#purpose of competitive analysis

[liveblack]

Competitor Marketing Strategy | Liveblack

Staying ahead of the competition is highly demanding in this fast-moving age. Because everyone wants to be on top and to be on top, you have to have some knowledge about who your true competitors are. You need to identify ways to outperform competitors with the help of competitive analysis. Explore how competitor analysis can be done and focus on optimizing your business to the next level.

What is competitive analysis?

Competitive analysis in marketing is gathering information about competitor’s services, sales, and strategies, identifying their strengths and weaknesses to gain insights and discover opportunities to do better than competitors.

It will help you keep track of market trends to drive brand awareness, customer engagement, and opportunities to grow your business.

What is the purpose of competitive analysis? Well, the purpose varies depending on what you want to research. It will also help you see through your advantages, unique points, and barriers to growth to strengthen your business strategies. We can also conclude some of the key points such as,

Identify opportunities in the market

Highlight your competitor’s weaknesses

Discover new market trends

Detect flaws in your strategy

Compare your performance with other competitors

Promote your unique value proposition

Discussing the purposes and key points to stand apart in the market through competitive analysis, let us now move to — how to research a market. Is there a specific way to research the market? What are the tools that work for you to better understand the market?

As we all know, market research is crucial to achieve success. Gather data and shape your business plan accordingly to meet your goals and achieve success. The Internet is a handy and easily accessible option to do market research. However, it has its flaws. The information published on the Internet may be incomplete or not updated with the time or not relevant to this date.

Another option you can think of is surveying. Surveying can help you get meaningful insights. Get connected with customers, suppliers, and stakeholders, you’ll get a better idea about how your product or service is helpful to them or what the pain points it has.

Feedback can provide real help to businesses. Genuine feedback from customers and other stakeholders gives you some straightforward views to look into your business strategies and change according to the time being.

To gain more into the competitor analysis let’s dive into the types of competitor analysis. There are mainly 3 types of analysis that can help your business improve leads, revenue, and brand awareness.

Social media competitor analysis -

Social media has the power to drive customers to businesses. It leads to customer engagement and brings sales. However, it’s important to know where your audience is and how to get their attention.

A well-planned digital marketing strategy will pave the way for your business. Conducting social media competitor analysis will give you a chance to look at what social networking sites your competitors are using, what type of content they use to interact or engage with their audience etc. what strategies they have that effectively work in their favor.

Also, look into how frequently your competitors post on their social media platforms with what kind of posts or topics they choose to share. Videos, images, humor, captions, etc. can be the true examples to delve into. How they interact with their followers is also an essential part of your competitor analysis to check.

PPC competitor analysis -

This analysis involves keywords and phrases your competitors are bidding on. Here, the main goal is to get better results and drive leads than your competitors. You have to study the types of ads they are paying for. Are they paying for expensive keywords or have they mainly focused on improving brand awareness?

Do they create landing pages for every campaign? Are you reviewing their CTAs? All these features provide you with an insight into a competitor’s budget and goals.

SEO competitor analysis -

Have you checked for what type of SEO keywords your competitors are ranked for? Figure out the real deal with SEO competitor analysis. Also, you can check these techniques such as,

Compare backlinks

How to rank for more keywords

Compare your website performance with competitors

Keeping track of your competitors has many benefits. Competitive analysis is a continual process to update your business strategies now and then. The Benefits of a Competitive Analysis includes,

Understanding the market

Develop USP (Unique Selling Point)

Discovering competitor’s weaknesses

Improving your business & marketing strategies

Understanding economic climate

Minimizing repetitive mistakes

Explore new trends

Discover target audience

Stand out from competitors

We have all these benefits and types of different competitor analyses. However, many competitor analysis tools help you effortlessly collect data. Here are the few examples we’ve mentioned.

Sprout Social — understand competitor’s performance on social media through various points

SEMRush — Widely used SEO tool. Explore keywords, monitor rankings, site audit, etc.

MozBar — Check how authoritative a website is

Buzzsumo — Check on better-performing content

Similarweb — A tool for content & SEO

Facebook Ad Library — Search for ads in a better way

These are some of the finest competitive analysis tools free not fully but have some features you can use for free to stay ahead in the competition.

Competitor marketing strategy is made up of well-done research, planning, and tactics to stay ahead of the competition in the market. This strategy covers activities such as advertising, customer support, exploring trends, content marketing, etc. to analyze how your business sets a benchmark.

Do you know about 4ps of the marketing? If you want to know more about how your competitors are ahead of you, you must know these 4ps to take the lead.

First is Product — What products they are selling? How are their products different from yours? What is a special feature of your competitor’s product or service? What are the better features they have in their product that your product lacks?

Second is Price — What price model their product is? What pricing structure do they follow? Do they have low or high pricing? What’s that point that attracts customers for the pricing structure they’ve set?

Third is Promotion — How do they promote their product? What offerings are they offering? What digital marketing strategies are they using? What social networking channels are they on to promote their product or service? What are their promotion strategies?

Fourth is Place — Which place do your competitors have their stores? Are they fully selling online or have local retail?

Working on these 4ps can help you gain information about your competitors and allow you to focus on strengthening your business.

Competitive advertising research used by businesses is a way to make the consumer realize how you are different and better from your competitor.

A competitive analysis template can provide you with sufficient space where you can compare the different fields with a detailed analysis of your competitors. This way you’ll get a clear idea of how you can stand apart and excel beyond the rest.

How does SWOT analysis help you in competitive analysis? Well, to stay ahead in the market, you should know about your strengths, weaknesses, and opportunities, and that’s where you need SWOT analysis. It is used for strategic planning and helps you explore the mentioned points to develop a good business strategy.

We at Liveblack, a full-stack digital marketing agency work on every aspect of marketing to help you evolve your business. By reading how this competitive analysis works, we can provide you with practical solutions and advice to manage every one of your needs.

[anyroads]

OK you know what, if we're gonna talk about Bake Off then fuck it, let's do this.

It used to be this wholesome, lovely show! We used to watch it for the bakers! And the learning! And the light banter and occasional bit of coy innuendo! What happened?

Channel 4 happened. When they bought the show they made a number of changes, most of them Not Good™️. Not just in the sense of them resulting in a lot of 😬 and 🫠 moments, but in the sense of how they changed the show's purpose, atmosphere, and brand.

Look, I know most people are just like, "whatever, it's just a baking show," and yeah, sure. But it's one of the UK's most successful TV exports, and where it once shifted the tone of reality competition to being wholesome and supportive of contestants, it's since moved towards creating tension at the contestants' cost. So aside from the fact that most people watching it signed up to watch a nice show, it has also shifted the goalposts of what that even means. And that, lovelies and gentlefolk, is some bullshit.

I decided to break my rant analysis into four main parts: theme weeks, the hosts, the judges, and the bakers. Let's get to it!

Theme Weeks:

If you watch Bake Off, you know the show's always had a specific theme for each week. The staples that come up in most seasons are:

cake

biscuit

bread

pudding/dessert

pastry

patisserie

Less common but consistent are things like caramel and chocolate week.

Then there are the fun episodes! When GBBO was on the BBC, this started out with things tea week, tarts, pies, tray bakes, basically little tangents still focused on emphasizing specific baking skills. In Series 6 (still on the BBC) they had their first nation-focused theme week with French week -- fairly innocuous given that a lot of patisserie is French, France and England share much more culture than either cares to admit [Norman Flag dot gif], and it was a nice change from watching Paul make the bakers do recipes that involved boiling things while talking about how wonderful boiled doughs are (are they, Paul? Are they?).

The show kept mixing it up with innocuous themes like advanced dough and alternative ingredients weeks, European cakes, Victorian week, batter week, and botanical week. And while it was frustrating to watch Paul Hollywood mispronounce things like the Hungarian Dobos Torta and lecture bakers on babka when he clearly knew nothing about it (or about Jewish baking in general, go off Past Me), the show's general attitude was that the judges had their own opinions, which were separate from the immutable facts around the chemistry of baking (more on this later) and shouldn't affect how bakers are judged.

After the show moved to Channel 4, the number of themed weeks increased and more of them focused on specific countries. In 6 seasons on the BBC, there were only two country-focused theme weeks, and in 5 seasons on Channel 4 there have been five. And while they've also had themes like vegan baking, roaring 20s, the 1980s, spice week, etc. the show has really started to go hard on exoticizing other cultures in outright disrespectful and racist ways. There's been Italian and Danish week, German, Japanese (it wasn't, it was East Asian week), and now Mexican week (which doesn't touch on interspersed Jewish bakes that didn't get a theme week, like versions of bagels and babka set as technical challenges that were borderline hate crimes and mansplained by a guy who has no idea how to make either and once wrote in a cookbook that challah was traditionally eaten during Passover). Each time the hosts played up the theme with racist bits and jokes that can be used as evidence in court if your case is "why should shows with scripted content have a professional writing staff."

Which touches on other issues the show has now...

The Hosts:

When GBBO was on the BBC, the show was hosted by ✨Mel Giedroyc✨ and ✨Sue Perkins✨. They encouraged the bakers! They'd hold stuff for them sometimes! They were interested in them! If a baker had a breakdown, they would start singing copyrighted material to render the footage unusable! When the show moved to Channel 4, they left, though I'm not unconvinced that Channel 4 offered them impossible to accept contracts to force them out so they could rebrand the show. They replaced them with Sandy Toksvig and Noel Fielding. Sandy was a lovely host in the vein of Mel and Sue, and she and Noel had a relatively sweet rapport, but she left a few seasons ago and was replaced by Matt Lucas.

Noel Fielding is mostly known for his quirky brand of comedy, a sort of British Zooey Deschanel who's goth from the neck up, an upperclass British gay divorcee from the neck down, and basically an early 60s Beatle re: trousers. Matt Lucas has almost definitely never watched a single episode of GBBO and his most redeeming quality is his thinly veiled contempt for Paul Hollywood.

The two treat the baking tent as their personal playground. Far from the supportive attitude of Mel and Sue, they tend to get in the bakers' way during the most stressful moments, especially when they try to do hilarious "comedy" bits (I can't not put that in quotes) like Noel's talking wooden spoon thing, or Matt talking over Noel to do time calls. During theme weeks like Japanese and Mexican week, they do culture-specific bits that are both racist ("just Juan joke" and "is Mexico a real place?") and unsurprising, given that both Matt and Noel did blackface on their respective sketch shows and absolutely could and should have known better because it was already the current fucking century.

All this to say, there's now a separation between the bakers and the hosts, as if they're on different shows. The hosts are doing their own thing and the bakers are doing GBBO. The show has gotten meaner to the bakers, and the hosts aren't there to support them anymore, they're just there to be comic relief. Because when you refocus your show on stressing the bakers the fuck out, you need a forced laugh I guess ¯\_(ツ)_/¯.

The Judges:

First of all, a sincere congratulations to Paul Hollywood who managed to squeeze I jUsT cAmE bAcK fRoM mExIcO aNd YeT sTiLL pRoNoUnCe PiCo De GaLLo As 'PiKa De KaLLa' and I aM aN eXpErT oN s'MoReS wHiCh aRe MaDe WiTh DiGeStiVe BiScUiTs AcCoRdiNg tO mE, aN eXpErT oN s'MoReS, just two in a giant pile of astoundingly wrong hot takes, into a short enough time span that they all aired within Liz Truss's term as Prime Minister. A true man of accomplishments.

In the interest of fairness, I need to preface this with a disclaimer that, due to the fact that I've been watching Bake Off for most of its run, I'm biased. Specifically, I can't stand Paul Hollywood's smarmy, classist, egomaniac ass because he's proven time and again he's more interested in looking smart than actually knowing what he's talking about. Since the show moved to Channel 4, they've changed the occasional handshake Paul would give bakers to the HoLlYwOoD hAnDsHaKe™️. It's gone from being an emphasis of someone's skill to a goal, a reward, and one that emphasizes the judges' place above the bakers.

The judges used to function as teachers, imparting their skills and insights to the bakers. When the show was on the BBC, the voiceover leading to a judging would focus on the bakers' work being finished, saying how it will now be evaluated based on their skill and how well they met the brief. The voiceovers now, on Channel 4, focus on the judging (literally saying something along the lines of, "the bakers will now be judged by Prue and Paul"). There is a clear distinction Channel 4's producers have made, to mark that the show is now about whether or not the judges approve, not whether the brief was understood and executed well. On the BBC, it was irrelevant whether the judges liked a particular flavor, as long as the bake was well-made. Now, the bakers are expected to know the judges tastes and cater to them, which is frankly bullshit. A judge doesn't have to like a flavor to know whether or not it was executed well, ie. is it carrying a bake and was it meant to etc.

The judges have been turned into a brand. Cynically, Channel 4 knows that by building them up and focusing the show more on them, they can exploit their image more for profit. In the process, they've become much more biased and their own biases have come out as well. Most recently in the flaming dumpster fire that was Mexican Week, Paul Hollywood tried to intimidate a baker by telling them he had just gotten back from Mexico (which must have been a fruitful learning trip if he couldn't even learn how to pronounce pico de gallo correctly). Where do I even start with this? Here's an amateur baker from England (the show specifically casts middle and lower middle class bakers for the most part??) who likely can't afford trips to Mexico, who lives in a country with incredibly limited access to Mexican cuisine, who is expected not only to understand the cooking and baking traditions of a completely different culture but to do so well enough to play with it and do something creative with it. On top of which, one of the judges is now using his privilege of traveling halfway around the world as some kind of leverage, as if this were a bar that any amateur British baker could clear.

Prue, meanwhile, has openly asserted her biases against cultural flavors and textures, prioritizing her own personal preferences over them, as if they were in any way relevant to the skills and knowledge necessary to execute the tasks she sets to the bakers. She has also been consistently elitist, criticizing bakers for choices they made that were clearly informed by their experiences within income brackets that are too low and foreign for Prue to comprehend. She once had a go at a baker on a Christmas special because his Christmas dinner themed bake didn't have a turkey, even though it was clear from the stories he shared of his own Christmases that his family likely couldn't afford one. "It's not really Christmas dinner without a turkey," Prue said into the camera angrily while sitting on a chair made of live orphans and telling the ghost of Christmas Future to come back when he had another museum gift shop necklace for her to round out her collection.

The show is no longer about which baker has the best skills. It's become about which mortal can appease the gods of Mount Olympus, ie. the judges.

The Bakers:

Remember when the show was about them? Channel 4 doesn't! Because this is a reality competition show, the bakers are chosen both based on their skills, as well as cast-ability. They're cast as characters, distinct from each other, from different areas, age groups, ethnicities. All of them are amateurs. All of them are middle or lower middle class. They've ranged from college students to supermarket cashiers to prison wardens to scientists.

Something I noticed when the show moved to Channel 4 is that the baker who goes home in the first week is always wildly behind the rest in skills. I have no proof of this other than my eyeballs and deductive reasoning skills, but I think that Channel 4 deliberately casts a ringer each season who they think will be an easy send-off in the first week, just to get the audience's feet wet.

Anyway, like I said, this show used to be about the bakers - about them building skills and learning, and having walked into the tent with a self-taught foundation and understanding of the processes and chemical reactions involved in baking. When the show was on the BBC, the end of each round had some (often brief) moments of tension - will they finish in time? Will they get their bakes on the plate before time is up? Did they forget to add sugar to their batter and only remember at the last minute? In the end, they usually managed to finish and we'd all breathe a sigh of relief and think, yeah! You go, Bakers Who I'm Rooting For!

Now, on Channel 4, the end of round drama has been stretched to be so much longer that they've composed extra music for it. The bakers often seem out of their depth, whether because the instructions for the technical challenge are too vague (bake a lemon meringue pie??? As if anyone in the UK under the age of 60 has had one in the last decade???), or because they were expected to bake something that required a more than a basic foundation they weren't told of. Often it seems like they just aren't given enough time, a tactic used by reality competition shows to manipulate contestants into giving the cameras more dramatic content. On top of all this, the hosts get in their way, instead of helping them plate their bakes. As has been pointed out before, when everyone fails the challenge, the real failure lies with whoever set it.

In conclusion:

The show no longer exists to teach the bakers - and the audience - skills or knowledge. It now manipulates contestants for dramatic effect and prioritizes showing conflict over wholesome content. Channel 4 sees the bakers as social media content they can churn out season after season, and don't care about them because in a few months there'll be a new batch to exploit. Meanwhile, the judges are also out of their depth, co-opting recipes from other cultures and butchering them horrendously, while the camera gives them nothing but status as they hold bakers to the expectation that they learn how to make things very much the wrong way. If you saw any of the tweets about Mexican or Japanese week, or read my post on how Paul Hollywood isn't allowed to go near babka ever again, you'll understand.

So what would fix all this? Scrap the current judges and the hosts altogether. Bring back Mel and Sue, and replace the judges with expert bakers who have a love of their craft and want to share it with others. The draw of GBBO used to be its warmth and comfort - if Channel 4 isn't going to start its own version of Master Chef For Bakers, then it needs to stop trying to find a balance of how it can insert that vibe into GBBO. It can't. That's not a thing. Stop trying.

[autisticshadowthehedgehog]

"Why Would You Bother With Me?" - An Analysis of Kitsunami, 09/07/2024

tw: major discussions of abuse, the cycle of abuse, re-traumatizing situations, toxic and abusive relationships (non-romantic)

so like when I first read this panel my reaction was just to joke with Cori that this is a "get out of my school" moment (iykyk) but I've been thinking about it a lot recently because I... couldn't remember any specific beef Kit had with Tails?

Last we saw of them interacting one-on-one, Tails was talking Kit down from fighting, and Kit's beef with the squad later was more with Sonic than him. Tails didn't take down Surge in #56 or even affect the fight in any way, and Sonic was the one who told Kit that Surge was dead beforehand. At least that I could remember, so I went back to those comics. Indeed, in #56 he shows no animosity towards Tails specifically, nor when he talks to Surge in #55.

Then I went back to #54.

See, he does seem to blame Sonic entirely for the Surge death fakeout, and he thinks that Sonic is literally trying to kill her when he walks in. But he does have one (1) reaction to Tails, right at the end of the interaction.

In the previous issue, after Sonic and Tails saved his life, Kit immediately switched on his subservient personality and was desperate for any kind of validation from the hedgehog. We only see it for a few panels before he is told about Surge and sinks into a depressive state, but it's made very obvious.

And when he leaves to help?

Kit's conditioning under Starline means that he is excessively codependent on Surge– and if Surge isn't around, on anyone who is nice to him. The hypnotic repetition shown to us was "You live to support Surge. You'll do anything for her." Kit's sole purpose in life is to be a Support party member.

Kit's conditioning was to be the new Tails.

Starline wanted Surge and Kit to replace Sonic and Tails– that much was obvious from the get-go. But what was also obvious was his fundamental misunderstanding of Sonic and Tails's dynamic and how that negatively impacts Surge and Kit's relationship.

Starline completely misses the strong sibling bond that Sonic and Tails have. To him, Tails is just there to support Sonic, to provide the brains and tech that Sonic lacks, and so Kit needs to be there to support Surge in the same way. He sees it only as a business partnership, and not a mutual relationship built on trust, love, and shared experiences. Starline only saw other people as tools, so obviously he projected that onto Surge and Kit, hoping that they would immediately take up the closeness that Sonic and Tails did because, well, they served the same purpose to each other, right?

Except Surge and Kit don't have that relationship. These two children were forced into the same proximity and made to work together. They're coworkers at best, being told to act like a family.

Obviously their dynamic is super toxic, with Surge clearly holding a lot of power over Kit, but it's also clear that this isn't because Surge wants to beat on the kid. She was made to be Sonic, and so she has his arrogance (and possibly Shadow's, considering IS1 showed his image when Starline was talking about stealing abilities), but, as Boom!Sonic says, "Without any of the awesomeness to back it up." Okay, wrong, she's plenty awesome, the correct phrase is "Without the experience" and, most importantly, "without the altruism that makes Sonic Sonic." Surge wasn't programmed to like the people she saves, because that would conflict with Starline's goal to take over the world. So she's only made to be competitive and to want to best Sonic, anyone inbetween them be damned. This clashes with Kit's programming to not only be liked, but to be liked by Surge. Surge was also programmed to believe fully in herself in order to enhance the arrogant trait, and Kit was made to give her the help that she doesn't want.

To Surge, Kit represents everything holding her back. And she's not built to view him as a person, because Starline doesn't view him or her as people. Obviously this doesn't absolve her of her treatment of him, and later issues showing her getting more and more aware as she becomes more social is definitely going to impact the way she views him– or, if it doesn't make her reconsider Kit's personhood, it'll serve to make her more antagonistic for the viewer.

But the point is, Sonic trusts Tails because he knows and respects him as a person. It isn't just because Tails can help him, but because he knows Tails will. Surge, at this point in the comic, not only doesn't view Kit as a friend, she doesn't even care what he thinks or feels.

And despite the brainwashing, I don't think Kit is oblivious to this. He knows how bad their situation is, but he is so conditioned to accept it that he can't escape it whatsoever. In both fights with Tails, Tails talks him down easily because Kit doesn't want to hurt anyone. Kit only reacts violently when Surge is brought up, because he's meant to do anything she wants.

Like he said to Belle, he was made for Surge. And what he says directly after– "Sonic can use me, too." Kit doesn't even view himself as a person, only a tool– that's how far Starline's brainwashing went. It's clearly even affecting Surge, who realized in the latest issue, #72, how fast she and Kit fell into their abusive patterns again once Clutch took over– they were conditioned to be tools. Clutch claimed to want to help them, but really he was just using them for his own ends, just like Starline. So they went back to the familiar.

And speaking of familiar– pain is familiar to Kit, specifically pain in service to others. In his breakdown in #50, he says that Starline made him happy he'd been hurt. And in Imposter Syndrome #3 and #4, we see that him and Surge hate Starline and want to usurp him... but also are still trapped in the patterns he implanted in them. Surge still wants to kill Sonic and outperform everyone else. Kit still can't do anything but what she wants, to the point he becomes near catatonic when he believes she's dead.

Another pattern Kit is still trapped in is the idea that he has to be okay with his own suffering.

The only sense of home or family Surge and Kit have is in each other, but they fundamentally can't work together, at least as they are currently. Kit is expected to take Surge's anger, and Surge isn't expected to treat him like his own person.

And this, I think, is Kit's problem with Tails.

He was made to be Tails, and he knows this, but he can never have what Tails has. He can never live up to Tails and do what Tails can do, despite that being his entire life's purpose.

He doesn't hate Tails because he was programmed to– as he says to Surge, he only wants to destroy Sonic because she wants to. When he first encounters Tails, he refers to him as his target- a simple, unemotional term. He doesn't have the deep ingrained hatred for him that Surge does for Sonic.

Instead, he hates Tails because of what he sees in him. He sees Sonic and Tails interact, he sees how much Sonic trusts and relies on Tails, and he sees how he also loves and respects him. He sees how Tails has his own motivations and opinions, and he's experienced Tails's genuine compassion that was in part fostered by the hedgehog that raised him. In turn, Tails is loyal to Sonic, but not because he has to be– because he, in turn, loves Sonic and wants to be with him.

Kit only wants to be with Surge because he was forced to. Starline wanted to use Surge and Kit to stop Sonic and Eggman's cycle, but he made a whole new one instead. Kit is trapped in a cycle of pain, knows he's trapped in it, and is helpless to escape it.

Tails isn't, and Kit sees that in Tails. Subconsciously, he sees Tails and only sees how he fails to live up to his life's mission, and how he'll never have what Tails has.

After all, why would anyone bother with him? They already have Tails.

Is he a target? I like it here now.

[cenorii]

Wesker: personality

This is my psychological analysis of the character, which includes important details of the story, an analysis of the decisions they made and the concept of the phenomenon of «Guiding Fear». Contains spoilers!

Even if you know lore 100%, you will be able to learn something new from my thoughts

I did this to practice analyzing personalities and reliably prescribe my own characters.

[These are all my personal reflections that I have been accumulating and analyzing for six months. You can see the same analysis with Chris here. In Wesker's case, I dispel the myths that he is evil-evil and crazy, it's not that trivial here... Thanks to everyone who reads this, I really appreciate it and it's nice to know that my thoughts are of interest to someone!]

The most difficult subject of all. An attempt to embrace the immensity. He is infantile and the desire to prove this quality forced me to write such a huge article.

Wesker embodies the fear of losing himself, the anxiety of being someone he is not. He knows nothing about himself from the beginning, neither his Spencer-prescribed destiny nor his real name. As he tries to resist and exercise his individuality, he is eventually confronted with the truth that his every move has been pre-planned, never answering the questions: where are his own decisions? Where is he himself? What is really his?

I chose this fear for Wesker for a reason. The fear of losing himself can cause a person to purposely distance himself from others and not allow anyone to get close to him. He strives to shield himself from everyone, and we can observe this in his desire to be alone. Outwardly, such a person may appear indifferent and cold, even indifferent, so as not to give away to others (and to himself) his true feelings and needs. Wesker believes that it is right not to show anyone that something matters to him, otherwise he will develop weaknesses. After all, what people hold dear can be manipulated. And he doesn't want anyone to have control over him. He hates being controlled, so his surroundings know the bare minimum of information about him.

Who's Spencer? One of the founders of Umbrella, to put it succinctly. A man who is obsessed with identical mansions and mysteries and immortality and creating «perfect humanity». Rich and powerful.

But let's get to Wesker's story. A lot of things happened to him in his 48 years of life.

First of all, I want to point out that at an early age he was taken from a family that Spencer believed had a unique combination of intelligence and genes. But he wasn't the only one who was treated this way as part of «project W» (the experiment to create the perfect human). There were hundreds of children who were later given the surname Wesker. Until their adulthood, they received the best education, living in a boarding school (presumably), and were selected to be the best.

The children, being a blank slate, absorbed Spencer's teaching, being brought up according to his ideals. Their lives were pre-scripted, every step of the way. Those who were unremarkable were weeded out. Competition, anxiety. The lack of a normal childhood could breed a fear of losing oneself in every Wesker, for life was controlled. Personal boundaries and choices were absent, Spencer's worldview was pounded into everyone's head. Children were also distorted with notions of right and wrong, forced to be emotionally detached from a non-ideal world. This upbringing has produced people who have no empathy for others, empty machines with no personality of their own, ready to perform perfectly in any job in which they find themselves successful. They see the world through Spencer's eyes, but not their own.

In the end the best were 13 people, where number 12 was Alex Wesker and number 13 was Albert, the one in question. Someone who really always wanted to see the world with his own eyes, wanted to transcend.

The 13 candidates, following Spencer's plan, had to mature before moving on to the final stage of project W - injecting themselves with a special prototype virus. The power that this virus can bestow is so great that an immature individual, according to Spencer, has no right to possess it. In theory, this virus should improve a person, make him perfect, but in fact it turned out to be very selective and killed 11 candidates out of 13. Only Alex and Albert survived. Alex didn't gain any strength, because at the time of the injection she was sick, and the virus cannot improve a weak organism. But her half-brother was lucky, and the virus endowed him with all possible positive properties, changing his body and turning him into an almost immortal creature, looking completely like a human. That is, outwardly, except for the color of his eyes, nothing had changed in him. At the time of the injection, they were both 38.

I don't believe in theory that he lost his «humanity» due to mutation. On the contrary, he was never «human» in the classical sense of the word. He, like the others, was raised not to show empathy for others and was indoctrinated to believe that he was superior. Wesker had not changed, but because of his newfound freedom, he was no longer constrained by the limits Spencer's upbringing had placed on him.

When Wesker was 18, he was sent to the «Umbrella Executive Training School» with his future friend William Birkin, who was 16. They were research associates. As one could guess, the stress didn't end with his childhood, it coexisted with it. Following the text from his report, Wesker continued to feel like a mere toy in the hands of Umbrella, and further in the hands of Spencer, he literally raved in every paragraph about the old man. And to get out of this state was impossible from his words.

He and Birkin were led to Lisa Trevor, a subject who had been physically and psychologically abused in this School for many years. The horrible picture that opened before them, gave Wesker confidence that he could be in her place if he did his job badly. But he had no idea that he'd always been there, that every stage of his life was Spencer's experiment, just not as ugly.

Wesker wrote in his report: «We had two choices: succeed in our research... or lie here and rot like her. Thus we had only one option. This woman tied to a pipe touched something in our minds»

These thoughts are literally a revelation of his subconscious fear that has haunted him since childhood. A manifestation of humanity.

When Wesker entered this School, he felt freedom and saw the horrors of science for the first time. Perhaps a turning point in his life, for in order not to lose that little freedom, and his life, he had to do as he was told. Had to adjust and ignore the rationalism screaming inside. Working there greatly affected Birkin and Wesker, but Wesker had to transfer elsewhere to get more information about Spencer and also because of the realization that he had reached his research limit. When Birkin started studying the G-virus, Wesker realized that it was beyond his knowledge. Although he was good at science, he didn't want to do it all the time, he wasn't looking to improve his skills and knowledge, reaching for something else, as if trying everywhere, trying to find his place.

Close to the age of 38, Wesker gets a job in a special police unit as Captain of the S.T.A.R.S. Squad and a double agent. But he was already then pursuing a personal goal and found himself a triple agent. His goal was not simply to test bioweapons on members of his squad, as the assignment stated, but to escape with the results to another organization. The only way to break free from the influence of Umbrella, which is why he gave up his best people so easily.

It's unclear why he planted supplies on Chris in a difficult moment and helped him in every way he could if the trial was supposed to go «natural». Perhaps he wanted Chris to 100% make it to the final trial, but Chris was doing fine without it. Maintained the image of the captain? Game rules? Anything is possible. I'll use the code word «WX» to note this behavior, because I'll come back to this topic a few more times. «WX» stands for Wesker's penchant for actions that do not conform to his basic behavior, including helping others that does not bring him any personal benefit or benefit. In other words, good without any reason.

At the mansion, Chris and Jill get rid of the bioweapons in their path and make their way to the lab, where they catch Wesker off guard. There are 12 endings in the game, but only the one where Wesker is stabbed in the stomach by the Tyrant is canonical, as that is the ending depicted in Umbrella Chronicles, where the story is told on his behalf.

He survives by regenerating from a pre-injected prototype virus, but it's unclear if his death was part of the plan. His first report states that Wesker planned his temporary death from the Tyrant, but in subsequent retellings of this moment, I began to question how relevant this report was. His reaction and facial emotion shown in the re1 remake described surprise. But he couldn't be faking it at that moment, because he already had his back turned to Jill and Chris. Considering the way Wesker in Umbrella Chronicles describes his death, it seems like he really didn't expect this. Something didn't go according to plan. He didn't plan for this kind of trauma to activate the virus within him.

The point about the prototype virus is also worth mentioning. Birkin, on Spencer's orders, misled Wesker by telling him that this substance was developed specifically for him. That is, Wesker did not know the truth and details about having a huge probability of simply dying from the injection. Judging by the information in the notes, if Wesker had not injected it into himself, the virus would have entered his body in some other way, it was inevitable. The remaining 12 Weskers were injected with the virus, some by force, some at the request of a friend, and some under the guise of vaccination.

Let's take it a little further. Wesker was declared dead and moved on to another organization. Now his plan was to get rid of the sinking ship that is Umbrella. But why was he so intent on destroying it? It could have been a personal vendetta, after all, it was Umbrella that had manipulated his life and taken away his freedom. It was also a way to prove to his new organization that he was worth something.

By executing his plan, he inadvertently helped Chris and Jill, who were seeking the same thing. I'd call it «WX», but since he was pursuing a personal goal for his own benefit, it's 50\50.

Then in re4 he gives Ada the task finds the amber with the parasite Plaga. Considering that Wesker moves quietly around the island in the remake, it's odd that he didn't get that amber himself. With the power and speed from the virus, he took it all on the shoulders of one Ada, who was also infected during the mission, which only wasted his time. Didn't want to get his hands dirty? Maybe. But if he had gotten them dirty, the mission would have been completed faster, and isn't that a tactical advantage?

In the remake, he manifests «WX» (DLC Separate Ways) when he shows up at just the right moment for Ada and saves her from the ganados. After likely killing them with a gun, he takes a passed out Ada to Mendez's bedside, where he gives her a temporary recovery shot (or draws her blood?) But you know what's even weirder? He purposely chose a comfortable place for Ada, rather than laying her down on the ground somewhere. He was also there with her the entire time she was lying unconscious. I'd put an exclamation point on that weirdness, because... why? First of all, why did he save her when he could have continued the mission in her place? Recall Code Veronica, there Wesker arrived on the island with his HCF squad, but then we find his soldiers infected. He showed no concern for them and actually continued the mission on his own. Second, why did he keep sitting there? To scold and pathos leave?

He envisioned the option of Ada's possible betrayal and later stole Krauser's body, from which he had already extracted the Plaga sample, but he saved her anyway. Why? All of Ada's subsequent tasks on the island he could also have accomplished on his own and much faster. It's not like he was very busy if he allowed himself to sit with a sleeping Ada. The next meeting with Ada takes place on the elevation. Wesker brings her a case, pointing a gun at her. What is this gesture for? I don't think he sees her as a threat. Maybe it's a way to lend weight to his words, but doesn't he consider his authority absolute? He's a much bigger threat than the gun in his hand, so it's an odd action that makes him seem insecure.

After Ada's betrayal, one of Wesker's allies informs him that her helicopter can be attacked, but he refuses, calling it her "little act of defiance". Thus, he gives someone the Plaga sample she stole, and also spares Ada herself. It's «WX», though he could have gotten rid of two problems at once - the traitor and the competition.

We are now transported to the future, in the DLC for Re5 – «Lost in Nightmares». Here's where the fun begins.

DLC reveals to us that something has been bothering Wesker all his life, and that something is a subconscious manipulation that has been psychologically programmed into every Wesker. The so-called «Spencer's presence». It was a defense mechanism that constantly caused a sense of anxiety and a desire to seek out Spencer, to obey him. But this defense stopped working as soon as the old man met his prodigal son and told him everything. Wesker learned from him the whole truth about himself and about «project W», that his whole life had been manufactured. Then the defenses in his head were destroyed and he quietly killed Spencer, appropriating his dream for himself. He failed to deal with the realization of the truth, taking his dream of becoming God and creating a perfect humanity. An infantile fantasy of an unjust world that needed to be changed to fit his ideals.

In that moment, he faced his fear head-on. There she was - the cause of his fears, the person who had gotten into the depths of his mind, into his innermost being. Spencer. And now this old man was lying bloody on the floor. Perhaps Wesker should have been relieved and finally started living the life he wanted, not this old man. But he had taken Spencer's dream for himself, thus, once again acting against his will. In doing so, he didn't walk away from the problem, but exacerbated it without even realizing it. Wesker must have guessed that he had some problems, but his inflated ego that prevented him from thinking about it, screaming that he couldn't have any flaws. The problem became a hole that he tries to fill with things like this.

Whereas other characters conquer their fears by facing them, Wesker drowned in them, unwilling to change anything. His entire personality was built on the horror of losing himself, and when he found out that he basically had no self all his life, he lost his mind. He decided, since this world was unfair to him, then he needed to completely rewrite it and turn it into his own utopia, in which he would be whoever he wanted, untouchable, whom no one would point out and control.

However, thanks to the re4r (DLC Separate Ways), we now know that similar thoughts haunted Wesker even before he met Spencer. His desire to change people and start a new era he expresses after the credits. With this, the writers patched a few plot holes that appeared after re5. Now Wesker sounds like he didn't assign Spencer's goals to himself, but even before meeting him, he decided on a vision based on his upbringing.

Unfortunately, there is a long known scripting problem re5, because Wesker was not planned as a character who will survive the events of this game, so his motivation sounds stereotypical and stupid, because his plan and should not have been realized. Must be in the remake they will fix this flaw, because the beginning has already been made. His moment of frustration after killing Spencer is interrupted by Chris and Jill coming up. Consumed by rage, Wesker is seriously trying to kill Chris this time, or he was playing with him again, knowing that he would not oppose him. After saving her partner from death, Jill pushes Wesker out the window, falling down onto the rocks with him. After falling off a cliff, Wesker obviously survives, but also saves Jill. Why not just leave her to die? Why treat her and then plan to make her a test subject? Aren't there other healthy people out there? Stupid and empty revenge is not in his character. This is just another manifestation of «WX» and his obsessive desire to cling to the past.

I don't have much to say about re5, because Wesker died there, or we were made to think so. The only thing I will mention is his unhealthy attitude towards Chris. He displays it at every chance he gets. The notes about Wesker in Umbrella Chronicles state «As a spy he held the concurrent post of S.T.A.R.S. Captain and has been impressed by Chris' combat abilities since then», and during the events of Umbrella Chronicles, Wesker said the phrase «Chris, it appears our fates are forever intertwined». In the re1 remake and Code Veronica, he openly stated that Chris was «his best man» in a sort of unobtrusive admiration. It's no longer possible to perceive Redfield as separate from Wesker.

Each time he points a gun at him, Wesker never takes a shot on target. In the battle on the airplane, he points the gun at Chris without even putting his finger on the trigger. Such a good opportunity to kill him, to get rid of the enemy for good, and he just stands there holding a gun he's not even going to use. Just take the shot and it's over, but no, he's standing there babbling on as if it's actually that much more important to him. It's like Wesker was looking for an opportunity to vent to the very person from his past. It's reminiscent of the moment he pointed the gun at Ada. It's like he was trying to add weight to his words, to show the importance of what he was doing.

In Code Veronica, he decided to play with Chris instead of killing him. So many opportunities were missed, as if he couldn't physically hurt «his best man». Chris is Wesker's only drop of common sense. If he was sure of what he was doing, and also sure of himself, he wouldn't have left Chris any chance of survival. He would have killed Redfield at the first opportunity, but he stands there every time and doubts what he's doing. Chris is a kind of controlling element to him that constantly makes him hesitate.

And this strange hatred for Chris also raises questions. Maybe he hates him because he was jealous of what he owned? Something that cannot be obtained with money. Support, understanding, the love of a sister and close people, trust. Wesker compulsively convinced himself that he was not made for such things, for even having a sister, they did not possess affection. From the beginning he had no friends and his only companion was Birkin, though their relationship could hardly be called a normal friendship. He had no family or loved ones, and the only support he received came from «patrons» who were actually agents of Spencer and Umbrella. Seeing the Redfields supporting each other in difficult moments, being heroic, Wesker truly realized that he would never do the same. He has no people he holds dear, nor does he have those who hold him dear. There are no irreplaceable people in his worldview, but this connection between Redfields is probably beyond his comprehension. It's a simple human problem, which is why he's so fixated on himself, because if he loses the only thing he has, he'll have nothing left. He's miserable and drowning in his own despair.

While interacting with Chris on the volcano, Wesker first reveals his idealistic, infantile nature, naively dreaming of a better world without war and disease. Losing control of his powers and realizing that he will not defeat Chris in such a state, he decides to overdose himself with Ouroboros, which in the end does not make him stronger at all, but only slows him down, making him drown not only in weakness, but also in his own uncontrollable anger and frustration. Events are moving too quickly and so it can be assumed that his words here are not addressed to Chris, but to himself. After all, in the last battle he claimed to be «saving the world» and now he wonders «is it worth saving?» He dies without knowing the answer.

«However, there is no point in power if it consumes itself» his phrase, well suited to the situation at hand.

Btw, in the original idea, the moment before he died, his eye color would become natural, showing despair and horror. An interesting idea that was discarded.

I would also like to parse his phrases: «Only those with superior DNA will be chosen by Uroboros. Only those fit for survival will be allowed to carry their genes into a new age!» Also, «I don't need anyone else. I have Uroboros!»

Wesker is more aware of how the world works than anyone else. Corruption, betrayal, human vice and filth. He had to participate in it to achieve his goal, had to go through a lot of disgusting people for the sake of getting benefits, himself to sink to their level. Seeing this, he has become disillusioned with people, so he wishes they would disappear, giving way to someone more «worthy» of life. He also renounces everyone, entrusting his fate to his creation, desperate to gain understanding.

His life was cut short at the age of 48 (2009) in a volcano, but that's according to official reports. In theory Wesker and his possible clone are alive now, which we could learn from Umbrella Corps. But I'm not going to tell you about it here.

I failed to mention that at 32, Wesker had a relationship with a woman named Muller. Strangely, she was still alive afterward and had a good opinion of him. Although it would seem that with such a personality it should be the other way around.

She ended up pregnant, and now, as of 2021 in the re8 storyline, their son is 29 years old. I can understand why she might not have informed Wesker about the son, because first of all he might not have approved and made her get rid of him, and secondly she might have lost the ability to contact him, since he was working in secret. But the fact that she kept the baby speaks volumes. That the man she broke up with is genuinely pleasant to her. I mean, if he'd been the way he was at the time of his death, it's unlikely she would have kept the baby. Often victims of violence/abuse get rid of their children, no one wants a child from a tyrant. That's the side of this character that we don't know anything about.

It's hard to imagine how a person who has a fear of losing himself and who distances himself from others has managed to find a short-term relationship at all.

What about his personality? There's a double bottom here.

It's ambiguous. At first you see a stereotypical villain and then a psycho who wants to «save the world» by destroying it, a standard hackneyed scheme, nothing interesting.

But if you look closely, we see a simple man on the verge of despair. With his past behind him, he cannot give up everything and live the way he likes, because he is superfluous in this world. Because of his own fears, he has developed a belief that he has to strive for something in order not to lose himself. All Weskers have been raised to believe that they have a great destiny, which builds an unhealthy and extremely vulnerable self-esteem.

With his fear of losing his identity, Wesker isolates himself from others, creating psychological walls that even he is afraid to penetrate. This may be the reason he broke up with Ms. Muller. She risked getting into places where even his foot had not set foot, so it became necessary to distance himself from her in order to avoid unpredictable consequences.

His dream, adopted from Spencer, actually echoes his deeply buried problem. «Infect people with a virus that will only improve and not kill a select few like him» That is, Wesker dreamed of making people like himself. Isn't it loneliness and desperation that makes people do such things? It didn't seem that he was hungry for «power» specifically, because he already had it in the traditional sense. All the more, based on his words, he did not wish for evil with this gesture, he wished to «save» humanity, knowing that millions would die. For the sake of finding a company «worthy of him», he was willing to risk killing everyone and being alone. Desperate and lost, he began to make bad decisions.

You know, it's been unusually hard for me to see beyond the obvious. I feel like I did the wrong thing by taking it upon myself to judge him without knowing almost anything about him. I originally had a biased and negative opinion of the character. But now I've gone neutral.

What do I see in front of me now? A character disconnected from his own lore. We read about one thing and see something else entirely. And also an unhappy man. Wesker is famous for his reports. They were always interesting to read because of their informative and judicious tone, so it was much more interesting to watch him when he acted in accordance with his reasoning.

Judging from the story, he is able to evoke compassion and empathy in the viewer, but does he evoke it in action? In action, he evokes nothing. He is not even annoying, although a well-written character should evoke an emotional response, but he evokes it only with his story.

Creating something unambiguously negative is not a bad thing. But such a thing should be presented wisely, and it should have a certain kind of backstory, which will only deepen our belief that this object is evil.

But in Wesker's case, things went wrong from the start. Having created a story that resonates in you with an atmosphere of hopelessness, lack of choice, and fear of losing yourself, we see a character that doesn't match that. It's the events of the personal story that create the character, but if the character feels pulled from it, something went wrong in the writing.

If you are creating a character who is supposed to be compassion, the story should help with that, make you feel his problem. The same is true if you're writing someone who is negative and should be disgusting. Murder isn't enough to make a character a villain, the story is the main key. And our victim's story isn't about becoming evil at all, it's about fighting fear, where fear wins in the end, which doesn't fit with the concept of evil evil at all. That's why the player/reader/viewer can't always decide who he is: antagonist? Anti-villain? Who the hell is he?

[The beginning of an optional fragment]

By the way, there aren't enough facts in this analysis, so now we're going to break down the prototype virus that was injected into 13 Weskers. If you're not interested in that, skip to the next section. I haven't previously mentioned the Progenitor, from which many viruses in this universe originated, so the prototype is an unstable strain of the Progenitor, weakened dozens of times so as not to be too toxic. This virus either gives a person immense strength or kills them altogether. Alex stayed somewhere in the middle, because nothing happened to her, but her brother changed a lot.

Wesker has special genes, as well as immunity, that made the prototype fused with him. But activation, according to Birkin's report, requires a stressful situation. That means the hormones released as a result of stress dramatically amplify the influence of the virus, helping the body to initiate the fusion. It's all about hormones, we'll come back to that.

When Wesker received an injury incompatible with life from Tyrant, the hormones produced at that moment triggered the V-ACT process. He went into anabiosis, transforming all the cellular tissue in his body as well as repairing the damage he had sustained.

But having gained strength through a complete reorganization of his body, he was not yet aware of the instability of the virus inside. He didn't know that the prototype doesn't «fix» in his body. Therefore, the strength provided by the virus is not eternal, weakening with time.

So Wesker has to take PG67A/W regularly to re-secure the virus inside and stay strong. An insufficient dose of PG67A/W can cause malaise, and a large dose becomes poison. Which is what happened in re5 when Chris and Sheva injected him with the substance an extra two times. He experienced pain, and then presumably his powers escalated to the point where he no longer had control over them and they lost usefulness.

His son, Jake, also inherited genes and special immunity, which is why most viruses are harmless to him, but also do not give any advantages.

The fact that the forces of an overdose are not lost, proves the moment when Wesker easily damages the rocket with his bare hand.

Now back to the subject of hormones. Not only do they provoke viral activation, but they are a completely controlling element. Wesker, when provoking his emotions, can change the density of his own body, which also causes bioluminescence in his eyes. I noticed this when rewatching the re5 cutscenes. Always when he is about to strike, his eyes start to glow. Glow is emotion, and emotion is hormones.

This is why Excella can free pierce his skin with a needle and inject the drug, because at this point Wesker is calm and his body density is close to that of a human. In battle, his body is like a stone, it hurts Chris to hit him and this can be seen in his animations.

[The end of an optional fragment]

The injections are another painful element that robs Wesker of his sense of self-worth and freedom. Therefore, coupled with the fear of losing himself, he has an inferiority complex. This complex manifests itself outwardly in a superiority complex - in arrogance, an inflated ego, which we see in his behavior. This is the answer to the question of many people, why he behaves this way. Not considering himself a full member of society, not considering himself suitable for ordinary life, Wesker begins to believe that he is above «all that» and calls himself God, in other words self-deception.

An inflated ego is the result of psychological defense, a sign of hidden fears (loss of self). It also indicates the presence of insecurity, which he tries to hide by creating a strong image for the outside world. However, like many people with large egos, Wesker has a fragile self-esteem, which is why he hates so much the rude Chris who initially discerned his weak side. His self-esteem is closely tied to his ego, so with the image he has created, Wesker protects a side of himself that he never shows to others. He hides it even from himself, as I mentioned earlier.

I thought Jake's AI words would be perfect here:

This is the only fragment where I decided to have fun with AI, but it gave me something that really makes sense.

I would like to summarize, because the analysis turned out to be long, and something towards the end may have already slipped the reader's mind. So... What do we know?

Because of his nonstandard childhood and obsessive upbringing, Wesker has an unhealthy and extremely vulnerable self-esteem. By deceiving himself, he began to consider himself superior to everything ordinary, and to believe that he is simply not made for this cruel and unfair world with wars and diseases, so he dreams of creating «his own world», where there will be «equal» people, so that he will no longer feel superfluous.

Also, because of his childhood, he is withdrawn to the point where he hides his true feelings and needs even from himself. He feels safe as long as no one knows what he cares about. If you don't know what a person cares about, you can't manipulate him. And if he doesn't care about anything, he is invulnerable. He is afraid to be himself and express it. He himself doesn't know what «he» is really like. Judging by his phrases in the game, Wesker would like acceptance, but would never admit it openly.

It is also an echo of an effect he has been under the influence of all his life - the «fear of losing himself». This fear has become a convenient pattern of behavior in his life: pretending not to care about anything and believing it. People with this fear need to appear indifferent, not letting anyone know that anything matters to them.

But what is «fear of losing yourself»? It is the phobia that someone more powerful can manipulate you and take away your sense of security, of reliability, whereupon you no longer consider yourself strong and confident. Wesker felt for years that he was under Spencer's strong influence, his puppet, which cemented the «fear of losing himself» even deeper. Every step in his life was not his personal choice but Spencer's, Wesker was only made to think that he was acting on his own free will.

Loneliness and lack of empathy were also his eternal companions. Never having friends, never having family and support, and never having anyone that Wesker could cherish. And no one who would have treasured him. That's why he's so fixated on himself, because if he loses the only thing he has, he'll have nothing left at all. That's why he prioritizes pragmatism over emotion, easily betraying anyone and replacing one with another. But he also tends to cling to the past, sometimes betraying his pragmatism.

-------------------

Due to a misunderstanding, I would like to supplement my text. This analysis is only my personal interpretation and my personal view of the character and his story. I do not claim that it is 100% canon, because canon is so vague and disjointed that it is impossible to fully assemble it objectively. Everyone is entitled to have an interpretation different from mine. Best wishes to all!

[licorice-and-rum]

SOC and Neoliberlism

So, as promised, here it is my analysis of Six of Crows and how neoliberalism is amazingly portrayed in Ketterdam, and how the city is an example of what happens in a community that is not provided for.

Before we begin, I wanted to say that English is not my first language, and, considering I read SOC in Brazilian Portuguese, I might translate some names literally or differently from the English version but I think it's manageable to read and understand my point. If not, I'll edit the text.

The first thing we have to understand is how neoliberalism works and the theory behind it, and then we'll talk about how it's portrayed in Ketterdam.

So neoliberalism is a theory born more or less at the end of the 20th century (70s-80s), and it finds its roots in laissez-faire capitalism, meaning that it's a political current that tries to suppress and/or eliminate the State's influence from the market. The neoliberalist view understands that the market can supply by itself the population's needs without help or limitations imposed by the State.

The thing here is that most people listen to this and think neoliberalism is about electronics, cars, and other stuff. The truth is, that neoliberalism aims to suppress the presence of State-run facilities in ALL corners of society, such as health care, housing, water access, electricity, etcetera.

So, we can use the American and Brazillian health systems to understand it better, for example:

In the US, the ones providing health care for the population are great corporations - they decide the price of care, they work together with pharmaceutical companies to define medicine prices, and the laws that bind them are pretty much only offer and demand. There is almost none State intervention to provide the population with accessible health care.

However, this brings problems, of course: not everyone (actually, most people) has real access to health care simply because they can't afford it, or they can't afford it without taking a big financial hit, which threatens their other basic needs, such as food, housing, water, electricity, etcetera. Not everyone can provide for their medical needs, such as diabetic and disabled people.

That leads to:

(a) an increase in poverty;

(b) a decrease in educational levels - if you don't have the means to pay for higher educational levels because of health care debt, or if you're sick and need to go to class and tough through it but you're not really learning anything, and so on, which leads to a major workforce in base level production and a minor class who has access to this education;

(c) an increase in overworking people - meaning that we have a lot of people taking on several jobs to be able to pay for things like health care, which increases the competitiveness between people, making individualism levels go up and breaking up human beings' natural sense of community.

I could also talk here about how this breeds isolation and increases the potential for mental health problems but I think you got what I was saying.

On the other hand, we have the Brazilian health care system (SUS), which is a universal gratuitous medical care service through the whole country. Its purpose is not profit, it's providing health care for the community, so therefore, any SUS unit is bound by State law and run by the State. By law, every SUS unit must provide for anyone who enters its premises in need of medical care. Everyone, Brazillian and foreigners, poor or rich, must be treated if they need to. It's the law.

Of course, that doesn't mean it's all rainbows and flowers, there are definitely many problems in SUS. However, what I'm trying to showcase here is that, when the needs of a population are met, the population itself is more resilient, their life quality goes up and so does their participation in their community.

On the other hand, in neoliberalism, when the State is absent from these areas of community service, the market is, in theory, the one providing for the community. In practice, however, what we observe from neoliberal policies in cities with a great poor population in Latam for example, is that when the State doesn't provide for the community, the market is unable to step up for them because of their obscene prices.

The poor population that doesn't have their needs met by the State or the market sees a great boom in criminal activities within their spaces. That's mainly why criminal organizations are so present in slums and favelas throughout Latin America: criminal organizations are a way for the community to provide for themselves and, as a means to become more powerful, they provide for the community in exchange for their services (not to say they do that for the good of their hearts, of course not).

It's why it's so common, for example, that criminal organizations such as PCC in Brazil pay for kids from favelas to undergo Law school, for example.

And that's is where I wanted to go to start the conversation in SOC: one of the main traits of Ketterdam is the Barrel and, in the Barrel, we have the presence of many criminal organizations, such as the Dregs, the Dime Lions, the Menagerie staff (not the girls, ofc), etcetera.

This, as observed by Kaz himself, is one of the only ways to survive on the Barrel - you filiate yourself to a gang because you need to be able to provide for yourself and, more times than others, for your family as well.

Kaz's story is actually a perfect example of how Ketterdam is the representation of America in the early 20th century in full policies of laissez-faire (neoliberalism): as we can see in Titanic and many other historical fictions, the said American Dream had people believing the US to be this economical paradise where they could all enter the market and become millionaires.

The result of it is the Great Depression, of course, but I'm getting ahead of myself here.

When Kaz and Jodi leave Lij for Ketterdam, Jodi believes he'll become a merchant - which is a pretty common belief of those who arrive at Ketterdam, as Pekka Rollins and Kaz himself state in Crooked Kingdom.

The reality of it, though, is much harsher, because the truth is that when you have a market that controls everything, as we see in Ketterdam with the Merchant's Guild (I think that's how it's translated?) and the Stadwatch as a police force, you see perfectly how neoliberal policies really work in real life:

You have a higher class who controls the market and the riches (question: who do you think got the money Shu Han sent to Ketterdam at the beginning of the first book: the people of the city/country or the merchants in the "government"?), and a lower class that, without support from the State or the market to have their needs met will turn to their own means to do so.

So you have the trafficking that brought Inej to the island, the unlimited gambling that Jesper was trapped in, the cons Jodi and Kaz fell for - it's all product of liberal policies.

And so, you have Ketterdam and its neoliberal policies (:

(I really love to make this kind of analysis, please, if you have something you want me to talk about, don't hesitate to ask)

[gabrielsbubblegumbitch]

I’m sorry but can you write more stuff about Vox being a gaslighter? I’m actually obsessed with your analysis

Thaaanks I'm obsessed about them too~ 🩵❤️

So, Vox is like the ultimate gaslighter. Manipulation and brainwashing? That's his whole freaking business plan. I mean, come on, the Voxtek slogan is "Trust Us," and somehow, people actually do.

Oh, let's talk about Voxtek - he's the worst, most manipulative boss ever. He's always pulling stuff like withholding essential information for a task someone's supposed to do, then publicly blaming them for screwing up. And he's sneaky about it too, acting all concerned and disappointed instead of just yelling. It makes people feel useless and insecure, so they bust their butts trying to please him and win back their colleagues' respect, never daring to stand up for themselves. Plus, he's a pro at keeping relationships between higher-up managers tense and distrustful by spreading rumors and creating a competitive vibe. And don't get me started on how he's a total hypocrite - Voxtek, like every other company, preaches its values and missions to create this fake sense of safety and purpose, but then he goes and acts against them or lets someone else do so. It leaves people feeling confused and helpless because they can't play the game when the rules keep changing. Let me tell you, Satan might work hard, but Voxtek's HR department works even harder.

And manipulating people on a personal level? Way too easy for him. People who don't know him well enough think he's some kind of genius (bless their hearts), so they give him way too much credibility. It's crucial for him to be seen as competent because that's how he stays in control. That's why he loves to question the competence of his business partners (Not to be that guy, but those numbers don't look great. Are you sure you can handle this? I don't want to waste my money.) or Valentino (Babe, I've got this. We both know you're not great with financial planning.). Thought hardly ever works on Velvette because she's got zero bullshit tolerance.

Now, when it comes to Valentino, Vox has zero remorse about gaslighting him. To him, gaslighting isn't even violence; it's just a way of handling things, all neat and effective. Why bother yelling and arguing when he can just manipulate Val into agreeing with him? It's like what we saw in episode 2. And even when Val has every right to be angry because Vox acted like a jerk, Vox tends to devaluate his emotions (I don't have time to deal with another temper tantrum, Val; You're always so pissy, why can't you just chill?) or tries to make him doubt his own reality (Maybe you'd remember it better if you weren't high all the time.). He hates arguing with Val, but also is unable to admit that he's wrong, so in his mind, undermining Val's ability to call him out on his bad behavior is a way of keeping their relationship healthy. But it's risky because sometimes Val sees through his manipulations, especially when they're about his feelings, and then things get even messier.

I like to think they trust each other when it comes to serious stuff, like protecting each other from outside dangers, but at the same time, it's like Mr. Gaslight Gatekeep Girlboss is married to Mr. Manipulate Mansplain Manwhore - you never know if he's being genuinely nice or if he's trying to get you to do something.

[thegirlwhorideslikeasamurai]

Last night, I started another rewatch of YOI and I for the first time, I wondered what was going on inside Yuuko's brain while Yuuri was showing her his take on Stammi Vicino.

What do we know about Yuuko?

Yuuko is a big skating otaku. She's not only a fan of her former rinkmate Yuuri, we also see her swoon over Viktor and Yurio (she'd totally be the type who swoons over even more skaters, but we don't know that). When she fangirls, she fangirls hard which can even cause her nosebleed.

Yuuko is one of Yuuri's greatest supporters and someone he can confide in. Together, they copied Viktor's programmes, and she always has his back.

She knows that Yuuri has a crush on Viktor and has been emulating Viktor and striving to become as good as him since they watched the Junior Worlds together as kids.

And then Yuuko, who until that point thought that Yuuri was depressed, witnesses Yuuri skate a perfect copy of his crush's free programme that can be interpreted as a (gay) love song or a yearning for a soulmate (it's a bit more complicated than that, I had started writing a post that analyses the lyrics, but put it on the backburner for multiple reasons) and not only does she recognise the programme by Yuuri's starting pose alone, but goes immediately into full fangirl mode.

That's her face when he stops to perform towards her. In that moment, realisation must hit her that Yuuri is far from giving up skating, that he has not given up on his dream of emulating Viktor and meeting him on the ice as an equal. And he shares all this with her who had been supporting his dream from the very start.

I mean, look at his yearning expression:

Yuuri is fully immersed in his performance. However, being a fan of Viktor herself, Yuuko probably knows what the song is about. And because of that, she is able to empathise with Yuuri and can guess what's going on inside him while skating Stammi Vicino. (Figure skating 101: skaters normally perform towards the judges to increase their presentation mark. But here, Yuuri is alone with his childhood friend and the effect of the move would be wasted if he doesn't perform it towards her.)

Yuuri later explains that he has been practising this programme since the competitions ended for him three months ago. He was hoping to get back his love for skating and to remember how it was like when the two copied Viktor together. Since the disastrous Nationals, Yuuri has been working towards his comeback, even if it's hanging by a thread because he's still missing something that will help him continue and he doesn't know what it is. All he knows is that he wants to return to competition and keep on chasing his dream, and he starts all over where it began (I wrote a long-ass analysis about how Yuuri utilises Stammi Vicino for exactly that purpose here).

As one of Yuuri's closest friends, Yuuko must have guessed some of this already just from watching Yuuri skate. As a fan and a former skater, she immediately understands that he has been practising this programme for some months, and the perfection it exhibits is a telltale of how strong his dream, his obsession with Viktor is still burning inside him. You don't go to such lengths when you're not extremely passionate about something.

And that's oil in the fire of Yuuko's own fannishness. Because Yuuko is a fan of both Yuuri and Viktor, she must be burning like crazy to see them compete against each other again. She's been rooting for Yuuri from the start, she wants him to succeed and be happy and if that includes Yuuri meeting Viktor again, that would be the cherry on top.

If I was her, I would freak out, too.

We're all Yuuko in this scene. But because her character is so underrated, it took me so long to notice.

[n3xii]

this week's reading is an energic analysis of your current aura with some advice and guidance on how to overcome any blockages. Keep in mind that this is a reading and intended for entertainment purposes only!

Deck I used for this reading: Craft cards tarot deck

(this is an affiliate link so if you do buy it would be supporting me as well!! very pretty pink deck and it's perfect for people who want an aesthetic, minimalistic tarot deck to add to their collection, with gold edges too!!)

PILE ONE

your current energy: king of pentacles reversed + ace of wands reversed+ six of pentacles

I think you guys are in a bit of a rut, you may feel drained and unmotivated, uninspired. There could be feelings of self-doubt, insecurity about your goals partially when it comes to career or money. And those feelings end up in a spiral where you don't feel like putting in the effort or the work, and simultaneously that makes you feel even more unmotivated. The card you got for advice was the six of pentacles: first things first. Don't give more of your energy than you can give, stop pouring your life force into shitty people, arguments, self-doubt. and secondly, know that it's ok to ask for help and assistance. this doesn't just mean from people around you, but from the universe too. i cannot tell you how many times my angels told me to ask for help in a reading and when i did, i actually saw movement in my life.

PILE TWO

your current energy: seven of pentacles reversed, 5 of wands and the ace of pentacles reversed

I think you guys are feeling impatient, frustrated and the energetic blockage that I actually see is competitiveness. I think you guys honestly just need to know that what you're basing yourself worth on right now is impractical and baseless, being competive with others and comparing yourself is making you feel frustrated, impatient with your own progress. The advice card for you was the ace of pentacles reversed, your guides are coming through to tell you that you need to establish firm grounds in self esteem, dont base in how well or how bad you are doing in comparison to others.

PILE THREE

your current energy: the fool, the two of wands and the ace of pentacles

The people who chose this pile are on the verge of something new, bright whitish colors or teel green colors may be in your aura right now. I think the people who chose this have something in mind that they want to start doing, but the blockage is originating from the fact that you are stuck in the planning stage. You're still in the process of actually taking action, trying to decide ''how'' you want to do this and you're delaying this new beginning by trying to decide if you're going to go forward or not. The advice isnt to be rash and impulsive, but to start taking small steps of aciton towards this desire. the ace of pentacles upright is always the advice to plant the seed. set your intentions and nurture them through taking action everyday. as always, cards in the pentacles suit are always slow motion types of cards, understand that what you want to start will require longterm action and effort, be patient with the process and dont let potential rot because of inaction.

[orbmanson7]

And here's the last part of the analysis of the "The Sides Need a Nice Day" video, this time, let's talk about Janus and Remus.

(If you want to read the first part about Patton and Logan, go here.

If you want to read the second part about Virgil and Roman, go here.)

Right away, we have Janus letting us know he's about to one-up Patton and Virgil's attempts at cheering another side up, for whatever reason he feels compelled to do so (because acceptance isn't a competition or anything, right?), and says he will be giving Remus a nice day.

Specifically, he says that "freaks deserve nice days too" which is a funny but wonderful sentiment, because it shows that Janus sees Remus for what he is but also doesn't want him to change anything about that. Remus deserves to be who he is and enjoy himself, as they all do, which is kind of the whole point behind this video, even though it hasn't really been obvious up to this point, probably because Janus is being far more direct about it than the others were.

To explain, if you look back at Patton and Logan's part, you'll see that Patton wasn't trying to change anything about Logan and came up with things he would enjoy doing, but he wanted to do them far too quickly for Logan's liking.

And with Virgil and Roman, the suggestions all turned out to be things Virgil thought Roman would like but he changed those things to be something they might both enjoy instead, which wasn't really giving Roman anything he expected.

But Janus knows Remus very well, recognizes the purpose behind the trend is to simply give someone something they want and let them enjoy it, and he's prepared to properly do what the others had failed at, to give another side a nice day without flaw.

Also, Janus not knowing where the pens would be is likely meant as a little hint that Janus is still very unfamiliar with the light sides' area and where they'd keep things. Not sure how he knew where to find the note cards, though...

Janus goes looking for Remus in a dark closet, expecting him to be there but is still startled when it turns out he is.

He quickly gets to the point and simply tells Remus what to do and what the result will be. No constant questions back and forth, no push for an explanation, Janus just tells Remus what to expect immediately. See how easy that is?

Remus doesn't seem too pleased before picking the card, but is delighted after he sees the result. This may imply Janus has offered to do things in the past that have not been enjoyable for Remus, but that could be a stretch. We don't know these two well enough yet to really be sure.

Janus, though with little emotion, tells Remus to 'have at it' and that he's convinced Thomas to 'lean into his intrusive thoughts' for the day. It's very likely that this means Thomas is merely thinking out these scenarios, not actually participating in them, which would still be enjoyable for Remus as someone who delves in the imagination just as much as Roman. It also would keep Thomas out of any real-life repercussions for these actions and keep down his stress and anxiety, as well.

Considering DwIT showed that just the thought alone would often put Thomas on edge, it makes sense that these actions are thoughts being leaned into and imagined rather than legitimately happening (and would also explain some of the unused options on the cards). Thomas has learned by now that thinking about something doesn't make you a bad person, and who better to convince him to have a little fun with that than Janus?

Remus excitedly grabs for the next option, instantly delighted by what it turns out to be. This really does show that Janus understands Remus rather well, he knows what Remus enjoys and doesn't have to change anything to make him happy. This comes from knowing each other, likely for a long time, and Janus not just knowing his interests but also understanding why Remus likes something.

However, on the next round of options, Janus remarks that he can't believe he's doing this. He's either in disbelief that he's doing these nice things for Remus all to show up Patton and Virgil, or he is regretting how much effort he's put into this with how easily Remus is entertained by it.

Janus doesn't seem bored, but he's definitely doing this for Remus and not enjoying the activities alongside him.

As I mentioned in the last post about Virgil and Roman, this is likely in relation to love languages that have been on display throughout the whole video.

At this part with Janus and Remus, though, Janus is using his knowledge of Remus' interests to give him something he'll enjoy, making this the love language of 'gift-giving'. However, he's also acknowledging that these are activities others would be weirded-out by and then saying nothing negative about it. Janus is encouraging Remus to do these activities, regardless of what anyone will think, making this the love language of 'words of affirmation' in its own unique way, by validating what Remus enjoys.

While you could argue the others also did this, it means a lot more for Remus in particular, as someone whose entire presence is seen as a bad thing, that any ideas he may have are hazardous and awful, and he's shut down and ignored as much as possible at every turn. Something as simple as saying that it's actually fine if he wants to dangle a phone off the side of a bridge is incredibly kind to do for him.

But this also shows us that he's very used to being ignored and suppressed, because he was absolutely enamoured at the thought of getting to do any of these activities. From his reactions throughout this entire part, we know he would be equally as excited to eat paper as he would to summon Bloody Mary, which just proves that point. It's not just the extreme ideas of his that get pushed away, it's all of them. Remus finally getting the chance to act things out that he thinks up and enjoys must mean a hell of a lot to him.

Remus then thanks Janus in the end, a great big smile on his face, and Janus sighs and says "you're welcome. Don't say I never did anything for you."

It's possible this is just a little joke, but if it did mean something, it could be implying that Janus and Remus are not quite on equal ground in the current timeline of the plot. This would make sense, as Janus has just been accepted by Thomas, but only just. This still puts him leagues above where Remus is, even though Thomas does seem at least more used to him being around, at least.

This could cause a rift between Janus and Remus if it's not addressed soon, but Janus will still be working to earn his place amongst the others, so we'll have to see how that pans out.

It's also possible that Janus' line is more in reference to his overall purpose in the show. He operates more as Self-Preservation, but that doesn't have to be exclusive to Thomas, as many of the other sides can affect one another, as well. If he's attempting to restore some balance to Thomas' mental health by getting some of the other sides to understand their own biases (as he's been doing so far), this could still put Remus at a disadvantage until Remus is more accepted as Dark Creativity rather than Intrusive Thoughts. This may explain Janus' line if he's already been accused or expects to soon be accused of not paying enough attention to Remus, because Janus' priority will still have to be Thomas' well-being and that could put Remus at the bottom of his priorities.

He may not want Remus to change, but it's going to take a lot of work before the others can be ready to handle Remus without any changes, and he may know that a little too well, considering how long it's taken just for Janus to be accepted.

But, in the end, Janus did manage to prove his point in this part of the video, that he absolutely knows how to give another side a nice day, far better than Patton and Virgil, that's for sure.

He can be proud of that fact, for knowing Remus so well, but hopefully that isn't something he has to toss aside for Thomas' sake any time soon...

[13lunarstar]

Vishakha

The sixteenth nakshatra (16 out of 27)

Degrees: 20°00' Libra to 3°20' Scorpio zodiac

The ruler of the Nakshatra: Jupiter (sans. Guru)

Nakshatra's guna: rajas (human)

Vishakha keywords: ambition, determination, transformation, leadership, charisma, conflict, dual nature, growth, energy, creativity, achievement, power, drive, intellect, social skills

Symbol: a "triumphal arch" or "gateway," representing achievements and success. Another symbol is a "potter's wheel," signifying the creative and transformative processes.

Career options: journalism, media, public relations, teaching, law, consulting, psychology, research, finance, sales, diplomacy, and IT are particularly suitable.

Lagna (Asc) in Vishakha: is characterized by an ambitious, charismatic, and transformative nature. These individuals possess strong leadership qualities and are driven by a deep sense of purpose. Balancing a dual nature, they are both diplomatic and intense. Their dynamic and energetic approach to life, coupled with their social influence and adaptability, makes them resilient and capable of achieving great success. NOTE: In order to understand how strong and harmonious ASC is, we need to evaluate Jupiter as the ruler of nakshatra, as well as any planetary aspects to it and the first house in general (if there are any planets).

Sun in Vishakha: makes the individual highly ambitious and goal-oriented, often seeking leadership roles and striving for success. With the Sun representing core identity and soul purpose, this placement only enhances a strong sense of mission and purpose in life. Such people often possess a strong sense of independence and a desire to assert their authority and individuality. The influence of Vishakha's ruling deities, Indra and Agni, bestows a transformative nature, often leading the person to significant changes and personal growth throughout their life.

Moon in Visakha: brings a deep emotional intensity, often leading to passionate and powerful feelings. There is a strong inner drive and persistence to achieve personal goals, fueled by relentless determination. Spanning the signs of Libra and Scorpio, this placement can create a dual nature, balancing the need for harmony and relationship-building with intense and sometimes secretive emotions. The influence of Jupiter, the ruler of Vishakha, encourages the pursuit of spiritual and intellectual growth, with a deep interest in gaining wisdom and understanding. The duality of Vishakha can lead to inner conflicts, especially when balancing the desire for peace and the drive for power and transformation. Moon in Visakha people seek deep, meaningful connections in relationships and are often very loyal and dedicated to their loved ones.

Mercury in Vishakha: brings a strong drive for intellectual achievement and excellence. These naturally curious individuals are ambitious about acquiring knowledge and achieving academic or intellectual success. They possess a sharp and incisive intellect, capable of deep analysis and understanding complex subjects. Their thinking process is thorough and detailed. With the transformative nature of Vishakha, these individuals are strategic thinkers. They can plan and execute their ideas effectively, often with a long-term vision in mind. Their ability to see multiple perspectives makes them adept at resolving conflicts and finding common ground in disputes.

Mars in Vishakha: endows individuals with a dynamic and energetic nature. They have a high level of physical energy and are always ready to take action. They pursue their goals with great aggression and determination, often displaying a competitive spirit in their endeavours. They enjoy challenges and strive to come out on top. While Mars can naturally signify conflicts, at the same time, these individuals can resolve conflicts effectively. Their pursuits are fueled by passion and intensity. They pour their heart and soul into everything they do, leaving a lasting impact. Despite their outwardly assertive nature, individuals with Mars in Vishakha can have deep emotional depths. They are passionate and intense in their emotions, which can sometimes lead to inner conflicts.

Venus in Vishakha: brings deep emotional connections and sometimes significant transformations for love. These individuals possess a magnetic charm and charisma that draws others to them. They are adept at maintaining harmony in their relationships and social interactions. Despite their passionate nature, they possess diplomatic skills and strive to find common ground in conflicts. Venus in Vishakha individuals have a strong desire for creative expression. They may excel in artistic pursuits such as music, dance, painting, or writing, channeling their emotional intensity into their creative work. These people may experience financial prosperity through their partnerships or collaborations. Venus in Vishakha is skilled at negotiating mutually beneficial arrangements that lead to financial success. Venus in Vishakha individuals approach relationships with a strategic mindset. They carefully consider the long-term implications of their romantic partnerships and are not afraid to make bold decisions for the sake of love. They have a heightened appreciation for sensual pleasures and indulgences.

Jupiter in Vishakha: brings people a strong desire for knowledge and wisdom, seeking truth and understanding in all aspects of life. They are open-minded and willing to explore different belief systems and philosophies. These individuals may undergo profound transformations in their beliefs and worldview, leading to spiritual enlightenment. Jupiter in Vishakha individuals have an expansive vision for the future. They think big and are not afraid to pursue ambitious goals and dreams. They have a curious and inquisitive nature, always seeking to expand their knowledge and understanding. They may excel in academic pursuits or intellectual endeavours. They possess diplomatic skills and are adept at navigating complex social dynamics. They value harmony and cooperation in their interactions with others. They are generous and compassionate towards others, willing to lend a helping hand to those in need. They believe in the power of kindness and altruism.

Saturn in Vishakha: has a resilient nature, capable of withstanding adversity and overcoming obstacles with patience and determination. Saturn in Vishakha individuals understand the value of delayed gratification and long-term planning. Saturn's influence in Vishakha may lead to significant transformations and growth. They may undergo periods of intense introspection and self-discovery, emerging stronger and wiser from their experiences. As a rule, they are wise beyond their years, having gained valuable insights through their life experiences. Saturn in Vishakha individuals may be seen as mentors or guides, offering practical advice and support to others. They are concerned with leaving a lasting legacy and making a meaningful contribution to society. Saturn in Vishakha individuals may be drawn to careers or projects that have a long-lasting impact on their community or the world. While Saturn represents stability and tradition, its placement in Vishakha Nakshatra indicates a willingness to embrace change and transformation. Saturn in Vishakha individuals understand that growth often requires stepping outside of one's comfort zone.

Rahu in Vishakha: has an intense desire for power, status, and influence. Rahu in Vishakha individuals are drawn to positions of authority and may seek to exert control over their surroundings. They possess strategic thinking abilities and are adept at planning and executing their goals. Rahu in Vishakha individuals may use cunning and manipulation to achieve their objectives, often employing unconventional tactics. Rahu's presence in Vishakha Nakshatra indicates a period of profound transformation and change in the individual's life. They may undergo significant shifts in their beliefs, values, or life circumstances, leading to personal growth and evolution. They experience emotions with great intensity, often veering between extremes of passion and detachment. Rahu in Vishakha individuals may struggle to find emotional balance and may be prone to mood swings. They are not averse to taking risks and may actively seek out opportunities that offer high rewards, even if they come with significant uncertainty. They are adaptable and flexible in their approach to life and may thrive in chaotic or rapidly changing environments, able to quickly adjust to new circumstances.

Ketu in Vishakha: has access to intuitive wisdom and insights that transcend rational understanding. These individuals may receive guidance from higher realms or have psychic abilities that allow them to perceive hidden truths. Ketu in Vishakha individuals are drawn to mystical teachings and esoteric knowledge, seeking to unravel the mysteries of existence. They may experience healing and release from past traumas or karmic patterns. They have the ability to let go of emotional baggage and move forward with clarity and purpose. These people exhibit emotional detachment and may appear aloof or indifferent to others' emotions. Ketu in Vishakha individuals are adept at seeing through illusions and may help others break free from false beliefs or illusions. Ketu in Vishakha people have transcended the limitations of the ego and identify with the deeper essence of their being. They may experience states of ego dissolution or ego death, leading to profound spiritual awakening.

[ceofcatgirls]

//suggestive

Going to finally make a post about this bc its been haunting my mind for a good month or two at this point--

This is a brief-ish post about guns being used as a metaphor for masculinity, power, and potential stand-in for phallus imagery in the dollars trilogy. I'll also be speaking about these things from a general stand point too, but I'll try to focus on how and where they interconnect.

I doubt most ppl will read all of this but I have brainworms so I need to put this out somewhere .

I think a lot of these points can be said about Westerns in general, btw. Not just Leone movies. However I'll focus on the dollar trilogy because this is already too long and needs to have a focus.

Now, I'm sure masculinity will need no defining, but I'll briefly show what definition of phallic imagery I use;

(Yes I'll eventually tie all this to the homoeroticism present in the movies, with a slight feminist bent to this analysis)

(I want you to keep in mind throughout this post that guns are metaphoric stand ins for dicks lol, just so i dont have to keep repeating that all the time)

I think this definition is quite good as it incorporates the concept of power into itself, which imo is a must-have when discussing masculinity in artwork.

As expected, there is an undeniable connection between phallic imagery and masculinity, which is also tied to power. A lot of masculinity throughout human history has relied upon genitals (even if not completely) to assert itself, which in turn, would affect the power relations men and women have, but also between men themselves. After all, the patriarchy is dependent on gender, with the male gender having the upper hand. This would mean, within a patriarchal society, men with more masculinity have more power, so we can see how sexuality is so tied to the patriarchy also, and how men will inevitably compete.

I'll start with perhaps one of the most obvious examples of this from the trilogy; which also conveniently has phallic imagery, or phallic metaphors.

Specifically, I'll start with the first proper interaction Colonel Mortimer and Manco have in For a Few Dollars More

(I'll link the clip just in case)

I'll state the obvious first; this is obviously a competition to define who would have the most power (and thus upper hand) in their relationship. That's why neither character backs down, and why there is a tense animosity between the two. Of course its also more complicated than that; Manco, the youngest of the two, is obviously taking this more seriously and is the more antagonistic. Mortimer seems to just be entertaining him at times, whilst also trying to show that his years of experience can give him the upper hand. Its a perfect scene presenting power, age, experience, who the characters are, and how their relationship will be forward from this.

And of course, as any western, guns are used for this.

Perhaps it's the perfect genre for what Sergio Leone wanted to present. Guns are the perfect metaphor for a phallus; they display power, they display masculinity, and they even have the shape! They can define life or death, much like how male sexuality, and therefore a phallus, can define a man's position in the patriarchy.

The shootout ends in a draw, as both Mortimer and Manco are skilled with their guns. Their stand-off for power and dominance led to a standstill and an equilibrium between the two. This will then define their relationship, as they form a equal partnership.

(And of course, perhaps Mortimer was being kind to Manco and held back a bit. He did the same in the end of the movie, by letting him take all the rewards. To Mortimer, there is more to gunslinging than an attempt to assert masculinity. And the fact that he holds back in his competition with Manco presents a level of respect he has for him, which adds on to the already existing homoeroticism of two men using guns to assert their dominance onto each other. I'd even argue that's what makes the homoeroticism purposeful, in this movie's case.)

There are other examples of guns bring used to impose masculinity throughout For a Few Dollars More. That is the crux of every final duel after all. But Mortimer and El Indio don't have significant homoerotic undertones so I won't get into it.

My other favourite example of this occurance in the dollars trilogy, is in The Good, The Bad and The Ugly.

It's a quick, small moment in a wider, longer scene. However I like how it gets across its message in a simple way.

It's the end of the scene where Angel Eyes forces a partnership onto Blondie.

I think it's important to mention how this is how Sergio Leone chose to end a scene where Angel Eyes and Blondie form a partnership. Its basically telling the viewer that Blondie consents to working with Angel Eyes. On a surface level, Blondie is sliding the gun to its holster to show that he's making peace with Angel Eyes. However, further introspection on the subtext also reveals other things.

For starters. The slow sliding in and the zoom in on the gun, with it becoming the centre point of the scene, easily becomes homoerotic (I don't think I need to explain how sexually suggestive it looks), but with it being seen as a sign of peace, it can also be seen as a sign of not only consent, but also submissiveness. Blondie here is admitting that he's under the thumb of Angel Eyes, and he can't do anything about it, not even with a gun. He can't challenge his power, nor his masculinity. The phallic imagery here only adds on to all of these points, for reasons mentioned previously.

Moving on from specific scenes, I'll mention something present throughout the movie that the definition I used above also mentions; cigars can also been stand-ins for phallic imagery, and masculinity.

Do I really have to mention how The Man With No Name is literally always having a cigar in his mouth ??? Its a very obvious oral fixation, one that Sergio Leone uses to his advantage.

Leone doesn't just use a cigar to make TMWNN look cool. The cigar, much like how a gun was used to represent Manco and Mortimer's, and Blondie's and Angel Eyes', relationships and partnerships, its also used to represent the relationship between Blondie and Tuco.

The scene where, imo, Blondie's and Tuco's relationship changes, is where Blondie offers Tuco a cigar after eavesdropping the conversation between Tuco and his brother.

And Tuco takes it, smokes it and grins!

Notably, Tuco's and Blondie's changing relationship is shown through a cigar rather than a gun, which is objectively significantly less violent, which sets them apart from the other relationships. There is also a closer contact between them, as in the other iterations of TMWNN never gave his gun to any ally of his, much less shared such a close contact as mouth-to-mouth.

The homoeroticism is rather obvious, and in this cade, it's present without power but still with phallic imagery.

(Another notable example was, if my memory serves correctly, in a Fistful of Dollars, Joe lights up a cigar for Ramone. But I won't mention that much since I could be confusing this for another movie, but if it did happen, it's also another scene packed with symbolism, and quite the opposite to Tuco's and Blondie's cigar scene).

Continuing to speak more generally, there are often focus and zoom ins on the guns in the movies. This peaks at the final Mexican standoff in GBU, where the guns are in their holsters and belts. Its natural that they'd be near their crotches too, but that only emphasises the masculinity, power and phallic imagery already present in the movie (as well as tension in the scene).

It comes with no surprise when Blondie chose Angel Eyes to shoot at. After all, Tuco and he had already made peace with each other. The only true masculine competition was between Angel Eyes and Blondie + Tuco.

There are also scenes where TMWNN shows off his skills with his gun; displaying his masculinity again through phallic imagery, so it's no wonder he went to become a figure of masculinity.

There is also the scene where Tuco acquires a new gun after being abandoned by Blondie. That represents what was mentioned previously; how men often fight for power. In this case Blondie takes away Tuco's power and masculinity by humiliating him in a desert. Tuco acquiring a new, polished and refined gun is his way of reclaiming his masculinity after Blondie emasculated him.

I won't speak much about A Fistful of Dollars, because the relationship between Joe and Ramone isn't as developed as the other relationships in the other movies. But it's also worth noting how a focal point in the final duel includes Joe's pistol and Ramone's supposedly stronger gun.

"When a man with a .45 meets a man with a rifle, you said the man with the pistol is a dead man. Let's see if that's true. Go ahead, load up and shoot."

In here, Joe reclaims his masculinity through a final duel. I wish the movie had been longer so I could connect potential homoeroticism to this scene like I did with the other examples, but I think it's a good scene, so I mentioned it nonetheless.

Sergio Leone movies are very much centred around men. That's generally how westerns work, too. But I think it's interesting, as it adds aligns with the analysis that men uphold the patriarchy between themselves, and this is even more true with Leone movies as they include little to no women (whereas many westerns have at least one or two), so most interactions are between men.

I'm not suggesting Sergio Leone intended all this. I do think the homoeroticism, phallic imagery and masculinity is purposeful. He was a Marxist, so perhaps the feminist angle to all this was also purposeful, but I don't think that's the case. Much like his contemporaries, Leone focused on class analysis when critiquing power structures (this mostly in his other movies), so the patriarchal angle was perhaps unintentional. I like to give the benefit of the doubt to artists when analysing their art, though, so I'm always happy to be proven wrong.

As I said. This is way too long and no one will probably read all of it. There are far more examples but I won't include every bc this is already a long asf post.

What the conclusion? I need to stop thinking about gay people!!!!!!!!!

A look into how my braincells look whenever I think about these homos a bit too much;

And this is how I felt writing this post:

And the thing is there's so much more I can say but I don't wanna make this too long esp since this is me ranting more than a proper analysis but jfc Leone always made sure to make his movies so damn gay it's actually insane

[ezekiel-krishna]

Midheaven/Medium Coeli (MC) in Various Signs Observations 💫

Aries Midheaven: With an Aries Midheaven, you possess a determined and ambitious nature. You are driven to take on leadership roles and thrive in competitive environments. Your career path may involve entrepreneurship, sports, or any field that allows you to showcase your assertiveness.

Taurus Midheaven: A Taurus Midheaven signifies a strong work ethic and a desire for financial stability. You excel in careers related to finance, banking, real estate, or any field that allows you to build a solid foundation. Your dedication and patience pave the way for long-term success.

Gemini Midheaven: With a Gemini Midheaven, you have a versatile and communicative nature. You excel in careers that involve writing, journalism, public speaking, or any field that allows you to utilize your intellectual abilities. Your adaptability and networking skills open doors to various professional opportunities.

Cancer Midheaven: A Cancer Midheaven signifies a nurturing and emotionally sensitive nature. You excel in careers related to caregiving, counseling, psychology, or any field that allows you to connect with others on an emotional level. Your compassion and empathy make you a trusted and valued professional.

Leo Midheaven: With a Leo Midheaven, you possess a natural flair for the dramatic and a desire for recognition. You excel in careers related to performing arts, entertainment, leadership roles, or any field that allows you to express your creativity. Your charisma and confidence make you a natural-born leader.

Virgo Midheaven: A Virgo Midheaven signifies a detail-oriented and analytical nature. You excel in careers related to research, analysis, healthcare, or any field that requires precision and attention to detail. Your organizational skills and ability to problem-solve make you a reliable and efficient professional.

Libra Midheaven: With a Libra Midheaven, you possess a diplomatic and harmonious nature. You excel in careers related to law, mediation, public relations, or any field that promotes fairness and justice. Your ability to find balance and create harmonious relationships paves the way for success in your chosen path.

Scorpio Midheaven: A Scorpio Midheaven signifies intensity and a desire for transformation. You excel in careers related to psychology, investigation, research, or any field that requires deep analysis and uncovering hidden truths. Your determination and passion make you a powerful force in your professional endeavors.

Sagittarius Midheaven: With a Sagittarius Midheaven, you possess an adventurous and philosophical nature. You excel in careers related to travel, teaching, publishing, or any field that allows you to share your knowledge and expand horizons. Your optimism and enthusiasm inspire others around you.

Capricorn Midheaven: A Capricorn Midheaven signifies ambition and a desire for long-term success. You excel in careers related to business, finance, management, or any field that allows you to climb the ladder of success. Your discipline and perseverance make you a respected and influential professional.

Aquarius Midheaven: With an Aquarius Midheaven, you possess a visionary and innovative nature. You excel in careers related to technology, social activism, scientific research, or any field that promotes progressive change. Your unique perspective and ability to think outside the box make you a trailblazer in your chosen path.

Pisces Midheaven: A Pisces Midheaven signifies a compassionate and intuitive nature. You excel in careers related to arts, spirituality, healing professions, or any field that allows you to tap into your creative and intuitive abilities. Your empathy and sensitivity make you a source of inspiration for others.

Please Reblog if you enjoy reading ✅

⬇️ For Paid Readings & Reviews,Refer to my Pinned Post ⬇️

Certified Astrologer✅

[the-gayest-show]

The Haunting of Wells House/Best of Luck Review/Analysis

NEW EPISODES AGAIN YIPPEE YIPPEE YIPPEE

The Haunting of Wells House:

I love a fun episode to get my mind off the angst of Operation Birthday Take back!

The gag of this being a paranormal TV show were so great! So many minor things I loved like the "Paranormal Pursuit" show title they keep saying. Literally cracked me up the way they were saying it.

I also adore the interview gags, you cannot tell me this ain't so fitting for both of them!

"My local paper called my performance of Ebenezer Scrooge 'Not as bad as it could've been'" 😭

Her expression is golden.

Also the reference to that one painting from Cosmo and Wanda was a nice touch (I mean they already had The Scream up there before this)

(The original is called American Gothic, I had no idea! I knew the art piece generally but didn't know the name till I googled and it and suddenly boom that's the name. AND it's from the 1930s! Ain't that cool stuff!)

Jorgan reappearance! We haven't seen you in like. A bit. I'm pretty sure not since the fairy testing thing but I could be wrong. "Father Jorgan" I love how Wanda and Cosmo literally summon him for the sole purpose of "exorcising" a ghost fairy. Funniest shit on Earth fr. Bro was NOT built for the "Father" role. HE LITERALLY GETS "DA RULES" OUT INSTEAD OF A BIBLE IM CRYINNGGGGGGGGGGGGGG

Also why does bro just have like so many cassette tapes? Are they all cursed? Are more fairies trapped in tapes or something? And it's a LARGE collection. WHY DO YOU HAVE THAT MANY TAPES JORGAN WH-

Overall, this episode was fun as hell and I ADORED Hazel and her dad's dynamic together. Tbh it's so cute! Hazel is so enthusiastic about hunting for the apartment ghost with her dad it's so wholesome 🥺 I honestly love the father/daughter duo sm an episodic adventure episode is so nice. Also the TV segment thing was awesome af, enjoyed that a lot. I feel like it's probably in reference to Buzzfeed Unsolved or something.

Best of Luck:

Ohhhhh boy, Dev is back again! And it is NOT looking good! I found this episode to be kinda heartbreaking for many reasons. This entire episode essentially revolves around Dev wanting to make "rule breaking" wishes (eg. win the tournament and that t-shirt) but Peri (being normal about Da Rules) tells him he can't (because he can't) and Dev and Peri have a little fight in which Peri seems to quit. I find that looking back, he might've been crying?

Bro's got tears rolling down his face and everything!

And then he gets replaced with Minecraft Steve Foop Irep, who retains the cube shape he was born in (is this a glimpse into a potential timeline where Peri would've been a sphere?), and really hates his name change unlike his normal fairy counterpart.

HE SAYS HE'S MORE ATTRACTIVE 😭 If only he knew that Peri was a Tumblr sexy man and he.... isn't.

Anyway, Dev literally uses the anti-fairy powers of not giving a fuck about the rules to essentially wish his way into winning the stupid prize, while giving Hazel bad luck (which she manages to get past using good luck charms) and making her lose the tournament.

-

Important thing, let's talk about that scene after Dev wins. He's expecting Hazel to be upset about losing, like... really upset. When she's not that upset and takes losing normally, he lashes out at her.

He WANTS her to react like how he's been reacting to the thought of losing the competition. I think this is still a reaction to his dad being neglectful at the party (and he very likely hasn't stopped being absentee since then). He's projecting his own emotions, and rejecting Hazel's attempts to be nice.

"I don't need your caring and understanding, Hinkle!" (This is also a sign of Dev's detachment from Hazel, since he reverts back to the "everything but calling her Hazel" bit)

He's more happier with physical things rather than emotional. He seems to avoid the emotional wishes, likely a coping mechanism for the neglect, opting to use the rule free wishes of Irep to wish for money, love from some classmate (who he's never been shown to love back in any way before this), to be the King of America (bro really invented monarchy for a monarchy-less country. Crazy.).

And then he literally wishes for Cosmo and Wanda to be nothing! To kill them essentially! I think that's driven by Dev's idea that having two fairies is better than one (a concept I remember being battled on with Remy Buxaplenty and his one fairy), even if it isn't and they're all still bound to the same rules, and by some motivation to get back at Hazel, likely another projection of his feelings.

Just before the mini battle ends, Dev exclaims that he's "finally going to get everything [he's] ever wanted" and that they're ruining it for him. I think, deep down, Dev really wants his dad's affection. I've mentioned this before in the review I did for the Take back episode, but he seemed so devastated about the lack of attention from his father then and even way back from scavenger hunt episode when Dev and Hazel first bonded with each other. Personally, I think Dev was likely going to use Irep (and his ability to basically with whatever, in Dev's eyes) to wish his father could be different. I think that was the real goal, and all the physical stuff was for show and very surface level wishing.

Dev's rejection of Hazel eventually gets to Hazel herself, where she chucks the shirt at him and says "Fine! Take the dumb shirt! I hope it was worth it." Hazel is probably very much done with Dev for the time being, because she tried to reach out to him but she could see he doesn't want any of it.

Let's spawn in the question of Peri. Peri technically should act as a father figure or some kind of parental figure in this case, but he's defo been screwed over by the council for giving him this boy with issues and seems to resent him for constantly not listening when Peri says that some things are against the rules, which is why he temporarily takes a break. I know someone on a discord server pointed out that Peri isn't really bonded with Dev yet, and that really rings true.

You can see this when Peri pretty much ignores his godkid in favour of his parents (which I guess contextually could be described as just being wrapped up in convo, but knowing his track record it's likely the former). THE KID WAS SITTING RIGHT THERE! SAD! Peri, to me at least, doesn't seem like he's emotionally equipped for the job of truly being there for Dev. Cosmo and Wanda seemed way better at this in OG FOP, where they constantly looked out for Timmy, even if he was a bit of a brat at times. But Peri really does care, even a little, as evidenced by the fact that he was jealously watching over Dev while he was gone. He wanted him to call Peri back. I wonder if Peri will figure out how to adjust to being a more parental figures than he hoped, because for now it seems he's thinking about this more as a job than an actual child he has to take care of. I hope he'll improve that aspect of himself, especially concerning the finale.

-

NOW ON TO THINGS I NOTICED!

AYOOOOOO FLIPPED GENDER ROLES OF THE KNITTING AND READING NEWSPAPER LETS GOOOOOOOOO

It's also kinda weird to me that they sorta fly up and come out of the box at Hazel's school after this. It gave me the vibes of "we're living inside the box" but they aren't? Wasn't that their home? Anyways.

I said it once and will say it again: Irep is built like Minecraft Steve. You can't change my mind.

Mr Guzman is so happy at the new nickname lol. He's got that 😎 expression.

JORGAN YOU ARE BACK AGAIN. DOUBLE WHAMMY RETURN. TWO EPISODES IN ROW, KEEP UP THAT STREAK DAWG!

I guess there's a fairy HR too? And I thought the DMV was bad enough. Placing my bets on a fairy godparent union now.

Overall this episode had a lot for me to ponder on and now I wonder what Dev's gonna do with the information about anti-fairies he's gonna collect (how the fuck are the o-pears gonna know shit about this anyway). One of the episodes is Irep and Dev taking over fairy world, so I guess minecraft Steve is gonna make a reappearance, plus Dev will likely try to take over Fairy World with the same vulnerable-ish state he's in. I LOVE the plot thickening! FUCK YEAH BITCHES WE GETTING LORE

[seraphiism]

❀ ﾟ. ༄ ┊ 𝐂𝐀𝐌𝐏𝐔𝐒 𝐄𝐍𝐂𝐎𝐔𝐍𝐓𝐄𝐑𝐒 ! ( 𝐩𝐭. 𝐢𝐯 ) ;

characters : cyno / alhaitham / kaveh a/n : hiii welcome back campus encounters where everyone is a clown pt. i / ii / iii

↬ cyno ࿐ ࿔

you don't know what to expect in law school. you really don't. you expect high stakes, tension in the air. you expect competition, harsh professors who purposely try to weed out the "weak" and make the class excruciatingly difficult. you're not entirely wrong, you suppose, but the last thing you would imagine is-- well, cyno.

your first impression is entirely wrong. however, you have also known him for-- you glance at the clock-- two minutes.

a sharp gaze, head held high. he radiates an intimidating aura, holds himself to something more grand. you don't have intentions to make small talk; you're too tired for an 8:30am class, anyway, and you hate to admit that he almost frightens you. the professor runs out for a moment. brief technical issue-- something like that. you're already zoning out.

in that small frame of time, the lecture hall comes to life, fills with a thousand conversations at once. you ignore them all, absentmindedly skimming the syllabus. you fail to see cyno's eyes trained on you. intent. focused.

"i guess there's been a...law-l in this class."

you freeze. something in your fight or flight instinct activates. the voice came from your right. cyno is also on your right. surely that wasn't him, right?

right?

you swallow hard, slowly turn your head to look at him.

god. you hope that wasn't him. 8:32 am and you are subjected to inhumane crimes in your introduction to law class. red eyes bore into your soul. his face is blank. you don't know what to make of this.

"you know. like lull. law-l."

it doesn't work that way, you think, and the exasperation almost meets your visage, but you keep it at bay. can't hurt this stranger's feelings, after all. there's something akin to hope in those crimson hues, barely on the surface, but ever so present.

you purse your lips, unable to figure out this delicate situation. you could change this man's life forever. what if you make this future lawyer feel like a clown? what if he dropped out? you are not being dramatic, by the way.

you purse your lips, tight, utterly amused and defeated by the ridiculous predicament. you stare at each other, dead silent.

you laugh. you don't know why, but you do, and maybe it's because of the way he comes off so serious, maybe it's the way you can practically see the hope that his pun will get a reaction.

you may also be delirious. maybe.

"oh, you are hilarious."

cyno smiles. somewhere, he feels tighnari's soul shrivel in the depths of despair.

"no, i'm cyno."

↬ alhaitham ࿐ ࿔

"oh my god." you do not know how many times you have said this in the past ten seconds. twice? three times? a hundred? ( that wouldn't be logically possible, alhaitham says, so you say it again ). "i'm dying. it's coming. i feel it in my bones."

"what is?"

"death."

alhaitham stares at you, deadpan.

"you are being dramatic."

"i'm sorry. i will do it again."

you don't mind literature analysis, not really. it's fascinating-- the way you piece concepts together, discover hidden meaning in seemingly superficial words. it's much easier when you enjoy said literature itself, but when you don't? you may as well throw yourself into the void. suddenly you cannot read.

metaphor to metaphor, symbolism in the strangest of things ( okay, so the kitchen cupboards were pastel yellow and not white in this house, so what? ), you grow frustrated as a nearing deadline approaches, brain absolutely fried from finals. you have ten pages to write. you have two done ( those two are the title page and reference page. so no, they do not count ).

you're not sure how it came to this-- 4am and you're huddled up with alhaitham in the corner of the library, your forehead against the desk, your fellow classmate casually drinking his fifth coffee as if caffeine has no impact on him. he's much better at writing papers than you are, and in all his glory, decided to help you. kind of.

it's been about two hours since you've been working together, and while you appreciate the help, the lack of sleep is finally getting to you. you're burned out, tired, and truthfully, you know this is worth 30% of your grade, but you're about to calculate what your grade would drop to if you simply did not turn it in.

you close your eyes. wooden desk or not, red imprint on your forehead or not, you're about to pass out, right here and right now, except--

the feeling of his hand against your back, gentle. he leans forward, just the slightest bit, speaks in that quiet yet firm tone.

"if you finish this, i'll ask you out on a date."

you sit up at an alarmingly fast rate, throw alhaitham the most horrified look you can fathom. his expression doesn't change much, but you see that slight curl of the lips.

"disgusting. i can't believe you would pull such things on me."

"because it'll work."

you roll your eyes, pinch his cheek before redirecting your attention to the laptop before you.

what an arrogant fool. absolute annoyance. menace. idiot. you hate him, truly.

"i didn't say it wouldn't work."

( fine. it works. funny how you're suddenly awake and how everything suddenly seems to make sense after he proposes that offer. )

↬ kaveh ࿐ ࿔

there are three things you first notice about kaveh.

one. he is pretty. very pretty.

two. oh my god. look at his back. hello.

three. he's sleeping in the library. he's also drooling on his ... sketches?

four. wait. too many things to notice. whatever. maybe you should wake him?

you consider the thought, unsure. you'd hate to be woken by a stranger in the campus library-- it'd be off-putting, you think. you glance at the sketches, take in the sights of the blueprints. intricate designs. gorgeous, really, even if you don't have the slightest clue about anything related to said field.

you'd hate to work so hard on such a thing and have it ruined by...well, drool. you place your hand on his shoulder, touch light and hesitant, and shake him gently. once. twice. five times?

he's not waking. surely you're not going to shake the life out of this stranger, right? it's about another ten seconds before you almost give up, letting out a long sigh of defeat before leaning down the slightest bit.

you're gonna speak to him, speak in very soft tones-- slowly ease him from slumber. he's gonna wake up, you'll back away, smile in hopes of establishing your friendly intentions, and that'll be it. done. boom.

that's the plan, anyway, but when your face gets a little closer to his, his eyes open suddenly. two seconds of eye contact. shock twists into utmost fear.

kaveh screams, shoots right out of his seat. you also scream. your life flashes before your eyes when you see him instinctively grab his suitcase.

"before you get the wrong idea-- you were drooling all over your sketches, so--"

you don't think this really helps. he's blushing furiously, from embarrassment or anger, you don't know, but now he's glancing at his sketches, mostly unharmed, and oh, the panic sets in so much more. you watch, baffled, as kaveh throws caution to the wind, frantically cleans the desk and recovers what he can.

it's about five minutes of this. you keep silent, watch in awe and more-so of shock at how this all played out until he turns towards you. he takes a deep breath. you can tell he's tired, weariness on his features. you almost feel bad.

"did you manage to salvage it?"

there's a flicker of curiosity at your words, though the fatigue almost swallows it entirely.

"it'll be okay, i think." his shoulders drop. he smiles, slightly forced. "thank you for waking me-- uh, even if it happened that way."

you'd normally say sorry ( as much as you can say it in this situation, anyway ) and go your separate ways, but there's something almost bittersweet about him that brings a heaviness to the heart.

"sorry. i really didn't mean to scare you like that." you swallow your courage, offer a hopeful smile. "do you want to go get coffee? i'll buy. consider it another apology."

and there is something-- a shift, a lightening, an ease, and kaveh's expression seems to relax at your offer.

( yes, you do go out for coffee. it's one of many future caffeine runs, you both call it, and it's the beginning of a chaotic friendship of sorts. )

taglist : @oshitgirlie ╰ ♡ ;; taglist form !!

[i-guess-im-into-this-now]

The Apothecary Diaries

S1E23 First Watch

Here's where I watch The Apothecary Diaries for the first time and give my thoughts, analysis, predictions, and occasionally I stumble into a joke.

If you want to start at the beginning:

Episode 1

My character/location cheat sheet

Fengxian: Maomao's courtesan mother

The show opens on Maomao's mother, who is in the late stages of her illness, delusional, softly singing a lullaby while moving around some Go pieces. Is she thinking of the past? The lover that she lost, or the baby that she had?

So the box that Maomao requested was a game. The English dub just calls it Chess, but I think it's called Shogi or the Chinese equivalent. Please correct me if I'm wrong. She challenges Lakan to a competition, who is giddy with delight. They will play best out of 5, no handicaps, and they call their prize before they begin.

Lakan: If I manage to best you. I want you to come and live with me.

Jinshi does NOT like that. Gaoshun reminds him that he promised not to interfere, but Lakan can't take his girl! Don't worry yet Jinshi, Maomao wouldn't be so bold if she didn't think she could win this bet. Have faith!

Lakan learns that Maomao is still under contract to work for Jinshi, and he makes a rude implication that has Jinshi grinding his molars.

And I think this is kind of weird. Just what does Lakan think or feel about his daughter? I don't know if he truly believes that there is something amorous going on between Maomao and Jinshi, but he's totally fine with implying that there is. They are talking about her contract here, and the implication that is being made is that Jinshi bought out Maomao's courtesan contract so that he could bring her to his house to service him solely. We the viewer know it's not true, and Lakan may have been able to pick up enough clues to realize it's not true, but still his joke is a weird one for a father to make. Is it just to get under Jinshi's skin? Or is it possible that he believes his daughter is truly acting as a courtesan? We know that Lakan has had dealings with courtesans in the past, and I'm glad he doesn't seem to have any prejudice against them and the work they do. Yet. I kind of thought maybe his whole reason for wanting to get Maomao to come live with him, was that he was trying to protect her from that work. Am I missing something here? Because it seems that's not the case. So if he doesn't want Maomao for her own sake, then he wants her for his own purposes. Which are??? Use her as another piece to maneuver? That doesn't seem quite right either, since she is the only one he doesn't see as a game piece. I don't know what this indecipherable man wants.

Maomao on the other hand wants Lakan to buy out an aging courtesan from the Verdigris House. Her delirious mother I assume. If that's her goal... is it really a good idea to put Maomao's mother into Lakan's care? Is he going to take care of her? It seems like if he intended to take care of her, he would have already stepped forward to do so. I know Maomao doesn't care about her mother, but she does take care of her when she visits the Verdigris House. Surely she wouldn't entrust any person to Lakan if she thought he would be a neglectful caregiver. I guess I just have to trust that Maomao knows these people better than I do, because this to me seems like a bad idea all the way around.

Maomao also adds a drinking element to the game, that includes poison. Also, if someone quits for any reason, they lose.

Lakan and Maomao are relaxed as they play, but Jinshi is worried. He doesn't like the terms or the rules of this game. Maomao loses the first round and is forced to drink, and Jinshi is the one sweating it. When she loses the second match, Jinshi starts to panic.

Lakan doesn't want to risk that Maomao might be poisoned by drinking a third cup, so he throws a game to drink one. If he drinks one that contains poison than he will know that Maomao is safe to lose her third game.

The cup that Lakan drinks from is poisoned, and he is not tolerating it well. Actually, the alcohol is far worse for Lakan than any medicine that Maomao may have added. Lakan famously abstains, and has no tolerance for alcohol. It's why he carries fruit juice with him everywhere.

So did Lakan know it was alcohol when he decided to drink it or did he think it tasted bad because of the medicine Maomao added? Either way, he agreed to the terms of the game and he has now lost the bet. Maomao never had to beat him at chess, she only had to risk drinking poison with a straight face which is an everyday activity for Maomao. Lakan lost the moment he agreed to play by Maomao's rules.

The show takes us back to see a young Lakan. He has hardcore face blindness, which makes for some very disturbing animation. Since he couldn't connect with people he devoted his time to playing Go and Chess. His uncle encourages him to identify people as chess pieces. His family name gets him a military position and Lakan tells us the following.

Lakan: Of all the games I've played. Chess with human pieces was the most fun I've ever had.

Chilling.

Lakan's inability to view people's humanity is frightening. Dangerous. A person without empathy. It's no wonder Maomao wants nothing to do with this man.

I do understand that Lakan's inability to recognize faces affects his ability to connect with other people, but wow, that's a whole lot different than viewing them as pawns you can manipulate for fun. I'm sure he was a brilliant strategist for the military, but the fact that he delighted in it, demonstrates his lack of humanity.

We learn that a courtesan named Fengxian from Verdigris House easily trounced Lakan in a game of Go. Finally he can see a human face. For years they played Go or Chess, slowly getting to know one another while they play.

Fengxian: A woman did give birth to me, but I have no mother. Because in the Pleasure District, a woman can never be a mother.

A pretty clear description of Fengxian's views on motherhood. If she maintained this view when she had her own daughter, then we can understand just what Maomao might have been dealing with. Also, didn't Maomao say something similar when she described Fengxian as the woman who birthed her?

Maomao: Maybe it's love. But if that's the case. It's not a rabbit hole I want to delve into. That's an emotion I'm sure I left behind. Back in the womb of the woman who birthed me. (Episode 18)

At the time I wrote that comment off to be because Maomao had experienced neglect, abuse or abandonment from her mother, which I do think is likely, however, Maomao's view of motherhood is perhaps not too different than Fengxian's. That a woman can never be a mother in the Pleasure District may be a common belief, but it isn't universal, because we saw the princesses, Pairin in particular, step up to fill the mother's role for Maomao.

Maomao has trash parents, but lovely found family.

Lakan tells us that Fengxian's price increased as she became more in demand. From then Lakan could rarely afford to meet with Fengxian.

Upon one visit Lakan learns that someone has bought out Fengxian's contract. She seems disappointed that she won't be able to meet with Lakan again. She makes a bet with him, with the highest stakes possible. Whoever wins, can take whatever they want from the other.

Lakan: Quite suddenly, a terrible thought crossed my mind.

He's thinking about that notorious way to lower the value of a courtesan isn't he? Just what is it that Fengxian wants from Lakan, I wonder? She has to know that he can't afford her contract. Could it be that she also wants to lower her value to avoid being bought out by someone else?

Lakan chooses to play Go, which we remember from an earlier episode that he could never defeat her in. Did he do this to give her the chance to ask something of him? To prevent himself from following through on that terrible thought that crossed his mind?

He does recognize that it's not right to impregnant a woman to lower her value. Is this because he has real feelings for Fengxian or that he simply acknowledges that it's manipulative? Does he think it's terrible because he would have to take responsibility for a child that is born this way? Or is it just terrible because time in bed would be a waste when they could be playing board games?

They never make it to the end of the game. Instead they sleep with each other and Fengxian tells Lakan that she wants to keep playing Go. She, like Lakan, likely has trouble connecting with other people. That they are well matched in intellect is like seeing another human for the first time. Everyone else is beneath them, not even human.

I'm convinced now that this was a tactical move from both of them. After all, Fengxian dismissed Meimei before they even started playing. Win or lose she was counting on sleeping with Lakan.

Lakan: There were no sweet words offered from Fengxian, nor from me for that matter. So in a way you could say we had similar natures.

Do these two care about each other at all or is it just that they don't express it? I have my doubts.

As Lakan is drifting off to sleep Fengxian sings a song, which I can only assume is the same one she tried to hum the day Maomao was in the annex to care for her. It is the same song from earlier in this episode where we see her in the present day playing with Go pieces on her bed. So her present day delusions are all about returning to this time which was the best period of her life. Before she had a baby, Before she cause syphilis, and everything fell apart.

But what is with singing the song in the past? I dipped into the Japanese with English sub to check the faithfulness of the translation:

Sleep, my baby, sleep. Where is she? She cries. Little birds are so innocent. Off they fly to somewhere far.

I'm not the best at interpreting poetry, so maybe someone else can help me with these lyrics. On it's surface it seems like a typical lullaby, but it could be taken as being about a loss of innocence since the innocent little birds fly away. Or perhaps since the birds leave, it could be about a desire for freedom? Both meanings could apply to Fengxian in this moment.

Wow. Okay. So Luomen is Lakan's uncle. I didn't see that coming. So there are blood ties between Maomao and Luomen.

In a fit of embarrassment and anger at Luomen's exile, Lakan's father also sends Lakan abroad. Fengxian's contract fell through and she made sure to alert Lakan, but it's not something he can deal with before his trip. It seems he intended to return to her, but it took three years before he could finally come back. He is greeted by a pile of letters. And a desiccated severed finger. A way to curse someone apparently. And there are two fingers there, a tiny one as well. What the fuck did Fengxian do? I suppose that this explains the nightmare Maomao had when she saw her mother with a knife. Does this have something to do with Maomao's twisted little finger? Did her finger get chopped off and reattached?

Fengxian took a chance when she decided to sleep with Lakan, and it destroyed her life. She ended up pregnant, which may have been okay, if Lakan had been there to buy her out when her value crashed. She was counting on him, and he wasn't there. It wasn't his fault, I think he would have bought her out if he was there, but the timing of everything was catastrophic for Fengxian. I suppose she didn't know he was out of the country, and her hatred grew, hence the finger severing curse. With that level of hatred I suppose it means she must have cared about Lakan, or perhaps she's just pissed that her plan fell through.

Lakan feels like a dumbass, which for a narcissist like him, is really saying something. He was so focused on playing Go and Chess that he didn't try to think of other ways to solve Fengxian and his problems, like impregnating her. Huh? Okay, I had that pegged wrong earlier. So then he must have thought his one night together with Fengxian was something special.

We get to see granny beating Lakan with a broom. She accuses him of not caring about a worthless courtesan and tells him that she's gone. She lost all of her value after being pregnant, and her actions hurt the reputation of the brothel. She had to take clients like a streetwalker where she contracted syphilis.

Lakan is too late to get what he wants from Fengxian. His fantasy with the high class courtesan ended when she lost her value and reputation. Now she is in a dire state, disgraced, diseased. So Lakan is distressed, but... fuck this guy.

l get that things fell apart while he was gone, but Fengxian is still alive at this point. She has a disease, but presumably she won't lose her mental capabilities until later down the line. He could still play Go with her. And even if she had lost her mind, fuck this guy! Does he really not care at all about her because of the things that have happened to her? He has zero capacity for actual love, like a psychopath. Many people become caregivers to the people they love when they become incapacitated. Only the shittiest walk away. Fengxian lost her reputation, her value, and her health, and Lakan is upset that she no longer fits into the perfect vision he had of her. Like seriously. FUCK. THIS. GUY!

I realize this is a HOT TAKE. And I stand ready to be corrected. But based on all I have seen thus far, Lakan is still a pretty shitty dude. I saw someone mention in a comment on one of these blogs about Lakan stans. At the time I thought to myself how the hell are there Lakan stans? It made me think that there was probably more to his story than I had seen up to that point. Well here is more, but it wasn't enough to make me like this character.

I could probably be convinced that he had real feelings for Fengxian, but then where the hell has he been all these years? Is it that Fengxian hated him and didn't want to see him? That she sent him severed fingers in an attempt to curse him would support that.

My opinion on Lakan still stands, even if Lakan loves Fengxian, and Maomao, and has been doing all he can to get back to them, he's still a shitty guy that seems to lack basic empathy. Like, he will only treat someone as a person if he is personally invested? I can't like a person like that.

Back to the present time, Lakan wakes up in Verdigris House and Meimei kindly tends to him. Apparently after he forfeited his game with Maomao by blacking out drunk, he was deposited here to fulfill his end of the bargain.

Is the fact that Fengxian's illness has progressed to delusions now allowed her to forget about her hatred of Lakan? She was seen tying to play Go and singing an old lullaby in the beginning; is she thinking fondly of old times? Does Maomao think now that Fengxian is more out of her mind, she would be willing to see Lakan? Regardless, she's about to end up with him now.

Maomao concocted a bitter beverage for Lakan and gifts him a dried blue rose. Maomao's message: leave the people I care about alone.

After all, Lakan requested blue roses from Jinshi, a nearly impossible thing for him to procure. Maomao made it happen because she didn't want to let Lakan get away with trying to manipulate Jinshi. The roses were all a ploy to draw Maomao out, which it did, but only for her to defend Jinshi and send a message to Lakan to back off.

The rose Maomao left for Lakan is dried. From an earlier time perhaps. Maybe blue roses were a tradition at Verdigris House or something that Fengxian knew the secret to. Perhaps the the blue rose simply represents Fengxian, and Maomao gifts it to Lakan to represent the meaning behind her bet, I'm giving Fengxian to you. There is a secondary meaning here that I don't know the meaning of. But Lakan does.

Cut to Maomao riding in a carriage with the always cheery Basan, where she pulls out a blue rose bud. Is this the bud she helped grow and create for the Garden Party or a dried one from the past? Is she thinking about whatever connection the blue rose has to her mother or is she thinking about what she did to grow these roses for Jinshi? Is she hoping that her message to Lakan will be enough to protect Jinshi and anyone else he may target? Enough to get Lakan out of her life?

I truly hope that this is the last episode with Lakan's POV. I hope to never see these faceless animations ever again.

If you want to read these from the beginning:

Episode 1

Next episode:

Episode 24

[jesperweidemann]

Writing Engaging Introductions and Compelling Conclusions Part 2: The Role of Introductions

Why Introductions Matter

Introductions are the gateway to your writing. They serve as the first impression and set the stage for the entire piece. A well-crafted introduction can captivate the reader's attention, establish the tone and context, and present the thesis or main idea clearly. Here’s why introductions are crucial:

Capturing the Reader’s Attention: The opening lines of your introduction are your chance to hook the reader. If the introduction is engaging, the reader is more likely to continue reading. This is especially important in an age where attention spans are short, and competition for readers' time is fierce. An engaging introduction can make the difference between a reader staying with your piece or moving on to something else.

Setting the Tone and Context: The introduction sets the tone for the rest of the piece. Whether your writing is formal, informal, serious, or humorous, the introduction should reflect this tone. Additionally, it provides the necessary context, helping the reader understand the background and relevance of the topic. This context is crucial for making the reader feel grounded and prepared for the information or arguments that will follow.

Presenting the Thesis or Main Idea: The introduction should clearly present the thesis or main idea of the piece. This gives the reader a clear understanding of what to expect and what the central argument or purpose of the writing is. A well-stated thesis provides a roadmap for the reader, guiding them through the points you will make.

Elements of an Effective Introduction

An effective introduction typically includes the following elements:

The Hook: The hook is a technique used to grab the reader’s attention right from the start. There are several types of hooks, including anecdotes, quotes, questions, and statistics. The choice of hook depends on the topic and the audience. A strong hook can make the reader curious, excited, or emotionally invested in your writing.

Background Information: Providing necessary background information helps the reader understand the context of the topic. However, it’s important to strike a balance and avoid overwhelming the reader with too much information. The background should be relevant and concise, setting up the thesis without distracting from it.

Thesis Statement: The thesis statement is a concise summary of the main point or argument of the piece. It should be clear and specific, guiding the reader on what to expect in the rest of the writing. A strong thesis statement is essential for keeping your writing focused and coherent.

Types of Hooks

Different types of hooks can be used to make the introduction engaging. Here are some common types:

Anecdotes and Stories: Starting with a short, relevant story or anecdote can draw the reader in and make the topic more relatable. Anecdotes can humanize your writing and create an emotional connection with the reader.

Interesting Facts or Statistics: Presenting a surprising fact or statistic can pique the reader’s curiosity and encourage them to read further. This type of hook works well for topics that involve data or surprising information.

Provocative Questions: Asking a thought-provoking question can engage the reader and make them think about the topic from the outset. Questions can also create a sense of dialogue between the writer and the reader.

Quotations: Using a relevant quote from a well-known figure can lend authority to your writing and capture the reader’s interest. Quotes can also provide a succinct way to introduce the theme or main idea of your piece.

Descriptive Scenes: Painting a vivid picture with words can immerse the reader in the topic and set the scene for the rest of the piece. Descriptive hooks are particularly effective for narrative or descriptive writing.

Examples and Analysis

To understand what makes an introduction effective, let’s break down some examples:

Example 1: Anecdote Hook

“When I was ten years old, I discovered a dusty old book in my grandmother’s attic. Little did I know, that book would ignite my lifelong passion for history.”

Analysis: This introduction uses a personal anecdote to draw the reader in. It’s relatable and sets the stage for a discussion on the importance of history. The anecdote creates an emotional connection and makes the reader curious about the writer’s journey.

Example 2: Statistic Hook

“Did you know that over 60% of adults in the United States have never read a book cover to cover? This startling statistic highlights a growing issue in our society.”

Analysis: This introduction uses a surprising statistic to grab the reader’s attention. It immediately presents a problem that the rest of the piece will address. The statistic is shocking and makes the reader want to learn more about the issue.

Example 3: Question Hook

“What if you could change one thing about your daily routine to improve your productivity? Would you do it?”

Analysis: This introduction uses a provocative question to engage the reader. It makes them think about their own habits and sets up a discussion on productivity. The question creates a sense of curiosity and invites the reader to reflect on their own experiences.

Example 4: Quotation Hook

“‘The only limit to our realization of tomorrow is our doubts of today.’ – Franklin D. Roosevelt. This quote perfectly encapsulates the theme of overcoming self-doubt.”

Analysis: This introduction uses a quote to lend authority to the writing. It sets a motivational tone and introduces the theme of the piece. The quote is powerful and provides a succinct way to introduce the main idea.

Example 5: Descriptive Scene Hook

“The sun was just beginning to rise, casting a golden glow over the quiet village. Birds chirped softly, and the air was filled with the scent of blooming flowers. It was the perfect setting for a new beginning.”

Analysis: This introduction uses descriptive language to paint a vivid picture. It immerses the reader in the scene and sets a peaceful, hopeful tone. The descriptive hook is engaging and makes the reader feel like they are part of the scene.

Crafting Your Own Introduction

When crafting your own introduction, consider the following steps:

Identify Your Audience: Understanding who your readers are will help you choose the most effective hook and tone for your introduction. Consider their interests, background, and what might engage them the most.

Choose a Hook: Select a hook that is relevant to your topic and will engage your audience. Experiment with different types of hooks to see which one works best. The hook should be intriguing and make the reader want to continue reading.

Provide Background Information: Give the reader enough context to understand the topic, but avoid overwhelming them with too much information. The background should be concise and relevant, setting up the thesis without distracting from it.

Present Your Thesis Statement: Clearly state the main point or argument of your piece. Make sure it is specific and concise. The thesis statement should provide a roadmap for the reader, guiding them through the points you will make.

Revise and Refine: Review your introduction to ensure it is engaging, clear, and sets the right tone for the rest of your writing. Don’t be afraid to make changes to improve it. A strong introduction is essential for capturing the reader’s attention and setting the stage for the rest of your writing.

Additional Tips for Writing Introductions

Be Concise: While it’s important to provide enough information to engage the reader, avoid being overly verbose. A concise introduction is more likely to hold the reader’s attention.

Stay Relevant: Ensure that all the information in your introduction is relevant to the main topic. Avoid tangents or unrelated details that might confuse the reader.

Use Clear and Simple Language: Avoid jargon or overly complex language that might alienate the reader. Clear and simple language is more effective in engaging a broad audience.

Create a Smooth Transition: The introduction should smoothly transition into the main body of the writing. Ensure that the last sentence of your introduction leads naturally into the first sentence of the next section.

Engage the Senses: When using descriptive hooks, engage the reader’s senses by describing sights, sounds, smells, tastes, and textures. This can make your writing more vivid and immersive.

Reflect Your Personality: Let your personality shine through in your introduction. Whether you’re writing in a formal or informal style, your unique voice can make your writing more engaging and relatable.

By following these steps and understanding the elements of an effective introduction, you can create openings that captivate your readers and set the stage for compelling writing.

< Part 1 ||| Part 3 >