YUMI 2.0.6.0 Crack
Janet Denzel
The most famous style of yumi is an asymmetrically shaped long bow with a length of more than 2 m (6 ft 7 in), characterized by the archer holding the part of the bow below the center to shoot the arrow.[2][3]
The yumi is exceptionally tall, standing over 2 m (6 ft 7 in) in height, and typically surpasses the height of the archer (射手, ite).[8] They are traditionally made by laminating bamboo, wood and leather, using techniques which have not changed for centuries, although some archers (particularly beginners) may use a synthetic yumi.
The upper and lower curves also differ. Several hypotheses have been offered for this asymmetric shape. Some believe it was designed for use on a horse, where the yumi could be moved from one side of the horse to the other with ease; however, there is evidence that the asymmetrical shape predates its use on horseback.[9]
Others claim that asymmetry was needed to enable shooting from a kneeling position.[citation needed] Yet another explanation is the characteristics of the wood from a time before laminating techniques.[citation needed] In case the bow is made from a single piece of wood, its modulus of elasticity is different between the part taken from the treetop side and the other side. A lower grip balances it.
A bamboo yumi requires careful attention. Left unattended, the yumi can warp out of shape and may eventually become unusable. The shape of a yumi will change through normal use and can be re-formed when needed through manual application of pressure, through shaping blocks, or by leaving it strung or unstrung when not in use.
The shape of the curves of a yumi is greatly affected by whether it is left strung or unstrung when not in use. The decision to leave a yumi strung or unstrung depends upon the current shape of the yumi. A yumi that is relatively flat when unstrung will usually be left unstrung when not in use (a yumi in this state is sometimes referred to as being 'tired'). A yumi that has excessive curvature when unstrung is typically left strung for a period of time to 'tame' the yumi.
As I expected, this is pretty easily my least favorite of the Secret Projects so far, and it might be my least favorite Cosmere book, period. Something about Freaky Friday plots just is not enjoyable for me to read, so the first half of this book was a real chore.
The second half gets better, once it moves away from the body swap and into the deep lore, save the planet, overthrow Skynet. I did expect that the planet both characters were seeing was something else, not each other's homes. (Which, granted, was based on a cryptic WoB about yellow hion, so I thought it was just gonna be a third planet entirely that the shroud was trying to spread to.) Revealing that Yumi was a nightmare was a nice twist, and I found it to be engaging from that part on.
I also picked up on how it was gonna be a fakeout sad ending with a bonus extra scene as soon as each of those clues dropped. (Literally. When Yumi watches the TV and they talked about how sad endings happen sometimes, I said out loud "Brandon you don't have the guts to do that." And then when Izzy said there's a secret followup episode, I said "There it is.") I think I'm ready for a sad ending to one of these stories, or at least something a little more open-ended, especially since the last two Secret Projects were both "happily ever after." But whatever, they're stories he wrote for his wife, so no surprise they're not gonna lean towards tragedies. (That's what Stormlight Five is for...)
This book took my theories and threw them out the window. I was expecting a book where they learned from each other by spending time in the other's shoes and grew as people, Yadadada. Sappy stuff. What I was not expecting was that Yumi had been dead for 1700 years, Painter was a master all along, and a vampire god machine was secretly shaping the town, Yumi, and the Nightmares. I wish we had more on virtuosity, but maybe that's for when we explore the 4 armed people?
Unpublished
I felt like most of the twists were not well disguised. I immediately thought the idea that they were from separate planets was wrong no matter how much they kept saying it.
Painter confronts a nightmare and next thing he knows nightmare is gone and Yumi is there. I assumed she was Nightmare and they are just misunderstood.
edit - Moved to its own thread. Simply put my reaction to this book was to think on its connections to FFX, a game that I know very well. Brandon was clear that it was a major inspiration and I was struck with an urge to discuss it.
It actually gets better in the second half, after the condescending tones of the Yumi is gone a bit, and she starts to understand that there is something more to the Painter. As for him, well, one word that came to my mind was, "Potential". A character with such specialisation of the arts... Who is lost in his inertness because of his indecision and failures.. I just wish he was in a different story, and there was more care given to him.
The part I liked least was the way the info about the planet's past was presented; unlike many reveals in Brandon's books, this one didn't feel organic to me. I liked the bodyswap plot and I liked Painter as the stormup who's trying to do better.
I actually really liked yumi. She was a product of her upbringing, but softened with experience. She had a passion for her job even while she was changing and realizing the depth of her abuse. I didn't find painter nearly as interesting, maybe because john in The frugal wizard was almost identical. A guy trying to act more confident than he is all the while being crippled by insecurity. The only difference was in this one he could remember it. But it still worked ok.
It started to fall apart for me when hoid started explaining the backstory. It pulled me out of the story, and instead of returning to the same level of intensity afterward, it felt more like coming back to the story to find it neatly wrapping up, in almost as succinct a summary. I felt like it would have been better to not tell us at all, maybe let the scholars explain the 1700 year part.
I also really wanted yumi to seek out the other yoki-hijo and gang up on the machine together. Why have a connection to them if nothing was to come of it except feeling them fade after freed from the machine? I think that would have been cool.
Also, it didn't really make sense to me that painter was able to pull yumi back. Cool that it proves he's a master painter with strong intent, but.... really? I thought it would really have helped painter grow as a person to have to deal with her loss and try to reconnect with his other friends.
I liked a lot Yumi and her take on the "powered by a forsaken child" trope. I mean, every time i've seen that trope used, it's to show that something is incredibly evil, because they are exploiting some innocent. or to show how grimdark the setting is, that it requires constant sacrifices to keep going.
here a different angle is explored: yes, this world requires that some people live a life of sacrifice. what do you do about it? if it's the only way to ensuyre the survival of everyone else, you can ask this sacrifice. and a lot of people, if they were the only ones who could provide it, would sacrifice freely.
and then the reform movement (by the way, was that real or was it invented by the machine to try and play along?). sacrifice is needed, yes, but no more than necessary. and i realized at this point being a yoki-hijo is not really all that different from any other job. yes, we all get torn away from our families and hobbies for 8 hours per day and forced to engage in unpleasant activities so that society keeps functioning. most of us do it spontaneously and considers it a small price to pay to not have to live on trees.
painter is a very archetypical sanderson character, but from the beginning where his job was equated to nurses or teachers, it created some deep resonance with me. I can testify that 90% of what is said about nikaro's job also applies to teaching. fantasy stories are still about humans, and sanderson is great at representing people
I'll be totally honest that initially I was not all that impressed. I found the pre-released chapters uninspiring. Being unfamiliar with his inspirations and not being a fan of manga made it hard for me to care about. It was only reading it as a whole did I find it somewhat enjoyable. I can somewhat relate to the ways that Nikaro and Yumi sometimes feel. Design was a gem and really a standout character. All of that said the romance felt forced to a large degree. All in all I enjoyed it. It is not my favorite, but it was pretty good.
I am in no way trying to intrude, but Jessie and Eric were pretty open about how they met virtually while living in different worlds (North America and Australia), and communicated a lot over electronic media (Connection) while being physically unable to be together due to the Shroud (global pandemic), but have had a happy (courtship storyline) ending. I have to think that, consciously or unconsciously, Brandon was inspired by their long-distance relationship when writing Yumi. IIRC he did attend their wedding celebration. (I'm really not prying, Eric talked about it on the podcast.)
Loved it, his best since Oathbringer easily in my opinion, and one of the best Cosmere books in general. It's so full of ideas and inventive, he really went all out this time, a book that is packed with stuff that could have easily filled three books by most other authors. Also, easily the best prose of all of his bibliography. The flying scene in particular stood out as Brandon's best writing ever imo. Just extremely happy with it.
On a side-note, gah, I hate the epilogue and I could rant about it for a thousand words (but I won't). Genuinely felt like he abandoned the artistically resonant ending for the safe and forgettable one - in a book about artistic resonance. I think it's a very bad decision and it drags the book down a bit. Which goes to show how much I loved the rest of this, because it's still a masterpiece. Komashi is up there with Scadrial as a runner-up for second place for my favorite Cosmere worlds right now (Roshar #1 of course). Great collection of moods and ideas in general.
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