#1. Understand Your Target Audience

[panaromicinoftechs]

Mastering Mobile App Localization: The Ultimate Guide

[withuitservice]

Why Dubai Businesses Need To Partner With a Professional Website Development Company

In the digitally-first world of today, a good website is something that a business can't afford not to have any more. The city of Dubai is known as one of the global innovation hubs and is the home of thousands of businesses competing to receive attention in such a busy market. So, to stand out from the crowd and maintain an effective online presence, there is a need to collaborate with a professional Website Development Company in Dubai. Here are several reasons why the businesses of Dubai should do this.

1. Expertise and Innovation at one's Fingertips

The skilled teams of designers, developers, and digital strategists man the professional website development companies in Dubai. Keeping themselves updated with the latest technologies and best practices prevalent within the industry are all their pursuits. The accessibility of such expertise means having a website which is visually attractive yet functionally adequate, user-friendly as well as technologically state-of-the-art. While digitalizing your presence, one would find all that brought into play by deploying AI-driven chatbots and responsive designs.

2. Custom Websites for Local and International Readers

Dubai companies service diverse audiences, both locally and in other parts of the globe. A professional website development service will therefore understand the characteristics of the Dubai market-place, including cultural sensitiveness, consumer preferences, among others. They can always come up with customized websites responding to your target audience effectively, ensuring a seamless flow of user experience that causes engagement and conversion.

3. UX or better User Experience

User experience determines the success of a website. A website which is not designed well will lead to frustration from visitors, who then leave, causing a higher bounce rate and missed opportunities for sales. Professional developers emphasize intuitive navigation, fast loading pages, and mobile-friendliness of the designs. These together make for a great user journey which keeps visitors engaging and likely to take the desired action such as purchasing or contacting your business.

4. Search Engine Optimization (SEO)

However beautiful your website might look, it is worthless if nobody can find it. Web Development Company in Dubai  always factor in SEO best practice when developing, such as optimization of page speeds and meta tags, ensuring that your website is mobile-friendly and also clean coding. They are constantly improving your search engine ranking. More visibility brings more organic traffic or leads and sales.

5. Cost-Effective in the Long Run

A well-developed website minimizes the risk of technical issues, reduces maintenance costs, and ensures scalability as your business grows. Additionally, a professional website helps generate higher returns by attracting and retaining customers more effectively.

6. Focus on Core Business Activities

When outsourcing Web Development Company in UAE needs, you have more time to focus on core business activities. Professional companies handle everything from the initial design and development stages of a website through maintenance and updates, thus providing one with more time and resources to devote to important matters like customer service, marketing, and business expansion.

7. Support and Maintenance

Websites need to update and maintain themselves regularly. Otherwise, they get outdated and insecure. A professional website development company keeps providing support to solve problems, implement updates, and keep your website running perfectly. This proactive approach may avoid downtime and keep running your website smoothly, with a seamless experience for the users.

8. Competitive Advantage

Competition in the market is at its peak here in Dubai, and therefore, designing a professional website for yourself will keep you miles ahead of the competition. Well-performance of the website lends an impression of your business and brand with respectability and professionalism to your customer who tends to associate them. With this, your position further gets stabilized by strengthening their trust on your self.

Conclusion

In terms of succeeding in the currently trending digital world, a company of Dubai would need to enter partnership with a professional website development agency. Starting from providing solutions tailor-suited according to the client's business needs to improving the customer's experience and providing post-launch support so that you lead the market, these professional website development agencies are quite the backbone of your thriving business. This investment in professional website development will help you have a good standing online but also in generating long-term growth and profits.

[spaghettioverdose]

Also I'm sorry but do you genuinely think Trump is a fascist or that uniquely bad compared to other US presidents? Literally none of his policies are that particularly fucked up in the grand scheme of US politics. Not even in recent years. He is more blatant about being racist, and his target audience is fascists, but as far as his actions, he is very much a liberal. Also deeply annoying that many of you have an understanding of "liberal" as meaning vaguely civil and progressive, and therefore call liberal or even feudal systems fascist when they do genocide or slavery.

I get hating Trump, I get not wanting that guy to be your president, but the way people talk about Trump is like if he's about to set up a military junta and somehow voting will stop it.

A lot of people also bring up the "coup attempt" as proof that he will end democracy in the US or whatever and like two things:

1. Very notably, that happened after Trump DIDN'T win. Like he was not in power. There was no requirement for him to win to do that. Kinda how the whole thing started is some people were mad that he lost. He wasn't the president when it happened.

2. Do you think a bunch of idiots storming a building is how coups happen? Are you dumb? Do you think it's like capture the flag or control points or something? If shit was that easy, there would be a coup every other day.

The whole thing even only went as far as it did because the local police had sympathy for the those guys. If there's a point where there is popular support for a fascist coup within the military, you're fucked either way. If there isn't, and a bunch of disorganised idiots with only small arms try it, they're probably just gonna get killed by the national guard.

Like ok whatever you wanna vote for genocide Joe but at least stop having just a purely vibes based understanding of politics. 💀💀💀

[kingofthewilderwest]

We need to start questioning the conflation of "maturity" with "increased stakes."

It's not to say higher stakes is always a bad choice. The first half of the How to Train Your Dragon book series has an endearingly whimsical, child-like feel. Hiccup's issues in the first half of book one are an obnoxious, cat-sized Toothless pooping in his helmet. The movie adaptation might have made the book and its counterpart distant cousins, but it was a thoughtful move to alter concepts to the appropriately theatrical: books and movies aren't the same medium. Hiccup riding alone on Toothless, exchanging fire blasts with a mountain-sized dragon, and losing his leg came off as well-done storytelling.

Hiccup staring at a prosthetic never happened in the book. He didn't lose his leg in his encounter with the Green Death. It was, as the creative powers behind the movie said, a result of the increased stakes. They didn't do this just to be more dramatic; they did it because it seemed that, based on how their narrative was going, this made sense. And this was a soft, quiet, shocking, breath-taking scene that instilled how good the movie handled its stakes. It gave us a reflective reaction to consequences that audiences might not have expected. This movie understood timing, pauses, quietness, narrative arc, poignance, reflection, emotion, love, and heart.

We know about the conflation of live action as "more mature" than animation. But a medium doesn't change maturity levels. We all know that's bogus, and many analyses have been given on that. Disney live actions add extraneous gunk, down to Gaston having a past relationship with war (so I've heard, from the people who actually watched the movie), and Disney giving us the sad scoop on why Belle's mom isn't around. Furthermore, lots of times, when I see the conversion of animation to live action, I notice creators feel a need to "raise the stakes" -- in line with the erroneous view of "giving maturity."

But "higher stakes" often means inserting action in place of mindful interaction. I feel today's Hollywood movies, in their treatment of "action," don't let movies pause and breathe anymore - ergo, they don't let us think. Isn't it more juvenile to actively avoid thought in favor of "hey look I made the building go boom"? There may be less "stakes" in introspection and mindful dialogue, but that's what gives it its maturity. That's how we went from Iron Man 1, with its grounded treatment of war and abuse, to the mindless high spectacle MCU is today.

Snappy one-liners or moments that clap at contemporary issues don't substitute for maturity. What can make a story mature is characters grappling with issues in a natural narrative through-line. A snappy one-liner is its own form of speedy spectacle.

We know about the conflation of "gore and sex" with "mature audiences." I believe they're right that graphic sex and gore is designed for adults. But that doesn't make it mature, and that doesn't make it the only way to target a medium for adults.

"Realisticness" isn't maturity. Per above regarding animation: realistic visuals are nothing. And if you think that putting more Debbie Downer material into your adaptation makes it more adult, you have to ask yourself why the themes that spoke to people's souls got muddled in its midst. We weren't mature enough to interact with the most subtle, nuanced, and impacting voice of the story. But hey! Look! There's more corpses, I guess!

It's not the visuals, it's not the events. It's not the "things." It's not the basic insertion of the external. Get past the superficial, get past the top layer of presentation. It's the mind. It's the ability to think. It's the ability to be still. It's the ability to be interested and attentive when something is slow or quotidian, because we can understand why that is important for narrative growth or arcs or themes or commentary on the human condition. It's the ability to know when and when not to include something. It's the ability to make resonant impact. It's the ability to be deep with your emotions or your themes. It's the ability to take what you have and grow it in a way by which we can derive something deeper.

Maturity is critical thought and well-conducted, appropriate responses to content of any kind.

As DeBlois tells Empire, the move to live-action brings a different emphasis to How To Train Your Dragon; a new heft, both physically and emotionally. “It’s so dialed-up in terms of stakes — having a fully credible, photo-real dragon stomping around trying to kill him,” the director says.

And maybe that DeBlois quote is taken out of context. Maybe there's more going on than that one sentence conveys. Maybe Empire is making their own erroneous assumptions. But "so dialed-up in terms of stakes," isn't, on its own, a good appeal. The animated movie already dialed things up - and knew when to include or not include something. A live-action that imitates the visuals of the animated movie exactly, as if no independent thought has been done to its unique adaptation, to the pros and cons of the medium, to what a independently-presented story needs and doesn't need... It has to make you wonder: how many conflations of "maturity" are going on?

How long are we going to keep making our own conflations?

[csuitebitches]

Things I Have to do for My Sanity

1. Wake up at the first alarm - no snoozing and no going lying around in bed. Getting up straight away and head to the bathroom. It’s going to suck initially but you’ll get used to it in a few days.

2. Mental self care: 30 minute meditation, brain games mental math, reading, news. Knowledge is sexy and don’t deny yourself sexiness.

3. Daily review in my diary at the beginning and end of my day: what went well, what didn’t, what I need to accomplish to achieve my goals. This has tremendously helped my goals and keeping my motivation more consistent, especially at work. Analysing and correcting incremental changes creates long term success.

4. Cleaning up before bed - clothes, shoes, organising my bag, etc. I set a timer for 5 minutes and try to get as much done as possible.

5. Pick out my clothes the night before and steam iron them for the next day.

6. Face masks twice a week, a hair mask once a week, I scrub the soles of my feet with that foot scrubbing thingy once a week. Manicures every month because my nail beds are too sensitive to do it biweekly, iron supplements so that I’m not a moody bitch. Matching underwear to feel good about myself. Lavender spray on my pillow before sleeping so that I don’t get weird dreams.

7. Reading biographies and autobiographies. My mentor had suggested this to me and it’s amazing how literally I don’t have a single original experience - everything I’ve felt or mistakes I’ve made have already been done by someone else.

I’m going to curate a list of business books that I feel that have helped me the most recently.

8. I write a short essay everyday in the language I’m currently learning. I also end my day by talking about my day for at least 2 minutes in that language and I record it in voice memos to keep a track of my progress. I want to be fluent to a level where I can think in this language.

✨

I don’t generally share a lot about my personal life - none of you know my name or where I’m based and I feel comfortable doing that. But I do want to start giving out more insights to what I’m doing personally in my career - the good, the bad, the ugly.

Being self aware and honest to myself has helped me improve a lot. I know that shame is my Achilles heel, so now I’m reading books to combat that. I’ve caved in and decided to try therapy for a bit to see if what I’m doing is useful or not. My first session is tomorrow. Staying disciplined was my initial hurdle but the systems I’ve set (waking up early + habit stacking) have helped me slowly overcome that.

Work side, I’ve started establishing myself publicly more. I don’t want to reveal too much about what I do exactly but the good news is that our biggest competitor has noticed my progress (a former employee of that company came to us for an interview and directly asked our top management about me). It’s been 4 months that I’ve been working here but I know that next year I really have to swing the bat and hit a home run. I’ve decided to work on the field more and less in the office to really understand people’s needs and create unique solutions.

The daily/weekly/quarterly diary is definitely credited to my recent wins. That’s the biggest change I’ve made in my routine and i can already see that it’s working well. I’m going to continue refining and implementing that method.

Recent work methods I’ve decided to start working on (I’m not required to do these but I do it for my growth):

1. I’ve started studying popular companies’ business and revenue models in detail. Everything is adoptable and adaptable, you just have to figure out how to tweak something for your company’s clients and needs. Now I’ve decided that I want to keep a track of our competitors, their business models, their owners names, pricing strategy, their target audience etc etc on an excel sheet so that I’m aware with what’s happening in the market. 

2. I’ve started making client profiles. Every time I meet a client, I note down their name, the company name, what they were like, anything specific they seemed to like or want, how much they had paid us for a service, what their paying capacity could be, etc. 

[luna-azzurra]

Some tips to help you improve your writing style:

1. Read widely: Reading a variety of genres and authors exposes you to different writing styles and helps you develop a broader vocabulary and an understanding of various sentence structures. For example, if you want to improve your descriptive writing, read books by authors known for their vivid imagery like J.R.R. Tolkien or Gabriel Garcia Marquez.

2. Write regularly: Like any skill, writing improves with practice. Set aside dedicated time for writing, whether it's a journal entry, a short story, or an essay. Consistency is key. By writing regularly, you'll become more comfortable expressing your ideas and develop your unique voice.

3. Be mindful of your audience: Tailor your writing style to suit your target audience. Consider their level of familiarity with the subject matter, their interests, and their expectations. For instance, if you're writing a scientific paper for experts in the field, use technical language and provide in-depth analysis. On the other hand, if you're writing a blog post for a general audience, use accessible language and relatable examples.

4. Use active voice and strong verbs: Active voice makes your writing more direct and engaging. It emphasizes the subject performing the action rather than the action itself. For example, instead of saying "The ball was thrown by John," use "John threw the ball." Strong verbs also add clarity and power to your writing. Compare "He walked slowly" with "He sauntered" or "He ambled."

5. Vary sentence structure: Experiment with different sentence lengths and structures to maintain reader interest. A mix of short, medium, and long sentences can create rhythm and flow. For example, a series of short, punchy sentences can build tension or convey urgency, while longer sentences can provide detailed explanations or set a contemplative tone.

6. Use precise and vivid language: Choose words that convey your meaning precisely and evoke vivid imagery. Instead of saying "The flower looked pretty," you could say "The delicate blossom bloomed in vibrant shades of crimson and gold." Specific and descriptive language brings your writing to life and engages the reader's senses.

7. Edit and revise: Good writing often requires multiple rounds of editing. After you finish a draft, take the time to review and revise your work. Look for clarity, coherence, and grammar errors. Consider whether each sentence contributes to the overall message and whether the organization of your ideas flows logically. Don't be afraid to make significant changes if they improve your writing.

8. Seek feedback: Share your work with trusted friends, colleagues, or writing groups. Constructive feedback can help you identify blind spots and areas for improvement. Consider their suggestions while maintaining your unique voice and style.

[cygnahime]

Chronological order (that is, the order in which events allegedly happen) is almost never the best order to start a new fan on a series, if it differs significantly from publication order.

It doesn't matter whether the series is overall good or bad - it doesn't even matter if the first published work is worse than the prequels. Because the difference between a first work and a prequel is not unlike the difference between original and fan work: the prequel, like the fan work, assumes you already know and care about something here.

Box sets of the Chronicles of Narnia that list The Magician's Nephew as book 1 are wrong: a key appeal of that book is finding out that this is how Narnia came to be, a thing that doesn't matter unless you know what Narnia is. The callbackfores like the lamppost growing don't make sense unless you know the lamppost. (Not to mention that reading Narnia in chronological order would involve stopping before the last chapter of LWW to read all of Horse and His Boy.)

Doomed prequels have the double-failure if read first that they are fundamentally classical tragedies: if you don't know the characters are doomed, everything hits differently than it was designed to. Which may still be a good experience! But admit to yourself that you want to study your friend's reactions for science, because you can never feel that way again.

There's also the high chance that the prequels spoil a significant plot twist from the original due to being the story of how that plot twist came about. The potential existence of Crisis Core is a major revelation of Final Fantasy VII (original flavor). (FFVII is a fascinating case study, because the Remake has to reckon with how much of their target audience knows the original.) (And reckon they do!)

Kingdom Hearts Chronological Order is a fun activity to play with your fellow fans, but unless you're filming reactions For The Bit, why would you do that to a friend? Trying to explain the KH series in chronological order is why it has the reputation for being super hard to understand. Do not do this.

[writers-potion]

this is a little hyper specific lmao but i was wondering if you have any advice on writing a pov character being mysterious? tyyy

Writing A Mysterious POV Character

Thanks for the question!

Here are some characteristics that I think makes a POV character "mysterious"

The reader is not meant to understand everything the POV character says, describes or alludes to.

The POV character actively holds off information from the readers either because (1) it's hard for them to talk about it or (2) they don't think it's important, somehow.

They reconstruct the narrative in the way they perceive it, not following the chronological order of events and often providing piecemeal information that only (if ever) comes together at the end.

The POV character simply has a wholly different perspective that a human reader will have difficulties understanding (i.e. story told from an animal or alien's POV)

I think the best way to portray this is to provide examples, which I think qualify as mysterious narrators. Note that not all mysterious narrators are unreliable narrators, although they could be. Here are the selected narrators and a few extracts for illustration purposes, divided by loosely defined subcategories (there can be overlaps!):

Incomprehensive Jargon & Allusions

Given that you can do this without boring or genuinely pissing off the reader, using lots of jargon, making allusions to things your target audience will probably not know to create atmosphere can be effective.

I recommend having a strong thematic core to justify all that jargon and reference, though.

Richard Papen from <The Secret History> by Donna Tartt

The characters talk and make references to Greek/the Classics. Arguably, it is not "incomprehensible", but the entire book is tirelessly full of them and unless you are a scholar in a related field, very unlikely to know all the Greek/ancient works being referenced all the time.

by M.L.Rio

Interesting style where the characters talk and even think in Shakespeare. They literally quote lines from Shakespeare to talk to each other. Not as difficult to follow as <The Secret History>, given that these are q famous plays (Hamlet, Macbeth, etc.) but it certainly adds well to the mystery at the heart of the book's plot.

---

Witholding Information

Have your narrator subtely refer to a large event in their past (a murder, a traumatic memory, etc) but never telling the reader upfront, making them only make implied guesses.

The only reservation I would have for this option is to not annoy the reader by letting them know the narrator has information, but is somehow not telling them. It would help to have a clear reason for them to not talk about it: e.g. they haven't accepted the past themselves, they're too scared to talk about it, etc.

by Eliza Clark

In here, the narrator has killed someone in the past - a fact that only becomes kind of clear at the end. Even then, the murder is never referenced because this narrator has some serious mental issues, but when you look back with this knowledge at the end of the book, her behavior starts making more sense.

---

Reconstructing the Narrative

Don't go in chronological order. Use time skips, or invent a new system for the narrator to arrange their memories and thus, retell the story. This gives the narrator power over the narrative because they've seen the whole thing play out, but the readers are getting bits and pieces, trying to get the puzzle pieces to fall together.

Other options:

POV character has amnesia

POV character has dementia

Using narrative interruptions that are in a completely different style (can work for 3rd person, look at Olivie Blake's work referenced below)

Olivie Black's <Alone With You in the Ether>

Using screenplay-like interruptions to the narrative that limits the reader's access to the characters' minds. Also creates interesting tone.

Kim Youngha's <Diary of the Murderer>

[I don't have pictures for this because I only have the Korean version....but really worth mentioning]

Here, the narrator has dementia and cannot fully remember the murders he has committed in the past. He is also an unreliable narrator who can only remember things in bits and pieces - thus the typical chronological order is interrupted.

---

"Non-Human" Perspectives

Give yourself a narrator that is not human, or is "dehumanized" in some way (lack of emotion, inability to relate to others, etc.) to view the entire world from a perspective not often experienced by the average human.

Death as a narrator from <The Book Thief> by Marcus Zusak.

Zusak inserts these little "pronouncements" or "interruptions" to the narrative and the calm but transcending tone constantly raises questions.

---

Do note that the overall tone of the novel contributes significantly to how the narrator comes across to the readers. Many of the works above also deal with "reality vs. unreality" as a theme, which is augmented by the use of a mysterious narrator that prompts the reader to challenge

Hope this helps, Happy writing :)

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[queer-ragnelle]

Understand is is a very weird question to get out the blue so no offence taken if this gets left in the inbox, but I was wondering how (if at all) to integrate transgender knights into arthurian retellings/adaptations ect while trying to keep it vaguely true to the medievalisms of the whole thing? I know its easy and liberating to just go 'fuck it everything queer' and its a totally valid way to go about it, but (as a trans person) I like having a narrative examine queerphobia and other structual issues with the setting - gives the whole thing a bit of meat (in my personal tastes). That being said, it feels like its a nightmare to try and have a transmasc knight stay stealth in this place! Everyone feels like theyre getting stipped and tended to after breaking a rib in a joust or merlin shows up and is a dick about pronouns and outs you to get you married to a Roman king. Stuff like that - things that feel a little easier to dodge when its a civillian character, not an ruling class.

Is this a 'kill the cop in your brain' kinda deal? As a queer storyteller yourself do you have any tips or strategies or tools you use to crowbar this kinda stuff a little easier together? Or do you know any stories/retellings/academic texts ect that cover these kinda things (even if its in a 'for the love of god, don't do that' way). Love the work you do for this fandom a lot, regardless of your answer! Hope you have a good day.

Hello anon! This is a great question.

Now let me preface this by saying I’m not transgender and I’m not a medievalist. There are plenty of trans medievalists on tumblr, but I’m not one of ‘em. So my answer is coming from a queer but cis author and enthusiast perspective. I'm going to provide lots of links to read things as well so everyone can draw their own conclusions from the material.

I think a large part of this does come down to “kill the cop in your head.” But at the same time, I’ve been exactly where you are wondering, “How can I make this story feel authentic to its era without torturing the trans characters?” Because you’re right, there’s a lot of nudity and close proximity interaction between knights in the medieval stories and Merlin is totally the type to be a dick about pronouns. I've also searched and struggled to find a medieval-set story that manages to incorporate queerness in a period-appropriate way (so far as we can guess) while balancing the narrative as to not tip into something deeply unpleasant for the target audience to read. (See: the series by Lavinia Collins, which has great queer rep, yay! But tons of horrors previously unseen and still unnecessary, boo!) So where does that leave us?

Well first I’m going to give you an example of how not to handle transness in an Arthurian story....

The book Once & Future and its sequel Sword in the Stars by Amy Rose Capetta and Cory McCarthy went with the phenomenon you already described as, “fuck it, everything queer.” It doesn't take place in the past, but does use the medieval stories as more than reference, it's not as divergent as something like Port Eternity by C. J. Cherryh, the reincarnated characters do interact with the past directly at times, so I'm using it as an example.

Anyway most characters are either gay (umbrella term) or trans. Except the way trans characters are treated sucks majorly (in my opinion). I completely lost faith in book 1 after the introduction of Lamorak, a gender fluid knight who uses they/them pronouns. Merlin misgenders them and gets corrected by Kay, to which Merlin does this whole self flagellation routine about. Lamorak is also disabled, missing their left hand. (Why isn't it Bedwyr? Anyway not the point...) Lamorak gets no dialogue here whatsoever, all agency is completely stripped from them regarding their disability and their gender identity. Double whammy.

This is worsened when Percival gets introduced, as Merlin then makes a point of asking for pronoun clarification in the most obnoxious way possible. To which Percival takes no offense at the weird slight against his sibling and tells Merlin his pronouns.

But what about the sequel? Surely these two queer authors improved with time.....

Is this a joke? Is this the best way they could indicate the inclusive realm of Avalon? Why not just describe the women as they are, all shapes and sizes, and let the reader figure it out? The authorial intent would be so obvious by this point. Instead they say it… like that. Gag.

It only gets worse when Mordred is born. Then they're weird about a literal infant.

What in the bio essentialism? If the characters have been living in a future that’s broken out of the gender binary, the baby’s genitals should be irrelevant. Gwen’s literally saying Mordred is going to fulfill the evil prophecy because he was born with a penis. Even if this is intended to be a teaching moment, I hate how it’s handled. These quotes are in order of appearance in the books, so after the subtextual implications of all that came before, this last part really doesn’t sit right with me. Sorry I find these books completely abhorrent. They've won awards, they’re beloved by many. Maybe it's me. But no thanks.

Honestly, so long as you're not blatantly offensive with your handling of such things, I think you'll be fine. It's important to remember that even if one is part of a demographic they're depicting, it's always a good idea to hire sensitivity readers and take that feedback seriously. Not everyone will love your work, there will be advice you don't utilize, with time you'll be able to weed out the bad faith feedback, (the "all depiction is glorification" crowd) and ignore it. But it's so important to open oneself up to constructive criticism so you can learn and your work can develop into the best possible version of itself.

Now let's get to some ways you can go about researching a way to do this that fits in your story. It’s important to remember that throughout human history, many people lived stealth their whole lives and we don’t know about them for that reason, not because no transgender folks ever lived authentically and happily in medieval times. So it’s never impossible to incorporate a trans character into a story who experiences no direct violence, even if the world they live in isn’t presented as a queer utopia. The other thing is that public opinion regarding queerness, cross dressing, etc have varied a lot over the centuries and were vastly different depending on location. Not every “woman” found in armor would have been treated as poorly as Joan of Arc. So there’s lots of wiggle room for interpretation when you go about writing these narratives. The majority of my examples deal with the ruling class so they address the concerns you mentioned with added scrutiny a noble would face if they were to experiment with gender presentation compared to a commoner. I’ll be spoiling the plots of everything on the list to make clear why I’m suggesting them.

My initial advice would be to read medieval literature with queer themes followed by essays on the subject. The best examples I know of are:

Yde et Olive

Transmasc knight (good ending). 12th century French romance. Yde’s mother Clarisse died giving birth to her & later when Yde reaches maturity, her father makes advances, so she disguises herself as a man & flees. Yde becomes a successful knight & is married to the king’s only daughter, Olive. When it comes time to consummate the marriage, Yde must confess the truth of his identity to Olive, who vows to keep it secret. This is overheard by the king who then attempts to uncover Yde’s identity but is stopped by an angel who chastises the king for harassing such a good vassal. Then Yde is transformed into a man, the king dies, & Yde is able to have a child with Olive. They name him Croissant as if it couldn’t get any more French than it already was. Anyway the story alternates pronouns for Yde given the situation which is pretty neat & in the end he gets to live his best life! Yay!

Le Roman de Silence

Transmasc knight (bad ending). A 13th century French romance about a baby girl named Silence. Silence is raised as a boy because King Eban won’t allow women to inherit property. Like many medieval romances, the hero's adventure is often punctuated with personified emotions (Dame Fortune, Lady Love, etc) but Silence is tormented by Nature & Nurture as he comes into adulthood. He becomes a knight & eventually takes on an "impossible" quest, to capture Merlin, which supposedly can only be done by a woman. Content warning for the ending, it does not go well for Silence. Merlin reveals his backstory, & he’s forced to take a feminized version of his name, live as a woman, & marry the king to keep his lands.

Wigalois by Wirnt von Grafenberg

A 13th century German romance that follows Gawain’s son, Wigalois [Gingalain], but this ain’t about him. There’s a character Marine who fights as a knight. She’s consistently referred to with she/her pronouns, but she’s renowned for her knightly virtues & fights alongside the men in the war. She’s treated very well narratively & dies in battle after apprehending a high-value hostage. Everyone mourns her & there’s a big funeral held in her honor. So even if Marine never presented herself as a man the way Yde or Silence do, she provides an example of a female thriving in a male role. Food for thought.

Parzival by Wolfram von Eschenbach

Another German banger from the 13th century. This one’s about a cis male knight but Parzival has transmasc vibes. Trust me. Here’s my favorite article about it called The Clothes Make The Man - Parzival Dressed & Undressed by Michael D. Amey that really illustrates what I mean.

After that, you can check out these retellings:

The Story of Silence by Alex Myers

I bought this but haven't read it yet. It’s a retelling about the aforementioned Le Roman de Silence. This book uses neutral they/them pronouns to refer to Silence, which I can say from experience sometimes causes confusion with readers, so it's good to study how this author did it & determine if that method feels right for you. (If you ever decide to do something like that with a character.)

Spear by Nicola Griffith + Spear's Author's Note

I enjoyed this one, beautiful prose. It didn’t feel like the most comprehensive Grail Quest retelling, but Peretur can be interpreted as a butch lesbian or transmasc, it’s ambiguous. She only uses masculine pronouns when stealth, otherwise using she/her, but it has a happy ending! It’s firmly set in the era & felt authentic on that front while letting the queer characters relax. Peretur isn’t alone. (A/G/L enjoyers keep winning + sapphic lady of the lake ftw + the other hotties Peretur pulled.) Definitely worth checking out.

The Bright Sword by Lev Grossman

This book just came out in 2024. Including it here is already a spoiler given the topic but I’m going to spoil fully from this point on so ignore this if that’s a problem. This is the best example I can give for your reading/writing tastes based on the ask; Dinadan is a trans man. His transness isn’t revealed in the main character Collum’s pov, but in Dinadan’s backstory pov, opening in his childhood. He & his twin brother were sent to different schools but young Dinadan would leave the girl’s school to practice knightly skills with the fay, which retroactively explains why he has a fairy sword that Collum was admiring. In exchange for this training, the fay ask that Dinadan slay Merlin. Which he agrees to while never believing he actually can, but the wrath of the fay in the afterlife is worth his ability to live as a knight. I love how it was all handled firstly because Dinadan has a fighting style that works for his smaller frame & because every knight has a different fighting style (Dagonet’s is “If it sucks hit da bricks.”) Dinadan doesn’t stick out like a sore thumb yet his physicality is accounted for. Secondly Dinadan explains the lengths he goes to in order to stay stealth from obvious ones like binding his breasts to pretending to shave his face every couple days & wearing a packer. Later on, Dinadan’s secrets are revealed when he goes swimming in the ocean with Palomides (who evidentially already knew) & Collum joins them. Collum had no idea, which I think brings up an interesting point about all of this which also reminds me of Gawain not recognizing that Beaumains was Gareth—the power of expectation. Just as Gawain expected to find a kitchen boy & would have no reason to assume his brother (who hit puberty since they last saw each other) would be stealth in the kitchens so therefore didn’t recognize him, Collum expects to find men as knights of the Round Table, so when Sir Dinadan is introduced, & Collum had heard of him before, Dinadan’s stature & high voice don’t register to Collum as anything but traits that this guy Dinadan happens to have. Learning Dinadan’s secret in the presence of another knight who already knows & is chill about it also encourages Collum to be accepting too. So giving Dinadan at least one ally in his corner throughout the story went a long way. In the end Merlin, who can only be killed by a man (which is why Nimue had to settle for sealing him away) is stabbed by Dinadan. So it’s like a reverse Silence/Éowyn situation that Dinadan’s gender is affirmed in his ability to kill Merlin. This book also includes the part from Le Morte d’Arthur where Dinadan’s forced to wear a dress, which in this context is very transphobic, but that’s the point. It’s made better when Dinadan gets to go insano style on Merlin so he gets payback. Just a heads up about that.

Some fantasy/scifi that’s not Arthurian but may help, as Arthuriana is largely fantasy to begin with, this may help you determine where on the spectrum your taste/writing falls regarding the bending of reality/history to fit your narrative.

Orlando: A Biography by Virginia Woolf

1928 novel about a character named Orlando living during the reign of Elizabeth I. Orlando is born male, then at some point in his early adulthood, falls into a deep sleep from which he awakens the exact same person, now metamorphosed to be female. Orlando, for her part, adopts this new role immediately & keeps on moving. She lives for 300 years as such & has many adventures, including an instance where she then presents as a man to elude marriage. Transitioned so she could cross dress in the other direction. She would’ve done numbers on tumblr. Ultimately, Orlando does marry… a gnc sea captain! The success of their marriage is attributed to their similarities in gender non-conformity. Even though this book only remains in the late medieval era for the opening, I think it’s a poignant example of a transgender individual living their life in their time & still getting to enjoy themselves without excessive suffering that may provide lots of inspiration.

The Left Hand of Darkness by Ursula K Le Guin

1970 Hugo & Nebula award winning novel. A fascinating examination of gender from the point of view of a cis man named Genly Ai having to reconcile his interpretation of the gender binary when confronted with a society who operates outside that. His travels with ambisexual Estravan challenges what Ai understands about the universe. His ignorance forms the backbone of the narrative as he grows close to a person from this other society. Even if it’s not a medieval setting, it may help you develop a narrative voice regarding this subject you’re able to bring to your work. Also it’s just really good.

The Privilege of the Sword by Ellen Kushner

2007 Locus award winner, Nebula & Gaylactic Spectrum nominee. High fantasy medieval setting. Katherine is a country girl brought to the big city Riverside by her uncle the Duke where she’s offered the opportunity to train as swordsman (ie cross dress) instead of political marriage. She’s unsure of the reasoning behind her uncle’s motivations for doing this, but goes along with it & kicks ass. A preview is available on Google books (linked).

The Realm of the Elderlings by Robin Hobb

This is my favorite series ever. It spans 16 books published between 1995-2017. The fandom on tumblr & ao3 is hugely active. (Avoid tags to dodge major spoilers or check it out for amazing art & many quotes!) The series has many gnc characters in a fantasy medieval setting. First & foremost, The Fool, who’s in all the books & whose gender ambiguity is mentioned book 1, to which he says, “None of your business.” The character ever. Without getting too specific, there are several trans characters including gender fluid characters who will alternate between masc/fem presentation & pronouns. This is my favorite example of gender fluid characters in any fantasy I’ve read, especially since there are several & each feels unique. In The Liveship Traders trilogy, Amber coaches another woman how to hide her period while pretending to be a ship’s boy by using a sock, so if anyone finds the blood on it, she can say she cut her foot. Little things like that really deepened the realism in an otherwise fantastical story for me, because addressing those details answers questions my overly analytical mind would ask & wonder about if unacknowledged.

Lastly I'd like to suggest the article Armour of an Alienating Identity by Jeffrey Jerome Cohen. While it doesn't mention Parzival (the text), it does mention Perceval (the character), as well as Gareth Beaumains, Lancelot, Gawain, Yvain, and even Arthur himself. It goes on to reference endless examples to support its thesis including Greek heroes such as Achilles and Odysseus with references to many different medieval stories from Old English Beowulf to the Irish Ulster cycle to the works of Geoffrey Chaucer. Most (if not all) of the texts mentioned in this essay can be found on my blog for cross reference if you desire, although the article already contains many quotes.

Okay I think that’s all I got. I’ve given you a ton to think about and read. Ultimately I don’t think there’s a clean cut answer for this. Nuance, you know? Having hired an editor and many sensitivity readers myself, it really is just a professional a vibe check sometimes. You write what you want to the best of your ability, then other people weigh in, and you keep tweaking it until it’s as good as you can possibly make it. During development, and even in its final form, there will be people who don’t enjoy your story and that’s fine. It isn’t for everyone, it’s for you and your audience. No single experience in this life is the same so each fictional depiction emulating life will also be unique, there’s no “right” answer on how to write this or anything else, only the way you want to.

Hopefully now you have some tools to help you learn how best to express your vision. I know they gave me a lot of insight and ideas I lacked before when writing trans characters in my books. Thank you for trusting me with this question and good luck with your project! Take care! :^)

[a-d-nox]

web of wyrd: how to spot a reliable matrix post

i have been seeing a lot of matrix posts lately that have made me question if people are posting without actually understanding what the arcanas mean, what the orbs mean, how the matrix is calculated, etc. the biggest offender right now is not knowing that certain energies can only exist is certain places. so here is how to spot a questionable post...

let's talk math!

1 (magician) energy can only exist in the primary higher self or the public persona orbs.

2 or high priestess energy can only exist in the primary higher self, primary masculine high energy, primary monetary karma, or the public persona orbs.

persona energies can be 1-22 in this orb and this orb only.

1, 2, 3, 4, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, and 22 can only occur once a month.

5, 6, 7, 8, 9, 10, and 11 can occur twice a month.

primary higher self energy can only be 1-12.

the primary monetary karma orb...

...is as follows 1970-1979 (17-8), 1980-1989 (18-9), 1990-1999 (19-10), 2000-2009 (2-11), 2010-2019 (3-12), 2020-2029 (4-13), etc. i saw a post the other day about energies 13-22 and i was like homeslice half of your target audience isn't on social media any more or isn't born yet.

you can never have 1, 2, 15, 17, 19, or 21 as your primary core energy.

5, 6, and 8 are the most common cores.

13, 14, 16, 18, 20, and 22 are considered rare.

like what you read? leave a tip and state what post it is for! please use my "suggest a post topic." button if you want to see a specific topic or theme next!

click here for the masterlist

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© a-d-nox 2024 all rights reserved

[literaryvein-reblogs]

Writing Notes: On Food

A compilation of notes on how to describe food in writing.

How to Describe Food: Flavour & Texture

1. Write about the flavour.

Rich -> full, heavier foods. Often used to describe foods containing cream (e.g., potatoes & garlic, soup, and chocolate cake).

Bland -> has little or no flavour.

Bitter -> a tart, sharp, and sometimes harsh flavour (e.g., coffee).

Citrusy -> a bright flavour (e.g., lemons, limes, oranges, and other citrus fruits).

Fresh -> a light and crisp taste. Often used to describe produce or herbs. (e.g., apples, lettuce, cucumbers, carrots, etc. Or bakery items like breads, muffins, etc.)

Fruity -> any taste reminiscent of sweet fruit flavours (e.g., grapes, blueberries, peaches, etc.).

Smoky -> a taste reminiscent of the smell of smoke (e.g., BBQ).

Sour -> a biting, tangy, tart flavour (e.g., lemons, Sour Patch Kids, and other sour candies).

Sweet -> a sugary flavour (e.g., candies, ice creams, desserts, etc.).

Zesty -> a fresh, vivid, or invigorating flavour (e.g., tacos, Italian pasta salad, etc.).

2. Write about the texture:

Mushy -> soft, but in an unpleasant way (e.g., if you cook vegetables too long, they’ll get mushy).

Tough and chewy -> are similar. Both describe foods which are difficult to eat because you have to chew them for a long time (e.g., meat can be tough or chewy, especially if it’s cooked too long and it gets dry).

Tender -> similar to ‘soft’, but it’s mostly used to describe meat which is cooked well, so it’s soft and juicy.

Crunchy -> food that makes a lot of noise when you’re eating them (e.g., dry food – like potato chips, or hard cookies – can be crunchy).

Words to Describe Different Flavours

For rich, spicy, or savoury flavours. The following words represent complex, spicy, or flavourful seasonings and dishes: buttery, caramelized, peppery, piquant, salty, sapid, saporous, savoury, smoky, spicy.

For sweet or fresh flavours. These descriptors characterize fresh or sugary dishes: ambrosial, bittersweet, bright, fruity, honeyed, minty, nectarous, saccharine, sharp-tasting, sweet, syrupy, treacly, zesty.

For subtle flavours. Some dishes are on the milder side. You can use one of these words to describe the taste: bland, mellow, tasteless.

For sour flavours. A sour or complex taste can be challenging to articulate. Here are some descriptive words to help: astringent, briny, citrusy, fermented, sour, tart, vinegary.

For hard or crunchy textures. Use these words to describe a crispy or chewy texture: broiled, caramelized, crusty, flaky, leathery, sizzling, thick, thin, toasted, toothsome.

For soft or fluid textures. These words can help you describe drinks, desserts, or other soft items: crumbly, doughy, fizzy, gooey, juicy, luscious, mashed, mushy, rubbery, runny, simmered, smothered, spongy, sticky, tender, velvety, waxy.

For the smell of food. Here are common food adjectives you can use to describe smells: acrid, astringent, bright, citrusy, fermented, heady, honeyed, minty, nutty, peppery, pungent, rancid, rotten, smoky, sour, vinegary.

Tips for Describing Food in Writing

Be specific. There are a lot of food words that are vague or general, like “delicious,” “yummy,” “succulent,” “delectable,” “mouth-watering,” or “finger-licking.” Avoid these overused phrases. Focus on the food's particular flavour, texture, or smell to make your writing more evocative and precise. Rather than describing a soup as “tasty” or “scrumptious,” try more specific words like “buttery,” “chunky,” or “minty.”

Consider your purpose. Decide if your goal is to explain a culinary experience or make the food sound appetizing. A clear understanding of your intention and target audience can help you shape your writing to be the most compelling.

Evoke all the senses. While you lean heavily on taste to describe food, remember to explore the texture, smell, sight, and sound of a dining experience as well. Including sensory language that incorporates the other senses creates a more robust experience for readers.

Sometimes less is more. Food writing is most effective when it’s focused, allowing readers to zero in on the essential details of the dish. If you include too many descriptors or attach multiple adjectives to each noun, you can overwhelm or confuse readers.

Sources: 1 2 3 ⚜ More: Writing Notes & References ⚜ 100 Sensory Words

If these writing notes helped with your poem/story, please tag me. Or leave a link in the replies. I'd love to read them!

[sufferu]

Bravo to you for choosing not to let Rem be forgiven so easily. Honestly I've never been a big fan of Rem as a character, sometimes her endless pandering and obsession with subaru just really annoys me instead, and I've never understood people looking at her doing all that and then saying “Wow that's so hot I'm so jealous of Subaru!”

As for the ones who want her deeds to be easily forgiven by everyone, my personal guess is that they all only care about her body and the unheathy way she forces herself to act like the perfect waifu just for Subaru's sake, but subconsciously they can't stand the shit she did either, so they secretly want their favorite waifu to be a perfect being without flaws. But to me, isn't it essential to love a character and accept their flaws as well? They did wrong things, but there's no doubt THEY did them anyway, and that is part of what makes them who they are. Another thing is that forgiveness has to be earned, we're not cruel, coldhearted, or closeminded for not forgiving someone who hurts us. So I too agree with that anon who thinks WHDAA cast need to to beat some sense into Subaru on way too forgiving and tolerating the people who have hurt/killed him.

But now that you've decided to do that, beware of those rabid Rem stans coming after you and I'm worried that their harassment goes overboard and affects your personal life

I will say — I believe that Rem and Subaru’s canon dynamic is one of the most intriguing and multifaceted dynamics in the entire series. Their parallels regarding their insecurities and family members, their mutually codependent tendencies, the way they run the risk of becoming each other’s perfect enablers, the genuine sense of love and affection that runs parallel to the unintentional toxicity fostered within their relationship — it’s all really interesting stuff. In fact, exploring their dynamic through the lens of outsiders (including amnesiac!Rem) finally getting to peer under the hood is one of the main reasons I wanted to write a react fic at all.

As for why people like her — honestly, I think it’s kinda easy to guess? She’s a very cutely designed anime girl, she’s incredibly well-voiced, her insecurities are genuinely relatable, she’s got a super awesome oni power-up transformation, her morning star lends itself to some of the best choreographed action scenes in the series (or at least Season 1), she appeals to the whole “submissive maid” aesthetic that she knows Subaru finds attractive (and that also appeals to the target demographic of Re:Zero specifically, let’s be real here) — and frankly, there are so many scenes in anime where characters we’re supposed to like do fucked up shit that it’s not difficult to just…gloss over the whole “tortured the mc for several hours” part of her character. It’s understandable, especially if you’re not an insane person who spends all their time hyperanalyzing the anime they’re a fan of like I am. I don’t think it’s really that far of a leap for her to develop such a massive following, she was basically designed to be as popular an anime waifu as physically possible.

But then, that clash can become…a little uncomfortable if you’re writing a story where “Rem tortures Subaru” is a major plotpoint, and if you don’t want to reevaluate their entire relationship, it makes sense to find a way to just — get the characters to move along, much like a lot of the irl audience does.

But I really like toxic characters and angst and complicated relationships and all that fun stuff, so that’s what I’m gonna focus on. —Also Rem is WORSE in the LN. Girl starts fantasizing about whisking Subaru away while he’s practically comatose from shock (second Arc 3 loop) and then also makes a comment like “even if he had tried to assault her in her sleep, she knew she never would have resisted” like GIRL??? The idea of not tapping that insane well of potential drama is ludicrous to me lmaoo— especially because I really don’t care about maintaining the status quo ;)

(Also frankly, anyone who would start seriously harassing me over whether or not I share their opinion about a fucking anime girl is too pathetic for me to care about. I honestly don’t think I’ll get that big of a response — especially not on Tumblr “Gay Website” Dot Com — but even if I do…I don’t care, lmao.)

[thearchercore]

As a film major undergrad and then entertainment business major post grad. The artistic elements of the F1 movie drive me insane AND THEN THE FINANCIAL AND MARKETING ASPECTS TOO!!

Apple is pretty notorious for just blowing huge amounts of money on shows and films that no one watches. So, it’s not even the $300 million budget that surprises me . It’s how little anyone seems to understand what this film is about or who it’s even for!! AND I CANT EVEN TELL WHERE THE MONEY FOR THIS FILM HAS GONE EXCEPT ON BRAD PITTS PAYCHECK BECAUSE THE TRAILERS COLOUR GRADING IS SO BAD IT CANT POSSIBLY BE ON POST

Maybe it was just a terrible trailer but the reason films like Rush and Le Mans 66 (Ford v Ferrari in some countries) is that they had something for both racing and non racing fans. 

Both based on true stories, with a compelling emotional core, recognisable actors (appeals to non racing fans mainly). Beautiful cinematic shots of cars going fast appeal to racing fans because those are views that you don’t usually get watching an actual race. 

the fixed cam shots of the drivers in the cars do nothing!! Because non racing fans will find them boring and racing fans would just rather watch a real race. Not Brad Pitt fucking about in an F2 car (which racing fans on Twitter have picked up on already!) The jet shots in top gun maverick (same director) worked because, hey people don’t usually see that sort of stuff, especially not from a pilots POV,  but we see fixed cam POV shots from car races all the time!! AND HOW ARE YOU DOING AUDIO FOR THAT??? is just going to be Brad Pitt breathing heavily the entire time??  

The exaggerated noises and car movements are fun to watch because F1 cars don’t move like that anymore! We don’t get to hear that classic WHOOOSHHH. hell even Michael manns terrible Ferrari movie was FUN because the story was interesting and the shots of the cars driving very fast around very scenic parts of Europe is entertaining. 

F1 (2025) is not based on a true story and the trailer was way more focused on the cringe “car for combat” line rather than what might actually make for an emotionally compelling story. An old racer thrown aside by the sport being dragged back to help an up and coming racer because that’s the only way he’s able to get back in a car. For the first time in his career He’s now the number 2 driver.

But it seems like we will get none of that and if we do the writing will be…uh bad!

ALSO THE TWITTER MARKETING!!! Who is that for!!! The only people who are interacting with that are already your target audience (F1 fans) they know the movie exists, they’ve already made up their minds about whether they are going to see it or not. And if non f1 fans see it they’d just be confused about it being a real f1 team and likely just ignore it. If this is your early marketing what on earth are you going to do next!! You can’t get Brad Pitt to do stunt drives for promotions cause he’ll probably die!! You are relying on name recognition to get non f1 fans to go the theatre and sign up to Apple TV for this and you didn’t even say FROM THE DIRECTOR OF TOP GUN MAVERICK in your trailer when that was the second highest grossing film of 2022 and had pretty much universal critical acclaim!!!! 

Brad Pitts old ass was also a terrible choice for this movie. Micheal Fassbender was right there!!! He’s literally done Le Mans, had an entire Porsche YouTube doc about his training and hypercar race attempts. And at 47, is a very believable age to play “retired driver but still young enough to come back” and he’d likely have been able to a lot of drives/stunts himself. 

I also dread to think how the real drivers are being included in this. I get wanting authenticity but these boys may look like models and actors but they are not!!! If anything I feel like it’d just ruin the emersion of the film because how jarring it’ll be to see real drivers, with their real names in a fictional movie!! 

This movie makes me crazy, it’s only been 1 trailed and some BTS info and I’m already like this. Watching the actual film ( which I do encourage people to pirate btw don’t give Brad Pitt money) is going to kill me 

i will be very surprised if they do pull it off because every move they've done so far was just objectively bad. naming it f1? awful. the ip will get lost in search engine tools because Real F1 will overshadow it. the trailer? no plot. brother is building a car for combat as if the FIA would allow anything like that. the closest we got was mclaren putting spikes on their car this year.

the trailer showed us zero plot, introduced zero stakes in the story. okay you're building a car, why? why do you want to win? what is the driving force of the story? the emotional core? why do i want to root for brad pitt's character if my driver is an actual character in the story??

so far the only people excited for it are real f1 fans that are going to see it to see max verstappen walk in the background in IMAX for 4 seconds. and those people take it as a joke, a hatewatch even.

they all know the f1 drivers can't act... like this whole thing seems so insane to me i cant believe how its an actual thing that's being filmed lol

and dont get me started on how the filming is taking two years (also bc of the strikes last year). two teams have completely different name. cars look different. suits look different...... like if they're fixing all in post god bless that team bc they'll be using more VFX than marvel

[outrunningthedark]

Buck could have apologized to Eddie and tried to make things right with him in 7x05 after he and Tommy got together instead of the dumb “Buck trying to hide the fact that he’s dating Tommy from Eddie” they gave them which was also ooc because Buck had no issue coming out to anybody else in his life and he knows Eddie’s not homophobic so why is Eddie different

Plus in 7x04 Buck didn’t need to try and break Eddie’s ankle, if Buck would have broke down crying or had a panic attack on the basketball court that would have been more then enough for Tommy to go to bucks loft to see if he’s ok and try to clear the air

"...if Buck would have broke down crying or had a panic attack on the basketball court that would have been more then enough..." I'm sorry to see that you've fallen into the trap of thinking Buck needs to have a breakdown every single season for his story lines to be good, but that's not how this works. Buck is an adult male. In his 30s. No canon mental illnesses. And the ADHD Oliver co-signed? Still fanon. The show didn't adopt it as part of the character. Having a "panic attack" or CRYING (over what?) wouldn't have made sense to the general audience. It would have made him look like (sorry to say!) a child. Aggression? That's expected. When men get overwhelmed, they get aggressive. When men get overwhelmed on 9-1-1? They also get aggressive. Bobby shoving Buck up against the wall. Eddie fighting arc. Chim punching Buck. A shove on a basketball court was only "OOC" because 1) fandom sees Buck as the little boy from the Begins flashbacks who must be protected and 2) his aggression was targeted towards Eddie. ALTHOUGH! I would argue that Buck's shove is no different than Eddie calling Buck exhausting when he was pissed off. One incident was verbal. One was physical. Same intent. To lash out. As for the second part of your ask... Yes! Buck could have apologized to Eddie in 7x05! If 7x05 was a direct continuation of 7x04. If 7x04 didn't have Tommy telling Buck to call Eddie and apologize. You, as the viewer, are supposed to be able to understand that the days between the two episodes are reflected in canon. Buck called Eddie to apologize. Off screen. They didn't have to bring it up again during 7x05 when 7x05 established that Eddie was already over what had happened. Just because Tim didn't write the scenes fandom wanted to see doesn't mean the scenes he actually wrote aren't easy to connect.

[suhmingo]

I, uh, don’t know how to actually preface this. It’s really just a mini rant/pseudo-analysis of chapter 167. Which was pretty crazy. But, I loved this chapter, and yes I’m typing this with two hands.

But first let me try and do some housekeeping.

It’s perfectly fine to have an emotional, even visceral reaction to 167. That’s the point

If you feel grossed out, betrayed, unnerved, dumbstruck, or any form of bamboozled by today’s chapter then good! That means the emotional weight of the scene is working, and that you are a proper, feeling human. The

The whole point of fiction is to explore themes that would be difficult, even dangerous to experience from a place of safety. To me that’s, like the entire reason I ever wanted to become a writer, one of the most unsung broke boy jobs in the history of the world. My desire for Denji to get better in a world that is dead set on making him fail is the entire reason I have an emotional investment in the first place. Stories are inherently about conflict and the struggle with resolving conflict, that should make you uncomfortable.

Say what you want about Chainsaw Man. I can take it, I’m a big boy. But one thing that it has always had since Chapter one is a well-defined through line about the complexity of our innate desire to find some type of love fighting against the pain-wrought pathway that it leads us down. In a good story, every chapter should have some way of showing the highs and lows of that theme, and I’m pretty confident when I say that 167 perfectly shows us that.

It’s bad. Don’t let people who brag about their trauma tolerance tell you otherwise. You are well within your right to feel. But I think it would behoove people to 1. Realize that this is fiction, and its effects, though evocatory, are ultimately abstract, and 2. Realize that exploring dark themes allows people, especially a 16-25 (Or whatever the target audience for CSM is) to grapple with and think on human concepts as all encompassing as love.

From a writing standpoint, one chapter has escalated the tension of the entire story more than anything that has happened in Part 2 so far. It’s admittedly a bit early to call it peak. But looking at it as a simple story beat, that’s a fantastic chapter as far as the medium goes.

Listen, the whole point of stories since, like, Mesopotamian times was the tension between wanting a character to achieve happiness vs the hardships and trauma that life happens in life. They’re supposed to put you in a sensitive state emulative of a tense environment. I’d argue that the prevalence of escapist fiction and fandom has changed how we emotionally digest fiction. But that’s a whole nother essay.

The events of 167 aren’t some horny non-sequitur. Everything that happened is entirely a logical, if graven, extension of how we know characters.

Denji is at the lowest point we have ever seen him at. He was literally dismembered and put back together less than 10 chapters ago. The last chapter literally had him groveling on his knees at a cauldron’s brew of his own weakness, immaturity, stupidity, and horniness. I think we can all understand why he would not be in a good mental state to just lose himself in the moment. You can’t even blame Denji in this situation. He was in an entirely vulnerable state that was exploited entirely by

Yoru. Who is the literal embodiment of war. If you think that someone who represents the human fear of war is going to play fair. Turn on the news for five minutes. Yoru is a character we are not supposed to like. She’s fun, because she’s a work of fiction, but she’s arguably less trustworthy than Fami. She’s a violent, exploitative being who possesses a dead teenager. There is no “too far” for her if it’s the fastest way on the road to conquest. Reminder that before she caught feelings, her plan was literally just to castrate Denji because she thought that would further her goals. The fact that it turned into kissing was actually sparing a worse fate. IMO that savior was all in the actions of Asa.

Asa. I genuinely believe that, subconsciously, Asa wanted to kiss Chainsaw Man. Not like how it happened. Never like how it happened, but her desire for Denji/Chainsaw Man's affection has always been evident. She gets irreparably upset when she’s stood up, she makes cringe poetry for Chainsaw Man, and her entire goal as of now is in some misguided desire to make him happy. I also don’t think Asa is actually demisexual, or averse to sex. She is afraid of intimacy, which stops her from ever acting on her urges. Notice that both times Yoru has kissed Denji, it was after the idea of sex and intimacy was explicitly brought to the conversation. To me that screams that Yoru is spurred on by her host’s innate desires. Hell, it’s been shown that in the same way that Yoru has made Asa more proactive of a human being, Asa has made her feel emotions. I don’t think it's a coincidence that Yoru is blushing while kissing Denji. None of that was part of her plan. That’s Asa’s emotional influence getting the better of her in what I predict to be a fantastic role reversal of their initial contract.

This is thematically in line with how Chainsaw Man presents love and sets up deeper themes.



Remember way back in Part One when Denji was just an initial horndog and everybody kinda hated him? I hated Denji back then! When I first heard of Chainsaw Man I genuinely thought it was going to be a mommy-kink fuelled power fantasy. But I was wrong. Wonderfully wrong. Fujimoto used the allure of that idea in Makima to present a story about how dangerous and manipulative the very idea of grooming is, and how damaging that can be to a person. The same way Denji’s desire to get the approval of Makima was poisonous to him is mirrored in his desire for vapid, instantly gratifying sex is being portrayed here. I genuinely think this chapter is going to age like fine wine, and I am absolutely willing to take egg on my face if I’m wrong.

[spirit-meets-the-b0ne]

I actually had someone say to me yesterday that watching House of the Dragon as a book reader is a bias and the fact that it’s an adaptation means it can go “any direction” from the source material and if this is a sentiment shared by others Jesus Christ are we in trouble

I understand an adaptation is never going to be 1:1 but can we collectively as a society agree on what the fuck an adaptation is? Through different mediums things are going to have to be reworked. To discount the majority or the original intended fan base however, is insane. This was my same issue with ATLA adaptations - you can’t tell me to abandon what I know and love about that story/characters and see it warped in an unrecognizable way and still applaud. The reason these adaptations even get made and get funding is because there is a TARGET audience and your fundamental basis for this are those who were invested in the source material. This happened with Witcher, ATLA, every Disney live-action remake, etc.

We can either commit to adaptations that are faithful to the source material, ergo faithful to the fans or we can just fuckin quit adaptations all together. It’s wild to purport that an invested audience member is inherently bias and should have their opinion discounted simply because they had knowledge and investment in characters from the source material which was abandoned or altered by a sub-par writer trying to “shock” audiences or reinvent the wheel.