Category Archives: Entertainment

‘Toy Story’ review

October 23, 2026 HPSH Plaid Line Leave a comment

By: Kingston Ross

Released in 1995, Disney and Pixar’s ‘Toy Story’ made history as the first fully computer animated feature film. Directed by John Lassiter, the movie introduces us, the audience, to a world where toys come to life whenever humans aren’t looking. Woody, a toy cowboy doll, is the leader of the toys owned by Andy. Woody and the toys’ main focus is to bring happiness to Andy while staying safe and together.

Panic strikes the toys during Andy’s birthday party when he gets a new action figure. Buzz Lightyear is introduced. Buzz is high tech, sleek, and equipped with a laser, pop-out wings, and sound effects. Unlike the other toys Buzz thinks he is a real space ranger on a mission to save the galaxy and is not aware that he is a toy. Woody becomes jealous of Buzz because he replaced Woody as his new favorite toy which results in Woody trying to hide Buzz behind a desk so he could be brought to the family dinner. The plan goes wrong and Buzz falls out a window, and being accused by the other toys of trying to kill Buzz, Woody goes on a mission to retrieve Buzz.

Woody finds Buzz but they are left behind at a gas station and eventually are taken by Sid Phillips, Andy’s neighborhood terror, who finds happiness in destroying and mutating toys. While trapped in Sid’s bedroom Buzz sees a television commercial for his own toy and realizes the truth that he is not a real space ranger. Depressed after trying to fly out a window, Buzz is scheduled to be blown up using a rocket by Sid. Woody convinces Buzz that being Andy’s toy gives him purpose.

Working together with the other mutated toys they stage a rescue and break Sid’s habit of destroying toys, they then use the rocket to catch up to the moving van and safely return home.

I liked the movie as it was like the 1st cartoon I ever watched. I like how the storyline continues in the sequels. I give it an 8/10 because I think it could have been a little longer, or added more effects. You can watch ‘Toy Story’ on Disney+.

Music/Concerts

‘folx’ – friends& review: Part V

October 22, 2026 HPSH Plaid Line Leave a comment

By: Maple Graham

cover art depicting someone riding on a red horse, looking back at a red cross on a pile of rocks

“The death model appears when the body without organs repels the organs and lays them aside[…] no mouth,”

A parody of a Jeff Magnum interview—swapping out certain nouns and places with things relating to ‘folx’—with guitar and samples overlayed in the background, getting increasingly chaotic as it continues as the guitar gives way to what I can only describe as noise—a cascade of delayed instruments and other audio clips crescendoing to a wall of noise at the end. It’s a decent transition, of which I prefer the latter half a lot more. 4/10.

“no tongue, no teeth—to the point of self-mutilation, to the point of suicide.”

Direct continuation of the previous entry. Could have been easily tacked on to the ending bit of it, so it gets a 1/10.

“[…] the belief in progress and the faith that one could describe new times in new terms wanes,”

Sound of a tape recorder spinning to a pause, followed by reversed talking. 1.5/10, I wish this was touched more upon, as none of the tracks here—segues or otherwise—focus on reversed speech. The best example I can think of that closely resembles what I have in mind is “The Mind Electric” by Miracle Musical.

“to be replaced by “the imitation of dead styles, speech through all the masks and voices stored up in the imaginary museums of a new global culture”.”

Starting with an entirely vocal performance of the word “no” repeated again and again, and samples such as horse neighs and banjos are interlaced. The song ends with a culmination of sounds all being played over each other, similar to “The death model appears when the body without organs repels the organs and lays them aside[…] no mouth,.” It gets a 3.5/10 due to the beginning carrying most of the replay value.

“Playing in the Band ([doppelganger] w [repetitive strain injury] [impersonates] to [entertain] @ [the tribute artist music festival]) ([sInGlE_LiFe_fAnTaSy] [daydream#02])”

Right off the bat, this song feels like the longest thing in the entire album, and it’s split into two parts. The first leans into harmonics and actual instruments, while the second is more upbeat and rhythmic with chopped up bits from the first part. I really enjoy this track; 8/10.

“So far as living instruments of labour are concerned, for instance horses, their reproduction is timed by nature itself. Their average lifetime as instruments of labour is determined by laws of nature.”

Harp sound effect very similar to “all so that they can then demand the cash for this service of love.”; 2/10—could have been something different.

“As soon as this term has expired they must be replaced by new ones. A horse cannot be replaced piecemeal; it must be replaced by another horse.”

From the last song, the listener is dropped directly into another recording of a tangible place: a room with a radio playing, and a glass being dropped and shattering on the floor. It works well as a transition, so I’ll give it a 3/10 since it works well with the rest of the album in mind.

“Both Sides Now ([grim reaper] w [self-destructive borderline personality disorder] [manslaughters] to [pivot] @ [the third space]) ([hEs_bReAkInG_Up_wItH_Me_fOr_gOoD_AnD_Im_wOrRiEd_tHe_mEtApHoR_Is_gRoWiNg_iNcOhErEnT])”

A sample being distorted and stretched out acting as a background to vocals that seem to come out of nowhere. A pairing of a violin and electric guitar serves as the adhesive for all these contrasting parts plus more samples. This song leans extremely heavily into the maximalist space a portion of the album has initialized, and it’s far from a bad addition. 7.5/10: it ends a bit abruptly, but the next track makes up for it.

“(And you think, well, it’s not the sort of thing that you’d forget, killing yourself and your children, is it? But of course, it’s not the sort of thing that you could possibly remember.”

Primarily made up of vocals harmonizing with the previous song, and guitar to act as a nice backdrop. 5/10; I really like this as a segue despite its fleeting nature.

“It is an exemplary case of that which must be repressed, the traumatic Real.)”

Another decent transition which combines a My Little Pony sample with a snippet of ‘Both Sides Now.’ It does its job as well as setting up the next entry; 4/10.

“The Circle Game ([brony] w [chronic pain] [defrauds] to [live] @ [the social services hub]) ([hEs_gOnNa_mAkE_Me_bEg] [identity#04])”

Split into 2 parts as well, this track dives into a maximalist opening, before mellowing out in the following part. Vocals permeate the entire song, instead of being isolated in only select parts. I really like the bell samples and pitched choirs here—7.5/10.

“folx returns to a cave dwelling, which is now, however, contaminated with the pestilential breath of civilisation, and which they continue to occupy only precariously,”

A My Little Pony sample being played out from the last song, ending with a car crash sound. 2/10; at least it’s separated from the last track because of its tonal shift.

“it being for them an alien habitation which can be withdrawn from them any day – a place from which, if they do not pay, they can be thrown out any day. For this mortuary folx has to pay.”

The sound of a car’s engine revving with its flashers on—reminds me of a car stuck in a snowbank trying to get out. This is accompanied by an earlier track from ‘folx’ being played on the radio within the car. 3/10.

“Take Me Home, Country Roads ([minotaur] w [schizophrenia] [surrenders] to [recover] @ [the family farm]) ([lIvInG_WiTh_mY_DaD_AgAiN])”

The beginning of this song is ear candy to me, made up of shrill synthesizers and other automated sounds that I can only describe as making the soundscape feel alive. This track cuts out frequently, adding to the novelty of it all and gaining bonus points from me. As I’ve said before, I appreciate artists who aren’t afraid to possibly mangle their work into something unlikable: for when they do get it right, it sounds much better. The other two-thirds of the track are made up of the classic guitar and vocals that most of the songs on this album have, along with the addition of a violin during the ending. The ending also utilizes the synthesizers from before, which is a creative decision I applaud. It gets a solid 8/10 from me.

“Fragments of tunes providing minimal orientation in a labyrinth of abstract sound. Have you heard this before? You can never be sure.”

What it says on the tin. Samples crafted into a beat reminiscent of the last entry. Nothing more to say here; 3.5/10.

“This Land is Your Land ([hobgoblin] w [stockholm syndrome] [loiters] to [serve] @ [his estate]) ([uNcOnDiTiOnAlLy_sUbMiTtInG_To_hIm_cOmPlEtElY])”

Something I can only assume to be a demo track of sorts: just guitar and someone singing in a room that certainly has no soundproofing or dampening. 5/10; I wonder why this was added as it was, and labeled as a finished song. It still sounds nice—it reminds me of other indie musicians I listen to occasionally.

“[…] no eunuch flatters their despot more basely or uses more despicable means to stimulate their dulled capacity for pleasure in order to sneak a favour for themself than does the industrial eunuch – the music producer”

A whole bunch of “friends&” combined with Discord notification sounds, similar to “(Thus, when folx died, they said that they felt they had lost their eyes…).” 2/10: works well as a segue, but unoriginal when taking the entire album into account.

“– in order to sneak for themself a few pieces of silver, in order to charm the golden birds, out of the pockets of their dearly beloved folx.”

A bit of the next song, played on a piano. The sound quality mirrors “This Land is Your Land ([hobgoblin] w [stockholm syndrome] [loiters] to [serve] @ [his estate]) ([uNcOnDiTiOnAlLy_sUbMiTtInG_To_hIm_cOmPlEtElY])” and people can also be heard audibly talking in the background. It feels oddly cozy, and it’s a 4.5/10 transition for me.

“Blowin’ in the Wind ([friends& original not a cover]) ([iT’S_A_CoNcEpT_AlBuM_OkAy_!!_I’M_DoInG_My_bEsT_!!])”

Hatsune Miku comes back again to shine as a vocalist here, and it feels natural. The rest of the song is constructed with analog instruments, with patches of synths shining through. The duality of it all is really beautiful, and it serves to be quite memorable. 7/10; if the album ended here, I wouldn’t think much of it. It has a sort of nostalgic feel to it, which is hard to put into words. I’d just recommend listening to the track yourself to get an idea of what it sounds like.

“The one who is possessed is also dispossessed – of their own identity and voice.”

A clock ticking with piano being played in the background. Noise is barely audible over the piano, which sounds sort of like an empty train station or some other infrequented public place; 3/10.

Music/Concerts

‘folx’ – friends& review: Part IV

October 19, 2026 HPSH Plaid Line Leave a comment

By: Maple Graham

“folx make their own history, but they do not make it as they please; they do not make it under self-selected circumstances, but under circumstances existing already, given and transmitted from the past.”

Transition into another, consisting of a simple tune and other sound effects scattered around. I’d give it a 2/10 just due to its shortness.

“The tradition of all dead generations weighs like a nightmare on the brains of the living.”

“Bob Dylan” being sung—courtesy of Frost Children—followed by an organ chord; 1/10.

“Desolation Row ([spectre] w [autism] [trespasses] to [safeguard] @ [the housing complex]) ([iN_ChArGe_!!_LiKe_a_bOsS_!!] [property ownership is the only remaining job] [LANDLORD ANTHEM])”

A well-designed and balanced entry, and one I really enjoy. It’s hard to pinpoint its exact genre, as it starts with guitar, vocals, and other samples and builds on itself until the end. This track also has a harmonica solo at the end, which sounds really nice. In all, it’s a song that unmistakably comes from this album, and I believe it to capture the essence and process put into every song here. 7/10—very well done, but not done quite as tastefully as I’d want it to be.

“– “to give the listener the pay-off, the sanic money-shot, as soon and as obviously as possible.” […] there’s a tyrannical desperation about this [album]. It doesn’t seduce; it tyrannises.”

The segue into the next song, which is just a Green Hill Zone remix with added lyrics and an insane amount of auditory additives. This bit is quite lackluster in comparison, but it works, so I’m rating it a safe 3.5/10.

“Blues Run the Game ([sonic] w [dysmorphia] [violates copyright] to [restart] @ [the city upon a hillzone]) ([wAiT_Am_i_oLd_nOw_??] [identity#03])”

As stated above, this song is basically a giant, complex Green Hill Zone remix—I’ve never heard any remix so unequivocally filled with as much content as possible that wasn’t just made for fun. It’s clear every sample was laid with intent, and it shows very clearly; it earns a 7/10.

“This is no longer the cruelty of life, the terror of one life brought to bear against another life, but a post-mortem despotism, the despot become anus and vampire[…]”

A door closing, and audible breathing. This only connects to the next song; 1/10.

“Capital is dead labour, that vampire-like, only lives by sucking living labour, and lives the more, the more labour it sucks.”

The exact same thing as above, combined with footstep sounds. 1/10.

“Streets of London ([vampire] w [hyper-empathy] [coerces] to [mentor] @ [the community development]) ([gIvInG_My_iNtErN_EvErYtHiNg_sHe_wIlL_NeEd_tO_SuCcEeD])”

Whenever I think of ‘folx’ as an entire album, this is the first song I think of. Consisting of the now-standard guitar and vocals with other samples, this song leans much heavier into the samples and distorts them to create the song’s own unique backdrop. This song is very similar to “Man of Constant Sorrow ([android] w [autism] [phishes] to [network] @ [the city upon a hill]) ([bOyFrIeNd_qUeSt_bEgInS]),” and I think that’s why I like this song so much as well. It perfectly fits within the album’s sound, and it’s extremely catchy. 8/10; if you only listen to one song off this album, I recommend it be this one.

“Vampires do not appear in mirrors. In the case of grey vampires — […] — this means both that they cannot recognise themselves as vampires and that their existence is entirely dependent upon the attention of the Other.”

Short intermission of water flowing and the a cappella of “Nobody but the Baby”. Works decently well as its own transition and sets up the next track nicely; 4/10.

“If I Needed You ([siren] w [petulant borderline personality disorder] [blackmails] to [motivate] @ [the benefit concert]) ([mY_InTeRn_nEeDs_mE_AnD_I_NeEd_hEr])”

I imagine this song to feel tangibly unpolished, like holding a piece of pumice or a nail file. There’s so many sharper samples here, which sound smaller and take up less headroom, and then whoever produced this part added a staggering amount of them. Aside from this, it doesn’t have any special arrangements, so I’ll leave it here with a 7.5/10.

“[…] a society that has conjured up such gigantic means of production and of exchange, is like the sorcerer”

Guitar combined with lyrics taken from ‘How Long Is Forever.’ Pleasant; a 5/10 transition.

“who is no longer able to control the powers of the nether world whom folx has called up by their spells.”

Starting with piano, guitar, and bird calls. The vocals here are from My Little Pony again, and stay as such when the song plunges into a massive soundscape, arpeggiating synthesizers and other pieces bedazzling the listener. The song ends with a rough fade out, simplifying the last bit into something more digestible, and then breaking it further until nothing remains. 6/10, I really like the ending here, along with the rest of the song.

“Leaving on a Jetplane ([fate] w [complex post-traumatic stress disorder] [corrupts] to [uphold] @ [the trauma centre]) ([f***_KiDs_tHeSe_dAyS_ArE_UnGrAtEfUl])”

I can’t identify the main instrument in this song: it sounds like an accordion but without manually putting air through it. The song starts with a slightly awkward solo, and when layers are added, the beginning instrument is revealed to be a harmony to the main melody. 8/10; the progression here is impeccable, and it also feels longer than some of the other tracks here in a good way.

“The re-staging of the death is less an admission of ethical responsibility than an attempt to own it, to make sense of it. Such is the logic of trauma.”

This transition sounds like one of those unrealistic stabbing sounds you hear in action movies, now in isolation. 1/10, at least it bleeds into the next entry.

“The Last Thing on My Mind ([ouroboros] w [secondary post-traumatic stress disorder] [perjures] to [reorient] @ [the experimental psychiatric clinic]) ([mAn_i_ReGrEt_wHaT_I_DiD_To_tHaT_KiD] [her accusations are true but im not goin”

Violin, vocals, and a guitar act as the main trifecta here in this track, along with a glockenspiel on the side. I mainly remember this song for the lyric “I could’ve loved you better” repeated over and over throughout the song. It’s a 6.5/10, and one I don’t have much to say from a uniqueness standpoint.

“Self-contempt is a serpent that ever gnaws at folx’s breast, sucking the life-blood from folx’s own heart and mixing it with the poison of misanthropy and despair.”

The first half is an electric guitar combined with a sample from ‘Inside Llewyn Davis,’ while the second is the same guitar combined with synths, and another My Little Pony sample edited to replace all names with “folx,” the name of this album. It works well as a transition; I’m glad this one wasn’t cut up into a billion parts like some of the early transitions in this album. 6/10: memorable.

“Don’t Think Twice, It’s All Right ([hydra] w [narcissistic personality disorder] [betrays] to [satisfy] @ [the restorative justice zone]) ([gOnNa_mAkE_It_wOrK_WiTh_hEr_!!])”

The best song on the album thus far. I give it an 8.5/10 due to its length, complexity, and overall vibe—it has so many layers and feels impenetrable at parts because so much is all happening at once. Upon first listen, this song gave me a headache as I was trying to get the most out of my first listening experience. Maximalism at it’s finest.

“Semio-capitalism is more like confronting the mythical hydra[…] cut off one head and three more grow in its place, […]”

Sound of a coin getting put into an arcade machine. 1/10.

“The good old days of exploitation, […] meant the annihilation of subjectivity, your reduction to an impersonal machine-part; […] Now, there is no time away from work, and work is not opposed to subjectivity.”

The aforementioned sound continued. 0.5/10, just put it into the same entry as “Semio-capitalism is more like confronting the mythical hydra[…] cut off one head and three more grow in its place, […]”, please.

“Moonshadow ([horseman of the apocalypse] w [gambling addiction] [misappropriates] to [restructure] @ [the private equity firm]) ([aCtUaLlY_GoNnA_MaKe_iT_WoRk_wItH_HiM_!!])”

A catchy end to this part of the album review, being a well-crafted song full of bits and pieces you’d only hear from a maximalist creator. It’s chock full of so many samples and bits that I can’t summarize succinctly. 7.5/10, definitely worth a listen!

Music/Concerts

Olivia Rodrigo new album: ‘You Seem Pretty Sad For A Girl So In Love’

October 15, 2026 HPSH Plaid Line Leave a comment

By: Selena C. Thao

I went through Olivia Rodrigo’s new album and tried to describe her songs and what they thought they meant. I have included parts where she has said certain things about the songs themselves.

Drop Dead

The song “Drop Dead” sounds like it’s about a girl who falls head over heels about another person in the early honeymoon phase. She expresses how she feels about the person by asking multiple questions and how she always pictured them standing together. She even mentions how she “stalked” them on the internet and made them up in her head, as if she was being delusional and again, head over heels.

Stupid Song

The song “Stupid Song” sounds like she expresses her overwhelmed feelings for someone new. Perhaps she hasn’t felt like this in so long and now she’s finally unraveling into someone new. In her lyrics she says, “You should feel how I feel when somebody says your name.” Meaning she most likely wants this person to feel how she feels and reciprocate their feelings back. She even says, “And I want you more than any stupid song could ever say.” Which definitely means that her feeling for this person are so big that it’s indescribable, which is a very overwhelming feeling. It’s like saying, “I like/love you so much, that words can’t even describe my feelings for you.”

Honeybee

The song “Honeybee” is about how a girl feels so deeply for someone that you overthink the fear of losing them. In her lyrics she sings, “And I hope I never see what your face looks like going.” And even says, “I love you, baby, I promise.” The lyrics have such underlying fear and attachment. She even “cheers” and hoping, hoping that this specific person will stay with her forever.

Maggots For Brains

This song is quite different from the others. Instead of feeling an overwhelming feeling of losing, she feels overwhelmed by being far from her loved one. She mentions how she tried to write but her mind was blank. It’s a song of feeling bored when your partner isn’t around and they’re the only thing you’re thinking about. She even uses metaphors like, “I’m a zombie in my body.” And “I’m a train off of the track.” Which probably means that when her partner is away, she’s feeling like the boredom is eating her slowly; and that’s when the title steps in, ‘Maggots For Brains’ because they eat your insides.

U + Me = ❤

“U + Me = <3” is about the relationship between two best friends who treat each other as if they were in a relationship. To me it sounds like this song is a “friends with benefits” trope. There’s not much to this song other than a fun relationship between two people.

My Way

“My Way” is about confronting another female acquaintance, or ex-flame, who is crossing relationship boundaries and lingering around her partner. She mentioned how this person continuously contacts her partner and sends them love letters, love text and tries to shoot their shot. In her song, she uses words like “take a hint” and says, “You’re posting another pic, and closing a note of his,” which shows her possession over her partner. “And some girl stepped over and the girl is you, yeah. You are in my way now.” which probably means that this person has stepped over boundaries and is trying to get in the way of her relationship.

Purple

“Purple” is about the loss of individuality, codependency, and the hurtful unraveling of an all consuming relationship. Olivia uses words like “red” meaning passion and “love”, and “blue” meaning sadness and longing. She mentions how she drives or walks past his town and feels like a tourist. The familiarity and recognition only hurts her from past experiences and moments.

The Cure

This song has quite a heavy meaning. It’s about the realization that falling in love cannot cure your internal insecurities or mental health issues. Olivia, herself explains that this song is mainly targeted towards younger adults that struggle with their own personal problems but block it off with love and even lust. Most young adults think that falling in love with the ‘right’ person will magically cure all of their personal problems and self-doubt, when really that isn’t the case. There’s this saying, “You can’t love others until you love yourself.” And that’s when half of the first verse comes up, “All the pretty girls in the foreground of my mind. I thought I’d be enough, but they keep moving the line.” It seems as if she’s so insecure and overthinking the fact that these other girls are so attractive, which only brings down her confidence but increases her self-doubt. In the chorus she sings, “But my head is full of poison and my heart is full of doubt. I got toxins in my bloodstream. You tried hard to suck out. And it feels like medication and it’s good for me I’m sure but it don’t matter how your love feels anymore; it’ll never be the cure.” She realizes that the love she is receiving cannot be reciprocated due to her self-doubt and low self-esteem.

Begged

The song “Begged” is about how you could want someone so deeply, yet beg for the bare minimum. She mentions how she’s patiently waiting for this person to step up and show her the love she wants, yet they make no move. Olivia explains that fancy trips or big romantic efforts don’t really matter if you have to ask for it. It’s the art of ‘noticing’ that makes it so special and romantic. “So I’m cool and forgiving, I’ll take what you’re giving.” It looks like this person continuously makes mistakes and doesn’t even try to show her love and passion but she just takes it anyway because she genuinely likes this person.

What’s Wrong With Me

“What’s Wrong With Me” is about how she realizes that she’s miserable because of her romantic relationship and causes them to blame one another and distress between two people. She mentions how she always has a headache and says that she’s ’in love’ but for some reason she just can’t admit it and to follow up she sings, “I think you’re what’s wrong with me.” Which most definitely means that this person doesn’t do anything that benefits her; yet she just cannot bring herself to leave them.

Less

The song “Less” is about a painful, failing relationship and its sorrowful end. She mentions many times how she wished the person would’ve loved her less and didn’t let her in so easily. When she sings, “You say you can’t stand to watch me cry a minute more. So you do the noble thing and open up the door.” It sounds like this specific person was willing to listen to her and give her the love and affection she wanted but due to her low self-esteem, the person probably gave up in a bitter way. But she also mentions she would try convincing them that her overwhelming thoughts are just her “intrusive thoughts” but in the end of her song she sings “If loving me means saying ‘Babe, I think this is the end.’ Well I guess; I wish, I wish, I wish you loved me less.” As if she was praying and wishing things didn’t turn out the way they did.

Expectations

“Expectations” is about self-mockery and poking at her own dating patterns after splitting from her ex. The song gives off vibes like self-awareness and comedy where she pokes fun at claiming to have high standards while frequently ending up with men who fall short. She mentions how this guy claims that he has a perfect life and that he buys things for himself, but after a few months, she realizes that he’s nothing but a fake. She says that she’s secure, but because of her past relationships being so ‘low quality’ she makes jokes off of it. Saying, “These days I’ve got expectations. So I hit the new year like a single girl out of a Vegas bar.” She also mentions that she will be adored by whoever, which just shows her cockiness and confidence.

Cigarette Smoke

“Cigarette Smoke” is about the lingering heartbreak and regret after losing someone that was so special to you. It’s almost as if she feels their presence like a lingering smoke or smell from a cigarette. The bitter realization that a relationship was nothing but a performance that one person suddenly stopped playing along with. “I thought that we played the perfect couple till you didn’t want the part,” is one of the most famous lyrics from this album and from this song. Because of these lyrics people say that person treated their relationship like a play where both people acted out and shared a script until the partner abruptly checked out. She mentioned the song about how much she regrets staying so long with that person and resenting her ex for lacking bravery and taking someone else’s side— “I resent you for not being brave. I resent you for taking her side,” which probably means that during this relationship, the person had another partner or friendship that obviously meant more to them other than his actual partner. “Cigarette Smoke” represents thoughts, memories, and emotional residue that linger in the air after our relationship has ended.

Tech/Games

So, D&D’s just not your cup of tea. Now what?

October 14, 2026 HPSH Plaid Line Leave a comment

By: Avi Wyler

close up shot of a human hand throwing dice into the air — Photo by Michele Raffoni on Pexels.com

D&D is the only tabletop RPG many people are really aware of. It makes sense, to a point – D&D is by far the most popular and successful RPG out there. But it’s not for everyone. I, personally, have often found myself bored by how combat heavy D&D can be and don’t like how limiting character creation is. Sometimes I wonder how many people would have loved roleplaying if they just knew there were other options. Because there are other options. Like, a lot of other options.

In this article, I’m going to talk about some of the many different options that are out there for role players who are sick of D&D, or maybe they just want to try something new. This isn’t even close to all the RPGs there are though, so if none of these appeal to you, go online and see what you can find. I’m certain there’s something out there that will catch your fancy.

Storytelling RPG

If your favorite part of campaigns has always been crafting a story with your friends, or if you’re someone who loves the idea of weaving your own tales, then RPGs like ‘Microscope’ might be what you’re looking for. Microscope is an RPG with no set characters and no DM; the whole game is built around making a world and story with other people. You start out with an overarching concept and come up with events as you go – playing them out or narrating them with others. ‘Microscope’ gives you a lot of freedom to create the story you and your friends want, and it strongly encourages you to not create your story in chronological order. The game works best with three or four people, but you can play with up to five, or with as few as two.

Powered by the Apocalypse games

Powered by the Apocalypse is an RPG system created by well-known game designers Vincent and Meguey Baker. Along with only using 2d6s, one of the biggest things that I love about Powered by the Apocalypse is the way it handles classes. Classes in Powered by the Apocalypse are heavily tied to the world they come from – you’re given options for things like what you look like, how you dress or where you’re from that connect you to the setting in a really nice way. Some Powered by the Apocalypse games include ‘Monster Hearts’ (you’re a teenager monster dealing with all the struggles that come with being a teenager and a monster), ‘Dungeon World’ (a game very similar to D&D in vibes, if you still like a traditional D&D setting) and ‘Avatar Legends’ (an RPG taking place within the world of ‘Avatar the last Airbender’).

The weird world of tabletop RPGs

While there are a lot of RPGs that allow for a plethora of different stories and settings as created by the players, there are also many that are weird or more specific. Some of these include ‘Velvet Generation’, where you play as an alien trying to destroy the oppressive regime controlling Earth with the power of rock. Or, there’s ‘Lost Souls’, where you play as a lost soul in the afterlife. Or there’s the cozier ‘Teatime Adventures’, which has a beautifully created world and four campaigns to choose from if you don’t want to make your own. From ‘Thirsty Sword Lesbians’ (which is exactly what it sounds like) to ‘Extra Ordinary’ (kids with strange powers finding their way through a world that fears/wants to control them together), RPGs can be and are a whole lot of things.

Even though this was just a fraction of the RPGs that are out there, I hope this article inspired you to get out and find something new to play. Don’t just limit yourself to one way to role play, tell stories or fight monsters, inner and outer. D&D isn’t your only option.

Travel/Food

V-Mac (vegan mac and cheese) recipe and review

October 13, 2026 HPSH Plaid Line Leave a comment

By: Nils Hilleson

Ingredients:

-16 oz fusilli (or other pasta shape)

-1/2 C vegan butter (1 stick)

-1/2 C all purpose flour

-2 tsp salt

-pinch of turmeric

-2 Tbsp soy sauce

-1 C nutritional yeast flakes

-1/4 C canola oil

Steps:

Preheat oven to 350°

Cook the pasta per package directions and start boiling exactly 3 cups of water.

Once pasta is boiled, pour it into a strainer and set aside.

In the pot that you used to boil the pasta, melt the butter over medium heat. Once melted, whisk in the flour.

When it has reached an even, bubbly consistency, whisk in boiling water. Reduce the heat to low.

Add garlic powder, salt, turmeric and soy sauce and stir to incorporate.

Then fold in the nutritional yeast flakes and oil and stir until smooth.

Stir in the cooked pasta and mix with the sauce.

Put the whole pot in the preheated oven and bake for 15 minutes and then for 5 more minutes on broil.

When I cooked this I didn’t use vegan butter because I’m not vegan so we didn’t have any at the ready. If you wanted it to be fully vegan you would just use vegan butter also called margarine. You can also put other stuﬀ in it like broccoli or whatever you think goes well with it.

I don’t think nutritional yeast flakes are very popular but they are quite good; they’re the main source of flavor in the recipe and I’d say it has a sort of cheese like flavor. Sometimes I put it on vegetarian hotdogs whenever I have those.

I believe the recipe originally came from a cookbook but it’s been changed by my family throughout the years a lot. I’d vouch for this recipe heavily as I have it pretty much every day for lunch and I never really get sick of it. My whole family likes this mac and cheese quite a bit, probably more than actual mac and cheese so we all have it pretty commonly.

Movies/TV/Theaters

Classic fall shows and movies for 2026

October 9, 2026 HPSH Plaid Line Leave a comment

By: Jospehine Feliciano and Collette Uran

Bats, haunted house, full moon for a Happy Halloween by: Alexas Fotos via Wikimedia Commons

Fall is full of iconic things, like pumpkins, colored leaves, Halloween, and just the cozy vibe of the seasons changing. A fun activity is to snuggle in for the evening and watch a fun movie or show. Everyone has different fall classics, but here is a list of some popular favorites.

Let’s start with some classic cozy shows to get hooked on this fall. A huge favorite is ‘Gilmore Girls’. Started in October 2000, ‘Gilmore Girls’ is a classic fall staple for many people, even though this show takes place throughout the year. It follows a wholesome mother-daughter duo through life’s ups and downs in their small town, Starts Hollow, Connecticut.

Another classic is ‘Good Witch’, which is set in a magical town called Middleton. This show aired from 2015 to 2021 and is about a kind-hearted witch named Cassie Nightingale who helps her town with her magic.

‘Buffy the Vampire Slayer’ is another oldie but goodie, starting in 1997 and starring Sarah Michelle Gellar as Buffy. This show is iconic, with some spooky vibes, a fall classic for many people this season.

Keeping with a bit of a Halloween vibe, ‘The Addams Family’ is a perfect classic to get you in the Halloween spirit. It’s dark, gloomy, atmosphere is perfect to give you the chills, but the fact that it’s actually a comedy makes it great for the whole family.

Our final recommendation for this fall season is ‘Only Murders in the Building’, which is streaming on Hulu. With 5 seasons out and a 6th premiering on December 8th this year, this show is perfect for your fall 2026. It has heart-warming characters, good comedy, and, of course, a murder mystery.

Everyone has their own favorite shows, but those were some of the top shows to watch in the fall that we’ve heard of.

Now that we’ve covered the best shows to watch in fall, we have to dive into the best movies. Fall is a great season for all sorts of fun cozy movies but also scary, horror ones that will make you jump out of your seat. First on the list for fun family movies in fall is ‘It’s The Great Pumpkin Charlie Brown’ (1966). This is a nostalgic movie for parents who grew up with the Peanuts crew but also cute and new for young kids. This also is extra special for people in the St. Paul area because the writer Charles M. Schulz grew up right in the Twin Cities.

‘Coco’ (2017) and ‘Casper’ (1995) both follow along the lines of ‘The Great Pumpkin Charlie Brown’ due to their family friendly content and small spooky vibe. ‘Coco’ follows a Mexican boy through Dia de Los Muerto celebrations and the Land of the Dead which perfectly follows the fall holiday theme. ‘Casper’ is another cute Halloween comical movie that follows a friendly ghost that haunts a mansion in Maine. This movie is a perfect combination of Halloween spooks but also family friendly.

These fun and cute fall movies for families are fun but what people really want are the horror filled movies that fit the petrifying Halloween theme. Some of these horror movies include ‘IT’ (2017), ‘Sleepy Hollow’ (1999) and ‘The Shining’ (1980). Have you ever heard of people being afraid of sewer drains? Well that’s because of this horror movie. ‘IT’ is a classic horror movie with the scariest clown in movie history. This movie will make you jump out of your seats and scream when you see a balloon, if you know what I mean. ‘The Shining’ and ‘Sleepy Hollow’ follow along these lines of classic horror. With ‘The Shining’s more psychological spooky theme and ‘Sleepy Hollow’s more gruesome, gothic theme it makes these two horror movies top on your must watch list.

Hope these movies and shows make your list of fall favorites. Happy watching!

Music/Concerts

‘folx’ – friends& review: Part III

October 8, 2026 HPSH Plaid Line Leave a comment

By: Maple Graham

“Hang Me, Oh Hang Me ([golem] w [dysmorphia] [attempts suicide] to [influence] @ [the vintage clothing store]) ([eLiMiNaTiNg_tHe_pArTs_oF_MySeLf_tHaT_ArEnT_CoNtRiBuTiNg_tO_SuCcEsS] [identity#02])”

This song is memorable to me due to the ukulele and another break from the hyperpop influences, becoming a maximalist indie soundscape that culminates in an ending that’s bursting at the seams—drums messily cutting out the many instruments and samples behind it. Some may interpret this as amateurish, but I love whenever artists use the song’s space to their advantage, even if it means addressing the restrictions that come with the chosen medium it’s in. It’s a 7.5/10 for me, and it’s a good transition back from the last few songs that had more cons than pros. And as a cherry on top, this song doesn’t feel cut short.

“They were unwitting necromancers who had stumbled on a formula for channeling voices, apprentices who had lost their sorcerer, as mindless golems animated by folx’s vision(s).”

A repeating end of a chord from the last song. As it isn’t even original, I give it a 1/10. Could’ve been tacked on to the end of the last song.

“(Thus, when folx died, they said that they felt they had lost their eyes…)”

Different people all saying “friends&,” the name of the collective that made this album. I presume this to be made of samples taken from other pieces of media, specifically the phrase “friends and family”—cutting off the “family” bit. 4/10; is unlike anything else in the album, and acts as a landmark for me when I do listen, as it’s placed a little past the one-third line.

“Hallelujah ([friends& original not a cover]) ([i_hOpE_EvErYoNe_lIsTeNiNg_iS_EnJoYiNg_tHe_mEtApHoR_AnD_ThE_CoNcEpT_AlBuM_!!] [if rym mods don’t respect case sensitivity when cataloguing this album i will kms])”

This title is the single reason why I decided to write this extensive review, as I haven’t seen a review that both respects the longer titles of the album and reviews each individual track. I’m starting to understand why this is the case. Anyway, about the song: it’s made with Hatsune Miku doing the main vocals in the song. The song is chill, and once again goes closer towards a simple maximalist experience without having the added edge of a chaotic genre. It’s a pleasant song, has tons of ear candy, and is something you could show almost everyone and get a neutral reaction from them at worst. 7.5/10.

“The worker therefore only feels themself outside their work, and in their work feels outside themself.”

A segue that does all of the below: feels befitting in the tracklist, sounds decent, and doesn’t feel jarring on any bit of it. The ambient sounds—what seems to be a piano with a ton of reverberation added to it—feel appropriate and also make the “worker” in this song, who begins to sing a song and play a guitar after inviting an unnamed person over, feel out of place; all tying back to the song title. Masterfully done, and one of my favorite transitions in the whole album; 6/10.

“folx feels at home when they are not working,”

A longer track that is light-hearted in tone, with another sample that doesn’t add much to the narrative, but still has a huge amount of work put into it. In a similar structure of “correspond with the first instinctive yearnings of that class for a general reconstruction of society.” this song is a lot all at once, and serves as a break that feels earned. 6/10, it’s a track I look forward to when playing the album cover-to-cover.

“and when they are working folx does not feel at home. […]”

A piano combined with another synth and some miscellaneous samples, this song is far from short. It has a good runtime, a consistent theme, and doesn’t feel entirely far off from the last song; 6.5/10.

“Its alien character emerges clearly in the fact that as soon as no physical or other compulsion exists, labor is shunned like the plague.”

Another random song that feels somewhat out-of-place, but is long enough for it to make its mark. It’s a simple overlay of an episode of the podcast “Never Ending Stories” and “Young Folks” by Peter Bjorn and John playing on top of each other. I give it a 3/10 because it tries to fit in with the rest of the album, at least.

“Carolina in My Mind ([skinwalker] w [alienation] [neglects] to [process] @ [the insurance claim centre]) ([aCtUaLlY_I_DoNt_eVeN_CaRe_aBoUt_wHaT_He_dOeS])”

A catchy song riding on its myriad string instruments throughout, along with a harmonica towards the end. It’s a bit short, and doesn’t have many notable qualities despite its relatively simple sampling and layering. It doesn’t feel overstimulating, and I personally don’t have any major problems with it, so I’ll give it a 5.5/10.

“Encounters with angels are as disturbing, traumatic and overwhelming as encounters with demons.”

Radio static, colored by songs on different frequencies cutting in and out. 4/10, I enjoy the sound of this.

“After all, what could be more shattering, unassimilable and incomprehensible in our hyper-stressed, constantly disappointing and overstimulated lives, than the sensation of calm joy?”

The song is like “Thus every factor, which works against a repetition of the old crises, carries within itself the germ of a far more powerful future crisis.” but if it was way shorter and didn’t have the crowd effects. It’s nothing new, but the sound design is still good. 3/10.

“Return of the Grievous Angel ([devil] w [separation anxiety] [flees] to [reflect] @ [the silent retreat]) ([i_dOnT_LiKe_tAkInG_A_BrEaK_FrOm_hIm])”

In case you were getting a bit bored, this song is sure to snap you back to reality. It’s fast, unrelenting, and very different from the false sense of security you got from the preceding stretch of music turning closer and closer to more mainstream genres. I love the tubular bells in this song—I love tubular bells in almost any song—and they add a lot of personality here while also stapling the last transition to the song in a meaningful way. It’s a 7.5/10 from me due to the change of pace that catches you off-guard.

“All that is solid melts into air, all that is holy is profaned, and folx is at last compelled to face with sober senses their real conditions of life, and their relations with their kind.”

The last song, now heard from what sounds to be inside an adjacent room. It’s muffled and slows down towards the end, while a sweeping dustpan sound plays. It’s a good segue, and I like it more than I’d thought I would. 2.5/10.

“Four Strong Winds ([witch] w [marijuana addiction] [loiters] to [serve] @ [his secret apartment]) ([hEs_sIcK_AnD_He_nEeDs_hElP_WhAt_aM_I_SuPpOsEd_tO_Do])”

Pauses litter the first half of this song, which I’m a huge fan of. Pausing randomly for a few milliseconds in a song is a technique I haven’t quite mastered yet in my own work, and it always enamors me when I hear it in another song. The content is polarizing, with the first bit being just vocals and guitar, and the second half falling into the casual maximalism I talked about earlier. A 5/10 from me.

“Giving them potions, attaching horns to their body for drawing up the incisor, making the drums beat, the folx proceeds with a ceremony interrupted by halts and fresh departures, flows of all sorts, flows of words and breaks […]”

The sound of a tattoo gun with someone else begging for something. I don’t quite understand it or its relevance to the album—1.5/10.

“the members of the village come to talk, the sick subject talks, the ghost is invoked, folx explains, everything recommences, drums, chants, trances.”

A song made up of rough cuts of a guitar, vocals, and a synth that sounds somewhat like a voice. It sounds pleasant, and I personally use it as a halfway point in the album to mark how far I’ve come on a listen through it. 3.5/10; it’s memorable.

“At the top of the tower, there is no liberation from work. There is just more work — the only difference is that you might now enjoy it (life is too exciting for sleep).”

I remember this song not for its content, but for the content that follows. This track isn’t very special—I’d give it a 3.5/10, being a mashup of “Timber” by Ke$ha and “Ghosts” by Japan. It opens with another radio bit, which is always welcome to my ears.

“For these CEOs, work is closer to an addiction than something they are forced to do.”

Easily the best transition on the album to me. It sounds like a slot machine’s reels clicking into place, but it’s just a bit of the last song repeating intermittently. I’m a very biased person when it comes to sound design I like, and I’d give this a 9/10 if I didn’t care at all about how that rating would be perceived. But after all, I’m rating based on sound, not how much dopamine it gives me upon listening to it. 4/10.

“There are now two classes[…] those addicted to work, and those forced to work.”

Continuation of the last transition. Why did this have to be its own separate track? 2/10.

“Goodnight Irene ([sandman] w [sociopathy] [misrepresents] to [leverage] @ [the asset management department]) ([i_cAn_bE_JuSt_lIkE_HiM])”

Delving back into the maximalist track pockets of the album, this is exquisitely put together, and I’m a huge fan of how fast this one goes. None of the ideas or bits are dwelled on much at all, which is a stark contrast to other songs which usually focus on at least one other gimmick or bit for the majority of the runtime. The “Hold My Liquor” by Kanye West sample adds a ton, as does the “Paper Planes” by M.I.A. sample in the latter half of the song. 7.5/10, very well done.

Music/Concerts

‘folx’ – friends& review: Part II

October 6, 2026 HPSH Plaid Line Leave a comment

By: Maple Graham

“all so that they can then demand the cash for this service of love.”

Pleasant, harmonious harp solo. That’s it. It sounds good, and is a wonderful transition, but I come back with the question I keep asking: why couldn’t this be added on to the song it transitions into? 5/10, it sounds really good on its own, but it perplexes me how this was decided to be put into its own entry.

“Big Rock Candy Mountain ([unicorn] w [amnesia] [misspends ubi] to [self-care] @ [the mid-century suburb]) ([hOuSeWiFe_fAnTaSy] [daydream#01])”

Standing out from the crowd, this is another good song in the album, and acts as a good landmark due to its distribution of volume being much different from most of the other tracks here. Yet, despite its originality, I don’t like it all that much, and it feels too tonally distant from its surrounding tracks. I’d give this a 6/10 solely because I can enjoy it during a full album listen.

“There is no horizon.”

“I don’t see a lotta money here.” 2/10, acts as the first to a string to segues that go nowhere.

“The bald hillzones facing the spectator only form a line that merges with the void hanging over them.”

Lyrics taken from another piece of media, combined with other noise. 2/10, works as a transition well enough.

“Anyone can see that this man and this woman are no longer alive.”

Same premise as the last two transitions. 3/10, no further comment.

“There is no pessimism here either.”

Some sound effect tinkering followed by “where am I?” 1.5/10; this entire stretch of segues feels redundant and unproductive.

“What had to happen happened.”

A little bit of a longer transition, which is a welcome change of pace from whatever the last 4 songs were. Starts off with a ‘My Little Pony: Friendship Is Magic’ quote, and goes off on some random plunderphonics stuff combined with guitar for the rest of the song’s small runtime. 4/10, it’s listenable.

“They did not kill each other.”

A cool transition that fades to silence. The best way I can describe it is as an acoustic guitar—the same as the one in the last track—morphing into a low, pure tone. 2/10.

“[…] every person speculates on creating a new need in another, so as to drive folx to fresh sacrifice,”

Nonsensical sample in isolation. 1.5/10, at least it makes me smile during this stretch of random samples.

“to place them in a new dependence and to seduce them into a new mode of enjoyment and therefore economic ruin.”

Last transition, including a military-esque chant from the movie ‘Full Metal Jacket’. While meaningless on its own, this flows very well into the next song on the album. I give it a 2.5/10, weighed down by the 6 interlude tracks played before this. This entire ouroboros of transitions is easily the worst part on the album, and describing each one here is mind-numbingly tedious and unfulfilling.

“Solidarity Forever ([zombie] w [obsessive-compulsive disorder] [conspires] to [bond] @ [the military fortification]) ([i_nEeD_My_bOsS_AnD_He_nEeDs_mE])”

A light at the end of the tunnel, and it’s a shame the massive buildup for this song feels wasted. As I’ve pointed out before, numerous songs here tend to blend into one another, and this is no different. The actual song blends together a choir, trumpets, and chants that were sampled. I give this a 5/10, it’s disappointingly average for its placement.

“Capital is an abstract parasite, an insatiable vampire and zombie-maker; but the living flesh it converts into dead labo[u]r is ours, and the zombies it makes are us.”

A simple transition that works the same way as the earlier segues: short, sweet, and interesting enough to keep you engaged, but not enough to take away from the other songs. Primarily consists of some sort of growling, followed by an electric guitar melody that is continued on in the next song. 3/10, it does what it needs to.

“I Walk the Line ([oracle] w [hypochondria] [obstructs justice] to [comply] @ [the forensic laboratory]) ([fOlLoWiNg_mY_BoSsEs_iNsTrUcTiOnS_PrEcIsElY_BeCaUsE])”

I’m a sucker for the sampling in this one, which notably has Johnny Cash singing an excerpt of his “I Walk The Line” threaded into the rest of the composition. It’s pretty casual otherwise, leaning further away from the hyperpop influences that drive the album and towards a guitar-centered song, complete with a solo at the end. It’s a 6/10. This song does incorporate a good bit of generative artificial intelligence, which I do not condone using, but I do appreciate how it was utilized here.

“Thus every factor, which works against a repetition of the old crises, carries within itself the germ of a far more powerful future crisis.”

A truly magnificent segue, incorporating what sounds to be a crowd arguing following the toll of a bell. There’s also faint My Little Pony sampling again, which shows up in the next song, and the crowd noises carry over as well. It has great sound design, so with all this in mind, I’m giving it a 4/10.

“Angel from Montgomery ([devil] w [discouraged borderline personality disorder] [extorts] to [negotiate] @ [the sympathy strike]) ([iM_NoT_ArGuInG_WiTh_mY_BoSs_iM_StArTiNg_aN_OpEn_dIaLoGuE])”

This song is a bit of a gray area in my head, as I simultaneously think it sounds decent, but this is a classic example of too many cooks in the kitchen for every part aside from the end. The ending of this song is its only saving grace, where all is stripped away aside from the bassline and vocals, making a wonderful, harmonious soundscape. 6/10.

“The double bind, […] “[…] the simultaneous transmission of two kinds of messages, one of which contradicts the other, […]””

A single triad vocalized. There is frankly no reason why this should have been separated from “Angel from Montgomery ([devil] w [discouraged borderline personality disorder] [extorts] to [negotiate] @ [the sympathy strike]) ([iM_NoT_ArGuInG_WiTh_mY_BoSs_iM_StArTiNg_aN_OpEn_dIaLoGuE]).” 1/10, no further comment.

“The contradictory instructions serve to destabilise the folx, keeping them in a state of permanent neurotic anxiety.”

Foreshadowing for “The death model appears when the body without organs repels the organs and lays them aside[…] no mouth,,” which is placed almost 50 songs after. Characterized by little crinkling sounds that I can’t put into words, combined with small pings and crackles. Also interweaves the aforementioned dominant sample in the above song. 2.5/10.

“The Sound(s) of Silence ([manticore] w [social anxiety] [stalks] to [supervise] @ [the processing plant]) ([lEtTiNg_gO_Of_fRiEnDs_wHo_cAnT_AcCePt_tHaT_Im_hApPy_dAtInG_My_bOsS])”

This song starts with a piano solo that persists throughout, and vocals that are complimented by random samples. Maximalism is sacrificed here for novelty, and it really works well because this track feels so much bigger than it is, giving it a 6/10. Upon re-listening, I was shocked to learn that it’s only 2 minutes.

“[…] in all spheres of social life the lion’s share falls to the middleman. […]”

3 seconds of utter silence. 0.5/10.

“in religion, God is pushed into the background by the “Mediator,” and the latter again is shoved back by the priests, the inevitable middlemen between the good shepherd and his sheep.”

Static that brings you back from the silence of before. 0.5/10; these transitions are annoying when trying to review every song here. The transitions work fine in the album, but as I’m going back to relisten to every individual song, they seem like such a poor design choice. For a production time of a little less than a decade, I’m surprised more wasn’t done for these minute segues. To the compiler and hosts of this album, titles can be as long as you want, you know.

Books/Art

POETRY

October 6, 2026 HPSH Plaid Line Leave a comment

By. Selena Thao

This article will be about Poetry; I will be writing about how poems relate to me, how it can relate to me or how I view it as a reader.

Why am I viewing poetry and writing an article about it?

I love poetry deeply. When I’m in a tough spot in my life, I reflect off poetry. When I read poems that I relate to, it makes me feel like I’m not alone. Knowing that someone in this world gets me by just being in my shoes or having a similar situation makes me feel safe and secure, even if it’s just for a moment.

This first poetry book is called ‘Milk and Honey’ by. Rupi Kaur. In the description it says,

It seems as if this poetry book is like a diary; all of her thoughts, her cycles, her heart are in this book. There are four (4) chapters, “The Hurting” “The Loving” “The Breaking” and “The Healing”.

For this poem, I view it as a woman who has genuine curiosity on how someone can put so much effort and affection into one soul and not have anything in return; but because of this, since WE are women, we are the ones who put all our energy, blood and a curiosity, something so deep, can make you wonder “is this how a mother feels?” I used to have thoughts like this too. I’ve always given my all to someone I’ve liked platonically and romantically, but always wanted something for them to give me, perhaps affection? But in this case it isn’t really a struggle thought, more of a responsibility. To give your kids everything in the world, your soul, blood and energy without wanting any payback or cost.

I actually used to relate to poems like this; growing up my father was never really in my life. He was in my life but not present. There’s not much to say about it other than “trauma dump”. But in my experience, I did search for him, day and night. A father is supposed to show you who a real man is, to be present and be a hero; but all we do is think that’s a fairytale description.

As a reader I view it as someone clinging onto another person that’s so dear to them but that person wants nothing to do with them, but when they do, all they want is for their selfish reasons and not the person who is willing to pour out everything to them.