The Mechanics of Swordfighting Explained

The Mechanics of Swordfighting Explained

Introduction
Honestly, if you don’t have the patience to read this, don’t read it. It is a terribly long read. This was made to help you guys, specifically the Sounds of Silence. This book is not entirely based off of my own information. There has been various sources of information that helped contribute to the creation of this book. In case you haven’t known, this book’s main purpose is to explain the constant mechanics that drive the intense “sport” of swordfighting, and why it is natural for us, and necessary for us, to do and to avoid doing certain things. This book, when complete, will be the complete breakdown of swordfighting, so it is recommended that you first read the Way of the Sword books before proceeding to read this. If this book ever becomes confusing, please take a minute to stop and reread what you don’t understand clearly. Also, please take notice that the this book will be updated and expanded every now and then, so be up-to-date if you’re interested in my works. So now, enjoy this book and read with an open mind. ==Chapter 1: The Theory of Swordfighting and The Three Rules of the Volley System == The theory of swordfighting? Yes, there is such a thing. Avoid deriving the meaning of this chapter solely by the denotative meaning of the word “theory”. Allow me to explicate. When you swordfight, do you prioritize the death of your opponent? If so, then you might as well tie as it provides that outcome with less effort than a long match. But, you’d rather win the duel, correct? Instead of prioritizing the enemy’s death, why not focus on your survival? If so, why kill your opponent if your only goal is to survive? If your opposition is defeated while you are alive, your chances of surviving the fight have become one hundred percent. However, in cases where death is more imminent and is set between you and more than one player, such environment being Sword Fight on the Heights or Classic Failz, you kill the opponent so that it doesn’t come to the point where your death is inevitable. Even when you have more health, or if you are “psychologically prepared” for your opponent, it does not matter. Your primary goal is to survive, regardless of your advantages, and that you defeat your enemy to increase your chances of survival.  This theme will be repeated throughout the book, so that when it comes time to battle, you will have this in mind. Now, there are the three rules, which you need in order to give yourself the advantage in this game of survival. You will not be able to succeed unless you know the three rules from the top of your head and implement them, with great effect, into your swordfighting battles. The three rules may already be known to you since it was suggested that you read the WOTS books first, but this is extremely important. Rule one: never enter the attack range, or the imaginary ellipse in which one’s sword can reach in any angle, unless already lunging or trading blows. In most cases, approaching your opponent without any sort of threat (in this case, being the lunging sword) is completely suicidal. There are cases in which this is not necessary, but do not break this rule.  Rule two: never expose or reveal openings, a time you cannot attack or defend, inside your opponent’s attack range. <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);white-space:pre-wrap;">Openings include jumping, landing from a jump, tripping, and etc.; however, the most common one is <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);font-style:italic;white-space:pre-wrap;">after you attack/taunt your opponent. <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);white-space:pre-wrap;">For example, you lunge forward, but your lunge ends. Now your opponent may freely attack you without taking damage. Damage can be avoided if the lunge has ended once out of the opponent’s range. <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);font-weight:bold;white-space:pre-wrap;">Rule three: Do not go past the edge of the attack range using your own movement. <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);white-space:pre-wrap;">It is hard to swing while maintaining any direction of momentum at an opponent. So just avoid doing this, so that you may have an <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);font-style:italic;white-space:pre-wrap;">easier time of striking at your opponent <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);white-space:pre-wrap;">, and also to avoid falling into “traps.” It is important that you abide these rules in order to increase your chances of survival. Since the main goal of a swordfighter (in battle) is to survive, they abide the three rules to optimize those chances. In a battle between two players, both who abides by the three rules, a volley is created. The following has been written in ernakou’s words: “[The Volley System] is a system, or format, to describe the best way to swordfight without giving your opponent opportunities to hit you for free.” When a player abides the three rules, every attempt at an attack is considered as a taunt, mainly never dealing damage. When both players exchange taunts consecutively, this is considered to be a Volley. A Volley usually breaks when one opponent breaks a rule. The Volley is a safety net, a basis in which all fights start. With the goal in mind, the rules to follow, and the foundation of the fight, the battle begins from there. <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);white-space:pre-wrap;">

==<span style="color:rgb(0,0,0);font-family:'TimesNewRoman';font-size:19px;white-space:pre-wrap;line-height:1.15;text-align:center;">Chapter 2: The Law of Universal Lag <span style="color:rgb(0,0,0);font-family:'TimesNewRoman';font-size:19px;white-space:pre-wrap;line-height:1.15;text-align:center;">and the Law of Chance == <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);white-space:pre-wrap;">Numerous people have come under the perception that swordfighting is based on skill. I disagree. “Skill” exists in another form. More on that later. <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);font-weight:bold;white-space:pre-wrap;">Law of <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);font-weight:bold;white-space:pre-wrap;">Universal Lag: In a server where ping is above zero (which is always true), there is always lag. <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);white-space:pre-wrap;"> Lag is a stream of “images” of your past self. A ghost is a moving person, usually one that is lagging, who remains invisible because of his image’s presence. Images can take and inflict damage, and so would its owner (ghost). <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);font-weight:bold;white-space:pre-wrap;">The Law of Universal Lag states that no one is completely lag-free. <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);white-space:pre-wrap;"> <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);font-weight:bold;white-space:pre-wrap;">It is because of this law, swordfighting is a game of chance, and that each player can control their chances of survival. That is the Law of Chance. <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);white-space:pre-wrap;"> Did you notice that I mentioned “chance” multiple times in the previous chapter? It may seem unapparent, but all of your past experiences were controlled by chance. Remember all the times when you were killed by a player who seemed to be out of reach? What are your chances of survival against a “ghost”, who’s visual image was a false representation of his location? To increase your prospects of survivability, would you rather avoid approaching the laggy player? Would you call a ghost’s advantage “skill”? No. Every move you do is a gamble because you have no guarantee of inflicting or avoiding damage. This is why you want to follow the three rules, which give you an advantage over whoever does not follow them. Yet, it is due to lag that the three rules can be unreliable. How coincidental is that? So, it is because of the existence of the Law of Universal Lag that the Law of Chance exists. However, if the Law of Chance cease to exist, then the Law of Universal Lag would to. How so? If swordfighting was a game of “skill,” lag must not exist, because everything would have to be exactly real-time in order for swordfighting to be a game of “skill.” The Law of Universal Lag and the Law of Chance coexist; they come together in a bundle. Denial of one law would mean denial in the other, and existence of lag cannot be denied.

<span style="font-size:19px;font-family:'TimesNewRoman';color:rgb(0,0,0);font-style:italic;white-space:pre-wrap;">Chapter 3: The Trends and Patterns of Chance By Lag and By Action
<span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);white-space:pre-wrap;">There are simple trends or patterns that are entitled to each variable of a situation. These variables are <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);font-style:italic;white-space:pre-wrap;">brick count, brick movement, players, computer processing speed, <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);white-space:pre-wrap;">and <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);font-style:italic;white-space:pre-wrap;">server/player ping. <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);white-space:pre-wrap;">Brick count refers to the amount of bricks in a place; the size of a brick has no effect. Brick movement is the amount of bricks moving, whether it be by scripts or by physics engine. Players are the amount of players there are in a server. Computer processing speed refers to how fast your computer can process data packages into images and onto your monitor. Server/player ping is the amount of time it takes for data packages to travel to and from the server. Server ping effects all player, which is usually caused in a hiccup in server connection. Player ping effects one player, usually caused by that player’s lack of internet speed or connection. There’s a measurement called “base lag,” which is solely based on the computer processing speed. <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);font-style:italic;white-space:pre-wrap;">Base lag is the foundation in which all degrees of lag is formed, a main prediction for the amount of lag a player will have <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);white-space:pre-wrap;">; the better the computer is, the lesser the base lag has in value. However, when a place is joined, the base value will turn into a range of values, these values being the amount of lag you can have. The numbers of values increase or decrease based on brick count and brick movement you see. The amount of lag you will have is determined by the possible values of lag and the status of the server or player ping. Sometimes, if the server or player ping reaches high or low extremes, the amount of lag a player can have can be a value that is not one of this achievable lag values. It is because of these factors, lag can change <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);font-style:italic;white-space:pre-wrap;">drastically <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);white-space:pre-wrap;">, which means there will never be any exact percentage that can measure the chance you can hit or dodge. <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);font-weight:bold;white-space:pre-wrap;">The basis of all chance calculations rely on these five variables. <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);white-space:pre-wrap;">Chance of survival can be effected at a lower magnitude by one’s actions; if you approach an attentive opponent, you increase your chances of death. When you trade lunges with an opponent, it increases even more. When you get hit, it increase much more. When there is more than one player aiming to kill you, your chances of death increase a lot more. If you are accustomed to this situation, and know what to do to counteract your opponents, your chances of death lessens. <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);font-weight:bold;white-space:pre-wrap;">Chance of survival/death changes based on the actions of the player, the “skill” of the player, and the acknowledgement of environment, situation, and possible moves by that player. <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);white-space:pre-wrap;">It’s not ideal that you make a complete calculation or estimation about your chances of survival; make an assumption as to what magnitude of lag you are experiencing as it <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);font-style:italic;white-space:pre-wrap;">helps you decide whether the following actions you take in battle will result in consequence or not. <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);white-space:pre-wrap;">This skill will help promote survivability.

<span style="color:rgb(0,0,0);font-family:'TimesNewRoman';font-size:19px;white-space:pre-wrap;">Chapter 4: Environmental and Style Flexibility
<span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);white-space:pre-wrap;">Last time, I mentioned how “skill” exists in another form. This “form” is called <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);font-weight:bold;white-space:pre-wrap;">Flexibility. <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);white-space:pre-wrap;">It means <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);font-weight:bold;white-space:pre-wrap;">the adaptiveness of a person’s ability to control chance in swordfighting. <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);white-space:pre-wrap;">There are two types of flexibility, <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);font-weight:bold;white-space:pre-wrap;">Style Flexibility, the adaptiveness to anonymous styles, and Environmental Flexibility, the adaptiveness to different environments. <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);white-space:pre-wrap;">Style flexibility is self-explanatory; every person that you have fought has their own style, regardless of similarities. Flexibility is counted for your style, ability to “psychologically manipulate,” and acknowledgement of style-advantages. Psychological manipulation will appear later. Environmental flexibility is also self-explanatory; examples of independent variables that may change the environment you’re in are: lag, brick count, terrain, color scheme, etc. Flexibility can be measured in all kinds of ways, giving all kinds of results; this is why I choose to measure it in different environments, as it provides the most reliable survey of “skill.” There are two ways flexibility can be measured: <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);font-weight:bold;white-space:pre-wrap;">Dependent Flexibility is the flexibility of a player he/she has in one environment or against one style, and does not express the same level of flexibility in different environments or against different styles. <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);white-space:pre-wrap;">For example, if a player is great at Intense Swordfighting, but is not so amazing at SFOTH O, then that player has dependent flexibility, since his/her flexibility is dependent on the variables that affect the opponent or environment. <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);font-weight:bold;white-space:pre-wrap;">Independent Flexibility is the flexibility of a player he/she has in all environments and against all styles, and expresses about the same level of flexibility in different environments or against different styles. <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);white-space:pre-wrap;">This is the pure opposite of dependent flexibility; a player with independent flexibility shows <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);font-style:italic;white-space:pre-wrap;">true flexibility <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);white-space:pre-wrap;"> and acknowledges the many variables that can affect the player’s outcome in battle. A player with independent flexibility isn’t necessarily better than a player with dependent flexibility. For instance, if a player with dependent flexibility fights in an environment he/she is experienced with, and has more experience than that of a player with independent flexibility, then that player would win. This is why it doesn’t mean a player is better than the other if that player won. Style flexibility allows a player to decide where to practice and understand his/her own “skill level."

<span style="color:rgb(0,0,0);font-family:'TimesNewRoman';font-size:19px;white-space:pre-wrap;">Chapter 5: The Three Battles and Psychological Manipulation to Gain Advantage
<span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);white-space:pre-wrap;">Remember the Volley System? Well, in a swordfight, assuming that both combatants abide the three rules, they will both exchange taunts until one of them breaks a rule. As mentioned in other books, there are three main battles when swordfighting an opponent. Those battles are the health, mental, and land battle. The health battle is a battle in which you try to lower your opponent’s health to zero while avoiding the same fate yourself. The mental battle is a battle in which you trick, confuse, or wear-out your opponent so that they will break any of the three rules. The land battle is a battle in which players attempt to take their opponent’s land and force them into breaking the three rules due to their last effort to survive after being suppressed and cornered. These battles could also be referred to as “factors.” Do not take these battles as independent. Each of the three are interconnected to one another; the loss or victory in one battle will usually result in the victory in another one or the other two. It is because of these three battles, the main goal for both players, in order for one of them to kill the other, is to <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);font-weight:bold;white-space:pre-wrap;">psychologically manipulate the opponent while withstanding and controlling the psychological manipulation of yourself by the opponent. <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);white-space:pre-wrap;">Do not confuse psychological manipulation with the mental battle or factor. Ignore the denotative meaning of “psychological manipulation.” Ever noticed that in the first chapter, it is stated that the goal is to survive, regardless of advantages, and prior to that definition, it does not matter if you are “psychologically prepared?” You want to “psychologically manipulate” because you want to kill your opponent and achieve your main goal, that being to survive. But you also want to be able to avoid being psychologically manipulated to avoid being unable to achieve that goal entirely. Every swing, every taunt, is an attempt at psychological manipulation. How so? One’s <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);font-weight:bold;white-space:pre-wrap;">psychology, in the world of swordfighting, is the anticipation of one’s moves and the planning of counteracting that anticipated move. <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);white-space:pre-wrap;">Whenever a player attacks, he/she wants to hit his/her opponent, but avoid taking damage as well. How can he/she successfully do this? Psychological manipulation, and each hit/taunt is an attempt at forcing the opponent to break a rule, meaning psychological manipulation. If one were to manipulate another’s psychology, the player will anticipate differently than what the opponent will actually do, leading to that player’s downfall, or in other words, break any of the three rules. It is because of this, a battle between two players will always exchange taunts, and eventually, one will be “manipulated” into breaking a rule. Remarkably, this is the very same occurrence in the Volley System. Remember flexibility (the ability to control the chances of survival)? Psychological manipulation is technically that. Transitively, one’s ability to psychologically manipulate the opponent is the ability to control chance of survival, not only for one’s self, but for his/her opponent’s as well. Manipulation, in this case, can be performed in various of ways. These are known as attributes, which will be covered in the next chapter. So, using everything that we’ve covered in this chapter, the three battles are intertwined; the fall of one will almost always lead to the fall of another one or two. It is up to each combatant to fulfill their goals of survival, and in order to do so, they must be able to defeat each other and prevent a defeat themselves. To be able to do this, each combatant must perform a variety of moves that work well together in order to keep up their own defenses and break down their opponents’. So why use a specific style? This is exactly the reason.

<span style="color:rgb(0,0,0);font-family:'TimesNewRoman';font-size:19px;white-space:pre-wrap;line-height:1.15;text-align:center;">Chapter 6: The Six Different Attributes of Styles
<span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);white-space:pre-wrap;">As some of you know, the DIESOC acronym refers to the six different attributes in which one always stands out in every style, even though, in a lot of the circumstances, a style uses more than one attribute. Here are the six attributes presented in order with the acronym: defense, illusion, evasion, speed, offense, and control. Defense is characterized by its stubbornness and its ability to counteract opponents’ moves. Illusion is characterized with the ability to deceive, mislead, or trick. Evasion involves running a lot and requires tons of patience, resulting in long fights and the wearing out of the enemy. Speed is characterized by fast strikes and instantly backing out. Offense is characterized by the ability to charge into battle, and is relatively hard to control, but deals extremely high amounts of damage resulting in short fights. Control is the manipulation of something that usually can’t be manipulated or used. Originally, the enemy was counted as “manipulatable” using control, but this goes for all styles as I will soon explain. How do these six attributes have “psychological manipulation?” The manipulation, itself, is not direct, but they are a result of the moves that one makes, as stated in the previous chapter. Since these moves are compiled together to create styles, which are characterized by an attribute, an organized and effective compilation of moves would mean an attributed style, and therefore, the moves, tied together, would concentrate on a specific attribute. Defense, being characterized by its ability to counteract, would mean, in most occasions, the opponent has to make his/her move first. It is because of this, the opponent is given minimal anticipation ability, and therefore, wouldn't be able to manipulate effectively, while the direct opposite is given to the user of the defensive style. Illusion greatly focuses on misleading the opponent, meaning that you give yourself greater manipulation ability as you can indirectly force your opponent to make a specific move that allows you to counteract easily. Evasion wears out your opponent’s patience, therefore, wearing out your opponent’s ability to anticipate effectively, forcing him to break a rule. Speed relies on fast strikes, meaning that the opponent has very little time to anticipate and manipulate as you strike, while you are given the full opportunity to anticipate how he/her will counteract. Offense allows one player to use brute force, easily bypassing the opponent’s manipulation effect on that player. Control greatly focuses on using the environment to manipulate the opponent. Is it best to try and equally separate the focus of one’s style into all six attributes? Doing so will allow you to gain psychological advantage in more than one way. However, each way of psychological manipulation won’t be as effective compared to a one-attribute focused style. This is entirely up to the player him/herself. Each player usually has his/her own play style, and after tons of battles, will eventually find their preferable play style, and thus, create a style out of this. This is natural style creation, and is the foundation for founding one’s personal style. This helps explain why there are so many people who use relatively similar styles. <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);white-space:pre-wrap;">

<span style="color:rgb(0,0,0);font-family:'TimesNewRoman';font-size:19px;white-space:pre-wrap;line-height:1.15;text-align:center;text-indent:36pt;">Chapter 7: Style Bases and Change in Bases
<span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);white-space:pre-wrap;">You’d be surprised that every possible style has not been tried out. When I mean every possible, I mean every combination of moves different enough from one another so that they are valid enough to be visually different. Why is this the case? First of all, there are the really inexperienced players who either take example from other styles or form a pretty simplistic style themselves. Because this makes a foundation for very similar styles, “experienced players” will also adapt themselves to these inexperienced players as well, if they choose to ever fight in a field where such players exist (thus the skill theory), and inexperienced players who become experienced will have this influence in their styles. Since there are very few groups, Sounds of Silence being one of the few that I know, that actually adapt to the idea of “styles,” very little style innovation takes place on the field. <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);font-weight:bold;white-space:pre-wrap;">A style base is a very popular style in which a lot styles are founded or based upon on. A style base is known for its crude effectivity on the field or its user-friendliness. <span style="font-size:16px;font-family:'TimesNewRoman';color:rgb(0,0,0);white-space:pre-wrap;">Why must we take notice of style bases? Every time a game updates the swordfighting mechanics, such as the mouselock turning speed, the factors that determine the effectivity of a style will also change, therefore requiring a style base to change in order for it to keep its own effecivitness. Sometimes, a style base can no longer keep up with the competition. An example of this would be the mouselock update in which the classic styles relatively degrade in competition. Because they can no longer keep up with the competition, they become less popular; and because they can no longer maintain the same effectiveness, they lose status as a style base. It’s important that we keep style base changes in mind because that means the majority of the swordfighting community will also change their styles, regardless of them knowing or not, making it easier or harder for you to last on the field. Why else must we take notice of style bases? For every style there are always strength and weaknesses. Because a style base will always have a weaknesses, a new style can be formed in order to counteract that style base; therefore, that new style will have that same amount of effectiveness against other styles whose style base is that in which you choose to counteract, give or take. It is completely unsure if what the “style base” exactly is, due to lag, but there can always be assumptions (Lag makes it hard to determine the style base because it makes their effectiveness on the field unreliable). An example of a style base could be the flanking of left to right. Though it may be ineffective in relation to other styles, its really popular and easy to use, making it a style base. It can also be detected in use in a wide variety of players. Style bases are one of the driving forces in influencing style creation, alongside attributes.

<span style="color:rgb(0,0,0);font-family:'TimesNewRoman';font-size:19px;white-space:pre-wrap;">Chapter 8: How Does Knowing This Help?
<span style="color:rgb(0,0,0);font-family:'TimesNewRoman';font-size:16px;white-space:pre-wrap;">How does knowing this help one in swordfighting? In the world of swordfighting, the ability to becoming a capable swordfighter entirely base itself upon decision, both on and off the battlefield. Following these guides, and using logic, you will be able to choose the decisions that help you survive on the battlefield and help you practice when not in “battle.” This is not intended for knowledge to share or talk about, though you are allowed to do so. This is intended to be kept as a personal reminder so that those who actually remember these things can help themselves become a better swordfighter in general. To be honest, there were more to be added to this book, but such theories were too radical and are without proof that they require further research. I hope you enjoyed it so far, and are wanting more.