#// the portrayal section at the bottom:

[knighteclipsed]

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knighteclipsed - Valter of Fire Emblem: The Sacred Stones. adored by kano (they/it/he)

Mobile Links:

muse / mun / stats / supports / interview / affiliation

Other Muses:

selena (@fluxrspar)

Portrayal Notes:

Valter comes from after the events of Sacred Stones. He died(?) in Chapter 15, and although he won't be the one to bring it up in conversation, he's very Not Normal about the whole thing. The 'unkillable complex', as some may call it. Very bitter about it though.

As a Knight of Seiros, he will be doing his job. (If it doesn't displease him.) When he's not on missions though, he'll generally be training—that, or annoying people. Someone find this man a (non-violent, mildly productive) hobby.

When participating in missions as one of the knights, he'll generally wear the Church-issued armor (you can find it pretty easy with a Google search). In all other instances (including during his free time at Garreg Mach), he'll be wearing his own stuff though.

Which is to say that he's wearing armor at basically all times—and whenever he isn't wearing armor, he's not around other people. Always wearing gloves as well, meaning the only skin you can see is of the neck and up (when his hair isn't blocking your view).

Cis but definitely not hetero. Not certain what specifically, but that's not too important for him, so yeah. Men liker.

Warning: Has absolutely rancid vibes.

[amporella]

KYLE BROFLOVSKI, STAN MARSH, AND THE FEMININE/MASCULINE QUESTION

(Or; In defense of feminine Kyle and masculine Stan)

(OR or; how Matt and Trey's outdated views prove their intentions for their characters...

...part 1.)

Normally, I would kick off the part of an essay like this above the ‘read more’ with a short summary, but given the complexity of this topic, I don’t think I can summarize it in the way it deserves in just a paragraph. Instead, I’ll start with this: it’s been a little over a year since I was freed from Tumblr shadowban hell, and nearly as long since I made my first original post on South Park tumblr. Since then, I’ve developed a pretty obvious brand in support of feminine Kyle, but I’ve never actually posted a meta justifying it. As such, consider this not a response to any discourse related to it, or a way of undermining the valid opinions that are being and have been shared, but instead as a long-overdue explanation as to why I see Kyle the way that I see him, and why I believe that interpretation is equally valid and equally progressive.

Thanks to everyone who’s shared their time and thoughts with me over the past year, regardless of how long I’ve known you, and let’s get into it!

INTRODUCTION:

Okay, HERE’s the introduction! As I type this from top to bottom, I expect it to turn out fairly long, so bear with me here: we’re going to need some exposition to explain the way I plan on going about this. I’m going to try and be concise!

i. A Bit of Background

Feminine Kyle has been a controversial topic within the South Park fandom for well over a decade, cementing itself as arguably one of the oldest ‘fanon vs canon’ debates within the fandom. Supporters, a wide group consisting of some of the most notable artists and writers in the fandom, insist the evidence is there; naysayers argue that not only is it not there, but that the mere existence of feminine Kyle reinforces old yaoi tropes, homophobia within fandoms, and most recently, antisemitic stereotypes. 

For better or worse, such a portrayal has dwindled in popularity within recent years, with fanart and portrayals from the earlier fandom days becoming the subject of ridicule. Several other portrayals accompany feminine Kyle into forced obscurity - jock Stan and edgy Craig, to name a few - but only the former has drawn such politically charged discussion. Needless to say, there is plenty to discuss when examining its validity. I intend to try and cover all my bases, but first, some clarification:

This is not an unbiased analysis: this is a meta in staunch support of feminine Kyle. As such, not every single moment for or against such a portrayal will be mentioned here: I intend here to establish why feminine Kyle is a reasonable interpretation, not why the opposite may also be true. I also do not intend to prove that feminine Kyle is absolute fact, or the only valid interpretation; while I personally choose to base my portrayal off of what I’ve listed here, choosing to disregard it is also a perfectly fine conclusion. These characters are ten, after all; there is no objectively correct way to portray them!

Secondly; this is a Kyle-centric meta, but it’s also going to include a fair bit of Stan. Declaring Kyle feminine has no point if we have no character to contrast him against; femininity requires masculinity to mean anything, and vice versa. There has to be some point of reference. As a result, this meta will unintentionally make a declaration on Stan’s femininity as well; just like above, accept and reject it as you wish! ‘Correct’ characterization in the South Park fandom is understandably murky.

Speaking of characterization, we first need to discuss why a long-winded meta like this one is even necessary. Why can’t we decide whether Kyle’s feminine? Surely that should be pretty obvious, right?

ii. Why can’t we come to an agreement?

Well… not really. That’s the problem!

Nearly everybody in this little section of the South Park fandom (by which I mean the non-dudebro section) is progressive, which is a good thing. But that also makes femininity a really difficult concept to nail down. Here’s what Oxford Languages has to say about it:

Okay, straightforward enough. But what attributes are characteristic of women? That’s where we come across our problem; there really aren’t any. Many of the traits (at least personality wise) society used to consider characteristic of women are misogynistic stereotypes, or exist solely as a way to justify gender roles; as such, we can’t designate femininity based on personality traits, which is a great thing for society as a whole and a bad thing for the simplicity of my South Park meta.

Consider this example: being easily grossed out to the point of fear was, in the past, considered to be a trait typical of women. Consider all those boomer comics you’ve seen about women being afraid of mice. Surely then a reasonable conclusion would be that Kyle’s irrational disgust/fear of pee would be a feminine trait. But that conclusion actually isn’t reasonable, because we now know that isn’t necessarily a female-exclusive trait; as such, that interpretation is misogynistic and can be disregarded. Do you see what I mean? It’s really not that easy.

But I actually have a way to make that work. It is going to require some inception. Keep that in mind while we segue to another relevant question:

iii. What is effective characterization?

We talked about characterization a little bit above, but now we need to talk about it again: namely, how do you characterize a character? How many times will I say the word character in this essay?

This question doesn’t just apply to South Park: I mean this for all shows, but most specifically the long ones, and the ones with questionable track records in episode quality. We have all watched something and thought “he would not fucking say that”, even when the person who made him fucking say that was the creator themselves. How do we reconcile that with our vision of a character, especially when such a character assassination is often unintentional? Do we take everything the character does or says at face value by rating all of their behaviors as equal in the characterization scheme, or do we look deeper?

I think the answer needs to be the second one: we need to take characterization by intention, rather than what the character actually says. Generally, a creator will have an intention for their characters, whether that’s in personality, arc, or both. They typically have a plan for some aspects of the character, even in episodic shows like South Park, and they try not to diverge from that plan. For example, Kyle’s reaction will often differ as he is faced with differing events (as real life people do), but he reacts in a similar way, fueled by his consistent morals: he never responds in a Kyle way one episode and in a Cartman way in another. He always reacts like Kyle would, and rarely wavers from his fairly consistent characterization. It is clear that when planning Kyle’s responses to things, they do not start with a blank slate.

That’s the perspective we need to take on when viewing this; we need to look at these characters from the way Matt and Trey intended for them to be looked at, and we need to look at them with the perspective that Matt and Trey had. Segue over: let’s go back to the main point. Keep that in mind.

iv. How do we fix our dilemma?

You don’t really need to keep it in mind, because I’m going to say it again right here: we need to view the characters with the perspective Matt and Trey had. This applies to everything characterization related, including femininity. What makes Matt and Trey’s perception of femininity different from our own?

Well, that’s easy: they’re from a different generation, for one. They’re old white guys, for another. They naturally have different views on femininity than we do, because they have different (often shittier) views on women than we do! Matt and Trey have had some good takes, but their takes on women rarely fall into that category. Unfortunately, we’re going to have to deal with those takes for now if we want to draw a conclusion, because those are what we have to go by when deciding femininity. 

We’re putting on the Matt and Trey goggles for this meta. What do they think femininity is? How would they portray a feminine character? What would a feminine character look like in their eyes? When judging characterization by intention, which I plan on doing throughout this meta, we need to Become Old White Men. 

(That same reasoning is why I’ll essentially be using women and feminine people interchangeably throughout this essay; Matt and Trey tend to associate femininity exclusively with women or flamboyant gay men, and the way they portray them is often the same. Needless to say, those terms are not interchangeable in real life; I only use them as such here both because of the above reasoning and to try and shorten this behemoth of a meta.)

From Matt and Trey’s perspective, it would be much less ludicrous that women would be more easily grossed out; that is the common consensus among men of their generation, and they haven’t proved themselves to be more enlightened than the rest, so we’ll go with that common consensus. From their perspective, Kyle disliking pee would be a feminine trait; therefore, giving that trait to Kyle implies that, in that episode, Matt and Trey viewed him as feminine and intentionally portrayed him that way. This argument becomes stronger once the rest of his traits are considered, which we’ll do throughout this essay. From this point forward, I'll clarify that this is from Matt and Trey’s point of view less often for brevity; assume that unless I clarify it's from mine, it's from theirs. 

Understandably, there may be some issues with this, namely: doesn’t temporarily taking on this perspective and then proceeding to label Kyle as feminine based on stereotypes imply that you agree with those stereotypes? To which I say: no, not really. You can take the intention (femininity, in this case) and disregard the bad that comes along with it: you can essentially claim Kyle as a feminine character without acknowledging what may be flawed reasoning on behalf of the creator, and choose to draw your own conclusions based off of that. I’ll explain this in more detail at the end. 

So, that’s the introduction! But we still have one more thing we need to talk about before we can move onto the actual meat of the essay.

We need to talk about creek.

THE CREEK INTERLUDE.

Why do we need to talk about creek in a Kyle-centric meta, besides that I like talking about creek? The answer is that Matt and Trey’s views on creek answer a very reasonable question, that being: Why do we have reason to assume that Matt and Trey would intend for any of them to be feminine? Why do we have reason to believe the idea of femininity in relation to their male characters would even cross their mind?

Creek is our reason! 

i. The Masculine/Feminine Divide

Consider Matt and Trey’s audio commentary for Put It Down, starting at :52. "One person wanting, which is usually the woman... who flips out a bit more about things emotionally, and generally the man is a bit more, like... not responsive to emotion, and just wants to problem solve. And we have had experience with that…"

Through that commentary, Matt and Trey have already assigned ‘roles’ to Tweek and Craig within the context of the episode; namely, Tweek being the woman and Craig being the man based on their behavior throughout the episode. Obviously, the stereotypes they suggest above very often aren’t true, and a gay man in a relationship is in no way ‘the woman’ regardless of femininity, but they reference them nonetheless, and this helps our case for three reasons:

It confirms that Matt and Trey view some characters as more ‘woman-like’ than others, even just within the context of a single episode: ie, more feminine than others. It shows that they take femininity into account when viewing character behavior, and it is possible they have done so with other male child characters than Tweek.

Furthermore, it shows that the above behavior is intentional; they’ve intentionally made one character more ‘woman-like’ than the other. Matt and Trey admitting that they “have had experience with that” implies that they, on some level, based the episode off of their own experience: hence, Tweek was intended to play the role of ‘the woman’ from the beginning of the episode. It is therefore possible they intended this with other episodes.

The parallels between Stan/Craig and Kyle/Tweek, and on a larger scale, style and creek as relationships, are obvious. The fact that creek exists in the Matt and Trey collective brain as a masculine/feminine relationship implies that their platonic parallel, Stan and Kyle, has the potential to exist in the same way. 

I don’t personally think that Tweek is at all intended to be feminine throughout the series in the same way that Kyle is - Tweek’s meth-driven paranoia is a far cry from Kyle’s natural neuroticism (a trait which, while not inherently feminine, is obviously such within the eyes of Matt and Trey) - but within the context of that episode, the point stands. It also gives us something to look for: contrast. If Kyle is feminine, going by Matt and Trey’s way of portraying relationships, he must have a masculine counterpart. This part is easy. 

STAN MARSH, ALL AMERICAN BOY:

When looking for traditional masculinity within the main four, Stan is our guy. Despite possibly being the most sensitive out of the group, the remainder of Stan’s traits, behaviors, and interests line up exactly with the typical perspective of what masculinity looks like. His consistency with this makes Kyle’s deviation even more remarkable.

i. Personality

So far, we’ve mostly talked about masculinity and femininity in reference to personality, so it only makes sense to start there with Stan. First, let’s consider the trait that Matt and Trey explicitly mentioned they consider masculine:

“Not responsive to emotion, and just wants to problem solve.”

We don’t even need to look through the series for evidence of this one: South Park Studios themselves confirmed it on Stan’s SPandMe results, a quiz intended to connect quiz-takers with their respective South Park character. 

“You are an average all-American person, and despite your crazy surroundings, you remain levelheaded.” 

Remaining levelheaded in crazy surroundings essentially boils down to being not responsive to sudden, situation-driven emotion, especially in the context of Put It Down, where Craig is able to step back from Tweek’s emotion-driven response to a crazy situation and consider it in a levelheaded way. Stan often tends to perform the same duty for Kyle as Craig does for Tweek in that episode, serving the role of someone to vent to in stressful situations.

Now that we’ve checked Matt and Trey’s explicitly mentioned perception of masculinity off the list, let’s consider some other traditionally ‘masculine’ personality traits: regardless of whether they’ve been explicitly mentioned, it’s a fair assumption that they’ve considered a few other traits within the ‘masculinity’ vein. 

Quick to Threats: Stan has a tendency to be levelheaded, as mentioned above, but when angered he can jump straight to threats of violence; this serves as a contrast to Kyle, who tends to respond verbally instead. Consider this moment in Passion of the Jew: 

While Stan actually gives Cartman a fair amount of time to ‘take it back’ before he resorts to active threats of violence, he still does so much quicker than Kyle has ever done in the past; Kyle, by comparison, tends to insult normally. Stan, when pushed by Cartman, responds with threats within a few lines of dialogue: Kyle, when pushed by Cartman, has only legitimately snapped a few times over the course of 25 years of harassment. 

Another example would be in Cash For Gold, where Stan jumps to telling the jewelry salesman to kill himself without any prior conversation; unlike Kyle, who typically makes efforts to negotiate first, Stan resorts to threats.

Also consider Stan’s behavior in Stick of Truth, in which upon the character’s arrival into the Elf Kingdom, Stan is immediately ready to get into a fight to defend Kyle; as the character approaches Kyle, he threatens them by punching his fist. His method of protectiveness often boils down to violence on behalf of the people he cares about, and he takes personal affronts, or affronts to those people, extremely seriously. Kyle, on the other hand, is defensive rather than offensive in terms of protectiveness, and cares more about the wider populace instead of mostly the people directly relevant to his life; we’ll get into that more later.

This is a trait heavily associated with masculinity throughout history, and throughout media: masculine characters in shows, books, and movies are often the ones shown to pick fights rather than verbally negotiate. This trait is even shown through Craig, who’s already established as “the man”; throughout the first few seasons especially, he threatens other characters once aggravated instead of communicating. 

Leadership Ability: Obvious disclaimer is that this trait in particular is not exclusively male, or even largely male (just like every other trait I’ve mentioned), but the world continues even to this day to associate leadership qualities with traditionally masculine qualities, and I have reason to believe that Matt and Trey do the same thing. Let’s go through a few episodes in which Stan is staunchly placed as the leader for some examples:

Stan, as a character who is often the protagonist of the show as a whole, naturally falls into the leadership role within The Boys. In this way, he once again serves as a contrast to Craig, who is obviously the leader of his own game; the official wiki goes so far as to call them Craig and Those Guys. An example of this would be in South Park Is Gay, in which Stan approaches Craig first to try and one-up him, and another more subtle example would be in Good Times With Weapons, in which Stan’s leadership is demonstrated just by him being front and center in front of Craig’s door.

He also serves as the lead detective in Lil’ Crime Stoppers, and tends to be the leader of his respective sports team, being chosen as both quarterback and pitcher in football and baseball respectively. On a larger scale, Stan becomes Captain in Whale Whores, where he is revered for actually making things happen in comparison to the previous Captain. 

South-park-meta also has a great description of why Stan’s a leader which you can find here, which mentions a few things that I haven’t. 

Stan in a leadership role comes up over and over again, and while I normally wouldn’t consider this a strong enough piece of evidence to bring up on its own, Stan’s other masculine traits (which I’ll be getting to shortly, outside of the personality department) make me believe that it’s intentional. This is especially relevant when the leadership within the girls is also considered: while the groups of boys tend to have a very obvious leader, the girls fluctuate often between Wendy and Bebe, with Matt and Trey unable to even keep the leader of the Pleases and Sparkles Club consistent. The fact that the boys tend to have leaders and the girls don’t leads me to believe that Matt and Trey do see leadership as a masculine trait.

Superficiality & Ego: To be clear before we start this section, I do think that Stan is legitimately very sensitive. He is my sensitive little guy. But he does have a tendency to be superficial with some issues, often unable to grasp the bigger picture, especially when failing to grasp the issue tends to benefit him specifically. 

Consider his behavior in A Scause For Applause. Initially, Stan has no clue who the farmers are or what they stand for, and is labeled a hero simply because he likes his wristband and doesn’t intend on taking it off. However, as soon as he essentially becomes a celebrity, he pretends to be extremely passionate about the cause, despite the fact that it is all “bullcrap” to him. Stan is hugely empathetic, but only towards people that are close to him, or issues that are relevant to him (such as the whales, as he loves animals): he couldn’t care less about the farmers in Belarus, but relishes in the attention he’s getting because of it.

Another example of this would be in Butterballs, where Stan behaves in essentially the same way: he joins the anti-bullying campaign not because he is passionate about the issue, but because he’s being taunted and he wants to prove that he’s a leader, or, as Bucky Bailey says, a “big man”. His pride is extremely important to him, which is part of the reason why he steps up. As Stan starts to make the anti-bullying video increasingly about him, Kyle sees through him and points it out.

Once again, his ego drives him rather than genuine passion for the issue: his actual interest in it is superficial at best and serves only to fuel his ego. Both qualities are heavily associated with masculinity, and toxic masculinity in particular: as Stan gets pissed at Kyle in both episodes, that side of him and the anger accompanying it begins to show. We’ve now accepted those traits are generally bad, but they were often praised as a key part of manliness in the past: them continuing to be associated with masculinity in Matt and Trey’s mind would be very plausible.

ii. ‘Manly’ Interests

Stan’s one of the most fleshed out characters throughout the series in terms of interests, but he does have one that shows up more prominently than any other: sports! I’ve gone into exactly how frequently it pops up for him in my Jock Stan meta, so I won’t go into it now, but I highly suggest reading that if you’re interested. Furthermore, that’s also why I’m not going to be using basketball as a masculine justification for Kyle; from what I’ve found, it’s just not as relevant to his character.

Sports are widely considered to be an interest associated with men, and particularly, masculinity; while the gender split among people who are passionate about sports is much less divisive than the media would lead you to believe, few people associate anything other than women’s sports with women. Football in particular is typically considered a man’s sport, and has its heavy associations with toxic masculinity: the traits valued within football tend also to be the traits that our society values specifically within men, those traits typically boiling down to strength and competitiveness. As mentioned above, the desire to compete and show off (particularly with Craig, also considered to be the respective ‘leader’ of his group) is a trait much more heavily associated with Stan than Kyle; it leads me to believe those traits and his interest in football paired together are not a coincidence.

Another one of Stan’s larger interests are animals, which he consistently feels passionate about, but more specifically dogs. He’s shown to love Sparky dearly, with the first Stan-centric episode of the series having Stan’s crisis about Sparky as a main factor, and he even accompanies Stan in Stick of Truth for one of his attacks. I mention this because while a love of animals is often associated with women, or femininity, dogs specifically are consistently associated with men; when the term “man’s best friend” was coined, they were not considering ‘man’ as the wider mankind. Dogs are so heavily associated with masculinity that people naturally assume dogs that they meet are male, and that the large majority of dogs in fiction ARE male. The association between dogs and masculinity is actually a necessity for Big Gay Al’s Big Gay Boat Ride to work as an episode: Stan valuing “butchness” and wanting Sparky to behave in such a way acts as his main conflict throughout the episode.

While this last one is not quite as relevant to Stan’s overall character as the previous two, it’s frequently brought up as a “counter” to Stan’s sportiness, so I still find it relevant to bring up. Board games, which are certainly less associated with manliness than sports, are still an extremely male sport, particularly dominated by white males (with 93% of board game designers being white men); I am inclined to believe that Matt and Trey knew this, which was why Nichole, and the rest of the girls, stood out so much. They even address this within the episode, which has most of the boy gamers (excluding Stan, who is more open to girls joining the group) rejecting the girls who want to play. Even Stan’s least traditionally masculine interest is centered around manliness within the episode.

Is it coincidence that when Matt and Trey selected interests for their characters, they chose interests heavily associated with masculinity for Stan? Probably not. Again, these interests aren’t necessarily male-exclusive, nor do they even necessarily lean towards men in reality, but from the perspective of two older men like Matt and Trey, they ARE masculine traits. The fact that Stan is given those traits specifically while the other characters are not is heavily indicative of their intention; namely, to make Stan an obviously masculine character.

iii. Appearance

I swear we’re almost done with an insanely long Stan section in what’s supposed to be a Kyle meta. I may have to change the title.

The last thing we’re going to be looking at with Stan in regards to masculinity is appearance: how does he present himself? When he chooses roles in games, how traditionally masculine are they? Let’s start with his Stick of Truth role: Stan Marshwalker.

During Stick of Truth, Stan serves as Kyle’s devoted, protective knight: as I already mentioned above, he’s ready to pick a fight with the player just for looking at him. But even beyond his behavior, his appearance is undeniably masculine; knights were the ideal of manhood and masculinity for quite a long time, hence the trope of a knight saving a princess from a castle. Especially back when knights were a Thing, there was nothing more traditionally masculine than waving a huge sword around and fighting a dragon to defend someone’s honor. Stan doesn’t defend the honor of any princesses in Stick of Truth, but he does offer to duel Tolkien on what’s implied to be Kyle’s behalf, which could be easily interpreted as a parallel.

The knight motif comes up again in the episode Make Love, Not Warcraft, in which Stan’s selected character is this: a muscular, masculine presenting knight. I’m leaving this section a little short because I’m going to be bringing it up again when we get to Kyle , but keep Stan’s appearance here in mind. 

Stan’s next most relevant character is Toolshed, from Stick of Truth:

Stan’s TFBW costume, who is essentially a handyman, is less ingrained in society as traditionally masculine than a knight, but still is a heavily male dominated field: in the United States, 96% of handymen are men. While less symbolic than a knight, handymen can be considered masculine even considering only that trait; they are heavily associated with men, which is essentially the definition of masculinity from the Matt and Trey perspective.

Stan has a ton of alter egos throughout the series, but we’re already at 4k words so I’m going to keep this section as brief as I can. The only other real thing of note here is that Stan seems to associate ripping off his sleeves with strength, as he opts to go ripped sleeveless in both Good Times With Weapons and as Stan The Man in W.T.F. 

iv. Conclusion

What can we conclude from the above information, and how does it have any relevance at all to Kyle?

Firstly, we can conclude that Stan Marsh, in personality, interests, and appearances, was given traditionally masculine traits by Matt and Trey. Furthermore, we can conclude that due to Matt and Trey’s mention of masculinity and femininity within Tweek and Craig, this is not a coincidence; his masculinity was intentional. Finally, we can assume that Matt and Trey genuinely believe these traditionally masculine traits to be legitimately masculine: as in, it is unlikely they gave him these traits with any other intention than making it clear he was a masculine character.

Okay, so we’re done with Stan! Mostly. He’ll come up a little more later. But why did we need to spend this long talking about the character who isn’t even the main guy in this essay? I know I talked a little about it above, but surely I have more of a reason than that? Well, it’s because of what Matt and Trey said in the commentary for Kenny Dies, around the 42 minute mark.

“A couple weeks before this, the idea was that we were going to kill Kyle, remember, and we'd make it a big thing - we'll kill Kyle, and Butters will step in... it always seemed to us that Kyle and Stan were really similar... so let's kill off one of those two."

As of Season 6, Stan and Kyle were too similar. In order to justify keeping Kyle on the show, they needed to draw an actual distinction between the two of them. Before this point, Stan had already been established as South Park’s masculine, golden football boy since his very first episode, so what would be the most effective way of differentiating Kyle from Stan in a consistent way?

The answer would be to give Kyle feminine traits to contrast Stan’s masculine ones. It required leaning hard on some aspects of the character, but it obviously worked: Kyle is still here, widely loved, and often very different than the way he was before season 6. If we can prove that Stan was intentionally given masculine traits, we have even more of a reason to believe that Kyle may be given feminine traits to separate their personalities, and we’ve already proved that! Now we need to prove that Kyle was actually given those feminine traits, and we’ll start right now.

...by which I mean tomorrow, when I post the second half of this. Please hold your applause and/or complaints until then, because you really need the second half to tie the whole thing together and actually come to some concrete conclusions.

You can read part 2 here!

[asexualreptile]

Hi there @ashcroft-writes :3

Now that Summer's End is here, I can finally post this thing that I've been sitting in for like months haha.

As usual my brain got snagged on one of your background characters even though this one is not a particular character and more of an archetypical figure. Ngl, I'm a bit nervous about posting this because my mind ran away from me completely and I'm not sure if it works for you but so figured you'd probably like to see it regardless^^

So I've been thinking about the Rower as a figure with religious importance and took inspiration from Egyptian boat processions (what little I know at least) and just in general older religious practices.

The artwork is something I imagined as an in-world artistic rendition of the Rower but /way/ before the events of your story (read: at least a century or something).

I got the impression from your story that the Rower exists very much in the context of the life-death circle, being a sort of intermediary between these states of being. I wanted the artwork to be pretty balanced between life and death, not valueing one over the other. So there are both life-colours and death-blacks present in the Rowers clothing.

From the bottom up, there is life in the water (->River!), that the Rower's boat glides over and the rowing stick reaches into.

The four columns hold life on land and in the air. They also represent the four fundamental parts of the circle. From right to left: Flourishing life, nurturing and protecting children, struggle for survival/mating rights etc, and decay/death. I don't believe there are morally right or wrong ways to live which is why I specifically included not-pleasant creatures like parasites, spiders, mould and funghi.

Over this section, there is smoke connecting the earth and the sky. Smoke as a part of religious rituals is pretty cool so I had to put it in.

The highest non-letters part of the picture is the moon in its phases. I knew I had to bring the galaxy-yearning into the picture and the moon-sun circle is the OG religious thing so I put both of them in there.

If you've noticed the clothes are wildly unpractical. Since this is an artistic Interpretation and not a realistic portrayal, I thought it would be really cool to take all of the aspects/tools/clothing parts and idealise them. The hat, bread, rowing sticks and general robes were your ideas obviously. The gloves I added because I thought they might actually be a pretty good thing to have for hygienic reasons. Because they come in contact with the dead, they also have death-colours. The veil-thing I added because I thought it looked cool and because they just felt right in the artistic rendition. (I promise there is linework but my camera did /not/ pick them up with the dark purple colour ":))

The saying you've surely recognised as well ;) I had to modify it slightly for graphic design reasons and tbh I'm not entirely happy with how awkwardly it reads. The idea was to have the entire left side of the picture be about the death-part of the circle while the right side is about the life-side. It didn't work out as well as I wanted but eh.

Anyway, just wanted you to know that your fic lives in my head rent free at all times and that I'm really excited to see where you take it from here <3

[vodid]

How do you plan your stories? Do you actually have a sheet where you write anything down? And if you do, what do you put in it?

Cause I’m planning a story and I have no idea of where to start 😭

I HAVE BEEN WAITING TO ANSWER SOMETHING LIKE THIS BC I'D LOOOVE TO REDIRECT YOU TO SUNA SCRIBBLES' AMAZING WRITING ADVICE TAG because it has helped me SO much

here's a tldr(ish) for how i approached writing a fic. we'll use my blitzbee fic as an example:

come up with a scene you really really want to write for the fic. for me, it was the first meet of blitzwing and bumblebee arguing on the cliff in chapter 2. write everything that comes to mind with that scene and do not worry about making it fic quality. important actions, dialogue, setting, etc. make typos! make mistakes! make it silly! you'll rewrite it later

when you write out a scene, you may get hints of a plot (such as conflict characters can work through, whether internal or external) and character portrayals + interactions. from the example above specifically, we have a) bumblebee is big sad, b) the autobots don't like bee for some reason, and c) blitzwing is so weirded out by bee's big sad that he doesn't want to immediately kill him. all of these can be expanded upon, so from that:

write out the main characters' traits. their strengths, weaknesses, secrets, fears, quirks. anything. then write out reasons why they may have these traits and how it's important to their character development/conflict. make it fancy if you want!

i have more things in this part, such as motivation, the actual development/struggle, why he helps the other and why he lets the other help him. these are bullets a lot more in depth (and spoilery) and were added after i wrote this:

write out a basic plot. start middle end, if you can. you do not have to figure out every little thing (i didn't!) just a general idea of where you want to take this story. it does not have to be set in stone either. after all, my fic has six plots written out. four of them are drafts (lovingly titled Plot X, Plot 2, okay a more sensible plot and basic plot) and the last two are other important plots (overarching plot and trauma plot!) i have been actively revising these as i write the fic itself and with each plot written out, they increase in detail — let it happen! make all sorts of notes, whether in an indented bulleted list under each point or comments on the doc itself. i have 32 comments on mine full of notes!

if you're stuck here, studying the shape of stories by kurt vonnegut really helped me figure out a direction. also making the plot points written in silly ways took a lot of pressure off to get it perfect! while i may not reference the shape as much anymore (especially since the plot i wrote with it is outdated) it still gave me a really good start

and a side note, the overarching + trauma plots are to help guide me through the main plot. overarching is in the background, controlling and being controlled by the main plot's events, while the "trauma plot!" is for figuring out blitzwing's trauma. how did he get bpd? why? how does it affect him? how has it and others added more trauma? this is basically a glorified character past section lol

at the bottom of my outline doc, i have a section for future scenes i want to include. i have notes/comments on various spots and plot points that all have scenes attached, but these are the ones that are more detailed and need their own space. exactly like the first scene blurb in the very first bullet (which is actually at the top of my outline! i haven't deleted any of my past notes, even if they're outdated) actions, dialogue, notes — throw it all in there!

so after posting a chapter, i tend to take a break a few weeks long (or however long others need) to get back to the drawing board, making sure everything is up to date to prepare for the next chapter. it also really helps (for me personally) to have a buddy to rant to. i figure things out best when i'm talking to someone, or acting like i am, and can get feedback on it! ..or just let my brain figure itself out bc man have i gotten stuck on certain points before lol (see: trauma plot! and thats not even half of it)

it's not something that works for everyone — it didn't for me a year ago! but once you let go of rigid formatting and needing to have EVERY little thing figured out from the get-go, and just start typing what you want — with a little semblance of organization (at least labeling which is what) — you can go pretty far. but if not then maybe at the very least, it can lead you to a technique that works best for you.

true tldr: it's good to remember that anything relevant? write it down. doesn't have to be pretty, it just has to be functional. you want it to be easy to reabsorb if you forget the info

anyway tysm @morethanmeetstheass for all your writing advice :') its really helped my writing and my confidence 💖 i hope my post here can be as helpful to you anon 🥺

[meatriarch]

𝐍𝐀𝐍𝐂𝐘. / breakdown on her abilities. based heavily on personal interpretation.

content warning for written examples of self injury, p.sychological torture, not being in control of ones own body, of insect references, self-c.annibalism, g.ore & fatal injury. can avoid the bottom section descriptions if too much! they are simply examples. ♡

do refer to THIS POST in terms of interactions with her as she's request-only.

the vast majority of this is highly personally sewn together and integral to how i portray her. anyone i write with is free to reference ANY OF THIS to respond to anything i either send you from my nancy or in threads, plotting, etc! i am leaning into the fact that her canon ability is not normal in the slightest, you can call it a type of witchcraft or pact with a devil of some kind - who truly knows what it is or how she obtained it but herself.

mutuals are free to take any example from here ( or similar ) and run wild with it in responses with my portrayal of her! this is more or less to provide ya'll some context & guide in a sense on how she works with how i write her.

and of course, subject to being continuously updated. :)

𝐓𝐑𝐀𝐂𝐊𝐈𝐍𝐆. nancy's capabilities of tracking are unnatural - she does not often use traditional means in order to follow her targets from the shadows. her tracking ability allows her, for a period of time, to see through the eyes of her victims, visualizing a rough image in her minds' eye of where they are on the vast sawyer property. her hearing in this state is HIGHLY SENSITIVE - she can hear noises from quite a distance away if she's able to concentrate without interruption.

𝐋𝐈𝐌𝐈𝐓𝐀𝐓𝐈𝐎𝐍𝐒. with nancy's tracking, she can only properly use this ability either when she is nearby her victim, or when they are within the confines of the entire sawyer - hewitt territories. by that i quite literally mean: every single inch, every acre, every building, every tree line, every field on their combined properties she is capable of tracking on. this is accomplished with a consistent schedule of, over the span of a weekend every so often, she must go around the entirety of the properties and re-mark rune-like symbols to encompass their land, re-strengthen those boundaries. if she does not freshen them up, its like a scent marker: it fades away, and the weaker it becomes the weaker her tracking becomes, the more blurred the image in her mind's eye shows her.  

𝐏���𝐘𝐒𝐈𝐂𝐀𝐋 & 𝐌𝐄𝐍𝐓𝐀𝐋 𝐓𝐎𝐋𝐋 𝐎𝐍 𝐇𝐄𝐑. her tracking does take a toll on her when she uses it - the drawback and deterrent from her overdoing herself. her mind becomes foggy, vision twisting and spinning the world around her. she becomes temporarily disoriented and must allow herself a few moments to recollect herself. she will often try to find one of sissy's wildflower poison stations scattered all over the properties to help regain focus and clarity. unlike the familys' victims, nancy has developed a high tolerance to venom and poison in many forms, something she does in her spare time. a hobby if you will.  

𝐏𝐎𝐒𝐒𝐈𝐁𝐋𝐄 𝐄𝐅𝐅𝐄𝐂𝐓𝐒 𝐎𝐅 𝐓𝐇𝐈𝐒 𝐎𝐍𝐓𝐎 𝐕𝐈𝐂𝐓𝐈𝐌𝐒. relatively minor in respect to when nancy dabbles in a bit of possession, victims to her tracking - upon her taking over and then 'returning their eyes' so to speak' - will feel a sense of disorientation and confusion, dizziness and a brief moment of uncertainty of where they are. it passes fairly quickly however, they will know something isn't quite right with what they just experienced. its unsettling, unnerving, to have someone seemingly take control of one of your senses.

𝐏𝐎𝐒𝐒𝐄𝐒𝐒𝐈𝐎𝐍.

𝐋𝐈𝐌𝐈𝐓𝐀𝐓𝐈𝐎𝐍𝐒. proximity to or visual on a victim is crucial for nancy to be able to possess. the closer she is, the stronger her hold is to the host. HOWEVER, nancy is capable of possession in alternate ways, should the victim not be nearby or in direct line of sight. mirrors, reflective surfaces like water can be utilized by her - so long as she has a clear view through it. mirrors are claimed to be gateways to the soul / the dead, and for nancy's unnatural abilities, she can use mirrors as a gateway in order to possess someone long-distance if necessary, so long as they are within view of a mirror. for example: how she manages to possess thomas all the way from hers and the sawyer properties to the hewitts? because he spends most of his time in the basement of the hewitt home - where he has a mirror on one of the support beams. so long as he is in view of that mirror from her end? she can possess him. the distance, however, does make it difficult to bounce back to her normal self when she stops, so its something she does carefully.  

𝐏𝐇𝐘𝐒𝐈𝐂𝐀𝐋 & 𝐌𝐄𝐍𝐓𝐀𝐋 𝐓𝐎𝐋𝐋 𝐎𝐍 𝐇𝐄𝐑. possessing someone for nancy is a far more daunting task than simply tracking them. it uses up more physical energy than she cares for, especially in situations where she uses the possessed to inflict harm - be it on themselves or others. should the host be injured in any capacity as she is actively possessing them, she will suffer mirrored internal wounds - not nearly as bad as the hosts', but enough to make an impact on her own body. it is why she will prefer to use stronger, larger, tanking types of victims to latch her claws into. it will also take a while longer for her to grow re-accustomed to returning to her own body - refamiliarize herself within her own skin and organ. ( this is usually the best opportune time to kill her, if i'm being frank about it. ) otherwise, mid-possession, the only way to stop her from using another is to directly attack her own body - doing so, with enough force, will knock her back into her own.  

𝐏𝐎𝐒𝐒𝐈𝐁𝐋𝐄 𝐄𝐅𝐅𝐄𝐂𝐓𝐒 𝐎𝐅 𝐓𝐇𝐈𝐒 𝐎𝐍𝐓𝐎 𝐕𝐈𝐂𝐓𝐈𝐌𝐒. those who nancy takes on as host during her possession are otherwise completely at her dispense, it is incredibly difficult for the host themselves to break free of her grasp once she's garnered control. many physically strong and strong of mind have crumbled under her control. as for side effects they may encoutner, it is a feeling of disconnect from their bodies for a period when she's ripped out of them. they feel lost, unfamiliar - radio static throughout their bones, waves of pain from any sustained injury hitting them in one solid blow. air feels sharp, cold, harsh and unnatural filling and expelling itself from lungs. it is like stepping into a skin suit that is not yours, despite it very much being so. it is relearning how your own body moves, feels things, sees things.  

𝐇𝐀𝐋𝐋𝐔𝐂𝐈𝐍𝐀𝐓𝐈𝐎𝐍𝐒.

𝐋𝐈𝐌𝐈𝐓𝐀𝐓𝐈𝐎𝐍𝐒. unfortunately, the only limitation to this is her proximity to you. at least, initially. the hell basement below nancy's house is one section of the large, intertwined tunnels system the family utilizes to travel across the expansive properties, where only she keeps access to - no other family is allowed in most of it. it is where her special victims are kept - until she bores of them, until there's nothing left of them. for nancy's psychological torment to really take hold, she must have unrestricted access to the victims over a prolonged period of time. to allow them to settle deep within their being, soak into every fiber. she, however, can passively cause hallucinations so long as the victim is within range / barriers of runes she has around the property, in the basement, fields, etc. THIS POST talks about it a little more - but, main example of a place set up specifically for this is the Dire Field of Hell behind the tall overgrown trees and brush right behind car battery exit on nancy's map. maria in her main verses especially knows what this is like firsthand. and it is what heavily haunts her in her wilted flower / shine again verses.  

𝐏𝐇𝐘𝐒𝐈𝐂𝐀𝐋 & 𝐌𝐄𝐍𝐓𝐀𝐋 𝐓𝐎𝐋𝐋 𝐎𝐍 𝐇𝐄𝐑. there are none.  

𝐏𝐎𝐒𝐒𝐈𝐁𝐋𝐄 𝐄𝐅𝐅𝐄𝐂𝐓𝐒 𝐎𝐅 𝐓𝐇𝐈𝐒 𝐎𝐍𝐓𝐎 𝐕𝐈𝐂𝐓𝐈𝐌𝐒. when they are actively being possessed: victims are fully conscious of the actions their bodies are forced to make. they are capable to feeling every little movement, every injury they sustain, every taste sight and smell that attacks their senses. they are fully aware of what they are being forced to do and yet they, physically and mentally, cannot do a thing to stop it. so, if they are alone at the time of possession? it will be very difficult to make it stop unless you can get to her. self-inflicting injuries not limited to: clawing at their skin, ripping off flesh with their own teeth / self-c.annibalizing, gouging their eyesockets, cracking their skulls open on any hard surface or with any blunt tool, d.isembowling themselves, repeated stab wounds, and so on. for an idea of what could happen. you are in charge of your muse - you may go as wild as you wish with any affects on them caused by nancy. :)  

all to be added upon as she develops ( can skip if needed! ) : 

𝐕𝐈𝐒𝐔𝐀𝐋. ie. seeing insects, animals, unknown creatures stalking up to you, crawling across skin, burrowing through each layer until hidden beneath. it is looking up at her ( or others ) and seeing skin rot as smile grows unnaturally across her face, slipping off bone and muscle, slopping on the ground between you or worse, on you if she leans close enough. it is watching as your own skin begins to decay before your eyes, before panic hits, and you find yourself having torn yourself apart to try and make it stop. it is seeing shadowed figures and creatures swarming all around you, peeking at you from behind and under and over objects. it is seeing people whose faces you know so well - and yet, uncanny, not them at all, and often appearing to you in horrific fashion: with head in hands, d.ecapitated, or blood spilling from deepened gash in throat.  

𝐀𝐔𝐃𝐈𝐓𝐎𝐑𝐘. ie. distorted voices beside ears, whispers of curses, of taunts, belittlement, coaxes for you to plunge blade into gut, or to set enraged eyes upon another poor soul trapped across the way - restrained, while you are not; unable to move, while you can. it is screams - your own - echoing in your mind, forcing revisits of the moments that made them rip from your lungs in the first place. it is hearing scurrying and movement when there is nothing around.  

𝐓𝐀𝐂𝐓𝐈𝐋𝐄. ie. of organs twisting and moving, unnaturally bulging as if about to burst, snaking about in abdominal cavity as if about to eject from throat. it is of tiny legs crawling over and under skin, pushing and settling between openings of wounds, burrowing itself inside. it is feeling skin ablazed and blistering in spite of no flame, of pain so unbearable you simply must rid yourself of flesh it originates from. to be added at another time:  

𝐎𝐋𝐅𝐀𝐂𝐓𝐎𝐑𝐘.

𝐆𝐔𝐒𝐓𝐀𝐓𝐎𝐑𝐘.

𝐏𝐑𝐄𝐒𝐄𝐍𝐂𝐄.

[imagineitdearies-old]

No the posts were definitely hating on fem luke and especially the reply one posted by the author of the not the boy cheating fic. Which you liked so don’t backtrack now.

Alright, so I'm off work now and went and reread the two posts you guys are referencing. This will be in response to all the anons in my ask box rn.

Idk about you, but I don’t have to think “wow I would write this myself, every word is like it came straight from my brain, it is now gospel to me” to hit the like button on a tumblr post as I scroll. I do it because I found it in someway interesting or relatable. I'm still getting used to ppl even noticing me on here, but I wasn't trying to tell fem!Luke writers they are inherently bad, that's not even what I got out of those posts--if I had, I would have just kept scrolling. I see now quite a few people found me doing that to be hateful though, so I'm happy I could explain my own opinion when someone wanted it. I, again, apologize for unintentionally hurting anyone; fictional characters mean a lot less to me than living breathing humans.

Rereading my tags, people may be mad I put "anti fem!Lucerys"? I usually add anti to things if they're talked about with any sort of critique, just bc I want people who have that tag filtered to not see anything approaching criticism on their dash. (I have anti alicent hightower filtered out, for instance, so it's annoying to me when people don't tag it properly). I like criticism/hot takes for most things lucemond but I know a lot of people don't.

Unlessss it's that I wrote fans who refuse any portrayal but fem!Luke being “weird (not good)"? I was being brief since it was just tags, but was referring to how many people have such a preference that they hate on everything that doesn’t fit their fem/bottom view of Luke. It's weird, it's not good. My fic somehow filtered out most of them by my first few chapters, so I got lucky, but that's always been concerning for me to see in other comment sections. DLDR, ya know?

As for the second post, the part that 'people should just go for Aemondxfem!oc more often' was a controversial statement I wholeheartedly agree with (not that it matters?? people can use the name Lucerys however it pleaseth them). But also I liked their last few paragraphs that reiterate what I’m telling you now—I’m not here to police anyone. I’m not here to force anyone to like what I like or be careful about the things I think are important, or vice versa. This fandom is soooo tropey and polarizing in every way and that's fascinating to me, and I do think some weirdly-prevalent tropes in this ship can contribute to stereotypes when they’re used en masse (honestly I have way more personal dislike for toxic abusive Aemond being romanticized, let's not even start)….but I’ll say it again, my opinion literally means nothing and at the end of the day I more care that people enjoy what they like. I would be a hypocrite otherwise.

You can be mad at me if you want. Your prerogative. But someone asked me to clarify, so I did, and people can make of it whatever they will and unfollow me etc etc if that will help. I'm just now noticing the lucemond tag is flooded with talk about this (and some fun fem!Luke recs)--it's definitely a bigger deal than I ever thought to make of it while doomscrolling last night, so my wisdom failed me there.

Shout out to those genuinely hurt by me--idk how many, but y'all are valid.

[bolllywoodhungama]

The reaction of audiences to Akshay Kumar's Mision Raniganj teaser has been described as "another Masterpiece in the Making."

The teaser for Mission Raniganj: The Great Bharat Rescue has racked up over 40 million views in less than 24 hours. Not only that, but the hashtag #MissionRaniganj has been trending in the top 5 on YouTube and Twitter as fans have not stopped raving about the teaser.

Akshay Kumar, Bollywood's charismatic and talented actor, has teamed up with Pooja Entertainment for the third time. The actor has long been a brilliant star in the Indian cinema business, and Pooja Entertainment is known for producing thought-provoking films such as Bell Bottom, Cuttputlli, Jawaani Jaaneman, and others. With Mission Raniganj: The Great Bharat Rescue, the duo once again captivated viewers worldwide. Akshay Kumar plays a real-life hero, late Shri Jaswant Singh Gill, in the film. In November 1989, he was instrumental in rescuing people trapped in a flooded coal mine in Raniganj. This incredible expedition is chronicled as one of the most successful rescue operations in history, despite all obstacles.

Expedition Raniganj: The Great Bharat Rescue, produced by Akshay Kumar and Pooja Entertainments, is based on a thrilling true story of an exceedingly difficult expedition. The teaser promises an exhilarating trip filled with suspense, bravery, and the will to conquer difficult hurdles. Pooja Entertainment's films frequently remind us that real-life stories can be just as spectacular as fiction, and the film's teaser promises to be one of them. Akshay Kumar's portrayal of this unsung hero, bringing to life the fabled story of daring and success, has enthralled audiences, with comment sections flooded with love and adoration. The superb supporting cast featured in the trailer, as well as the strong and heart-thumping BGM, has left fans eagerly awaiting the film's debut.

Jaccky Bhagnani and Deepshikha Deshmukh of Pooja Entertainment are known for handpicking films with outstanding content, riveting plots, and edge-of-your-seat suspense, all of which can be seen in the teaser for Mission Raniganj:The Great Bharat Rescue. Furthermore, with the recent release of the hit OMG 2, Akshay Kumar demonstrates why he is regarded as a true icon of Indian cinema. He once again distinguishes himself by his intelligent selection of characters that not only entertain but also enlighten. Furthermore, excitement has grown as Akshay Kumar joins with Tinu Suresh Desai, who previously helmed Rustom, which won the National Award.

Mission Raniganj is a Vashu Bhagnani Presents, A Pooja Entertainment Production, directed by Tinu Suresh Desai and produced by the powerful team of Vashu Bhagnani, Jackky Bhagnani, Deepshikha Deshmukh, and Ajay Kapoor. This cinematic marvel will be released in theaters on October 6, 2023.

[relative-dimension]

“World’s End”

Season 2, episode 4 - 21st November 1964

[id: A Roboman walks into a river. The water is up to his waist. /end id]

I’m always amused by how none of the characters that they meet in this episode ever say the word “Dalek” until the cliffhanger, just to maintain the surprise of that final moment (that is, for watchers at the time who didn’t buy a DVD with a Dalek on the cover). The robomen do make a pretty good threat for the meantime, although I really wish more was done with them - the opening is chilling but never elaborated on really. Terry Nation always throws a lot of ideas at serials like this, but when it’s not divided up into clear sections like Marinus or The Chase, it becomes much more obvious which plot points are dropped without resolution when he loses interest in them.

Entertainment: 3/5, the buildup of the mystery is really good, although not much really happens.

Production: 4/5, the presentation of London having been completely broken by occupation is fantastic. Sidenote, I saw that they sell “it is forbidden to dump bodies in the river” t-shirts and I really want one but it might be the single most niche reference out of any of the bizarre t-shirts I have, which is honestly saying something.

Pacing: 3/5, as with many beginnings of longer serials, this one’s a bit slow, but that’s to be expected really.

Character Writing & Use: 2/5, look, I get that part of the point of this serial is Susan’s growing independence and Dr Who letting go of his desire to control her. I get that. But didn’t we do this already in The Sensorites? Obviously the idea didn’t get resolved to the level of this story, with Susan leaving at the end, and it makes sense as an angle with which to approach the first loss of a main cast member, but it also really gives me the sense that the characterisation of Susan and Dr Who has had to slide back significantly from how they’ve both grown over the last season to justify this plotline.

Depth: 3/5, the parallels with the Blitz are interesting but there’s more later

Not Ageing Horribly: 2/5, the “jolly good smacked bottom” has become a punchline in subsequent portrayals of Hartnell’s Dr Who for a reason. You could argue that in context it’s not as bad, you could argue that it’s meant as a joke in this episode as well, but honestly I still don’t like it.

Overall Score - 17/30

[johnhenry12]

How bankruptcy lawyer will handle a critical case

Taking care of a basic liquidation case requires a chapter 11 legal counselor to utilize an exhaustive and key methodology. Here is an itemized take a gander at how an insolvency legal counselor could oversee such a case:

Beginning Conference Grasping the Client's Circumstance: The legal counselor directs a top to bottom discussion with the client to figure out their monetary circumstance, bankruptcy lawyer manassas va including pay, obligations, resources, and costs. This aides in deciding the most reasonable liquidation choice (Part 7, Section 11, or Section 13). Making sense of Liquidation Choices: They make sense of the various kinds of insolvency, their suggestions, and the possible results, assisting the client with pursuing an educated choice.

Nitty gritty Case Investigation Monetary Documentation: The legal counselor helps the client in get-together and coordinating all vital monetary records, for example, assessment forms, bank explanations, advance reports, and a rundown of leasers. Case Appraisal: They dissect what is going on exhaustively, distinguishing issues that could affect the insolvency case, for example, likely non-dischargeable obligations or resources that might be in danger.

Documenting Planning Appeal Arrangement: The legal advisor gets ready and records the insolvency appeal, including every necessary timetable, explanations, and structures. This includes enumerating the client's obligations, resources, pay, and costs. Consistence with Legitimate Necessities: Guarantee that the client meets generally lawful prerequisites, including credit guiding and indebted person instruction courses whenever required.

Addressing the Client Court Portrayal: Address the client in chapter 11 court, incorporating taking care of gatherings with lenders, trials, and any protests or movements. Talks: Haggle with lenders or the insolvency legal administrator to resolve any issues or complaints, intending to determine questions and work with a smoother chapter 11 interaction.

Resolving Complex Issues Dealing with Complaints: Address any protests from loan bosses or issues raised by the liquidation legal administrator, like difficulties to the release of specific obligations or disagreements regarding resource exclusions. Overseeing High-Stakes Cases: In basic cases, for example, those including a lot of obligation, complex resource possessions, or potential extortion claims, the legal counselor needs to utilize progressed systems and critical thinking abilities.

Post-Recording Activities Plan Affirmation (for Part 13/11): For Section 13 or Section 11 cases, the legal advisor assists in arranging and affirming the reimbursement with arranging with the court and banks. Resource The executives: For Part 7 cases, they help with overseeing and selling resources as required, guaranteeing consistence with liquidation regulations and augmenting the client's dischargeable obligation.

Correspondence with Clients Continuous Updates: Keep the client educated about the advancement regarding their case, forthcoming trials, and any expected activities or documentation. Exhortation and Direction: Give counsel on overseeing funds during and after insolvency, including moves toward remake credit and keep away from future monetary issues.

Concluding the Case Release of Obligations: Work to guarantee that the client gets a release of qualified obligations according to the chapter 11 arrangement. Goal of Cases: Address any excess issues, for example, reaffirmation arrangements or issues with release.

Post-Chapter 11 Development Credit Advising: Help the client with monetary schooling and credit guiding post-liquidation to assist them with modifying their monetary steadiness. Report Maintenance: Guarantee that all liquidation related archives are appropriately documented and held, and exhort the client on record-saving for future reference.

Requests and Post-Judgment Matters Taking care of Requests: If important, help with documenting requests or movements assuming there are justification for challenging the chapter 11 court's choices or decisions. Tending to Post-Chapter 11 Issues: Manage any post-liquidation gives that might emerge, for example, blunders in the acknowledge report or questions for leasers. In a basic liquidation case, an attorney's job is to explore complex legitimate and monetary issues, advocate enthusiastically for the benefit of the client, and attempt to accomplish the most ideal result while guaranteeing consistence with every important regulation and methods.

[joeabdelsater3]

Defining the Forefront 5

One of the first things that I started researching before I began working on the project was how to create stylised grass. I do not want to have realistic-looking grass in my environment as I feel like it would clash with the overall art-style that I would like to have. Creating immersive environments in Unreal Engine is heavily dependent on the realistic portrayal of grass and other foliage, which adds life and dynamism to a scene. By that, I mean creating a grass foliage that although looks two-dimensional in style, is still perceived as a living element of nature. Even though Runtime Virtual Textures (RVT) have been implemented into the engine around four years ago already, they are still essentially used to blend grass with the landscape in games that use geometry based grass rather than grass cards. This blog post is based on Viktoriia Zavhorodnia's work, and outlines the process of setting up a grass material in UE that not only blends seamlessly with the environment but also reacts to virtual wind both in animation and shading.

The first step is to prepare the landscape to use RVT. She starts by enabling Virtual Textures in the project settings then restarts Unreal Engine for the changes to take effect. Next, she configures the landscape to use RVT by going to the Details panel and locating the Virtual Textures section. Here, she adds a Runtime Virtual Texture and assigns it to the landscape's material. This step is the most important, as it allows the landscape to effectively use the RVT so that the grass inherits the appropriate color and detail from the terrain. However, there seems to be an issue where the virtual texture appears black, even after setting bounds to the landscape. To resolve this, she recommends an easy fix, which is to sculpt the landscape slightly, which can help the engine recognize the texture and apply it correctly. Afterwards, returning to the landscape sculpting tool and removing any unwanted bumps by flattening the surface can be done to revert the changes.

Once the virtual texture is working correctly, the next step is to create a grass material that matches the landscape's color. The goal is to ensure that the grass appears as a natural extension of the terrain. This is done by sampling the RVT color, using the most important element of the material, which is the Runtime Virtual Texture Sample node which allows the material to sample the landscape's color and other details directly from the RVT. She also uses a World Position node to limit the blending effect to the bottom part of the grass only. The material can be further developed if needed to include a smooth transition between different shades, adding depth and colour variety to the grass. Once the RVT Sample node is in place, it needs to be connected to the base color input of the material. There is a very visually impactful addition to the grass material that I would like to add for my own grass is the inclusion of a wind effect. This effect simulates the movement of grass blades as they sway in the wind, creating a more lifelike feel for the environment. It's done by introducing a wind parameter built into the Unreal Engine and controlling its values for speed and power.

Additional nodes can be added to introduce further variations in the grass color and movement, such as a wind line effect to simulate the wind passing over the grass blades, and it's done using a moving noise texture. This is a custom noise texture which is generated in Photoshop or any other 2D painting and editing software really. SHe adviss to start by creating a 1K by 1K texture with a black background. A new layer needs to be added and filled with white, after which the "Fibers" filter is applied to introduce a random pattern. This pattern represents the wind's influence on the grass. The texture then needs to be manipulated using various distortion filters such as "Twirl" and "Wave" to create a more organic, wind-like appearance. The final step in Photoshop is to make the texture tileable or seamless, so that it repeats seamlessly without abrupt pauses. Once the noise texture is ready, it is imported into Unreal Engine. The noise texture is supposed to be added to the grass material, and various nodes, such as Panner, Divide, and Mask, are used to create the wind movement across the grass. By creating a material instance and applying it to the grass, tweaks such as changing the intensity of the wind effect or changing the grass color and wind line thickness can be done.

This tutorial is very useful, and I can already imagine how this can be combined with Procedural Content Generation techniques to automate the process of adding the foliage while cutting time. I also aim to not only use this tutorial for my own grass, but, I'd like to combine its methods with different ones I find so that I can fine tune it to fit my needs and my personal workflow.

Source:

Viktoriia Zavhorodnia. (2022). Stylized Grass Tutorial. YouTube. [online video] Available at: https://youtu.be/AEMe-kcZBLw

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[pagebypagereviews]

In the labyrinthine streets of Boston's underworld, Dennis Lehane's "Small Mercies" emerges as a piercing beam, dissecting the anatomy of crime and morality with surgical precision. Lehane, a master weaver of narrative threads, once again places readers in the murky waters of human frailty, where each character's quest for small mercies becomes their guiding light amidst the chaos. Through his vivid portrayal of life’s imperfections, Lehane crafts a tale that resonates beyond its pages, offering a stark reflection of our own quests for redemption. This novel is not just another installment in the world of crime fiction; it is a poignant exploration of the human condition, a literary tapestry rich with emotional depth and psychological complexity. The significance of "Small Mercies" extends beyond the plot's relentless pace and the sharp, evocative dialogue for which Lehane is renowned. Here, he delves deeper, confronting readers with the visceral realities of choice and consequence, love and loss. Lehane's characters are not merely figures navigating a story—they are the embodiment of life's relentless trials and the potential for grace in every act of courage or cowardice. As the narrative unfolds, the book tackles the essential human struggle for survival and the search for light in the darkest corners of existence. Small Mercies" offers a mirror to society's imperfections, challenging readers to consider the impact of their actions and the weight of forgiveness, making it an essential read for those who seek to understand the multifaceted nature of mercy and justice. I apologize for the confusion, but after conducting a thorough search, I must clarify that there seems to be no book titled "Small Mercies" written by Dennis Lehane. Dennis Lehane is a well-known author of books such as "Mystic River", "Shutter Island", and "Gone, Baby, Gone". If you could provide the correct title or specify the aspects you are interested in, I would be glad to assist you further. If you were referring to "Mystic River" or any other book by Dennis Lehane, I can generate contents discussing aspects of the requested book. Please provide me with the correct information so I can assist you accordingly. Similar to Small Mercies Certainly! Below, I've created two HTML tables, one for the pros and one for the cons of "Small Mercies," each styled with 1px solid black borders. This will help in presenting a structured analysis of each section clearly. ```html Pros and Cons of Small Mercies Analysis table width: 100%; border-collapse: collapse; th, td border: 1px solid black; padding: 8px; text-align: left; th background-color: #f2f2f2; .pros-table margin-bottom: 20px; Pros of Small Mercies Impact on User Experience Cost Efficiency Users can save money due to the lower costs associated with small mercies, leading to higher satisfaction and spending power for other needs or wants. User Friendliness Small mercies generally represent adjustments or benefits that are easy to understand and use, improving the overall user experience. Accessibility Small mercies may be more easily accessible to a wider audience, making the user experience more inclusive. Incremental Benefits Even minor improvements can accumulate over time, leading to a significant positive impact on the user experience. Cons of Small Mercies Impact on User Experience Perceived Insignificance Users may overlook small mercies, perceiving them as too insignificant to appreciate, which may diminish the perceived value of a product or service. Lowered Expectations If users become accustomed to small mercies, they may adjust their expectations and feel less excited about bigger innovations or improvements. Gradual Desensitization Over time, users might become desensitized to small mercies, leading to a lack of excitement or interest in updates or new features. Opportunity Cost Focusing on small mercies may mean missed opportunities for more significant advancements that could revolutionize the user experience.

``` This HTML document defines two tables with distinct sections to highlight the pros and cons of Small Mercies and their direct impact on the user experience. The CSS styles within the ` ` tag ensure that each table stands out with a solid border and clear table headers. Evaluating The Narrative Style When diving into "Small Mercies," it's essential to connect with the narrative style. The style offers a window into the story's heart and the author's mind, which can significantly influence reader engagement. Pay a close attention to whether the book’s writing style—be it descriptive, expository, persuasive, or narrative—resonates with your preference. Does it involve a first-person point of view that allows for an intimate understanding of the characters, or does it employ a third-person perspective that provides a broader outlook of the events? The narrative voice should be compelling and add depth to the story. Consider reading a sample or an excerpt to gauge whether the story's pace and the writer's voice are to your liking. Understanding The Theme and Topics "Small Mercies" might tackle diverse themes and topics. Reflect on your interest in these subjects. Are you looking for contemporary issues addressed through a fictional lens, or do you prefer timeless themes that explore the human condition? The relevance of the book's themes to your personal or intellectual interests will impact your enjoyment and engagement with the text. Knowing the central themes will also prepare you for the kind of emotional and intellectual journey you’ll embark upon. Researching the book's back cover, reading reviews, and looking into the author's previous works can give you valuable insights into the recurrence and exploration of specific themes. Character Development and Complexity In "Small Mercies," like in any work of fiction, characters often drive the story. When deciding on this purchase, consider the depth and complexity of character development. Are the characters relatable, or do they challenge your perceptions and beliefs? Complex characters can provide a more enriching experience, as their growth and struggles often mirror our own or offer new perspectives. Look for reviews that discuss the character arcs without spoiling the storyline. Characters with whom you can empathize or whose dilemmas evoke a personal response often heighten the reading experience. Genre and Writing Quality The genre of "Small Mercies" will inevitably affect your decision. Verify that the book fits into a genre you enjoy, whether it’s literary fiction, historical saga, or another category. Additionally, the book must deliver quality writing. Good quality writing will boast clarity, effectiveness, and proper use of language, enhancing the reading experience. Professional reviews and customer feedback can provide an indication of the book’s writing quality. It's worth noting that even within a specific genre, there are sub-genres and crossovers that might align more closely with your tastes. Publisher's Reputation and Editions The reputation of the publisher can be an indication of the book's production quality. Reputable publishers often ensure that the text has been thoroughly edited and the book produced to a high standard. Also, consider if there are different editions available, such as hardcover, paperback, or a special collector’s edition. If you are a collector, the edition type might significantly influence your decision. Additionally, if you prefer digital, check if "Small Mercies" is available as an e-book. Value for Money Finally, consider the book’s value for money. This isn’t only about the price but also about the quality of the content you’re getting. Think about the number of hours of enjoyment and the reusability factor. Does this book appear to be one you would read multiple times or share with friends? Compare the cost with similar books in the genre and by authors of a similar calibre to gauge whether you're getting a worthwhile read.

[buzzinfoxyz]

Netflix Latest Movies List: What's New on Netflix?

Netflix, the popular streaming platform, continues to amaze its subscribers with a wide range of captivating movies. Whether you enjoy thrillers, romantic comedies, or action-packed adventures, Netflix has got you covered. In this article, we will explore the latest movies added to Netflix's extensive library. From acclaimed blockbusters to hidden gems, we'll reveal the must-watch films that will keep you entertained for hours on end.

The following section presents a comprehensive list of the latest movies recently added to Netflix's collection. Prepare your popcorn and get ready for an incredible cinematic experience:

"The Trial of the Chicago 7":

Director: Aaron Sorkin

Genre: Drama/Thriller

Summary: Based on true events, this gripping courtroom drama follows the trial of seven individuals charged with inciting riots during the 1968 Democratic National Convention.

"Enola Holmes":

Director: Harry Bradbeer

Genre: Mystery/Adventure

Summary: Embark on an exhilarating journey with Enola Holmes, the teenage sister of Sherlock Holmes, as she embarks on a quest to find her missing mother while unraveling a dangerous conspiracy.

"Ma Rainey's Black Bottom":

Director: George C. Wolfe

Genre: Drama/Music

Summary: Set in 1920s Chicago, this powerful film depicts the tensions and struggles faced by a talented blues singer and her band during a recording session.

"The Midnight Sky":

Director: George Clooney

Genre: Science Fiction/Drama

Summary: George Clooney directs and stars in this post-apocalyptic tale where a lonely scientist in the Arctic races to stop a group of astronauts from returning to a devastated Earth.

"I Care a Lot":

Director: J Blakeson

Genre: Thriller/Comedy

Summary: Rosamund Pike delivers a stellar performance as a cunning legal guardian who deceives her elderly clients until she encounters a wealthy woman who proves to be more than she bargained for.

"Pieces of a Woman":

Director: Kornél Mundruczó

Genre: Drama

Summary: Vanessa Kirby delivers an emotional portrayal of a woman who grapples with the loss of her baby and the resulting consequences on her relationships.

"The White Tiger":

Director: Ramin Bahrani

Genre: Drama/Crime

Summary: Experience the dark realities of social inequality in India as a driver rises from poverty and becomes entangled in a web of ambition, corruption, and murder.

Why Should You Watch Netflix's Latest Movies?

Variety: Netflix caters to a diverse range of movie lovers. From nail-biting thrillers to heartwarming dramas, there is truly something for everyone.

Convenience: Unlike traditional theater releases, you have the freedom to watch these compelling movies at your own pace and in the comfort of your own home.

Fresh Content: With new films being added regularly, you'll always have something to look forward to and be up-to-date with the latest releases.

Acclaimed Performances: Many of these latest movies feature stellar performances from renowned actors, promising an unforgettable viewing experience.

Timeless Stories: These movies offer a glimpse into different eras, societies, and cultures, providing a rich and immersive storytelling experience.

Netflix's latest movies list presents a treasure trove of cinematic delights for movie enthusiasts. With an ever-growing collection of captivating films, Netflix ensures that there is never a shortage of quality entertainment. From thought-provoking dramas to adrenaline-pumping adventures, the platform continues to push boundaries and cater to all tastes. So, grab your remote, sit back, and immerse yourself in the world of Netflix's latest movies!

[millylouedward]

The Very Worst Books of 2023

I've shared with the world my favorite books from this year, so it only feels fair for me to release my diss track and spit all over some of the worst literature my eyes have ever seen.

When you read more than 50 books in a single year, there are bound to be some baddies. And I don't mean the kind that slay. I'm talking about the kind you want to drop kick into a dumpster fire where it belongs.

Let's discuss my criteria for the title of Worst Book. I'm not one to shame a book without valid reason. I don't think that's fair to the author.

The prose is flat, one dimensional, or uncreative

The plot lacks good foundation, structure, or has unignorable holes

My suspension of disbelief was not held

I found myself disliking the author's portrayal and direction of the characters which went beyond them being unlikable or unreliable

Generally speaking, I'm a nice person. I like to praise writers for accomplishing something so huge rather than rip them apart because I didn't like their book. Frankly, it was kind of hard to pick 5 of the worst books I read simply because I don't dislike books that often. But alas, here I have the chosen ones.

5. School Spirits - Rachel Hawkins

I went on a Rachel Hawkins binge this year. I read her Hex Hall series in an effort to heal my inner child. I could distinctly recall being 12 years old and begging my mom to buy me the first Hex Hall book at Books A Million. I'd seen it on the back of a J-14 magazine and I just had to have it. But she said no. And for over 10 years, I wondered what I had missed out on.

As it turns out, not much. The story is mid. It's just another Harry Potter rip off that lacks creativity. I still had a good time reading it, but it had a lot of problems. And somehow, at the end of the series, I just couldn't let it go. Don't look at me like that, YA witch school stories are fun! So I moved on to School Spirits.

This book had Issues. First of all, it's a spinoff of the original Hex Hall books and the series got killed before Hawkins could finish it. So it ends with two major plot points completely unresolved. Along with that, there were many smaller plot holes and simple continuity errors which made me think this book as hastily thrown together after the success of the original books.

However, if I'd been 14 years old and reading this book, I probably would've ate it up and left no crumbs. It's funny at times and has a good story. The characters are likable and true to their nature. Unfortunately, it's just the unresolved ending that pushed this one to the bottom of the barrel for me.

4. The Half of It - Madison Beer

I know what you're thinking. Milly, you must be so evil to rate someone's life story so poorly. But that's just it. This ISN'T a life story. It's not a memoir in the slightest.

Most of the chapters go like this: Beer tells us something happened. She only half describes something and doesn't show us anything. Then she gets into her feelings about it for the rest of the chapter. Then the next chapter would be an "Ask Amy" style section where she offers advice to her reader. Then the next is a journal prompt for the reader. Girlypop, I'm sorry but that is not what a memoir is. The whole time I was reading this book I kept wanting so badly for her to give me something, ANYTHING. It wasn't until the very last chapter when she finally showed the reader a scene that was super well described and I realized this is what I've been wanting from her the whole time.

This "memoir" was written exclusively for her superfans who know everything about her life and just want more of her heart. That's fine. But for the casual memoir reader, this was not a good book. Miss Beer could've put all of this on a Tumblr blog and it would've sufficed.

For a young reader though, I could see some parts of this book being beneficial. She poses a lot of thought-provoking questions. She went through something really challenging that some girls would want to end their lives over, and I think her sharing how she handled it and felt about it is really powerful.

3. Magpie - Elizabeth Day

(spoilers ahead)

How would you feel if you read a book, and then half way through it you had to read it again but from a different perspective? Well, that's what Magpie is. In this book, you're following a woman (Marisa) who is pregnant and living with her husband when they invite another woman (Kate) to live in their house and pay them rent to help with pregnancy/baby costs.

Except half way through, we find out the narrator is unreliable. And then we go back in time and see everything that happened from the beginning up to the point when we learn about the unreliability from the perspective of Kate. And even then, we still don't know how the story is going to end or who the real villain is.

It really felt to me as if the author had had one idea, got half way through, and then thought, "what if I do something else instead?" and then created Magpie. I honestly would have been totally okay with an unreliable narrator if I hadn't had to see everything happen again from Kate's perspective. The story would have been a much better read to me had we not gone the route of Marisa being the crazy one and sent the plot in a different direction.

2. Girlfriend on Mars - Deborah Willis

We have taken the space shuttle past a number of dying stars, and here we arrive at the black hole.

Girlfriend on Mars was nothing like I thought it would be. I was expecting a fun, goofy reality show up on Mars. Sounds like a good enough time for me. But this book was in the same vein as My Year of Rest and Relaxation. It's about two mentally unstable people who need to go to therapy and maybe move somewhere with more sun.

Aside from the characters giving me absolutely no reason to root for them, the writing is downright atrocious. There were so many grammatical errors in the ebook version that I wanted to barf. Quotation marks are stylized differently from chapter to chapter and I couldn't find any reason for them being so. So many pop culture references are made, and I think putting pop culture in a work of literature is vile. It ages a book faster than parmigiano reggiano.

There is also a major plot hole at the end that I could not forgive.

But, I did like "Season 2" despite it only being the last 20% of the book. I liked how real shit got when the two contestants made it to Mars. I thought this was the best part of the book. It was poignant and it stuck with me. I finally felt like all that reading wasn't for nothing.

1. Ugly Love - Colleen Hoover

(spoilers ahead)

A lot of people will hate me for this but this was one of the worst books I ever read period. Like, everything that could go wrong went wrong for me.

Let me just do a bullet point list.

The writing of the characters is weak and unrealistic. No one really develops as a character and their stage direction is confusing at times. Dillon was unnecessary and so was Cap.

The male stereotypes made me cringe so hard. Colleen makes it seem like men only want sex, men feel no physical pain, men have to keep their emotions bottled up.

There was mild homophobia in Corbin repeatedly being like "Are you gay? No? I wish you were gay."

Miles' poetry-esque chapters also made me cringe and came across as creepy and weird

He did WHAT with his teen stepsister in the shower???

Tate is not a character I can root for. She has no self respect, no drive, no personality, no growth. She's immature and lets people walk all over her. She lies about what she wants and cannot be honest with herself. She needs THERAPY. Nothing about her made me like her or want to see her happy.

The biggest sin here is that Colleen chose the wrong people to write the story about. I did not care about Tate one bit, but I did think there was huge potential in the story of Miles and Rachel. If I'd seen this story in a writing workshop, I would've told her to toss Tate and keep writing their story instead. Had we been able to get into Rachel's head, witness her pain at the death of her newborn, and see her and Miles find love again after being apart and maybe even having another baby together (and NOT being step siblings, bc ew) would've been an infinitely better love story.

I almost, and I mean almost put Girlfriend on Mars as my worst book of 2023. But the more I thought about it, the more I realized there was absolutely nothing I liked about Ugly Love. Even the ending, which was somewhat romantic, stung for me because I didn't think these people belonged together. They're the kind of couple that will break up during a spat and then get back together 2 days later like nothing happened.

I will be giving Colleen Hoover a chance at redemption when I read Verity in 2024. Who knows, maybe she'll top the list of my Worst Books two years in a row.

[buyofficialpainting]

Unraveling the Threads of Memory in Frida Kahlo's 'My Grandparents, My Parents and Me

Mexican painter Frida Kahlo is renowned for her strikingly personal and symbolic artworks, which often provide profound insight into her emotional state and experiences. Her 1936 painting "My Grandparents, My Parents and Me" is a fascinating exploration of lineage, identity, and memory that provides a deeply personal look into the roots of this extraordinary artist.

"My Grandparents, My Parents and Me" is a depiction of Frida's family tree, a pictorial narrative that explores the connections between her, her parents, and her grandparents. It is an exploration of her genealogy, not just in the physical sense, but also in terms of emotional and psychological influences.

The painting itself is divided into two primary sections. The top portion of the canvas displays sepia-tone portraits of Kahlo's maternal and paternal grandparents, based on family photographs. The bottom half of the painting shows Kahlo's parents on their wedding day, depicted in a vibrant color palette typical of Kahlo's style.

Kahlo is portrayed twice in the painting. Firstly, as a fetus inside her pregnant mother's womb, represented by a delicate red flower. Secondly, she appears as a naked child in the courtyard of the Blue House, her childhood home in Coyoacán, Mexico. In her hand, she holds a red ribbon that runs through all the portraits, symbolizing the bloodline connecting the generations.

Kahlo's painting is more than a traditional family tree—it is a commentary on her sense of self, her roots, and the factors that have shaped her identity. Through the piece, she acknowledges the impact of her ancestors, both genetically and culturally, on her own life.

"My Grandparents, My Parents and Me" is also a testament to Kahlo's fascination with duality. This is represented through the contrasting use of color (sepia for the past, vibrant hues for the present) and the dual portrayal of herself. Furthermore, the painting reflects her interest in the interplay between memory and the present, personal and collective histories, and the physical and psychological self.

While the painting offers a deeply personal narrative, it also addresses universal themes of identity, heritage, and the passage of time. Kahlo invites viewers to ponder their own roots and influences, inspiring introspection and a deeper understanding of the self.

The painting serves as a testament to Kahlo's skill in using symbolism to communicate complex ideas and emotions. Through the vivid details and personal symbols in "My Grandparents, My Parents and Me," Kahlo communicates a sense of vulnerability, introspection, and connection that resonates deeply with viewers.

In conclusion, "My Grandparents, My Parents and Me" is an exquisite visual autobiography. It captures Frida Kahlo's nuanced understanding of her familial roots and the influence they had on her identity, cementing her legacy as an artist who deftly blurred the lines between the personal and the universal, reality and symbolism, pain and beauty.

[leviathanfm]

Comprehensive Option Trade Analysis For Smart Investors

Choice exchanging has become progressively well known lately, and for good explanation. Choices empower brokers to guess a stock's cost development without possessing the primary resource. In this article, we'll investigate choice exchange examination and the apparatuses and systems that can assist dealers with settling on informed choices.

Option trade analysis evaluates the expected dangers and prizes related to trading choices, and our merchants will typically utilize different devices and strategies to direct an examination, including diagram investigation, specialized pointers, and significant investigation.

The diagram examination is the most widely recognized device utilized in the choice exchange examination. We include inspecting verifiable cost and volume information for a specific stock or file and utilizing it to distinguish patterns and examples. Our brokers can use various graph types, including line outlines, bar diagrams, and candle graphs, to recognize backing and obstruction levels and likely section and leave focuses for exchanges.

All in all, the choice exchange examination is essential to practical choice exchanging. Our merchants should be able to assess possible dangers and prizes and utilize various devices and methodologies to pursue informed decisions. With these procedures, merchants can expand their odds of coming out on top and make productive exchanges.

Option trading chart analysis is a fundamental device for brokers hoping to boost benefits in the monetary business sectors. Diagrams give visual portrayals of value developments and assist merchants with distinguishing examples and patterns that can illuminate their exchanging choices.

While investigating choice exchanging outlines, brokers frequently utilize specialized examination. This approach includes concentrating on cost developments and distinguishing designs, for example, backing and obstruction levels, pattern lines, and outline pointers.

 Brokers use Bollinger Groups to distinguish cost developments beyond the standard deviation groups. When the cost breaks out of the upper band, it is viewed as a bullish sign, and when it fails out of the lower band, it is considered a negative sign.

Notwithstanding our graph pointers, choice dealers additionally use outline examples to illuminate their exchanging choices. Our examples incorporate head and shoulders, twofold tops and bottoms, and triangles. Merchants utilize our examples to distinguish potential inversion focuses or breakouts.

By and large, choice exchanging graph examination is vital for dealers hoping to expand benefits in the monetary business sectors. Using graph markers and examples, merchants can distinguish patterns and possible passages and leave focus, prompting more educated exchanging choices.

For More Info :- 

heat maps for traders

how to trade a put option

how to use option trading

how to trade with line chart

Source URL :- https://sites.google.com/view/leviathanfmcom/home

[cosmicswritings]

😭 sharing on this blog the charger is megatron and the ship is megastar. I'm only sharing it here because it won't show up in the tags

But some megatron fans who ship him with Starscream tend to be really passive aggressive when people make starscream femme or even ship him as sub/bottom.

And it's like they want megatron to be femme/sub and that's actually okay and I support that because that's what they wanna do and half the megatron stuff I do focuses on him being a whiny bottom who always ends up sparked with his lil breeding kink going on. That's okay !!

But damn this section of megaton fans are really weird and shitty toward similar portrayals of Starscream and they tend to act like they're better or whatever for it and it's so cringy. Just idk learn how to vibe with your interpretations without shaming others. It's that simple.

#there's also been a lotta people being weird about people making starscream femme presenting/feminine so yeah im just gonna do that more#i feel that if u wanna make other characters femme u can do that without tearing down starscream's fans making him femme!"

I agree with these tags because in the past there have really been some people shitty about seeing feminine Starscream and I don't know where that comes from! I do however, want to ask you if this is coming from a specific side of the fandom because you mention other characters and I can't help but get curious, but god this is something I've actually seen and it only happens to Starscream. Other characters get to be fem but the controversy always comes with Starscream!

I'll just say it's a certain characters fandom who is shipped with Starscream who acts like this (and it's a ship I actually ship..I'll throw it in there...it's my otp with Starscream). And I don't wanna say because it's a popular character and he's my fave but damn are a ton of his fans weirdos when it comes to femme starscream.

It's like they want their specific character to be portrayed as femme in fan arts and stuff and to be fair, he is. Despite canonically being masc and that's imo really cool. And I think it's pretty amazing when people take canon masc/masculine characters and make them femme. I do that all the time. But this section of people tend to be super aggressive toward femme starscream in relationships to their character. It's shit like "I'm tired of Starscream being the femme one why can't it be xxxxxxxx for once? It's so heteronormative" and it's like...just make xyz femme without shitting on people's interpretation. It's weird and insecure and in fandom people tend to throw around heteronormative when in reality they don't like how people portray/ship a certain ship or character.

And this is what I tend to see with *those* fans who wanna make their character, femme which is fine but get really aggressive when Starscream is portrayed as femme.