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Ozmone Plain (Zodiac Age Version) – Final Fantasy XII: The Zodiac Age (2017, PS4) Composed, Arranged & Produced by Hitoshi Sakimoto (崎元仁) Original: Final Fantasy XII (2006, PS2)

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11,088 次观看 • 4 个月前 •via X (Twitter)

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Here I’ve got a fourth list of 110 games with boob and/or butt jiggle… Pure Onyx [PC] Warframe [PS5] ASTRA: Knights of Veda [PC] Catherine [PS3] Brown Dust II [MOB] Stretch Panic [PS2] Whacked! [XB] Fighting Force [PSX] Corridor Z [PC] Samurai Western [PS2] Honey Select 2: Libido Deluxe [PC] Crimson Tears [PS2] Treasure of Nadia [PC] Waifu Fighter [PC] Cy Girls [PS2] Half-Demon Shinobi [PC] The First Descendant [PS5] Pinup Ball [PC] Orc Massage [PC] Cyberpunk 2077 [XSX] X-Angels [PC] Dead or Alive 5 Last Round [PS4] Advanced V.G. [SAT] Injustice: Gods Among Us [XB360] Final Fantasy: Crystal Chronicles [GC] Breeders of the Nephelym [PC] SoniPro [3DS] Metal Gear AC!D 2 [PSP] Doki Doki Majo Shinpan! [DS] Sexy Beach Zero [PC] The Mini-Skirt Police [PS2] Pretty Fighter X [SAT] Mario Kart 8 Deluxe [NSW] Splinter Cell: Conviction [XB360] Top Spin 2 [XB360] WWE Smackdown! vs. RAW 2011 [PS3] Asuka 120% Limited BURNING Fest. [SAT] Tear Ring Saga [PSX] Dream C Club Zero Portable [PSV] Guitar Hero III: Legends of Rock [PS3] To Love Ru Darkness: Battle Ecstasy [PSV] Seisou no Amazones [3DS] Monster Monpiece [PSV] Kung Fu Rider [PS3] Atelier Ryza [PS4] Groove on Fight [SAT] Valhalla Knights 3 [PSV] Love Smash! 5.1 [PS2] Namco x Capcom [PS2] Artificial Girl 3 [PC] The All*Star Kakutou Matsuri [PS2] Rhapsody: A Musical Adventure [PSX] Garou: Mark of the Wolves [DC] Sol Trigger [PSP] THE iDOLM@STER [XB360] Super Mario RPG [SNES] Pocket Pool [PSP] Tokyo Clanpool [PSV] GrimGrimoire OnceMore [NSW] High School DxD [3DS] Ikki Tousen: Xross Impact [PSP] Toshin Toshi: Girls Gift [3DS] Castle Panzers [PS4] Luminous Arc Infinity [PSV] Azur Lane [MOB] Deadrock Redemption [PC] Strip Fighter 5: Chimpocon Edition [PC] Queen’s Blade: Spiral Chaos [PSP] Bleach: Shattered Blade [WII] Time Leap [XB360] Ghost Pirates of Vooju Island [PC] Tengen Toppa Gurren Lagann [DS] Fantasy Earth Zero [PC] Super Robot Wars Alpha 3 [PS2] Lust & Legends [PC] Dr. Muto [GC] Yoake no Mariko [PS2] VR Kanojo [PC] Ka 2: Let’s Go Hawaii [PS2] Heavy Metal Geomatrix [DC] Sabrina [MSX] Kamihime Project R [PC] Happy Manager [PS4] Lightning Legend: Daigo no Daibouken [PSX] Splatoon 2 [NSW] Epic Battle Fantasy 5 [PC] Halo 5: Guardians [XBO] Together VR [PC] Monster Rancher [PSX] UFC 2009 Undisputed [PS3] Magical Girl Lyrical Nanoha A’s Portable [PSP] LoveR Kiss [NSW] Danganronpa 2: Goodbye Despair [PSV] Policenauts [SAT] World of Warcraft [PC] Finder Love: Hoshino Aki [PSP] Midnight Castle Succubus [PC] Party Girls [PS2] Wish [PC] Motion Gravure Series: Megumi [PS2] Parodius Portable [PSP] Natsuiro High School: Seishun Hakusho [PS4] Train Capacity 300% [PC] Hard Knock High [PS2] Neptunia x SENRAN KAGURA Ninja Wars [PS4] Koikatsu Party [PC] Reco Love: Gold Beach [PSV] Sword of the Vagrant [NSW] Captain Blood [XSX] Operation Lovecraft: Fallen Doll [PC] (As with previous lists, note that the platform in brackets to the side indicates which version I’ve played or may prefer for one reason or another. That does not mean it’s the only platform to feature jiggle. While not totally exhaustive, at 410 games so far I believe these posts combined now make up the largest compendium ever compiled for such games, despite limiting repeated mentions of the same series. Huzzah!)
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Sensitive content

Here I’ve got a fourth list of 110 games with boob and/or butt jiggle… Pure Onyx [PC] Warframe [PS5] ASTRA: Knights of Veda [PC] Catherine [PS3] Brown Dust II [MOB] Stretch Panic [PS2] Whacked! [XB] Fighting Force [PSX] Corridor Z [PC] Samurai Western [PS2] Honey Select 2: Libido Deluxe [PC] Crimson Tears [PS2] Treasure of Nadia [PC] Waifu Fighter [PC] Cy Girls [PS2] Half-Demon Shinobi [PC] The First Descendant [PS5] Pinup Ball [PC] Orc Massage [PC] Cyberpunk 2077 [XSX] X-Angels [PC] Dead or Alive 5 Last Round [PS4] Advanced V.G. [SAT] Injustice: Gods Among Us [XB360] Final Fantasy: Crystal Chronicles [GC] Breeders of the Nephelym [PC] SoniPro [3DS] Metal Gear AC!D 2 [PSP] Doki Doki Majo Shinpan! [DS] Sexy Beach Zero [PC] The Mini-Skirt Police [PS2] Pretty Fighter X [SAT] Mario Kart 8 Deluxe [NSW] Splinter Cell: Conviction [XB360] Top Spin 2 [XB360] WWE Smackdown! vs. RAW 2011 [PS3] Asuka 120% Limited BURNING Fest. [SAT] Tear Ring Saga [PSX] Dream C Club Zero Portable [PSV] Guitar Hero III: Legends of Rock [PS3] To Love Ru Darkness: Battle Ecstasy [PSV] Seisou no Amazones [3DS] Monster Monpiece [PSV] Kung Fu Rider [PS3] Atelier Ryza [PS4] Groove on Fight [SAT] Valhalla Knights 3 [PSV] Love Smash! 5.1 [PS2] Namco x Capcom [PS2] Artificial Girl 3 [PC] The All*Star Kakutou Matsuri [PS2] Rhapsody: A Musical Adventure [PSX] Garou: Mark of the Wolves [DC] Sol Trigger [PSP] THE iDOLM@STER [XB360] Super Mario RPG [SNES] Pocket Pool [PSP] Tokyo Clanpool [PSV] GrimGrimoire OnceMore [NSW] High School DxD [3DS] Ikki Tousen: Xross Impact [PSP] Toshin Toshi: Girls Gift [3DS] Castle Panzers [PS4] Luminous Arc Infinity [PSV] Azur Lane [MOB] Deadrock Redemption [PC] Strip Fighter 5: Chimpocon Edition [PC] Queen’s Blade: Spiral Chaos [PSP] Bleach: Shattered Blade [WII] Time Leap [XB360] Ghost Pirates of Vooju Island [PC] Tengen Toppa Gurren Lagann [DS] Fantasy Earth Zero [PC] Super Robot Wars Alpha 3 [PS2] Lust & Legends [PC] Dr. Muto [GC] Yoake no Mariko [PS2] VR Kanojo [PC] Ka 2: Let’s Go Hawaii [PS2] Heavy Metal Geomatrix [DC] Sabrina [MSX] Kamihime Project R [PC] Happy Manager [PS4] Lightning Legend: Daigo no Daibouken [PSX] Splatoon 2 [NSW] Epic Battle Fantasy 5 [PC] Halo 5: Guardians [XBO] Together VR [PC] Monster Rancher [PSX] UFC 2009 Undisputed [PS3] Magical Girl Lyrical Nanoha A’s Portable [PSP] LoveR Kiss [NSW] Danganronpa 2: Goodbye Despair [PSV] Policenauts [SAT] World of Warcraft [PC] Finder Love: Hoshino Aki [PSP] Midnight Castle Succubus [PC] Party Girls [PS2] Wish [PC] Motion Gravure Series: Megumi [PS2] Parodius Portable [PSP] Natsuiro High School: Seishun Hakusho [PS4] Train Capacity 300% [PC] Hard Knock High [PS2] Neptunia x SENRAN KAGURA Ninja Wars [PS4] Koikatsu Party [PC] Reco Love: Gold Beach [PSV] Sword of the Vagrant [NSW] Captain Blood [XSX] Operation Lovecraft: Fallen Doll [PC] (As with previous lists, note that the platform in brackets to the side indicates which version I’ve played or may prefer for one reason or another. That does not mean it’s the only platform to feature jiggle. While not totally exhaustive, at 410 games so far I believe these posts combined now make up the largest compendium ever compiled for such games, despite limiting repeated mentions of the same series. Huzzah!)

Joshua Michael French ジョシュア

103,743 次观看 • 2 年前

Since y’all liked the first list so much, here are 99 more games with boob and/or butt jiggle… • Arc Rise Fantasia [WII] • Dragon’s Dogma: Dark Arisen [NSW] • Fist of the North Star: Ken’s Rage [PS3] • Haydee [PC] • No More Heroes 2: Desperate Struggle [WII] • Ryse: Son of Rome [XBO] • Super Smash Bros. Ultimate [NSW] • Astral Chain [NSW] • Dungeon Fighter Online [PC] • Fighter Maker 2 [PS2] • Honkai Impact 3rd [PC] • Mercenary Kings [NSW] • Samurai Shodown [PS4] • The 3rd Birthday [PSP] • Baldur’s Gate: Dark Alliance II [PS2] • Dungeon Siege III [PS3] • Fighting Angels [PS2] • GunZ 2: The Second Duel [PC] • Hunted: The Demon’s Forge [PS3] • Metro: Last Light [PC] • R: Racing Evolution [PS2] • Scarlet Blade [PC] • The King of Route 66 [PS2] • Yakuza 0 [PS4] • Baten Kaitos Origins [GC] • Cel Damage [XB] • Demolition Girl [PS2] • Sengoku 3 [AES] • Dynasty Warriors 8 Empires [PS4] • Fitness Boxing [NSW] • J-Stars Victory Vs+ [PS4] • Trails Through Daybreak [PS5] • Batman: Arkham Knight [XBO] • Devil May Cry 4 [PS3] • Evil Zone [PSX] • Half-Life [PC] • Muramasa Rebirth [PSV] • Phantom Breaker: Battle Grounds [PSV] • Ready 2 Rumble Boxing [DC] • Sengoku Basara: Samurai Heroes [PS3] • Time Crisis: Razing Storm [PS3] • Bayonetta [XB360] • Conan Exiles [PS4] • Girl Fight [PS3] • Killer is Dead [PS3] • NEKOPARA Vol. 1 [PC] • Playboy: The Mansion [PS2] • SiN [PC] • Tokyo Mirage Sessions FE [WIIU] • Black Desert Online [PC] • Cross Edge [PS3] • The House of the Dead: Overkill [WII] • Dissidia 012 Final Fantasy [PSP] • Eternal Champions: CftDS [SCD] • God Eater 3 [NSW] • Hatsune Miku: Project DIVA f [PS3] • Leisure Suit Larry: Magna Cum Laude [PC] • Neverwinter Nights [PC] • Pirates: The Legend of Black Kat [XB] • Red Dead Redemption [XB360] • Skullgirls [PS3] • Uppers [PC] • Blade & Soul [PC] • Dead Rising [XB360] • BlazBlue: Central Fiction Special Edition [NSW] • Dragon Star Varnir [NSW] • Fatal Fury 2 [AES] • Lost Ruins [NSW] • Smite [PC] • Reynatis [PS5] • Sonic Adventure 2 [DC] • Valkyria Chronicles [PS3] • Kingdom Hearts: Birth by Sleep [PSP] • Boo Party [NSW] • Dead or School [NSW] • Fate/EXTELLA Link [NSW] • Golden Axe: Beast Rider [PS3] • Mega Man X DiVE [MOB] • Nitroplus Blasterz: Heroines Infinite Duel [PS3] • Star Trek Online [PC] • Ōkami [PS2] • Ride to Hell: Retribution [PS3] • ArcheBlade [PC] • Super Galdelic Hour [PS2] • X-Men: Children of the Atom [SAT] • Indivisible [PS4] • Wuthering Waves [PC] • Guacamelee! [PS4] • Scott Pilgrim vs. The World: The Game [NSW] • Amazing Princess Sarah [PC] • The Witcher [PC] • Guns, Gore & Cannoli [XBO] • Spacelords [PC] • Darksiders II: Deathinitive Edition [NSW] • Street Fighter X Tekken [PS3] • Duke Nukem Forever [XB360] • PUBG: Battlegrounds [PC] • Ar tonelico Qoga: Knell of Ar Ciel [PS3] • Grand Theft Auto V [PS3] (Again, please note that the platform in brackets to the side indicates which version I’ve played or may prefer for one reason or another. That does not mean it’s the only platform to feature jiggle. Also this is not an exhaustive list. I’ve limited to just one entry per series, for instance.)
0:17

Since y’all liked the first list so much, here are 99 more games with boob and/or butt jiggle… • Arc Rise Fantasia [WII] • Dragon’s Dogma: Dark Arisen [NSW] • Fist of the North Star: Ken’s Rage [PS3] • Haydee [PC] • No More Heroes 2: Desperate Struggle [WII] • Ryse: Son of Rome [XBO] • Super Smash Bros. Ultimate [NSW] • Astral Chain [NSW] • Dungeon Fighter Online [PC] • Fighter Maker 2 [PS2] • Honkai Impact 3rd [PC] • Mercenary Kings [NSW] • Samurai Shodown [PS4] • The 3rd Birthday [PSP] • Baldur’s Gate: Dark Alliance II [PS2] • Dungeon Siege III [PS3] • Fighting Angels [PS2] • GunZ 2: The Second Duel [PC] • Hunted: The Demon’s Forge [PS3] • Metro: Last Light [PC] • R: Racing Evolution [PS2] • Scarlet Blade [PC] • The King of Route 66 [PS2] • Yakuza 0 [PS4] • Baten Kaitos Origins [GC] • Cel Damage [XB] • Demolition Girl [PS2] • Sengoku 3 [AES] • Dynasty Warriors 8 Empires [PS4] • Fitness Boxing [NSW] • J-Stars Victory Vs+ [PS4] • Trails Through Daybreak [PS5] • Batman: Arkham Knight [XBO] • Devil May Cry 4 [PS3] • Evil Zone [PSX] • Half-Life [PC] • Muramasa Rebirth [PSV] • Phantom Breaker: Battle Grounds [PSV] • Ready 2 Rumble Boxing [DC] • Sengoku Basara: Samurai Heroes [PS3] • Time Crisis: Razing Storm [PS3] • Bayonetta [XB360] • Conan Exiles [PS4] • Girl Fight [PS3] • Killer is Dead [PS3] • NEKOPARA Vol. 1 [PC] • Playboy: The Mansion [PS2] • SiN [PC] • Tokyo Mirage Sessions FE [WIIU] • Black Desert Online [PC] • Cross Edge [PS3] • The House of the Dead: Overkill [WII] • Dissidia 012 Final Fantasy [PSP] • Eternal Champions: CftDS [SCD] • God Eater 3 [NSW] • Hatsune Miku: Project DIVA f [PS3] • Leisure Suit Larry: Magna Cum Laude [PC] • Neverwinter Nights [PC] • Pirates: The Legend of Black Kat [XB] • Red Dead Redemption [XB360] • Skullgirls [PS3] • Uppers [PC] • Blade & Soul [PC] • Dead Rising [XB360] • BlazBlue: Central Fiction Special Edition [NSW] • Dragon Star Varnir [NSW] • Fatal Fury 2 [AES] • Lost Ruins [NSW] • Smite [PC] • Reynatis [PS5] • Sonic Adventure 2 [DC] • Valkyria Chronicles [PS3] • Kingdom Hearts: Birth by Sleep [PSP] • Boo Party [NSW] • Dead or School [NSW] • Fate/EXTELLA Link [NSW] • Golden Axe: Beast Rider [PS3] • Mega Man X DiVE [MOB] • Nitroplus Blasterz: Heroines Infinite Duel [PS3] • Star Trek Online [PC] • Ōkami [PS2] • Ride to Hell: Retribution [PS3] • ArcheBlade [PC] • Super Galdelic Hour [PS2] • X-Men: Children of the Atom [SAT] • Indivisible [PS4] • Wuthering Waves [PC] • Guacamelee! [PS4] • Scott Pilgrim vs. The World: The Game [NSW] • Amazing Princess Sarah [PC] • The Witcher [PC] • Guns, Gore & Cannoli [XBO] • Spacelords [PC] • Darksiders II: Deathinitive Edition [NSW] • Street Fighter X Tekken [PS3] • Duke Nukem Forever [XB360] • PUBG: Battlegrounds [PC] • Ar tonelico Qoga: Knell of Ar Ciel [PS3] • Grand Theft Auto V [PS3] (Again, please note that the platform in brackets to the side indicates which version I’ve played or may prefer for one reason or another. That does not mean it’s the only platform to feature jiggle. Also this is not an exhaustive list. I’ve limited to just one entry per series, for instance.)

Joshua Michael French ジョシュア

58,244 次观看 • 2 年前

【📣ただいまセール中】 FINAL FANTASY XII THE ZODIAC AGE デジタルプレミアムエディション⚔️ FFXIIをベースにゲームデザインを再構築しHDリマスター化❇️さらなる進化と洗練を遂げた本編に加え「オリジナルBGM」と「サウンドトラック」を追加して今なら¥4,664‼️👉 👀あらすじ👂 それはイヴァリースと呼ばれる世界の物語。 強大な軍事国家アルケイディア帝国の侵略でダルマスカ王国が滅亡した戦争から、２年― 戦禍に家族を奪われた少年“ヴァン”は、帝国に占領された街でたくましく生きながらも空賊となって大空を駆ける自由に憧れていた。 王家で唯一生き残った王女“アーシェ”は、ひそかに解放軍を率いて祖国の再興をめざし、帝国への復讐こそが義務だと誓っていた。 戦乱の時代に出会った彼らの願いと希望が、人々の運命を結び、そして国々の命運をも変えていく。
3:57

【📣ただいまセール中】 FINAL FANTASY XII THE ZODIAC AGE デジタルプレミアムエディション⚔️ FFXIIをベースにゲームデザインを再構築しHDリマスター化❇️さらなる進化と洗練を遂げた本編に加え「オリジナルBGM」と「サウンドトラック」を追加して今なら¥4,664‼️👉 👀あらすじ👂 それはイヴァリースと呼ばれる世界の物語。 強大な軍事国家アルケイディア帝国の侵略でダルマスカ王国が滅亡した戦争から、２年― 戦禍に家族を奪われた少年“ヴァン”は、帝国に占領された街でたくましく生きながらも空賊となって大空を駆ける自由に憧れていた。 王家で唯一生き残った王女“アーシェ”は、ひそかに解放軍を率いて祖国の再興をめざし、帝国への復讐こそが義務だと誓っていた。 戦乱の時代に出会った彼らの願いと希望が、人々の運命を結び、そして国々の命運をも変えていく。

スクウェア・エニックス

49,376 次观看 • 1 年前

During the begining of New Year 2017, a young man of 29 years age, along with his brother, came to my OPD. The young man was jaundiced. He had liver cancer and required liver transplantation to survive. They were fisherfolk who had recently invested a lot of their savings on starting an aquatic (seafood) cultivating and harvesting business. They did not have the required money to even work up the man for fitness, and inclusion in the deceased donor program. Three hospitals evaluated the man and all of them agreed that he had advanced cirrhosis and liver cancer and only a liver transplant was the way forward. Without it, he would die in 9 months time. My department was the 4th and final sanctuary for them. A young man, no high risk behaviour, teetotaler, not obese, no family history of liver disease and work up for causes of cirrhosis from 3 other hospitals including autoimmune disease were negative. But they all missed something that was hiding in plain sight and many doctors do miss this, and label patients as "cirrhotics." The young man had a condition called Budd Chiari Syndrome where the large veins inside the liver get blocked with or without a block in the larger abdominal vein called inferior vena cava leading to stagnation of blood within the liver, liver congestion and progression to chronic liver disease. In advanced stages, these "vein blocks" are easily missed. And large regenerating nodules in the liver due to the stagnation injury are inaccurately described as "liver cancer" by many radiologists. The treatment was simple. Create an artifical pathway for the stagnant blood to flow. A procedure called Direct Intrahepatic Portosystemic Shunt (DIPS) placement - a non surgical, angioplastic procedure than lasts hardly 30 to 40 minutes and we did it. He was given 9 months to live, exactly on this day, in 2017. It has been 7 years now. Today morning, unexpectedly and surprisingly, he came in a vehicle with his brother and they dropped off a large icy package with my security. I opened it and saw that it was all fresh seafood catch. Live crabs (walking on my kitchen sink), lobsters, a bunch of large prawns, and fresh pearl-spot fish. Their seafood business thrived because his health improved during the years. They were now expanding to the Middle East. On the phone, after I received the surprise "gift," he tells me that this would not have been possible if he was not diagnosed on time. And he considered me family. And they were there for me. I remained silent and my silence was thunderingly satisfying - they knew it and I knew it. For the opportunity to serve and see fellow humans happy. Instead of the 20 lakh Indian rupees treatment, I sent him home with a 3.5 lakh Indian rupees treatment that saved his life. The beauty of treating Budd Chiari Syndrome on time is that the cirrhosis will reverse. And in this man, it did. The large nodule disappeared and his liver functions normalized in due course. He was not in liver failure and did not show features of cirrhosis after four years. Remember that every patient does not walk out of the textbook and when deserving, you have every right to reasses every other expert out there. For me, the lesson that I learned that day was something new, which I call - "Brute Wisdom." The wise are instructed by reason, average minds by experience, the stupid by necessity and the brute by instinct - Marcus Tullius Cicero Reasoning, logic and rationale are core principles of clinical medicine apart from knowledge and experience - things that are not taught in medical school. Develop it and you'll see that your clinical practice is so much more rewarding. I do not usually accept gifts from my patients, because their well-being is the gift I give myself. But this was an unusual gifting technique and on a Sunday and I could not say no to it. They were so happy giving me their best. But then, I am not sure about that large crab on my sink though. Fellow looks really angry and I am figuring out how to go about him and his friends who are ready to throw a rebellion in my kitchen. Maybe Pranav has some advice for on how to go about it? Hope all of you are having a great Sunday!
0:22

During the begining of New Year 2017, a young man of 29 years age, along with his brother, came to my OPD. The young man was jaundiced. He had liver cancer and required liver transplantation to survive. They were fisherfolk who had recently invested a lot of their savings on starting an aquatic (seafood) cultivating and harvesting business. They did not have the required money to even work up the man for fitness, and inclusion in the deceased donor program. Three hospitals evaluated the man and all of them agreed that he had advanced cirrhosis and liver cancer and only a liver transplant was the way forward. Without it, he would die in 9 months time. My department was the 4th and final sanctuary for them. A young man, no high risk behaviour, teetotaler, not obese, no family history of liver disease and work up for causes of cirrhosis from 3 other hospitals including autoimmune disease were negative. But they all missed something that was hiding in plain sight and many doctors do miss this, and label patients as "cirrhotics." The young man had a condition called Budd Chiari Syndrome where the large veins inside the liver get blocked with or without a block in the larger abdominal vein called inferior vena cava leading to stagnation of blood within the liver, liver congestion and progression to chronic liver disease. In advanced stages, these "vein blocks" are easily missed. And large regenerating nodules in the liver due to the stagnation injury are inaccurately described as "liver cancer" by many radiologists. The treatment was simple. Create an artifical pathway for the stagnant blood to flow. A procedure called Direct Intrahepatic Portosystemic Shunt (DIPS) placement - a non surgical, angioplastic procedure than lasts hardly 30 to 40 minutes and we did it. He was given 9 months to live, exactly on this day, in 2017. It has been 7 years now. Today morning, unexpectedly and surprisingly, he came in a vehicle with his brother and they dropped off a large icy package with my security. I opened it and saw that it was all fresh seafood catch. Live crabs (walking on my kitchen sink), lobsters, a bunch of large prawns, and fresh pearl-spot fish. Their seafood business thrived because his health improved during the years. They were now expanding to the Middle East. On the phone, after I received the surprise "gift," he tells me that this would not have been possible if he was not diagnosed on time. And he considered me family. And they were there for me. I remained silent and my silence was thunderingly satisfying - they knew it and I knew it. For the opportunity to serve and see fellow humans happy. Instead of the 20 lakh Indian rupees treatment, I sent him home with a 3.5 lakh Indian rupees treatment that saved his life. The beauty of treating Budd Chiari Syndrome on time is that the cirrhosis will reverse. And in this man, it did. The large nodule disappeared and his liver functions normalized in due course. He was not in liver failure and did not show features of cirrhosis after four years. Remember that every patient does not walk out of the textbook and when deserving, you have every right to reasses every other expert out there. For me, the lesson that I learned that day was something new, which I call - "Brute Wisdom." The wise are instructed by reason, average minds by experience, the stupid by necessity and the brute by instinct - Marcus Tullius Cicero Reasoning, logic and rationale are core principles of clinical medicine apart from knowledge and experience - things that are not taught in medical school. Develop it and you'll see that your clinical practice is so much more rewarding. I do not usually accept gifts from my patients, because their well-being is the gift I give myself. But this was an unusual gifting technique and on a Sunday and I could not say no to it. They were so happy giving me their best. But then, I am not sure about that large crab on my sink though. Fellow looks really angry and I am figuring out how to go about him and his friends who are ready to throw a rebellion in my kitchen. Maybe Pranav has some advice for on how to go about it? Hope all of you are having a great Sunday!

TheLiverDoc™

343,458 次观看 • 2 年前

In Remembrance of Suzanne Pleshette. Born | January 31, 1937 in New York City, New York, USA. Died | January 19, 2008 aged 70 in Los Angeles, California, USA. Suzanne Pleshette achieved television immortality in her role as Bob Newhart's wife in the 1970s classic situation comedy, The Bob Newhart Show (1972). For her role as “Emily Hartley” wife of psychologist “Bob Hartley” (played by Bob Newhart), Pleshette was nominated for the Emmy Award twice, in 1977 and 1978. She was also nominated for an Emmy in 1962 for a guest appearance on the TV series, Dr. Kildare (1961) and, in 1991, for playing the title role in Leona Helmsley: The Queen of Mean (1990) in a 1990 TV movie. Her acting career lasted almost 50 years. Suzanne Pleshette was born on January 31, 1937 in New York to Gene Pleshette, a TV network executive who had managed the Paramount Theatres in Manhattan and Brooklyn during the Big Band era, and the former Geraldine Kaplan, a dancer who performed under the pseudonym Geraldine Rivers. Pleshette claims that she was not an acting natural, but just “found” herself attending New York City's High School of the Performing Arts. After graduating high school, she attended Syracuse University for a semester before returning to NYC to go to Finch College, an elite finishing school for well-to-do young ladies. After a semester at Finch, Pleshette dropped out of college to take lessons from famed acting teacher Sanford Meisner at the Neighborhood Playhouse. She made her Broadway debut in 1957 as part of the supporting cast for the play Compulsion (1959). Initially cast as “The Fourth Girl”, she eventually took over the ingénue role during the play's run. Blessed with beauty, a fine figure, and a husky voice that made her seem older than her years, she quickly achieved success on both the small and big screens. She made her TV debut, at age 20, in Harbourmaster (1957), then was chosen as the female lead opposite superstar Jerry Lewis in his 1958 comedy, The Geisha Boy (1958). On Broadway, she replaced Anne Bancroft in the Broadway hit The Miracle Worker (1962). Once Pleshette started acting, her career never lagged until she was afflicted with cancer. Her most famous cinematic role was in Alfred Hitchcock's classic, The Birds (1963), as the brunette schoolteacher jilted by the hero of the film, “Mitch Brenner” (played by Rod Taylor). Pleshette's warm, earthy character was a perfect contrast to the icy blonde beauty, “Melanie Daniels” (Tippi Hedren). Frankly, it is hard to understand how Taylor's Mitch would jilt Pleshette's Annie, other than to work out Hitchcock's dark vision of society and psychosexual relations between the sexes, in which amoral blondes triumph for aesthetic rather than moral reasons. Still, it is for Emily Hartley she will always be remembered, for both the original show and her part in another show that had the most clever sign-off episode in TV series history. Bob Newhart had enjoyed a second success during the 1980s with his TV sitcom Newhart (1982), and when he decided to end that series, he asked Suzanne Pleshette to come back. She did, reprising her tole of Emily in a final episode of Newhart, where Newhart woke up as Bob Hartley from “The Bob Newhart Show” in the bedroom of the Hartley's Chicago apartment, Pleshette's Emily at his side. Bob Hartley then told his wife Emily of a crazy dream he'd just had, where he was the proprietor of a Vermont inn overrun with eccentrics, the premise of the second show. After “The Bob Newhart Show” ceased production, Suzanne Pleshette worked regularly on television, mostly in TV movies. Although she was a talented dramatic actress, she had a flair for comedy and, in 1984, she headlined her own series at CBS. She helped develop the half-hour sitcom, and even had the rare honor of having her name in the title. Suzanne Pleshette Is Maggie Briggs (1984), however, was not a success. She co-starred with Hal Linden in another short-lived CBS TV series, The Boys Are Back (1994), in the 1994-95 season, then had recurring roles in the TV series Good Morning, Miami (2002) and 8 Simple Rules... for Dating My Teenage Daughter (2002). Pleshette was married three times: In 1964, she wed teen idol Troy Donahue, her co-star in the 1962 film Rome Adventure (1962) and in 1964's A Distant Trumpet (1964), but the marriage lasted less than a year. She was far more successful in her 1968 nuptials to Texas oil millionaire Tommy Gallagher, whom she remained married to until his death in 2000. After becoming a widow, she and widower Tom Poston (a Newhart regular) rekindled an old romance they had enjoyed when appearing together in “The Golden Fleecing”, a 1959 Broadway comedy. They were married from 2001 until Poston's death, in April 2007. Pleshette was diagnosed with lung cancer and underwent chemotherapy in the summer of 2006; she rallied, but in late 2007, she barely survived a bout of pneumonia. She died of respiratory failure on January 19, 2008, a few days shy of her 71st birthday. Suzanne Pleshette was remembered as a gregarious, down-to-earth person who loved to talk and often would regale her co-stars with a naughty story. Newhart and his producers had picked her for the role of Emily in “The Bob Newhart Show” after watching her appearances with Johnny Carson on Late Night with Johnny Carson (1962), where she showed herself to be a first-rate raconteuse. Because she could hold her own with Newhart's friend Carson, it was felt she would be a perfect foil as Newhart's TV wife. She accepted the part, and TV history was made.
0:32

In Remembrance of Suzanne Pleshette. Born | January 31, 1937 in New York City, New York, USA. Died | January 19, 2008 aged 70 in Los Angeles, California, USA. Suzanne Pleshette achieved television immortality in her role as Bob Newhart's wife in the 1970s classic situation comedy, The Bob Newhart Show (1972). For her role as “Emily Hartley” wife of psychologist “Bob Hartley” (played by Bob Newhart), Pleshette was nominated for the Emmy Award twice, in 1977 and 1978. She was also nominated for an Emmy in 1962 for a guest appearance on the TV series, Dr. Kildare (1961) and, in 1991, for playing the title role in Leona Helmsley: The Queen of Mean (1990) in a 1990 TV movie. Her acting career lasted almost 50 years. Suzanne Pleshette was born on January 31, 1937 in New York to Gene Pleshette, a TV network executive who had managed the Paramount Theatres in Manhattan and Brooklyn during the Big Band era, and the former Geraldine Kaplan, a dancer who performed under the pseudonym Geraldine Rivers. Pleshette claims that she was not an acting natural, but just “found” herself attending New York City's High School of the Performing Arts. After graduating high school, she attended Syracuse University for a semester before returning to NYC to go to Finch College, an elite finishing school for well-to-do young ladies. After a semester at Finch, Pleshette dropped out of college to take lessons from famed acting teacher Sanford Meisner at the Neighborhood Playhouse. She made her Broadway debut in 1957 as part of the supporting cast for the play Compulsion (1959). Initially cast as “The Fourth Girl”, she eventually took over the ingénue role during the play's run. Blessed with beauty, a fine figure, and a husky voice that made her seem older than her years, she quickly achieved success on both the small and big screens. She made her TV debut, at age 20, in Harbourmaster (1957), then was chosen as the female lead opposite superstar Jerry Lewis in his 1958 comedy, The Geisha Boy (1958). On Broadway, she replaced Anne Bancroft in the Broadway hit The Miracle Worker (1962). Once Pleshette started acting, her career never lagged until she was afflicted with cancer. Her most famous cinematic role was in Alfred Hitchcock's classic, The Birds (1963), as the brunette schoolteacher jilted by the hero of the film, “Mitch Brenner” (played by Rod Taylor). Pleshette's warm, earthy character was a perfect contrast to the icy blonde beauty, “Melanie Daniels” (Tippi Hedren). Frankly, it is hard to understand how Taylor's Mitch would jilt Pleshette's Annie, other than to work out Hitchcock's dark vision of society and psychosexual relations between the sexes, in which amoral blondes triumph for aesthetic rather than moral reasons. Still, it is for Emily Hartley she will always be remembered, for both the original show and her part in another show that had the most clever sign-off episode in TV series history. Bob Newhart had enjoyed a second success during the 1980s with his TV sitcom Newhart (1982), and when he decided to end that series, he asked Suzanne Pleshette to come back. She did, reprising her tole of Emily in a final episode of Newhart, where Newhart woke up as Bob Hartley from “The Bob Newhart Show” in the bedroom of the Hartley's Chicago apartment, Pleshette's Emily at his side. Bob Hartley then told his wife Emily of a crazy dream he'd just had, where he was the proprietor of a Vermont inn overrun with eccentrics, the premise of the second show. After “The Bob Newhart Show” ceased production, Suzanne Pleshette worked regularly on television, mostly in TV movies. Although she was a talented dramatic actress, she had a flair for comedy and, in 1984, she headlined her own series at CBS. She helped develop the half-hour sitcom, and even had the rare honor of having her name in the title. Suzanne Pleshette Is Maggie Briggs (1984), however, was not a success. She co-starred with Hal Linden in another short-lived CBS TV series, The Boys Are Back (1994), in the 1994-95 season, then had recurring roles in the TV series Good Morning, Miami (2002) and 8 Simple Rules... for Dating My Teenage Daughter (2002). Pleshette was married three times: In 1964, she wed teen idol Troy Donahue, her co-star in the 1962 film Rome Adventure (1962) and in 1964's A Distant Trumpet (1964), but the marriage lasted less than a year. She was far more successful in her 1968 nuptials to Texas oil millionaire Tommy Gallagher, whom she remained married to until his death in 2000. After becoming a widow, she and widower Tom Poston (a Newhart regular) rekindled an old romance they had enjoyed when appearing together in “The Golden Fleecing”, a 1959 Broadway comedy. They were married from 2001 until Poston's death, in April 2007. Pleshette was diagnosed with lung cancer and underwent chemotherapy in the summer of 2006; she rallied, but in late 2007, she barely survived a bout of pneumonia. She died of respiratory failure on January 19, 2008, a few days shy of her 71st birthday. Suzanne Pleshette was remembered as a gregarious, down-to-earth person who loved to talk and often would regale her co-stars with a naughty story. Newhart and his producers had picked her for the role of Emily in “The Bob Newhart Show” after watching her appearances with Johnny Carson on Late Night with Johnny Carson (1962), where she showed herself to be a first-rate raconteuse. Because she could hold her own with Newhart's friend Carson, it was felt she would be a perfect foil as Newhart's TV wife. She accepted the part, and TV history was made.

Hollywood Golden Age of Cinema

38,828 次观看 • 6 个月前

The World Is Not Linear: A Field Guide to the Laws That Quietly Run Everything Most smart people don’t fail because they’re dumb. They fail because they apply clean logic to a messy world — and the world punishes that mistake with a smile. The messy truth is that modern life is shaped less by individual intent and more by systems: incentives, competition, scaling effects, path dependence, and statistical weirdness. These systems produce outcomes that feel unfair or mysterious until you learn the underlying “laws” — a set of lenses that let you predict how things actually behave. This is not about becoming cynical. It’s about becoming accurate. Once you internalize these lenses, you start noticing that most disagreements aren’t about values. They’re about which hidden force you think dominates: Do incentives matter more than morals? Do networks scale value more than craftsmanship? Do rare events matter more than averages? Do systems evolve, or can they be designed? This article is a guided map through those forces — told as one story. 1) The seduction of “doing the obvious thing” Imagine you’re in charge of improving something important: a company, a city, a hospital, a school, a product, maybe even your own life. You do what responsible people do: you define a goal. You pick a metric. And you tell everyone: we’re going to win on this number. This is where the first trap snaps shut. Goodhart’s Law: the metric stops being real When a measure becomes a target, it stops being a good measure. Before it became a target, the metric was an instrument: a thermometer. After it becomes a target, it becomes a game. Hospitals improve “wait times” by changing intake rules. Companies improve “engagement” by nudging addiction. Schools improve test scores by teaching to the test. Police departments improve crime stats by changing what counts as a crime. Not because anyone is evil. Because the system rewards it. The principal–agent problem: the doers don’t pay This is the deeper engine under Goodhart. The person deciding is not the person suffering the consequences. Executives chase quarterly optics; employees deal with the chaos. Politicians chase election cycles; citizens live with the long-term effects. Managers chase easy metrics; customers absorb the frustration. Once you see principal–agent problems, you start seeing why seemingly intelligent organizations keep doing self-destructive things: the incentives are miswired. The Cobra Effect: perverse incentives grow cobras Sometimes this miswiring gets darkly funny. Reward outcomes and people will manufacture the appearance of outcomes. In the original parable, a colonial government offered a bounty for dead cobras — and people began breeding cobras. This isn’t historical trivia; it’s a universal pattern: Reward bug counts → people file junk bugs. Reward convictions → plea bargains + overcharging. Reward content volume → SEO sludge. Reward “delivery” → rushed work + tech debt. The world is full of cobra farms. 2) Why fixing things often makes them worse Okay, so: choose better metrics, align incentives, done. Not quite. Because even well-intentioned fixes trigger the next law: second-order effects. Chesterton’s Fence: don’t remove constraints you don’t understand You walk into an old system and see “stupid rules.” You want to clean house. You want to simplify. But: why is that rule there? Don’t remove a fence until you know why it was built. A lot of institutional weirdness is scar tissue from past disasters. The rule might be dumb — but if you don’t understand it, you don’t know what disaster you’re re-inviting. This is why naive reformers are dangerous: they confuse “not understanding a thing” with “the thing being pointless.” Gall’s Law: complex systems must grow from simple working ones Even if the fence is removable, you still hit the next problem: A complex system that works is always evolved from a simple system that worked. This demolishes a common fantasy: that you can design complexity from scratch. Most large redesigns fail for one reason: They try to create a finished organism instead of growing a living embryo. If the system matters, you don’t “implement” the final form. You build something simpler that works. Then you iterate. Gall’s law is harsh, but kind: it explains why so many ambitious “transformations” flame out. 3) Efficiency doesn’t save you (and sometimes consumes you) Now suppose you do manage to improve a system. You make it cheaper, faster, more efficient. Surely this reduces resource usage? Often, no. Jevons Paradox: efficiency increases total consumption When you make something more efficient, you often make people use more of it. Make lighting cheaper → people illuminate more spaces. Make driving more fuel-efficient → people drive farther. Make computing cheaper → people compute vastly more. Efficiency doesn’t always shrink the pie. It can expand it. This is one of the most important and least emotionally intuitive truths about progress: efficiency changes behavior. 4) Some things don’t get more efficient — and get expensive forever Now meet the mirror image of Jevons: not everything can get dramatically more productive. Some work is bottlenecked by time, humans, and attention. Baumol’s Cost Disease: sectors that don’t scale inflate A string quartet takes as long to play Beethoven as it did 200 years ago. A therapist can’t 10× their clients without breaking the thing. A teacher can’t “scale” classroom attention the way software scales distribution. Meanwhile, other industries do scale — manufacturing, computing, logistics. So as society grows richer, productivity sectors get cheaper and cheaper… and human-time sectors get relatively more expensive. That’s why: healthcare education legal services childcare eldercare …feel like they eat the world. Baumol isn’t “a problem to solve” so much as a physics constraint: certain value comes from human presence. And presence doesn’t compress easily. 5) The invisible accelerant: networks At this point you might feel like everything is doom and friction. It’s not. Some forces make systems wildly better as they grow. The biggest one is networks. Metcalfe’s Law: value scales with connections A phone is useless alone. A fax machine is useless alone. A social app is useless without other humans. As users increase, connections increase faster than users do. That creates accelerating value. Reed’s Law: groups scale even faster than connections But it’s not just one-to-one links. Once people can form groups — communities, coalitions, companies, subcultures — the number of potential groupings explodes. That’s Reed’s law: group-forming networks can scale with frightening speed. This is why networked platforms can go from “niche” to “dominant” almost overnight: the product isn’t just features — it’s the social graph. 6) Progress has a heartbeat: learning curves Not all progress comes from networks. Some comes from repetition. Wright’s Law: cost falls with cumulative production This is the law behind why solar, batteries, and manufacturing tech get cheaper and cheaper: Every doubling of cumulative production yields a predictable cost reduction. The implications are enormous: the future is shaped by what we manufacture at scale volume is not just output; it’s learning building the thing teaches you to build the thing better Strategy through Wright’s law becomes: maximize learning rate. Not “be brilliant,” but “iterate relentlessly.” 7) Cooperation is rare — and competition forces ugliness Now we move from economics into game theory and moral physics. Even with good metrics, good redesign, good scaling… Sometimes the system makes people do bad things. Prisoner’s Dilemma: defecting is rational If you and I cooperate, we both win. But if I suspect you might defect, I should defect first. So we both defect. We both lose. This structure appears everywhere: labor vs management nations vs nations companies vs companies roommates siblings Twitter discourse It’s tragedy-by-incentives. Moloch: the god of coordination failure “Moloch” is the poetic version of the same idea: systems where competition forces everyone into worse behavior, even if nobody wants it. No one wants the attention economy. But creators compete for attention. Platforms compete for engagement. So everyone converges on outrage and addiction. Moloch doesn’t need villains. It only needs incentives. 8) The biggest mistake smart people make: believing in averages Now we arrive at the statistical heart of why forecasts fail. Most planning assumes the world behaves like a bell curve: most outcomes are near the average, extremes are rare. In many domains, that’s false. Fat tails: extremes happen way more than you think In fat-tailed worlds, the “average” is a comforting lie. Outliers dominate: venture returns blockbuster movies bestselling authors company outcomes war and peace pandemics market crashes In a fat-tailed world: one event can erase ten years of progress or create it overnight Black swans: surprise + impact + fake hindsight A black swan isn’t just an outlier. It’s an outlier we didn’t know how to model. The signature of black swans is: huge impact surprise beforehand “it was obvious” afterward We are story machines. We can rationalize anything after it happens. Survivorship bias: you’re studying the winners This is why business advice is mostly nonsense. We read biographies of billionaires and imitate their habits — forgetting the cemetery of equally hardworking, equally smart people who lost. Survivorship bias turns randomness into “wisdom.” A good thinker always asks: what am I not seeing because it died? 9) The final set of tools: tradeoffs, simplicity, and time After you’ve internalized incentives, scaling, networks, and tail risk, you earn the right to something important: Less ideology. More judgment. That’s what these last lenses provide. Pareto efficiency: every improvement has a cost At some point, you stop making “free” gains and enter a world of tradeoffs. If you want more of A, you give up B. This is what breaks utopian thinking: more safety can mean less liberty more speed can mean less quality more fairness can mean less efficiency more growth can mean more inequality Smart people aren’t the ones who avoid tradeoffs. They’re the ones who name the tradeoff out loud. Occam’s Razor: don’t add gears without proof Now that you’re thinking in systems, you could easily overcomplicate. Occam is your brake pedal: prefer the simplest explanation that predicts. It’s not “simplicity is truth.” It’s: don’t hallucinate complexity. Lindy: time is the best filter we have In fragile worlds, “new” is often a synonym for “untested.” The Lindy effect says: the longer something has survived, the longer it’s likely to survive. Ideas, books, institutions, even practices: time is a stress test. Lindy isn’t anti-innovation. It’s pro-robustness. Comparative advantage: specialization beats self-reliance Finally, comparative advantage gives you the social version of Occam. Even if you’re worse at everything than someone else… trade can still make both better off, because efficiency comes from relative differences. That lens dissolves a lot of macho self-sufficiency myths. So what does this worldview do? It does three things. First: it replaces naive optimism with durable optimism Not “everything will work out.” But: we can build systems that don’t collapse under their own incentives. Second: it changes what you fear Not competitors. Not critics. Not even failure. You start fearing: bad metrics misaligned incentives brittle complexity tail risks coordination failure Which are the real predators. Third: it gives you a usable strategy A decision-making style that looks like this: Start simple (Gall) Measure carefully (Goodhart) Align incentives (principal–agent) Expect adaptation (cobra effect) Respect old constraints (Chesterton) Model scaling honestly (Metcalfe/Reed/Wright) Don’t assume efficiency saves you (Jevons/Baumol) Prepare for tails (fat tails / black swans) Don’t trust winner stories (survivorship bias) Name tradeoffs and keep models simple (Pareto + Occam + Lindy) That list is more than theory. It’s a survival kit for reality. Closing: the meta-law If I had to compress this entire worldview into one sentence, it would be: Outcomes come from incentives and scaling under uncertainty—not from intentions and plans. Most people live inside stories. This toolkit makes you live inside systems. And once you do, you become harder to fool — including by yourself.
1:38

The World Is Not Linear: A Field Guide to the Laws That Quietly Run Everything Most smart people don’t fail because they’re dumb. They fail because they apply clean logic to a messy world — and the world punishes that mistake with a smile. The messy truth is that modern life is shaped less by individual intent and more by systems: incentives, competition, scaling effects, path dependence, and statistical weirdness. These systems produce outcomes that feel unfair or mysterious until you learn the underlying “laws” — a set of lenses that let you predict how things actually behave. This is not about becoming cynical. It’s about becoming accurate. Once you internalize these lenses, you start noticing that most disagreements aren’t about values. They’re about which hidden force you think dominates: Do incentives matter more than morals? Do networks scale value more than craftsmanship? Do rare events matter more than averages? Do systems evolve, or can they be designed? This article is a guided map through those forces — told as one story. 1) The seduction of “doing the obvious thing” Imagine you’re in charge of improving something important: a company, a city, a hospital, a school, a product, maybe even your own life. You do what responsible people do: you define a goal. You pick a metric. And you tell everyone: we’re going to win on this number. This is where the first trap snaps shut. Goodhart’s Law: the metric stops being real When a measure becomes a target, it stops being a good measure. Before it became a target, the metric was an instrument: a thermometer. After it becomes a target, it becomes a game. Hospitals improve “wait times” by changing intake rules. Companies improve “engagement” by nudging addiction. Schools improve test scores by teaching to the test. Police departments improve crime stats by changing what counts as a crime. Not because anyone is evil. Because the system rewards it. The principal–agent problem: the doers don’t pay This is the deeper engine under Goodhart. The person deciding is not the person suffering the consequences. Executives chase quarterly optics; employees deal with the chaos. Politicians chase election cycles; citizens live with the long-term effects. Managers chase easy metrics; customers absorb the frustration. Once you see principal–agent problems, you start seeing why seemingly intelligent organizations keep doing self-destructive things: the incentives are miswired. The Cobra Effect: perverse incentives grow cobras Sometimes this miswiring gets darkly funny. Reward outcomes and people will manufacture the appearance of outcomes. In the original parable, a colonial government offered a bounty for dead cobras — and people began breeding cobras. This isn’t historical trivia; it’s a universal pattern: Reward bug counts → people file junk bugs. Reward convictions → plea bargains + overcharging. Reward content volume → SEO sludge. Reward “delivery” → rushed work + tech debt. The world is full of cobra farms. 2) Why fixing things often makes them worse Okay, so: choose better metrics, align incentives, done. Not quite. Because even well-intentioned fixes trigger the next law: second-order effects. Chesterton’s Fence: don’t remove constraints you don’t understand You walk into an old system and see “stupid rules.” You want to clean house. You want to simplify. But: why is that rule there? Don’t remove a fence until you know why it was built. A lot of institutional weirdness is scar tissue from past disasters. The rule might be dumb — but if you don’t understand it, you don’t know what disaster you’re re-inviting. This is why naive reformers are dangerous: they confuse “not understanding a thing” with “the thing being pointless.” Gall’s Law: complex systems must grow from simple working ones Even if the fence is removable, you still hit the next problem: A complex system that works is always evolved from a simple system that worked. This demolishes a common fantasy: that you can design complexity from scratch. Most large redesigns fail for one reason: They try to create a finished organism instead of growing a living embryo. If the system matters, you don’t “implement” the final form. You build something simpler that works. Then you iterate. Gall’s law is harsh, but kind: it explains why so many ambitious “transformations” flame out. 3) Efficiency doesn’t save you (and sometimes consumes you) Now suppose you do manage to improve a system. You make it cheaper, faster, more efficient. Surely this reduces resource usage? Often, no. Jevons Paradox: efficiency increases total consumption When you make something more efficient, you often make people use more of it. Make lighting cheaper → people illuminate more spaces. Make driving more fuel-efficient → people drive farther. Make computing cheaper → people compute vastly more. Efficiency doesn’t always shrink the pie. It can expand it. This is one of the most important and least emotionally intuitive truths about progress: efficiency changes behavior. 4) Some things don’t get more efficient — and get expensive forever Now meet the mirror image of Jevons: not everything can get dramatically more productive. Some work is bottlenecked by time, humans, and attention. Baumol’s Cost Disease: sectors that don’t scale inflate A string quartet takes as long to play Beethoven as it did 200 years ago. A therapist can’t 10× their clients without breaking the thing. A teacher can’t “scale” classroom attention the way software scales distribution. Meanwhile, other industries do scale — manufacturing, computing, logistics. So as society grows richer, productivity sectors get cheaper and cheaper… and human-time sectors get relatively more expensive. That’s why: healthcare education legal services childcare eldercare …feel like they eat the world. Baumol isn’t “a problem to solve” so much as a physics constraint: certain value comes from human presence. And presence doesn’t compress easily. 5) The invisible accelerant: networks At this point you might feel like everything is doom and friction. It’s not. Some forces make systems wildly better as they grow. The biggest one is networks. Metcalfe’s Law: value scales with connections A phone is useless alone. A fax machine is useless alone. A social app is useless without other humans. As users increase, connections increase faster than users do. That creates accelerating value. Reed’s Law: groups scale even faster than connections But it’s not just one-to-one links. Once people can form groups — communities, coalitions, companies, subcultures — the number of potential groupings explodes. That’s Reed’s law: group-forming networks can scale with frightening speed. This is why networked platforms can go from “niche” to “dominant” almost overnight: the product isn’t just features — it’s the social graph. 6) Progress has a heartbeat: learning curves Not all progress comes from networks. Some comes from repetition. Wright’s Law: cost falls with cumulative production This is the law behind why solar, batteries, and manufacturing tech get cheaper and cheaper: Every doubling of cumulative production yields a predictable cost reduction. The implications are enormous: the future is shaped by what we manufacture at scale volume is not just output; it’s learning building the thing teaches you to build the thing better Strategy through Wright’s law becomes: maximize learning rate. Not “be brilliant,” but “iterate relentlessly.” 7) Cooperation is rare — and competition forces ugliness Now we move from economics into game theory and moral physics. Even with good metrics, good redesign, good scaling… Sometimes the system makes people do bad things. Prisoner’s Dilemma: defecting is rational If you and I cooperate, we both win. But if I suspect you might defect, I should defect first. So we both defect. We both lose. This structure appears everywhere: labor vs management nations vs nations companies vs companies roommates siblings Twitter discourse It’s tragedy-by-incentives. Moloch: the god of coordination failure “Moloch” is the poetic version of the same idea: systems where competition forces everyone into worse behavior, even if nobody wants it. No one wants the attention economy. But creators compete for attention. Platforms compete for engagement. So everyone converges on outrage and addiction. Moloch doesn’t need villains. It only needs incentives. 8) The biggest mistake smart people make: believing in averages Now we arrive at the statistical heart of why forecasts fail. Most planning assumes the world behaves like a bell curve: most outcomes are near the average, extremes are rare. In many domains, that’s false. Fat tails: extremes happen way more than you think In fat-tailed worlds, the “average” is a comforting lie. Outliers dominate: venture returns blockbuster movies bestselling authors company outcomes war and peace pandemics market crashes In a fat-tailed world: one event can erase ten years of progress or create it overnight Black swans: surprise + impact + fake hindsight A black swan isn’t just an outlier. It’s an outlier we didn’t know how to model. The signature of black swans is: huge impact surprise beforehand “it was obvious” afterward We are story machines. We can rationalize anything after it happens. Survivorship bias: you’re studying the winners This is why business advice is mostly nonsense. We read biographies of billionaires and imitate their habits — forgetting the cemetery of equally hardworking, equally smart people who lost. Survivorship bias turns randomness into “wisdom.” A good thinker always asks: what am I not seeing because it died? 9) The final set of tools: tradeoffs, simplicity, and time After you’ve internalized incentives, scaling, networks, and tail risk, you earn the right to something important: Less ideology. More judgment. That’s what these last lenses provide. Pareto efficiency: every improvement has a cost At some point, you stop making “free” gains and enter a world of tradeoffs. If you want more of A, you give up B. This is what breaks utopian thinking: more safety can mean less liberty more speed can mean less quality more fairness can mean less efficiency more growth can mean more inequality Smart people aren’t the ones who avoid tradeoffs. They’re the ones who name the tradeoff out loud. Occam’s Razor: don’t add gears without proof Now that you’re thinking in systems, you could easily overcomplicate. Occam is your brake pedal: prefer the simplest explanation that predicts. It’s not “simplicity is truth.” It’s: don’t hallucinate complexity. Lindy: time is the best filter we have In fragile worlds, “new” is often a synonym for “untested.” The Lindy effect says: the longer something has survived, the longer it’s likely to survive. Ideas, books, institutions, even practices: time is a stress test. Lindy isn’t anti-innovation. It’s pro-robustness. Comparative advantage: specialization beats self-reliance Finally, comparative advantage gives you the social version of Occam. Even if you’re worse at everything than someone else… trade can still make both better off, because efficiency comes from relative differences. That lens dissolves a lot of macho self-sufficiency myths. So what does this worldview do? It does three things. First: it replaces naive optimism with durable optimism Not “everything will work out.” But: we can build systems that don’t collapse under their own incentives. Second: it changes what you fear Not competitors. Not critics. Not even failure. You start fearing: bad metrics misaligned incentives brittle complexity tail risks coordination failure Which are the real predators. Third: it gives you a usable strategy A decision-making style that looks like this: Start simple (Gall) Measure carefully (Goodhart) Align incentives (principal–agent) Expect adaptation (cobra effect) Respect old constraints (Chesterton) Model scaling honestly (Metcalfe/Reed/Wright) Don’t assume efficiency saves you (Jevons/Baumol) Prepare for tails (fat tails / black swans) Don’t trust winner stories (survivorship bias) Name tradeoffs and keep models simple (Pareto + Occam + Lindy) That list is more than theory. It’s a survival kit for reality. Closing: the meta-law If I had to compress this entire worldview into one sentence, it would be: Outcomes come from incentives and scaling under uncertainty—not from intentions and plans. Most people live inside stories. This toolkit makes you live inside systems. And once you do, you become harder to fool — including by yourself.

Carlos E. Perez

103,438 次观看 • 6 个月前

Min Hee-jin (NewJeans Producer) NHK Music Interview 🔗 “Meticulously planned debut ‘Attention’” 🧢: When I was preparing to launch NewJeans, I really struggled with deciding what our first piece of content should be. I thought about it for a long time and considered many possibilities. It was a project that came with high expectations, and for me personally, it was also my first opportunity to prove myself. So how I presented it mattered enormously. Even down to the smallest details… like the impression the very first released photo might give, or what kind of impact we could make at launch. I thought hard about what kind of content would be the most effective… should it be a video or a photo? What time of day would be most effective to release it? I consider things like that very carefully. For example, the way a person experiences content at night versus during the day can feel quite different emotionally. So I even thought about those subtle aspects. Eventually, the conclusion I reached was: “Let’s make the most of our situation.” At the time, the members hadn’t been revealed, and no one knew how many of them there were or what kind of group this would be. So I wanted to maximize that curiosity. You know how the more something is concealed, the more curious people become? I wanted to build that curiosity to a peak and then release everything all at once. That’s why we decided not to release a teaser and instead go straight into a full music video. (This was actually inspired by Hyein suggesting we skip teasers.) I didn’t think still images or photos would be enough to fully convey the feeling I wanted to express. I felt that video and music together would evoke the emotional response I was looking for because people experience things synesthetically. When sound, image, and feeling come together, the emotional impact is stronger. I believed the best way to present the members’ images was through music and a moving picture… that’s why we led with a music video. In the debut music video, “Attention,” there’s a scene where the members act out a little drama. I paid very close attention to that moment and created music that would fit it precisely. For me, I don’t just make content… I design the entire process of how it should be shown for the greatest effect. And I believe that’s incredibly important. That first feeling someone gets when they encounter something… that emotion, that spark… is so important to me. I’m very detail-oriented, but I also value fun deeply. So rather than just releasing content, I want to enjoy the process leading up to it. Even when we released our second album, since we shot the entire music video across the country, the sequence of how we released the videos was critical for me. It’s hard to explain all this simply in an interview, but maybe some people noticed: the first content we released that time was actually a teaser for the last track, “ASAP,” and then we followed that with the full music video for “New Jeans,” which was the first track. That order was a carefully calculated strategy. It was designed to guide the audience’s emotional journey. Seeing the audience react just as I had hoped—that whole process was honestly so fun and thrilling for me. I think I really enjoy that kind of thing. ——— “How 'Ditto' was born” 🧢: People often praise the music of NewJeans, and I hear a lot of talk about genres. But actually, I don’t feel bound by genre at all. I love a wide variety of music. I’m not the type to insist on only one particular genre. What I love are songs that blend genres cleverly… those are my personal favorites. So going forward, my focus is not on genre but on whether something feels fresh and whether it can create an emotional moment. I don’t want to define what kind of music we make. And I think you have to experience the flow of the times to really understand what’s meaningful in a given moment. For instance, the song “Ditto” was chosen because it delivered emotion. It matched perfectly with the winter album concept I had envisioned, both in terms of timing and mood. When I hear a song, I tend to trust my gut. I have a pretty strong intuition for which songs will resonate. It’s not about objectively predicting what will be a “hit,” but about whether a song moves your heart… you can just feel it. Of course, my own taste plays a big role. But I think that’s actually my strength as a producer, not as a composer. When I hear a song, I can immediately picture the visual… what kind of story, what kind of vibe it could carry. That allows me to work faster. For example, when expressing something like school uniforms, there are so many possible variations. But I always like to start from the basics… what’s the original idea of a school uniform? I try to return to that. So with “Ditto,” I wanted to tap into something primal… the pure, basic feeling of liking someone. That kind of emotion is universal. Everyone has it; it’s wired into us. When I saw Director Shin Woo-seok’s interpretation of it, I thought, “Yes, that’s it.” That’s the kind of complete interpretation I look for. I believe the completion of a project comes from every person involved thinking about their part down to the final detail… the maximum quality they can bring out. My role is to unify and refine all of that. I draw out the essence of each person’s creativity, trimming away anything unnecessary. So the final product is something that’s polished and high-quality, just the way I envisioned it. That’s my working style. So it’s not like I’m fixated on retro or stuck in a particular style. I don’t think human taste has changed all that much. Things people liked in the past are the same things we like now. It’s just the form of expression that changes with time. I don’t feel bound by “past” or “present.” I don’t even think in those boundaries. To me, it’s all just good taste. You know how kids sometimes have their own little treasure boxes when they’re young? I think my work is kind of like that. I want to make things that never feel dated—that are timelessly enjoyable. ——— “Dance Expression and 'Hype Boy'” 🧢: I had a vision of what kind of girl group I wanted to create. That’s why I chose a song like “Hype Boy.” And to bring out that feeling, we created four different versions of the music video. Every choice had a purpose, everything was designed to maximize the experience of the song. “Hype Boy” is such a unique song. It has this strange, piercing melody that gives people chills in a good way. To emphasize that tingling feeling, I had to break away from the standard K-pop choreography format… you know, the kind where everyone is in perfect formation, doing synchronized moves. But our songs don’t suit that kind of choreography. Our dances are much harder. They require the body to move very naturally with the groove of the melody and beat. So I think our members are incredible. It’s not easy to express naturalness with your body, and you have to really enjoy it to make it look effortless. But they pulled it off so well. They’re still young, but they’re so talented. And through it all, I wanted to avoid making them look like they were performing just for business. I wanted them to show the pure joy and bright spirit that’s natural for people their age… genuine, carefree, radiant. ——— “The difference between NewJeans and conventional K-POP” 🧢: Ah, for me, it’s all about naturalness. And honestly, naturalness isn’t something you can produce or direct into existence. It comes from how I interact with the NewJeans members on a daily basis… what kind of environment they practice in, how they live and work. There are so many things that don’t appear on camera, but those unseen aspects have to be in place in order for true naturalness to come through. That’s why I wanted to create that kind of environment for the girls. And also, I wanted to shape my own working environment in that way too. Only then can something truly natural, something unforced and not overly stimulating, really come out. To begin with, I don’t believe anyone can be completely natural in front of a camera or under the gaze of others. It’s human nature to become self-conscious. That’s why I think naturalness is our strength, but it can’t be our concept. If you try to turn “naturalness” into a concept, it actually becomes incredibly artificial. So why do I place so much importance on naturalness? It’s because the girls are still so young. While other kids their age are going through school and having a wide range of life experiences, these members are living very different lives. Before they officially debuted, I told them, “This is like studying together with me.” Our standard contract is seven years, which is about the same length as going through high school and college in Korea: three years of high school and four years of university. So I told them, “We’re going to school together. We’re learning together.” And in that sense, I want to be a good teacher to them. They’re also surrounded by an incredibly professional team, people they’d never meet even in a traditional school setting. I’ve never really liked the word idol. These days, that word is used more like a job title, something manufactured by the industry, and it’s far from its original meaning. To me, the term idol feels misplaced. It doesn’t really reflect who these artists are or what they represent. And I’m not the kind of person who clings to labels or terminology. In fact, what I really want is to break the stereotypes and preconceptions that come with the idol industry. I want us to show people something different… to challenge those assumptions and redefine what this can look like. That’s the kind of mindset I have. ——— “Isn't it difficult for the members to express "naturalness"?” 🧢: There were a lot of things I considered when forming the group. First and foremost, I think it was important that the members shared a similar vibe… like how I prefer working with staff who align with my taste. It’s important for the crew to be on the same wavelength. And by that, I mean more than just getting along… it also extends to shared values. Of course, people won’t all share identical values, but when we’re facing in a similar direction, everything becomes easier. It’s also just more efficient to work with people who have overlapping tastes. Now, when it comes to our members, they each have their own individual tastes, but those preferences are still in development. Just like we all went through as kids, they’re still growing, still discovering themselves. They’re not in a finished state. So we didn’t cast them based on some complete or polished version of themselves. It wasn’t like, “This person is fully formed, let’s pick her.” It was more like, “Ah, she has potential, there’s something there.” That sense of a spark… those were the kinds of subtleties I paid attention to. I didn’t cast anyone just because they were pretty or could sing well. I don’t work like that. I really value those finer, more delicate aspects. Even the design of the light stick wasn’t something that came from a long strategic planning session… it was actually a spontaneous idea. I didn’t sit down and think, “Let’s make a light stick like this.” NewJeans didn’t have a fixed logo, but I felt we still needed a unifying symbol. So one night, just before going to sleep, I kept thinking about it. Right before dozing off, I started sketching and it turned into a rabbit’s face. When I drew it out, the shape just continued and turned into a bunny. To me, the NewJeans members are like little bunnies… playful, innocent. Their visuals also resemble rabbits in a way. And rabbits symbolize abundance. That made me think: “Ah, maybe our fans will multiply like rabbits. That would be great.” So that bunny face became both a symbol for the members and the fans. The image came to me all at once, and I imagined a venue completely filled with bunny light sticks. That vision led to the creation of the light stick itself. Since I always prioritize fun in everything I do, the next idea that came to mind was making the light stick customizable. I thought, “Wouldn’t it be great if fans could personalize their bunny?” That way, each rabbit would represent a different person’s character. So we included accessories, allowing everyone to customize their own bunny. It’s symbolic of all these different bunnies coming together and enjoying a good time as one. Our light stick has a big head, so when it’s used in a concert hall, it lights up in heart shapes that are very visible. That was the image I really wanted. And that bunny face… it’s also a heart. It represents both the face of NewJeans and our hearts. It’s the love we’re showing to our fans, and the love we want to receive in return. Every time I see it, I feel deeply moved. It’s very emotional for me because it’s a perfect realization of what I envisioned. As someone with a background in creative direction, there’s nothing more satisfying than seeing an idea materialize exactly the way you imagined it. That kind of work holds deep meaning for me. ⸻ 🧢: Looking back, I think in 2023 we were able to achieve almost everything we had hoped for. I’m so incredibly grateful for that. Of course, this is an ongoing challenge… and the better things go, the more pressure there is. That’s why I always try to return to my original mindset. Just like I tell the members, I try to remind myself of the beginning and keep things fun. Back then, when we were first putting out content, planning the music, and working on visuals, I felt this thrill… this rush of excitement. I don’t want to forget that feeling. So I try hard to engrave that emotion into every album we release. I’m constantly working to rediscover the joy in all of it. So for 2024, I hope everyone can look forward to us with fresh anticipation. And even if we come out with something completely new, I hope people will receive it warmly and with excitement. That’s really my deepest wish. 🙏
21:30

Min Hee-jin (NewJeans Producer) NHK Music Interview 🔗 “Meticulously planned debut ‘Attention’” 🧢: When I was preparing to launch NewJeans, I really struggled with deciding what our first piece of content should be. I thought about it for a long time and considered many possibilities. It was a project that came with high expectations, and for me personally, it was also my first opportunity to prove myself. So how I presented it mattered enormously. Even down to the smallest details… like the impression the very first released photo might give, or what kind of impact we could make at launch. I thought hard about what kind of content would be the most effective… should it be a video or a photo? What time of day would be most effective to release it? I consider things like that very carefully. For example, the way a person experiences content at night versus during the day can feel quite different emotionally. So I even thought about those subtle aspects. Eventually, the conclusion I reached was: “Let’s make the most of our situation.” At the time, the members hadn’t been revealed, and no one knew how many of them there were or what kind of group this would be. So I wanted to maximize that curiosity. You know how the more something is concealed, the more curious people become? I wanted to build that curiosity to a peak and then release everything all at once. That’s why we decided not to release a teaser and instead go straight into a full music video. (This was actually inspired by Hyein suggesting we skip teasers.) I didn’t think still images or photos would be enough to fully convey the feeling I wanted to express. I felt that video and music together would evoke the emotional response I was looking for because people experience things synesthetically. When sound, image, and feeling come together, the emotional impact is stronger. I believed the best way to present the members’ images was through music and a moving picture… that’s why we led with a music video. In the debut music video, “Attention,” there’s a scene where the members act out a little drama. I paid very close attention to that moment and created music that would fit it precisely. For me, I don’t just make content… I design the entire process of how it should be shown for the greatest effect. And I believe that’s incredibly important. That first feeling someone gets when they encounter something… that emotion, that spark… is so important to me. I’m very detail-oriented, but I also value fun deeply. So rather than just releasing content, I want to enjoy the process leading up to it. Even when we released our second album, since we shot the entire music video across the country, the sequence of how we released the videos was critical for me. It’s hard to explain all this simply in an interview, but maybe some people noticed: the first content we released that time was actually a teaser for the last track, “ASAP,” and then we followed that with the full music video for “New Jeans,” which was the first track. That order was a carefully calculated strategy. It was designed to guide the audience’s emotional journey. Seeing the audience react just as I had hoped—that whole process was honestly so fun and thrilling for me. I think I really enjoy that kind of thing. ——— “How 'Ditto' was born” 🧢: People often praise the music of NewJeans, and I hear a lot of talk about genres. But actually, I don’t feel bound by genre at all. I love a wide variety of music. I’m not the type to insist on only one particular genre. What I love are songs that blend genres cleverly… those are my personal favorites. So going forward, my focus is not on genre but on whether something feels fresh and whether it can create an emotional moment. I don’t want to define what kind of music we make. And I think you have to experience the flow of the times to really understand what’s meaningful in a given moment. For instance, the song “Ditto” was chosen because it delivered emotion. It matched perfectly with the winter album concept I had envisioned, both in terms of timing and mood. When I hear a song, I tend to trust my gut. I have a pretty strong intuition for which songs will resonate. It’s not about objectively predicting what will be a “hit,” but about whether a song moves your heart… you can just feel it. Of course, my own taste plays a big role. But I think that’s actually my strength as a producer, not as a composer. When I hear a song, I can immediately picture the visual… what kind of story, what kind of vibe it could carry. That allows me to work faster. For example, when expressing something like school uniforms, there are so many possible variations. But I always like to start from the basics… what’s the original idea of a school uniform? I try to return to that. So with “Ditto,” I wanted to tap into something primal… the pure, basic feeling of liking someone. That kind of emotion is universal. Everyone has it; it’s wired into us. When I saw Director Shin Woo-seok’s interpretation of it, I thought, “Yes, that’s it.” That’s the kind of complete interpretation I look for. I believe the completion of a project comes from every person involved thinking about their part down to the final detail… the maximum quality they can bring out. My role is to unify and refine all of that. I draw out the essence of each person’s creativity, trimming away anything unnecessary. So the final product is something that’s polished and high-quality, just the way I envisioned it. That’s my working style. So it’s not like I’m fixated on retro or stuck in a particular style. I don’t think human taste has changed all that much. Things people liked in the past are the same things we like now. It’s just the form of expression that changes with time. I don’t feel bound by “past” or “present.” I don’t even think in those boundaries. To me, it’s all just good taste. You know how kids sometimes have their own little treasure boxes when they’re young? I think my work is kind of like that. I want to make things that never feel dated—that are timelessly enjoyable. ——— “Dance Expression and 'Hype Boy'” 🧢: I had a vision of what kind of girl group I wanted to create. That’s why I chose a song like “Hype Boy.” And to bring out that feeling, we created four different versions of the music video. Every choice had a purpose, everything was designed to maximize the experience of the song. “Hype Boy” is such a unique song. It has this strange, piercing melody that gives people chills in a good way. To emphasize that tingling feeling, I had to break away from the standard K-pop choreography format… you know, the kind where everyone is in perfect formation, doing synchronized moves. But our songs don’t suit that kind of choreography. Our dances are much harder. They require the body to move very naturally with the groove of the melody and beat. So I think our members are incredible. It’s not easy to express naturalness with your body, and you have to really enjoy it to make it look effortless. But they pulled it off so well. They’re still young, but they’re so talented. And through it all, I wanted to avoid making them look like they were performing just for business. I wanted them to show the pure joy and bright spirit that’s natural for people their age… genuine, carefree, radiant. ——— “The difference between NewJeans and conventional K-POP” 🧢: Ah, for me, it’s all about naturalness. And honestly, naturalness isn’t something you can produce or direct into existence. It comes from how I interact with the NewJeans members on a daily basis… what kind of environment they practice in, how they live and work. There are so many things that don’t appear on camera, but those unseen aspects have to be in place in order for true naturalness to come through. That’s why I wanted to create that kind of environment for the girls. And also, I wanted to shape my own working environment in that way too. Only then can something truly natural, something unforced and not overly stimulating, really come out. To begin with, I don’t believe anyone can be completely natural in front of a camera or under the gaze of others. It’s human nature to become self-conscious. That’s why I think naturalness is our strength, but it can’t be our concept. If you try to turn “naturalness” into a concept, it actually becomes incredibly artificial. So why do I place so much importance on naturalness? It’s because the girls are still so young. While other kids their age are going through school and having a wide range of life experiences, these members are living very different lives. Before they officially debuted, I told them, “This is like studying together with me.” Our standard contract is seven years, which is about the same length as going through high school and college in Korea: three years of high school and four years of university. So I told them, “We’re going to school together. We’re learning together.” And in that sense, I want to be a good teacher to them. They’re also surrounded by an incredibly professional team, people they’d never meet even in a traditional school setting. I’ve never really liked the word idol. These days, that word is used more like a job title, something manufactured by the industry, and it’s far from its original meaning. To me, the term idol feels misplaced. It doesn’t really reflect who these artists are or what they represent. And I’m not the kind of person who clings to labels or terminology. In fact, what I really want is to break the stereotypes and preconceptions that come with the idol industry. I want us to show people something different… to challenge those assumptions and redefine what this can look like. That’s the kind of mindset I have. ——— “Isn't it difficult for the members to express "naturalness"?” 🧢: There were a lot of things I considered when forming the group. First and foremost, I think it was important that the members shared a similar vibe… like how I prefer working with staff who align with my taste. It’s important for the crew to be on the same wavelength. And by that, I mean more than just getting along… it also extends to shared values. Of course, people won’t all share identical values, but when we’re facing in a similar direction, everything becomes easier. It’s also just more efficient to work with people who have overlapping tastes. Now, when it comes to our members, they each have their own individual tastes, but those preferences are still in development. Just like we all went through as kids, they’re still growing, still discovering themselves. They’re not in a finished state. So we didn’t cast them based on some complete or polished version of themselves. It wasn’t like, “This person is fully formed, let’s pick her.” It was more like, “Ah, she has potential, there’s something there.” That sense of a spark… those were the kinds of subtleties I paid attention to. I didn’t cast anyone just because they were pretty or could sing well. I don’t work like that. I really value those finer, more delicate aspects. Even the design of the light stick wasn’t something that came from a long strategic planning session… it was actually a spontaneous idea. I didn’t sit down and think, “Let’s make a light stick like this.” NewJeans didn’t have a fixed logo, but I felt we still needed a unifying symbol. So one night, just before going to sleep, I kept thinking about it. Right before dozing off, I started sketching and it turned into a rabbit’s face. When I drew it out, the shape just continued and turned into a bunny. To me, the NewJeans members are like little bunnies… playful, innocent. Their visuals also resemble rabbits in a way. And rabbits symbolize abundance. That made me think: “Ah, maybe our fans will multiply like rabbits. That would be great.” So that bunny face became both a symbol for the members and the fans. The image came to me all at once, and I imagined a venue completely filled with bunny light sticks. That vision led to the creation of the light stick itself. Since I always prioritize fun in everything I do, the next idea that came to mind was making the light stick customizable. I thought, “Wouldn’t it be great if fans could personalize their bunny?” That way, each rabbit would represent a different person’s character. So we included accessories, allowing everyone to customize their own bunny. It’s symbolic of all these different bunnies coming together and enjoying a good time as one. Our light stick has a big head, so when it’s used in a concert hall, it lights up in heart shapes that are very visible. That was the image I really wanted. And that bunny face… it’s also a heart. It represents both the face of NewJeans and our hearts. It’s the love we’re showing to our fans, and the love we want to receive in return. Every time I see it, I feel deeply moved. It’s very emotional for me because it’s a perfect realization of what I envisioned. As someone with a background in creative direction, there’s nothing more satisfying than seeing an idea materialize exactly the way you imagined it. That kind of work holds deep meaning for me. ⸻ 🧢: Looking back, I think in 2023 we were able to achieve almost everything we had hoped for. I’m so incredibly grateful for that. Of course, this is an ongoing challenge… and the better things go, the more pressure there is. That’s why I always try to return to my original mindset. Just like I tell the members, I try to remind myself of the beginning and keep things fun. Back then, when we were first putting out content, planning the music, and working on visuals, I felt this thrill… this rush of excitement. I don’t want to forget that feeling. So I try hard to engrave that emotion into every album we release. I’m constantly working to rediscover the joy in all of it. So for 2024, I hope everyone can look forward to us with fresh anticipation. And even if we come out with something completely new, I hope people will receive it warmly and with excitement. That’s really my deepest wish. 🙏

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17,635 次观看 • 11 个月前