All Manga/LNs that are not yet in MAL's database will be updated to this list instead

Currently Reading ─────────────────

• None at the moment ^~^

On Hold ─────────────────

• Manga | Ch 3/? | Vol ? | Ichizu de Bitch na Kouhai
• Manga | Ch 2/? | Vol ? |Urgent Request: How to Raise an Abandoned Dragon

Plan to Read ─────────────────

• Underage Eve
• Dungeon Defense
• 1 x ½

Completed ─────────────────

• Manga | Vol 0 | Ch 3/3 | Rating 8/10 | The Girls' Arcadia

Với thị trường thiết bị âm thanh ngày càng đa dạng và bão hòa đi thì việc chọn một sản phẩm phù hợp với yêu cầu đôi khi không phải là dễ dàng với nhiều người dùng! Dòng cục đẩy chính hãng Yamaha nổi bật với chất lượng tốt cũng như mức giá đa dạng nổi bật với model Cục đẩy XP7000 giá tốt đang là lựa chọn của nhiều khách hàng? Vậy tại sao model đó lại có thể chinh phục được khách hàng? Và co nen mua day cong suat Yamaha XP7000 không? Hãy cùng chúng tôi tìm câu trả lời cho vấn đề này ngay sau đây! https://khangphudataudio.com/cuc-day-yamaha Đánh giá cục đẩy Yamaha XP7000 chính hãng Cục đẩy công suất Yamaha hiện nay đang là một trong số những dòng sản phẩm có chất lượng cũng như uy tín lớn trên thị trường! Đa dạng về thiết kế mẫu mã cho đến mức giá cũng như cấu hình - cục đẩy công suất Yamaha luôn biết chiều lòng khách hàng và giỏi nắm bắt thị hiếu của người tiêu dùng! Mẫu cuc day Yamaha XP7000 chính hãng được sở hữu những ưu điểm tuyệt vời của các sản phẩm trước cũng như có được các nâng cấp đáng giá để đáp ứng lại nhu cầu ngày càng tăng của người dùng! - Thiết kế khung chuẩn 2U với trọng lượng nhẹ hơn: Sở hữu công nghệ EEEngine cùng với nhiều sáng tạo ấn tượng đến từ Yamaha - các sản phẩm thuộc bộ khuyếch đại dòng XP đều được thiết kế theo khung 2U tiêu chuẩn - cực kỳ nhỏ gọn, đẹp mắt mà vẫn có được sự chất lượng cho âm thanh. Cũng bởi sự tối ưu từ trong ra ngoài mà Yamaha XP7000 có được trọng lượng nhẹ hơn hẳn so với nhiều model cùng phân khúc nên việc di chuyển cũng như cài đặt sản phẩm được dễ dàng và nhanh chóng hơn hẳn! - Bộ đầu kết nối chuyên nghiệp đa dụng cho nhiều ứng dụng khác nhau: Bạn có thể dễ dàng kết nối XP7000 với các thiết bị âm thanh khác với đầu vào XLR và Eurblock, Speakon cùng đầu ra liên kết 5 hướng! - Là bản phối hoàn hảo của hiệu suất và tính ứng dụng cao: Mẫu cục đẩy Yamaha XP7000 có thể ứng dụng trong việc điều khiển dòng 70V (âm thanh nổi) trong khi đó XP3500 lại tương thích với dòng 100V - nối tắt cho những hệ thống mutil-speaker trở kháng cao! Đây là dòng sản phẩm được khuyên dùng cho những không gian tầm trung như hội trường, sự kiện, tiệc cưới, nhà hàng hay còn có các triển lãm, hòa nhạc,... - Công nghệ EEEngine cao cấp chưa từng có: Với một bộ chuyển mạch tân tiến cùng công nghệ Yamaha EEEnigine gốc được gắn cho dòng khuyếch đại XP đã mang đến cho XP7000 mức hiệu năng chưa từng có! Bộ điều chuyển mạch giúp mức điện áp luôn ở mức ổn định cũng như dòng điện có hiệu suất truyền động tối đa và với công nghệ EEEngine đã giúp tiết kiệm điện năng tiêu thụ một cách đáng kể mà không ảnh hưởng đến chất âm đầu ra! Chính hiệu suất cực tốt này cũng giúp cho sự phát sinh vì nhiệt được giảm xuống, kéo dài tuổi thọ cũng như giảm đáng kể trọng lượng của thiết bị! - Kiểm soát, giám sát hoạt động từ xa: Những sản phẩm thuộc dòng cục đẩy XP của Yamaha nói chung là model XP7000 nói riêng luôn có màn hình đầu cuối từ xa cho phép người dùng căn chỉnh cũng như giám sát từ xa về tình trạng bảo vệ cũng như mức độ đầu ra hay tắt tiếng và chế độ chờ cho thiết bị! - Mạch bảo vệ cao cấp, quạt làm mát với tốc độ biến thiên: Với hệ thống tắt tiếng bật nguồn, bảo vệ đầu ra, phát hiện DC cao cấp hiện đại với đầy đủ chỉ số cần thiết - cục đẩy Yamaha XP7000 có được khả năng tự bảo vệ một cách tốt nhất trước những sự cố ngoài ý muốn! Đồng thời hệ thống quạt gió biến thiên về tốc độ và chạy cực êm sẽ giúp ngăn chặn sự phát hiện quá lớn cũng như duy trì được mức nhiệt trong ngưỡng an toàn một cách hiệu quả! Hi vọng những đánh giá trên đây sẽ giúp quý khách trả lời được câu hỏi có nên mua cục đẩy công suất XP7000 hay không? Đồng thời nếu quý khách muốn tư vấn chi tiết hay tham khảo thêm về các dự án trên thực tế hãy gọi cho chúng tôi để được tư vấn tốt nhất nhé! Se more: https://khangphudataudio.com/dan-am-thanh-hoi-truong

Phòng khách là không gian mặt tiền của nội thất của ngôi nhà nên vấn đề về trang trí cho khu vực này được khá nhiều gia chủ quan tâm đến. Không chỉ được chú trọng vào thiết kế nội thất mà yếu tố gạch ốp tường cũng góp phần quan trọng tạo nên bộ mặt chính này. Tuy nhiên, với sự đa dạng về mẫu mã cũng như chủng loại gạch ốp lát trên thị trường ngày nay, để chọn được mẫu gạch ốp tường phù hợp với không không gian, kích thước hay chất liệu tương ứng không phải là điều dễ dàng. Trong bài viết dưới đây, Casagranda sẽ gửi đến các bạn những cách lựa chọn gạch ốp tường cho không gian phòng khách phù hợp với từng thiết kế nhé! 1. Màu sắc Đối với yếu tố màu sắc của gạch ốp tường sẽ được lựa chọn dựa trên màu sắc của tổng thể căn phòng đồ nội thất và gạch lát nền. Nếu gạch ốp tường được chọn phụ thuộc vào tổng thể căn phòng thì sẽ được lấy gam màu trung tính giữa gạch lát nền và đồ nội thất. Để tạo sự hài hòa cho không gian sống, bạn có thể sử dụng đồ nội thất và gạch ốp tường có chung gam màu. Đối với các gia chủ yêu thích sự sáng tạo có thể chọn gạch ốp tường phản với gam màu nội thất tạo mang đến sự đối lập thú vị cho thiết kế. Thông thường trong thiết kế, gạch ốp tường sẽ được họn trùng màu với gạch lát nền nhằm đem đến sự hài hòa cho không gian và tạo cảm giác an toàn. Bên cạnh đó, một số gia chủ sẽ lựa chọn gam màu dựa theo yếu tố phong thủy với mong muốn mang lại sự bình an và may mắn cho gia đình. 2. Kích thước Tính thẩm mỹ của mỗi không gian sẽ phụ thuộc khá nhiều vào kích thước của gạch ốp, do đó người ta sẽ chọn những kích cỡ gạch tươn úng với diện tích để tạo nên sự cân bằng cho tổng thể. Tránh lựa chọn các loại gạch nhỏ cho không gian lớn, bởi các đường cắt sẽ khiến thẩm mỹ căn phòng trở nên rối mắt và diện tích sẽ thu hẹp hơn so với thực tế. Ngược lại với các phòng khách có diện tích nhỏ được sử dụng các khổ gạch lớn sẽ làm không gian bị ngộp và chật chột. - Đối với các phòng khách có diện tích khiêm tốn, bạn có thể sử dụng các dòng gạch có kích thước nhỏ hoặc trung bình như gạch ốp tường 30x30, gạch ốp tường 20x40, gạch ốp tường 40x40... - Đối với các phòng khách có diện tích lớn, chúng ta nên dùng các dòng gạch ốp tường 30x60, gạch ốp tường 60x60, gạch ốp tường 90x90... 3. Chất liệu gạch Chất liệu gạch ốp lát hiện nay khá đa dạng và phong phú, ba loại chất liệu được sử dụng phổ biến là gạch ceramic, gạch granite và gạch porcelain. - Gạch ceramic hay còn được gọi là gạch men, đây là dòng gạch ốp lát có thành phần chính làm từ đất sét và có bề mặt được tráng men, thường được trang trí với các họa tiết hoặc hoa văn. Đây là dòng gạch có giá thành tương đối thấp và được sử dụng rộng rãi trong các công trình không yêu cầu chất lượng quá cao. - Gạch porcelain còn có tên gọi khác là gạch bán sứ có thành phần chủ yếu từ bột đá tự nhiên, thân gạch được ứng dụng công nghệ cao nên có chất lượng tốt hơn hai dòng còn lại, có độ bền cao, chịu lực tốt cùng khả năng chống thấm thấm nước tuyệt đối. Bề mặt được thiết kế đa dang với các mẫu vân đá, gạch vân gỗ, gạch vân cement... phù hợp với mọi công trình dự án đòi hỏi kĩ thuật chất lượng cao. - Gạch granite cũng được biết đến với tên gọi khác như gạch bóng kiếng, gạch đồng chất, dòng gạch này có có kết cấu chính là từ đất sét và bột đá, có khả năng chịu lực cao và đuợc sử dụng phổ biến với các dự án. Mỗi chất liệu gạch đều có một đặc tính riêng và tương ứng với mỗi công trình khác nhau. Do đó, tùy theo nhu cầu và chi phí của mỗi dự án chúng ta có thể lựa chọn dòng gạch phù hợp. Trên đây là các thông tin về cách lựa chọn gạch ốp tường cho không gian phòng khách, hi vọng sẽ giúp các gia chủ dễ dàng hơn trong việc lựa chọn vật liệu cho ngôi nhà lý tưởng của mình. Để tham khảo thêm một số sản phẩm gạch ốp tường và bộ sưu tập gạch ốp lát, quý khách có thể đến với showroom Casagranda tại địa chỉ 152 Nguyễn Văn Trỗi, Phường 8, Quận Phú Nhuận, thành phố Hồ Chí Minh.

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Trong quá trình xây dựng hoặc tân trang nhà ở, chúng ta không thể đảm bảo được tất cả các quy trình sẽ hoàn thiện được đầy đủ và đúng kĩ thuật. Nếu như bức tường được sử dụng gạch ốp lát bị bong ra do việc ốp tường không đúng cách hoặc dùng loại keo không tương thích, một thời gian sau khi sử dụng sẽ khiến bong tróc viên gạch gây mất thẩm mĩ cho ngôi nhà. Vậy làm thế nào để xử lý các trường hợp trên một các hợp lý nhất? Casagranda sẽ chia sẽ các nguyên nhân gây nên cũng như các kỹ thuật xử lý gạch ốp tường bị bong trong bài viết sau đây, chúng ta hãy cùng tham khảo nhé! 1. Nguyên nhân làm gạch ốp tường bị bong tróc Đối với vấn đề này, có khá nhiều nguyên nhân làm gạch ốp tường không được bám dính và làm bong tróc khỏi khỏi bức tường. Thông thường một số sai sót đến từ quá trình thi công gạch ốp tường không đúng với kỹ thuật và không đạt yêu cầu, có một số nơi dùng vữa để thay keo dán gạch và xi măng khiến cho chất lượng kết dính giảm dễ làm rơi và hỏng gạch. Đối với giai đoạn trát vữa lên bề mặt, phải trát đúng phương pháp và dùng đúng loại bay, nếu dùng sai sẽ làm lớp vữa trát có khoảng trống làm gạch không kết dính và nhanh chóng bong rơi. Đồng thời, các khoảng trống này sẽ dễ bị nước tích tụ, gây ẩm mốc và vi khuẩn làm lớp keo hư hỏng. 2. Cách khắc phục hạn chế các trường hợp bị bong gạch ốp tường Để khắc phục các trường hợp gạch ốp tường bị bong rơi, chúng ta cần sử dụng các loại keo dán gạch đạt tiêu chuẩn, đảm bảo các điều kiện và nhu cầu sử dụng để đem lại chất lượng tốt nhất cho công trình. Nên chọn lựa các thương hiệu gạch chính hãng và có uy tín cao nhằm đảm bảo chất lượng gạch ốp lát tốt nhất. Đảm bảo phương pháp thi công và kỹ thuật ốp lát đúng với yêu cầu. Khi thi công ốp gạch tường cần sử dụng bay có răng cưa để trát keo dán đều khắp bề mặt tường ốp gạch, sau khi phủ đều keo thì dùng ốp gạch lên đúng với hàng để tính và chừa mạch khoảng 2 mm để đúng với tiêu chuẩn thi công của từng loại gạch ốp lát. Đối với các mẫu gạch ốp tường 30x60 cm đến gạch ốp tường 60x60 cm, chúng ta nên trát theo keo xi măng đều lên mặt sau của viên gạch rồi mới ốp lên tường. 3. Kỹ thuật xử lý gạch ốp tường bị bong Đối với trường hợp gạch đã bị bong gạch ốp tường, bạn nên chú ý làm theo trình tự sau: - Xác định vị trí và kích thước của khu vực gạch ốp tường bị bong tróc. - Sử dụng máy cắt gạch và cắt theo đường mạch của gạch ốp lát giữa gạch ốp với viên chưa ốp để thay thế viên bị bong - Lấy gạch ốp bị bong tróc ra bằng cách đục toàn bộ vị trí lỗi, đồng thời đục sâu vào nền ốp vữa khoảng 4 mm. - Trộn keo vữa và cán lại lớp nền ốp cho bằng phẳng dưới đáy của viên gạch sắp thay thế. - Đổ nước vào nước hồ dầu (xi măng tinh) tạo ra một hỗn hợp vừa đủ đặc, sau đó đổ vào lớp nền vữa vừa đục và tiến hành ốp gạch, cuối cùng là tiến hành trát ron vào mạch liền cho ra bề mặt ốp lát như ban đầu. Trên đây là các vấn đề về xử lý trường hợp gạch ốp tường bị bong tróc, mong rằng các thông tin hữu ích trên sẽ giúp các gia chủ hoàn thiện công trình của mình một các hiệu quả và nhanh chóng. Bên cạnh đó, để tìm hiểu thêm các vấn đề về gạch ốp lát cũng như các thông tin sản phẩm gạch, quý khách có thể liên hệ để được tư vấn bởi Casagranda qua thông tin dưới đây: Liên Hệ Casagranda Hotline: 028 3846 3310 Địa chỉ: 152 Nguyễn Văn Trỗi, Phường 8, Quận Phú Nhuận, thành phố Hồ Chí Minh.

1. Kimi no Na wa.
2. Koe no Katachi
3. Gintama Movie 2: Kanketsu-hen - Yorozuya yo Eien Nare
4. Kizumonogatari III: Reiketsu-hen
5. Seishun Buta Yarou wa Yumemiru Shoujo no Yume wo Minai
6. Ookami Kodomo no Ame to Yuki
7. Suzumiya Haruhi no Shoushitsu
8. Fate/stay night Movie: Heaven's Feel - II. Lost Butterfly
9. Kizumonogatari II: Nekketsu-hen
10. Mushishi Zoku Shou: Suzu no Shizuku

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Speaking bluntly, Albegas is all over the place. Which is good for an episodic show - its twists and turns keep amusing the viewer for the entire duration. Albegas was made by the Dairugger team, and offers an alternative view on the Toeizinger formula (such as not-Boss Goro being a crucial part of most fights he's in, saving the heroes' overconfident asses and consistently foiling Derringer schemes with his unpredictable stupidity). Dairugger influence can be seen in the show’s tone, just as moody and depressing. Initial focus on peaceful civilian life gives way to misery and poverty of a defeated country. Damage accumulates over time, people's cheerfulness turns into gloom, TV starts broadcasting advices like "When you lose a war, your money loses its value. Prepare for the age of gold: history taught us so. No matter how tough it gets, those who have gold will manage to pull through". Even the school gets closed midway through the show, and studying becomes the least of the heroes' worries. Persistently looming threat of a full-blown invasion, necessity to patrol, and paranoid alertness eventually start taking their toll. Hotaru, who eagerly accepted her task in the beginning ("In the age when a woman went to space, a woman should be allowed to pilot a robot!"), suffers a meltdown outright, yet the professor keeps relentlessly forcing her into the robot: "No matter how hard, scary and painful it may be, clench your teeth and think of protecting your homeland!". While the aliens’ perspective is undeniably weaker than the one in Dairugger, their side of events keeps escalating in a similar manner. The first field commander fails to convey the prime importance of trust and teamwork to his subordinates, which combined with extreme pressure from Delan makes him suffer from a heart attack. In my experience, not many /m/ villains utter "please wake me up from this nightmare" in the wake of constant defeats by the hero. Mirror Zero and Darry are the only two generals to receive a sufficient amount of dedicated episodes, with the rest getting the short end of the stick. Cassiopea Hurricane/Katastra gets hit the hardest in this regard. Albegas also offers a hot take on the rotten youth, complete with hanging out in seedy places, doing unspecified drugs, drinking irresponsibly and causing ruckus, as well as utterly disregarding their duties. There are two sides to the classic "adults are bad" message. One says "they're bad for refusing to accept the kids' desire to express themselves", another one goes "the only fault of the previous generation lies in their inability to drill sufficient amounts of iron discipline and ambition into the minds of the youth". As for the aforementioned wild turns, enemies in the vein of Lion Mask or Kenji Miyazawa’s Galactic Express would be the most tame examples. One of the episodes gets Daisaku so pissed off he refuses to use Triple Sword as a finisher, instead ripping the enemy apart with the robot’s bare hands for maximum bm. Another one goes as far as to use topical Cold War-era issue, in which a certain "East country" shoots down a passenger flight that infiltrated its airspace, leading to extreme tensions with a certain "West country". https://en.wikipedia.org/wiki/Korean_Air_Lines_Flight_007 Which event happened when the show was airing, and got creatively adapted to an episode plot merely four-odd months later. Even Ishinomori with all of his loaded stories wasn't this bold. Having said that, things like distinctively blocky mechanical design, teacher-centered comedic bits, mostly limited animation and rather simple art (aside from the occasional moments with full Machine Robo-tier shading) require a proper mindset to fully enjoy. I found Albegas to be a decently fun way to pass the time. As for you, if you're the least bit interested, give it a try and see for yourself.

Exercise - 1 To begin training, take the sitting posture with the legs crossed. You might feel more comfortable if the legs are not interlocked but evenly placed on the ground, without pressing one against the other. If you find that sitting on the floor interferes with contemplation, then obtain a more comfortable way of sitting. Now proceed with each exercise in contemplation as described. Try to keep your mind (but not your eyes) on the abdomen. You will thereby come to know the movements of rising and falling of it. If these movements are not clear to you in the beginning, then place both hands on the abdomen to feel these rising and falling movements. After a short time the upward movement of exhalation will become clear. Then make a mental note of rising for the upward movement, falling for the downward movement. Your mental note of each movement must be made while it occurs. From this exercise you learn the actual manner of the upward and downward movements of the abdomen. You are not concerned with the form of the abdomen. What you actually perceive is the bodily sensation of pressure caused by the heaving movement of the abdomen. So do not dwell on the form of the abdomen but proceed with the exercise. For the beginner it is a very effective method of developing the faculties of attention, concentration of mind and insight in contemplation. As practice progresses, the manner of the movements will be clearer. The ability to know each successive occurrence of the mental and physical processes at each of the six sense organs is acquired only when insight contemplation is fully developed. Since you are only a beginner whose attentiveness and power of concentration are still weak, you may find it difficult to keep the mind on each successive rising movement and falling movement as it occurs. In view of this difficulty, you may be inclined to think, "I just don't know how to keep my mind on each of these movement." Then simply remember that this is a learning process. The rising and falling movements of the abdomen are always present and therefore there is no need to look for them. Actually it is easy for a beginner to keep his or her mind on these two simple movements. Continue with this exercise in full awareness of the abdomen's rising and falling movements. Never verbally repeat the words, rising, falling, and do not think of rising and falling as words. Be aware only of the actual process of the rising and falling movements of the abdomen. Avoid deep or rapid breathing for the purpose of making the abdominal movements more distinct, because this procedure causes fatigue that interferes with the practice. Just be totally aware of the movements of rising and falling as they occur in the course of normal breathing. Exercise - 2 While occupied with the exercise of observing each of the abdominal movements, other mental activities may occur between the noting of each rising and falling. Thoughts or other mental functions, such as intentions, ideas, imaginings, are likely to occur between each mental note of rising and falling. They cannot be disregarded. A mental note must be made of each as it occurs. If you imagine something, you must know that you have done so and make a mental note, imagining. If you simply think of something, mentally note, thinking. If you reflect, reflecting. If you intend to do something, intending. When the mind wanders from the object of meditation which is the rising and falling of the abdomen, mentally note, wandering. Should you imagine you are going to a certain place, note going. When you arrive, arriving. When, in your thoughts, you meet a person, note meeting. Should you speak to him or her, speaking. If you imaginarily argue with that person, note arguing. If you envision or imagine a light or colour, be sure to note seeing. A mental vision must be noted on each occurrence of its appearance until it passes away. After its disappearance continue with Basic Exercise I, by being fully aware of each movement of the rising and falling abdomen. Proceed carefully, without slackening. If you intend to swallow saliva while thus engaged, make a mental note intending. While in the act of swallowing, swallowing. If you spit, spitting. Then return to the exercise of noting rising and falling. Suppose you intend to bend the neck, note intending. In the act of bending, bending. When you intend to straighten the neck, intending. In the act of straightening the neck, straightening. The neck movements of bending and straightening must be done slowly. After mentally making a note of each of these actions, proceed in full awareness with noticing the movements of the rising and falling abdomen. Exercise - 3 Since you must continue contemplating for a long time while in one position, that of sitting or lying down, you are likely to experience an intense feeling of fatigue, stiffness in the body or in the arms and legs. Should this happen, simply keep the knowing mind on that part of the body where such feelings occur and carry on the contemplation, noting tired or stiff. Do this naturally; that is, neither too fast nor too slow. These feelings gradually become fainter and finally cease altogether. Should one of these feelings become more intense until the bodily fatigue or stiffness of joints is unbearable, then change your position. However, do not forget to make a mental note of intending, before you proceed to change your position. Each movement must be contemplated in its respective order and in detail. If you intend to lift the hand or leg, make a mental note intending. In the act of lifting the hand or leg, lifting. Stretching either the hand or the leg, stretching. When you bend it, bending. When putting it down, putting. Should either the hand or leg touch, touching. Perform all of these actions in a slow and deliberate manner. As soon as you are settled in the new position, continue with the contemplation in another position keeping to the procedure outlined in this paragraph. Should an itching sensation be felt in any part of the body, keep the mind on that part and make a mental note, itching. Do this in a regulated manner, neither too fast nor too slow. When the itching sensation disappears in the course of full awareness, continue with the exercise of noticing the rising and falling of the abdomen. Should the itching continue and become too strong and you intend to rub the itchy part, be sure to make a mental note, intending. Slowly lift the hand, simultaneously noting the actions of lifting; and touching, when the hand touches the part that itches. Rub slowly in complete awareness of rubbing. When the itching sensation has disappeared and you intend to discontinue rubbing be mindful by making the usual mental note of intending. Slowly withdraw the hand, concurrently making a mental note of the action, withdrawing. When the hand rests in its usual place touching the leg, touching. Then again devote your time to observing the abdominal movements. If there is pain or discomfort, keep the knowing mind on that part of the body where the sensation arises. Make a mental note of the specific sensation as it occurs, such aspainful, aching, pressing, piercing, tired, giddy. It must be stressed that the mental note must not be forced nor delayed but made in a calm and natural manner. The pain may eventually cease or increase. Do not be alarmed if it increases. Firmly continue the contemplation. If you do so, you will find that the pain will almost always cease. But if, after a time, the pain has increased and becomes unbearable, you must ignore the pain and continue with the contemplation of rising and falling. As you progress in mindfulness you may experience sensations of intense pain: stifling or choking sensations, such as pain from the slash of a knife, the thrust of a sharp-pointed instrument, unpleasant sensations of being pricked by sharp needles, or of small insects crawling over the body. You might experience sensations of itching, biting, intense cold. As soon as you discontinue the contemplation you may also feel that these painful sensations cease. When you resume contemplation you will have them again as soon as you gain in mindfulness. These painful sensations are not to be considered as something wrong. They are not manifestations of disease but are common factors always present in the body and are usually obscured when the mind is normally occupied with more conspicuous objects. When the mental faculties become keener you are more aware of these sensations. With the continued development of contemplation the time will come when you can overcome them and they will cease altogether. If you continue contemplation, firm in purpose, you will not come to any harm. Should you lose courage, become irresolute in contemplation and discontinue for some time, you may encounter these unpleasant sensations again and again as your contemplation proceeds. If you continue with determination you will most likely overcome these painful sensations and may never again experience them in the course of contemplation. Should you intend to sway the body, then knowingly note intending. While in the act of swaying, swaying. When contemplating you may occasionally discover the body swaying back and forth. Do not be alarmed; neither be pleased nor wish to continue to sway. The swaying will cease if you keep the knowing mind on the action of swaying and continue to note swaying until the action ceases. If swaying increases in spite of your making a mental note of it, then lean against a wall or post or lie down for a while. Thereafter proceed with contemplation. Follow the same procedure if you find yourself shaking or trembling. When contemplation is developed you may sometimes feel a thrill or chill pass through the back or the entire body. This is a symptom of the feeling of intense interest, enthusiasm or rapture. It occurs naturally in the course of good contemplation. When your mind is fixed in contemplation you may be startled at the slightest sound. This takes place because you feel the effect of sensory impression more intensely while in a state of concentration. If you are thirsty while contemplating, notice the feeling, thirsty. When you intend to stand, intending. Keep the mind intently on the act of standing up, and mentally notestanding. When you look forward after standing up straight, note looking, seeing. Should you intend to walk forward, intending. When you begin to step forward, mentally note each step as walking, walking, or left, right. It is important for you to be aware of every moment in each step from the beginning to the end when you walk. Adhere to the same procedure when strolling or when taking walking exercise. Try to make a mental note of each step in two sections as follows: lifting, putting, lifting, putting. When you have obtained sufficient practice in this manner of walking, then try to make a mental note of each step in three sections; lifting, pushing, putting; or up, forward, down. When you look at the tap or water-pot on arriving at the place where you are to take a drink, be sure to make a mental note, looking, seeing. When you stop walking, stopping. When you stretch out the hand, stretching. When you touch the cup, touching. When you take the cup, taking. When dipping the cup into the water, dipping. When bringing the cup to the lips, bringing. When the cup touches the lips, touching. When you swallow, swallowing. When returning the cup, returning. When withdrawing the hand, withdrawing. When you bring down the hand, bringing. When the hand touches the side of the body, touching. If you intend to turn round, intending. When you turn round, turning. When you walk forward, walking. On arriving at the place where you intend to stop, intending. When you stop, stopping. If you remain standing for some time continue the contemplation of rising and falling. But if you intend to sit down, note intending. When you go to sit down, walking. On arriving at the place where you will sit, arriving. When you turn to sit, turning. While in the act of sitting down,sitting. Sit down slowly, and keep the mind on the downward movement of the body. You must notice every movement in bringing the hands and legs into position. Then resume the practice of contemplating the abdominal movements. Should you intend to lie down, note intending. Then proceed with the contemplation of every movement in the course of lying down: lifting, stretching, putting, touching, lying. Then take as the object of contemplation every movement in bringing the hands, legs and body into position. Perform these actions slowly. Thereafter, continue with noting rising and falling. Should pain, fatigue, itching, or any other sensation be felt, be sure to notice each of these sensations. Notice all feelings, thoughts, ideas, considerations, reflections; all movements of hands, legs, arms and body. If there is nothing in particular to note, put the mind on the rising and falling of the abdomen. When sleepy, make a mental note, sleepy. After you have gained sufficient concentration in contemplating you will be able to overcome drowsiness and you will feel refreshed as a result. Take up again the usual contemplation of the basic object. If you are unable to overcome the drowsy feeling, you must continue contemplating drowsiness until you fall asleep. The state of sleep is the continuity of sub-consciousness. It is similar to the first state of rebirth consciousness and the last state of consciousness at the moment of death. This state of consciousness is feeble and therefore, unable to be aware of an object. When you awake, the continuity of sub-consciousness occurs regularly between moments of seeing, hearing, tasting, smelling, touching, and thinking. Because these occurrences are of brief duration they are not usually clear and therefore not noticeable. Continuity of sub-consciousness remains during sleep - a fact which becomes obvious when you wake up; for it is in the state of wakefulness that thoughts and sense objects become distinct. Contemplation should start at the moment you wake up. Since you are a beginner, it may not be possible yet for you to start contemplating at the very first moment of wakefulness. But you should start with it when you remember that you are to contemplate. For example, if on awakening you reflect on something, you should become aware of the fact and begin your contemplation by a mental note, reflecting. Then proceed with the contemplation of rising and falling. When getting up from the bed, mindfulness should be directed to every detail of the body's activity. Each movement of the hands, legs and rump must be performed in complete awareness. Are you thinking of the time of day when awakening? If so, note thinking. Do you intend to get out of bed? If so, note intending. If you prepare to move the body into position for rising, note preparing. As you slowly rise, rising. Should you remain sitting for any length of time, revert to contemplating the abdominal movements. Perform the acts of washing the face or taking a bath in due order and in complete awareness of every detailed movement; for instance, looking, seeing, stretching, holding, touching, feeling cold, rubbing. In the acts of dressing, making the bed, opening and closing doors and windows, handling objects, be occupied with every detail of these actions in sequence. You must attend to the contemplation of every detail in the action of eating; When you look at the food, looking, seeing. When you arrange the food, arranging. When you bring the food to the mouth, bringing. When you bend the neck forwards, bending. When the food touches the mouth, touching. When placing the food in the mouth, placing. When the mouth closes, closing. When withdrawing the hand, withdrawing. Should the hand touch the plate, touching. When straightening the neck, straightening. When in the act of chewing, chewing. When you are aware of the taste, knowing. When swallowing the food, swallowing. While swallowing the food, should the food be felt touching the sides of the gullet, touching. Perform contemplation in this manner each time you take a morsel of food until you finish your meal. In the beginning of the practice there will be many omissions. Never mind. Do not waver in your effort. You will make fewer omissions if you persist in your practice. When you reach an advanced stage of the practice you will also to be able to notice more details than those mentioned here. Advancement in Contemplation After having practiced for a day and a night you may find your contemplation considerably improved. You may be able to prolong the basic exercise of noticing the abdominal movements. At this time you will notice that there is generally a break between the movements of rising and falling. If you are in the sitting posture, fill in this gap with a mental note of the fact of sitting in this way: rising, falling, sitting. When you make a mental note of sitting, keep your mind on the erect position of the upper body. When you are lying down you should proceed with full awareness as follows: rising, falling, lying. If you find this easy, continue with noticing these three sections. Should you notice that a pause occurs at the end of the rising as well as at the end of the falling movement, then continue in this manner: rising, sitting, falling, sitting. Or when lying down: rising, lying, falling, lying. Suppose you no longer find it easy to make a mental note of three or four objects in the above manner. Then revert to the initial procedure of noting only the two sections; rising and falling. While engaged in the regular practise of contemplating bodily movements you need not be concerned with objects of seeing and hearing. As long as you are able to keep your mind on the abdominal movements of rising and falling it is assumed that the purpose of noticing the acts and objects of seeing is also served. However, you may intentionally look at an object; two or three times, note as seeing. Then return to the awareness of the abdominal movements. Suppose some person comes into your view. Make a mental note of seeing, two or three times and then resume attention to the rising and falling movements of the abdomen. Did you happen to hear the sound of a voice? Did you listen to it? If so make a mental note of hearing, listening and revert to rising and falling. But suppose you heard loud noises, such as the barking of dogs, loud talking or shouting. If so, immediately make a mental note two or three times, hearing, then return to your basic exercise. If you fail to note and dismiss such distinctive sounds as they occur, you may inadvertently fall into reflections about them instead of proceeding with intense attention to rising and falling, which may then become less distinct and clear. It is by such weakened attention that mind-defiling passions breed and multiply. If such reflections do occur, make a mental note reflecting, two or three times, then again take up the contemplation of rising and falling. Should you forget to make a mental note of body, leg or arm movements, then mentally note forgetting, and resume your usual contemplation on abdominal movements. You may feel at times that breathing is slow or that the rising and falling movements are not clearly perceived. When this happens, and you are in the sitting position, simply move the attention to sitting, touching; or if you are lying down, to lying, touching. While contemplating touching, your mind should not be kept on the same part of the body but on different parts successively. There are several places of touch and at least six or seven should be contemplated. Basic Exercise IV Up to this point you have devoted quite some time to the training course. You might begin to feel lazy after deciding that you have made inadequate progress. By no means give up. Simply note the fact, lazy. Before you gain sufficient strength in attention, concentration and insight, you may doubt the correctness or usefulness of this method of training. In such a circumstance turn to contemplation of the thought, doubtful. Do you anticipate or wish for good results? If so, make such thoughts the subject of your contemplation; anticipating, or wishing. Are you attempting to recall the manner in which the training was conducted up to this point? Yes? Then take up contemplation on recollecting. Are there occasions when you examine the object of contemplation in order to determine whether it is mind or matter? If so, then be aware of examining. Do you regret that there is no improvement in your contemplation? If so, attend to the feeling of regret. Conversely, are you happy that your contemplation is improving? If you are, then contemplate the feeling of being happy. This is the way in which you make a mental note of every item of mental behaviour as it occurs, and if there are no intervening thoughts or perceptions to note, you should revert to the contemplation of rising and falling. During a strict course of meditation, the time of practice is from the first moment you wake up until the last moment before you fall asleep. To reiterate, you must be constantly occupied either with the basic exercise or with mindful attention throughout the day and during those night hours when you are not asleep. There must be no relaxation. Upon reaching a certain stage of progress with contemplation you will not feel sleepy in spite of these prolonged hours of practise. On the contrary, you will be able to continue the contemplation day and night. Summary It has been emphasized during this brief outline of the training that you must contemplate on each mental occurrence, good or bad; on each bodily movement large or small; on every sensation (bodily or mental feeling) pleasant or unpleasant; and so on. If, during the course of training, occasions arise when there is nothing special to contemplate upon, be fully occupied with attention to the rising and falling of the abdomen. When you have to attend to any kind of activity that necessitates walking, then, in complete awareness, each step should be briefly noted as walking, walking or left, right. But when you are taking a walking exercise, contemplate on each step in three sections; up, forward, down. The student who thus dedicates himself or herself to the training day and night, will be able in not too long a time, to develop concentration to the initial stage of the fourth degree of insight (knowledge of arising and passing away) and onward to higher stages of insight meditation (vipassana bhavana).

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Legend: ✓ Will be checking out regardless ★ Titles that caught my attention ⇢ Have an interest, but will wait to see what the general public think Ẹ Will eventually be watched regardless/Established ❕ (Skipped Titles Only) Titles that have my interest and may be moved up in terms of final list 1.) Darwin's Game ★ Director: Tokumoto, Yoshinobu (Comic Girls) Studio: Nexus Tags: Action, Mystery, Shounen Episodes: ? Thoughts and Concerns: The idea interest me and this will definately will be something that I'll keep my eyes on. But with an unknown studio and director that doesn't have much behind them. This can lead to a lot of technical problems. Main example: Animation. 2.) Magia Record: Mahou Shoujo Madoka Magica Gaiden ✓ Director: Gekidan Inu Curry Studio: Shaft Tags: Psychological, Drama, Magic, Thriller Episodes: ? Thoughts and Concerns: This isn't a matter of what or who but rather, how. As a spin off to a much loved Madoka Magica, many people are very hyped for this. I don't think I have any concerns, but as usual, anything can happen. 3.) ID:Invaded ★ Director: Aoki, Ei (Re:CREATORS/ALDNOAH.ZERO) Studio: NAZ Tags: Sci-Fi, Mystery Episodes: 2/?(First 2 Episodes are available on Hulu.) Thoughts and Concerns: There are no concerns for me when it comes to the plot, the director, or even the soundtrack. My main concern comes from the studio. NAZ has some titles to it, such as Hajimete no Gal or DRAMAtical Murder. It even has another anime airing the same season (Infinite Dendrogram). While I had a fun time watching, I knew that these were lower quality. This mainly comes down to art and story. So, hopefully with a great director, we can get a great anime from them. 4.) Pet ✓ Director: Oomori, Takahiro (Baccano!/Durarara) Studio: Geno Studio Tags: Mystery, Psychological, Supernatural, Seinen Episodes: ? Thoughts and Concerns: This is going to be an interesting one, at least for me. So, Geno Studio has the example of Golden Kamuy and Kokkoku behind them. Check. The director brought us the much loved anime such as Baccano! and Durarara. Another check. The plot being about people who can get into people's minds and control their memories? Check, Check, Check. This will most likely end up on my final list. I just can't see anything of concern that could go wrong. 5.) Breakers ⇢ Director: Nishikawa Masataka Studio: NHK Enterprises Tags: School-Life, Sports Episodes: 12 Thoughts and Concerns: If you wanted a link to the MAL page, I'm gonna have to let you down for this one. However, the studio has titles such as Radiant and Pingu behind it. Director is unknown. So, this might be a flop? Might be more of a time filler. Hard to say. 5.) Itai no wa Iya nano de Bougyoryoku ni Kyokufuri Shitai to Omoimasu. ⇢ Director: Oonuma, Shin (Baka to Test to Shoukanjuu/Imouto sae Ireba Ii.) Studio: Silver Link. Tags: Action, Sci-Fi, Adventure, Comedy, Fantasy Episodes: ? Thoughts and Concerns: For the love of god, I hate when anime take on such long titles. It's ridiculous. What is wrong with calling it I hate pain. Regardless, this is something I don't usually pick up. But I thought it would be a simple anime that I could use as a break from much heavier ones. Since I have no interest in this series as a whole (because it mostly sounds and looks generic), I don't have concerns. 6.) Nekopara ✓ Director: Yamamoto, Yasutaka (Servant x Service/Senjou no Valkyria) Studio: Felix Film Tags: Comedy, Romance Episodes: ? Thoughts and Concerns: This is another series that I will not care about director or studio. Nekopara is one of my favorite visual novels and I have all games purchased on Steam. So, when there is an offical anime coming out, of course I'm going to check it out. 7.) Somali to Mori no Kamisama ★ Director: Yasuda, Kenji (Shugo Chara!/Hakata Tonkotsu Ramens) Studio: Satelight Tags: Adventure, Slice of Life, Fantasy Episodes: ? Thoughts and Concerns: Log Horizonn and Shugo Chara! came from Satelight. Recent titles don't have decent scores. On the other hand, the director is behind Shugo Chara! and Hakata Tonkotsu Ramens. Uh, yeah. There is a big concern here. While Shugo Chara was a childhood anime for me, I wouldn't say its an anime that was of decent quality. Log Horizon, however, is an interesting title. So, in terms of this being good, it's a hit or miss. We'll see. 8.) Jibaku Shounen Hanako-kun ✓ Director: Andou, Masaomi (Kuzu no Honkai/Kanata no Astra) Studio: Lerche Tags: Comedy, Supernatural, School, Shounen Episodes: 12 Thoughts and Concerns: Everything behind this will be of nice quality. Hell, the only reason I made this entire thing is this exact title. I saw the trailer and instantly knew I wanted to check it out. It's a hell of an interesting anime. I do hope this will hold up on my hype. I don't think Lerche is a bad studio, and the director has handled some popular titles. It's hard to say. 9.) Rikei ga Koi ni Ochita no de Shoumei shitemita. ★ Director: Kitahata, Tooru (Hinako Note/Haganai: Next) Studio: Zero-G Tags: Comedy, Romance Episodes: ? Thoughts and Concerns: Everything here tells me to not get my hopes up. While Zero-G gave us excellent titles such as Grand Blue and My roommate is a cat. That's it. The director also doesn't have much experience to him. While the idea definately has me excited, it's entirely possible this could be a miss. Hopefully not. 10.) Runway de Waratte ★ Director: Nagayama, Nobuyoshi (Happy Sugar Life/Sounan Desu Ka?) Studio: Ezόla Tags: Drama, School, Shounen, Slice of Life Episodes: ? Thoughts and Concerns: I'm excited in a weird way for this one. The studio will be a big red flag for some, as they don't have much to their name. But, this studio handled one of my favorite for Summer 2019, Happy Sugar Life. The director gave us the following: Happy Sugar Life, Sounan Desu Ka? and Boku no Kanojo ga Majimesugiru Sho-bitch na Ken. Everything behind this anime will have people not really putting a bet on this being AOTY. However, I definately interested in this. If it holds the same quality as Happy Sugar Life, that's all I could ever ask of it. 1.) BanG Dream! 3rd Season Ẹ Director: Unknown when posting Studio: SANZIGEN Tags: Music Episodes: ? Thoughts and Concerns: BanG Dream! is one of my top mobile games that I play. The anime, however, is terrible quality. The use of the 3D animation is horrid. And honestly, if this didn't have the fanbase of the mobile game. I don't think this would have made it past season 1. But, I do enjoy the interactions with my favorites. So, yeah. 2.) Isekai Quartet 2nd Season Ẹ Director: Unknown when posting Studio: Studio PuYUKAI Tags: Comedy, Parody, Fantasy Episodes: ? Thoughts and Concerns: I never actually got to watch the first season, even though, I really wanted to. But I knew that I wouldn't get all the references when I haven't seen all the series featured in it. I don't think that's actually required. But, just in case, I want to watch all the original series first. 3.) Haikyuu!!: To the Top Ẹ Director: Satou, Masako Studio: Production I.G Tags: Comedy, Sports, Drama, School, Shounen Episodes: ? Thoughts and Concerns: Again, another title that I never got to watch. But with everyones high regards to this along with my much. much. obsessive love with KnB. I know that I'll enjoy this series for sure. 4.) Toaru Kagaku no Railgun T Ẹ Director: Nagai, Tatsuyuki Studio: J.C.Staff Tags: Action, Sci-Fi, Super Power Episodes: ? Thoughts and Concerns: Just like Haikyuu, I never watched the original title to this. But I definately plan to one day. I know there is a lot of hype behind it so. Just added more to the binge pile.

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