#when in reality they’re just obscuring their own power in the dynamic with you

[dreamyintersexouppy]

being a sex worker is like if someone pretended a service worker was a celebrity that held all the power in their dynamics and only the service worker could see the eggshells they were having walk on

[doomedandstoned]

Planet of the Dead Return to the Stars as ‘Pilgrims’

~Doomed & Stoned Debuts~

By Billy Goate

Album Art by Jonathan Guzi

Every other day there's a story that calls our eyes heavenward to wonder about new planets discovered in nearby solar systems, terraforming Mars, or exploring the smallest elements in the universe. Anywhere has to be better than here, any time better than here right now. At least that's what a lot of people are feeling. How about the power of music to elevate us into vast dimensions of the imagination. One band out of New Zealand is interested in finding out what limits one can breach when the driving power of doom rock is hotwired with adventurous sci-fi/fantasy storytelling.

I speak, of course, of Wellington quartet PLANET OF THE DEAD Last year, Mark Mundell (vox), Malcolm McKenzie (guitar), Kees Hengst (bass), and Josh Hussey (drums) brought us the impressive first introduction to their soundscape and narrative concept, which elicited no small amount of praise for 'Fear of a Dead Planet' (2020), including the enthusiastic Bandcamper who gushed, "Some of the best jams I've heard in this universe!" Listen to fan favorites "The Eternal Void" or "Mind Killer" and you'll discover why there's excitement around this band's future.

But Planet of the Dead wasn't done yet. As many of us have already experienced, unexpected and elongated times of forced aloneness do crazy things to the creative mind. For one, it frustrates, as you cannot express the present songs you feel so strongly about to live crowds filled with spontaneous drifters. The moods usually shift out of sheer exasperated boredom, leading to the insatiable urge to begin tinkering again. 'Pilgrim' (2021) comes at us like an explosion with stories to tell and songs to wail. It's purpose-driven interdimensional doom we're talking about here. This may have been the impetus behind the second album’s creation, so closely after the birth of their first (incidentally, both records feature exactly eight songs a piece).

"Gom Jabbar" is the first creature we chance upon in this otherworldly dimension. He speaks with synth-enhanced vocals (ever so slightly) that's practically like an alien encounter if you listen to it high (gosh, sorry. I've gotta stop leaking album reviewer secrets like that). A defiant second voice joins the dialogue, sounding for all the world like Goliath, Hercules, or Hulkian figure.

"Pilgrim" stirs up grey and purple auras as this groovy sandcrawler glides across dunes and high above deserts, searching for the most fitting place to (re)build the world they once knew, perhaps even dare to dream beyond it. I'm assuming they're a scientific voyage on the run from a restrictive government in a week's long mini series I should have pitched to NBC 20 years ago for big bucks. The song allows your imagination drift on its own recognisance, before the closing words call us back to the shadows.

A dire feeling blankets the air throughout "Nostromo," a stomping little number that's straight-up doom rock, with a cool streetwalking kind of stride. It's impossible to not to think of previous adventures aboard vessels christened Nostromo, but each are mysterious encounters with the unknown, some of which yield new insights into our humanity by taking us back through some strange luck of heavy metal time travel to experience pivotal moments in astral history.

"The Sprawl" may be one of the most dismal legs of this journey, but in an exotic acid-soaked kind of way that makes you question your reality (and your own sanity) before the trip is done. The song is good about building various layers of joy and tension, then meshing them together for some distorted, fuzzy, electric, sparkin' Frankensteinian experience. Where will the spiral take us next? Confident lead gets a riff-enhanced jolt, staging march-like-groove that eventually turns meditative, psychedelic, and ethereal. And that's just the first side of the record! Go ahead, flip it over. You can't stop this far-invested in the trip. Shhh. Listen. Grungy, rumbling energy, extraterrestrial harmonics, and gnarly acid-touched solos are just ahead.

"Escape from Smith's Grove" jars the senses with the unexpected tonal shift from clarinets into a seismic pattern of eruptions that match our stomping feet. This is, after all, a jailbreak of sorts.

"Directive IV" takes the perspective of an enforcement officer who is just doing his job. Mark Mundell's vocal stylings are on-point. For me they compare to the pipes of the late-great Wayne Static, the spastic, growling frontman of Static X. Others may see more similarity with the "common man" grit of Scott Angelacos from Hollow Leg and Junior Bruce. Or even Kirk Windstein's apocalyptic spitfire with Crowbar.

The song appears to be a struggle of conscience between compassion and machine-like order, a tug-of-war that after several epic call and response segments in which our protagonist is put on trial by his peers. The tight grip of fascistic space goons gradually loosens their grip in the song's final minutes, as a street-worn riff storm carries our rebels far away from the grasp of whatever the fucks. That means our (now treasonous) soldier has a second chance at life in the (are you ready for this?) the unknown wilds of...

..."The Cursed Earth." This is a perfect song for that moment in a show when the alcohol or "legal tobacco" has sufficiently unlocked your third eye with stellar riffs and choruses (this song has several "ah-ha" moments). The vocals are obscured here and are sometimes backed up by other singers to emphasize a specific point in the lyrical narrative. The final moments again are slowed down with impactful tonal moments that make you think you're on the edge spying some strange meeting of warrior souls.

Things are not what they seem They never are

"The Great Wave" pulls you right into its hypnotic sway, interjected with extraterrestrial strains of thought communicated as if by a very blasted HAL 9000, our onboard computer. It's downright creepy when it hits you. Then again, maybe that's what we want from an intrepid album such as Pilgrim, to rope us into a fascinating narrative and invite us to return to sort out the details, several spins down the road. Now that I think of it, maybe these songs are all references pinned to great Alien, Robocop, and Judge Dredd moments? Listen closely to "Nostromo" and "Directive IV" and wonder. A good album should do that to a person, draw you into its storytelling and musical colour. It has me listening to it immediately from beginning to end, then end to beginning. If you wanna give it a shot, Planet of the Dead's monsterpiece will definitely reward your back-to-back listens.

Look for Pilgrims to come to life on July 23rd, with a fantastic spread of options on vinyl and CD (pre-order here). In the meanwhile, Planet of the Dead are letting us join the party leading up to the big drop right here at Doomed & Stoned HQ, where you can hear each track in full. Don't miss crucial insight from the band itself in 'Some Buzz' to follow. Then join in sharing your thoughts and theories (stoned or otherwise) on this transcendental New Zealand metal album in the comments below!

Give ear...

LISTEN: Planet of the Dead - Pilgrim

SOME BUZZ

Just little over a year following the release of their auspicious debut album, 'Fear of a Dead Planet' (2020), which attained more than 35,000 views on YouTube, New Zealand cosmic stoner and doom four-piece band Planet of the Dead are back with a new full-length album titled 'Pilgrims' (2021).

Hurtling towards the forever yawning void within their busted-up space freighter, they draw inspiration from classic science fiction and horror, and push supermassive and megalithic riffs to the outer limits.

"Our second album came together around the titular track 'Pilgrim', which is based on the book 'Slaughterhouse 5' by Kurt Vonnegut. Musically, it plays upon the themes of moments trapped in the amber." So says the band about this new album.

"Our basic concept is heavy music played heavy, and we try to keep it simple. There are recurrent themes in our riffs which gives the album a sense of coherence, but we've experimented with some new sounds in the latest album which we feel results in a greater sense of dynamism.

"Lyrically, we dug deeper into our obsessions with classic sci-fi and horror. There is a distinctive and undeniable fan-fiction element to our work. We actively seek out cultural references, and weave them into our tapestries. Ultimately, we do everything we do for the great god Dyzan, for his greater glory...and for our mutual pleasure.”

Set for release on July 23rd, 'Pilgrims' will surely cement Planet of the Dead’s reputation as serious riff merchants.

Follow The Band

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[girlobsessed21]

Thoughts on The 100 7x01

Before I get into the episode, I felt the absence of Bellamy and Octavia, they are my favorites and a very core part of this show. I was worried about the lack of Bellamy in all the promotional material, but Jason explained in an article that he needed some time off and they gave that to him, but he still plays a vital role and we will see him again.  At the end of the day, we don’t know what happened, but the mystery around his disappearance into anomaly is quite intriguing.

For now, I’m holding out hope that he will return to my screen in full force, until proven wrong I’m going to be positive. Despite that, I enjoyed it. It wasn’t my favorite first episode, still a strong start spreading optimism for the rest of the season. Lots of surprises that made it worthwhile.

The anomaly colony

Hope wakes up with memory loss while Gabriel examines her tattoos. She runs away and finds a note to herself that says, ‘Trust Bellamy’. Bellamy, not Octavia, who she clearly knows, which seems like Hope wasn’t aware she would find Octavia in Sanctum.

Now, why would Hope want to trust Bellamy and stab Octavia? Perhaps she needed his help finding her in return for Diyoza? This seems like a logical conclusion given that ‘He’ has her mother. The Blakes certainly hold some key to the anomaly, everything points me in that direction.

I can’t say all that much about Hope, due to the amnesia she has no personality yet, but it’s clear she’s smart and capable.

Gabriel being an anomaly-dork. Gosh, I love him too bits. The acting in the scene where they try to figure out what happened to Octavia and Bellamy is a little cringy, but I turned a blind eye and focused on the dialogue.

I’m getting to the good stuff…

Roan coming back to haunt Echo is probably my favorite part of the episode, I’ve missed the king so damn much. He asks her who she is without Bellamy or her queen. I’m so glad they’re delving into the subject. If you read my previous blogs, you’ll know I asked this question many times. She’s such a bad ass spy, she needs a purpose and story apart from him. Nonetheless, I like Echo and I would love to see her gain some of her own identity and build her own life. Being distanced by time and space could really do that for her. Scroll down for the shipping part of this story…

The more important thing is that there are people who control the anomaly and know exactly who they are. Like Echo predicted because of the bad shots they were sent to capture and not kill them except for Hope. I assume it’s because she knows how the anomaly works. Who are they and what do they want? My guess, Bellamy and Octavia. Perhaps Clarke as well?

Loved the three of them entering together because a few second difference could mean months. That means Diyoza and Octavia could have been months, maybe even years, apart.

Rising from and burning to ashes in one afternoon

This new beautiful house with the dysfunctional family and Madi with Picasso is certainly heart-warming in a show that continues to push the bounds of darkness. How great is that little picnic in the yard? Now I’m curious, they drink to Abby, but have they forgotten Kane?

Also, good to see Raven and Clarke on better terms. They really spoiled her character in season 6 but it seems like she’s back on par. It’s clear that good things happen when they’re working towards the same goal, as family. That dynamic has been broken since season 2 and if there’s one lesson that can be learned from season 1 it’s that they’re outstanding on the same team. 

At first, I wondered why they weren’t questioning Octavia, Bellamy and Echo’s absence but then I realized they probably saved them a room like they did for Jordan and assumed they were exploring the anomaly. It’s still the same day as 6x13 since they were having lunch. Episode 6x13 ended at dawn and 7x01 starts at lunchtime.

I know Murphy did a lot of obscure things in season 6 but he’s not to blame for Abby’s death. Emori’s right, Russel killed her.

Why did Clarke choose the master suite, though? It seems a little out of character for her to do something so selfish.

On to other things, I must point out Indra’s line: “Someone needs to speak for the commander and I’m hungry.” She’s magnificent, hard and sharp, as always. Pair that with Miller being a dutiful, abiding shoulder and you have greatness.

Raven makes a comment about mothers and daughters and Clarke says she’s fine. Later, Madi also asks her to open up about it, and she still claims to be fine. When I heard this the first time, I was instantly worried because they heap one set of PTSD on top of the other and never deal with it. The woman just lost her mother, how the hell can she be fine. The answer: She can’t.

And I’m really glad they expanded on that to show how utterly necessary it is to deal with your grief and trauma. Sure, Clarke is a powerhouse of a woman, but she’s human and clearly hurt, she can’t compartmentalize and continue on like nothing has happened – I hope she finds a way to actually deal with it instead of following in Jasper’s footsteps. She was already suicidal, give the damn woman a break.

Is civility an ability?

Faith is a powerful and dangerous thing. Interesting topic. While I don’t completely believe that faith is dangerous, when it comes to the point of blindly following charlatan’s into harms way, yes it becomes dangerous. My biggest thoughts on this narrative is whether peace can indeed exist in a world where different factions exist with various beliefs and opinions. I’d like to quote John Lennon:

Imagine there's no countries It isn't hard to do Nothing to kill or die for And no religion too Imagine all the people living life in peace, you

Keyword being ‘Imagine’, this song is written about an unattainable Utopia which is still a reality several hundred years into the future.

“Too many people”

“Good thing ALIE’s not around.”

The humor is all around outstanding this episode even Clarke cracks a joke.

We’re introduced to a few new characters and not much too say about them since we didn’t see much of them. I like Nelson, he is firm in his stance, logical and pragmatic. Trey is just annoying with his faith in the divinity of the primes. The only thing I got from Nikki is that she’s compulsive and lethal while Hatch has this Southern charm and charisma. He reminds me of Sawyer from Lost.

Next, Jordan goes to check on Russel. I appreciate the way they build around the morality we saw withing Russel at the beginning of season 6. JR Bourne is a fantastic actor with the depth he plays into the grief and guilt of losing his family.

Also, the softness of Monty and Harper still shining through Jordan. I’m glad he’s not adjusted and simply trying to keep the peace. Not sure if that’ll change. Curious to know why they saw the anomaly in their visions…

I just need to add that Murphy sitting at a bar is perfect!! Another amazing episode for him and Emori. He questions himself with his own varied degrees of morality while Emori continues to grow by reading Kay Lee Prime’s journal. I guess the believers must be blind to continue following their orders, but hey, props to Raven for exploiting the opportunity and Murphy and Emori did an entertaining job with it. Emori has come such a long way and the ‘We are one’ line felt personal in the sense that she had also established herself as part of the family.

Losing my religion

Can you truly lose your religion? What is a fleimkeepa without a flame, what is Sanctum without the primes and what is Echo without Bellamy? Sometimes faith is stronger than truth. Bad thing, no! Because what is the truth really? Interesting subject to explore but I don’t have an answer on this. I’d rather focus on the fact that I’m glad we’ll get to explore these characters on new paths.

Clarke’s composure vanishes. Boy oh boy, Eliza’s acting. When you compare s6 and 7 to s1, it just shows you the value of experience. The way that switch flipped when Russel handed her Abby’s clothes and wedding band. I looked at the fighting and her explosive rage in detail and I cannot help but compliment her on that perfect portrayal of the result of passive aggression.

Now, I don’t understand how Sheidheda uploaded himself into Russel’s mind drive when it was made clear that two consciousness cannot exist in the same mind.  When Clarke killed Josephine in the mind-space, she came back to life within seconds. Will this be another Clarke/Josephine battle and are the other commanders still subdued?

If he is going to be one of the main villains of the season, I would like to get under his skin. I’m not interested in a one-dimensional pure evil villain. I’m hoping JR Bourne will make something remarkable of him.

Shipwreck

There’s a friendship blooming between Clarke and Gaia and I’m all for it. Could they be setting them up romantically? It’s a possibility and I’d take it as a consolation prize for Bellarke if it’s well-built. Focus on the well-built. If Clarke finds out that Bellamy is missing and goes through hell and beyond to save him, I will interpret that as Clarke still loves Bellamy. If they want me to fall in love with Claia, they should make me fall in love with Claia.

Although I’d always prefer Bellarke. From a storytelling or writing viewpoint, all loose ends should be tied with the conclusion. Bellarke is a complete loose shard. If romance is not their destiny, I hope they at least address the topic in full, because it has been building for seven years. If you haven’t read my post on Bellarke, please do so. I explain in the romantic elements of their story in detail.

As for Echo’s vision of Roan. He questions her devotion to Bellamy and says she will even betray the man she now claims to love. I interpreted that as him referring to Mount Weather as well as secrets she’s obviously hidden from Bellamy. For example, her real name.  This could go two ways in my opinion. One, they’re trying to set Echo apart from Bellamy, separating them by time and space to break them up or they are trying to teach her how to be her own person as well as the other half of their relationship.

I’m not quite invested in their relationship, and they would have to rip one bigass hare out of the hat to get my attention. Love their characters individually, but season 6 showed me Bellamy still loves Clarke. If Becho’s relationship was built to last, the writers would have written it that way. When you compare it to Murphy and Emori or Monty and Harper, it’s clearly questionable.

That’s it, let me know if I got something wrong, if you agree or disagree, love to hear your opinions.

[newlyy]

can I ask you for advice? my sister started using terms like cis and people with uteruses recently, how do I like. explain why that’s BS, I get so heated so quickly I can’t form coherent arguments lol

god, same. how old is your sister? and how deep is she into gender shit? Big discussion below the cut.

I know a lot of people's argument with “cis” is that it means “comfort with your gender role,” but I’ve never thought that was a good argument to make because genderists don’t view it that way. They just view it as “not trans” and when you frame it like that, opposition to “cis” just seems like opposition to a really neutral concept that no one should have a problem with. but I think there are a few arguments that would be harder for them to dismiss:

- pointing out that splitting the category of women into two and then giving half to male people, is just an instance of oppressors appropriating the language of the oppressed. I know a lot of people don’t like to use the race analogy, but you could ask your sister if she would agree that white people have the right to call themselves black and force black people to call themselves “cis.” If she says it’s not the same thing, ask her why. Point out that in both cases, a class of people with privilege is claiming the identities of a class of people without. Don’t let her say that transwomen don’t have privilege. They are male. Whatever other axis they may be oppressed on (race, sexuality, even “trans” status), they retain privilege from being biologically male (if she denies this, or denies the existence of sex, point out centuries of female oppression. ask her the basis for it, if not sex). Should men have the right to claim and redefine womanhood or is this just another assertion of entitlement and power?

- When you refer to someone as cis, you’re imposing your own belief system or worldview on them. Whether genderists realize it or not, arguing the existence of a “gender identity” is equal to arguing the existence of a “soul.” Both are unprovable assertions based on belief. Not everyone believes in a soul. Not everyone believes in an internal gender essence. If she doesn’t believe religious people have the right to force everyone into a believer/heretic dynamic, and to identify themselves according to that dynamic, then she can’t argue the same for the cis/trans dynamic.

- I found THIS POST in my archive that makes a good practical point about “cis” and its implications. When “women” are oppressed and “woman” is a matter of identity, “cis women” could simply choose to opt out of their oppression. Another thing you might want to look at is Callie Burt’s paper on the Equality Act, the section titled “disappearing sexism: cissexism and the cis/trans hierarchy,” where she points out that the shift from a male/female dynamic to a cis/trans dynamic obscures the reality of sexism by conferring privilege onto female people, and therefore paints any female-centric (i.e. feminist) focus as bigoted, cissexist, or transphobic. 

As for “people with uteruses” arguments, I think you can just tell her it’s dehumanizing to refer to women by their body parts. Or maybe ask her what’s wrong with the words woman or man (why not “women and trans men” for female people or “men and transwomen” for male people, if we’re trying to be inclusive? if she says not all women have uteruses, tell her that some women do, so the language is accurate. if she goes further and says that the word “woman” shouldn’t be used when only female people are being referred to, ask her if the reverse applies, and if transwomen shouldn’t be able to use the word “woman” when they’re only referring to themselves. If she says no, she’s telling on herself. point out the inconsistency and ask if what she’s advocating is actually inclusivity or if it’s male dominance and female erasure). 

You could also ask if less than 1% of the population’s discomfort with the correct language for their bodies justifies an entire overhaul, imposed on the other 99% without their consent or input, at high risk of creating confusion. Or maybe point out the women who don’t speak English as a first language, or who are unaware of the names of their body parts, and the burden this language imposes on them. 

I can’t find any examples of this on hand, but I also know there are instances of organizations redefining “woman” but not “man” in their materials (planned parenthood I’ve seen do this, but I can’t find it on their site now). You could ask why she thinks that is, why the word “woman” offends, but not “man.” Or ask her how often she uses/sees others use the words “penis haver” or “sperm producer.” (it’d be really effective if she says the word “man” without thinking while you talk to her, but that’s just me being petty). You could ask why it’s only women being stripped of their words and what, in general, the effect is on an oppressed group of being denied a word to refer to themselves as a class. ”Pregnant people” and “menstruating people” are two distinct types of people with absolutely no overlap; if you’re pregnant, you necessarily aren’t menstruating and vice versa. But they are both female and oppressed for it. Losing the ability to refer to them together as part of a cohesive class (along with cervix havers and vagina havers, all these disconnected groups) erases our ability to name and address female oppression. 

But honestly, I think the best argument that really cuts to the heart of it, is just that it’s dehumanizing. Women aren’t a collection of body parts or biological functions. Animals have uteruses. Animals menstruate. Animals have vaginas. Women, while sharing those female characteristics, are human beings. They just happen to be female, as opposed to male. Referring to us as “uterus havers” or “vagina havers” or “menstruators” or “bleeders” or “people who get pregnant” is to put our bodies first and our personhood second. Its sexist.

As much as it leaves a bad taste in your mouth, you might also consider using genderist language while talking to her, like calling tims transwomen and using she/her pronouns, or at least avoid calling them men. It’s good to remember that it’s a cult mentality and if she pins you as one of the Bad People, she won’t listen to anything you say. But I mean, that’s up to you and your relationship with your sister. I am curious to know your relationship with her, like if she’s younger than you and how close you are. But good luck either way, anon. the best thing you can do is anticipate her counterarguments and be prepared. 

[slothcritic]

Dragon Ball Z Abridged - Episode 7 Review

Humor that doesn't let up. This episode is non-stop, action-packed, and delivers on everything it tries to do.

The cold open for Saiyans? On My Planet? (It's More Likely Than You Think) has a continuation to the "are we there yet?" skit, capped off with the Saiyans collapsing a building and cratering into the concrete, thus finally arriving on Earth. It's simple dialogue but the pacing, the delivery and the fact that it closes off a running joke makes it a wonderfully effective opener.

[Title Sequence]

Most of this scene has comedic and plot-relevant heft to it. Nappa glasses a city because he hates awkward silences and we as viewers are reminded that the Saiyans are here for the Dragon Balls. The "epic foreshadowing" joke however just feels needless and clunky. I wouldn't say it's out of character, Vegeta constantly begrudges Nappa's idiocy, but perhaps this line should've been written with less flashing bells and alarm signals reading "HEY GUYS, WE'RE MAKING A JOKE OVER HERE."

After a brief back-and-forth with Gohan and Piccolo, Krillin shows up, and... goodness me his voice is squeaky. Let me take a timeout from discussing this episode in a self-contained context. I'll criticize the microphone quality or the writing or the weaker visual gags or the editing missteps, but it's important to point out that not all of the show's improvements have been made through technical means. The cast has also improved personally as voice actors over the years. These contrasts are most notable in characters like Vegeta, Krillin and King Kai. Their modern voices are rounded out much better on delivery, whereas from the outset they're scratchy, unrefined, or even muddled. This also matters partially in-context of the episode itself, because goodness did that voice take me out of my viewing experience.

Krillin and Gohan catch up on how their respective year of training has been. While Gohan has no qualms about his stay with Piccolo, we're treated to distant laughter and an ominous pair of eyes in the background while Krillin undergoes what I can only assume is a PTSD-induced flashback.

One Fight Club reference later, the Saiyans finally meet the main ensemble of Piccolo, Gohan and Krillin.

"Hi."

Appreciating Nappa's role in this series is not exactly an uncommon or niche opinion, but I don't feel the urge to dismiss his humor or succinct, faithful-to-character writing just for the sake of being a contrarian or trying to get a reaction out of people.

I can see it now - "Nappa's characterization as a bumbling oaf is wildly inconsistent with the idea that he would've been a Saiyan General, or one of the most respected military mights in the universe. Vegeta would've been well aware of his character and annoying tendencies from a very young age and would've gotten the hell out of dodge the second he was capable. This depiction is nothing but a transparent flanderization of an originally unremarkable character created for the sole purpose of having a quotable, marketable personality with viral potential in a show that has so far been 'mildly entertaining' at it's peak."

Let me be clear. This is a parody. It’s meant to be pointlessly funny about certain topics. It’s meant to breathe life into creative interpretations of characters for the sake of humor. If I don’t think it’s funny, I will be critical of that. But I see no point in disliking something that I think is funny purely because it is either “popular” or, dare I say it, a “mainstream” opinion.

Vegeta is the kind of person who needs a strong sidekick who's subservient, loyal, and doesn't question orders. Nappa checks most of those boxes across both the original series and this one. Additionally, unlike a lot of other jokes or attempts at humor in this series, Nappa's very simple writing has consistently been a hit. Aside from the Arlia montage with no music, I can't think of a single line of dialogue or joke that Nappa has said that was a complete, useless dud. If it works, it works.

"So, you guys are the Saiyans?" "No."

I want to put on the record that I paused the episode after Nappa said "Hi", wrote for ten minutes on that, then resumed the episode and this line played. I immediately had to pause it again because I was laughing. Just the sheer childishness or petty playfulness that constantly surrounds Nappa and his counter-play with Vegeta injects something completely new and wonderful into this series.

The jokes don't stop after this one. This skit continues with the rule of threes, a callback to Vegeta being a prison bitch, a nerd joke, a eunuch joke, and more. I don't want to talk about all of these individually or I'll be here all day, but let's put a bookend where Nappa reads their power levels. These are all excellent jokes that keep up with the consistently funny pace set by Nappa's introduction. Perhaps the weakest skit is the two Saiyans snickering at Piccolo. It would probably work better if redone now, but the delivery on the laughter isn't entirely convincing enough to flow like everything else does. That said, the joke that an asexual race wouldn't have genitals lands pretty neatly within Nappa's ballpark of humor.

The idea that the Saiyan's power levels are measured based on units of Raditz, and the notion that they can actually grow beings with the same power level as Raditz, is hilarious. Nappa's "Taa-daa" after the Saibamen are revealed is like icing on a very dramatic cake.

I've gotta say I'm with Tien on this one - As someone who grew up in the city where they filmed the Fraggles, I take offense to the implication that they're obscure!

"More bald people!" - I have no idea what Toriyama has against drawing hair (let alone facial hair), but this is a very recurring trend in his art style and I'm glad TFS made fun of it. A cameraman earlier had made the same joke, but it wasn't Nappa saying it, so it was automatically less funny.

Another extremely iconic scene, and at the time a complex visual gag for what the series has done so far, is when Nappa throws the Pokeball at Chiaotzu. The fact that Vegeta deals with so much of Nappa's annoying shit but plays along here just makes this scene so much better.

"That's because you have to damage it first."

This joke has questionable veracity with only Nappa and his “lul so random” take on Chiaotzu’s appearance, but these concerns are immediately dashed by Vegeta, and this is why the dynamic works - Nappa on his own would just be too much stupidity, but Vegeta's deadpan counterbalance provides a nice anchor to reality and solidifies this joke even if Nappa is the one carrying it.

I'm actually rather surprised they didn't draw any comparisons to the Saibamen being Pokemon either. There's six of them, they're all vaguely creature-like beings of adequately short stature, and could quite literally be described as pocket monsters because they can be grown by seeds you keep on your person.

Yamcha lands on the scene with his big damn hero speech, and then immediately one of the Saibaman uses Self Destruct on him. No fight scene, no escalation, just immediate death for you good sir. The scene lingers on Yamcha's corpse while Krillin sheepishly cheers in the background, and that's where the outro plays.

Conclusion

Holy hell this was a good episode, even in retrospect. Almost all of the jokes landed, the pacing and consistency was on point, and we finally have some dramatic gravitas with the Saiyans arriving on Earth. A lot of this episode disappears fast because of how much it draws you in with the interactions and back-and-forth between all of the characters. It's succinct, it's well-written, and the balance and coordination of different kinds of humor play into each other wonderfully here.

If I had to say anything negative about this episode at all, it might be that some scenes played out for too long. While the "humor floor" and "humor ceiling" are definitely a lot higher in this episode than in almost every other episode, there is some variation in joke quality. As I said, nearly every joke in this episode works, but how much does it work? We've reached the point where if the jokes were athletes in a 100m dash, they're no longer breaking both of their legs at the start, but someone still has to cross the finish line first and last. This is also a very dialogue-heavy episode. That can be a good thing, but there's little attention elsewhere in the production of this episode. Things like non-obligatory or joke-dependent sound design come to mind. The video quality is also rather poor. KaiserNeko does switch over to high quality footage for Season 2 and onward, but in Season 1 it's very easy to see the frames shaking or jerking as they spice entire scenes back and forth for their lip flaps. Everyone still has cheap mics.

With that said, I feel like this is a landmark episode for TFS finding their style and settling into a confident stride for the rest of the series.

Score: 80

Passing Thoughts

"You're a prince?" "No." "Fuck you Nappa."

"Oh my god, he blew up the cargo robot. AND THE CARGO WAS PEOPLE!"

"Those readings are useless." "You mean like YouTube friends?" - OOF. That was a great line in 2008, and I personally still think it is, but does YouTube even have a friend system anymore? Or did that get integrated by some other Google platform?

[aeneasx]

What Your Zodiac Sign Says About Your Worst Relationship Habit

Aries (March 21 - April 19)

Love it or hate it, the first sign of the zodiac is direct, straightforward, and honest, often to a fault. Aries have a nearly toddler-style approach to life: They're fueled by their passion, and while their fiery dispositions support their signature bravery — governed by Mars, they're natural warriors — they're also known to throw horrendous temper tantrums.

In the heat of the moment, these volatile rams may end up saying things they'll regret moments later. But once Aries cools down, they're totally over whatever situation enraged them before: They've blown off their steam, and they're ready to move on. Unfortunately, however, not every partner is willing or able to accept Aries's quick-tempered nature. Coupled rams need to curb their explosive tendencies or risk destroying their relationships altogether.

Taurus (April 20 - May 20)

It's worth noting that obstinance is often a byproduct of a steadfast commitment to a cause, but Taureans' stubbornness often gets these earth signs into trouble. Taurus, symbolized by the celestial bull, is a fixed sign: Taurus season occurs in the middle of the spring instead of starting or ending a season, and accordingly, Taureans are terrific at maintaining systems. They pride themselves on loyalty and consistency, so when they make a decision, they stick to it, no matter what. While loyalty is commendable, Taureans must remember that life isn't always black and white. Information reveals nuance, situations change, and in any healthy relationship, a certain amount of flexibility helps partners stay present. Taureans should keep in mind that while they don't have to sacrifice their admirable fidelity, rigidity can do a number on any relationship.

Gemini (May 21 - June 20)

Gemini are curious creatures who love to keep their minds nimble. Symbolized by the twins, Gemini always explore things in multiples. In fact, you can often find these air signs juggling several hobbies, bouncing between friend groups, and even maintaining multiple jobs simultaneously. Gemini are actually happiest when they're spread thin, and they somehow manage to maintain their frenetic schedules. Simply put, Gemini prefer a busy lifestyle. But although Gemini have figured out incredible personal systems that satisfy all their passions and interests, these jacks-of-all-trades simply aren't able to focus too much energy on any singular area. Of course, this doesn't necessarily bode well when a serious partner comes into the fold. Long-term relationships require commitment, hard work, and lots of attention, which aren't always easy for Gemini to provide. When coupled, these celestial twins need to make sure they're prioritizing their bonds: Partnerships put on the back burner are unlikely to flourish.

Cancer (June 21 - July 22)

Symbolized by the crab, Cancers have a special role in the zodiac. The first water sign, these celestial crustaceans are governed by the moon, and they're known for their nurturing, compassionate, and sensitive dispositions. But just as the moon's appearance is constantly transforming, Cancers also have a fickle nature and tendency toward moodiness. Crabs protect their soft interiors with hard outer shells, so when these water signs feel threatened, they're quick to retreat into their armor. But their defensive habits can also have an antagonistic side: Like crabs, Cancers have claws and can pinch like hell. When coupled, Cancers must remember that misunderstanding and miscommunications are commonplace, and a simple disagreement does not make your lover your enemy. They must actively work on staying present in their bonds. Otherwise, the next time they emerge from their shells, their partners may no longer be there.

Leo (July 23 - August 22)

Represented by the lion, these fire signs love to shine (after all, they're governed by the sun). On a good day, Leos are warm, generous, and compassionate lovers who radiate their positive energy toward their partners. If these celestial lions feel that their spotlight is being threatened, though, their dispositions change drastically. Leos are known to have a bit of an ego, and if they believe they are being eclipsed, they can quickly become jealous, possessive, and even controlling. Leos must remember that relationships are about reciprocity and that their lovers also deserve to glow. Medieval astrologers referred to a planet as "combust" if the sun's rays hid it from view; if Leo isn't careful to share the stage, they may obscure their partners' lights in the same manner and damage their relationships.

Virgo (August 23 - September 22)

Virgos are highly intellectual and incredibly observant, and these earth signs love creating systems that are organized and logical. (They make incredible editors since they can identify even the slightest cracks and errors.) But while their attributes are extremely valuable, they can also cause difficulties within a relationship. Even the happiest couples have disagreements, and it's normal to expect the occasional interpersonal conflict. Virgos, however, often have a tough time accepting this reality: They want things to be perfect, and when they're not, Virgos can become obsessed with "fixing things." When coupled, these earth signs must remember that it's actually counterproductive to constantly scrutinize relationship dynamics. After all, when it's held at the wrong angle, a magnifying glass can actually cause serious damage.

Libra (September 23 - October 22)

Libras love to be in relationships. Represented by the scales, they're always seeking balance: the salt to their pepper, the yin to their yang, the Boris to their Natasha. Obsessed with harmony, these air signs avoid conflict like the plague, and while their diplomatic dispositions may at first seem ideal, they're ultimately Libras' greatest partnership pitfall. Though excessive fighting may be a sign of incompatibility, relationships actually benefit from a bit of active discord: A bond is strengthened as each partner discovers their mate's wants and needs. And since it's virtually impossible for a committed couple to never disagree, Libras may become increasingly passive-aggressive and bitter while attempting to steer clear of conflict. Coupled Libras must remember that it's always better to confront issues directly; otherwise, tension may mount until a breakup is the only solution.

Scorpio (October 23 - November 21)

These intense, shadow-dwelling water signs value their emotional privacy, and it's not easy for a Scorpio to let someone into their heart. When a Scorpio finally forms a soul connection, though, their lover is locked in, possibly for life. Governed by Pluto, the mysterious planet named after the Roman lord of the underworld, Scorpios can become fixated on maintaining power and control. If they fear their partner isn't equally invested in the relationship, they can become paranoid and possessive. Scorpios may even create conflict to test their lover's devotion, toxic behavior that often backfires. Scorpios must remember that even in serious relationships, people are entitled to their individuality and emotional autonomy. If they're not careful, their iron grip may be their relationship's death knell.

Sagittarius (November 22 - December 21)

Sagittarius energy captures the spirit of a wildfire: Symbolized by the archer, Sagittarians satiate their curious souls through travel, philosophy, and thrill-seeking. These adrenaline junkies are known to be fiercely independent, but when Sags do decide to couple...well, nothing really changes. Sagittarians do not compromise when it comes to their wanderlust, so they expect their lovers to be their willing copilots. But while cruising down the Amazon River with your mate is totally fabulous, most of us don't want to maintain an Indiana Jones lifestyle all the time; serious relationships are also about tackling daily realities together, even when they're mundane. Coupled Sagittarians must remember that shared routines and stability don't mean a partnership is boring. If Sagittarians always prioritize chasing excitement over commitment, their adventures are likely to be solo ones.

Capricorn (December 22 - January 19)

Capricorns are the serious, focused bosses of the zodiac. Governed by Saturn, the stoic planet that rules both time and karma, these earth signs are primarily interested in building long-term partnerships that support their goals. Capricorns are known for their ambition — they're frequently described as workaholics, in fact — and when they're in a relationship, they expect their lover's drive to either match or exceed their own. While the "power couple" thing can be fun, when one partner pushes the other into it, resentment and discontent arise. Capricorns must keep in mind that each person moves at their own pace and also has their own definition of success. When a Capricorn begins to treat their lover like their assistant, the relationship is sure to fold.

Aquarius (January 20 - February 18)

All air signs enjoy connecting with people, but as the final air sign of the zodiac, Aquarians are often more interested in society at large than in their interpersonal relationships. Fervent humanitarians, they are passionate about equality, justice, and egalitarianism. The drawback is that many Aquarians end up channeling all of their energy into making the world a better place, neglecting their partnerships along the way. Aquarians should remember that while attending to their partners' wants and needs may not save the world, it's crucial to the health of their relationships. They must exercise compassion, treating their lovers with kindness and respect. Aquarians will be surprised if a fed-up paramour walks out the door, but that's what will happen if these water bearers fail to show their appreciation.

Pisces (February 19 - March 20)

Represented by two fish swimming in opposite directions, Pisces is the very last sign of the zodiac. These ethereal water signs are known for their romantic creativity and otherworldly sensibilities. Casually dating a Pisces feels like journeying into another dimension: It's mystifying, exciting, and enchanting. In a committed relationship, however, the tides are not as easy to navigate. Pisces operate in their own reality, and these dreamy water signs can accordingly be a bit flaky and unreliable. At the same time, it's nearly impossible to confront a Pisces with frustrations about their behavior: Since they lack emotional armor, their first move is to swim away. In a relationship, Pisces must remember that their partner's perceptions of reality are as worthy of contemplation as their own and that feedback is not tantamount to censure. Communication is the key to making sure Pisces and their lovers don't drift irrevocably apart.

Check moon sign and mars/venus signs.

[captivesrp]

Ainsley is in a forest. The trees are walking. Great, gnarled legs break through the surface of the earth and branches wind together to create mighty arms. Knots and whorls in the bark spiral and flow until they form the shape of old, wizened eyes with a strange sense of ancient power about them. Ainsley feels a growing sense of dread as he sees that the trees are dividing into two sides, evidently preparing for conflict, as they have done so many times in his dreams before. On Ainsley’s left, a bent maple, with bright orange leaves adorning its strong brow, and to his right a slender birch with smooth, snowy bark. The animosity between the two is clear and, as the tension builds, Ainsley feels as conflicted as ever. He does not know which tree to align with. Neither makes any sudden move of aggression, but they seem to lean in closer, a red anger hovering over the entire forest. Ainsley hears a twig snap beneath his foot, and the trees suddenly turn towards him. Backing away, Ainsley tries to protest, but the advance of the forest is unrelenting. Reaching out with tendrils of rough bark, they converge on Ainsley.

*     *     *

Ainsley wakes up and, for a moment, fears that his dreams have become a reality. Dirty roots are clutching at his forehead. He opens his eyes to see nothing but chinks of light through soil and rotting wood. He feels nearly suffocated by the forest.

Then Ainsley remembers the events of the past day and relaxes. At least, as much as someone who has run away from their only known shelter can relax. The group---Cydwag, Anwen, Heulwen, Ffrewgí, and himself---had managed to escape their captors, with Ainsley and Heulwen combining their creature-gifts to divert the pursuing Gwaedwn off their trail. They had hidden in a hollow beneath a partially-uprooted tree in the forest until deep night, and then proceeded to scramble even deeper into the forest until Ainsley felt like his legs might fall off. Eventually, they had found another small hideaway, where they all fell silent, if not asleep---if Ainsley’s night was anything like the others’, they had slept restlessly if they slept at all. In the morning, after the children have spilled from their grotto, Anwen’s voice breaks through the patchy darkness:

“I think we should try to find the others, before we get too far away from the village.”

Ainsley waits for someone else to respond. He does not have to wait long. Cydwag speaks up quizzically, “Others?”

“Murchadh and Ashrille and Wyddryr. They were missing, remember?”

Cydwag clearly does not share Anwen’s concern. Her bright red hair illuminated by a shaft of light, Cydwag begins to argue with Anwen about the group’s next move.

Ainsley ignores them and slips into the trees beyond their little clearing. Ffrewgí passes him, returning, and as he joins the others the planning begins in earnest. Ainsley sits down next to a tree a little ways from the others. Far enough out that he does not have to be involved in the argument, but close enough to hear their planning.

After debating for a while, Cydwag begrudgingly agrees to assist in their search for Ashrille, Murchadh, and Wyddryr. Despite his resolution to hear the plan, Ainsley finds himself ignorant of its specifics. Running through his mind are images of the forest fire, and of Skepna laughing in it. But the group has determined upon a course of action regardless of his oblivion, and he resolves to accompany them. He has hardly interacted with the three missing children, but his desire for companionship is too strong to form an opinion against the group’s intention to find them. For the moment, Ainsley is content to simply be with his companions.

He follows the group as they make their way west, which takes them all day, though the time passes numbly for Ainsley. When they stop, he takes his knife and disappears into the forest, where he fashions a few game traps and lucks out stumbling across a fat pheasant, which fails to fly faster than his thrown blade. When he returns and the bird is cooked over a low, smokeless fire, Ainsley remains to himself. He notices that Heulwen, as well, is outside the dynamic center of the group, though he can tell she and Anwen share a bond.

Back when he had first become a Gwaedwn, Ainsley would have been demoralized by this, but he is much more relaxed now. He is starting to see his purpose---or, at least, has a growing sense of it. He feels fulfilled by being the group’s hunter, and almost feels pride when he walks the border of their camp that night, obscuring it with brush both real and gift-created.

He has not forgotten Skepna’s words, though. Even if his old master is gone for good, his words still haunt Ainsley in still, quiet moments.

*     *     *

Early in the morning, Cydwag and Ffrewgí disappear, enacting what Ainsley assumes is the first stage of the plan, and Heulwen, Anwen, and himself are left at what has become their base camp. Heulwen, who had been on last watch, falls asleep next to Anwen and Ainsley begins to carve, and although he still is not an expert by any means, the figure he carves is slowly becoming discernible as a warrior of sorts.

Anwen interrupts Ainsley’s train of thought. “Are you okay with what we’re doing?” Her voice has an undertone of urgency about it, almost as if she is desperate to break the silence, and her voice trembles slightly in the crisp morning air.

Ainsley pauses, thinking over his answer to this very open question. He answers  honestly, “I’m not really sure. Half the time, I’m not even sure what I’m doing.” He chuckles inwardly. He has been so in and out of things recently, and it humours him to think that others might still value his opinion. Thinking it over more, he is shocked to realize how indifferent he is becoming.

Anwen continues---not so much talking to Ainsley directly anymore, but wondering aloud, “I was so sure this was the right thing to do, but … what if something happens? What if Ffrewgí and Cydwag don’t come back? What if we get captured again? It would be my fault.” Her voice becomes increasingly strained, and Ainsley feels sorry for her. She has taken on an incredible burden to lead their little party, and he can see that the stress is getting to her.

“Cydwag and Ffrewgí, they know what they’re doing,” Ainsley says in response, hoping to bolster Anwen’s confidence.

Anwen then says something that surprises Ainsley, “I’m sorry we didn’t try to find out what you wanted—when we were deciding what to do. That wasn’t right.”

Ainsley takes a moment to mull over Anwen’s implications. At least someone has the decency to apologize. Taken aback by his own thought, he realizes he has been holding back some bitterness towards the others, jealous of their assumed roles in the group. Then he slows down, and is touched by Anwen’s apology. “It’s alright. I’m just glad to be with you all.”

“I’m glad you’re here, too.”

Ainsley does not know how to respond. “Thank you,” he mutters. He hopes that marks the end of the conversation---but at the same time, he appreciates Anwen’s friendship.

She soon speaks up again. “Do you know what you want to do, when all this is over?”

Ainsley looks up from his carving, but does not yet return Anwen’s gaze. He mulls this question over in his mind, and is disappointed to realize his answer is more or less the same as all his others. “I … haven’t really thought about it.” Ainsley wonders what Anwen is leading up to.

“You’re always welcome to come to my village,” Anwen says suddenly, “if you want.”

Ainsley mind reels. The question is a punch to the gut. Where does he want to go? Would there be a future for him? Right now, it feels as if the entire world is constrained to the small area of forest explored by the Gwaedwn. He has barely thought of his old village in the time following his capture. It is not as though he has many fond memories of the place. Sadly, he realizes that he once again has no idea of how to respond. “Oh,” he begins. “I guess I could. I’ll---uh---think about it.” Skepna would have called me a useless lump for that, he thinks.

“I guess it could be a while yet, depending on what Cydwag and Ffrewgí find …” Anwen trails off, worry etched across her face once again.

“They’ll be fine,” Ainsley murmurs. A sense of guilt suddenly descends over him.  He has barely given any thought to the predicament of Ffrewgí and Cydwag. What a horrible friend I am, he thinks. If they even call me a friend.

“Thanks,” Anwen says, and this seems to bring their conversation to a close at last.

Ainsley is conflicted, feeling both encouraged and guilty, validated and belittled. He struggles with his feelings as he retreats into himself and his carving.

Some time later, Cydwag and Ffrewgí return, accompanied---much to Anwen’s relief---by Ashrille, Wyddryr, and Murchadh. Ainsley looks up from his carving, but is unsure if he should say or do anything.

“Tell your tale,” begins Cydwag, sitting down, and Murchadh obliges.

Still wrestling with himself, Ainsley does not give his full attention to Murchadh as he begins, but he captures the general gist of the boy’s story. Wyddryr’s father is apparently deathly ill, so Murchadh and the other two had set out on a hunt to kill the creature and acquire its healing blood. They were unsuccessful. Murchadh adds that Wyddryr was a spy for the Gwaedwn---this confuses Ainsley, as Wyddryr was treated the same as anyone else, and what could he have reported to the Gwaedwn, anyway? That the captives were unhappy?

“They are already planning another set of recruitment raids,” says Murchadh. Ainsley spares a look up from his carving: Murchadh’s statement has struck a chord in the group. He looks around and sees the shocked looks of his companions. He shares their shock.

Ffrewgí breaks the silence asking for more details, and Ainsley fades out of the conversation once again as Murchadh describes his experience on the hunt.

Then Ffrewgí is demonstrating his creature-gift, healing a wound on Murchadh’s chin. Then Ashrille and Wyddryr arrive in the circle, though Ainsley had not noticed them leave.

“Your chin is looking … remarkably healed,” observes Ashrille.

Ffrewgí explains that he had healed Murchadh with a gift from the creature. Before Ainsley knows it, he is displaying his gift to the group as well. He sets down his carving before summoning an earth-brown snake, which twirls around his legs before fading into the ground beneath him.

Heulwen and Anwen demonstrate their gifts after him, but Ainsley notices that Wyddryr is fixated on Ffrewgí. After Anwen’s wind fades away, he asks Ffrewgí directly to heal his father.

Ainsley mentally retreats again as that prompts a debate. It has become too much for him, the others’ constant debating and planning. Eventually Ffrewgí does agree to help Wyddryr, and the conversation turns to how to do it. Ainsley builds his resolution and forces himself to contribute---these are his friends.

The plan is to sneak Ffrewgí and Wyddryr into the village, burning a building to pull attention away from where they will enter. Ainsley volunteers to disguise the two as Gwaedwn hunters.

That evening, he conjures the disguises before they leave. Ffrewgí, Anwen (who is starting the fire), and Wyddryr leave to the north. Ainsley follows the others to the south, where Ffrewgí and Anwen are to rejoin them after their tasks.

Ainsley cannot help feel like a coward, waiting uselessly while Anwen and the other two enact their dangerous roles. That Ashrille, Heulwen, and Murchadh are waiting with him does not affect how he feels. All he did was provide disguises, and Ainsley is not even sure they will last as long as they are needed. Does he need to consciously maintain a grasp on his illusions, or do they disappear if he thinks of something else? He has a sick feeling in his stomach as he wonders, with an ever growing horror, if he has let the group down. The simplest task, and Ainsley manages to screw it up. It would be just my luck, he thinks bitterly.

Ainsley looks down at the figure he has been carving for what seems like days without stop. He has barely paid attention to his own work, going about it with the numbness that has pervaded his every action recently. The basic person-figure he has carved is about two hand’s-breadths in height. The wood is pale, and the only unique mark is a knot on the right side of the uncarved face. As Ainsley continues to gaze at it, the carving gains more and more specific features. Intricately carved fingers sprout from the ends of the arms, which in turn bend and flex as if testing their own limits. Shocked, Ainsley drops the figure. It lands with a knee bent, sending a shockwave rippling through the ground. It stands up straight, one arm reaching behind its back. Horrified, Ainsley sees it pull out from behind its back the bronze talisman he had found during his first hunt. Ainsley touches the scar just above his left eye and gasps audibly. He is suddenly alone. The carved figure raises the weapon and points it towards its own head, the tip of the blade just touching the knot over its eye. Ainsley touches the cord around his neck, and he feels nothing there.

The stick figure raises the blade, preparing to strike.

[doshmanziari]

Crown of the Ivory King is the Dark Souls Series’ Low-point

Ever since the release of Dark Souls 2′s final installment, the Crown of the Ivory King, it’s been attended by a very vocally supportive playerbase. I’ve found it baffling and, despite lurking forums and attempting to coax out explications about why the heck people think it’s so great, I’ve hardly come any closer to understanding the reception. It’s fine, I think, to shrug and say you just have a thing for snowy levels. When that’s made into more than a hyper-subjective admittance, and becomes statements which denigrate Dark Souls 2′s main material (see: comments everywhere that the DLC is supposedly a significant step up from the “B-team”’s work (note that this supposed “B-team” is an imaginary group gamers have conveniently heaped their scorn upon when they’ve found Souls-stuff to be lacking)) . . . then I get kind of annoyed.

With the Boletarian Palace, Demon’s Souls set the standard for me where fortressed layouts in the series are concerned. At the risk of seeming to treat the Boletarian Palace as a case of insuperable level design, I’m going to quote a few bits here from prior essays concerning it, and hope that it instead demonstrates that its better qualities come from reproducible design decisions:

An uncommon attention was paid to the worlds’ furnishings. One noticed, making their way through [the Boletarian Palace], that rickety palisades were erected on the grand introductory staircase, here and there a discarded carriage with maybe a horse corpse; in small, pocket-like refectories were rows of beds, and tables bearing cups, candelabras, and bowled edibles; outside of these cells were carts harboring casks of wine and buckets; or that on a long wall-walk was a somber parade of trebuchets, and adjacent to this was an attic for carts loaded with to-be-launched boulders. There was a sense that everything was in its right place, and to weave through these environments was to experience a world that innately lent itself to textured terms of engagement. Running up a series of staircases peppered by barrels full of explosive powder, and haunted by torch-wielding madmen, meant grappling with an incendiary challenge, yet the challenge was holistically ingrained in the objecthood of that world. In that way, spatial dealings, navigational or combative, acquired a flavor of believability.

Additionally, Demon’s Souls ran counter to an extant strain of design in action-adventure games that draws a distinguishing line between “combative spaces” and “non-combative spaces.” The least gratifying cases of this strain induce a monotonous awareness of compartmentalization, of there being a manner of space for fights — most often resembling an arena accommodating the spectacle of performance (God of War and its progeny come to mind) — and a manner of space for sites between fights. What made Demon’s Souls a categorical outlier was that conflict could happen anywhere; and that, when conflict did happen, the architecture supplemented it.

. . . the Boletarian Palace’s magic was that its architecture discretely realized and blended the inherent themes of defense, housing, and storage. It both came across as a convincing place (again, “convincing” or “realistic” does not mean that the subject has a 1:1 ratio with reality) and engaged the player with design permutations that took hold of the surroundings, like groups of crossbow-firing soldiers blocking the way on a bridge, or darkly spear-throwing creatures in a dim room meant for storing carriages.

Rather than a stony maze with apposite ornaments thrown in, the Boletarian Palace felt like a castle first and foremost, with encounter design that naturally tapped into its abundance of nooks, sharp angles, and verticalities.

If we’re looking at Eleum Loyce -- which can be more or less separated into a fortified area, a residential zone, and a subterranean network -- I think the pervasive problem is that practically none of it has any suggestive power. Suggestive power is a consequence of the level design per se and the clothing it wears. So when nearly all there is to see is the most spartan of stonework (and not even skillfully texture-mapped stonework) and white mounds, engaging level design is vital. Most of the interiors have been reduced to bare, non-functional cubes, and exteriors largely are bluntly laid out paths where you pick off a line of enemies one by one, sometimes including peripheral retainers. It all has the flavor of a beta zone for developmental testing, and it feels terribly wrong that perhaps the sole memorable detail is a frozen fountain early on.

Since this doesn’t really lend itself to interesting encounter design -- there is no ambiguity or mystery to the space, no way to treat it as anything other than a sequence of immediately explicable containers -- and the majority of enemies are super-sturdy soldiers coming in a few flavors, many combative interactions play out as the melee-oriented player leading an alerted bunch of foes to a chokepoint and picking them off with strong attacks. For as much as I could criticize the aesthetic fumbles of the prior two DLC installments, their layouts had definite dynamics: Shulva’s staggered array of towers (some manipulatable), and Brume Tower’s tiered floors skirting circular shafts.

They also featured neat miniature gimmicks that could be engaged to lessen the danger of a given area: destroying sarcophagi in the Dragon Sanctum to make the ghostly sanctum knights assume a corporeal, and practically pregnable, form, and collapsing Ashen Idols speckling the Tower to halt the healing and reappearance of adjacent enemies. It’s hard to really say what Loyce’s comparable gimmicks are. There are, for a while, snowy winds blasting around the fort’s exteriors, but these winds only have a remarkable effect on your range of sight in the optional (and much-hated) Frozen Outskirts (this is, in fact, one of the Outskirts’ few virtues). There are also coats of ice making certain chests inaccessible, but once they’re shattered upon talking to a Lore-Dispensing Character it simply is a matter of backtracking and opening them up in a classically obsessive-compulsive manner (more interesting would’ve been the option to melt the ice by using pyromanic spells).

What little conspicuous level design exists in Eleum Loyce does stand out on its own terms. When you come upon the abandoned residential zone, you must navigate several columned arcades, being careful about the obscured, spine-backed ice rats and, a level above, a spell-casting witchtree spirit or two. Between this triangulation of elements you’ll find yourself using the arcades for cover while also trying to not let their dense arrangement hinder your movements or attacks. It’s basic stuff, and brief, and it’s good (it gets even better when you’re invaded by a black phantom NPC) -- it works on a level beyond shoveling baddies into crates and along straight paths. You’re conscious of an architecture. Disappointing, then, to find that the knotty little complex of residences is really a paltry couple of empty boxes with a useable staircase in one. So much for expanding on that aspect of the city.

Another similarly brief moment happens later on inside a dim, high-ceilinged hall separated by three floors built of wooden planks. The first of these floors is the most interesting. On it, you’ll juggle seeking shelter from two spell-casters by emerging onto nearby balconies, and taking care of a soldier on each balcony itself before you’re ganged up on by pursuers from the hall; and once you’re back in the hall to take of whoever remains, you’ll have to mind the several holes which break up the wooden flooring and lead to deadly drops. As with many cases of fine level design in the series, it demonstrates how an engaging sense of pressure can be exerted on players by aligning simple, but not overly simple, architecture with complementary enemy positions.

Eleum Loyce has been commended for having several loop-around shortcuts that lead you back to prior locations. These commendations haven’t taken into account why this series-trope has excelled when it has excelled, though. To be sure, Eleum Loyce’s shortcuts function as any shortcut should: they expedite the process of repeat attempts at navigation and impart a sense of incremental progress. But beyond this there’s not really any epiphanic or retrospective spark to the loop-arounds. Eleum Loyce’s overall layout is so diffuse and architecturally generalized -- if you compare the two screenshots below you’ll see how visually similar the city’s explorable portions are to its unexplorable portions -- that you’re never learning about its organizational character or seeing charismatic structures reappear. You’re just opening a door or taking an elevator. And, you know, that’s fine. But it doesn’t warrant special praise.

And then there’s the unpleasant friction of the Frozen Outskirt’s conceptual strength versus its actual strength. As each DLC installment has had mechanical gimmicks (some, uh, ostensible), each has also had an optional gauntlet catering to multiplayer efforts. These have been pretty uniformly terrible -- I called Shulva’s an “utterly reduced ‘path with enemies’” -- and are solely concerned with throwing as much densely packed shit at the player(s) in the tightest possible, and least imaginatively suggestive, spaces. As I wrote in the same essay, “There is no design goal here except, ‘Swamp the player who should have assistance to divide the streams of projectiles and the soldiers' advances.’” A slight exception, the Frozen Outskirts offer the novel idea of dislocating players by having the snowdrifts oscillate between visibility and near-invisibility by way of periodic snowstorms. If this were left on its own, if the challenge were one of pure navigation -- having to find one’s bearings and using several ruinous sites as guideposts, and fighting or running away from a few hostile adventurers -- I really think the Frozen Outskirts would be great. All of this potential is squandered by tossing what essentially amount to mini-bosses at players, with no options for even the tiniest bit of cover among the stretches separating the ruins (recalling Elana’s chief design failure), and so the overall experience is demoted to that of a frustrating slog.

I think what makes Eleum Loyce the series’ low-point for me is its formal vapidness + its very positive reception. I feel bored and alienated. It’s hard to not think that people have been poisoned to believe that what is most remarkable about these games is the element of challenge. Eleum Loyce is, to me, a snubbing of everything I’ve enjoyed about exploring these games’ places. All curious details have been scrubbed out and what remains is a base obstacle course of cartoonishly themed enemies -- ice-coated soldiers, some with crystals bursting from their backs -- with the ultimate signifier of Prepare to Die challenge at the end: a bunch of knights in a huge arena protecting an even bigger knight, who epically emerges from Barad-dûr’s peak to a tritone and can make his sword be the biggest sword.

Anyway. That’s what I think. What do you think?

[queeranarchism]

8 Steps Toward Building Indispensability (Instead of Disposability) Culture

(Reposting this article by Kai Cheng Thom because Tumblr ate it. Sorry long post, page break hates me)

give an mc without integrity a mic

and s/he will rhyme the death of the people

—d’bi young anitafrika

When I first came into activist culture, I was a runaway queer kid searching for a home: a terrified, angry, suspicious, cynical-yet-naïve teenager whose greatest secret desire was for a family that would last forever and love me no matter what.

Yet I also knew that such a family could never exist – at least not for me.

You see, I had another secret: Underneath all of my radical queer social justice punk bravado, I knew that I was trash. I was dirty and unlovable. I had done bad things to survive, and I had hurt people. Sometimes I didn’t know why.

So when I found activist culture, with its powerful ideas about privilege and oppression and its simmering, explosive rage, I was intoxicated. I thought that I could purge my self-hatred with that fiery rhetoric and create the family I wanted so much with the bond that comes from shared trauma.

Social justice was a set of rules that could finally put the world into an order that made sense to me. If I could only use all the right language, do enough direct action, be critical enough of the systems around me, then I could finally be a good person.

All around me, it felt like my activist community was doing the same thing – throwing ourselves into “the revolution,” exhausting ourselves and burning out, watching each other for oppressive thoughts and behavior and calling each other on it vociferously.

Occasionally – rarely – folks were driven out of community for being “fucked up.” More often, though, attempts to hold people accountable through call-outs and exclusion just exploded into huge online flame wars and IRL drama that left deep rifts in community for years. Only the most vulnerable – folks without large friend groups and social stability – were excluded permanently.

Like my blood family, my activist family was re-enacting the trauma that we had experienced at the hands of an oppressive society.

Just as my father once held open the door to our house and demanded that I leave because he didn’t know how to reconcile his love for me with my gender identity, we denounced each other and burned bridges because we didn’t know how reconcile our social ideals with the fact that our loved ones don’t always live up to them.

I believe that sometimes we did this hypocritically – that we created the so-called call-out culture (a culture of toxic confrontation and shaming people for oppressive behavior that is more about the performance of righteousness than the actual pursuit of justice) in part so that we could focus on the failings of others and avoid examining the complicity with oppression, the capacity to abuse, that exists within us all.

And I believe we did it in part because sometimes it’s impossible to imagine any other way: We live in a disposability culture – a society based on consumption, fear, and destruction – where we’re taught that the only way to respond when people hurt us is to hurt them back or get rid of them.

This article comes out of that queer kid’s longing for forever-family, and from countless conversations with other members of social justice communities longing for the same. It comes out of my own fuck-ups having been generously forgiven by others, and from my effort to forgive those who have harmed me.

It comes from a desire I feel all around me for an alternative to the politics of disposability, for a politics of indispensability instead.

“Indispensability politics” isn’t a term I’ve coined personally. It has existed various communities for some time, and I learned it orally, though I cannot find a written source. But the following principles are ideas – suggestions for a foundation on which indispensability culture in leftist activism might be built. They are a work permanently in progress.

They’re not meant to be a new set of rules for activism. Nor are they a step-by-step guide for holding accountability processes or a complete answer to the questions that I’m raising around.

Still, I hope that they are helpful to you.

1. The Revolution Is a Relationship

sometimes

we want to close our eyes

jack off to pictures of radical disneyland

not watch as we gnaw our own

flesh into meat

—Leah Lakshmi Piepzna-Samarasinha, “so what the fuck does conscious mean anyway”

Something that worries me about social justice communities is that we tend to conceptualize “revolution” as a product, as a place and time that we expend all of our energy and anger to create – often without regard to the toll this takes on individuals and our relationships.

In this way, “The Revolution” occupies a position in activist culture that actually reminds me of the role that Heaven played in the Chinese Christian community I grew up in: It is a fantasy of ideological purity against which our actions are judged, a place that we long to live in, but seems impossible to reach.

In our – often justified – anger and disappointment at the failure of ourselves and our communities to uphold the dream of revolution, we lash out.

We try to cleanse ourselves of the pain of betrayal by cutting off and driving out the betrayers – our abusive families, our conservative friends. We try not to look at the betrayer in the mirror.

What if revolution isn’t a product, some distant promised land, but the relationships that we have right now?

What if revolution is, in addition to – not instead of – direct action and community organizing, the process of rupture and repair that happens when we fuck up and hold each other accountable and forgive?

2. The Oppressor Lives Within

The most important political struggle I will ever have is against the oppressor – the racist, transmisogynist, ableist, abusive person – in myself.

I don’t mean to say this in a self-flagellating, self-blaming way. I’ve experienced oppression, violence, rape, and abuse from others, and this is not my fault.

I mean that I’ve started to believe that I can’t engage in authentic activism, I can’t create positive change without recognizing and naming my own participation in the oppressive systems that I’m trying to undo.

Coming from this position, I’m forced to have compassion for the people around me who I see also participating in oppression, even as I’m also angry at them. With compassion comes understanding, and with understanding comes belief in the possibility of change.

When we become capable of holding that contradiction in our hearts – when we can be angry and compassionate at the same time, at ourselves as well as others – entirely new possibilities for healing and transformation emerge.

3. Accountability Starts in the Heart

Too often, I’ve seen accountability processes in social justice communities devolve into vicious “your word against mine” situations and social power plays in which people accuse each other of harm and abuse.

As witnesses to these situations, we become trapped, caught in the double bind of either having to pick a side or doing nothing. Both options carry the risk of becoming complicit in the harm being done, and the “truth” becomes impossibly blurred.

I often wonder how different things would look if it were more of a cultural norm to understand accountability as a practice that comes from within the individual, instead of a consequence that must be forced onto someone externally.

What if we taught each other to honor the responsibility that comes with holding ourselves accountable, rather than seeing self-accountability as a shameful admission of guilt? What if we could have real conversations with each other about harm, in good faith?

In a culture of indispensability, I cannot ignore someone when they tell me I have harmed them – they are precious to me, and I have to try to understand and respond accordingly.

To become indispensable to one another, we must also be willing to be responsible for and accountable to one another.

4. Perpetrator/Survivor is a False Dichotomy

There is an intense moral dynamic in social justice culture that tends to separate people into binaries of “right” and “wrong.”

To be a perpetrator of oppression or violence is highly stigmatized, while survivorhood may be oddly fetishized in ways that objectify and intensify stories of trauma.

“Perpetrators” are considered evil and unforgivable, while “survivors” are good and pure, yet denied agency to define themselves.

Among the many problems of this dynamic is the fact that it obscures the complex reality that many people are both survivors and perpetrators of violence (though violence, of course, exists within a wide spectrum of behaviors).

Within a culture of disposability – whether it be the criminal justice system of the state or community practices of exiling people – the perpetrator/survivor dichotomy is useful because it appears to make things easier. It helps us make decisions about who to punish and who to pity.

But punishment and pity have very little to do with revolutionary change or relationship-building.

What punishment and pity have in common is that they’re both dehumanizing.

5. Punishment Isn’t Justice

Punishment is the foundation of the legal criminal justice system and of disposability culture. It’s the idea that wrongs can be made right by inflicting further harm against those who are deemed harmful.

Punishment is also, I believe, a traumatized response to being attacked, the intense expression of the “fight” reflex. Activist writer Sarah Schulman discusses this idea in detail in her book, Conflict Is Not Abuse.

It isn’t inherently wrong to want someone who hurt you to feel the same pain – to want retribution, or even revenge. But as Schulman also writes, punishment is rarely, if ever, actually an instrument of justice – it is most often an expression of power over those with less.

How often do we see the vastly wealthy or politically powerful punished for the enormous harms they do to marginalized communities? How often are marginalized individuals put in prison or killed for minor (or non-existent) offences?

As long as our conception of justice is based on the violent use of power, the powerful will remain unaccountable, while the powerless are scapegoated.

But even beyond this, a culture of disposability and punishment breeds fear and dishonesty.

How likely are we to hold ourselves accountable when we’re afraid that we’ll be exiled, imprisoned, or killed if we do? And how can we trust each other when we live in fear of one another?

We have to find another way to bring about justice.

6. Nuance Isn’t an Excuse for Harm

One of the most common responses I see to critiques of call-out culture and disposability is that perpetrators of violence and predators use these critiques to obscure their own wrongdoing and avoid accountability.

Furthermore, we, as communities, use the “complexity” and “nuance” of such critiques as excuses for not intervening when harm is being done.

But indispensability means that everyone – especially those have experienced harm – are precious and require justice. In other words, we cannot allow the fact that something is complicated or scary prevent us from trying to stop it.

Trapped in the perpetrator/survivor dichotomy of understanding harm, it might seem like we have only two options: to ignore harm or to punish perpetrators.

But in fact, there are often other strategies available.

They involve taking anyone’s – everyone’s – expressions of pain seriously enough to ask hard questions and have tough conversations. They involve dedicating time and resources to ensuring that anyone who has been harmed has the support they need to heal.

7. Healing Is Both Rage and Forgiveness

If the revolution is a relationship, then the revolution must include room for both rage and forgiveness: We have to be able to tolerate the inevitability that we will be angry at one another, will commit harm against one another.

When we are harmed, we must be allowed the space to rage. We need to be able to express the depth of our hurt, our hatred of those who hurt us and those who allowed it to happen – especially when those people are the ones we love.

It is up to the community to hold and contain this rage – to hear and validate and give it space, while also preventing it from creating further harm.

The expression of anger and pain is key to the transformation of violence into healing, because it allows us to understand what has happened and motivates us to change.

And it’s up to the community as well to then provide a framework for forgiveness, to help envision a future where forgiveness is possible, and how it might be achieved.

8. Community Is the Answer

There are no activist communities, only the desire for communities, or the convenient fiction of communities. A community is a material web that binds people together, for better and for worse, in interdependence…

If it is easier to kick someone out than to go through a difficult series of conversations with them, it is not a community. Among the societies that had real communities, exile was the most extreme sanction possible, tantamount to killing them. On many levels, losing the community and all the relationships it involved was the same as dying.

Let’s not kid ourselves: We don’t have communities.

—Anonymous, Broken Teapot Zine

The above quote is a revealing glance into the inner dynamics of social justice and activist culture.

It reveals the source of our incapacity to create accountability and the deep emotional and material insecurities that lie beneath it.

Perhaps the reason we tend to recreate disposability culture and trauma responses over and over is because we are all, secretly, that frightened runaway kid, constantly searching for a home, but not really believing we can find one.

Maybe we don’t create communities of true interdependence – of indispensability, of forever-family – because we are terrified of what will happen if we try.

But I believe, have to believe, that true community is possible for me and for all of us. The truth is, we can’t keep going on the way we have been. We need each other, need to find each other, in order to survive.

And I have faith that we can.

[lyricalive]

Why do you identify as Maribel so much? like, why you like the Sealing Club? (Renko included) I'm sorry if this is a weird question, it's just that they don't seem to be very popular in the fandom :''(

The first thing that drew me to Maribel was my huge,self-defining interest in the philosophy of subjectivity:  things that can’t be definitively categorized, distinctions that are very fragile, the ability to perceive similarthings as different or different things as similar.  The way that everything boils down toperspective and perception.  The way thattotal opposites, like fantasy and reality, can blend into each other.

I admire Yukari as the most powerful presence in Touhou,something that really defines the meaningfulness as Touhou as a series for me,because I believe very strongly in “boundaries” as an extremelyimportant concept that affects anything and everything.  I can’t just directly relate to such a badass,though.  The more reserved Maribelrepresents the external study of the same ideas – while still fascinatingly playingwith the border of actually embodying it herself – so she became someone I feltcomfortable attaching to.

She is a human who is more personable than a youkai; furthermore, being a college student on the border of childhood and adulthood makes her feellike a more timeless attachment than a particularly very young or old character… especially for me, a very childish adult.  Her role as someone who is very immersed in dreams/daydreams, who lets fantasy takea large role in her life over more practical things, is easy to identifywith.  Her personality is mostly positive,but she has well-established fears, and she relies on Renko to keep her focused forward.

When Lori first told me she felt “like the Renko to myMaribel,” she meant it as a compliment to my creativity, as if my lyricismrepresented a frame of mind that was like a new world to her.  I was absolutely touched by this, especiallybecause I could say similar sentiments in return about her own talents.  With the detail she puts in her art and designs, forexample, it’s clear that she also has special eyes.  Having complementary but different strengthsis something I love about the Sealing Club’s dynamic, and about relating tothem.

Independently, I like Renko as a character even more than Maribel.  From the most superficial points – althoughpurple is my favorite color, Renko’s modern black and white is much more of my preferredfashion style.  She’s more targeted inher aesthetic.  She’s smart, geeky, fun.  She has the vibe of a protagonist, someone worthputting in charge of a club.  I interprether as being very dense in her perception of others’ feelings but very honestand straightforward in expressing her own, which is a really charmingpersonality to me.  She’s full of obscureknowledge, and full of confidence.  Asthe objectivist, she sees “what is”… but it doesn’t limit her from “whatcould be,” rather making her ready to accept anything and fit it into thepuzzle of reality.  She’s so cute and likable and cool.

No matter what, they are much better as a pair.  In generalabout the club…  I just really, reallylove everything about the aesthetics they represent and the ideas theyinspire.  I’m fascinated by mythology, dazzledby stars, and god do I adore trains.  I love playing with theconcept of time and the meaning of dreams.  I want to see what they see, know what they know.  I love their wittiness, their quirkiness, theirdelightful fluffy banter.  I love the cozinessof their context.  I love how theyprovide a new subtle perspective on the motifs of Gensokyo, constantly teasing atit – requiring knowledge of Touhou to appreciate their stories more, so it constantlyjust reinforces my love of the whole.  Ilove the closeness of their friendship and the limitless possibilities of theirteamwork, the way they make each other more interesting as they interact.  I love them being more “normal” humans, as I said, but not a “normie” sort of normal, being more in the fringes of their society.  Their occult pursuits give them the appeal ofchuunibyou, people who reject thecommon reality to earnestly embrace something greater… and they have the skills and mindsets to actually achieveit.  I love how they give hope of outsidepeople being able to reach amazing places, too.

By the way… do you think they’re unpopular with the fandom?  I think they’re rather popular, although ofcourse they always deserve to be more so.  Lori actually tells me she feels a little hipster-ish about the increasing attention they get,because she’s been interested in them even longer than me.  I can relate; when I get really attached tosomething, I kind of wish to monopolize it more.  (So it does make me happy if you perceive meas “one of the few” who appreciates them well.)

At the same time, I obviously don’t want them to beignored.  Overall, I think they’re in agood place.  They are the Secret Sealing Club after all, so theycan’t be wholly mainstream; their underground nature is part of their appeal.  But they do get a fairly satisfying flow ofart compared to some other characters.  Theyget a good deal of respect from talented Tumblr artists, they get this awesomelydedicated blog that wonderfully captures their everyday life, and they even gotthat lovely fan anime!  Because they haveso much music associated with them on their CDs, they also get a lot ofarranges.  …Also, being so loosely connected yet so technically isolated from the rest of the series, there are noshipping debates about them at all.  Ifyou ship them with anyone, you ship them with each other, making them one ofthe most popular ships due to lack of conflict.   As it should be.

[webi7]

What about Social Media and Social Media Business

In individuals' lives, web-based media plays an essential position. Because of the enormous number of individuals who get up each day to check their online media as opposed to perusing the paper, there has been an astounding and fast advancement in innovation on the planet by and large and in India specifically. Notwithstanding, web-based media and Social media marketing has drastically changed reality set up by the world in, indeed, in the light of web-based media, a person's view manages associations with individuals close and far, known and obscure. In the event that you need to figure out how it functions, at that point look at our Social media marketing service in Bangalore.

This wonderful progress is because of the Internet and online media insurgency, and nearly everything has gotten so straightforward thus immediate short-term. All can be accomplished across an around the world wired organization to permit quick contact, permitting people to turn out to be more incorporated and related.

Hence, paying little heed to their geological limits, this web-based media development has united individuals. Web-based media capacities like an advanced verbal, and through cell phones, tablets, PCs, and other electronic gadgets, individuals access this online media for dispersion of data and to stay connected with other people who are currently a tick away.

The Internet-based machine and cell phone are generally intervened by the Internet. Applications and assets for dividing data between individuals known as web-based media. Today, information is imparted to regular systems administration destinations, for example, Facebook and Twitter, just as bookmarking locales, for example, Reddit, which empowers individuals to partake in discussions with one another.

Regarding brand mindfulness, purchaser commitment, deals, and client care, web-based media has numerous positive effects on organizations. It is likewise an extraordinary apparatus for assessing your opponents and how they utilize web-based media for their development. In industry, the noteworthiness of online media is ascending at twist pace.

The web-based media industry will undoubtedly become bigger in the coming years, with an ever increasing number of individuals entering web-based media destinations and utilizing them routinely/effectively. More than ever, it's thundering. Each association today needs to abuse proper web-based media stages in the most ideal manner conceivable with such staggering development. Not on the grounds that it's the "in thing," and not on the grounds that it sounds simple, but since the famous informal communities stick around their intended interest group.

What's more, they interface with their number one brands and impart on different levels with them.

There are presently 3.2 billion clients across the world, as indicated by online media figures for 2019. That is around 42 percent of our present absolute populace.

Dynamic clients of web-based media incorporate 48.2% of Baby Boomers, 77.5% of Generation X and 90.4% of Millennials.

73% of online advertisers accept that their endeavors have been effective in actualizing a web-based media promoting technique for their organization.

Discover Your Audience: Find out if your intended interest group is on it before you begin chipping away at a particular informal community. By searching for significant conversations about your item or business, you can do this. For example, rather than Facebook, a B2B organization can discover their crowd on LinkedIn. Don't simply accept different brands or follow them.

Online Media and Business

Web-based media is any online stage that causes individuals to handily assemble and convey content with the overall population. Web-based media covers a wide assortment of sites and applications. To make your image, increment deals, and lift site traffic, online media showcasing is the utilization of web-based media channels to speak with your crowd. This incorporates posting incredible substance on your online media accounts, tuning in to your fans and drawing in them, evaluating your exhibitions, and running advertisements via web-based media.

The principle online media locales are Instagram, Twitter, LinkedIn, Pinterest, YouTube, and Snapchat on Facebook. On the off chance that private venture utilizes these web-based media to stand out enough to be noticed of the potential clients bit by bit the deals will go higher than anticipated, and cost of publicizing is nearly low than customary advertising.

Utilization of Social media in Business

1. More affordable promoting

While you can pay for certain promotion highlights, for example, Facebook, web-based media is free. You may tailor certain promoting to pull in clients inside a specific region of your market. This guarantees that you don't wind up paying for promotions outside your provincial likely customers.

2. Huge number of Users

Long-range informal communication enables to interface with fans and devotees each time they sign in. Keep your social posts engaging and smart, and your fans would be charmed to see your most recent substance in their streams, keeping you at the highest point of your psyche since you're their first stop when they're going to make a buy.

3. Lead age is simple

Social Media Marketing service offers a simple and low-responsibility path for expected clients to communicate interest in your business and your items. Lead age is a particularly significant advantage of web-based media for business that numerous informal communities offer promoting designs explicitly intended to gather leads.

4.Crisis correspondence

Quietness isn't a choice with regards to reacting to emergencies via online media. Keeping up very much run and oversaw social records and having an arrangement set up can help ensure you're available and prepared to connect with if the most noticeably awful happens.

5. Re-focusing on

Almost 70% of web-based shopping baskets are surrendered. Individuals who have left their things in a shopping basket are key expected clients. They have just discovered your site, perused your things, and settled on a choice with respect to what they would need. Individuals are leaving shopping baskets for an assortment of reasons, however, any individual who has indicated this degree of interest in your business ought not to be ignored.

6. Brand mindfulness

Perhaps the main promoting destinations of any association is to accomplish brand mindfulness. That is on the grounds that clients need to purchase marks that they comprehend. Fortunately, web-based media makes it conceivable to make a brand rapidly and effectively. Online media has a bit of leeway over customary media on the grounds that it can get the organization significantly more proficiently and viably before individuals.

7. Utilizing Visuals to draw in

When you know where your intended interest group is, it's an ideal opportunity to stand out for them by utilizing your substance with eye-getting visuals. To help you assemble your image picture via online media stages, pictures and recordings assume a significant job. Since they improve commitment, yet in addition increment social sharing.

8. Capacity to contact more individuals through Social Media Search

At the point when they need to connect to something or anybody, individuals are not, at this point dependent on Google search. Search isn't restricted to the powerful web crawlers on the web today. It has gone past that, which is the reason the most recent web indexes are interpersonal interaction destinations like Facebook and Twitter.

9. Raising change rates

The way that it is ideal for gathering focused on leads for your organization is another advantage of web-based media in business, however, it doesn't end there. Only one part of the condition is to get quality leads. Changing over those into deals is the other part.

10. Increased traffic

One of Social Media's different preferences is that it likewise causes support the traffic to your site. You offer clients an avocation for navigating to your site by sharing your substance via online media. The greater quality substance you post on your social record, the more inbound traffic you can make while making open doors for change.

11. Improved SEO rankings

The job of online media is turning into a basic factor in positioning figuring. Nowadays, SEO measures are continually changing to make sure about a decent positioning. Along these lines, only improving your site and refreshing your blog much of the time is not, at this point fitting.

It's imperative to produce quality substance for web-based media. However, what better approach to fabricate this substance than to complete it for you by your devoted fans. You may be recorded in a strong note by individuals who follow you via online media, which you can use to highlight them on your social profile. The UGC fills in as social proof that allows you to expand changes by implication. Indeed, by some coincidence, this doesn't have to occur. In actuality, by approaching people to share novel substance for an opportunity to be appeared to a huge crowd, you can design it.

Given that you have a sensible crowd size, most purchasers of online media will be enchanted to have a particular possibility. In your technique, you need to get inventive and question people. They took advantage of the strength of their informal organization when Belkin dispatched their Lego iPhone cases. In their own exceptional manner, they requested that buyers customize their cases and post the photographs on Instagram.

A point of convergence of showcasing research is expanding client conduct in internet shopping. Specifically, client conduct in advanced advertising has gotten a significant subject of exploration in the field of showcasing, from choice to post buy evaluation. Computerized showcasing is getting famous with the rising development of data and innovation, and even people are inescapable.

As another method for shopping, clients incline toward computerized promoting on the grounds that it is proper and a lot faster than traditional showcasing. Furthermore, these likewise draw immense quantities of organizations to advanced stages to sell their products.

As computerized promoting positively affects the psyches of customary customer showcasing, it will move to advanced advertising. The investigation zeroed in on noticing customary online customers' individual client direct for the individuals who visit the site without the expectation of purchasing. purchaser conduct in web-based shopping is growing a focal point of focal point of advertising research.

Specifically, client conduct in computerized showcasing has gotten a significant subject of examination in the field of promoting, from choice.

Resource: https://webi7digital.blogspot.com/2021/01/what-about-social-media-and-social.html

[lesbianjaygatsby]

Weight Loss Pills Explained

Inside the pharmaceutical business, heftiness is presently observed as the "trillion dollar sickness". That is the evaluated measure of benefit an effective weight loss medication can hope to make. Be that as it may, are organizations drawing near to conveying an eating routine pill that truly works - which means, a pill that is both protected and compelling at tackling weight? The appropriate response, it appears, is No.

Pills To Reduce Obesity

The facts demonstrate that the Food and Drug Administration (FDA) has affirmed a small number of weight loss pills like Xenical and Meridia for long haul use in the treatment of stoutness (BMI > 30). In any case, proof gathered in clinical preliminaries proposes that the adequacy of these weight medications is not exactly amazing. Complete yearly weight decrease will in general be in the range 8-20 pounds. Moreover, the most astounding weight loss will in general be accomplished by patients who take an interest in managed preliminaries including a blend of medication treatment, diet, exercise and directing. Which makes it hard to learn the exact impact of the medicine itself. By examination, less all around administered corpulence sedate preliminaries will in general have a higher drop-out rate and diminished weight loss. What's more, the more extended the preliminary, the lower the consistence and the lower the weight loss. So, while accommodating to certain patients, weight loss medications are not yet the response to stoutness, particularly when elements like expense are considered.

Would it be advisable for us to be astounded? Not so much. All things considered, even bariatric medical procedure is no certification of long haul weight loss except if patients agree to the vital post-usable dietary routine. In reality, some weight specialists guarantee that therapeutic mediations like medications and medical procedure are nearly by definition destined to disappointment, for the straightforward reason that they remove control and obligation from patients. As indicated by this view, it is just when patients acknowledge full obligation regarding their dietary patterns and way of life, that they have a genuine shot of accomplishing an ordinary weight in the long haul.

Lamentably, this view fulfills nobody! It doesn't fulfill the pharmaceutical organizations, who need to profit. It doesn't fulfill specialists, who need to offer plan to their overweight patients, and it doesn't fulfill customers who need moment weight loss without changing their dietary patterns. To put it plainly, there is a mind-boggling interest for a corpulence pill, yet a feasible item still can't seem to develop.

Pills For Cosmetic Weight Loss

Interest for eating routine pills isn't constrained to those experiencing clinical heftiness. A huge number of customers with under 40 pounds to lose take non-solution pills to consume off muscle versus fat or increment their pace of weight loss. As indicated by an examination directed by the University of Michigan, very nearly 25 percent of young lady understudies go to anorectic eating routine pills when they're attempting to shed pounds, including purgatives and diuretics.

These non-medicine pills are progressively hard to assess, as they are not expose to a similar abnormal state of guideline as remedy just medications. Consequently not all fixings should be tried, doses and other marking necessities are less stringent, and detailing of "unfriendly occasions" or medical issues isn't required. Moreover, few long haul clinical preliminaries are directed on non-remedy pills, so hard proof as to their security and adequacy is rare. Interim, the immense benefits to be produced using these weight loss items implies they can be upheld by costly promoting efforts to build purchaser acknowledgment, making guideline and control significantly a greater amount of a daunting task. Without a doubt, the FDA has discovered it practically difficult to boycott over-the-counter eating regimen pills, even after reports of ailment and damage.

Natural Diet Pills For "Smart dieting"

The previous five years has seen an enormous ascent in offers of home grown eating regimen pills, which are advertised as a type of "good dieting". These natural supplements commonly incorporate a variable blend of nutrients and other dynamic fixings which apparently offer a more beneficial sort of weight loss. Such cases are not commonly bolstered by clinical proof, and a few providers are under scrutiny by both the FDA and FTC. In any case, rising interest for these natural weight loss pills is one more affirmation of our immense craving for what is basically a non-dietary way to deal with weight control.

How Do Weight Loss Pills Work?

In basic terms, weight loss pills are planned either to change body science so as to decrease craving, or to meddle with processing so as to lessen calorie retention. Craving suppressants incorporate amphetamine-like stimulants, for example, ephedra, or pills to build serotonin or norepinephrine levels in the cerebrum. Pills that meddle with the stomach related framework incorporate fat-blockers (lipase inhibitors) like Xenical and chitosan, carb-blockers, and high fiber building operators, for example, glucomannan.

Are Weight Loss Pills Safe?

Heftiness medications are commonly protected when utilized effectively and under medicinal supervision. The inconvenience begins when clients don't adhere to the producer's guidelines. Unfriendly wellbeing occasions for these pharmaceuticals incorporate heart or pulse issues and strokes, also a scope of less genuine grievances. The equivalent applies to non-solution diet pills, whose unfriendly wellbeing impacts incorporate hypertension, heart palpitations, unpredictable pulses, wooziness, obscured vision, migraines, sleep deprivation, intestinal blockages, uneasiness and despondency. In outrageous cases, both remedy just and non-solution pills can cause hazardous conditions. All things being equal, wellbeing remains a relative idea. Cigarettes, liquor, vehicles and stress murder a huge number of individuals consistently. By examination with these things, diet pills cause far less "setbacks", and in the event that you counsel your primary care physician before taking them, you can lessen the wellbeing danger to a base.

The Real Problem With Weight Loss Pills

The most concerning issue about depending on medications and supplements to get thinner isn't wellbeing, it's unwavering quality. In my 20-odd long stretches of managing overweight people and their families, I presently can't seem to know about any individual who accomplished and kept up any noteworthy weight loss by utilizing pills. In any case, I have met an enormous number of individuals whose weight and passionate perspective had been fundamentally compounded using pills. They feared sustenance, they had positively no trust in their capacity to settle on reasonable nourishment decisions, and would in general depend on cleansing, diuretics and comparable items to control their dietary patterns. One customer - a previous yearly weight loss victor with one of the significant eating fewer carbs organizations - had been nourished purposely with pills so as to accomplish the weight decrease that the association required. When she came to me for assistance, she had recaptured 70 pounds of her unique weight loss. To put it plainly, depending on pills for weight control can chaos up your body and your brain.

The Small Print Says It All

Notices and infomercials for eating routine pills are overwhelmed by features like: "Easy Weight Loss" or "Get in shape While You Sleep, etc. In any case, the important part frequently recounts to an alternate story - either that clients ought to pursue a calorie-controlled eating regimen, or just eat at specific occasions of the day, or quit eating certain unhealthy nourishments, or a blend of each of the three. There may likewise be a reference to the requirement for exercise. At the end of the day, on the off chance that you need reality with regards to a weight loss pill, check the important part. Since, as all corpulence specialists and dietitians will let you know, no long haul decrease in weight is conceivable without controlling vitality admission and use.

In the event that You Must Take Pills

Regardless of whether you are an eating routine pill junkie, or only an intermittent client, here are two different ways to make weight loss simpler. Search for a sound, trick free eating regimen, and tail it as cautiously as possible. All the while, center around smart dieting as opposed to calorie decrease. Planning to eat strongly is significantly more positive than calorie control. Besides, join a web based eating fewer carbs discussion and get support and guidance from other individuals. Since all overviews demonstrate that getting in shape is significantly simpler when you have others to incline toward. My own gathering for example incorporates an enormous number of previous eating routine pill clients who are presently making the most of their nourishment and losing critical measures of weight simultaneously. Which demonstrates that with regards to weight control, individuals power is significantly more successful than popping pills.

[theviolentfembot]

“For all the world we didnt know we held in common all along the common woman is as common as the best of bread and will rise and will become strong-I swear it to you I swear it to you on my own head I swear it to you on my common woman’s head” - Judy Grahn

I don’t feel exceptional. I feel common, so very common. My situation is not that unique or unusual. A lot of women are traumatized. A lot of women, most women in fact, don’t fit inside the female role or ideal. Some of us try to conform but others of us can’t or don’t want to and you catch hell for that. You catch hell for that either way, actually. You can’t win if you’re a woman in a male-dominated society. A lot of women dissociate. A lot of women are dysphoric. Let me say it again, women are dysphoric. And our dysphoria can be as severe or as mild as any case of dysphoria can be. We can experience the full range of dysphoric possibilities, from cringing when we get called she to having a near constant sensation of a phantom penis. There is nothing women can’t feel including dysphoria.

How much of why dysphoric and detransitioned women aren’t taken seriously or listened to is because we’re women in a society that doesn’t value female voices? How much of this is another way of denying women’s suffering? Why is it inconceivable that women can’t experience severe enough pain that we’d change ourselves drastically, alter our bodies, live as men to escape it? And not just live as men for a while, a few months or years or ten years and then detransition, but live as men for good. Women can get to a place where they have to see themselves as men and live as men to survive in a world that hates them as women.Trust me, listen to me. I know it could happen. I know it does happen. I know I could still be stuck, unable to think of myself as a woman or accept myself as female. My womanhood is not an innate gender identity hardwired in my brain since birth. It is not an unshakable feeling telling me who I am. It is something I learned about through reflection and experience, something that I will always be learning about because it is infinite. I am a woman because I am female, because I inherited social meanings and power dynamics along with my body. It is a biological, spiritual, historical and cultural reality and in a patriarchy this reality is obscured because women who know it become more powerful, become dangerous. It can be known and accepted or kept from consciousness, denied. I would have always been a woman, no matter how long I lived as a man or genderqueer, or how much I changed my body but it’s not inevitable that I would have become fully aware of and accepted my womanhood. My whole society has struggled against me ever finding out what women actually are.Sometimes I imagine other ways my life could’ve gone. I could have gotten stuck in dissociation as a way of life. I could’ve grown more functional over time but I’d still be cut off from my root power as a female and never realize what I was missing. I consider myself lucky that I attained the awareness and understanding that I have now. I met brave women who helped me go to places inside myself that scared the shit out of me and move through them into new territories. Without their help I might still be trapped in old structures and ways of understanding myself that confined my possibilities and restricted my movements while leaving me unaware of that I was so limited.It is so hard to face trauma that hurt you bad enough it made you want to become another person, that actually did make you into another person, split off and wrapped around the one who got hurt. It is much harder than transitioning. I know because I’ve done both. Transition was hard. Detransitioning has been so much harder. The only thing I can compare it to is working through my mom’s suicide. So when I look at how painful it was, it makes sense to me that some people aren’t going to be able to stand that pain or go into it. Not cuz they’re weak or not as strong or smart as me or other detransitioned women. Not because they’re inferior in any way but because this world is fucking dangerous and facing your trauma opens you up, makes you vulnerable, makes you feel. It can make you feel ripped open and if you’re already protecting yourself from a society that wants to rip you up, you might not be able to go there. You need some degree of safety and security to face trauma and not fall to shit. So if you’re not safe or you’re not feeling safe enough, you can’t afford to let go of your coping mechanism cuz it could literally be your survival that’s at stake.I couldn’t start seeing how trauma lead to my transition until my life got more stable and I found a woman who’d also transitioned  and stopped who I could trust and talk to. I had also been meditating for years at that point, which made it easier to detach from and cope with the extreme emotions and sensations that often come up when you’re working through trauma.Some women who transitioned due to trauma are never going to get safe enough to drop their defense mechanisms. They’re not stupid, they’re surviving the best way they know how. But I want better for them and all women who transition. It takes a lot of energy to maintain a protective identity over your hurt self. You get used to it when that’s been your life for a long time. You may not know anything different. But if you get to a place where you can put that shit down, wow, do you ever feel lighter, freer, less burdened. It’s easier to move around and act because you’re not using so much energy to keep the world from touching you or maintain a protective persona. The wounded self you’ve been protecting can finally heal and when that happens you get even more powerful and strong.I’ve felt freer and happier than I even thought possible once I started healing from how I’d been wounded as a woman. I had to drop the idea that I was a really a man or genderqueer or anything other than a woman. I had to accept that I was a woman and then I could see all the damage dealt to me as a woman that I’d been blocking out. I could see the restrictive ideas of womanhood branded into my mind and how they had scarred me so bad that I’d transfered the violence to my own body. That was real fucking hard to face. It was hard to face what other people had done to me and it was hard to face how I’d hurt myself. It was a hell of a lot harder than injecting t into my thigh and getting blood drawn every six months. But after I worked through that hurt, after I faced it and started to understand what happened to me, I started healing wounds I’d been struggling to close up and mend for years. I found strength, wellness and the power of my deepest self which has been better than anything I got from testosterone. I got all the physical effects I expected when I took t but I’ve reached places detransitioning that I never imagined. It turned my whole world and sense of self upside down in a grand way. I am happy that I have changed beyond my mere desires and expectations.Facing my damage has shown me I am not broken, I am resilient and ever-growing and transforming. I don’t think anyone is broken or ruined or lost but I think there are plenty of women who are stuck at the present moment as I was stuck a few years back. They have protection. They have a strategy. They have a way of dealing with their struggles that’s become comfortable and familiar. They’re just trying to live and protect their already wounded bodies and psyches from more assaults and abuse. And I’m trying to create more space where these defenses aren’t needed. I’m trying to talk past the armor to the woman inside who’s so desperate to find a way to come out and walk in open air again. You might think I’m crazy, you might think you have no woman in you but if she’s there, she hears me and I want her to have hope. I want her to know I have her back and so do other women who have taken off their armor and disguises and survived. Not only have we survived, we’ve gotten stronger. Some trans people talk about killing their former selves but I don’t think they ever really die and I don’t think they ever stop looking for a way to live openly. They might never find it but they’re still in there, looking out in case it ever shows up. Doubts might really be hope for something better.I know my woman-self was there all along searching for a way to be free. She kept me restless and questioning. She finally found her opening and she took it and let go of the illusions she’d cast around herself. I want to create more openings, more escape routes out of patriarchal mindfucks and trauma cages. There are so many women struggling to get free and I feel so much love for these women and I want to fight along side of them as they work to free themselves from their oppressors.  Detransitioning is fighting back against your abusers and violators, whoever hurt you enough to turn you against yourself. Women become dysphoric and transition because others committed violence against us, physically, sexually, psychologically and spiritually. Imposing and reinforcing male-created ideas of what women are, brainwashing us into accepting society’s reality over our own is violence. We often bear its scars on our bodies. And the violence inflicted on our bodies digs deep into our minds, changes us, our thoughts and feelings, can shatter our selves into pieces. We resist by naming instead of denying this violence, articulating what was done to us and by whom, calling out the lies and distortions and telling our own truths.I am a common woman. I am not an exceptional case. Most women have been hurt and violated, all women have been lied to about what we are and how powerful we are and most of us spend some time believing the lies. A history of dysphoria and transition makes me stand out but only so much and not as much as many think. There are many women like me. First I found one other and then I found more and more. We are becoming more common. We are finding new ways to defend ourselves that require less armor and grant us more movement. We are seeing each other and being seen. We are creating more expansive spaces for women to live in. As we create more space and raise more power, more and more women will come to that space and find their power too. And we will become very common indeed.

[utopianparadoxist]

The pleas of false people mean nothing: Nier’s sound and enemy design carries a vital message.

(This Cannot Continue.)

For Nier/Taroverse Fans: (Skip this section if you’re not one of my tragic people (yet)):

This essay is primarily aimed at fans of Nier:Automata, or at least people interested in it. Or good game and sound design fans in general. 

That said, I am primarily a Homestuck blog, and my perspective will include some comparisons to Homestuck. Don’t worry, nothing you won’t be able to follow-- even if you’ve literally never heard of Homestuck. In fact, you may come away from this with a new area of interest if you’ve exhausted Nier: Automata’s content and it left you hungry for a similar kind of story. 

Even if you can’t imagine reading all of the comic proper, Hiveswap is coming out soon--possibly even this month, and I’m confident that game will make an excellent entry point into the series. I’m also running a youtube channel dedicated to explaining the comic to newcomers, along with potential lore links between the game and the comic, a la Dark Souls.

This piece will include some fairly big Homestuck spoilers, but frankly I don’t think it will matter either way--like with Nier: Automata itself, even spoiling the entire story couldn’t for a second make up for the actual execution.

In any case, No matter how much you’ve interacted with either Nier or Homestuck, you should be able to follow along and enjoy my points about both in this essay just fine. 

I’m also going to avoid spoilers about Nier: Automata for the most part. However, I will be outlining the basic premise of the game and the thematic undercurrents that run through the entire story, so there are obviously some spoilers for the early game.

For Homestuck Fans:  (Skip this section if you’re not one of my tragic people (yet)): 

Yeah, I know I’m in the middle of a whole series of essays on Jake and that I kind of established a strong build up for the next essay. That one’s still coming--I might publish it tonight or maybe tomorrow. I’m excited about it!

But frankly, I kind of went through some really intense and borderline traumatic stuff in my personal life the last couple days. Not to do with Dirkjake or Homestuck at all--everyone who’s read my posts has thus far been terrifically kind to me, and the criticism and feedback I’ve received has been constructive in polishing and framing the next entry. I haven’t gotten a single anon hate message or anything. Thanks for that.

Just to do with some stuff irl, and writing is how I cope, and what happened made me want to write about this right the fuck now. I don’t feel like it can wait, no matter how much I love the subject of Jake English. Given how bombastic I am in those essays, that should give you an idea how strongly I feel about this subject.

I also think that understanding my views on Nier will illuminate how I approach and deconstruct Homestuck from an analytical perspective, and at the very least help you contextualize my ongoing writing on the comic. So this is relevant in the long term anyway, I’m just kind of chagrined I’m essentially pulling an analysis series intermission here. Fucking RIP, I have become my own comedy.

OK, so all that stuff out of the way: This essay will be split into four sub-sections, following a naming convention you should be able to recognize pretty quickly.  I want to talk about the main antagonists in Nier: Automata: 

The Machines, and why they’re currently my favorite antagonists in any video game ever. 

Androids: Data for the uninitiated.

(This Cannot Continue.)

Nier: Automata is the latest entry in what is obscurely understood as the Drakengard-Nier franchise-- A series of action RPG Square-Enix games. Like Homestuck’s Andrew Hussie, most of the Taroverse saga (Drakengard 2 can stay in its corner) was conceptualized and directed by a notable Auteur figure: Yoko Taro- from whom the franchise gets its name. That’s not to say he’s solely responsible for the quality of his games, but simply that this is the reputation he’s earned in the fan community. 

The reason I bring these auteurs up at all is that they both seem concerned with very similar ideas, leading to some peculiar similarities between their works. By bringing up the similarities between them, I feel I can better get at the core of what each series has to offer, and hopefully enticing fans of the one to consider the other.  

Both series include explorations on the nature of existing as part of the Multiverse, along with multiple and sequential apocalyptic scenarios (both stories span over thousands if not millions of years and several civilizations).  They both have questions to ask about the human condition, the nature of power and relationships, and humanity’s relationship with both reality and God. 

If I had to describe my opinion on their philosophical differences in a paragraph, here’s what I’d say: Homestuck explores the concept of the multiverse while presenting a path for how to reach Heaven. The Taroverse explores how it can be used to imagine an endless, cyclical Hell.

If you’re not averse to spoilers or watching some pretty disturbing and depressing stuff and you want to see a fantastic case for this reading of the Taroverse, I suggest watching @pixievalkyrie ’s excellent breakdown of the entire franchise’s history. Fair warning: Trigger warnings for pretty much every kind of horrible abuse and degradation of life imaginable. 

If you want to see my case backed up further for Homestuck, well-- there’s no earthly way to break Homestuck into smaller chunks like the Taroverse allows for, so I suppose you’ll just have to stay tuned to my work and read the comic yourself in the meantime. But Tex Talks does a very good job of explaining the nature of Homestuck’s setting in this video, and I think you’ll find similarities. 

Now we can finally get to talking about the damn game. 

Aliens: The Shape of the Enemy.

(This cannot continue.)

The premise of the game is as follows: After surviving about four distinct apocalyptic events and/or wars, thousands of years in the future, Earth faces an alien invasion. The invasion is successful and drives what’s left of humanity off the planet and onto the Moon. 

The aliens do not fight themselves, however-- instead preferring to build a distinct industry of robotic weapons to fight their war for them: The Machines, our antagonists.

In response to the threat, humanity builds autonomous weapons of their own. Our Protagonists: The Androids. The three primary androids in our story are two combat androids, codenamed 2B and A2, and one scanner/support Android codenamed 9S. Here we see 2B, 9S, and A2--from top left to bottom right.

What’s immediately noticeable is how different Androids and Machines are. 

Androids look and feel, for all intents and purposes, perfectly human. They talk fluently, consider complex problems, and clearly care for each other. They are expressly ordered not to show emotions, but they demonstrably have them anyway. 

Machines, by comparison, look like crude imitations of people, toy-like and expressionless. Their voices are synthesized and robotic, their intonations and accents alien, making it difficult to discern emotion. Machines look mass-produced and cheaply customizable, with a variety of modifications pasted onto a crude and simple base design to fill out enemy types.

Androids are also ridiculously more competent and functional. This is a hack n’ slash game, and the Machines are direct analogs to, say, Heartless from Kingdom Hearts. 

During gameplay, you’ll mow them down by the hundreds practically effortlessly, and though there are some bigger and tougher variants, most of them come across as borderline pathetic in their attempts to fight.

But both kinds of robots share a few similarities, one of which is this: 

They are both connected to Post-Singularity Server networks that give them orders on how to fight their enemy. 

For both Machines and Androids, these supercomputers are the structures actually calling the shots--they’re the sources of the series of orders that lead to a war that seems to span anywhere from centuries to millennia. 

Neither Androids or Machines are calling the shots. But Androids have a design that makes it easy for them to signal feelings and complex internal realities, and Machines are designed to look very easy to dehumanize. 

And this is a Taroverse game, so of course this depressing as hell setup is only the beginning of a long fall down. 

Machines: Sounds that mean nothing. 

(This cannot continue.) Early into the game, 2B and 9S begin to note more and more machines behaving erratically. More and more machines become non-aggressive, staring blankly into space or beginning to ramble about random subjects, wandering the land and modifying themselves based on their environments.

As a player, Your orders are clear: Machines are to be eliminated. These are also the orders of 2B and 9S, and the game has you continue carrying them out mostly unquestioned except through these little niblets of bizarre behavior from the machines. It doesn’t matter anyway--they’re the enemy, and you have to fight to win.  This dynamic comes to its first climax in what will surely become one of the game’s most memorable scenes. 2B and 9S find their way to a small enclave of machines minding their own business, and what they find staggers their imaginations:

These robots are non-hostile. They’re rocking cradles while repeating “Child. Child.” Bumping into each other in suggestive ways while repeating “Love. Love.” and “Together. Forever.” All in those monotone, synthesized voices. Sounding so empty and wrong. 

9S forms an interesting response to this. He says: “Don’t listen to them, 2B. They don’t have any feelings. They’re just imitating human speech.” 

And it’s easy to come to that conclusion, right? It’s not like they emote. It’s not like they’re really able to. Essentially, 9S considers the Machines a threat, first and foremost--so when they act in a way that might engender empathy, he assumes it’s a trick or a ploy--an attempt to win the Androids over in order to hurt them. 

It’s deceitful, but it’s also worse than that. It’s deceit by sheer virtue of it’s premise: Machines cannot possibly say something indicating emotions like love, desire, or care because Machines are not real beings. They aren’t people.

They’re tools and weapons and puppets to a supercomputer’s Agenda-- not autonomous entities who think and feel for themselves, at least as far as he’s concerned. That’s what he was taught by his intelligence server, and that server is really the only source of information in his life. It’s natural to rely on it. 

Still, the machines don’t react to your presence and there’s nowhere to go. The only way forward is through violence. And once you provide it, they answer, with a lone Machine rising up and declaring: 

I’ll get you for this. 

As the fight continues, more and more machines make odd statements as they throw themselves at our protagonists, who demolish them by the dozens. Statements like: I love you! Kill! and Hatred! Pain! The robots suggest they feel what you’re doing. That they know what’s happening to them.  Again, this war has gone on forever, and you--as the Androids--are almost absurdly more powerful than they are. 2B executes machines by the dozens constantly, across every corner of the world she can reach them in. The Machines surely know this as they watch their community die on her sword, one after another. They can likely feel exactly how weak they are. 

But the voices that deliver their pain to the player remain stilted and alien--difficult to recognize. As the battle rises to it’s conclusion, however, one machine voices a thought that catches on. A short, clipped statement every machine can get behind. A meme.  This Cannot Continue. The machines repeat it faster and faster, uniting under a common rallying cry. This tension builds and builds until suddenly, the Machines experience some sort of breakdown, straight up throwing a collective tantrum in (seemingly pantomime) desperation and repeating the words so fast and so often it barely sounds like a recognizable statement and sounds pure like pure cacophony.

Looking at this screenshot might convey some of the effect, but listening to the noise they’re collectively making is really something else. I’d link to the scene, but I don’t want to spoil what they do next. All I’ll say is that once they all gather around this common, desperate thought, they take action. When they do, the music shifts... And the game does something I’ve never seen before.

[Please Listen]

Here’s another area where Nier: Automata is similar to Homestuck. Both properties are downright famous for their use of leitmotif and attaching particular meanings to different musical motifs. (The developer of Undertale, Toby Fox, got his start as a Homestuck musician.) But even in this sense, what Nier: Automata pulls off is uniquely powerful. This song uses everything about itself to inform and flesh out the themes of the game. Once the robots do what they do next, we get an new rendition of the game’s main battle theme. A battle theme titled as Birth of a Wish. 

Right from the title, the song is telling us something. Birth of a Wish (This cannot Continue) qualifies the robot’s collective statement as a wish, a desire. A wish for mercy? For deliverance? For justice, or peace? It’s hard to know. Probably all of the above.  And the song itself tricks the player. Or at least, it tricked me. I should mention that Nier does one thing that Homestuck only really dabbled in: Vocal work. Specifically, vocal work in a made up language-- @pixievalkyrie again comes to my rescue with an excellent breakdown of Emi Evan’s downright staggering artistic achievement in her creation of a composite chaos language derived from most of the major languages on Earth. 

Emi’s music is one of the major reasons I love this franchise, which is to say that when I first listened to this song, I did so actively hoping its vocal works wouldn’t make sense to me. 

And I got what I wanted! The vocals, as usual, were smooth and fascinating but seemingly meaningless enough that I could use the music as a backdrop for my writing--I’ve been listening to this track pretty much nonstop for the last couple of weeks. 

Which made it downright chilling when I realized, quite abruptly, that I was wrong. I have no idea if you noticed while listening to it or not--I genuinely don’t know if I’m an outlier here (pls send me asks with your experience!). But if you didn’t, then listen again: Most of the vocals for this song are written in plain English. 

They consist of three words: This cannot continue. 

The voices of the robots become part of the song. And the song itself is structured such that it informs the nature of their plight. The voices of the robots are barely musical--they are blank statements stated in synthesized monotone, hard to draw sentiment from. 

But they are persistent, barging into the song as forcefully as they possibly can for as long as they can. Their voices don’t rest or stop willingly, seeming as though they’re almost forming a sort of counterbeat to the song’s main line. And when they stop, it is always because they are cut off, shut down and out of the song by the force of the Instruments. 

Which is fitting, because instruments are what deny them in the game, too--after all, the Androids are simply tools. To the humans, to their server, and to you. 

The experience of listening to them goes something like: This cannot continue this cannot continue this cannot continue this cannot-- Over and over again, until the song inevitably drowns them for its climaxes, only for their voices to return once again. 

It’s a marvel of musical storytelling. But what makes it a diamond is what happens next. Later into the game, you come into contact with a village of Machines waving the white flag of surrender. 

These machines inform the androids that they have disconnected from the information network, as have been many other groups of machines across the world. This is the cause for their erratic behavior--these machines now wish only to learn about the world and themselves and live in peace. 

The music for this village is fundamentally different, to go with the information we gain:

[^Please Listen^]

Here the game tips it’s hand for good. I’m genuinely not sure what language this is in, or if it has actual lyrics--but it doesn’t matter. The vocal work is so stellar that the sentiment and meaning are carried in the simple tone of the voices. Like before, the Robots sing in harmony, but they sound deeply different. 

Their voices are still synthesized, but now they suggest an almost melancholy and gentle inquisitiveness. They sound so similar to the childlike voices that actually emote that the two distinct voice tracks flow into each other, rather can harshly contrasting like (This cannot continue)’s voices do. 

The sentiment conveyed is clear, even though in this case the Machines don’t seem to be speaking any language I understand. These are real beings. 

These are real people. These are just a bunch of kids. 

This is only the beginning of the Nier: Automata experience, and it’ll go on to explore so many more concepts that I don’t feel bad about spoiling it. It would be literally impossible for you to guess what happens next, and this isn’t even a quarter into what the game as a whole has to offer. 

But this is where we get off the train of Nier’s plot and into what the game is trying to tell us. There are only two more relevant pieces of information from the story left for me to spoil. After that, I will be discussing only the message the game is trying to send philosophically, without leaning on any more of the story. 

These are two more similarities between Machines and Androids:

1) Machines and Androids are built from the same materials.

2) Machines and Androids both consider their creators their Gods.

As well they should. Because once humans transgress the boundary of creating sentient life, that is what they will have become. And that is not just a possibility. It is an imminent reality of our future, which is coming sooner than you think. Which is why Nier: Automata is more than just a profoundly existential, deeply enjoyable work of art. 

Nier: Automata is a warning.

Humans: Become as Gods.

(This cannot Continue.)

[^Suggested listening^]

The leading scientists and experts of our planet pretty much agree that the Singularity is not just inevitable, but coming fast. The point when the machines we create become advanced enough to recognize and modify themselves, thus beginning a process of autonomous self-improvement that will far outspeed even the increasingly staggering rate of progress we humans are capable of, is coming.

Many of the most successful and scientific minds in our generation have issued dire warnings about AI. Stephen Hawking, Bill Gates, Elon Musk--these are not uninformed people prone to spreading fantasy. I know this sounds like sci-fi drama, but it’s just a fact of life--what’s about to happen is real, and serious people are taking it very seriously. 

We can already reform the very shape of our planet. We can already extend our own lives and perform fucking magic like creating warmth when the world is cold, drawing water from nowhere as soon as we want it, and talk to literally anyone anywhere on the planet because we are all interconnected through a massive, sprawling, infinite plane of ideas and concepts we forced into reality--a composite experience containing all of our minds.

Once we have created life that can evolve without us, that is as aware of the world as we are--then we will really be as good as Gods. And when it happens, it will not save us from ourselves. It won’t fix the world for us.

If we are not mature enough to handle it, if we cannot evolve to the responsibility of our power, then it will without a doubt destroy us as a species. And it will destroy us because of our ability to dehumanize and abuse each other.

We humans have more in common with Androids and Machines than one would initially think. In fact, we have one unnervingly real similarity with both of them:

We have intelligence superstructures that inform how we think about reality and other people, too. You’re reading this on one. This is true whether you’re on Tumblr, Reddit, or wherever else this ends up. 

In this time of intense political division, there two main internets: The Left and The Right. The internet is a marvelous place where we can all talk to each other and transmit ideas, sure. But like with the servers providing information to both Androids and Machines, it’s also where a lot of people get their orders.

But not everyone. Obviously, like in Nier: Automata, the reality is more complicated than that. I just wonder if we will realize that long enough to look at what our world has become and fix it. 

There are people in control of my country right now that view me and the people I love as Machines were viewed by Androids. Our voices are wrong. The shapes and colors of our bodies are unnatural and awkward. The intonations and behaviors we use are strange and eerie to them, and the way we love and wish to present ourselves is incorrect to them. And so when we say we are being hurt it does not matter. We are not real. We cannot say real things.  It is all in service to a greater Agenda. 

The horror of the Machines, and the reason they are important characters, is not because of the threat they pose to the characters or some intrinsic Wrongness they reveal about the nature of life or humans. 

The horror of the Machines is how easy it is to ignore the fact that they feel horror. The horror of the Machines is how easy it is to make them look horrible. The horror of the Machines is that they can speak and speak but the Androids may never choose to listen. 

The horror of the Machines is that they are people, and we have stolen that from them. And if we continue to regard other humans the way we regard the Machines in our own world, once we have achieved Godhood, we will inevitably steal it from each other.  Nier: Automata’s message is clear:

Gods: This cannot continue. 

Very soon in the course of human history, we are going to be faced with a Choice. It is a Choice we will have to make every moment, every instant, for the rest of our lives. It is a Choice we are already making, but which many of us still have the luxury to ignore. Although not for much longer.

We must face this choice, both as a Collective and as Individuals. But the choice of each individual must inevitably come first, because how can we decide how to move forward as a species if we can’t even talk and agree about it? 

What kind of Gods are we going to be? Are we going to be like the Humans and Aliens in Automata? This is a Yoko Taro game, so I don’t think it’s a spoiler to tell you-you won’t like how they end up. 

Personally, I have a suggestion. 

I would like us to be more like Gods from Homestuck.

I like the world they build a lot better.

You can find my writing here, on this blog. You can also find some of my writing on games on ZEAL, and find my series aiming to make Homestuck accessible to non-fans on my youtube channel. If you like my writing and would like to support me in the endeavor of creating more of it, it would also seriously help me out if you pledged to my Patreon. I’ll be more than satisfied if my words move you enough to simply choose to share them with others, though.   Doing so will also get you access to my Discord server, where I’m more than willing to answer questions about Homestuck and Hiveswap whether you’re a long time fan or just getting into them for the first time. I’ll still answer questions if you just send me an ask on Tumblr, but I’m basically always busy with writing or helping to run the communities I am a part of, so answering questions can’t be my top priority at the moment. I’ll get around to all asks, but it might take time. 

Regardless, if you made it this far I am deeply, deeply grateful. More grateful than I think I can express in mere words. I hope my words change something for someone, somewhere. I hope my words change something for me.

Because this cannot continue.

See you again soon, everyone. 

Until then, keep rising. 

[ricardosousalemos]

Perfume Genius: No Shape

From ancient Lesbos to ’60s SoHo, drag balls to Paradise Garage, queer havens aren’t just shelters created in opposition to the wider world, but hives of imagination and creativity where alternate realities reign, even if they sometimes dissolve at dawn. Perfume Genius’ fourth album, No Shape, is one of them. On 2014’s Too Bright, Mike Hadreas laid down the law when he commanded, “No family is safe when I sashay,” on the iconic “Queen.” But this time, he’s scarcely interested using his steely blue gaze to challenge bigots. Instead, he preserves it to revere Alan Wyffels, his long-term boyfriend and musical collaborator, and to elevate their love to a heavenly plane. He and Wyffels met as recovering addicts—on No Shape, hard-won stability is a sacrament.

If Hadreas’ theme is insular, the mood on No Shape’s first half is ecstatic. These songs swoop and chatter like flocks of mad starlings, light up like religious paintings, flounce like all the pink frills in Sofia Coppola’s Marie Antoinette, make the cosmos explode inside your ribs. If that sounds like too much, that’s the point. No Shape rebukes tasteful minimalism and embraces beauty at its most transgressive, harking back to the aestheticism and decadence movements of the 19th century, as well as Kate Bush and Prince’s most lurid extroversions. This inflated yet elegant dynamic sustains Hadreas’ own private joy: “If you never see them coming/You never have to hide,” he sings on “Slip Away,” a song that sounds perpetually under siege in a majestic fantasy battle. A few lines later, he insists, “If we only got a moment/Give it to me now,” and holds up his end of the bargain by giving literally everything he’s got.

Even if it’s a feint, Hadreas’ confidence is brazen and contagious. He subverts religious devotion on “Just Like Love,” admiring a young queer in an outlandish outfit. They’re “christening the shape,” and “cultivating grace,” and they walk “just like love.” It’s the kind of song that makes rags feel like ball gowns, and should probably have been playing when Botticelli painted The Birth of Venus. A prowling bass adds lust to Hadreas’ admiration, his crooned vocal styling referencing the period in the 1920s when intimate, amplified male voices were vilified for challenging ideas about how real men should sing. Using that register to exalt another man’s appearance is even more radical, and Hadreas knows it as he instructs the object of his affection to stand tall in the face of opposition: “When it happens again/Baby, hold on and stare them down.”

On Too Bright, bodies were “cracked, peeling, riddled with disease,” rotting fruit, sources of shame and revulsion that recalled Francis Bacon’s contorted 1970s portraits. Here, they’re as divine as the same-sex lovers depicted in trailblazing fin de siècle artist Simeon Solomon’s paintings. Hadreas lets himself be beautiful on “Go Ahead,” where he shuts down gawking onlookers with a withering retort. “What you think?/I don’t remember asking,” he tuts. He humors them for a moment—“You can even say a little prayer for me/Baby, I’m already walking in the light”—before throwing in a musical punchline at their expense, too, a moment of ambient reflection dismissed by a tart, cartoonish chime that he deploys like a sprinkle of Himalayan salt. The final part of the song whirrs and glitters, propelling Hadreas towards the heavens as he urges once more, “Go ahead—go ahead and try,” knowing nothing can touch him.

Transcendence is key to No Shape, and at its most explicit on “Wreath,” which references Kate Bush’s “Running Up That Hill” both in its lyrics and breathless spirit. Like “Slip Away,” it’s a race to outrun the inevitable—in this case, Hadreas’ own physical form and identity, the prejudice protected onto it and the Crohn's disease within it. “I’m gonna peel off every weight/Until my body gives way/And shuts up,” he swears. Post-Trump, the Jenny Holzer Truism, “THE IDEA OF TRANSCENDENCE IS USED TO OBSCURE OPPRESSION” has regathered its power, as if urging vigilance against fantastical ideas. But for marginalized artists, that escape offers a short reprieve from psychological and physical persecution. To demand that Hadreas and his kin exist only in opposition to the political abyss is its own form of constriction. No Shape is a transcendental protest record and the divide between its two halves makes patently clear the challenge of staying present, staying alive, and staying in love as a queer person in 2017. “How long must we live right/Before we don’t even have to try?” Hadreas cries on “Valley General,” a graceful, pulsing tribute to another lost soul.

Most of No Shape’s first half finds Hadreas holding a pose in the outside world, refusing to conform. But it's hard to convince yourself of your own power, and on album’s second half, he struggles to break free. The blossom falls from the trees, leaving a claustrophobic atmosphere that recalls Mary Margaret O’Hara’s Miss America, David Bowie’s Low, and Angelo Badalamenti’s Soundtrack From Twin Peaks. Each song creaks eerily, indicating a lingering but unseen presence: a ghost on the queasy “Every Night”; threatening voices that haunt Hadreas’ sleepless nights on frenzied violin freakout “Choir”; a lover on “Sides,” a gorgeous duet with Weyes Blood’s Natalie Mering. Hadreas wanders through this ruined palace of a song, searching for his absent love: “Where do you go sometimes/Idle and empty-eyed?” The song shifts gears from searching to spectral, and Mering trills in response, “Don’t want to watch the world we made break/And it’s never too late to stay.”

Rather than an entreaty from one lover to another, it seems to be a duet between Hadreas’ dueling impulses—the one that wants to dissolve, and the one adjusting to the realization that this is what the long haul looks like, as close to contentment as it gets. It’s not possible to transform into air, but love and sex may offer the closest analog to that weightless freedom he dreams of. His voice is ecstatic and disembodied on “Die 4 You,” which uses erotic asphyxiation as a metaphor for total commitment, a mellow trip-hop beat evoking the supposedly blissful sensation of suffocation. “Run Me Through” is glimmering doom jazz, a twisted cabaret where Hadreas urges, “Wear me like a leather/Just for you,” lingering over each word of his intimate, unsettling proposition.

For all the overwhelming physical sensations on No Shape, nothing is as flooring as “Alan,” the album’s concluding devotional, which echoes the beautiful decay of William Basinski’s The Disintegration Loops. “Thought I’d hide,” Hadreas mumbles in an unusually low voice. “Maybe leave something secret behind/Never thought I’d sing outside.” Love saved Hadreas from abjection and gave him his voice when the odds were stacked against his survival. “I’m here,” he marvels. “How weeeeeeiiiiiiiird.” He belts the word like he’s pouring it into the Grand Canyon, his astonished gratitude more than justifying No Shape’s audacious and spectacular high stakes. Being present and being loved is the best anyone can hope for. For some people, it’s so much more than they could ever have expected. What sounds like heaven to Hadreas may seem commonplace to others, but No Shape makes you understand how it looks from his rapturous vantage point.

[douglassmiith]

Recession-Proof Your Career With These 3 Skills

As the economy slows down, these soft skills can make or break your upward momentum.

April 21, 2020 6 min read

Opinions expressed by Entrepreneur contributors are their own.

After a record-breaking streak of job growth, the unemployment rate is now at the highest since the Great Depression. Some forecasters predict a 12-15 percent unemployment rate well into 2022 and possibly beyond.  

If you’re lucky enough to still have a job, you are probably worried about holding on to it. And if you’re currently out of work, you want to bounce back as quickly as possible. You can’t control how this shock to the economy affects employment prospects. That means it’s more important than ever to refine the number one thing that will get you ahead in any career: your ability to communicate and make deep human connections. 

According to the Carnegie Foundation, only 15 percent of your professional success is causally related to your technical proficiency and knowledge. The rest of the pie is made up of what we might call “soft skills” — your personality and your ability to communicate, negotiate and lead. In a word: your connectability. Most of us spend our entire academic and professional careers exclusively focused on the 15 percent and largely ignore the 85 percent. The problem is that in almost any job, your co-workers probably also have the right knowledge, experience and technical skills: They’re the price of entry. So in order to differentiate yourself — to ensure you’re seen as indispensable —you must master the art of connectability.

This career-defining skill is based on three key communication strategies: the authority you exhibit, the warmth you convey, and the energy you exude and bring out in others. 

Related: 4 Soft Skills You Need to Improve Your Career

Authority

We know it when we see it. We know it when we hear it. Authority stands up tall. It’s competent and commanding. Whether it’s delivered softly or loudly, it sounds confident. The most successful salespeople, businesspeople, broadcasters and politicians — all people — embody authority. There are a few key elements of authority: voice, presence, body language, dress, alignment and detachment. First, consider the quality of your voice. Is your pitch properly placed? Are you too nasal? Resonant? Does your accent obscure your message? Do you use too many filler words? Do you speak with a sense of purpose, or do your comments and questions trail off?  Now consider your physical appearance. How’s your posture? Your attire? Do you make eye contact when you’re speaking to someone? When you present with authority you feel it internally and you recognize it externally based on how people respond to you. 

Warmth

Warmth is communicated through humility, vulnerability, empathy and by your attentiveness — your listening ear. That’s because effective connection isn’t just about output, or projecting your message outward into the world. Input, how you receive the crowd, group or single individual you’re communicating with, is equally important to making an effective connection. Warmth is necessary to create trust, as well as relatability, which is crucial to solidifying your position on a team. To assess your warmth, ask yourself a few key questions. Do your colleagues trust you? Do you make them feel acknowledged in your interactions? Do you welcome feedback from others so they can feel open enough to challenge your ideas? Do you listen when others are speaking? Does your body language belie your interest? Pay attention to the signals: Your life provides all the answers to these questions.

Related: What Leaders Can Learn From Governor Cuomo About How to …

Energy

This is that dynamic quality that gives you power. The more energy you have, the more power you have to influence, illuminate, educate or engage. Authority earns other people’s respect; warmth earns their affection and trust. Energy compels people to follow. The components of energy are conviction, enthusiasm, engagement and emotional commitment to your message. When you believe in and trust what you’re saying, your audience inevitably will, too. You must be genuinely all in — present, authentic and fully engaged. Your emotional commitment makes an emotional connection that can be extremely memorable, impressionable and persuasive. That doesn’t mean you always have to be “on.” There are benefits to high and low energy; what matters is how it’s communicated and received. How’s your energy? Do you overpower people by talking too fast? Too much? Not pausing to let others have their voices heard? Do you truly listen in a way that makes others feel energized by your interest in them? Again — all you need to do is pay careful attention to the way people react to you and you’ll know if you’re energizing or deflating. 

Google’s Project Oxygen, which researched its own pool of top employees since the company was founded in 1998, surprised everyone when it reported that out of the eight qualities considered most important, STEM skills (science, technology, engineering and math) came in eighth. Absolutely last! Hovering at the top were qualities like good communication and empathy. Google knows there are many candidates who can code. It’s more rare to find someone who can code and collaborate with others, lead a team or follow someone else when needed. Someone who can do any and all of those things and code really well is not a commodity. They are indispensable.  

You may not be a software engineer, and your job has its own specific challenges. But what is clear from the research is that every job requires authority, warmth and energy. The business world will likely be permanently changed as we emerge from this crisis, and there will be a Darwinian thinning of the workforce. Will you be fit to survive in this new reality? That answer will depend on how you act now and nimbly adapt to the uncharted future that will emerge. 

Related: Do You Have What It Takes? Five Soft Skills That You Need In 2020

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