#Market scope

[ragini-14]

Automated Guided Vehicles Market Research Analysis, Strategies, Business Plan, Revenue, and Forecast 2030

The qualitative report Published by Exactitude Consultancy research on the Automated Guided Vehicles Market offers an in-depth examination of the current trends, latest expansions, conditions, market size, various drivers, limitations, and key players along with their profile details. The Automated Guided Vehicles market report offers the historical data for 2018 to 2023 and also makes available the forecast data from the year 2024 to 2030 which is based on revenue. With the help of all this information research report helps the Market contributors to expand their market positions. With the benefit of all these explanations, this market research report recommends a business strategy for present market participants to strengthen their role in the market. This report analyzes the impact of the Covid 19 pandemic on the Automated Guided Vehicles Market from a Global and Regional perspective.

The automated guided vehicles market is expected to grow at 7.9 % CAGR from 2024 to 2030. It is expected to reach above USD 3.8 billion by 2030 from USD 2.0 billion in 2023.

For The Full Report Click here:

https://exactitudeconsultancy.com/reports/25120/automated-guided-vehicles-market/

[utilitycaster]

A few recent books I've read and disliked led me to this conclusion but it feels like there's been this switch over time with queer stories. It used to be that queer relationships (or queerness in general) had to be Show Don't Tell because, well, you could not make them textual! So you get, for example, shows like Legend of Korra, or Xena: Warrior Princess, where you have women who are clearly devoted to each other to a degree that goes beyond mere friendship, and a ton of effort and care is put into that depiction because they can't actually be shown in an explicitly stated relationship. And as a result, these relationships, while they never receive confirmation in the show, are rich and complex.

Now not only is it much easier to make explicitly queer stories outside of niche areas; it's even popular (and, cynically, a marketing tactic). The problem is I've run into a bunch of stories that are marketed very clearly as A Queer Story that forget to like...be a story, or show me why these characters should be in a relationship. It's All Tell No Show: I'm told that the characters are gay and are in a relationship, but no work is done to actually explain why I should care about this beyond "well they are gay and in a gay relationship."

I'm not going to rehash what I discussed here, but Baru Cormorant is an example of those books where I'm given no real reason to care. The protagonist is a lesbian but the prose reads like a phone book. On the other hand, while Starless has a queer disabled woman as a one of the two protagonists, it also provides her with traits other than "queer, disabled, woman, important" and grants her a rich interiority (even though the story is told entirely from the first person point of view of the other protagonist.)

And the thing about the good examples in that link (Starless, Teixcalaan): they show and tell. It's both explicit that these are queer stories with a canon romantic relationship, but the little moments that make up the tapestry of a relationship are given the time that moments in a subtextual - or frankly, even a queerbaiting work are. That's the real tragedy; for queerbaiting to work, you have to actually make the relationship compelling enough for people follow it until you pull the rug out from under them; whereas you can slap a cold fish kiss on a cold fish queer relationship and technically you are Better because it was Explicit Representation even though everything about it was poorly constructed. I would rather have an lazy and shoddy explicit relationship than queerbait just on principle; but honestly I'd rather have a good story that does neither.

One of my more cynical interpretations of this is that writers are either intentionally or inadvertently taking advantage of the legacy of the Show Don't Tell era of queer coding to place the burden of those small moments on the audience. They know that people looking for queer relationships in fiction are used to having to dig for moments and subtext; but instead of providing that subtext, they set up the clunky text and assume the subtext to support it will emerge from the fandom. Or perhaps, more generously, especially for younger queer writers, they are just so used to having to provide that work themselves that they forget they are doing the writing and are able to (and should) layer subtext and text together and weave something actually good.

Either way, it's this that's led to the "Lesbian necromancers in space, need I say more"* era of recommendations, taglines, and writing, in which explicit representation is, if not plentiful, at least available; but a worrying amount of it forgets to actually write realized characters or a relationship with chemistry or a plot that makes sense.

I should also note: there's obviously a TON of straight romances and books that range from mediocre to abominable. I am under no circumstances arguing that "gayboring" media shouldn't exist. But while I don't think queer stories should be held to a higher standard, I don't think I should be obligated to settle for a lower standard either simply because it's gay. I know it's fraught, in that we're at risk of publishers and producers taking away the message "people hate this because it's gay" rather than "people hate this because it's poorly developed," but like...at the very least, could we recommend things in terms of "this is a great book that has a wonderful queer romance" and "this show is gay but it is also deeply mediocre, and if it weren't gay I wouldn't recommend it at all; do what you will with this information."

*I should note: I happen to like The Locked Tomb (of Lesbian Necromancers in Space fame) a lot! I know it's not for everyone; I know it can feel very gimmicky at times. But no matter how you feel, that tagline is DIRE and does a miserable job of representing the books. Like, that premise could suck, actually (and plenty of people find it does) if you're not sold on the mere fact that it's got lesbians, necromancy, or space in it. Worth noting that neither Starless nor the Teixcalaan books were heavily marketed as Queer Romance Fantasy/SF even though both very much are, which does further make me think this is a case of people writing good books that are queer, vs. people writing books with the intention to be on some New Queer SF list or, god forbid, Booktok.

[defeateddetectives]

they're heeeeeeere!!!

[u5an5]

Guys, we can all agree that Simon and Johnny are fan favorites (I love Alejandro and Rodolfo is my bebe but I'm speaking statistically rn). We can also agree that Ghoap (be it romantic or not) is the most popular relationship in whole mw2 if not in entire cod franchise. They have actual Character Development, they actually like each other, it just makes sense. You can't mistake them with anyone else.

That's why I think we should already be prepared for their death (probably one of them, for dramatic effects. Survivor guilt and stuff like that.).

Now let me explain.

Yes, they're the main characters of mwii. Yes, they're loved by fans. Yes, it will cause outrage in fanbase. Yes it isn't fair that they just gave us characters we love and now they're taking them away.

And?

This is a game about war. War is brutal. War isn't fair. War doesn't discriminate. It kills people, good or bad. Majority of 141 will never live till retirement. They're soldiers - dying is part of this job, risk is always present. It happens.

And sometimes it doesn't have any purpose. "They could live. Their death doesn't change anything, other than them being dead."

And that's why I think it will be mundane. I think it won't have greater purpose. I think it will be entirely avoidable. It won't be fair, but

Who said it would be?

There is no justice in war, violence gouged her eyes and now she's blind to suffering.

[glitchlight]

everyone who has been memeing about the USDA soil textural triangle for approximately the past decade doesn't even know the best part: there's another entire classification system that is far more widely used and more important

[artificial-condition]

I’m going to lose it I fucking hate working full time

[adventuresinclientservice]

Do scopes of work actually work?

In terms of background, consultant and author Michael Farmer and I have three things in common:  the first is both of us received our undergraduate degrees in literature, although his is from Princeton (prestigious) and mine from George Washington University (not prestigious). 

From there our professional paths diverge.  He gets at MBA from Harvard, ultimately and to this day runs his own consulting practice, plus writes a book.  I get a Masters in literature from the University of North Carolina at Chapel Hill, wander in a wasteland of jobs for ten years, then accidentally and serendipitously arrive at my true calling, as an advertising agency Account Management/client service person. 

The second thing we have in common is I, like Farmer, write a book.

The third thing we have in common:  both of us want to fix what’s wrong with advertising. 

Farmer writes regularly on substack under the moniker “C-Suite Blues.”   He recently posted, “Transforming the Effectiveness of Madison Avenue’s Scope of Work Management -- to Drive Improved Performance; Ten Problems and Ten Corrective Steps.” 

I suppose you could take exception to some of the ten articulated but unsubstantiated problems, but even so I’m inclined to give him the benefit of the doubt, except for problem number four, where he claims, “Media and creative SOWs are developed unilaterally by advertisers and given to their agencies for execution.” 

Unilaterally?  By advertisers??

Perhaps things have changed in the time since I worked for an advertising agency, but in my experience, clients never wrote scopes of work for us.  The agencies where I worked always wrote them for our clients, based on a briefing they provided us, which would vary in both content and delivery, depending on the knowledge and sophistication of each client.

In our scopes we typically would recap the assignment, then detail the deliverables, timing, and cost associated with addressing the clients’ brief.  We would share the results then discuss any needed adjustments, but once we agreed on an approach, the scope – whether it was in the form of a letter of proposal, or a presentation, or a detailed budget and timeline – would govern the work to be done.

The point:  clients did not dictate a scope of work; instead, they articulated a problem, issue, or opportunity, which we then converted into a solution to address the need.

Taken as a whole, Farmer uses the ten solutions to lay out in a series of imperatives – “do this, do that, do the other thing” – that speak to “the what” of the problem.  After the tenth solution there’s nothing to guide readers on how to do the things he proposes.

Stepping back from what Framer has written, I realize what he’s talking about:  call it what you will, this is about “Scope Creep,” meaning how client assignments have grown and fees have not grown with them.

The Art of Client Service also has a chapter on scopes of work, called “Perfect the Perfect Scope of Work.”  It begins with a definition of scope creep, explains why it happens and to whom, then recommends eight steps readers can take to avoid the very thing Farmer complicates.

The recommendations are straightforward and simple:  do a scope-of-work, make sure it’s accurate and complete, make sure to financially account for the unexpected, make sure to review it regularly, and, when necessary, revise it.  It explains “the how” in a clear, concise, and put-it-into practice way.

In reading what Farmer has written, it felt as if I were sitting in a conference room, with him taking me through a series of PowerPoint slides, with no intent to actually execute what he’s talking about.  His goal instead:  another gig, another PowerPoint presentation, another opportunity lost to solve the problem.

Farmer has never worked in an advertising agency; he might be able to identify a problem, but solve it?  He has no idea.  His “solutions,” such as they are, are textbook, remote, and more theoretical than real. 

Do scopes of work work?  If you get tangled up in Framer’s overly complex, consultant-driven, I-want-you-to-retain-me-again analysis, they usually don’t. 

If you follow what I’ve written, however, they usually do.

[bmpmp3]

and you know it is interesting seeing the way different english speaking communities surrounding media marketed towards women and girls will talk about romance

most otome gamers (and i think joseimuke a bit too?) will talk about the MC (main character) and their various LIs (love interests), shoujosei readers who've been in the scene a long time use similar terminology

capital R Romance capital N Novel fans (like think pulpy books with shirtless men on the cover u see in the corner of the dollar store) have a BUNCH of different standards like i used to see H and h (hero and heroine respectively) and nowadays i mostly see MMC and FMC (male main character and female main character) for straight romances and sometimes for gay ones we get like fmc1 and fmc2 type situation, its rare but ive also seen the occasional nbmc here and there

ive been noticing with like korean webnovels and manhwa marketed towards women, the terms FL (female lead) and ML (male lead) are everywhere, sometimes i see second male lead too? i dont know how that would be abbreviated tho....

the japanese live action drama adaptations of shoujosei manga also use the same FL ML style terms, which is interesting compared to the source manga communities who usually use the MC LI terminology instead. watching tv shows is hard for me so i dont know but maybe drama fans use FL ML in general

and speaking of leads, older writing about north american romcom movies used "leading man" and "leading lady" all the time. sometimes you'll also hear me specifically use it to talk about romance media to someone who is not interested in romance media LOL im using language that most laymen understand please have patience with me

but it is my favourite thing when i see one groups terms in another group, like when i see someone say FL in an oldschool shoujo discussion board. hee hee i know u came from the drama adaptations and i love you for it!!! we use different words but we're all here for the love of the game (the game is sparkly stories about fictional characters kissing)

[ragini-14]

Marine Lubricants Market 2024 is Blossoming Worldwide by 2030

The qualitative report Published by Exactitude Consultancy research on the Marine Lubricants Market offers an in-depth examination of the current trends, latest expansions, conditions, market size, various drivers, limitations, and key players along with their profile details. The Marine Lubricants market report offers the historical data for 2018 to 2023 and also makes available the forecast data from the year 2024 to 2030 which is based on revenue. With the help of all this information research report helps the Market contributors to expand their market positions. With the benefit of all these explanations, this market research report recommends a business strategy for present market participants to strengthen their role in the market. This report analyzes the impact of the Covid 19 pandemic on the Marine Lubricants Market from a Global and Regional perspective.

The global marine lubricants market is expected to grow at a 2.4% CAGR from 2024 to 2030. It is expected to reach above USD 11.9 billion by 2030 from USD 6.8 billion in 2023.

For The Full Report Click here:

https://exactitudeconsultancy.com/reports/3126/marine-lubricants-market/

[roobylavender]

you know what would automatically change my hatred to love for sasusaku? If their genders were reversed. Majority of the reason why I hate sasuke and sakura relationship is because the type of environment and the culture I grew up in where it's been fed to women since basically birth to always be faithful to her man no matter how terrible he treats her, even after marriage. The pharse, "Just be patient and he will change", infuriates me to another level. Seeing sakura chasing after sasuke throughout the series after numerous rejections and an attempted MURDER on her by him made me roll my eyes so hard like girl just move the fuck on omfg. And even after their "marriage" sasuke's treatment towards her doesn't get better lmao, leaving her alone with a whole ass child to take care by herself?? BYE sakura's patience for him is outmatch cus I would've divorced his ass for that. Though, the more I mature, little by little I begin to understand the complexity of their relationship after putting my gender issues aside for a second and look deep into them. And especially now, after reading your perspective on their whole relationship, it really did made half of my hatred go away and understand the relationship wholeheartedly. Like yeah, I absolutely love the trope of one person saying they don't deserve the other person's love but the other person keep loving them anyway, that stuff makes me giggle and swing my legs in the air and shit. It's just that the only way this trope would work for me if the person loving them has enough self-respect for themselves AND if it's a girl in the former & the guy in the latter. And honestly, I found naruto being borderline obsessed with sasuke annoying too but the reason why I can digest it more well is because naruto can go head to head with sasuke without backing down. Like, I wanted to see at least ONCE sakura having a heated argument with sasuke, or punch him in the face in the series. I feel like sasuke deserves a punch from her at the very least 🤷🏽‍♀️

Sigh, I really did wanna love their relationship and their journey to love (that scene of him catching her when she was about to fall and then having that iconic eye contact had me feeling butterflies ngl) since it has all the tropes I love but the execution is just so...

i mean if it helps any i absolutely hate post-canon and that's where my primary divide with most sasusaku fans lies 😭 i'm not sure if you read the blue-plums post i reblogged but it's a good dissection of why exactly it fails as a conclusion to both their individual arcs and their relationship arc generally. the post-canon we see is a direct answer to what sasuke's and sakura's dreams are at the start of the series, but the problem with this is that sasuke and sakura are nowhere near being the same people at the end of the series as they were at the start. generally, i don't think post-canon really takes the individual arc of any character into much account. its primary goal is maintaining the status quo with a slight veneer of friendship power draped over it for aesthetics. but nothing at the root is changed despite every traumatic development the characters were relentlessly subjected to. resultantly, you're left with a portrayal of sasuke as a neglectful father who glorifies the lone-wolf hero trope, which goes against everything he could possibly have learned from itachi; and you're left with a portrayal of sakura as someone content to keep house despite the bulk of her character arc being grounded in her ability and desire to take initiative not only at home, but abroad. it's not true to who either of them is by that point and, even more than that, it's a disservice to everything they've put themselves through for the sake of the love they were vying for. so while i love sasusaku as it progresses up through 699, i tend to wholeheartedly ignore whatever comes after and relegate that instead to either my own imagination or blue-plums's in her fics

what i will say about the naruto and sakura distinction is that a lot of people are more comfortable with how sasuke reacts to naruto bc they believe what naruto is doing is right. it's kind of like: if the only thing sasuke will realistically respond to is violence then obv naruto can resort to that violence without dwelling on it too much. but if you think about violence in the context of sasuke's entire life, it's not actually helpful at all beyond its ability to physically bring him to a grinding halt. even when naruto finally breaks through to sasuke, it's not the violence that makes things click for him. it's the words he says after, and it's the words he's always said before that that have stayed in sasuke's mind. violence, in contrast, is a poisonous thing for sasuke bc it's the only thing that has defined the parameters of his entire life. it robbed him of every person he cared about prior to his meeting team seven, and inevitably it intimidated him into seeking out more violence once he realized that he was incapable of saving the new people he'd come to care about as well. everything, at the root, was driven by sasuke's traumatically-exacerbated response to love and loss. the idea of losing naruto and sakura to the hands of anyone else was unbearable. so he decided that he'd rather have killed them himself. it was absolutely irrational. but a twelve year old child put through that kind of successive, relentless trauma was never going to think rationally, and certainly not after being exploited by people like orochimaru and obito (and to an extent itachi) in turn

all of this to say: there is of course a gendered aspect to the fact that sakura's response to sasuke is markedly not violence. but i also think people sort of refuse to dissect her response any further and esp in context of the narrative itself. despite being the hallmark of rationality within the team and perhaps even the series, sakura was inevitably always driven by the value she placed on humanity. it would've been so easy and rational and "right" to kill sasuke bc he was an insurgent, a terrorist, a danger to public safety, etc. but sakura knew it was more complicated than that. even without knowing about the intricacies of the uchiha massacre she'd been a witness to his suffering and struggle and helplessness. she was as much unable to kill him bc of her love for him as she was unable to kill him bc she knew it wouldn't be right. bc really, what would it solve. sasuke being written off or dying would accomplish nothing bc he would become one more person in the long line of victims to nationalism and the military-industrial complex. while naruto's desire to retrieve sasuke was driven by his love for him it was also driven by the fact that he was stubborn and relentless and refused to give up on people. if you won't believe in yourself i'll beat the belief into you. it's a very shounen-esque trait. in contrast, sakura's desire to retrieve sakura, while also driven by her love for him, was significantly driven by her ability to see that sasuke needed help. in fact, that's all she ever wanted him to get: help. and it would be one thing for this to be an isolated desire but when you read it in context of her own goals as a medic and a mental health professional, her unwavering belief in sasuke is a lot more striking. she was the only person in the entire narrative who never resorted to violence as a solution to sasuke's problems. and she was angry, to be sure. much as she loves him the struggle to bring him back and convince him that he was worthy of love and healing left her emotionally exhausted. but they're also children at the end of the day. she could've been angry at him, or naruto could've been angry him, and in the end none of it would've mattered in the face of knowing they'd finally gotten through to him. he had a smile on his face, he didn't have an arm anymore, and for the first time in his life he met a loss with utter peace and content. it was a thing of miracles after six years of relentless grief and sorrow, and nothing else could've been on their mind.

at the end of the day, team seven's love for sasuke isn't rational. the farthest thing from it, really. but that's what makes it so radical in context. if love in naruto was only ever meant to be rational then hardly anyone would survive. love was always written as an act of defiance and for however subtle the depiction sakura exemplified it

[songship]

every day i become more and more convinced that artists as a profession should be subsidized by the government

[psychopasss4]

PSYCHO-PASS 10th Anniversary Exhibition CHROMESTHESIA SCOPE

EVENT DETAILS:

DESCRIPTION:

In October 2012, the original TV animation work "PSYCHO-PASS" began broadcasting. Set in a near-future world where a giant surveillance network, the Sibyl System, digitizes and manages people's psychological states, the work created an explosive buzz immediately after its broadcast, depicting a police organization in which justice is questioned.

The CHROMESTHESIA SCOPE will be held as an exhibition to commemorate the 10th anniversary of this work's broadcast.This is an unprecedented immersive exhibition that combines exhibitions and experiences, allowing you to relive various stories while looking back on the past 10 years.

During the event, you will receive one original ID photo-style sticker (3 types in total) as a bonus for visiting.

Note: *You cannot choose the pattern as it will be distributed randomly.*

It will be distributed only to those who have purchased admission tickets. Please note.*The image is an image. Design etc. may be subject to change.

For more info, check out this link⏬

❤️‍🔥☺️

PS: This is for Habitué and does not require a mandatory/obligatory participation of global fans.

[sniperct]

Ah, because I'm a nerd and I find this stuff fascinating, my favorite time of year, when star citizen releases their financials for the previous year (in this case, for 2022)

Some numbers of interest by the end of 2022

headcount: 860 worldwide

Salaries and related costs excluding the publishing/marketing teams: 56M

Other Game Dev (overheads,studio rentals, travel, etc): 18.4M

Contracted Game Dev ( external services and dev teams): 9.5M

Publishing/community/marketing: 29.9m

Accounting/Admin and legal fees: 1.4 Million

Capital expenditures (hardware/software, fixtures, offices, server upgrades etc): 12.9 million USD

All told they took in 130.7 million and spent 129.5 million or thereabouts.

In other words, they're spending almost as much as they bring in.

[aroundmeblog]

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