#statement of purpose format

[abyssal-luka]

that reminds me, have you ever seen how weird they got about stimboards on tiktok? fucking wild

[edwisefoundation]

How to Write an SOP for Australia: Tips for a Successful Application

Writing an effective Statement of Purpose (SOP) for Australia is crucial to your study visa application. The SOP helps universities assess your background, motivations, and academic qualifications. It should clearly explain why you are interested in a specific program and how it aligns with your career goals.

Key tips include:

Research the university and tailor your SOP accordingly.

Structure your SOP with clear sections, such as an introduction, academic background, work experience, and career goals.

Use concise and formal language, avoiding complex sentence structures.

Proofread multiple times to ensure clarity and professionalism.

For a detailed guide on writing a standout SOP, visit How to Write an SOP for Australia.

[valeriehalla]

actual writing advice

1. Use the passive voice.

What? What are you talking about, “don’t use the passive voice”? Are you feeling okay? Who told you that? Come on, let’s you and me go to their house and beat them with golf clubs. It’s just grammar. English is full of grammar: you should go ahead and use all of it whenever you want, on account of English is the language you’re writing in.

2. Use adverbs.

Now hang on. What are you even saying to me? Don’t use adverbs? My guy, that is an entire part of speech. That’s, like—that’s gotta be at least 20% of the dictionary. I don’t know who told you not to use adverbs, but you should definitely throw them into the Columbia river.

3. There’s no such thing as “filler”.

Buddy, “filler” is what we called the episodes of Dragon Ball Z where Goku wasn’t blasting Frieza because the anime was in production before Akira Toriyama had written the part where Goku blasts Frieza. Outside of this extremely specific context, “filler” does not exist. Just because a scene wouldn’t make it into the Wikipedia synopsis of your story’s plot doesn’t mean it isn’t important to your story. This is why “plot” and “story” are different words!

4. okay, now that I’ve snared you in my trap—and I know you don’t want to hear this—but orthography actually does kind of matter

First of all, a lot of what you think of as “grammar” is actually orthography. Should I put a comma here? How do I spell this word in this context? These are questions of orthography (which is a fancy Greek word meaning “correct-writing”). In fact, most of the “grammar questions” you’ll see posted online pertain to orthography; this number probably doubles in spaces for writers specifically.

If you’re a native speaker of English, your grammar is probably flawless and unremarkable for the purposes of writing prose. Instead, orthography refers to the set rules governing spelling, punctuation, and whitespace. There are a few things you should know about orthography:

English has no single orthography. You already know spelling and punctuation differ from country to country, but did you know it can even differ from publisher to publisher? Some newspapers will set parenthetical statements apart with em dashes—like this, with no spaces—while others will use slightly shorter dashes – like this, with spaces – to name just one example.

Orthography is boring, and nobody cares about it or knows what it is. For most readers, orthography is “invisible”. Readers pay attention to the words on a page, not the paper itself; in much the same way, readers pay attention to the meaning of a text and not the orthography, which exists only to convey that meaning.

That doesn’t mean it’s not important. Actually, that means it’s of the utmost importance. Because orthography can only be invisible if it meets the reader’s expectations.

You need to learn how to format dialogue into paragraphs. You need to learn when to end a quote with a comma versus a period. You need to learn how to use apostrophes, colons and semicolons. You need to learn these things not so you can win meaningless brownie points from your English teacher for having “Good Grammar”, but so that your prose looks like other prose the reader has consumed.

If you printed a novel on purple paper, you’d have the reader wondering: why purple? Then they’d be focusing on the paper and not the words on it. And you probably don’t want that! So it goes with orthography: whenever you deviate from standard practices, you force the reader to work out in their head whether that deviation was intentional or a mistake. Too much of that can destroy the flow of reading and prevent the reader from getting immersed.

You may chafe at this idea. You may think these “rules” are confusing and arbitrary. You’re correct to think that. They’re made the fuck up! What matters is that they were made the fuck up collaboratively, by thousands of writers over hundreds of years. Whether you like it or not, you are part of that collaboration: you’re not the first person to write prose, and you can’t expect yours to be the first prose your readers have ever read.

That doesn’t mean “never break the rules”, mind you. Once you’ve gotten comfortable with English orthography, then you are free to break it as you please. Knowing what’s expected gives you the power to do unexpected things on purpose. And that’s the really cool shit.

5. You’re allowed to say the boobs were big if the story is about how big the boobs were

Nobody is saying this. Only I am brave enough to say it.

Well, bye!

[shuraa-education]

How to Write a Great SOP for Australian Universities?

The Statement of Purpose (SOP) is an important aspect when it comes to studying abroad. This document is presented to the admissions authority along with the application form while applying to any university in Australia. A well-thought SOP for Australia can make your application stand out amongst the pool of applicants. Therefore, it is the prime responsibility of the applicant to showcase their ambitions, skills, and experiences considerately to the university in the form of an SOP. To get a better insight into the SOP for Australia, get a sample from the study abroad consultants at Shuraa Education.

[content-euphoria]

The Importance of Strong PHD SOP and How to Get Started

Understanding the pivotal role of a compelling phd SOP Sample is crucial for prospective doctoral candidates. This article delves into the significance of a strong SOP in the application process and provides actionable insights on initiating the writing journey. Learn about key components, effective storytelling, and aligning your aspirations with program offerings. With this guide, discover how to craft a standout SOP that not only captivates admissions committees but also sets you on the path to academic success.

[skyefeys]

A Comprehensive Guide to Writing Gina Dialogue!!!

Do YOU like writing tgaa fics, but find yourself struggling to understand the speech habits of Gina Lestrade? Well, fortunately for you, I love linguistics and accents almost as much as I love Gina - so I've compiled a breakdown of every quirk in her speech!

(Full analysis under the break!)

Most of Gina's speech patterns can be broken down by three fundamental facts:

She speaks with a thick Cockney accent

She's uneducated, which leads to various grammar troubles

She uses a lot of informal cockney terms/slang

Let's get into it section-by-section!

(Note: Formatting looks a lot better on mobile!)

Section 1: Cockney Accent

So I’m an theater kid, and I've done dialect training for Cockney accents before - it's one of my best ones imo - so that certainly helped me write this section! Even without that, though, it's pretty easy to identify how her accent appears in her speech. Let's break it down!

Drop h's

Example: Here becomes 'ere

Drop g’s at the end of words

Example: Going becomes goin'

A few other word ends that get dropped:

Of becomes o'

And becomes an'

Th changes depending on the word - Thank you to annoyingloudmicrowavecultist for properly explaining how this works in the tags!

Voiced th becomes v

Example: With becomes wiv

Unvoiced th becomes f

Example: Nothing becomes nuffin'

For writing purposes, if a word would become unrecognizable with this change, it's left the same (but in actual speech, it would be pronounced differently)

Example: Father remains as father (but would be pronounced like fovva)

Th always remains intact at the start of words

Example: Thing remains as thing (but would be pronounced like fing)

Miscellaneous word changes

Something becomes summat (but other times is just somefin' - she's not consistent with either)

What becomes wot, whatever becomes wotever

Tomorrow becomes tomorra

Because is often shortened to 'cause, which becomes cos

Isn't almost always becomes ain't

Thank you / no thank you becomes ta / no ta

Some words spill together or are slurred

With that becomes wivvat, with it becomes wivvit (This one isn't actually used in-game, so you don't have to use it either, but it reflects how she'd actually be pronouncing it)

Isn't it becomes innit

Doesn't it becomes dunnit

Suppose becomes s'pose

Don't know becomes dunno

Probably becomes prob'ly

You might change - Another loose/inconsistent rule. Can depend on how the sentence would be pronounced out loud, but mostly is just a vibe

You becomes ya

Your/you're becomes yer

Yourself becomes yerself

Section 2: Grammatical Errors

Gina is an uneducated East End orphan, so it should come as no surprise that she makes mistakes here and there. Here are her consistent ones! Some of these are confusing/hard to explain, so I included specific examples.

Will say me instead of my, and meself instead of myself

Example: "I dunno much about guns meself."

Incorrect tense usage of was/were in negatives - Instead of I/it wasn’t, she’ll say I/it weren’t

Example: "I was up in a balloon, weren't I?"

Incorrect tense usage of does/do in negatives - Instead of he doesn’t, she’ll say he don’t

Example: "Somefin' wot 'e don't want people readin'."

Double negatives

Ever becomes never in negative statements

Example: "I swear on my life, I ain't never laid eyes on that dandy before."

Never + anything becomes never + nothing

Example: "I never done nuffin' o' the sort!"

Never + anyone becomes never + no one

Example: "All me life, growin' up in the slums, I've never trusted no one."

Haven't you ever becomes ain't you never

Example: "Ain't you lot never gone over an 'ouse lookin' for dough when the owners are out o' town?"

The word that or who in the context of ascribing a feature to a subject is replaced by the word what

Example: "She's always goin' on about all them cases wot Sholmes is lookin' into."

Other example: "I think I wouldn't fancy me chances wiv a lawyer wot lives in a place like this."

Will say them instead of those

"All them skylights open, dead easy."

Will say no more instead of anymore

"Ya dropped it, so it ain't yours no more."

She’ll sometimes mess up bigger, unfamiliar words. This one's entirely in your discretion what words she might mess up. Some canon examples:

“Supperment” instead of supplement

“Mantlescript” instead of manuscript

On a similar note, she'll sometimes confidently get sayings wrong and think she sounds smart

“Toby's...'ow did they put it...? ...Oh, yeah! A 'bone-fide' detective!”

Section 3: Cockney Terms/Slang

In addition to her thick dialect, growing up in the East End means Gina has also adopted a plethora of unique words and phrases. This'll be more like a vocab section!

Cockney rhyming slang - Some words are replaced with phrases that rhyme with them. She uses a few in canon:

Instead of believe, she’ll say Adam an’ Eve

“Would you Adam an' Eve it, eh?! Wot a mug!”

Instead of face, she’ll say chevy chase

“Yeah, I can see it written all over yer chevy chase!”

Interjections/Exclamations

Blimey - Express surprise or shock

"Blimey, yer right! That streak o' light in the photo looks just like an arrow, dunnit?"

Cor - A general interjection, kind of a euphemism for god

"Cor, listen to you! Ya stumble across a bit o' balloon an' suddenly yer the best investigator in the world!"

Oi - I doubt I need to define this one, but it's basically the equivalent of "hey"

"Oi! That's off limits up there!"

Words for people

Cove, bloke - A boy or man. Gina tends to use cove more often than bloke.

"That's where the cove ended up after 'is 'instant kinesis' or wotever they call it."

"When I lifted the last bloke's purse, 'e got wise to me."

Dandy - A conceited, fashionable upperclass man. Can be used as a noun or adjective.

In reference to Ashley Graydon: "I swear on my life, I ain't never laid eyes on that dandy before."

Dee - Thank you to uzukirie for figuring this out in the replies of this post - dee is short for detective!

To Sholmes: "I don't need no 'elp from some stuck-up dee!"

About Gregson: "Yeah, the dee let me keep it. After I looked daggers at 'im for long enough."

Swell - A wealthy or elegant person. In canon, Gina uses this exclusively in reference to McGilded.

"It's because o' that, this swell found me. …'E did 'elp me get away, mind."

Miscellaneous vocab

Dodgy - Suspicious

"It was amazin' when you showed that dodgy professor's dodgy experiment was a total fix!"

Rum - Odd or strange

"I mean, wot's the point of spendin' a joey to make a few bob, eh? That's a rum idea, innit?"

Coppers - Cops

"If you do wot the grown-ups tell ya, it'll get yer mates dragged off by the coppers. Or worse."

Scarper - Flee/run away/leave in a hurry. Also comes from rhyming slang - Scarper = Scapa Flow = Go

"If I did that, 'e said 'e'd let me scarper before the coppers showed up."

Have a butcher's - Take a look. Also comes from rhyming slang - "butcher's hook" = look

"Most days I push the cushion up wiv me 'ead an' look out the crack. Then I can 'ave a butcher's at who I'm gonna fiddle."

Rude words/phrases :)

Gordon Bennett - Expresses surprise or contempt - kind of a euphemism for goddammit.

"Gordon Bennett! You lot!"

Flamin', bleedin', - General emphasis. Pretty much just gentler ways of saying fucking.

Note!! You might be tempted to make Gina say "bloody", since that's well-known British slang, but she never says that. She says bleedin' in its place.

"Don't be so flamin' rude, 'Oddo!"

"It's lies every bleedin' place ya look in this world, innit?"

Bleedin’ Nora - A variation of "Bloody Norah", a surprised/irritated interjection.

"Wot the bleedin' Nora, 'Oddo?! Wot 'ave you gone an' done?!"

Bogtrotter - A derogatory term for an Irish person. She uses this to refer to McGilded.

"Look at the mess it's got you into, believin' in that bogtrotter!"

Mug - An idiot.

"You can't do it from inside, you mug."

Blue blazes - An alliterative exaggeration of "blazes". A euphemism for hell.

"Where the blue blazes 'ave you been, eh?"

Cobblers - Rubbish/nonsense. Literally, it means testicles - derived from Cockney rhyming slang, where "cobbler's awls" = balls.

"All this nonsense about the boss plannin' to kill people… It's cobblers!"

And 1.2k words later, that's pretty much it! Now you can write Gina dialogue spot on <3

Feel free to suggest anything I'm missing/got wrong - I come back and edit this for accuracy's sake every time I notice something I left out, or when people in the replies/tags point things out!

[anistarrose]

I'm seeing a huge uptick in fanart with artist-written alt text and IDs in my fandom circles recently, which is obviously great! But I can also tell that a lot of people, because they're just getting started, haven't quite figured out how to consider the screen reader experience while writing alt text/IDs.

The remedy to this, when in doubt, is to pull up a screen reader or TTS on your own device. That way, you can hear out how things sound. But in general, a couple things to keep in mind:

For multi-image posts: You don't have to repeat the same information in the description of every single image.

If you have a four-image comic, and a character — let's just say a young adult white woman, with brown hair and glasses — features in all those panels, you don't have to repeat that description in every ALT text. The images are going to be read in order, and in context. If a screen reader has to hear "a young adult white woman, with brown hair and glasses" four separate times in quick succession, to say nothing of other recurring characters, that's not a good listening experience!

Yes, if you were to share one of those panels on its own, in some other instance, it might be good to slightly edit the image description, and actually re-include that information. The description of an image is always going to be influenced by the purpose and context of an image — just like images being shared to appreciate the artistry will warrant more description than IDs for memes, where it's best to keep things brief. (And on that topic, this post puts it better than I could.)

And, secondly:

In-post image descriptions should go directly under the image. There should not be commentary in-between the image and the ID.

Imagine if every time you wanted to know what an image was, whether a piece of art or a screenshot of a tweet, you had to hear paragraphs of the artist's statement that presumed you'd seen the art already, or paragraphs of OP's commentary lampooning the tweeter. Imagine if every time anyone posted a graph, you had to read through a short essay presuming you'd seen the graph, but before you actually got to see what the graph was showing.

Yeah, that's the essence of the problem with putting IDs below commentary.

Also, after a point, people will just assume the post is undescribed and skip it! You described your post, you put in the effort to make your post accessible, but you want to make sure it'll have the impact you hope it will, right? Hiding the ID below commentary (or under a read more) is not going to let your effort have the maximum impact.

Here's a visual example of the formatting guideline I just described.

In general, there are many elements of writing IDs that are just subjective, and there are many ID beneficiaries whose preferences differ amongst each other, too. But if you start out by not including redundant information, by considering context, and by considering flow for screen readers? Then you're starting out totally fine.

[saym0-0]

grah Thinking About my tma x mechs au again,,, Lyf is there bc im obsessed with the aus where they reunite with the mechs,, this wasnt meant to be the purpose of the post but heres a lyf doodle im still trying to figure out their design:

i dont like much of it but the bifrosty bits are awesome,,, ANYWAYS where was i,,

rest is under the cut bc my ramblings got long

ashes toy soldier and jonny were blasted down to earth for some reason against their will by the other mechs (probably just for fun) and toy soldier immediately wandered off and found (was found by?) the stranger; ashes and jonny are having a competition to see how many fucked up things they can do without anybody catching on and discovering who they are. they did not anticipate the sheer amount of supernatural stuff on this planet that Nobody Talks About

jonny refers to the way he dresses as the archivist as his lyf cosplay

also in this au jonny uses he/him but as jon uses they/them,, i said this in a previous post but in case anyone's confused about how i refer to him in this post

back to toy soldier with the stranger, nikola finds them and is like 🫵 ur just like me fr and like. idk if she yoinks its voicebox (third hand smh) or if she just has a different one but its uh,, i lost my train of thought hang on

actually i think it would be funnier if it somehow took nikola's place on accident. maybe it yoinks her mannequin head and cool outfit (it likes fun uniforms!) and everyone just believes it.

idk man i thought it would be funny if the two animate models played by jessica law were somehow stuck in the same body, but reading up on toy soldiers backstory my idea wouldnt work,,

maybe toy soldier comes to earth way earlier, back when nikola is made and whatshisname mr orsinov models nikola after them and they're kinda just there from the beginning,,, i need to relisten to nikola's statement

sorry this has devolved into me thinking out loud in text post format but like. im having fun

[literaryvein-reblogs]

Writing Notes: Outline

Outline - a skeletal representation of the sequence of the main ideas in your essay.

The sequence of ideas/topics also serves as a guide for the reader(s) of your paper.

2 Purposes of an Outline

For You as a Writer (this is the “working outline”)

You may draft a working outline in order to organize the sections of your paper as you list the major ideas/topics you plan to discuss.

You may add minor topics and supporting details as your research continues.

In the research and drafting processes, you may need to revise the information included in your working outline as new information comes to light.

For Your Instructor (this is the “final outline”)

The most important aspect of the final outline is that it is truly representative of your actual paper.

If a topic is in your outline but not adequately discussed in your paper, revision is necessary.

To serve as a guide for the reader, the final outline must accurately reflect the content of your paper.

About the Working Outline

The working outline does not need to be written in any specific format.

It is for your own use, an informal rough draft of tentative information that you may use or discard later.

You may write a working outline in whatever form seems most helpful for you.

By the time you have finished your research and begun your paper, you should have a nearly complete outline to edit and use as your final outline.

About the Formal Outline

The standard format for a formal outline includes large Roman numerals for the main headings, capital letters for subtopics and Arabic numerals for the sub-subtopics.

To find specific information regarding correct spacing and alignment, consult your university's handbook.

Example

OUTLINE

Thesis Statement: There are benefits as well as drawbacks to purchasing a home.

I. Benefits of purchasing a home

A. Financial investment B. Personal privacy

II. Drawbacks to purchasing a home

A. Financial commitment B. Costly maintenance

Things to Consider About Outlines

Thesis Statement

Most outlines begin with the thesis statement, aligned to the left and placed directly below the heading (Title) of your outline.

Sentence Outline OR Topic Outline

Consistency is the key to writing your outline.

If your outline is in sentence form, all parts of it (major topics, minor topics, supporting details) must be in sentence form.

If your outline is written in words, and phrases, all of it must be in that form.

The main point to remember is that your outline will be one or the other, all sentences or all words and phrases, not a combination of both.

Paired Headings

If you have a I., you must have at least a II. If you have an A., you must have a B.

If you have a 1., you must have a 2.

There is never a division without at least two headings, although you may have several more than two.

Comparable Numerals or Letters

Like headings are also of equal significance to your paper.

The B or C following an A is of comparable importance to the A.

If the paired headings do not seem aligned, one being a minor point and the other a major area of discussion, you may need to move headings and subheadings around in the working outline to create smooth transition of ideas and information.

Coherence

Your outline will reflect the progression of ideas in each section of your paper, from major topics to minor topics to supporting details or further information.

In organizing your outline, you should find that you have grouped topics in a logical order, and you will be able to see at a glance if you have done so.

Source ⚜ Writing Notes & References

[ardafanonarch]

Hi there! This blog is a very cool concept.

If you feel up to it, I'd like to know where the idea of Maedhros as a diplomat and scholar comes from.

In fic he's often portrayed as such in Valinor, serving at Finwë's court, sometimes being close with Fingolfin, bring into linguistics, etc.

Thank you!

Maedhros the Diplomat (with an Addendum on Maedhros the Scholar)

[~3.4k Words]

Ah, Maedhros. A treasure trove of fanon for our first excavation. As this is also our first investigation of characterisation, let’s establish a structure for talking about characters.

There are two ways that we learn what a character is like from The Silmarillion:

The narrator tells us, either: a. with short, pithy statements (someone is “wise” or “steadfast” or “greatest”) b. with longer descriptions

We deduce character from their actions and their relationships to others.

Using this structure, let’s look briefly as what we know about Maedhros.

1a.

Maedhros isn’t “mightiest in skill of word and hand” like his father or “the strongest, the most steadfast, and the most valiant” like Fingolfin. He isn’t even noted as being particularly good at anything like his brothers Maglor “the mighty singer,” Curufin “who inherited most if his father’s skill of hand,” or Celegorm, Amrod, and Amras who were all skilled hunters. He’s not even noteworthy for any negative traits like Caranthir, “the harshest of the brothers and the most quick to anger.”

Despite being one of the story’s protagonists, and certainly the most narratively prominent of the sons of Fëanor, all Maedhros gets in this category is “tall”[1].

1b.

In this category, Maedhros gets more fully fleshed-out:

[At Lake Mithrim] Maedhros in time was healed; for the fire of life was hot within him, and his strength was of the ancient world, such as those possessed who were nurtured in Valinor. His body recovered from his torment and became hale, but the shadow of his pain was in his heart; and he lived to wield his sword with left hand more deadly than his right had been. The Silmarillion, “Of the Return of the Noldor”

Maedhros did deeds of surpassing valour, and the Orcs fled before his face; for since his torment upon Thangorodrim his spirit burned like a white fire within, and he was as one that returns from the dead. The Silmarillion, “Of the Ruin of Beleriand”

Perhaps one of the most striking descriptions of Maedhros comes from an abandoned alliterative verse poem, The Flight of the Noldoli (=Noldor), published in The Lays of Beleriand and dating to 1925 — about a year before Tolkien first put the “Silmarillion” into a prose format in the annalistic-historical mode of the published text.

... and Maidros tall (the eldest, whose ardour yet more eager burnt than his father’s flame, than Fëanor’s wrath; him fate awaited with fell purpose.) Flight of the Noldoli, lines 123-126

Fire, valour, pain, deadliness, wrath, doom. Taken alone, these passages don’t exactly suggest "diplomat and scholar," yet those qualities are a cornerstone how we often see Maedhros discussed and portrayed by fans. So why?

2.

Maedhros the Diplomat, at least, seems to be based on what he does in canon.

Pausing for a moment, what does it actually mean to be "diplomatic"?

Here’s from Merriam-Webster under diplomatic:

[…]

of, relating to, or concerned with the art and practice of conducting negotiations between nations: of, relating to, or concerned with diplomacy or diplomats.

employing tact and conciliation especially in situations of stress

And for diplomacy:

the art and practice of conducting negotiations between nations

skill in handling affairs without arousing hostility: TACT

It’s worth noting that the first use of the word diplomacy dates to the 18th century (1766) and the concept itself is somewhat anachronistic to the pre-modern world of the “Silmarillion.” However, it’s not difficult to apply the spirit of an “art and practice of negotiations between nations” to First Age Beleriand. We’ll also consider the secondary definition of “tact.”

The Case for Maedhros the Diplomat

Let's look at some times that Maedhros practiced diplomacy and was diplomatic:

1. Waiving his claim to the kingship of the Noldor in favour of Fingolfin:

For Maedhros begged forgiveness for the desertion in Araman; and he waived his claim to kingship over all the Noldor, saying to Fingolfin: ‘If there lay no grievance between us, lord, still the kingship would rightly come to you, the eldest here of the house of Finwë, and not the least wise.’ The Silmarillion, “Of the Return of the Noldor”

Is this an instance of diplomacy? Yes: resolving conflict by removing one’s own claim to a title.

Is it diplomatic? The dialogue seems pretty tactful — demonstrating deference, employing flattery and logic — and is definitely an improvement on Fëanor’s approach to the contested kingship!

2. Brother-wrangling

There are two significant instances of this in the Silmarillion:

resolving conflict

After an argument breaks out between Angrod and Caranthir over Angrod’s authority to act as messenger to Thingol, “Maedhros indeed rebuked Caranthir … But Maedhros restrained his brothers, and they departed from the council…" (“Of the Return of the Noldor”)

Is this an instance of diplomacy? Yes: removing threats to peaceable relations between rulers.

Is it diplomatic? Since we don’t know exactly how Maedhros rebuked Caranthir and restrained his brothers, it’s hard to say how tactfully it was done. Maybe.

removing to the Eastern march

There Maedhros and his brothers kept watch, gathering all such people as would come to them, and they had few dealings with their kinsfolk westward, save at need. It is said indeed that Maedhros himself devised this plan, to lessen the chances of strife, and because he was very willing that the chief peril of assault should fall upon himself. The Silmarillion, “Of the Return of the Noldor”

Is this an instance of diplomacy? Yes: again removing threats to peaceable relations between rulers. Also involves gathering followers. Notably, the strategy seems to have worked for as long as it lasted (that is, until Celegorm and Curufin found themselves in Nargothrond).

Is it diplomatic? Again, unclear how Maedhros executed this plan, but the narrator’s tone here is quite approving so it’s reasonable to assume that it was done tactfully.

3. Remaining on good terms with the other Princes of the Noldor

A few examples of this:

Continuing from the preceding passage, “he remained for his part in friendship with the houses of Fingolfin and Finarfin, and would come among them at times for common counsel.” (“Of the Noldor in Beleriand”)

Is this an instance of diplomacy? Yes.

Is it diplomatic? Yes: extra diplomacy points for taking it upon himself to go to them.

He (with Maglor) attended Mereth Aderthad, the Feast of Reuniting. (“Of the Noldor in Beleriand”)

Is this an instance of diplomacy? Yes, though showing up to the High King’s peace party seems like pretty bare minimum lordly behaviour, not exemplary diplomacy.

Is it diplomatic? We don’t know except through the absence of any evidence to the contrary. Since the Mereth Aderthad was overall a diplomatic success, it’s reasonable to assume Maedhros contributed to that success and stayed on his best behaviour.

He (with Maglor) goes hunting with Finrod. (“Of the Coming of Men into the West”)

Is this an instance of diplomacy? Sure: a leisurely hunting trip with the cousin whose kin you once killed (oops) is a good move.

Is it diplomatic? Again, lacking evidence to the contrary, reasonable to assume Maedhros behaved himself and the trip went off without conflict.

Remaining on good terms in particular with “Fingon, ever the friend of Maedhros” (“Of the Fifth Battle: Nirnaeth Arnoediad”). The anecdote about the history of the Dragon-helm (below), which has it pass from Maedhros to Fingon, additionally attests that these two “often exchanged tokens of friendship.”

Is this an instance of diplomacy? Yes: in particular, the exchange of tokens of friendship between rulers.

Is it diplomatic? Unless we imagine Fingon was himself tactless (which is contradicted by what we’re told about him elsewhere) and their friendship was built around being mutually despicable (see: Celegorm and Curufin), fair to assume this was all done courteously.

4. Making alliances

with the Sindar

We know that many Sindar outside Doriath joined themselves to and followed the princes of the Noldor, presumably including the sons of Fëanor. (The Grey Annals §48 in The History of Middle-earth Vol. 11: The Wars of the Jewels, and elsewhere).

with the Dwarves

In the preparations for the Nirnaeth Arnoediad:

... Maedhros had the help of the Naugrim, both in armed force and in great store of weapons; and the smithies of Nogrod and Belegost were busy in those days. The Silmarillion, “Of the Fifth Battle: Nirnaeth Arnoediad”

Also, from the Narn i hîn Húrin in Unfinished Tales:

[The Dragon-helm of Dor-lómin] was given by Azaghâl to Maedhros, as guerdon for the saving of his life and treasure, when Azaghâl was waylaid by Orcs upon the Dwarf-road in East Beleriand.

Azaghâl then sacrifices himself and his people at the Nirnaeth, making the Fëanorian retreat possible.

with the Easterlings

But Maedhros, knowing the weakness of the Noldor and the Edain, whereas the pits of Angband seemed to hold store inexhaustible and ever-renewed, made alliance with these new-come Men, and gave his friendship to the greatest of their chieftains, Bor and Ulfang. And Morgoth was well content; for this was as he had designed. The sons of Bor were Borlad, Borlach, and Borthand; and they followed Maedhros and Maglor, and cheated the hope of Morgoth, and were faithful. The sons of Ulfang the Black were Ulfast, and Ulwarth, and Uldor the accursed; and they followed Caranthir and swore allegiance to him, and proved faithless. The Silmarillion, “Of the Fifth Battle: Nirnaeth Arnoediad”

the Union of Maedhros

Perhaps Maedhros' most-cited and most famous act of "diplomacy":

Yet Morgoth would destroy them all, one by one, if they could not again unite, and make new league and common council; and he began those counsels for the raising of the fortunes of the Eldar that are called the Union of Maedhros. The Silmarillion, “Of the Fifth Battle: Nirnaeth Arnoediad”

And [Maedhros] gathered together again all his brothers and all the people who would follow them; and the Men of Bor and Ulfang were marshalled and trained for war, and they summoned yet more of their kinsfolk out of the East. Moreover in the west Fingon, ever the friend of Maedhros, took counsel with Himring, and in Hithlum the Noldor and the Men of the house of Hador prepared for war. The Silmarillion, “Of the Fifth Battle: Nirnaeth Arnoediad”

Are these instances of diplomacy? Yes: protecting neighbours, gathering followers, establishing partnerships, forming alliances with other groups of peoples, and organising a major offensive on a common enemy.

Is it diplomatic? Again, absence to the contrary and general success suggests Maedhros conducted himself tactfully in all of these dealings. One thing: I have seen a tendency in fandom to credit superior leadership and diplomacy on the part of Maedhros and Maglor for the fact that their Easterling allies remain faithful while Caranthir’s do not. Maybe; but bear in mind that’s a deduction, not something the text explicitly states.

I am sure there are other tidbits here and there to support the diplomatic ability of Maedhros, but I think we have enough here to conclude the Maedhros the Diplomat is a fanon characterisation with support it in canon.

The Case against Maedhros the Diplomat

So Maedhros was a diplomat; but was Maedhros an exemplary diplomat, as the prominence of his characterisation as such would suggest, or just an average one? Let us look at some of Maedhros’ diplomatic failings.

1. hubris, attempted deception

Look: we can’t neglect that Maedhros is behind one of the most disastrous failures of diplomacy in the First Age — his attempt to parley with Morgoth that ends up getting him captured.

Though not in the published Silmarillion, in the 1937 Quenta Silmarillion, Fëanor with his dying breath tells his sons “never to treat or parley with their foe.” (§88). (Christopher Tolkien drew from a later text, the Grey Annals (1950s), for the account of the death of Fëanor in the published Silmarillion where this command does not exist.) I cannot help but laugh at the fact that following this exhortation Maedhros immediately turns around and attempts to parley with Morgoth and outwit him.

Perhaps diplomatic relations with Morgoth are impossible, but then why accept the offer to parley at all? And what’s up with trying to beat Morgoth at his own game (deceit)? Honestly, Maedhros. Not your best moment.

We can say that he learned from this, but it does put into question the idea that Maedhros’ diplomatic training and excellence go back to his Valinorean days.

2. disdain of and aloofness towards another ruler

We saw how Maedhros restrained his brothers in the council where Angrod brought news from Thingol, but what about how Maedhros himself behaved at that council?

Cold seemed its welcome to the Noldor, and the sons of Fëanor were angered at the words; but Maedhros laughed, saying: ‘A king is he that can hold his own, or else his title is vain. Thingol does but grant us lands where his power does not run. Indeed Doriath alone would be his realm this day, but for the coming of the Noldor. Therefore in Doriath let him reign, and be glad that he has the sons of Finwë for his neighbours, not the Orcs of Morgoth that we found. Elsewhere it shall go as seems good to us.’ The Silmarillion, “Of the Return of the Noldor”

Fandom loves the line and I can’t disagree that it’s an epic mic drop. But was this really the most diplomatic thing to say? In the Grey Annals, it is said that “the sons of Fëanor were ever unwilling to accept the overlordship of Thingol, and would ask for no leave where they might dwell or might pass.” (§48). (Interestingly, there does seem to have been a point, before word of the kinslaying at Alqualondë was out, that Thingol for his part was at least neutral on them, saying, “Of his sons I hear little to my pleasure; yet they are likely to prove the deadliest foes of our foe” (“Of the Noldor in Beleriand”)). Arriving at a new place and refusing to treat with the person who claims kingship of those lands — and apparently for no other reason besides disdain of that person’s ability as a ruler — doesn’t seem particularly diplomatic.

3. not supporting a superior's initiative

We saw evidence of Maedhros cooperating with the other princes of the Noldor, but that doesn't mean he threw his support behind them at every occasion to do so. When Fingolfin — supposedly, thanks for Maedhros, High King and his superior — tries to rally the Noldor to assault Angband, almost everyone was “little disposed to hearken to Fingolfin, and the sons of Fëanor at that time least of all.” (“Of the Ruin of Beleriand”).

This statement is frustratingly vague so I won’t speculate much besides to suggest that there could be something suspect — and undiplomatic — behind failing to support the initiative of the High King to whom you so graciously ceded your claim.

4. Oath-related diplomatic failures (kinslayings)

The extent to which the oath is to blame for events is a sticky issue and not the subject of this analysis, but since fulfilling the oath is essential to Maedhros’ character, it’s impossible to avoid it entirely.

The narrator of the Silmarillion is actually quite generous towards Maedhros when discussing the role of the oath in his failings, so it’s no surprise that many fans are likewise generous.

For example:

I quoted above the passage about Maedhros taking “the chief peril of assault” upon himself and remaining “for his part in friendship with the houses of Fingolfin and Finarfin,” and it is perhaps the strongest evidence for Maedhros’ diplomatic excellence. It also ends with the ominous words: “Yet he also was bound by the oath, though it slept now for a time.” (“Of the Return of the Noldor”)

And when the concept of the Union of Maedhros is introduced, we are told: “Yet the oath of Fëanor and the evil deeds that it had wrought did injury to the design of Maedhros, and he had less aid than should have been.” (“Of the Fifth Battle: Nirnaeth Arnoediad”).

Both of these passages remind us that the oath — a vow to vengeance — is in the long-term at cross-purposes with cooperation and diplomacy.

This becomes especially evident when a Silmaril ends up in the hands of those who should be allies: other elves.

For Maedhros and his brothers, being constrained by their oath, had before sent to Thingol and reminded him with haughty words of their claim, summoning him to yield the Silmaril, or become their enemy. The Silmarillion, “Of the Fifth Battle: Nirnaeth Arnoediad”

The narrator pins this failure of diplomacy on the oath. But, as Maglor will point out in his final moments with Maedhros, the oath does not state how and when they must fulfill it. Is it a mark of a good diplomat to use “haughty” words in making a request? And what about what follows Thingol’s refusal?

Therefore [Thingol] sent back the messengers with scornful words. Maedhros made no answer, for he had now begun to devise the league and union of the Elves; but Celegorm and Curufin vowed openly to slay Thingol and destroy his people, if they came victorious from war, and the jewel were not surrendered of free will. The Silmarillion, “Of the Fifth Battle: Nirnaeth Arnoediad”

What do you mean, “made no answer”? The narrator explains this away by saying essentially that Maedhros was too busy to bother, but is it the most diplomatic to just… stop communicating with the king who had the Silmaril, and whose support would really be quite nice to have in the upcoming war? And what about Celegorm and Curufin’s decidedly undiplomatic threat? Long gone are the days of effective brother-wrangling, apparently. (So far gone, in fact, that by the time Celegorm carries through on his threat and the sons of Feanor attack Doriath, Maedhros seems to have deferred to Celegorm’s leadership.)

The oath is again blamed for Maedhros’ change of course regarding the Silmaril at the Havens of Sirion. Having initially “withheld his hand”:

… the knowledge of their oath unfulfilled returned to torment [Maedhros] and his brothers, and gathering from their wandering hunting-paths they sent messages to the Havens of friendship and yet of stern demand. The Silmarillion, “Of the Voyage of Eärendil and the War of Wrath”

As with the “haughty words” to Thingol, was “stern demand” the most diplomatic approach? Would better diplomacy have made a difference? Well, maybe. I don’t think the discussion between Maedhros and Maglor was inserted into the narrative without thematic purpose — and one of those purposes is, I think, to reveal the slippery space of conflict between obligation and choice; between that which must be done and how it’s done; between the morality of keeping one’s word and the morality of doing the right thing.

Does the oath itself turn an otherwise mild and affable Maedhros into someone haughty and stern? Or are those flaws he already had and which are brought to the fore by the constraint of the oath? Well, examine the evidence for yourself — and allow the imagination to roam.

Final assessment: Maedhros is a good diplomat, certainly compared to his closest kinsmen. But just like Maedhros isn’t the tallest (no, really, he’s not — but that’s another excavation), he’s perhaps also not the best diplomat on the political stage of First Age Beleriand.

[1] If we go beyond the published Silmarillion to the “Shibboleth of Fëanor” (in History of Middle-earth Vol. 12: The Peoples of Middle-earth), we learn that he was a red-head and apparently “well-shaped.” For an author who is notoriously sparse with physical description, Tolkien did seem to have a lot of ideas about what Maedhros looked liked!

Addendum: Maedhros the Scholar

“Diplomat and Scholar” do seem to go hand-in-hand in the fandom’s most popular versions of Maedhros, but I focused on the former for this Ask because there really isn’t much in canon to directly support Maedhros’ skill as a scholar.

The Noldor, as a culture, are loremasters. Fëanor, Maedhros’ father, was one of the most notable of these loremasters, even credited with founding the school of Lambengolmor, Loremasters of Tongues ( in the essay Quendi and Eldar in The History of Middle-earth Vol. 11: The War of the Jewels).

But, when Tolkien gives examples of elven loremasters, who, he says, were also “the greatest kings, princes and warriors,” he names Fëanor, Finrod, the lords of Gondolin, and Orodreth. No mention of Maedhros. And, when discussing which sons of Fëanor took an interest in language, he mentions not the eldest, but Maglor and Curufin. (Both in The Shibboleth of Fëanor.)

So there’s nothing in canon to suggest that Maedhros wasn’t a scholarly type, but it’s not something he’s noted for. His most remarkable trait remains “tall”.

[flowers-of-io]

Destinytober - Dream, Tree

Read on Ao3 with proper formatting

There is a garden at the end of the world. It's just a children's story, some people would tell you, but that's not true--I've been there. It's a gorgeous place, filled with birdsong and the sweet scent of fruit trees in bloom, awash in pink-golden light. Its inhabitants, in their broad variety, wade in the lush grass, picking at scraps and building new things from it.

The garden, you see, is a little like a landfill. All things failed and discarded end up here. From the smallest krill to the mightiest warrior--everyone who could not bear the weight of existence, here finds solace and respite from their burdens.

I can already hear you accusing me of overmetaphorising. There is no end of the world! The cosmos is infinite and Guardians make their own fate. Even the radiolaria in their little bronze caskets may soon have to make peace with this fact. This is the beauty of existence: it keeps going on, and on, aimlessly and for no reason other than it just does. Arte pro arte--but oh, what beautiful art it is indeed! We have always appreciated this majesty, me and her. You could say it was the love of life which brought us together. Would you believe that?

(You'd do well brushing up on your Symmetrist writings. The sword and the bomb share some very basic principles.)

And now the children's story (and a holy story, because believers are a lot like children): in the garden at the end of the world, there is a tree. It grows tall over the hedges and flowerbeds, spilling shadow over the ground and enticing birds with its sprawling branches. But no birds that choose to nest in its boughs ever emerge back into the sunlight. There's a terrible power in its heady scent, the way it inspires violence in anything that breathes it in; its leaves are ruin, the bark disaster, and of the seeds... well. Its roots sink in piles of bloodied feathers.

It is a cautionary tale, teaching children that curiosity can kill, and believers--that there is no end to conflict, even in paradise. The unshakeable rule of existence, caught in a parable and give shape.

But did you know it had been a gift? One of the first she'd given me, back before everything became complicated. A proof of love, you might say. It's still ruinous, of course--but I do wonder if it has changed your perspective a little, me admitting this? Do you think of it in gentler terms, now that you know it had been a mark of affection? A crime of passion is still a crime, but has a nicer ring to it. You could compare the splatters of blood to a rose garden and still get away with the metaphor.

Of course, were you to tell this fable to a scholar, their first question would be, "why does the tree incite violence?" But as I said, it's a children's story. And that is not something a child would ask. Children understand stories better than adults do: they accept there is a set of rules that cannot be questioned unless the whole world falls apart, and the essence of the tale trickles out through the cracks and sinks into the ground. There's no use asking how the hag could ever have an oven inside a gingerbread house; it is an axiom, and while you could waste time trying to dissect it, it wouldn't do much beside ruining the entire point of the story. The tree incites violence because it does. Taking this statement apart doesn't deny the reality it describes. There are still dead birds on the ground.

It's just as I said--life goes on, and on, with no aim or meaning, directionless and unfettered and entirely without a point. It is, for all intents and purposes, what it is.

But I will let you in on a secret: the Symmetrists are wrong. There is no other tree, in some different corner of the world, that would inspire in its beholders a proclivity towards peace and mercy. Not every rule of the universe has a mirrored rule; and however far you might look, the number of wicked witches and brave maidens will never be equal. Sometimes--to assume your very shallow and constraining human perspective--evil simply wins.

But then again, what do I know. Maybe it's just a children's story.

[edwisefoundation]

Statement of Purpose (SOP) for Study Abroad: How to Write an Impressive SOP

A Statement of Purpose (SOP) is a crucial part of the application process for studying abroad. It provides admissions committees with insight into your academic background, goals, and personal motivations beyond your grades and test scores. A well-written SOP can significantly enhance your chances of acceptance by showcasing your unique qualities and passion for your chosen field. The essay should also address why you are interested in studying abroad and how you plan to contribute to the institution.

For more details on how to craft a compelling SOP, visit Statement of Purpose for Study Abroad.

[felinecryptid]

hoooooooooo boy, tmagp 4 go-

this time its becoming apparent that there are some themes and clues that tmagp wants us to notice, the sections stand out, begging for attention

like the recurring theme of bones, and blood, and gore in general (it might be too soon to tell exactly what themes are leading to, but they are definitely there)

the violin could fit right in grifter's bone with it's affinity to music and violence

(the music feels aligned to circus over spiral or web

tho there are elements of the web what with the mind control, but i fear all fears possess a certain degree of control, as such

the violence feels more of the slaughter variety rather than the hunt, though you could make a valid argument for flesh as the words 'sacrifice', 'payment' and 'creature with needs and purposes of its own' do stick in mind

once again i do not think that tmagp follows the same format as the smirke's fourteen (or 15) , i merely use them as parallels to better explain what aspects of the episode sticks out to me (and for me refer back later on))

as other listeners have noted, another theme that tmagp in general follows, is 'obsession', rather than tma's 'fear'

i feel this is also paralleling (intentionally or not) the audience's own listening habits and motives

we first consumed the magnus archives for its content of horror

and yet we are back for the magnus protocol like we never left, and perhaps

we never did

the statement's first person pov depicts a truly horrific picture of the slaughter, of the violence that the violin demands

and his descriptions of the mania on the audience's faces too

it's eerily reminiscent of the france's dancing plague

enough about the statement, lets talk about my boy sam and his co-workers, and their workplace in general

there's a protocol surrounding the magnus institute? interesting interesting, very similar to the police division daisy and basira were part of, the unofficial supernatural division

is this like the civil servant version of such?

another thing that is interesting; how is freddy getting these statements incidents? like sam asked, how exactly does a letter from the 18th century end up in the system?

i don't think gwen's answer is satisfactory (and we weren't meant to either), sure someone might be updating the archives website for reasons unknown but rarely in magpod is something a dead end, every little thing is a clue, a small part of the larger picture

so how exactly does a letter from the 18th century is in freddy's system?

perhaps an 'avatar' or the equivalent (such people are suggested to exist in tmagp universe, like the tattooist from daria's statement)

or maybe the fears themselves manifest in phenomena that upload relevant content to freddy

colin my guy, still being iconic and not trusting tech, hats off to you, the only real character in the whole show

never trust any piece of technology older than paper

the video of lena that gwen got in the end? weird? yeah, fuck yes, but how did she even get it? is there any sort of personal communication available on the ancient system? why gwen?

i have so many questions and so many more thoughts, but this is already so long, im gonna write a separate post about tmagp so far, in general

[shuraa-education]

How to Write a Stellar SOP for Canada?

With Canada being one of the most popular destinations for education, students from all around the world are striving to pursue their studies in this country. However, often students are denied visas because of a missing piece of a document which is a mandatory requirement while applying for an international university. The Statement of Purpose, or SOP for Canada articulates the academic and professional achievements of the applicant and serves as a decisive factor for the officials to consider their admissions. Connect with the experts of Shuraa Education to get a detailed format of how to prepare an SOP for Canada.

[sensualnoiree]

astro notes: mars, jupiter, & saturn meet

As we step into Wednesday 8/14, the cosmic energies are intensifying with Mars conjoining Jupiter in the sign of Gemini at 16 degrees. This conjunction is forming a powerful square with Saturn in Pisces, which is currently at 17 degrees. As the week progresses, these aspects will significantly shape the astrological landscape, leading to dynamic and potentially transformative events.

Key Aspects and Developments:

Mars Conjunct Jupiter in Gemini: Mars, representing speed and action, joins forces with expansive Jupiter. This alignment suggests an increase in momentum, particularly in areas governed by Gemini—communication, information, and mental agility. Expect a rapid pace in these domains, which could lead to potential misunderstandings or conflicts, especially with Mercury in retrograde.

Mars and Jupiter Square Saturn: The square aspect to Saturn introduces a sense of challenge or restriction. This is where the energy shifts from pure momentum to a more focused, determined effort. Saturn’s influence demands discipline, structure, and a cautious approach to the enthusiasm and ambition fueled by Mars and Jupiter.

Formation of a T-Square: As the weekend approaches, Venus moves into the same dynamic, opposing Saturn and squaring the Mars-Jupiter conjunction. This forms a T-square, a challenging astrological pattern that often brings tension and the need for resolution. Venus’s involvement suggests that relationships, values, and resources may come under scrutiny, requiring balance and adjustment.

Mercury Retrograde and Uranus Influence: The week also sees Mercury retrograde squaring Uranus, adding a layer of unpredictability and potential disruption, particularly in communication and technology. This aspect, combined with a Kazimi (when Mercury is in the heart of the Sun), emphasizes breakthroughs or sudden realizations, albeit through chaotic or unexpected events.

Full Moon and Uranus: The Full Moon, with its square to Uranus, culminates this energetic buildup, highlighting a need for change or a shift in perspective. This Uranian influence could bring about sudden shifts or liberating experiences, reinforcing the theme of breaking free from outdated patterns.

Archetypal Themes:

Speed and Amplification: The Mars-Jupiter conjunction in Gemini accelerates mental processes, communication, and data exchange. This could lead to quick decisions, bold statements, or conflicts arising from hastiness. However, the positive side includes increased confidence, courage, and a sense of victory in overcoming challenges.

Pressure Cooker Dynamics: The square from Saturn introduces a testing period where strength, determination, and focus are required. This aspect suggests a need to channel the high energy of Mars-Jupiter into disciplined and constructive efforts. It’s a time for heroic perseverance in the face of obstacles, whether expected or unforeseen.

Overcoming Obstacles: The combination of Mars, Jupiter, and Saturn signals a time to overcome hurdles through intelligence, discipline, and hard work. Whether these challenges were anticipated or not, the key lies in steadfast effort and strategic planning.

Structural Reformation: The Jupiter-Saturn square, amplified by Mars, points to a period of restructuring or reorganization. This could manifest in personal, professional, or societal frameworks, necessitating decisive actions to rebuild or reform systems that no longer serve their purpose.

Necessity as a Catalyst for Innovation: Saturn’s restrictive influence often forces creative solutions. As constraints become apparent, particularly in areas related to Gemini (communication, technology, information), the necessity to adapt or innovate becomes a driving force.

Practical Applications:

Stay Grounded: With the rapid pace and potential for misunderstandings, particularly in communication, take time to think before you speak or act. Patience and clarity will be your allies.

Embrace Challenges: View obstacles as opportunities for growth. The pressure cooker environment created by Saturn’s square may feel intense, but it’s also a chance to demonstrate resilience and determination.

Be Open to Change: The Uranian influence suggests that surprises or sudden shifts are likely. Embrace these as opportunities to break free from old patterns and move towards greater freedom or innovation.

Reevaluate Structures: Whether in personal habits, relationships, or professional endeavors, consider where reorganization or restructuring is needed. This is a time to build stronger, more sustainable foundations.

follow for more astro insights like this and head on over to @quenysefields or etsy sensualnoiree to book a session with me :)

[sapphire-weapon]

How tf is re4r a romance game?? I'd love to see a source on romance formulas in stories since I don't think it's something that is analyzed academically a ton. But honestly saying that the story is a 'romance' based on what you perceive as the format it follows feels really flimsy to me. Why would makers of an action-horror game want to have it structured as a romance? Just because they focus more on the relationship between a male and a female character in the remake doesn't mean they were intending to have the whole thing be romantic. Showing someone caring for another as well as personal change and outlook on life doesn't have to be read as romantic, and I have the feeling you wouldn't be making the same argument if Leon and Ashley were both the same gender.

I mean, Google exists, if you're unfamiliar with the Romance genre and want to study it. But don't take your lack of familiarity and ignorance out on me.

And I can't tell you why the devs did it. I wasn't in the room when they decided it. I didn't hear the conversations. And I can't read their minds.

I can tell you my best guess as to why I think they might have done it, but I don't know for sure. No one does.

Also lmao at your last statement when I've also been the one making the case that remake metaltango was consciously made to be homoerotic on purpose.