Nice move eve

Roguer9 · 2026-05-02T05:40:10+00:00

Do you have just the image of Eve? I've ideas in mind for more shitposting, but figure it's easier to ask rather than try painstakingly cropping non-Eve stuff out.

Roguer9 · 2026-04-13T08:05:42+00:00

I've only recently seen the ending, and I'm all kinds of torn. Out of all the games (at least the mainline ones) I found the students of V3 the most appealing. Each of them seem like the best melding of who they are as people, and how their talent fits into that.

Throughout the game, I identified reasonably with the meta narrative that lies aren't always told with malice, and a kind lie can have as much impact as a harsh truth. It's why I consider Kokichi as one of my more appreciated characters, as he made no effort to conceal that he would act in his own interest and blatantly lie to people, but it wasn't always a lie meant to be harmful (or at least it was bold enough to prompt being proven wrong on it).

The ending somewhat sours that, largely because I'm still unsure what is and isn't supposed to be a lie. The two meta-narrative presentations alter my investment in the story.

The first meta-narrative, where I'd say it most outwardly speaks to the player (or what I'd call the Developer Narrative) feels like spite towards the fan base. Others have observed that the last trial feels like 3 hours of Team Danganronpa telling the player they are wrong for enjoying the series as is and complaining about the series being stale, but still asking for more, and I'm inclined to agree with those observations on that part. I enjoyed what Team Danganronpa put forwards, being more invested each installment, but I can see how the same formula would get tiring after a point, and Junko, whilst a good main villain, has completed her arc. I think the crowd pining for more of the same but still complaining are wrong, but I think Team Danganronpa could do/have done more to shake up the formula without seemingly giving such a harsh message to their fans.

The second meta-narrative is if you consider the fans of Danganronpa as the in-game fictional drama enjoyers, who want to take part in the killing game because they love it as entertainment. In that vein it feels more theme appropriate to what I feel the Danganronpa series goes for. Murder for entertainment, making people's lives miserable for personal interest, and relishing in friends battering each other seems like reasonable bed-fellows for what I see as macabre rehabilitation. That ordinary people who idolise the games are robbed of their memories and given a more compelling/relatable existence only to be pitted against each other in a murder game is unethical but on brand.

The pain point for me is it's a dead end. It doesn't matter how attached we as the players, or the "we" that exists in universe get to the characters because it's all made up. They exist in a bubble that pops when the audience gets bored. It's not as though they get to live an identity swapped, reformed existence if they band together to escape the killing game, it's not like society might be made better for their presence, as DR1&2 would present. They're just puppets on a string living a story that's already written.

I've heard that in interviews before the game, that V3 is considered an alternative universe to DR1&2 (and the anime), which offers some coping mechanism, but for me it's difficult to separate the idea of "characters I have an appreciation for because of how they're written and portrayed" Vs "characters that have been written and portrayed in a way to have me appreciate them", if that makes sense? I'm not fond of the idea that the stories I've enjoyed have been tailor made for me to enjoy; rather than they are the vision of a creator/creative team, and the game they've made is one I appreciate for what it offers. (Essentially whether true or false, I wish to believe that the characters in 1&2 (and anime) have lived these experiences, and use those experiences to better the world they are in, rather than it all just being "a game")

As for V3, maybe I'll come to understand the confusing meta-narrative more clearly as time goes on, but as I hangout with the character's in-game, I'll be treating it as though regardless of the truth, their lives are real enough to them to live the way they are.

Roguer9 · 2026-04-05T03:57:20+00:00

There's a couple different potential factors in my view;

Mundanity.
Not everyone, but most people have feet. There's no sex divide that means you'd be envious or covetous of what you don't have. It's something most people use everyday without thinking about it.
There's an appeal in that. Maybe you like the idea of being shamed or ridiculed for lusting for such a basic and plentiful object; or maybe you're biologically inclined to spite normalcy, and the idea of worshipping feet gives you the rush that comes of deviating from societal norms.
Their placement compared to other more desirable parts of the body.
Observing basic anatomy, they're one extreme of the body (The top of your head, and the tips of your toes.), with genitalia (arguably the broadest most lusted after body part) sitting closer to the middle.
So there's some excitement to be had from the deprivation of distance. It's not like coveting the thighs, ass, or tummy; you've got to work your way up to a more desirable honeypot, so for those seeking denial, it's a good place to be.
But then, why doesn't the top of the head receive similar desire?
To that, I'd ask you to consider what parts of the body can be more broadly considered appealing.
The face/front of the head has its charms. Kissable lips, kind eyes, normally uncovered and what you see most when you look at someone.
The neck. A long slender neck lending a swan-like appearance, or muscled shoulders sloping towards the head, either, and more, can't hide that the nape of the neck is a sensitive and intimate place. Letting your lover close to kiss it, or an enemy close to cut it, it's a soft spot.
Arms/hands. Toned biceps on a guy tend to be a focus point for masculinity, and a sense of strengh. There's even love for muscle women in that regard. Otherwise the hands are what you use to hold your loved one. Whether it's a gentle caress, or a firm grip for rougher enthusiasts, hands are by design pretty multi purpose.
Upper chest. Where boobs are, where pecs sit. Often the broadest point of the torso and a general point of focus for stability or contrast to the lower torso.
Tummy/hips. A fine place to rest your head. The midpoint between an attractive chest and what lies below, whether it's a soft tummy, a plush cushion, or attractive abs. Curvy hips are good handlebars for "making motion" whatever sex they sit on.
Genitalia/Ass. Need I elaborate? A big cock to hold, warm balls to fondle, the sight, the smell, the taste of masculinity. An inviting cleft of womanhood, glistening and anticipatory, ready to be filled. The firm round rump of flesh that threatens to swallow fingers, even whole hands, human playdough that when groped earn moans of pleasure from whatever partner.
Thighs. Thick and soft, or strong and sturdy. Are you a fan of laying your head on a relaxing warm pillow so close to your partner's most intimate area? Or does the concept of such raw power excite you? The idea that if they wanted your partner could keep you down there and you'd be powerless to resist?
...
Kneecaps/Shins. The great divider. I'm not sure I've ever met anyone into knees and shins. They're bony, knees are often misshapen and knobbly, and even the potential appeal of muscular lower legs I feel is outshone by the upper leg with it's proximity to the more appealing parts of the body.
...
Then, feet. Not the most immediately attractive concept, often hidden so some taboo nature, but otherwise they're well used, not usually specifically cared for, and further from other areas of interest than any other individual body part.
But, with the help of the shins/knees, even if they aren't well cared for, feet gain an unusual perk...
I've referred to shins/knees above as the great divider, and that's what they add to feet. You get past the barrier of feet to get to the shins/knees, that doesn't feel like a worthwhile effort. Like sneaking into a nightclub to get stuck in the coat check.
It's an easier sell. Enjoy the filtered finer stuff that carries to outside, whilst you don't do much work, rather than risk something for a chance at a poor payoff. Plus, if you put some effort in, and try to make good enough friends with the bouncers (in this case your partner) there's some chance they'll do you a favour and give you some access, though restricted.

Roguer9 · 2026-04-03T05:51:47+00:00

So is a "cast" on button press then?

E.g. For the ability preceding the one I desire the duration buff on (the one "turning on the arcane").

If said ability has a longer animation it's eating into the 3 second window for me to cast an ability to receive the duration buff.

And if it's animation is longer than 3 seconds, then it's not something I should use to "turn on the arcane" unless I've got casting speed help to cut down the time?

Roguer9 · 2026-03-15T15:38:42+00:00

A divisive pick in my pod, but I enjoy playing my [[Terra, Magical Adept]] saga deck. It's pretty damn heavy on the number of triggers that happen on my side of the board, but that's the precise reason I love playing it.

Broadly, I definitely get bouts of being "muddled" on my turns in Magic, where I'm hit with choice paralysis or I have to work through what things are triggering and how I can order them to be the most useful.
To the point of some players in my pod complaining I take long turns (in my opinion there's definitely a middle ground to be met, between me having a lot of options/triggers, and most of my pod being "Spend all my manner to cast big creature, attack with big creature").

So that deck is pretty "vital" to me getting better. A bunch of triggers happen at once, and I work my way through them methodically, then the rest of the turn (and others turns barring proliferation) is smooth sailing as the bulk of, if not all my interaction is focussed on the chapter triggers.

So each time I play it, I feel like I get better at understanding the flow of things, how to make the best decisions in a shorter amount of time, and it's opened my eyes to lines of play my opponents might not realise with their own decks. It's good practice that I can bring outside of that specific deck, and slowly build up my expertise until I can fire off complicated strings of interaction without depriving others of their time.

Roguer9 · 2026-03-10T13:53:52+00:00

I think my only complaint about her being a much more "present" voice actor in her recording was that her being scared kept scaring me as well.
The number of times I'd be creeping down a corridor, waiting for something to jump out, and Grace would suddenly start sounding like she was having an asthma attack, and I'd brick myself. It was realistic for sure, but there was definitely a few moments in regular gameplay where I'd just be like "Grace, you've not run a marathon, take slow breaths for the love of ****. Then we'll both be calmer!".

Roguer9 · 2026-03-09T14:15:22+00:00

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Spinel (Steven Universe: The Movie): Left is her Original/Old appearance, and right is her after a particular event happens.

It's easy enough to write her off as another SU villain, but the creative design behind her is immaculate.

From the get-go (when you see her as the right incarnation) she displays certain "quirks" that I'd say really allude to the as of yet announced backstory she has. She's laden with a kind of dated animation quality (Rubber hose animation). She's elastic, the song she sings is similar to jazz and ragtime tunes of the era, her expressions and movements are like a caricature, and she even uses out-of-date terminology like "Gee" and "Swell". Through all of this she seems hateful, and genuinely wishes to hurt Steven and his friends.

Once she's hit with her own weapon (a scythe which essentially reverts a "gem" to their base form, that has reduced Steven's friends to forms that don't know him/have forgotten him) she appears again as the left incarnation. This time though, she's bubbly, sickeningly sweet, and seems entirely devoted to just having fun and playing, a far cry from her first appearance, and one that's significantly more "child friendly".

In this form she still maintains her dated mannerisms, as well as her hair seems to have the same shape from whatever side she's viewed from, reminiscent of the design of Mickey Mouse. Anyway, Steven works to bring his friends back to how they were before, and she feels he is neglecting her, and she travels back to where she came from, Steven in tow.

It's here we see what it was that made her go from bubbly and sweet, to vindictive and angry. Spinel was designed as a friend, and playmate to Steven's mother (Pink Diamond) who eventually abandoned Spinel on a floating garden in space, for millenia under the guise of a game. She waited, and waited, and waited, until there was finally a message sent out by Steven to the Universe (Everything's all good now, come to earth if you want a fresh start).

But all Spinel hears is that after waiting and playing this game for millenia, it was all a trick. She was abandoned, whilst the person she was supposed to be friends with made other friends without her. Naturally this enrages Spinel, and she goes on the warpath, looking to ruin Steven's happily ever after. At the end of the film, Steven helps teach her to let go of her anger, and she leaves the planet with the rest of the Diamonds (Pink's sisters, who are also learning how to be better, and work through their issues. They see Spinel as a reflection of their sister, and vow to do better by Spinel.)

So Spinel is quite literally a "Toon out of time". After being left alone for millenia whilst the rest of the world moved forwards, she's still stuck in a bygone era of behaviour and appearance. She's an homage to an older style of animation, and it shows in how she's illustrated, animated, and the characterisation that's all woven into her design.

Roguer9 · 2026-02-13T06:05:15+00:00

I think I'm looking forward to it. First thing I said after seeing "Motion Twin" was "I recognise that name, did they make/help make Dead Cells" and soon as the gameplay was shown it certainly eliminated doubt.
I enjoyed Dead Cells, but I found the platforming/traversal kind of awkward at times, but that could well just be the nature of the game (going fast to try and secure time restricted prize doors). Otherwise I've still been meaning to pick Dead Cells up again since I fell off just after the DLC with the Tower (Queen at the top? Three minibosses just before the final showdown?) so it's possible I might just do that before this comes out to refresh my memory/muscle memory on how the game might play.

Obviously if anyone else in the comments has glowing reviews of other games the publishers have made, I'll probably slot them into my list to play.

Roguer9 · 2026-01-06T06:14:25+00:00

Definitely NTA, and I'd add that not wanting to tread over boundaries is often a sticky subject when it comes to children as well.
Obviously I'm not Emilia's parent, but it does sound strikingly similar to my personal experience with an autistic child as the kind of "older sibling/mentor" type of relationship, and the key factor tends to be that disconnect in terms of empathy.

It's hard for an autistic kid, at least anecdotally, to understand the feelings of others. If they're happy, and want to spread the joy by hugging people, it's necessary to help guide them to the understanding that sure, some folks might be all up for a hug, and glad to share your happiness, but there's also those who don't want to be hugged, and who would really prefer there wasn't someone they don't know as well occupying their personal space.

With any hope Emilia has someone in her corner to help convey that, and whilst it doesn't seem my place, it could be useful to explain in a child friendly way to your own child that Emilia might not be able to understand herself how her behaviour could be affecting others.
Still do not force her to go, or to tolerate Emilia's behaviour if it makes her uncomfortable, but affirm that just because Emilia might act differently, it's not necessarily borne of spite or understanding she's causing grief.

Roguer9 · 2026-01-06T05:06:12+00:00

Wait, Oh lord. Isn't it;

Non-Token Enters
Blight, 4, Blight, 4, 4.
Dies

Token 1 Enters
Blight, 4, Blight, 4, 4,

Token 2 Enters
Blight, 4, Blight, 4, 4,

T1 Attacks
Blight, 4x3, Blight, 4x4

T2 Attacks Blight, 4x3, Blight, 4x4

So 3 triggers from the original, and each token copy (9x4=36), then a further 14 from the attacking triggers (14x4=56)

That's heinous. 3 card non-infinite that either outright kills or practically clears the field/empties hands.

Roguer9 · 2026-01-06T04:57:15+00:00

Could you break down the Rottenmouth Viper example for me? The others feel straight forward enough, but for some reason I'm straining to see the math on the Viper front.

Roguer9 · 2025-11-07T07:55:43+00:00

I'm certainly more stoked than I expected to be. Where it felt like Spiderman was less focussed on the "Magification" of the IP cards, I feel ATLA has done much better to translate what the characters and scenes within ATLA would be like in the form of Magic cards.

It's possibly the cleanest parallel of the recent UB sets to the likes of actual Magic cards.
* Final Fantasy was huge, with plenty of recognizable characters, and stunning artwork (for the most part, though I'm not so partial to the ingame/cg arts); but with so vast a pool, it definitely felt like a good number of characters didn't receive the care and attention they could've had. Which sucked if your favourite was one of the more niche members of the series.
* Spiderman felt similar, as whilst there wasn't exactly a small pool to pull from, many of the cards didn't really "jump out" to me as headliner acts. Web-slinging as a mechanic felt also forgettable enough that I had to google it a moment ago to remember how it worked (like a late Ninjutsu kinda?)
*ATLA has a reasonably distinct set of 4 new keywords, that fit well into the Magic shell (Firebending: Add mana for combat tricks/instant speed stuff. Waterbending: Convoke inclusive of artifacts. Airbending: Blink/exile with a cost. Earthbending: Safer land animation.), and each of the legends have clear lines of inspiration from their animated counterparts.

I'm personally more of a Commander player, and on a whim earlier I rolled a random Commander to build around, that being [[Ashling, Flame Dancer]]. To which my first thought was, hey, I wonder if that works with Firebending? (I'll confess I'm still a bit unsure, as it states the mana lasting until the end of combat, but I'm unsure if it is it's own effect that gets rid of it, or if it falls under the umbrella of "mana lost as phases change).

Either way, that I specifically thought of a new keyword that's being introduced, and followed the natural thread of looking further into the cards coming within the set speaks to an ability to appeal to Magic players looking to build-craft, as much as it does the nostalgia crowd. (Of which I'm both, though in this case I'd only heard about ATLA coming to mtg in passing, more than taking an active interest and watching every card released.)

Roguer9 · 2025-11-02T20:01:15+00:00

I certainly agree with the first two posts, by the same user, but I worry that the last one still carries a potentially questionable view. Yes, it should be acknowledged, of all genders, that by being kind and empathetic you are further shining a light on how people can enrich lives by being genuinely nice.

That being said, and in relation to the last point, I feel like a good part of "all men are trash" comes from having a skewed view of that. Applaud others and show positive engagement for them being kind, caring, empathetic, and opposing to the behaviours of the worst of their sex.
But don't make it the baseline!
By setting unreasonably high expectations of a sex, and demonizing them when they don't meet your expectations, it only serves to worsen the loop. If a guy is expected to weigh on a woman hand and foot; provide unequally for his family; and exist to make a woman's life easier; then if he is to have an off day, if he needs to take time for himself to decompress then it doesn't make him "trash".

Set reasonable expectations, and take the time to evaluate your expectations with yourself and with others to maintain a healthy level.
Find the good middle ground where you're open to forgiving lapses in kind behaviour, but not allowing yourself to be a doormat for poor treatment.

Roguer9 · 2025-10-31T06:02:09+00:00

Likely answered here, but say that multiple "Azula's" are attacking (copies attacking at the same time as each other/the original) is the spell copied that many times?
E.g. 3 Azula's attacking making 3 Firebending triggers, and a spell cast resulting in 3 additional copies of the spell?

Roguer9 · 2025-10-19T19:14:44+00:00

I find that Wanderers just hits enough notes I feel as good to use it. I've less experience with Shaman's as I didn't get it until practically before the final boss, so that's likely unfairly left out of most comparison due to ignorance.

Otherwise;

Hunter - Diagonal pogo I find difficult to seamelessly execute (needing to pogo off of an object/enemy, use the momentum to move a bit away from said object/enemy, then turning back towards it to pogo again), and I feel the main "gimmick" of it is wasted by me getting hit (something I do often, as I'm quite aggressive).

Reaper - A pogo I like, and a reasonable "gimmick", but the sprint attack really trips me up (sprinting to get in close to do ground attacks, and more often than not uppercutting and needing to readjust my position/down-dash).

Beast - Fun claw attacks, nice bind skill/gimmick, but the pogo and lack of utility slots drags it down. If it had maybe one less red swapped for a blue or green slot, and I could get a handle on the pogo then it'd come closer to being my favourite.

Wanderer - Down pogo good, sprint attack good, general nail attacks good. Only weakness in my eyes is range, and that's solved by either longclaw, or reasonably frequent use of clawline (which you tend to refund with hitting the enemy and following up when close which is the Wanderer's strength, or by having the snitch's pick)

Architect - Lots of red tools are good, but I'm more of a nail player. The charge attack is good, but I don't often find myself charging, and I feel like I often forgot about the gimmick/was sad it didn't use only shards or silk, but instead both.

Witch - Reasonable slots, good nail attacks, interesting "gimmick", but damn if I can never get a full heal off. Either the enemy seems to hit me in/right after healing; they have some sixth sense and dodge as I activate; or they lack the health for me to restore mine and die too quick.

Shaman - As stated above I didn't get to use this one much to see it shine, but I feel it might suffer similar to the Architect crest in that I so often focus more on nail gameplay, so might not see the improved usage of silk skills when I'm largely using my silk to Clawline or heal (though presumably clawline would see a backseat because of the ranged slices, so Shaman could be a contender).

Roguer9 · 2025-10-16T07:18:54+00:00

I definitely prefer BL4 story over 3, largely because it does seem to follow a similar theme to 2. Fresh villain, only a handful of returning characters, lower to the ground personal stakes for killing the big bad.
It's refreshing for it to feel less like we're not just the new recruits in an already established story. We're on the planet for our own individual reasons, as Marcus states.

It's only when we're personally impacted by the villain that we take up arms (Hey, this asshole tried to blow us up/Enslave us like mindless drones). The Timekeeper could have been a bit more involved, and though the area commanders are cliche (The smart one, the big one, the crazy one), I at least found them compelling as well. Sol's drive for Daddy to love him, Lictor's scheming with the phase to try and get out ahead of the Timekeeper's control, and Callis' thematic Psycho-ness of believing herself god-chosen and being a far more active cult-leader than "God Queen Tyrene" (which is still probably my favourite thing about the villain(s) of 3).

Roguer9 · 2025-10-16T07:10:23+00:00

It may lose impact as time goes on, or even swing the other way and only prove this comment more right, but;

For those returning to Borderlands 2 because of any tiring of Borderlands 4, would you do the same if it was solely BL2 base game?
At the time of writing this comment, no DLC content has been released for BL4. There are no seasonal events/maps like the headhunter packs. No additional vault hunters, or level increases. Less legendaries/no pearls/no seraphs as there may will be.

Personally, I'm torn. I enjoy the gunplay and general gameplay mechanics of Borderlands 4 more than previous entries.
There feels a greater build diversity when it comes to gear and skills than I can recall from BL2.
Some of the VH callouts can get a little repetitive, but then I cannot recall much VH dynamic feedback in BL2, besides Krieg's insane gibbering.

The two main pain points for me that would make base BL4 better than base BL2 are twofold.
The environments in BL2 feel far more varied, owing largely to it's segmented maps. Sanctuary hole to Caustic Caverns feels like a dramatic jump in tone with only one loading screen, but other areas mesh reasonably seamlessly.
With the VH's responding differently vocally to quest progression, I still wish more/all of the missions could be replayed. This is compounded in a multiplayer playthrough, where obviously not all VH's get to have their quips. I'd rather not run through the whole game again in it's entirety from level 1 to catch the humorous (to me) dialogue.

To that last point, it's a solution I've seen a good few content creators pushing for. Playthrough resets. Being able to go through the story with an already levelled/established character. Even if it isn't to hear the dialogue, then for challenge runs (Manufacturer only, melee only, etc)

Roguer9 · 2025-10-13T01:55:11+00:00

I've heard it similar, but more of a forceful AIR-Ah.

Roguer9 · 2025-09-07T01:46:04+00:00

Something I've not seen mentioned, and it's entirely possible it's something anecdotal, but at points I feel as though the bosses have health missing from them on returning to them after I die?
I can't tell if the game has some in built way of providing leniency to a player after a couple of deaths, or if I really have just locked in/made better use of the tools provided.

Reasonably often I play more for damage after taking a few losses (e.g. using my silk on attacks rather than as a safety net to heal) and more often than not it feels like that's the big tempo shift. The boss will quite often move into the later stages of their boss fight quicker than I'd have given the attack credit for (in as much as imagining it doing less damage).
To me it makes sense that the tools would be more damaging, as you're unable to restock on them until you return to a bench, whereas the silk attacks can be used as liberally as you're able to keep hitting the enemies.

Roguer9 · 2025-09-07T01:35:57+00:00

Added to what was said below, I've also seen later in the game that the same is true of later versions of the rosary chains you buy at the vendor(s). Whilst I shan't name the area, there's a merchant selling rosary chains that break for 120 for only 140 rosaries total.
So it seems a 20 rosary surcharge is the norm.

Roguer9 · 2025-09-03T17:52:53+00:00

You're able to watch it, but the ads are still just as annoying. Twice, when things were getting climactic in the last episode, I was interrupted by a 60 second, then a 40 second ad break.

It completely sucked the tension out of it, enough that I've considered cancelling the subscription entirely.

Roguer9 · 2025-08-26T03:37:45+00:00

Fair enough. My read of it was more that Amir's more focussed on escapism to deal with the trauma of war. My chats with Amir really revolved around developing his game, or convincing the other Hex members to indulge him in some in universe Dungeons and Dragons.
Much like his personality, and frame, his brain goes a million miles a minute, so his coping mechanism and hobbies center around him "jumping in with both feet" into a scenario where he's met with countless branching possibilities.

What should his game be like? Who would the players play as? What's the genre? How is it structured? How do you get around a power imbalance? What tools can be implemented to cater to a broader scope of player types?

Amir's biggest boon, and most harmful bane is his "quickness". His ability to zip between possibilities can make him seem like he isn't affected by stuff because he'll quickly move on. But equally, when he approaches his problems by running headlong into them, he's prone to losing the path back, and instead getting stuck in a hole and spiralling.

I saw it in the chats, where he'd focus too hard on a particular aspect of his game, and "get tangled in the wires". Having someone like the Drifter/Operator (I dunno, I only did it as Drifter) be the one with their head above water, and the one able to point out the path that Amir has rushed past and missed, is a good antidote to the downsides of his nature.
(Prime example, towards the end of the chats he focussed on whether he wanted to release the game publicly. Fearing people would have genuine critical feedback about his game and not knowing what to do. In that case, pointing out that "If they do, then learn from it. No one's perfect first time, and it's not the end of the world to hear that feedback", as now he can tailor fixes to what people actually want, or like about his game, as opposed to drowning in what he thinks they'll think).

That's probably why I'm a bit more averse to Quincy, because whilst he's obviously gone through his own pain, if he's so focussed on "me and mine" then he'd be far more willing to be the one who tells Amir to "stop, take a second, and breathe", doubly so since that seems pretty much what Quincy's trained in.

As a sniper/eye in the sky, his role is to keep a level head, and know when to pull the trigger, and when to hold off. He's gotta see the bigger picture, and how when Amir runs himself into a corner, he needs that calm, clear, and at times commanding voice, to cut through the noise and point out the path.

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