#classifieds ads script

[businessadvisorrobert]

Can Classified Ad Script Increase Your Revenue Stream?

Success in entrepreneurship often relies on a smooth, uninterrupted workflow. Traditionally, this was difficult due to time-consuming tasks. However, technology has revolutionized business operations, allowing tasks to be completed much more quickly.

In the classified business, technology's impact has been significant and unexpected.

To build a strong presence in the second-hand market, explore the monetization strategies of classified ads script in this article.

Let’s get in! 

Revenue Models Of Classified Ad Script 

Generating revenue fuels your business growth over time. Let's explore how classifieds script generate income!

Commission Fees

The platform primarily generates revenue through commission fees, which are applied to users and sellers utilizing the service. However, signing up on the platform is free of charge. The transparency of the costs, known to all users, contributes to the platform's trustworthiness.

Revenue from Advertisements

The platform also generates income through advertisements, which serves as a secondary revenue stream. By allowing other companies to place ads on your platform, you can earn additional money with minimal effort. This supplementary income can be allocated towards maintaining the platform and supporting other growth initiatives for your business.

Subscription Fees

Many on-demand businesses prefer this model as it simplifies the user experience and increases revenue for the platform owner. For instance, a user opting for a basic subscription plan pays for three months upfront, rather than charging their card monthly.

In-App Purchases

For users seeking enhanced features to simplify their experience, they can purchase and utilize these additions. This method not only provides a smart revenue stream for the platform but also offers a way for you to earn extra income. However, it's important not to depend solely on this strategy for your revenue.

How Can You Use These Monetization Strategies Correctly?

To use the monetization model efficiently, you should understand your audience. For example, if your target audience is young people, you can add subscription models or premium features. 

Next, personalized experience in the user's revenue process makes them frequently use the platform. You can gain user attraction by adding trusted and popular revenue gateways and multiple methods

To streamline everything, the foremost thing is the efficiency of functionalities. Make sure you choose the right platform. 

Summing Up, 

We have discussed the revenue strategies in this article. To know how it can be implemented in real, get expert assistants. They will explain to you how commission fees can be used in online classified software for business requirements. 

Contact them & build your business quickly! 

[businessadvis321]

Key Revenue Factors for Your Classified Marketplace in 2024

In today's tech-driven era, the classified business has emerged as a super business with the power of technology. Businesses have changed their work algorithm in a convenient, quick, and hassle-free way. 

While the core concept remains the same, the transition to digital platforms has made the experience seamless. Enter into a world of seamless and profitable Classified Software business experiences. In a constantly evolving world, your approach to buying and selling should evolve too.

Adapting to the new change - the classifieds script is the key to unlocking your business success. How did the classified ad script elevate your business success? 

This article explores strategies to maximize the revenue of your classified ads business. 

Let's begin with some enlightening statistics!

What is a Classified Marketplace?

A few years ago, people often confused classified advertising with traditional classified ad script businesses, where goods were listed for resale in newspapers. Interested buyers would contact sellers directly to negotiate prices.

In today's fast-paced world, newspapers have also gone digital, and so has classified advertising. Classified software emerged, enabling users to buy and sell items directly, without intermediaries. This shift has facilitated a transition to a customer-to-customer (C2C) model in classifieds.

C2C online marketplace apps are similar to e-commerce apps. The only difference is, that in classified applications, people can sell their used goods. Letgo and OfferUp are a notable classified marketplace to buy and sell used products.

Growing Demand for Classified Marketplace

The online classified market is dynamic and evolving, facing exciting challenges. Studies indicate a positive outlook among industry leaders about its future. A significant 84% of CEOs and owners in online classified enterprises expressed optimism about the market's prospects in the coming years.

The business model in classifieds is increasingly emphasizing transactional incomes. Currently, revenues from transactional services constitute an average of 15% of companies' total revenues, with expectations to grow up to 50% in the future.

Looking ahead, the online classifieds market is projected to reach $741.47 billion by 2032, with a compound annual growth rate (CAGR) of 24.80% during the forecast period from 2024 to 2032.

Industry reports also highlight the future plans among companies, with 57% planning to launch new products and 59% intending to hire new employees in the coming years. 

Furthermore, 39% of surveyed businesses plan to modify their operations within the next 3-5 years to stay competitive and innovative in the dynamic classified industry.

How does a Classified Marketplace Make Money?

Each online platform adopts different monetization strategies. Here are the most commonly used models across the classified marketplace like Letgo:

In-App Advertisement 

Harnessing in-app advertisements effectively boosts individual user product visibility on the platform. Here's how integrating targeted in-app advertising can drive revenue:

Implement Targeted Advertising: Set up a system that lets sellers display their products to a specific audience based on user preferences, location, and search history. This targeted approach improves user engagement and increases the possibility of conversions.

Encourage User Engagement: To maximize earnings, focus on keeping users engaged on your classified software for longer periods. Enable sellers to create special offers, discounts, or bundled deals that attract more buyers. 

This not only promotes individual listings but also encourages multiple purchases, thereby increasing overall sales and revenue.

Membership Fee 

Another effective way to monetize a classifieds script is by implementing membership fees. This can be divided into two categories: special features for a price and subscription plans.

Special Features for a Price 

Offer special features to premium users. For example, users can pay to have their listings appear at the top of search results. This not only generates revenue but also provides added value to users willing to pay for extra visibility.

Subscription Plans 

While not all marketplaces use this feature, subscription plans can be a valuable addition to increase revenue. By offering different plans, users can choose a level of service that suits their needs. 

For instance, a platform like Contentplace might offer three subscription plans, each providing various benefits based on the price. Casual users can opt for a basic plan, while more frequent users might choose a premium plan for additional features. 

This tiered approach caters to different user needs and maximizes the revenue potential of your classified ads marketplace.

Seller Fee

The seller fee is similar to the membership fee. Sellers pay a small amount to list their products on the platform, typically between 1% and 5% of the sale price.

Interestingly, some platforms allow sellers to decide how much they want to charge. For small traders or those selling just a few items, the fee might be minimal. This flexibility makes it easier for sellers to list their products without significant upfront costs.

Charging a listing fee benefits the platform by generating revenue while providing value to sellers. If the platform effectively connects sellers with buyers, most sellers will be willing to pay a small fee for the increased exposure and sales opportunities.

Transaction Fees

Every online buy-sell marketplace uses transaction fees to generate revenue. This approach involves charging a fee from buyers to facilitate smooth exchanges of goods and services on the classified ad script platform. The fee charged is known as the transaction fee.

You can either set a fixed amount as a transaction fee or decide on a specific percentage to keep from every transaction amount.

In-App Purchases

A classified website script can generate income through in-app purchases rather than from app downloads or sales. This allows sellers to draw attention to their listings and sell their products quickly.  

For instance, users can pay to “feature” a listing. This places the listing at the top of the user’s feed and highlights it with a unique “Features” ribbon. Additionally, it adds a button that allows buyers to contact the sellers with a single tap. Sellers can choose to feature their product listing for 24 hours, 3 days, or 7 days. 

While the core functionality of the marketplace - buying and selling is free, users can pay for special features to enhance their experience. 

This revenue model encourages wide app utilization and increases brand awareness, as customers are more likely to try something out when it’s free. 

Wrapping Up

Now that you have understood the key revenue strategies for classified software. By implementing a combination of these revenue factors and continually adapting to user behavior, your classified marketplace can thrive in the competitive classified ads script market and generate substantial revenue. 

All you need to do is reach out to the right development team and pick a robust classified ad script to start your classified business instantly!

[classifiedscripts]

Classified Ads Script: All-Round Solution For A Perfect Venture

Are you in want of a tool that eliminates the hassle of starting an online business? If so, a classified ads script can be your perfect search result.

[marryhain]

The Ultimate Guide to Harnessing the Power of Online Classified Script

In today's fast-paced digital era, online marketplace has become the go-to destination for buying and selling goods and services. If you're looking to maximize your reach and streamline your buying or selling experience, the Online classified script is your ultimate solution.

Why Choose Online Classified Script?

User-Friendly Interface:

The online classified script boasts a user-friendly interface, making it easy for buyers and sellers to navigate the platform. With intuitive features, you can effortlessly list your items or find what you're looking for in just a few clicks.

Powerful Search and Filter Options:

Searching for specific items has always been challenging. The online classified script provides robust search and filter options, allowing users to narrow down their choices and find exactly what they need, saving time and effort.

Secure Transactions:

Security is a top priority, and online classified script ensures that all transactions are conducted in a safe and secure environment. You can buy or sell with confidence, knowing that your information is protected.

Tips for Sellers:

Create Compelling Listings:

Stand out from the crowd by creating detailed and eye-catching listings. Include high-quality images, a clear description, and competitive pricing to attract potential buyers.

Responsive Communication:

Promptly respond to inquiries from potential buyers. Clear and timely communication builds trust and increases the likelihood of a successful transaction.

Utilize Promotional Features:

Take advantage of any promotional features offered by online classified script. Highlight your listing or feature it to increase visibility and attract more potential buyers.

Tips for Buyers:

Set Alerts for Favorites:

Don't miss out on the perfect item. Set up alerts for your favorite searches or items to receive notifications when new listings match your criteria.

Research Sellers:

Before making a purchase, take the time to research the seller. Check their ratings and reviews to ensure a positive buying experience.

Negotiate Responsibly:

While negotiating is common, do so responsibly. Be fair and respectful to the seller to build a positive online trading community.

In conclusion, Online classified script is revolutionizing the online classifieds experience. Whether you're a seasoned seller or a savvy buyer, this platform offers the tools and features you need for a seamless and secure transaction. Join classified ad script today and unlock a world of possibilities in the online marketplace.

[you-were-alone-too]

for any bylers currently panicking over the apparent leak that will is getting a love interest this season, here's a list of reasons why it has to be mike (as someone with common sense and also someone who has witnessed firsthand the filming/writing process of this show since the end of season 2):

for all previous seasons, new characters were announced at the start of each season even before filming began. this has been true even for the most insignificant of new recurring characters added to the show. we also received character descriptions early on for these characters as well. even characters that were eventually scrapped (like a neighborly old lady that was supposed to give advice to the party in s3) had descriptions announced.

again, no confirmed casting call for a boy around will's age has been found, nor has an actor that might fit the role of will's love interest been spotted on set. while the duffers have been one of the primary sources for the set photos we've received, much of them have also been obtained through leaks, so again, even if they were trying to keep this love interest a secret, it would be nearly impossible with the amount of leakers out there.

this leak about will having a confirmed love interest only came out now as they're filming episode 5. notice that the leak did not say "NEW love interest" either. it is extremely unlikely that they suddenly wrote in an entirely new character when we know the duffers have nearly finished all of the scripts. they plan out each season in big detail on storyboards before writing the scripts, so again, it would be extremely unlikely for them to add in a new character to serve as a love interest for even the most minor character, let alone for them to make such a last-minute decision for WILL.

will is the focus of season 5, which has been confirmed multiple times by the duffers, shawn levy, and noah. they said his emotional arc is one that they hope will tie the show together. it's hard to imagine this succeeding if they pair will with some random side character, especially since one of will's main plot lines has been him coming to terms with and accepting his sexuality, along with finding love after claiming that he would never do so.

in conclusion, will's love interest isn't a new character. it is, in fact, the menace we lovingly know as michael wheeler. and considering that we got this leak now as they're filming episode 5, that means that the show will most likely tip its hand toward byler endgame by this point if it's obvious enough to now be classified as a "filming leak"

[wordsandrobots]

IBO reference notes on . . . queerness

How has it taken me this long to write about this aspect of the show? (He asked rhetorically, staring at the enormous amount of fanfic that basically stands as a thesis statement on how very queer this part of the Gundam franchise is [as opposed to all the other terribly straight parts, he added, sarcastically].)

Anyway, let's do it. Full spoilers up to the end of the show will follow, together with discussion of child abuse and exploitation, since that is what IBO is all about.

Special thanks to @lilenui and @prezaki for their invaluable assistance in locating sources.

Statement of caveats: this work is an amateur analysis of the English-language localisations (subtitled and dubbed) of a piece of Japanese media. I do not speak or read Japanese. I am myself bi, which qualifies me to be attracted to more of the cast than the average viewer, and have a working knowledge of LGBTQ+ history in the UK and USA, which tells me nothing about the cultural and historical context in which this anime was made. As such, I will not be addressing the behind-the-scenes production or the corporate mandates surrounding it but will focus narrowly on what I perceive to be present in the text (hereafter meaning both the script and animation, and any additional fictional details provided elsewhere).

Queerness in Gundam

Some background before we dive in. To my knowledge, the first character in the Gundam franchise to be intentionally depicted as LGBTQ+ is Guin Sard Lineford from Turn A Gundam (1999). An ambitious young aristocrat who spends the series on the line between hero and villain, he is infatuated with protagonist Loran Cehack and the show makes little attempt to play this as anything other than one man falling in love with another.

This is entirely one-sided and not appreciated on Loran's part, although that seems to have less to do with it being homosexual attraction than with Guin's high-handed and entitled attitude to life, filtered through heavily gendered social norms. For plot reasons, Loran spends several episodes cross-dressing as 'Laura Rolla', corsets and all, and Guin continues referring to him as 'Laura' long after the deception is no longer required, saying it 'suits him better'. Guin is eventually called out on this by a third character, who accuses him of forcing an idea of feminity on the other man rather than stoop to place himself in the position of a 'wife'. Objectifying Loran is presented as of a piece with Guin's overall flaws as a person, to whit, putting his own views about how things should be above the material reality and desires of those around him.

Guin is also the only explicitly gay character in the show (I'm honestly not sure how to classify whatever Dianna Soreil and Kihel Heim have going on, but it's certainly not labelled in the text). Therefore no counterpoint is provided to demonstrate healthy queer relationships. I don't state this to dismiss his inclusion: he forms part of a smart, nuanced plot thread, and Gundam creator Yoshiyuki Tomino had to fight to get Guin's homosexuality clearly included. But even so, Guin is a palpable step forward rather than a watershed moment, and the end result veers close to some nasty stereotypes about queer people imposing their desires on others.

There are other examples of characters transgressing gender norms in Turn A, most especially Loran's aforementioned cross-dressing. He is comfortable playing the part of 'Laura', in ways that mitigate viewing this situation as the extended joke it might be in another production. Funny moments do come up – particularly in the lead-in to his 'debut' as he acclimatises to the female attire of the show's pseudo-Edwardian setting and takes posture lesson – but he and the concept of a man in ladies' clothes are never made a subject of mockery. The same cannot be said for the character of Sochie Heim, whose attempts as a young woman to fulfil a gung-ho masculine role often turn comedic. This is part and parcel of her assaying militaristic modes of action, which are soundly mocked across the board. It nevertheless stands out next to Loran/Laura.

Further, Loran's status as a literal moon-child carries implications for his attitudes. His dismissal of existing social standards on Earth is very much presented as correct, and in keeping with what I know of Tomino's other writing and stated beliefs, but it dovetails unfortunately with a treatment of queerness as otherworldly, not something that may be found among an average population. We get another example of cross-dressing in the next-but-one series, Gundam 00 (2007, not a work Tomino helmed), where the usually male-presenting artificial lifeform Tieria Erde switches to a female presentation (in a ball-gown, no less) during a covert mission. This sufficiently parallels Loran's case, I assume it was a deliberate call-back, being as it is a disguise enacted by someone even less typical than a boy from the moon.

What I am driving at is that while Guin, Loran and Tieria may be characters who are queer or perform queerness in some manner, they do not necessarily represent an outright embracing of queerness as a mundane facet of everyday life.

Fast-forward to 2024 and the latest mainline Gundam show is a lesbian romance.

If you have been following my blog for a while, you will know I do not hold The With From Mercury in especially high regard. I think it is annoyingly messy, frequently half-baked, and, broadly-speaking, exactly as frustrating as I'd expect from the guy who wrote Code:Geass. It's still an explicit love story that opens with a clangingly blunt statement about the acceptance same-sex relationships and ends with the two female leads happily married to one other. For all its flaws, I genuinely think the central relationship between Suletta Mercury and Miorine Rembran is a nice piece of story-telling, not to mention admirably open about what it is doing. Like it or lump it, Gundam is gay now, properly, with a protagonist and co-protagonist who can be definitively labelled queer and whose romance appears entirely unremarkable for the setting (in terms of being same-sex; clearly there is a lot to remark upon otherwise).

I would be remiss if I did not mention that the conclusion of the series was accompanied by a certain amount of corporate arse-showing, with hollow attempts to walk back the ending seemingly for the sake of appeasing homophobic elements within and without the companies that produce Gundam. The frankly laughable nature of these actions stands testament to how unequivocal G-Witch is. It is flatly impossible in my opinion to interpret as anything other than flagrantly homosexual, and that's great.

Between this interesting but limited start and the full-throated present lies Iron-Blooded Orphans (2015), my absolute favourite and the show that got me writing slash fic after years of… not doing that. So: what is the deal with queerness in IBO?

Natural for a human

By my count, including all present spin-offs, there are three characters stated in-text as being attracted to people of the same gender (Yamagi Gilmerton, Iznario Fareed, Deira Nadira), two who are at the least open to the idea (Norba Shino, Mina Zalmfort), two whose mutual attraction is stated within the context of polyamory with a third person of the opposite gender (Atra Mixta, Kudelia Aina Bernstein), one whose sexuality is briefly hinted at (Chad Chaden), and one male character who is possibly not attracted to women (Orga Itsuka).

Let's get Iznario out of the way first, because the less time we spend on the actual paedophile, the better.

Lord Iznario Fareed is a rich, powerful aristocrat who sexually abuses young blonde boys and inadvertently sets large parts of the plot in motion as part of quasi-villain McGillis' backstory. In a lesser show, Iznario would be the embodiment of the 'predatory queer' stereotype Guin skirts the edge of. Here, however, he is very much not the only 'gay' character present and his proclivities demonstrate one of the many ways the world exploits vulnerable children, a core theme of the series. Early on, we see fleeting glimpses of young girls being pimped out on the streets of Mars. Iznario shows this social failing extends to the much richer Earth and although he is portrayed as the worst among the Gjallarhorn elite, they all abuse their power for personal gain. Thus, as much as the reveal of what he has done carries a certain shock value, it is not present purely for cheap impact. (This isn't the essay to discuss it, but the flashbacks to McGillis being abused as a child are a masterclass in how to frame such things around the victim, clearly communicating what's happening while avoiding gross voyeurism.)

I don't know how deliberate it is the canonical gay character who is shown in an entirely positive light fits the profile of Iznario's victims to a T, but it does underscore we're looking at a case of power allowing people to get away with hideous things, not a stand-in for queerness in general. To an extent I resent having to spell this out, since it seems so obvious Iznario is not fulfilling the role of a homophobic cliché. Sadly, the cliché exists and the point is worth discussion.

Moving swiftly on: Yamagi and Shino.

Yamagi Gilmerton is a small, quiet teenage boy with a somewhat withdrawn and acerbic personality, who spends much of Iron-Blooded Orphans nursing a hopeless crush on mobile suit pilot Norba Shino. Like the majority of the cast, Yamagi is a child soldier, but a mechanic rather than a combatant. Additional backstory commentary reveals that he struggled on joining CGS mercenary group due to his physique. Indeed, while this detail is not directly referenced in the anime itself, he is indeed drawn noticeably thinner than the other boys.

Again, we veer towards stereotypes, where a queer character is portrayed as weaker and more effeminate. Yet in spite of leaning this way in looks, Yamagi is an eminently capable person, never treated as lesser for fulfilling a support role rather than being a fighter. If anything, IBO goes out of its way to highlight how vital good mechanics are to mechanised warfare, and we see multiple examples of Yamagi being both assertive and kind of badass. At one point, he scales, unaided, an 18 metre tall mobile suit that's collapsed to its knees. When he and Shino are revisited in spin-off game Urdr Hunt (soon to be some form of animated production), he pilots a spaceship within an active battle-zone, flying escort for a damaged freighter as it retreats. In Season 2, he's comfortable ordering Tekkadan's new recruits around and is the first person to properly chew Orga out for his failings as a leader. Far from being an outlier among the protagonists, Yamagi is equally brave and dedicated to the cause, irrespective of his sexuality.

To be fair, he does tend to clam up and grow more awkward around the object of his affections. To be equally fair, he has the misfortune of having fallen for the most oblivious himbo on God's red Mars.

Shino is a big, boisterous warrior, the polar opposite of Yamagi in personality and physicality. He embodies Tekkadan's machismo, eagerly anticipating the chance to prove their strength and generally being a standard bearer for becoming the biggest, baddest group around. Things are not as straightforward as they seem on the surface, however. He shows a good awareness of when the group is in over their heads – going so far as to suggest retreat in the face of bad odds several times – and he is not nearly as sure of himself as he might first appear. He displays a wide streak of insecurity about his abilities as a soldier, reacting badly to people questioning his dedication or competency. And he crumbles completely when some of his comrades are killed as the result of a split-second mistake on his part, stating a wish to have died in their place. Thereafter, he acts in ways that read as choosing to take all the risks on himself rather than go through more loss. It makes him an interesting mix, someone who acts as a cheerleader, boosting everyone else's morale, while swallowing his own doubts and personal fatalism.

He is also presented as one of the most sexually active members of Tekkadan, using his wages to visit brothels to sleep with women. Indeed, he is frequently found extolling the virtues of the opposite sex, referencing collections of pornography (at least in the English dub), and generally being a very typical teenage boy about such matters.

Given this, you might assume Yamagi is longing hopelessly for a straight man. That is indeed the idea the show teases us with for much of its run (can something be straight-baiting? I feel if anything ever earned that title, it's this). OK, Shino's fond of Yamagi as a friend and frequently relies on his assistance in improving his fighting ability, and per ancillary material, is the one who got Yamagi transferred to the mechanics corps in the first place, rescuing him from struggling in the infantry. And sure, Shino spends an awful lot of time in very close proximity to Yamagi, including literally pulling him into the cockpit to assist with a mission. And yes, Shino is absolutely a flamboyant creature, sporting gold ear studs and an attraction to the colour pink, ensuring his mobile suits are painted all over magenta in order to stand out on the battlefield. And certainly, Shino is extremely empathetic, adjusting his attitude depending on his impressions of other people, such that he dials his boisterousness down in Yamagi's presence, displaying a far more gentle affection than he does with his other friends.

But clearly he hasn't noticed Yamagi is head over heels for him.

Right?

Well, towards the end of Season 2, during another moment where Yamagi is literally sitting on Shino's knee, Shino proposes the two of them drink together all night long once the fighting is over. Not only is this an unambiguously romantic overture (he's asking while pushing aside the fringe that normally covers half of Yamagi's face, in order to look into his eyes properly), it comes after a joke several episodes earlier in which Shino has to explain to a less worldly comrade that a girl inviting you for a drink is not a request to go out with the whole gang but a far more intimate gesture (I say explain, it's more expressing incredulity Akihiro didn't realise Lafter was asking him on a date). Later, it is revealed Shino did indeed work out that Yamagi 'likes' him (to his friend Eugene's exasperation that it took him so long to notice), and he reacted with amazed delight to discover there was someone in Tekkadan who'd fall in love with 'a guy like me'.

He'd assumed because Tekkadan is a family (a description provided by their ally Naze, which everyone just kind of runs with), romantic love wasn't possible between them. Having worked through this mental block and finally realised the blindingly obvious, he renews his desire to protect Tekkadan as long as he lives, refuting his previous view of himself as an expendable human shield and heading out with every intention of surviving all the way to the end.

And because IBO is an exquisitely-written tragedy, he is promptly killed while attempting a futile one-man attack against their enemies, his advances on Yamagi forming part of a long build-up whereby the boy who loves him provides the tools he needs to charge into a suicide run.

Right then. *drags out the reading comprehension soap-box* I have seen some people refer to this as an example of the 'bury your gays' trope, and there is nothing more likely to get me manifesting behind you in the form of an irate shoebill than to do likewise. 'Bury your gays' refers to a tendency for queer characters in fiction to disproportionately suffer tragic fates. This is a writing choice usually rooted in the idea queer relationships are inherently tragic, either because they are viewed as a perversion of 'correct' forms of love, or because of some misguided idea the prevalence of homophobia means queer joy is impossible. I am going to be charitable and concede this is indeed a case where one half of a budding homosexual relationship dies horribly. But, as always, the context matters.

All but one of the romantic relationships established prior to the epilogue of Iron-Blooded Orphans end in death. Of the two that survive in some capacity, one is a heterosexual background romance between two older characters and the other is a pair of women I shall be covering later. IBO is a story about child soldiers that does not shy away from the fact these are teenagers being fed into a meat-grinder. That the director's original intention of killing every named character was toned down (to the series immeasurable benefit, in my opinion) dos not change a narrative arc towards doom.

Within this, Yamagi and Shino aren't singled out for being queer. The coyness around Shino's eventually-evident bisexuality serves to generate an instant of hope and relief right before the rug is pulled from under everyone's feet. Where Shino's death does differ from those of other characters is in presentation: he dies alone and does not get any form of farewell or the passing-on moment afforded to others. But that is only to be expected, since we're talking about the point where it becomes clear there is no saving the situation. It's a cruel, abrupt moment of bad luck, puncturing the heroic idea of scraping victory at the last second. Shino flew out intending to live and he died anyway. A queer relationship forming part of what he was fighting for is an almost incidental detail.

(As an aside, I am aware of two other examples in Gundam fiction where a pilot and a mechanic have a doomed love affair. One is in Char's Counterattack, where a male engineer's romance with a female pilot ends with them both being abruptly killed, and the other is from Gundam AGE, where a female mechanic sacrifices herself for the greater good, leaving a male pilot to mourn her loss for the rest of the series. Shino and Yamagi reiterate this same concept.)

Stepping back from the tragedy, Yamagi's love for Shino is as delightfully underplayed as the other relationships in the show, with little emotional melodrama being wrung from the romance itself. Yamagi can't bring himself to declare his feelings, frequently turning cold instead and perpetuating Shino's misunderstanding of where they stand. Yet Shino ultimately proves enthusiastic for the idea, rendering moot any concerns Yamagi had over getting turned down (going beyond the text, a Q&A with the series' director confirmed Shino was written as bi). Equally, in the aftermath of Shino's death, Eugene comforts Yamagi by relating the truth of Shino's earlier realisation and even going so far as to rebuff Yamagi for implying there's something wrong with him for grieving. This and other interactions in the same episode imply those nearest to the pair were well aware of Yamagi's desires and had absolutely no problem with them. The prevailing attitude within Tekkadan is one of complete acceptance for its members and this is no different.

Indeed, for me, the most important part of how queerness is represented in IBO is that it is treated as just another aspect of the diversity of the cast. I've seen it stated that viewing homosexuality as a natural part of human existence was Tomino's motivation in making Guin gay. IBO presents us with the same idea, far more seamlessly and far more positively.

Now, let's leave the anime proper and look at the same-sex pairing from spin-off manga Iron-Blooded Orphans: Moon Steel.

Deira Nadira and Mina Zalmfort are part of the Gjallarhorn nobility and their marriage was arranged to strengthen relations between their two families. We see an example of a similar political match in the main show, where the heir to the Fareed family, McGillis, is betrothed to the second child of the Bauduins, the much, much younger Almiria. That this can take place regardless of the gender of the participants has big implications for the functioning of a bloodline-focused aristocracy. Presumably it indicates they are happy to use medical technology to ensure the Nadira family continues into the next generation, and if same-sex marriages are thus permitted, that means fewer factors to worry about when it comes to perpetuation. Whether male-male weddings are allowed too remains an open question; given the existence of real-world double-standards, it is possible Deira and Mina represent the only acceptable form of homosexuality. Nevertheless, that it is accepted speaks volumes. Gjallarhorn is not an especially progressive organisation, built as it is on rigid class structures and notions of human purity. Yet here we are.

Perhaps we should have expected that the norms around gender in this system don't correspond to strictly patriarchal patterns from the real world. Carta Issue, a key player in Season 1 of the anime, is the only child of the Issue Family's current leader and positioned as his sole heir, irrespective of the fact she's a woman. The logical inference is that any children of hers would count as Issues, rather than belonging to a potential husband's family. Deira is similarly the heir to her father's position, although intriguingly, it's not outright confirmed if she is his only child or simply the oldest. The possibility exists that gender is a non-factor in determining inheritance.

With respect to sexuality, Deira seems pretty obviously intended to be a lesbian. Her relationship with Mina is presented as one they are both happy with, despite it being an arranged by their parents, and Deira is depicted in the manual for Gundam Gremory's model kit as favouring the clothes of 'a handsome man'. She doesn't present that way within the manga' story, first showing up wearing the standard unisex Gjallarhorn pilot-suit, then wearing a formal gown for a meeting while in an official capacity. But she is depicted wearing masculine clothes in silhouette when initially mentioned and in a post-story panel at the back of the final volume.

(Another aside: the fan translations I use for this part of the manga refer to Deira using male pronouns when she's introduced. However, that could simply be down to the poor quality of said translation; she's consistently referred to using female pronouns in official materials and the game adaptation of this scene has her named as simply 'Lord Nadira', the standard appellation for Gjallarhorn family heads.)

Whether Deira's code-switching is the result of institutional expectations around her role or personal preference, it adds extra texture to her depiction. While civilian garb was designed for the adult version of Carta and closely matches conservative gender expectations for a woman, she's never shown wearing it, so we don't have a point of comparison to judge what's required of a character in Deira's position.

Regarding Mina, you'll notice I grouped her with Shino rather than the characters whose sexuality I consider to be stated outright. With Shino, the nature of his sexuality is not put absolutely beyond question in the text. This is splitting hairs due to the overt nature of what's on screen but the fact remains, the anime doesn't clarify if his being open to Yamagi's love means he already thinks of himself as bisexual, or if this is something he hadn't considered before. With Mina, it's more a case that I'm unwilling to label her one way or the other based on the available information. Deira carries sufficient signifiers, I find little room for doubt over the intention. We also have an outright statement that she holds great affection for Mina regardless of being obliged to consider her an eventual romantic partner. Indeed, she becomes so upset by believing her fiance dead, she runs off to Antarctica in a Gundam. But the exact depth of Mina's feelings in return is not discussed.

In addition, Mina is considerably younger than Deira. McGillis and Almiria's match takes place when he is (probably) somewhere in his late twenties and she is nine, with plans for the union made four years prior. This is not great, to put it mildly, albeit fairly typical of how such things have historically worked for nobility. Based on appearances and how they are treated by the rest of the cast, I would assume Mina to be in her mid-teens, and Deira to be in her early twenties (annoyingly, exact ages are provided for several characters in Moon Steel, just not these two). A less dramatic gap (and I don't believe Mina is meant to be quite as young as her appearance perhaps suggests), yet still significant when one of the people involved is below what we'd consider adulthood.

There is no indication of anything untoward going on, within the confines of the situation, similar to how we're given no indication McGillis is abusive towards Almiria. Any comparisons with Lord Iznario's activities lie purely along the axis of how children are exploited by adults even without suffering directly. All indications are that Deira and Mina have made the most of something they have little choice in. Regardless, I still feel more comfortable describing Mina as open to being in a relationship with another woman, rather than pinning her to a specific preference.

Continuing the theme of things where doubt or ambiguity exist, let's discuss some characters were there shouldn't be any: Atra and Kudelia.

I don't know about you, but I find it extraordinarily hard to read this as anything other than a three-way love-confession. Still, in the interests of fair play, let's review the wriggle room for declaring this something else.

Kudelia Aina Bernstein and Atra Mixta are love interests of nominal protagonist Mikazuki Augus, in an iteration of another tried-and-true trope, that of a male lead inexplicably being attractive to the female characters in his orbit. Or rather, it would be if the show didn't take such pains to demonstrate why these girls fall for him, setting up a long-established crush on Atra's part (rooted in him being the first person in the world to be nice to her) and a mutual respect on Kudelia's that gets spurred to more when Mikazuki randomly decides to kiss her because she 'looked cute' (Mikazuki has the manners of a feral stray raised on the streets, because that's precisely what he is).

Justification aside, this has the makings of a traditional triangle, that is, one without a connecting base, which we might expect to be resolved by either Kudelia or Atra 'losing out'. For a few episodes, this does indeed seem where we are headed. Then Atra discovers the concept of polyamory via the polygamous Turbines group and all bets are off.

Having realised it is perfectly possible for a family to consist of multiple romantic partners, Atra proceeds to work towards ensuring everyone gets everything they want. Strictly speaking, this doesn't mean she is attracted to Kudelia as well – even if she clearly recognises Kudelia as an attractive person from the start and…

You know what? Acknowledging that the information about their eventual marital status was only stated in interviews at live events with no official record and seems to have been framed around raising the son Atra has with Mika, I'm going to abandon the pretence of both-sided objectivity and go straight for the throat. Turns out my patience for soft-footing this lasts about as long as it takes to say 'bi-erasure'.

Over the course of Season 1, Atra not only decides the end-game is some form of three-person wedding, she also:

Shows no jealousy over Mikazuki and instead chides him for not providing the correct emotional support to the girl he kissed.

Spends a great deal of time with Kudelia and enthusiastically throws herself into furthering Kudelia's goals, without necessarily understanding the technicalities.

Covers for Kudelia by pretending to be her during a confrontation with Gjallarhorn soldiers, getting herself soundly beaten up in order to prevent them from chasing after the real deal.

Drives an armoured car through a battlefield for Kudelia's sake, safely delivering her to a vital rendezvous.

Leaps in front of a massive mobile suit to push Kudelia out of its path, physically shielding the other girl with her body.

As much as it pains me to resort to the 'if this were a man and a woman, would it read as romantic' crudity – yes! Yes it would! Especially since in Season 2, Atra presents Kudelia with a good-luck charm bracelet she has woven, something she previously did for Mikazuki explicitly out of having a crush on him. I'm all for embracing platonic love (which is why Takaki and Aston are not featuring in this rundown) and there's nothing in the above list necessarily entailing attraction beyond deep friendship. But when Atra consciously repeats her actions towards Mikazuki (someone she goes on to definitely have sex with) with Kudelia and it leads to the scene between them where they declare how they feel about each other and Mikauki, looking for non-romantic angles takes more effort.

After all, if we are to read Shino's openness to Yamagi's affection from the things he says and how he looks saying them, we can certainly do the same for Atra and Kudelia's use of the word 'like' in reference to one another and their reactions to hearing it said of them. (Obligatory note that if there is some nuance in the original Japanese the translation doesn't capture, I'd love to hear about it. The English scripts, however, leave little to the imagination.)

It is indisputable that Atra feels a strong affection towards Kudelia and while I have been focusing on her a lot (she is by far the most proactive member of the triad), Kudelia reciprocates at every opportunity she is presented with. Even if there truly wasn't an intention to portray this as exactly equivalent to Atra and Mikazuki, the end result manages to be on par with Yamagi and Shino. Consider Kudelia and Mikazuki, for example. In terms of portrayal and the two-girls-one-guy trope being explored here, they have the same level of chemistry and the same absence of overt consummation as Kudelia and Atra, and it would hardly be a serious position to claim the show does not place the two of them in romantic conjunction, now would it?

You may at this point be wondering why I am getting so defensive of reading Kudelia and Atra as romantic partners. Honestly, I am too. On reflection, I think it's because IBO is playing around with such a worn-out and insipid means of wringing drama from characters who should know better, I keep searching for the catch. And yet there isn't one. This show really did respond to a nascent love chevron by having the mousy, homely girl tell the governor's beautiful daughter to shut up and get in the polycule, and turned it into a true triangle.

That's wonderful. I cannot properly express the wave of joy and relief that came over me when I realised this was the direction they were taking. It ends in tragedy, of course, Mikazuki giving up any chance of a peaceful life to die in battle, far away from the women who love him. But their lives continue because of his sacrifice and by all appearances they remain together. In some ways, for the overarching message of hope persisting on the back of heartbreak, the precise details of that arrangement don't particularly matter. So why not take the gayest reading possible?

What an excellent segue into a blink-and-you'll-miss-it, probably-stretching-too-far, nonetheless-compelling potential bit of queerness: Chad in the series epilogue.

One of the many tertiary characters in Tekkadan, Chad Chaden has minor speaking parts throughout Season 1 and a larger role in Season 2. He initially appears during a particularly dire early moment when it looks like everyone is about to be killed by attacking mobile suits. His obvious resignation to this fate sets the tone for a rather dour personality, at least while on the clock. Chad starts out as human debris, a person enslaved after a space battle and sold to the CGS military group as free labour. This gives him a very matter-of-fact attitude towards fighting and the kill-or-be-killed nature of being forced into it – he voices the sentiment that even when facing other human debris, they can't afford to show mercy.

Off the clock, Chad displays a more sensitive personality. He seems studious, learning about interplanetary communications from Kudelia's maid Fumitan and later being promoted to leader of Tekkadan's Earth branch. He has some difficulty acclimatising to being treated as a free person, proving unsure about the concept of wearing a smart suit instead of his normal fatigues. And he grows anxious when he returns to Mars to discover nobody told him two of the few adults in the group (Yukinojo and Merribit) had started dating, worrying that he's no longer 'one of the guys'.

The most we learn about his relationship preferences prior to the series epilogue comes in a comedic sequence about a third of the way into Season 2, when Shino suggests a trip to a local brothel. Eugene responds by proclaiming that he's realised money will not buy him true love. This prompts Chad to ask Merribit if this is true and, on her saying she supposes so, opts out of the trip as well. Judging by his body-language in the next frame where he appears, this is possibly a decision he regrets – perhaps owing to his anxieties, since he just passed up the chance for some team-bonding.

None of this is directly relevant to the topic of this essay. If anything, the scene I just described suggests that, like Eugene, Chad has previously gone along with Shino in paying for sex with women, only to discover he wanted more than just physical intimacy. But then we get the exchange in Kudelia's office during the last episode, following a time-skip after Tekkadan's defeat and dissolution. Now working for Kudelia as an assistant of some kind, Chad notes that Merribit is shortly to give birth to her and Yukinojo's second child, saying he and Yamagi intend to meet up later to plan a celebration. Eugene reacts with amused disbelief, accusing them of just wanting an excuse to go out drinking, to which Chad retorts, 'what's wrong with that?'

And the thing is he's blushing when he does. Which may simply be because Eugene is accusing him of slacking off – IBO characters blush all the time and their embarrassment is frequently to do with being caught acting immature or otherwise against how they want people to see them. But given the weight that 'drinking the night away' carries in regards to Yamagi following Shino's actions shortly prior to his death, it is easy to speculate this represents something more specific.

As far as I can recall, Chad and Yamagi do not interact at all over the course of the show's two seasons, meaning these lines present a rather unexpected combination of characters. Eugene would have seemed a more likely candidate to associate with Yamagi. He's positioned as Shino's closest friend, he comforts Yamagi over his grief, and they are together for much of the climax to the series' plot. So what has happened in the years since, that Eugene's teasing should elicit a blush from Chad instead?

If we put on our shipping goggles, it's far from a nonsensical pairing. Chad goes through an arc not too dissimilar to Shino's. He is knocked into a coma while protecting an ally from a bomb blast and subsequently the Earth branch gets swept into a war orchestrated by one of the factions within Gjallarhorn. On recovering, he blames himself for the many deaths that result, echoing Shino's line about thinking it better if he'd died in place of his comrades. On returning to Mars, he jumps head-first into mobile suit training, determined to make up for his perceived failure as a leader and cheering himself up through rigorous activity. Different though their personalities appear on the surface, there are clear commonalities here. Further, Chad's responses to his traumatic experiences have a more measured quality to them than Shino's. He is not nearly as reckless and provides clear directions to his comrades even while acting as a decoy against a dangerous enemy, rather than abandon any attempt to be an effective leader. Taken together, and coupled to a more long-term view of romance, these qualities might make him a 'safer' version of things Yamagi loved about Shino, creating space for them to be drawn together.

Or perhaps they're simply the most logical points of contact between the ex-Tekkadan survivors at the Admoss Company and Kassapa Factory and intend to make that an excuse to get companionably plastered for no greater reason than it being a nice time. I am speculating over a couple of lines and an animation choice. Nevertheless, it does not feel like unreasonable speculation. When we already have a veritable gaggle of characters who are queer or may trivially be read as such, it's hardly a stretch to assume one more.

Chad/Yamagi doesn't appear to be a thread the fandom at large has pulled on much, likely because the pairing of Shino and Yamagi is so prominent, it eclipses a mere throwaway possibility. But I'm glad it exists within easy reach. And even if we take off our goggles, these lines demonstrate life for the characters has not stopped. The ex-slave and the gay kid are not stuck, trapped by the tragedies of their past. They have instead grown in both confidence and happiness and now have peaceful, stable lives where they're on going-out-drinking terms. That above all is why I wanted to explore this exchange: it reinforces Iron-Blooded Orphans' rejection of the idea the suffering people like Chad and Yamagi go through is perpetual or inevitable.

OK, one more character to look at. Let's talk about Orga and asexuality.

Orga Itsuka, leader of Tekkadan and instigator of the series' events, is notable for his charisma, his drive to provide a safe home for his comrades, and his complete unsuitability for the grown-up activities he attempts. Trying to party all night leaves him puking up his dinner. He forces himself into a suit and tie to handle the administration of a break-out paramilitary company, despite finding it stultifying and bewildering. His goals spin like a weather-cock, as he's surrounded by older characters possessing strong convictions while unable to stick to his own. And he is ultimately undone by an unwillingness to ask for help, having assumed that, as leader, he must decide everything alone.

I suspect his expressed lack of interest in women is intended to help convey overall immaturity. Orga is a good soldier and tactician, but he plainly isn't prepared for adulthood, lacking the grasp on the complexities of life that implies. Making him uncomfortable about sex serves to heighten the impression of a teenager trying to navigate circumstances for which he's not yet ready.

Relatedly, it should be stressed Orga stating he 'doesn't care' about woman is a response to Eugene asking if he agrees love and kindness are what's important, as opposed to Shino's endorsement of boobs. On hearing this response, Eugene proceeds to mock his commander for inexperience. That he himself has only just had his first sexual experience with another person and previously said much the same about not caring about sex simply proves hypocrisy is a fundamental aspect of Eugene's characterisation. The whole scene is very teenage.

Matters have not improved much when Orga and Eugene's dynamic is revisited in one of the side-stories released via the Iron-Blooded Orphans G mobile game. A year and change later, Eugene continues to act superior about having 'experience' where Orga doesn't.

Orga takes this rather poorly.

(Subtitles by @trafalgarlog)

Eventually Merribit has to shout at them to stop being brats, shaming them for behaving like argumentative children. It's funny – and then you remember they basically still are children and this is headed towards more carnage that will not spare them for being young. Such it is to engage with Iron-Blooded Orphans.

What does any of this tell us about Orga's sexuality? In principle, taking it as a device to convey immaturity, nothing. Orga's persisting virginity could simply mean he's not worked out this aspect of himself yet. He is a busy young man who likely hasn't had the time to try.

Alternatively it could mean he is gay. Mikazuki/Orga is an extremely popular ship in the fandom and we might take Orga's professed lack of interest in women as 'evidence' of him swinging the other way.

Or we could take my view, that Orga is asexual and his embarrassment is rooted in just not getting what the big deal is.

To immediately clarify, I don't think he is ace because he 'hasn't worked out what he wants', I think he's ace because he blushes on admitting he doesn't care about women and does not try to prove otherwise once he's in a position where he could easily do so. In circling back to the same joke for the side-story, the writers portray Orga as continuing to be uninterested in sex and sensitive over being needled about it. Again, a feasible interpretation is that he's into guys. Yet this is an argument with Eugene, whose response to the idea of Yamagi being in love with Shino is basically 'you mean you didn't notice?' Eugene is a dork and jerk; he isn't bigoted. None of the Tekkadan guys are. It's unclear if homophobia is even a factor in the setting. Sexism is, but when someone as superficially macho as Shino is comfortable with male/male attraction, and there are same-sex weddings inside Gjallarhorn, we cannot assume stigma exists around being gay. So why should Orga be worried, unless it goes beyond a question of who you're attracted to and into the answer being 'nobody at all'?

When you're surrounded by people who happily wax lyrical about how the joys of sex make you a real man, the absence of a libido might easily become a sore point.

Again, I'm supposing. Again, there is room to do so. As I touched on with Chad, it is easy to read queerness into the text when the assumption of straightness has been taken away, which is something this show does wholeheartedly and deliberately.

Orga Itsuka is one of the first characters I looked at and realised, not only shouldn't I assume heterosexuality, I shouldn't assume sexual attraction at all. I cannot credit Iron-Blooded Orphans alone with this. I do credit it with being a piece of media that applies itself to inclusiveness in ways quite remarkable for a show about giant robot fights, produced to market toys.

The word we want here is 'normalisation'. IBO has a lot to say about what constitutes 'normal' and a lot of it accords well with my own views, particularly those that have me twitching whenever anybody demands we 'be normal' about something. Normality is horrible. It is cruel and it is callous. 'Normal' is a world run on exploitation, on slave labour and on police savagery. Normal is children forced to risk their lives to earn the money required to feed themselves, because it is normal for their parents be gone, or incapable of supporting them. War is normal. Corruption of political systems is normal. Death coming more rapidly for those deemed expendable by society is very, very normal.

But so is protest. The drive to do something, to change things. The capacity for caring about each other. Love. 'Normal' is just a statement about what surrounds us every day, for worse and for better. In too many pieces of fiction, normality is narrowed, rendered a neater, cleaner picture, often excluding the kinds of people we might run into on the street, or walk past, or see on the news, distant and dehumanised.

Queerness is normal, yet for a long time it has been one of the first things to be cut out of fictional worlds. And when it is present, it's a big deal. An object lesson or a cry of triumph over breaking free of unfair strictures. I love stories about queer joy and victory. Heck, I'm a sucker for a good, soppy gay romance. But these aren't the only kinds of stories we tell. Sometimes we need to reflect the worst aspects of the world and what it does to normal people.

In attempting this, Iron-Blooded Orphans commits to an idea of 'normal people' that includes those who are gay or bisexual, those of colour and those we'd call white, the polyamorous, the illiterate, the desperate, the powerful, those who throw themselves into the fight with everything they have, and those who are simply kind. Those who are accepting, understanding and compassionate. Those who need to be accepted, who struggle to be understood, who suffer for a lack of compassion.

There are all sorts of people in IBO and – as a certain cheery, violent dumbass once said – man do I love it. I don't believe it is reading against the spirit of the thing to imagine more diversity than gets outright stated, to interpret one of the leads as ace or suppose another side character is bi or pansexual. It would seem entirely natural if they were.

Everyone's welcome here, down among the debris and the bloodshed, where hope is precious and fleeting and still somehow endures. So why shouldn't we raise a few extra pride flags?

Queer as in 'fuck you'

This all said, taken as a whole, Iron-Blooded Orphans is not a story about queerness or queer romance. Nowhere is this clearer than in its ending.

I skipped over the framing of the final scenes of the anime when I discussed Kudelia and Atra. They form a striking contrast with the ending of The Witch from Mercury, where the conclusion is directly focused around Suletta and Miorine's love for one another, their bonds of wedlock, and the happiness they have found together. This follows from the show being primarily about their relationship. In Iron-Blooded Orphans, the ending focuses not on Kudelia's feelings toward Atra, but those she has for Akatsuki, Mikazuki's son, with Eugene even saying she's eager to go see 'the man she loves', setting up a brief moment of uncertainty over who the character with Mikazuki's outline actually is.

The nature of Kudelia and Atra's relationship post-time-skip is implied rather than stated: in the English versions of the script, they do not refer to each other using terms suggesting they are married, although Atra has dropped her habitual 'Miss' from the front of Kudelia's name. They do not have wedding rings (redundant as those would be alongside the charm bracelets) and Akatsuki does not call Kudelia 'mom'. That they are raising him together is suggested very strongly, in line with Mikazuki asking Kudelia to be guardian of his child if he died. There are non-romantic ways of taking this idea, though, and none of these are closed off as viable interpretations.

But why should we expect some definite statement about romantic status when the point being conveyed is how Tekkadan's legacy continues to shape the world? This is a story concerned with the exploitation underpinning the world and the effort required to make even the smallest wide-scale change. It is about how people trapped at the bottom of the pecking order are still people, still human, messy and complex. It is about their pointless deaths, they ways they struggle on until those deaths come for them, and why they matter, even if the world forgets them.

Mikazuki, the living weapon, the human sacrifice for Orga Itsuka's reckless ambitions, leaves behind a child who will grow up in a more peaceful time, in a society slightly better off than when he and Orga were starving on Chyrse's streets. He doesn't live to see it; Akatsuki does. For all the failures, the attempt wasn't a waste. Don't you dare disrespect the people who died by saying it was.

This is where the epilogue centres, on Akatsuki and on Kudelia's cherishing of the world Mikazuki and everyone else built. Atra and Kudelia's relationship is there, a part of the gentler life they now have (Atra's desires were always towards the version of her existence where Mikazuki retires to a farm; here she fulfils the dream with Kudelia alone). It just doesn't need to take up space for the ending to land.

Yet, as I pour over how queerness is incorporated into Iron-Blooded Orphans, I find myself considering the struggles queer people face in reality. The victims of the AIDS crisis, dehumanised by indifferent institutions. Section 28 and the attempted destruction of knowledge around non-heterosexual forms of love. Riots and campaigns, voices raised loud and proud. How we are equated with dirt and corruption, reduced down to facts others find disgusting. The name-calling. The petty, pathetic posturing that makes everyday existence pointlessly harder.

So it goes for space-rats and degenerates alike.

I am lucky. My life is about as far from that of a child soldier as it is possible to get. My sexuality has been largely invisible. My gender matches the one most favoured by my society. I still have more common cause with those born in poverty on the other side of the world than I will ever have with the aristocrats and billionaires who shape the direction of my country. Because we hold many causes of misery in common. Because we share the same capacities for joy and suffering. Because our humanity is so easily cast aside by those we will never be able to touch.

There is always a place for stories uncomplicatedly about queer love conquering all. Equally, it is important to recognise the places queerness overlaps with stories about the many other ways the world casts people out. It is vital to be able to explore loss, futility and heartbreak. It is essential to capture why we strive onwards despite how heavily tragedy might weight us down.

We may be doomed. Our lives still matter. To ourselves, to each other and, whether they remember or not, to those who come after us.

So, no: for all the queer characters it contains and the many more we might trivially imagine queerness into, Iron-Blooded Orphans is not gay in the vein of The Witch From Mercury. It is not a happy story.

But it is a tenaciously hopeful one and, from certain angles, that alone looks queer as hell.

---------

Happy UK/US Pride Month – in honour and memory of Marsha P Johnson and everyone else who refused to go quietly.

I shall leave you with one of the least straight things ever to be included in any Gundam show.

[Index for further writing]

[artisplatters]

GENLOSS ANALYSIS TIME

Spoilers ahead, go watch the vid if you havent already

Also I'm writing this as I'm watching it so don't mind any inconsistancies too badly

Episode 1: Spirit of the Cabin

So right off the bat we have confirmation that the ingredients Ran was being made to cook (and Charlie being made to eat) are actually various organs and flesh bits.

Actually, maybe this was already confirmed but I don't remember there being flash-backs in the original, but then again i only learned how to move frame-by-frame recently (like... today)

And then that explains Charlie's hesitance in eating the dish! He's still under mind control but its some crazy cool resistance that he was able to put it off as long as he did.

And when Ran's mask is flashing we now can hear soundbits from later on in the experiments, from whenever he's not under control, an audio testament that they've been through this multiple times like a loop. Which yeah, we already were told that when the mask lights its because he's receiving memories again, but we (or at least, I) didn't know the memories were of the exact events shown in the episodes.

My only question at the moment in regard to that is that, everyone killed was definitely, irl, actually for-real killed (in universe), so how are they brought back to do it again? Clones? Future resuscitation tech?Are they just conscious corpses being puppeted around like some sorta sick marionette show?

And Sneeg, oh Sneeg, the way he was made to stand so rigidly while Ran was asleep, couldn't even move or sit, just looking around frantically. I wonder if he was made to feel like it had actually been 8 hours. I wouldn't put it past Showfall Media.

Episode 2: The Mastermind of the Warehouse

So, it seems like they cut out the Mastermind's little bit of a freakout when he gave Ran "a little bit of juice" that almost killed them, they also made it look like Ran's recovery from it was much quicker. Makes me curious, but I guess they don't want any of the audience thinking the "villain" is just as scared and unwilling as the heroes yet.

Though with how blunt they are with the other murderous torturous stuff, I'm surprised thats one of the things they chose to cover up.

Speaking of which, the surgery section.

God, the surgery section.

Also sped through a bit, understandably, but that cut away to the security camera where he's just screaming in agony.

It hits way harder like that oh my god. Oh my fucking god.

Charlie is an absolutely insane actor.

Onto the Carousel! Which, by the way, the animation blips have been so fun and they are so well done, amazing work on the animation team's part.

OHHH WHEN SNEEG GETS HIS HAT BACK HE GETS FLASHBACKS TO THE CABIN

You see him freak out at remembering but him trying to keep his composure, UGH such good acting. And him saying he needed to go to the bathroom so he can try to escape, still can't believe that almost worked.

But when they catch him with the mask? So much fucking creepier somehow. Everything went dead silent and froze, and even though his body is compliant you can see the anger and fear in his mind. Also felt like that lasted longer than before.

And then how everyone just snaps back and gets into "acting" again, also super fucking creepy. Insanely well executed.

now, skipping forward to after Nikki's death, when Ran goes through the door after the Mastermind... FACTORY RESET? It says factory reset? How far back does that take Ran? They seem to still remember what they had been through so what exactly is it resetting?

I dont remember the slimetowel segment at all, I feel like it was added. Though that would be the nature of generation loss, not being able to tell what was added and taken away.

Episode 3: The Choice

Oh boy here we are again

The transition being in the style of one of those "classified document" videos is a great touch, cuz it does go "off-script" here supposedly, though we all know thats not the actual case.

Ran trying to talk to the camera people still breaks my heart, they're not in control all they can do is film.

Also, can't believe I ever thought Hetch was a good guy after hearing "You aren't supposed to leave yet" and then the blatant lie that everyone is still alive. Like I never trusted him to begin with but he seemed about as trustworthy as everyone else thats under control.

The way Hetch talks about the company makes it sound like its some sort of eldritch entity, rather than a business conglomerate. And who's to say it isn't, with how it's "repurposed" and "recycled" literal human beings, turning them into brainless automatons. Also the cut to Charlie's stream startled me lol.

Aw man, the music/heartbeat/ringing drowning out Charlie's voice after they find Hetch and get the map. Incredible way of showing Ran's mental shock.

Ȩ̵̏p̵̬͊ị̶̼̋s̷̺͝ö̶̪́̒d̷̹͉̓̑ȇ̶͚͓̀ ̷̤͛͝3̶̨̥̾:̶̥̌ ̵̱̫̔Ṭ̶̺́h̴͔͑̈́ḙ̸̻̅ ̵̱̉̂H̸̞̄e̶̬̠̎͐ṟ̸̜́̾o̶̳͊͝

Ough

Still hurts

The change I've noticed here is that we start zoomed in on Ran's face, whereas I think before we could see the whole scene from the start, Hetch, all of it.

And WOAH, the flashes of the photos before the announcement? Are those all photos of them when they were kids? thats such an amazingly disturbing detail.

Another disturbing detail, the zoom-in and silence following the box closing, showing all the blood pouring out. Horrifying. Not even any music or anything while the credits roll. Really lets the audience sit in what just happened.

The Therapy Sequence

I'm calling it the Therapy Sequence based on how the dialogue sounds, though it very much could be psychology or something else.

This Ms. Roads Character is new, I believe

She's been having "vivid, scary dreams" and says to call her Zero, which ha ha pun but also kinda sad. Zero Roads is a kind of hopeless sounding name.

And then, in the unlisted vid, its the Founder giving us the tape of the social experiments.

"Its your experiments now"

I hope people who are able to afford to buy the tapes will share it's contents with the rest of the community. "Communication is Key" and yada yada.

I have no doubts that there's more secrets to be found within.

Final Notes

I'm so fucking proud of Ranboo, oh my god

This story that they're weaving continues to amaze and inspire me, its so incredible that he's gotten to create this.

I'm so excited for what happens next.

[businessadvisorrobert]

Why You Need an Online Classified Script for Your Startup

A part of the world looks at the second-hand market as economically sensible and environmentally friendly. However, this view differs in other parts of the world. 

After the technology evolution, places, where second-hand products are less in practice, have become regular practitioners. 

Currently, the second-hand market is in the booming phase with the technology assistance.  As the market opens endless opportunities and thriving potential resources, going with the online classified ads script is the best option. 

This article highlights why your business needs a classified market in all aspects. Let’s jump into the article and find insightful information. 

Market Value Of Online Classified Script

Classified markets have begun to compete with industries previously unimagined. Let's take a look at their growth figures!

This year, the digital ad market has reached $21.66 billion and is projected to grow to $23.85 billion by 2029, with an annual CAGR of 1.95%.

The number is interesting, right? Let’s see how you can take your business to this height.

Beneficial Factors To Look At In Online Classified Script Development  

Over time, it's crucial to find strategies that will drive you to the height of success. Let’s find out how you can find these elements in auto-classified scripts. Take a look at it! 

Expanding Your Audience Faster

In today's business landscape, having a strong online presence is essential, and a classified website script is a powerful tool for achieving this. With a solid online presence, you can attract a broad audience, including those in the global market. Success depends on understanding audience preferences and positioning your business as their top choice for shopping.

Online classified script business allows you to tap into a vast market, breaking through geographical boundaries. Global outreach is crucial in the current environment, enabling you to reach a large audience and boost productivity.

To reach this goal, you'll need robust features. The app offers support for multiple languages, currencies, geo-location, and more to effectively engage global users.

Cost-Effective Promotion Strategy

Many companies invest heavily in advertising to reach their audience. Traditionally, this involved relying on third parties, often requiring substantial financial outlays. However, the digital space offers a more affordable alternative through free promotional activities. Platforms like Instagram, Twitter, and Facebook allow you to advertise your business without any cost, making it a low-investment, high-return strategy.

These modern promotion methods are more advanced and effective than traditional approaches. Ever heard of built-in marketing? Features like reviews, ratings, comments, and shares naturally promote your business, creating an organic marketing effect.

For instance, if you are promoting your business with small businesses that offer items related to you, there is a high possibility that you can reach out to your audiences easily.   

To succeed, create a business image that resonates with your audience. This image is reflected in your logo, visuals, descriptions, and overall brand identity. Choose these elements carefully and implement them wisely!

Key Features of the User Panel

For an audience that's not tech-savvy, designing a user panel that makes navigating your platform a breeze is crucial. Here’s how you can achieve a seamless experience from start to finish:

   - Offer multiple login options so users can quickly sign up without hassle.

   - Implement advanced search features that help users easily find what they're looking for, like a car that meets their needs.

   -Once users have found their choice, make the booking process straightforward, with various payout options to choose from.

   - Ensure that the payment options are diverse and easy to use, so transactions are completed without any confusion.

   - The final step is receiving a confirmation, reassuring users that their order is successfully placed.

By incorporating these features, auto-classified scripts create an environment where users can shop effortlessly. Let’s dive into the tools that make this seamless experience possible!

Real-Time Notification And Inventory Management

The platform consistently keeps its inventory up-to-date, a critical task in the automotive industry. With the auto classified software, businesses can efficiently list their vehicles, ensuring that users always see the most current information.

The reason for maintaining real-time updates is to avoid advertising vehicles that have already been sold, which helps build trust between customers and sellers. This trust encourages repeat visits to the platform.

Notification enhances the platform’s user-friendliness by providing essential information without requiring users to open the app. Users can easily find the required updates of the platform via the notification option. Inventory management can complete tasks without hassle at a few tabs. The technology used in it creates a simple workflow. 

How can you uplift your business with these benefits? Let’s find out about its revenue factors! 

Monetization Tactics That Drive Business Results

Revenue is crucial for the long-term success of your business. Key income sources include commission fees, which are a major part of the platform’s earnings. Users and sellers can access the platform for free, while the platform makes money from transparent commission rates, boosting credibility. Another revenue stream is advertising, where allowing third-party ads on your platform generates passive income that helps with operational costs. Subscription fees are also important; users can opt for a quarterly plan, providing a steady revenue flow and simplifying payments. Additionally, in-app purchases offer users extra features for a fee, which can significantly boost revenue, though it’s important to use this strategy judiciously to avoid overwhelming users.

Bottom Line, 

In the digital landscape, to stand ahead in the market, uniqueness is key. How do you get the optimal traits for your business? 

First, you find the right team that has previous experience and is strong in the field. If you feel like moving to the next step, head to gathering all the necessary things like features, functionalities, technologies, and other factors. 

You can complete these processes simply without using your savvy insight. Read my blog on the development process of the online classified ad script.

[contemplatingoutlander]

Our true feelings about race and identity are revealed in six words

This is a poignant article about a project that Michele Norris started that tapped into people's thoughts about race in a profound way--using only six words. This is a gift🎁link, so anyone can read the full interactive article, even if they don't subscribe to The Washington Post. Below are some excerpts from the article:

I have always cringed when the accusations fly about someone allegedly “playing the race card.” It’s usually a proxy for “You’re making me uncomfortable, so please stop talking.” Or a diversionary tactic used to avoid having to speak about race with any kind of precision or specificity. A shorthand for “Just shut up.” And so, in 2010, I flipped the script, turning that accusatory phrase into a prompt to spark conversation. I printed 200 black postcards at my local FedEx Kinko’s on upper Wisconsin Avenue asking people to condense their thoughts on race or cultural identity into one sentence of six words. The front of the cards simply read:

Race. Your thoughts. 6 words. Please send.

I left the cards everywhere I traveled: in bookstores, in restaurants, at the information kiosks in airports, on the writing desks at all my hotels. Sometimes I snuck them inside airline in-flight magazines or left them at the sugar station at Starbucks. I hoped a few of those postcards would come back, thinking it would be worth the trouble if even a dozen people responded. Much to my surprise, strangers who stumbled on the cards would follow the instructions and use postage stamps to mail their six-word stories back to me in D.C. Since my parents were both postal workers, this gave me an extra thrill. Here I was, doing my part to support the Postal Service. Who says snail mail is dead? Half a dozen cards arrived within a week, then 12, then 20. Over time, that trickle became a tide. I have received more than 500,000 of these stories — and more arrive every day, though the vast majority of submissions now arrive through a website portal online. They have come from all 50 states and more than 100 countries. Though limited to six words, the stories are often shocking in their candor and intimacy. They reveal fear, disappointment, regret and resentment. Some are kissed by grace or triumph. A surprising number arrive in the form of a question, which suggests that many people hunger not just for answers but for permission to speak their truths. It was amazing what people could pack into such a small package:

Reason I ended a sweet relationship

Too Black for Black men’s love

Urban living has made me racist

Took 21 years to be Latina

Was considered White until after 9/11

Gay, but at least I’m White

I’m only Asian when it’s convenient

To keep the conversation going, I created a complementary website for the Race Card Project, where people could submit their six-word stories online. Over time we added two words to the submission form: “Anything else?” That changed everything. People sent in poems, essays, memos and historical documents to explain why they chose their six words. The archive came alive. It became an international forum where people could share their own stories but also learn much about life, as if it were lived by someone else.

I highly recommend reading the entire article, using the above gift link. As an olive-skinned Italian American, with curly hair, I have often felt like I am a walking Rorschach test for race. Even though I'm classified as "white" in the U.S., I've had people ask me if I'm a Latina, a Native American, Black, Egyptian, Jewish, and even a South Pacific Islander. Given my history, here are my six words on race.

A book is not it's cover.

I welcome people adding to this post their own 6 words on race.

[aro-langblr]

Insight into Polish (/ˈpəʊlɪʃ/)

[Image description: A photo of Kraków's Main Square at night in Poland. Source: Mark Willemse.]

What is the language called in English and the language itself? - It is called Polish in English and polski [ˈpɔlskʲi] in the language itself. It has 4 generally recognized dialects: Greater Polish, Lesser Polish, Masovian, Silesian. The basis for Standard Polish is the Greater Polish dialect.

Where is the language spoken? - It is spoken in Poland as a national language, and it is a recognized minority language in Lithuania, the Czech Republic, Belarus, Slovakia, Ukraine, Bosnia and Herzegovina, and Romania. It's also a common diaspora language around the world.

How many people speak the language? - There are roughly 40 million speakers of Polish, and about 10% of speakers use it as a second language.

Which language family does it belong to? What are some of its relative languages? - Polish is classified as Indo-European > Balto-Slavic > Slavic > West Slavic > Lechitic > Polish. It’s closest relative language is Kashubian, which is the only other living langauge in the Lechitic branch. It's also decently close to Czech, Slovak, and Sorbian.

What writing system does the language use? - Polish is written in a modified Latin script with the added letters ą, ć, ę, ł, ń, ó, ś, ź, and ż. - Sample text, courtesy of omniglot: "Wszyscy ludzie rodzą się wolni i równi w swojej godności i prawach. Są obdarzeni rozumem i sumieniem i powinni postępować wobec siebie w duchu braterstwa."

What kind of grammatical features does the language have? - It is a fusional language with relatively free word order, though sentence structure tends towards SVO. It is a pro-drop language with no articles and adjectives preceeding nouns. Polish has 2 numbers, 3 persons, 3** genders, and 7 cases (nominative, genitive, dative, accusative, instrumental, locative, and vocative). It also has 2 voices (active and passive), 2 aspects (perfect and imperfect) and 3 moods (indicative, subjunctive, and imperative), and 3 tenses (present, past, future). However, the future tense of perfective verbs is conjugated the same as the present tense of imperfective verbs. Polish also has conjunctions and a formal second person. ** Masculine nouns are subdivided into 3 categories: personal, animate, and inanimate. (Which is so interesting! I don't think I've seen animacy manifest like this before.) ** Unrelated interesting note: Polish used to have a dual number, but it has fallen out of use and is now only found in archaisms.

How to identify the language? - The letter "ż" is almost exclusive to Polish. This language also frequents letters towards the end of the alphabet (namely u, w, y, and z). Standalone "w" and "z" as prepositions, means you're likely reading Polish. It's pretty easily identifiable once you get used to it.

What does the language sound like?

What do you personally find interesting about the language? - If you've followed me for long time, you know that I call Polish "the language I'd speak fluently in another timeline." Years back, I was super close to moving in with a Polish couple that were family friends, but I decided to go to community college in my current state instead. Had I chosen to go to a different college, I could very well have become fluent haha. But yeah, because of my mother's friend, who I spent a lot of time near in my childhood, I have an especially strong appreciation for Polish, and I hope you do, too!

[classifiedscripts]

Dubizzle Clone Script: Affordable And Secure PHP Solution

In the dynamic realm of online marketplaces, having a robust and secure platform is paramount. Enter the Dubizzle Clone Script – a game-changer in the world of e-commerce. Discover the unparalleled benefits of this affordable and secure PHP solution that is reshaping the digital marketplace landscape.

Affordable Brilliance: Dubizzle Clone Script's Cost-Effective Edge

In the competitive world of online business, cost-effectiveness is key. The Dubizzle Clone Script stands out as an affordable solution, providing businesses of all sizes the opportunity to establish a formidable online presence without breaking the bank.

The classified advertising sector is growing. It's no surprise that businesses see this as a lucrative opportunity! A classified clone script is in high demand because it has so much to offer.

But the question is, where do you get them? Is it a trustworthy source? Are you constantly on the lookout for a lower-cost option?

Yes, every entrepreneur looking for a Dubizzle clone script will find a classified ads PHP script to be pretty affordable. However, it is clearly not a bargain. After all, the PHP experts have spent time and effort to create a faultless script that is certain to succeed. Some of the notable reasons why it is recommended to rely on them are:

100% secure coding infrastructure

A classifieds platform handles hundreds of thousands of transactions per minute. When it comes to payment gateways, it has to be that good!

The best classified script achieves the greatest results by using secure payment methods such as PayPal, Stripe, and others. This does not just restrict the payment part. This script is guaranteed to be bug-free and secure against SQL injection and hacking. As a result, the Dubizzle clone script is a sure-fire way to make money.

Do you want to give it a shot? Get in touch with an expert right away!

Extremely versatile and diverse

Not all classified clone scripts work the same way as the originals. However, the expert can guarantee that their script will be the trump card for your success. Consider the following convincing reasons to use an OLX clone script from the best:

For higher relevancy, use advanced search options

Feature for placing ads quickly

Multiple languages, currencies, and locations are supported

The script is completely configurable

A real-time messaging system

Benefits of Banner Advertising

Your search options can be saved and shared

There are up to four levels of categorization available

Integration of social media

All of these capabilities are only a handful of the many that a classified ads PHP script has to offer.

Offers exceptional tech support

The agreement does not end when you purchase a Dubizzle clone script from an expert!

They go above and beyond to give unrivaled technical support round the clock. Once you've decided on an offer, the team will install the script for you within a few hours. The site will be operational and ready to be monetized in less than 24 hours. They also offer free lifetime technical assistance.

Plus, you can both use their third-party plug-ins and tools and put up the customization works for outsourcing.

There’s the compatibility factor

Businesses today can't survive unless they're compatible with a variety of devices. This is also true of the classified web marketplace!

Keeping this in mind, the experts create a classified clone script that works on both mobile and PC platforms. It is built to attract more buyers and sellers to complete the transaction. In addition, the best classified clone is also SEO-friendly. So, you won't have to be concerned about inbound organic traffic.

Making Your Choice: The Dubizzle Advantage

Choosing the Dubizzle Clone Script isn't just a business decision; it's a strategic move towards success. The affordability, security, and user-friendly interface converge to create an online marketplace that not only survives but thrives in the digital landscape.

Conclusion: Transforming Visions into Digital Triumphs

In conclusion, the Dubizzle Clone Script is more than just a PHP solution – it's a catalyst for digital success. Affordable, secure, and user-friendly, this script empowers businesses to carve their niche in the online marketplace. Don't just dream of success; make it a reality with the Dubizzle Clone Script.

[let-us-cultivate-our-garden]

Could you elaborate on your comment on Discord? I would specifically like to know why The Owl House is bad at consistency:

This is Dana [Terrace]'s first time as a showrunner (granted [Gravity Falls] was also Alex Hirsche's [sic] first show as well). But all of the writing mistakes we have talked about point to a team that struggled with basic world-building, character dynamics, consistency, etc.

So this one's going to be a two-fer since the questions are similar.

First off, writing in film and television is always a team effort; writers plan, storyboard, revise, edit, and bounce ideas off each other when creating the script. Second, any first time show runner will have difficulties helming their show by virtue of being inexperienced. That's not indicative of them being a bad writer but a novice one.

I don't believe it's helpful to classify anyone as a "good" or "bad" writer based on one piece of work because even a world-famous and world-renowned author can produce a dud. That's just the nature of the creative process.

So when you ask what went wrong in the writing process you really have to know what that specific writing process was. For TOH, I don't know what that was; looking at the list of episodes and the staff responsible, it looks like they pretty much had the same roster of people throughout the run of the show. So any inconsistencies in the plot, character development, etc. cannot be blamed on a changing staff.

If I were to hazard a guess as to why the show is so structurally flawed, I would guess it's due to a lack of discipline. TOH likes to speed run through character arcs to get to the big dramatic moments and not really put in the work to get there. Just look at how quickly Luz and Amity went from rivals to OTP in half a season or how quickly Lilith was forgiven despite being a major antagonist for pretty much all of season 1. They wanted to get to Lumity and Cool Aunt Lilith right away without putting in the work to get there.

And yes, the cancellation did play a role in the show speed running through season 3 HOWEVER the writers also added in the Collector as a secondary antagonist without dealing with Belos first. The result was a character that took a lot of time away from established characters and plot lines and his own subplot resulted in his character being stripped of anything interesting or unique and just another Sad Boy for the audience to coddle.

Again, this is due to lack of discipline and wanting to cram characters and concepts into the show without stopping to think if it is beneficial to the overall story or not.

In the end, what separates a "good" writer from a "bad" one is that good writers will acknowledge their mistakes and fix them while poor ones keep repeating the same mistakes or make even bigger ones.

I hope this answers your question because without knowing how the writers chose to approach their story and why they made the decisions they did, I can only point out the flaws and what that means for the show as a whole.

[transparentgames]

Hi! August hasn't ended yet, but we've got another exciting announcement to share!

Thank you for 500+ downloads on itch!

This time we're here to thank you for 500+ downloads on itch.io. We also have 29 ratings and a 4.8 rating on itch. Additionally, the game has been added 400 times to collections. 

We couldn't be more grateful for the support we've received ever since publishing the short demo.

To celebrate this milestone, here's guest artwork of Elijah from Altila:

As a thank you, we'd also like to show you the current progress on the George CG01 which will be added into the September Polished Demo update:

Currently, as you can see the sketch, lineart and flat color stages are done. Vita will next add the shading and atmospheric effects.

Transparent Games August Free Game Release: Frozen Hearts

If you follow Transparent Games on X, you might have noticed that we’ve been promoting the game Frozen Hearts ever since July/early August. This is a game that Anna started developing with her friends a while ago, and it was finally ready to be published for the recent sunofes jam. It's fully voiced, custom-illustrated and completely free. You can check it out here:

Here's the story of Frozen Hearts:

Sophie has been frozen inside a crystal for two centuries. When the ice thaws, she wakes up in an unfamiliar world. Everything is frozen, including the inhabitants of the palace where she finds herself. When she makes her way to a nearby village, people’s shocked reactions surprise her - they call her a Hero. Legend says she sacrificed herself two centuries ago to end a terrible war, freezing the leaders of both factions along with the rest of the world. 

Yet, is that tale all there is to the story?

What roles did Richard the Ice King and Ivon the Rebel Leader really play in Sophie’s life?

What will they do now that they have escaped their icy prison too?

Can Sophie reverse the permanent winter, or will the world be thrown into a final, destructive conflict that freezes the future forever?

Frozen Hearts is an otome isekai game with two love interests and around 3 hours of gameplay.

Download here for free.

Transparent Games July Free Game: Stormbound Secrets

In July, Yui (the Saintess BG Artist), Jenna Rose (the Saintess Script Editor), Anna (the studio lead) and several other amazing teammates participated together in the o2a2 jam, which resulted in completing and releasing a 10-minute visual novel titled Stormbound Secrets. You can check it out here:

Here's the story of the game:

A magical storm rages through the woods. The Great Dryad must be angry, but at whom? Desperate, you seek shelter in a secluded cabin. There you run into a handsome stranger. Who is he and what is he hiding? And are you actually the person you claim to be?

Who has the biggest secret: him or you?

The game is light on romance. It's better classified as josei rather than otome, but feel free to give it a shot anyway. There's a hot guy in it, after all 😀

Download here for free.

Saintess of the Golden Bow on Youtube

If you're still on the fence about playing the Saintess demo, you can check out ReaperBabe playing it on stream - the first part of the stream is now available on youtube:

Anna was present for the stream and answered some of Reaper's questions in the chat. It was a fun experience. We're looking forward to more streamer coverage of the game.

Development Updates

The team has completed two new sprites, two new outfits and one new background since our last update - here are some sneak previews!

Going forward, the team will focus on Kickstarter graphics and rewards as well as putting together the Extended Demo from the assets we have produced.

Thank you for tuning in for this update.

Be sure to check out the next month's development update and the Polished Short Demo as well.

Best,

Transparent Games Team

[dreaminginthedeepsouth]

(I am sharing the full text of Amanda Foreman’s searing essay on her father that appeared in the Wall Street Journal. Foreman writes of a new documentary that contrasts the actions of Carl Foreman and Elia Kazan. Thank you, Amanda, for making this available.)

My Father, the Blacklist and ‘High Noon’

For filmmaker Carl Foreman, resisting McCarthyism was a patriotic duty, even if it meant the end of his career in the U.S.

Americans who worry that “cancel culture” is a growing threat to democracy may find it cathartic to watch “High Noon on the Waterfront,” a short documentary by directors David Roberts and Billy Shebar. Released last year, the film explores the meaning of moral courage in the 1950s, when the U.S. was in the grip of McCarthyism. In Hollywood, the hunt for communists and alleged subversives resulted in a blacklist that robbed the industry of some of its brightest talent for almost two decades and destroyed the lives of hundreds of people.

The documentary focuses on the divergent fates of two filmmakers, Carl Foreman and Elia Kazan, who have come to symbolize the stark polarities of the era. Both men were former members of the Communist Party, and known for tackling socially progressive themes in their work. Both were subpoenaed by the House Un-American Activities Committee (HUAC) and subsequently made films that were allegories of the blacklist. But the similarities end there.

Foreman admitted he had belonged to the Communist Party in his youth but refused to provide names of other party members. “I realize that there are some people who will never be convinced of my ‘loyalty’ to the United States…unless I name all persons I knew to be members of the Party during my own period of membership. My life would be much easier if I could oblige them. But I cannot, and will not, do so,” he stated. As a result, he was classified as an uncooperative witness and blacklisted in Hollywood.

Kazan, on the other hand, opted for self-preservation. At his HUAC hearing in 1953, he named eight people as former Party members and was allowed to continue making films.

When Foreman received his subpoena he was working on the movie “High Noon.” Knowing what was to come, he intended the script to be his personal testimony against the blacklist. The film’s protagonist is a small-town sheriff named Will Kane who is faced with a difficult moral choice. He must decide whether to follow his conscience and try to stop a gang of outlaws from taking over the town, or listen to the townspeople who say that appeasement is the safer course of action. In the end Kane, played by Gary Cooper, confronts the outlaws alone.

Elia Kazan made a contrasting moral statement in the 1954 film “On the Waterfront,” which he directed from a script by Budd Schulberg, who cooperated with HUAC. It depicts the heroic struggle of a longshoreman, played by Marlon Brando, at the mob-controlled dockyard in Hoboken, N.J., who decides to testify against his corrupt bosses, despite intense pressure and threats.

To the end of their lives, Foreman and Kazan were each adamant that they had made the right decision about whether to name names. “High Noon on the Waterfront” lets the men speak for themselves, juxtaposing excerpts from their personal writings with clips from the two films. The voices of Foreman and Kazan are supplied by Edward Norton and John Turturro, respectively, adding dramatic intensity.

Carl Foreman was my father, and when I saw the documentary I found it unnerving, to say the least, to hear him speaking in Edward Norton’s voice. That is partly because I struggle to recall his real voice. I was 15 years old when he died and more interested in imitating Madonna than making clear memories of him. Just a few more years would have changed all that. But his death in 1984, when he was 69, froze our relationship at its most awkward and superficial stage.

My father’s HUAC testimony took place many years before I was born. All I really knew about it was that his unique stance had made him equally unpopular with the left and the right. He was hardly alone in refusing to name names, but he also denounced Soviet communism and disassociated himself from the American Communist Party. To the committee, not naming names made him a subversive; to his former comrades, rejecting communism made him a turncoat.

Watching “High Noon on the Waterfront” made me confront the fact that I didn’t know what my father really believed or why he had acted as he did. Why refuse to name names in the way that would cause him the most harm and suffering?

I couldn’t find the answer to this conundrum in any books on the period, so I went back to his private papers. Searching through years of correspondence, I finally found it in a letter he wrote to his agent in 1956, four years after being blacklisted. “I can give you no greater proof of my loyalty to America” than refusing to name names, my father wrote. “Everything we say about the freedom of the individual in America becomes meaningless if the individual is forced to conform to other people’s ideas of what constitutes loyalty, and if we continue to insist that everybody thinks and acts alike in our country we will not only lose the Cold War but in the long run we will find ourselves thinking and acting exactly like the Russians while professing to be their exact opposites.”

For Carl Foreman, liberty and civic virtue were democratic values worth sacrificing for. To be a good American he was prepared to be punished as a bad one. This was true moral courage.

The punishment began with “High Noon.” The movie was released in 1952 and became a huge financial and critical success, garnering six Oscar nominations. But by the time of the 1953 Academy Awards ceremony, my father’s name had become radioactive. The biggest fear of the movie’s other producers wasn’t that “High Noon” would lose the Oscar race but that it would win. None of them wanted to represent Carl Foreman on stage in the two categories he stood to win, Best Adapted Screenplay and Best Picture. In the end, they decided the matter by drawing lots.

The fuss turned out to be unwarranted. In the biggest surprise of the night, “High Noon” was shut out of all the big categories except Best Actor, which Cooper won despite his vocal support for my father. A declassified CIA file in the Dwight D. Eisenhower Library shows that at least one of the CIA’s informants in Hollywood met with individual Academy members, letting them know that a vote for “Foreman’s picture” would count as a vote against America.

My father couldn’t have attended the Oscars even if he wanted to. Having moved to England as a political exile after his HUAC appearance, he was now a political refugee. In 1953 the State Department revoked his American passport; each time he applied for it to be returned, he was told he would need to name names first. Eventually he took the State Department to court and won, getting his passport back in 1956.

My father’s defiance cost him his home, his film company, his career and his first marriage. Yet he refused to talk about it, which the English found deeply puzzling. There were a number of blacklisted Hollywood expats in London, but my father avoided joining anything overtly political. Even when job offers from British film companies dematerialized due to American pressure, he rejected all attempts to turn him into a political martyr because, he later said, it would feed anti-American sentiment: “I felt it would embarrass America at a time when it was already being embarrassed.”

His extreme self-control took its toll. The actor Kirk Douglas—who got his big break playing a troubled prizefighter in the Oscar-winning sports movie “Champion,” written by my father—recalled seeing him during a visit to London. My father seemed so forlorn, telling Douglas, “It’s OK if you don’t want to have lunch with me. I understand.” “Jesus, I thought,” Douglas wrote in his book “I Am Spartacus!: Making a Film, Breaking the Blacklist.” “This is what happens to a guy who thinks all his friends have turned on him.”

My father’s story did not end with “High Noon,” HUAC or the Hollywood blacklist, however. He went on to write the screenplays for “Mackenna’s Gold,” “The Guns of Navarone,” “Born Free” and “Young Winston.” He and another blacklisted writer, Michael Wilson, co-wrote the World War II epic “The Bridge on the River Kwai,” which won the Oscar for Best Adapted Screenplay in 1958. He also found his soulmate in my mother, Eve, while filming the “The Guns of Navarone.” They formed a deliriously happy partnership (in addition to having me and my brother Jonathan, also a writer).

The “Kwai” win remains one of the most notorious in Hollywood history. Still officially blacklisted and living in exile, neither writer was allowed to take credit for his work. The Academy Award was given instead to Pierre Boulle, the French novelist whose book had inspired the film. This fiction was maintained by the Academy even after the blacklist faded away in the 1960s. It finally became untenable when the long-lost original “Kwai” script was discovered in the UCLA archives, proving Foreman and Wilson’s authorship beyond doubt. On June 25, 1984, the board of the Writers Guild of America voted to restore the men’s names and their Oscars. My father died at 10 a.m. the next day; by then Wilson had been dead for six years.

[Follies Of God]

[tobiasdrake]

Final Thoughts on Loki

It's hard not to feel like this show is rushed. You can basically cut it into three parts with two episodes apiece, each of which feels tonally and narratively like a completely different story.

Part 1: Loki and Mobius investigate time crimes.

Part 2: Loki and Sylvie take down the Time Variance Authority.

Part 3: Loki and Sylvie go behind the curtain of storytelling itself to break the shackles of MCU canon.

Of the three, only Part 3 really feels like two episodes are sufficient. And even that has its flaws.

Like. I hate to bring this up again but seriously. Your ultimate endpoint is about challenging the strict limitations in the kinds of stories writers will allow you to tell, and the way you're challenging it is with an intrusive heteronormative romance subplot? I'm giving you the sideways glare right now. The one typically reserved for writers who use the words "forbidden love" for straight romances.

And that, right there, is the problem with Loki. A lot of ambition, very interesting ideas, strong themes particular with regard to authority and the inherently brutal power structure that the T.V.A. represents and its dissertation on the nature of fiction.

But the execution is janky; It comes together in some parts, creating some phenomenal moments. And in others, you're just left scratching your head at the weird character choices and deus ex machina contrivances that the creators seemingly thought they could get away with.

On the whole, I would classify Loki as a good effort. Strong ideas, good characters, but I think the script needed a few more drafts. And maybe a couple more episodes added to the runtime, while we're at it.