either I or you have no heart.)
“Your sorrow is nothingness! Your heart is nothingness!”
“To the Void with your sorrow! To the Void with your heart!”
“Shadow sorrow! Shadow heart!”
“Dark sorrow! Dark heart!”
“(You were/I was) Never sorry! (I was) Never your heart!/We were never hearts!”
“The Blight is sorrow! You were never my home!”
“You were never sorrowful! The Blight is your home!”
“Blighted sorrow! Blighted heart!”
All with the overarching sentiment of “YOUR LOSS ASSHOLE” which honestly bless Lavellans who choose this option, I love you.
Of course translations of these phrases are not limited to just what I’ve posted here. But maybe this gets a little closer to clarifying how these two words could be diverging in general sentiment.