#Performance Analysis

[yumeaoka-chan]

When my uncle told me this morning that he didn't like Kendrick's performance, I knew straight away that he didn't understand it. Kendrick was sending a message that went over soooo many people's heads. The events of the show I'm going to state that happened aren't entirely in order but if you look back on the performance, you'll see what I mean.

Think. It stars off with Samuel L. acting as Uncle Sam, a character symbolizing America as a whole. He starts off saying, "Welcome to the great American game." We see that the entire stage looks like a game controller, meaning Kendrick was playing a game and Uncle Sam was there to see if he was playing it correctly, the "American" way. When Kendrick raps at the start, we see people exiting the car and they're all separated (just like the people of America). They eventually come together to form the flag because WE, the people, are America. Kendrick also says, "The revolution is about to be televised, you got the right time but the wrong guy."

Uncle Sam says something along the lines of "Oh, so you decided to bring your friends with you. Culture cheat code. Score Keeper! Deduct one life." There's a shot of all the dancers falling to the floor, acting as though they're dead, yet a few people are still up. Almost like they're part of an "inner circle." Uncle Sam also makes a statement about how America doesn't wanna see this loud rapping, "it's too loud", "too reckless" and " too ghetto." When he starts singing and Sza joins him, Uncle Sam goes, "That's what America wants to see. Nice and calm. Don't mess this up". Except, Kendrick does mess it up by going back to rapping loud and fast. "40 acres and a mule", Those are the things that were promised to us black people as reparations for slavery, "- this is bigger than the music" The message he'strying to send to yall is what really matters. But nobody is trying to hear him! "Yeah, they tried to rig the game, but you can't fake influence."

And with ending the performance with "tv off" the camera turns to a lit background in the crowd saying GAME OVER. The game is over, he didn't play it like Uncle Sam/America wanted him to. This was bigger than some beef with Drake.

[theplayerscorner]

How is Match and Performance Analysis Used in Football?

Match and performance analysis are integral parts of the modern game. To attain peak performance levels, the deployment of analysis must be precise and structured to guarantee its efficacy in influencing both the game and individual player performances.

What is Match Analysis and Performance Analysis?

Performance and Match Analysis are fundamental in the world of football, but what do these terms really mean, and what sets them apart?

Performance analysis identifies tactical trends to measure the performance of players. It assesses the decision-making of the players and analyses that information to recognise whether the team is executing the game plan. This analysis ultimately serves to improve and optimise performance. It's not limited to the field; it can also be used for player recruitment, among other applications.

Conversely, match analysis zeroes in on the assessment of quantitative data conveyed through performance metrics. These metrics serve as a tool for scrutinising behaviours and decision-making, unearthing insights that might not be readily discernible during a match. While its primary focus is on matches, it can be considered a type of performance analysis.

Examples of performance analysis include scrutinising key performance indicators of a player during training. This may involve using GPS data and heart rate monitors to assess and monitor the fitness levels of players rehabilitating from injuries. Meanwhile, match analysis has evolved in the modern game, introducing concepts like 'expected goals' to determine how many goal-scoring opportunities a team creates, even if they don't result in immediate goals.

Performance Analysis, as a specialist discipline, involves systematic observations to enhance performance and improve decision-making. This is primarily achieved through the provision of objective statistical data analysis and visual feedback through video analysis. The aim is to empower teams to make informed decisions and improve performance. You can explore further information on the Institute of Sport's website.

Similarities and Differences

So, what are the similarities and differences between Performance and Match Analysis?

Both Performance and Match Analysis aim to provide insights into player and team performance, but they differ in focus. Performance analysis is broader, encompassing various aspects of player and team performance, while match analysis narrows its focus to specific matches.

In summary, performance analysis is the umbrella term covering different forms of analysis in football and other sports. Key terms for Match Analysis and Performance Analysis include objective, recording, data, understanding behaviour, improving future outcomes, and modification of athlete behaviour. These terms help us navigate the complex world of football analysis.

Why Is Analysis Performed?

The fundamental question here is, why is analysis performed in football? Analysis, whether it's performance or match analysis, is essential to support the coaching process. Feedback and information processing are crucial aspects of coaching at all levels. However, human memory has limitations, and coaches can only recall a portion of match events accurately.

Academic research has shown that coaches may recall as little as 30% of match events accurately. This is where analysis steps in, providing coaches with a comprehensive and objective overview of the match. It also reduces the impact of time and memory limitations, ensuring that information is available when needed.

The Role of Objectivity

Objectivity is crucial in analysis. Objectivity through video and data ensures that the analysis is not influenced by personal biases or limitations. It helps coaches, scouts, and football professionals make informed decisions based on concrete data.

What Analysis Can Be Performed?

Finally, let's explore some examples of what analysis can be performed to aid coaches, players, recruitment departments, and more. From player performance metrics to tactical insights, analysis plays a pivotal role in improving football's understanding and performance.

Match and performance analysis are indispensable tools in the world of football. They provide a window into the intricate world of player and team performance, helping coaches and teams make more informed decisions and ultimately enhance their performance on the pitch.

Disclaimer: This is a personal blog. Any views or opinions represented in this blog are personal and belong solely to the blog owner and do not represent those of institutions or organisations that the owner may or may not be associated with in professional or personal capacity, unless explicitly stated. Any views or opinions are not intended to malign any religion, ethnic group, club, organisation, company, or individual. All content provided on this blog is for informational purposes only. The owner of this blog makes no representations as to the accuracy or completeness of any information on this site or found by following any link on the world-wide-web. The owner will not be liable for any errors or omissions in this information nor the availability of this information. The owner is using this blog to map their educational journey with the University Campus of Football Business (UCFB) and the Global Institute of Sport (GIS). The owner will not be liable for any losses, injuries, or damages from the display or use of this information.

[nehadigital0413]

[dakshadigitasindia]

Unlock the true potential of your marketing campaigns with advanced Performance Analysis by Daksha Digitas – the Best SEO Company in India. Our data-driven approach helps businesses monitor, measure, and optimize their strategies for better ROI. From performance analysis algorithms to SEO insights, we help you make smart, results-oriented decisions. Discover how our expert team turns data into success, drives conversions, and enhances your digital footprint. Whether you're a startup or an established brand, our performance analysis services are tailored to elevate your growth. Let Daksha Digitas guide your brand to measurable success.

[jatanshahskill]

Skill Nation Reviews | HubSpot Marketing

Platforms like Hootsuite’s AI assistant and HubSpot Marketing Hub work perfectly for automating campaign scheduling, campaign performance analysis, and audience segmentation tasks.

[iakshaysrivastava]

Virat Kohli's Struggles: The New Zealand Test Series Breakdown

Kohli’s journey is a testament to resilience and dedication. Let’s continue to support him as he navigates through this tough phase. What are your thoughts on his performance? Do you think he can bounce back in the upcoming series? Share your opinions!

Virat Kohli—one name that resonates with cricket fans around the globe. Known for his aggressive batting style and an unyielding determination, Kohli has been a cornerstone of Indian cricket for over a decade. However, recent performances have raised eyebrows, particularly during the November 2024 Test series against New Zealand, where Kohli faced significant challenges. In this post, we’ll…

[interplay-sports]

How Our Performance Analysis Software is Changing Football Management : Interplay-sports

In today's football world, winning isn't just about talent—it's about strategy. Coaches need more than just their instincts; they need data and analysis to gain an edge. That's where performance analysis software comes in. It's like a super tool that helps coaches make smarter decisions on and off the field.

Understanding the Basics:

Football is no longer just about playing the game. It's about studying every move and detail. Performance analysis software gives coaches loads of data, like how much ground players cover, how fast they run, and how accurately they pass. With this info, coaches can figure out what their team does best and how to outsmart opponents.

Performance Analysis Software:

Every player is unique, and performance software helps coaches understand each one better. They can see who's doing well and who needs improvement. Plus, they can adjust training to fit each player's needs, making the team stronger as a whole.

Scouting Opponents:

Knowing your enemy is crucial in football. Performance analysis software lets coaches study opponents' tactics and past games. This way, they can create game plans to counter their strengths and exploit their weaknesses. It's like having a secret weapon.

Better Training:

Coaches can use software to show players exactly what they're doing right and wrong. It's like having instant replay in real life! Plus, they can set up virtual drills to practice game situations. This makes the team more prepared and adaptable come game day.

Team Collaboration:

Coaches and players can easily share info and ideas using performance software. It's like having a virtual playbook that everyone can contribute to. This teamwork helps keep everyone on the same page and working towards victory.

Conclusion:

Performance analysis software for Football is changing the game of football. It's not just about kicking a ball anymore—it's about using data and technology to unlock success. Teams that embrace this tool are setting themselves up for greatness on the field. In football, as in life, those who adapt and innovate are the ones who come out on top.

[technicallyhappyarcade]

Sports Science Team: Developing a Cutting-Edge Sports Science Team for Pro Baseball

In the competitive world of professional baseball, staying ahead of the game requires more than just raw talent and rigorous training. Enter the Sports Science Team—a group of dedicated professionals who harness the power of cutting-edge technology, data analytics, and interdisciplinary collaboration to maximize player performance and minimize the risk of injuries. Led by renowned sports scientist Aaron Cunanan, this team revolutionizes the way baseball is played and trained. From biomechanics analysis to personalized nutrition planning, they leave no stone unturned in their quest to optimize training, enhance player wellness, and make data-driven decisions. Through innovative strategies and a relentless pursuit of excellence, they empower athletes to achieve their full potential and secure victory on the field.

[diazmaximoff]

I adore Joel/Pedro so much but it’s always fascinating how differently people treat male and female characters when it comes to trauma and emotional expression. Joel can make so many morally questionable choices and a lot of fans are quick to defend or empathize with him because of his painful past. But when Ellie makes decisions based on her own trauma or breaks down emotionally, she’s often labeled as unlikeable or “too much".

This double standard seems to show up in how performances are judged too. Pedro Pascal can cry on screen and be praised for being tender and vulnerable (I mean, who can say no to that puppy face, right?). Meanwhile, Bella Ramsey shows the same raw emotion but gets mocked for their appearance or accused of bad acting, when their emotional scenes were just as powerful and honest as Pedro’s, evoking just as much pain.

Throughout episode 6, it’s shown time and time again how Ellie is dealing with survivor’s guilt and has a bit of suicidal idealization after her experiences last season. She saw all the people close to her die or abandon her, was almost s*xually abused by a creep, and had two adults she trusted basically decide things for her without having the balls to ask her how she feels. All of this comes through when she says, "Then I was supposed to die! That was my purpose. My life would've fucking mattered but you took that from me." She was even willing to try to forgive Joel for keeping her in the dark about the Fireflies for so many years but she still doesn’t get nearly as much love as he does. Why? Because she’s not tender enough about her feelings and is 'such a crybaby'. But like realistically, who wouldn't be a crybaby in her place!??

This pattern makes it harder for complex female characters to be accepted in mainstream media because audiences continue to dismiss their emotions as dramatics. It’s a bias that really needs to be examined more closely in my opinion.

[metanarrates]

Hello. Sorry if this a stupid question u can ignore if u want.

How can someone get better at media analysis? Besides obviously reading a lot.

Im asking this bc im in a point where im aware of my own lack of tools to analyze stories, but i don't know where to get them or how to get better in general. How did you learn to analyze media? There's any specific book, essay, author, etc that you recommend? Somewhere to start?

I'm asking you because you are genuinely the person who has the best takes on this site. Thank you for you work!

it sounds like a cop-out answer but it's always felt like a skill I acquired mostly thru reading a ton, and by paying a lot of attention in high school literature classes. because of that I can't promise that I'm necessarily equipped to be a good teacher or that i know good resources. HOWEVER! let me run some potential advice to you based on the shit i get a lot of mileage out of

first off, a lot of literary analysis is about pattern recognition! not just pattern recognition in-text, but out-of-text as well. how does this work relate to its genre? real-world history? does it have parallels between real-life situations? that kind of thing.

which is a big concept to just describe off the bat, so let me break it down further!

in literature, there is the concept of something called literary devices - they are some of the basic building blocks in how a story is delivered mechanically and via subtext. have you ever heard of a motif? that is a literary device. it's a pattern established in the text in order to further the storytelling! and here is a list of a ton of common literary devices - I'd recommend reading the article. it breaks down a lot of commonly used ones in prose and poetry and explains their usage.

personally, I don't find all the literary devices I've learned about in school to be the most useful to my analytical hobbies online. motifs, themes, and metaphors are useful and dissecting them can bring a lot to the table, but a lot of other devices are mostly like fun bonus trivia for me to notice when reading. however, memorizing those terms and trying to notice them in the things you read does have a distinct benefit - it encourages you to start noticing patterns, and to start thinking of the mechanical way a story is built. sure, thinking about how the prose is constructed might not help you understand the story much more, but it does make you start thinking about how things like prose contribute to the greater feeling of a piece, or how the formatting of a piece contributes to its overall narrative. you'll start developing this habit of picking out little things about a text, which is useful.

other forms of in-text pattern recognition can be about things like characterization! how does a character react to a certain situation? is it consistent with how they usually behave? what might that tell you about how they think? do they have tells that show when they're not being trustworthy? does their viewpoint always match what is happening on screen? what ideas do they have about how the world works? how are they influenced by other people in their lives? by social contexts that might exist? by situations that have affected them? (on that note, how do situations affect other situations?)

another one is just straight-up noticing themes in a work. is there a certain idea that keeps getting brought up? what is the work trying to say about that idea? if it's being brought up often, it's probably worth paying attention to!

that goes for any pattern, actually. if you notice something, it's worth thinking about why it might be there. try considering things like potential subtext, or what a technique might be trying to convey to a reader. even if you can't explain why every element of a text is there, you'll often gain something by trying to think about why something exists in a story.

^ sometimes the answer to that question is not always "because it's intentional" or even "because it was a good choice for the storytelling." authors frequently make choices that suck shit (I am a known complainer about choices that suck shit.) that's also worth thinking about. english classes won't encourage this line of thinking, because they're trying to get you to approach texts with intentional thought instead of writing them off. I appreciate that goal, genuinely, but I do think it hampers people's enthusiasm for analysis if they're not also being encouraged to analyze why they think something doesn't work well in a story. sometimes something sucks and it makes new students mad if they're not allowed to talk about it sucking! I'll get into that later - knowing how and why something doesn't work is also a valuable skill. being an informed and analytical hater will get you far in life.

so that's in-work literary analysis. id also recommend annotating your pages/pdfs or keeping a notebook if you want to close-read a work. keeping track of your thoughts while reading even if they're not "clever" or whatever encourages you to pay attention to a text and to draw patterns. it's very useful!

now, for out-of-work literary analysis! it's worth synthesizing something within its context. what social settings did this work come from? was it commenting on something in real life? is it responding to some aspects of history or current events? how does it relate to its genre? does it deviate from genre trends, commentate on them, or overall conform to its genre? where did the literary techniques it's using come from - does it have any big stylistic influences? is it referencing any other texts?

and if you don't know the answer to a bunch of these questions and want to know, RESEARCH IS YOUR FRIEND! look up historical events and social movements if you're reading a work from a place or time you're not familiar with. if you don't know much about a genre, look into what are considered common genre elements! see if you can find anyone talking about artistic movements, or read the texts that a work might be referencing! all of these things will give you a far more holistic view of a work.

as for your own personal reaction to & understanding of a work... so I've given the advice before that it's good to think about your own personal reactions to a story, and what you enjoy or dislike about it. while this is true that a lot of this is a baseline jumping-off point on how I personally conduct analysis, it's incomplete advice. you should not just be thinking about what you enjoy or dislike - you should also be thinking about why it works or doesn't work for you. if you've gotten a better grasp on story mechanics by practicing the types of pattern recognition i recognized above, you can start digging into how those storytelling techniques have affected you. did you enjoy this part of a story? what made it work well? what techniques built tension, or delivered well on conflict? what about if you thought it sucked? what aspects of storytelling might have failed?

sometimes the answer to this is highly subjective and personal. I'm slightly romance-averse because I am aromantic, so a lot of romance plots will simply bore me or actively annoy me. I try not to let that personal taste factor too much into serious critiques, though of course I will talk about why I find something boring and lament it wasn't done better lol. we're only human. just be aware of those personal taste quirks and factor them into analysis because it will help you be a bit more objective lol

but if it's not fully influenced by personal taste, you should get in the habit of building little theses about why a story affected you in a certain way. for example, "I felt bored and tired at this point in a plot, which may be due to poor pacing & handling of conflict." or "I felt excited at this point in the plot, because established tensions continued to get more complex and captured my interest." or "I liked this plot point because it iterated on an established theme in a way that brought interesting angles to how the story handled the theme." again, it's just a good way to think about how and why storytelling functions.

uh let's see what else. analysis is a collaborative activity! you can learn a lot from seeing how other people analyze! if you enjoy something a lot, try looking into scholarly articles on it, or youtube videos, or essays online! develop opinions also about how THOSE articles and essays etc conduct analysis, and why you might think those analyses are correct or incorrect! sometimes analyses suck shit and developing a counterargument will help you think harder about the topic in question! think about audience reactions and how those are created by the text! talk to friends! send asks to meta blogs you really like maybe sometimes

find angles of analysis that interest and excite you! if you're interested in feminist lenses on a work, or racial lenses, or philosophical lenses, look into how people conduct those sort of analyses on other works. (eg. search feminist analysis of hamlet, or something similar so you can learn how that style of analysis generally functions) and then try applying those lenses to the story you're looking at. a lot of analysts have a toolkit of lenses they tend to cycle through when approaching a new text - it might not be a bad idea to acquire a few favored lenses of your own.

also, most of my advice is literary advice, since you can broadly apply many skills you learn in literary analysis to any other form of storytelling, but if you're looking at another medium, like a game or cartoon, maybe look up some stuff about things like ludonarrative storytelling or visual storytelling! familiarizing yourself with the specific techniques common to a certain medium will only help you get better at understanding what you're seeing.

above all else, approach everything with intellectual curiosity and sincerity. even if you're sincerely curious about why something sucks, letting yourself gain information and potentially learning something new or being humbled in the process will help you grow. it's okay to not have all the answers, or to just be flat-out wrong sometimes. continuing to practice is a valuable intellectual pursuit even if it can mean feeling a tad stupid sometimes. don't be scared to ask questions. get comfortable sometimes with the fact that the answer you'll arrive at after a lot of thought and effort will be "I don't fully know." sometimes you don't know and that can be valuable in its own right!

thank you for the ask, and I hope you find this helpful!

[s-wave-entertainment]

NO BECAUSE I DON'T THINK WE TALK ABOUT THIS ENOUGH WE DON'T TALK ABOUT THIS ENOUGH CAN WE TALK ABOUT THIS? BECAUSE

Yeah okay that's a pretty terrifying thing to see, and I can pretty logically assume this is hallucination on N's part, but does that stop him from literally CATCHING HER IN THE NEXT THREE SECONDS???

NO THE FUCK IT DOES NOT LOOK AT HIS HAND LOOK AT HIS HAND UNDERNEATH HER HEAD LOOK AT IT

CAN WE ALSO TALK ABOUT THE CHANGE IN EXPRESSION THAT I CAN ONLY ASSUME IS DUE TO WHAT HE SAW?? Like also I assume yeah obviously he's worried about Uzi because who the fuck wouldn't be (Cyn) but like LOOK AT THIS BULLSHIT

HIS EYES DON'T HOLLOW OUT UNTIL SHE NEARLY HITS THE GROUND AFTER THAT WHOLE THING OCCURS AND YOU CAN SEE THE FUCKING SWITCH FROM "Oh my fucking god what the hell is happening" TO "BEEP BEEP BEEP RED ALERT SHIT'S GOING DOWN OH BISCUITS OH FUCK"

"Myrah what the fuck are you on about it's 8:30 in the damn morning?"

I AM UNWELL ABOUT THESE TWO GODDAMNIT

[starcurtain]

What do you think Aventurine would be like as a boss?

Aventurine's first character story tells us that people both outside the IPC and internal to the Strategic Investment Department are explicitly racist toward him, so I would say first that I suspect Aventurine's team is much, much smaller than other Stonehearts like Topaz. For example, we constantly see Topaz's dumb "support squad" following her around in most of the events she shows up in, while we've never been introduced to a single "Aventurine support squad" member.

My suspicion is that, between the rampant racism and the undoubtedly common rumors about Aventurine's dangerous behavior, very few people are even willing to be put on his team in the first place. I suspect he's much more likely to be paired up with one or two "strategic partners" (like Ratio) and sent to handle things that way, rather than actually having a large group of underlings he directly supervises.

But just logistically speaking I'm sure he does have a few underlings, and I think... He's probably a very difficult person to work for, for a couple reasons:

He will almost certainly beat assholes to the punch. If a majority of the people who have been assigned to work with him don't want to be there, you can bet he's not going to wait around for new people to prove they are racist garbage. I imagine that, for the most part, he's off-putting and offensive to new people from the get-go. You ask which desk is yours and he just goes "Oh, feel free to set your things anywhere!" then turns around like: "Wowwww. Jim, this rookie is trying to steal the desk you've had for ten years! How inconsiderate our new friend is proving to be~!" New people on his team probably have the worst few weeks of their lives. (Because... If people are going to hate him on principle alone, he might as well give them a reason, right?) However, this has the effect of weeding out most of the people who are incapable of dealing with Aventurine's antics, so I imagine that the few who persevere through the hazing are probably genuinely decent folks. Those that make it past the initial "Let's see how much you hate Sigonians and disrespect me personally" vibe check probably end up on Aventurine's good side, and I think he eventually eases off his newbies after a while. (Not before they've proven their exceedingly high tolerance for shenanigans and even higher ceiling for shock factor, though. If a new employee makes it past the first month of working for Aventurine, literally nothing else will ever phase them. An elephant-sized Warp Trotter could warp them all six galaxies over and they'd just be like "Anyone got a working cell? I need to tell my babysitter I won't be back by 9.")

I think he's just never there. Absentee boss in the extreme. It's not that he ever slacks or doesn't do the work--it's just that he's constantly going off and doing the missions all on his own. It doesn't matter how many times the higher-ups assign him to do a team task, tell him he has to take the full squad... He just scampers off and does the deal entirely on his own, comes back covered in blood, and is like "Hey guys, I took care of the problem; enjoy some comp time on me!" I don't think he drags his average-level underlings into his dangerous gambles; I think he just does all the work with their clients by himself or with a high-caliber partner. You would think this would make him a great boss to work for, but I implore to put yourself in such an employee's shoes: You go into the office every morning only to see your to-do list is empty. Your boss isn't there to give you any new direction. After twiddling your thumbs for four hours, you find out the reason he isn't in the office this morning is that he's recovering from betting he could take an entire pack of Borisin in a fist fight. He's not in the hospital because of the fight (which he won). He's in the hospital because he was then promptly shot in the back by the guy he was betting with. Why is your life like this? Why must you be subjected to the soap opera of your boss's own self-destructive spiral?

Even when he's around, he's probably weirdly awkward. Don't get me wrong, I bet when he's in a good mood he throws all kinds of extravagant parties in the office, and his employees would never lack for bonuses and perks. But I think he has never really bothered to learn--or perhaps simply does not care--about normal managerial behaviors and boundaries. Like, you slip up and tell him your mother-in-law is in the hospital. He comes back five minutes later to tell you he's just bought six bouquets (sent from your address), commissioned a personally embossed card for her with your monogram, and contracted the services of the best-reviewed individualized medical team in Pier Point under your name. He's patting himself on the back for being an incredibly thoughtful boss. You don't know how to tell him that you haven't spoken to your mother-in-law in years, not since her last attempt to poison you. Every six months he buys the whole team new cars. You have no idea what to do with all these cars. It's too many cars. Put some cars back. He calls everyone his "friend," but even after working for him for years, you still have absolutely no idea about his likes, dislikes, or hobbies outside of the IPC. You could not name his favorite food if someone put a gun to your head. Does he exist outside of the workplace? You literally can't imagine him anywhere but on a mission or at a poker table. He's constantly bringing an "I am the party!" vibe to the room, but everyone else is a bored 8-5 worker who doesn't have a drop of enthusiasm left in their veins. It's like when a singer asks the audience to cheer along with a song, but nobody in the audience makes a peep. Absolutely no one in the IPC cubicles can match his particular freak. Aventurine's a smooth-talker and a street-smart cookie for sure, but something about the way his smile looks like it's made out of plastic when anyone tries to engage him in chitchat at the water cooler gives you the vague impression that he's probably never had an actual friend in his life. If "uncanny valley" was a vibe a workplace could have, Aventurine's office would have it.

Long story longer, I think Aventurine has very few people willing to tolerate him as a boss, whether because they are racist or simply because his quirks are just too quirky. However, I like to imagine the few who have hung in there are ride or die. You know they have an "Aventurine Protection Squad" group chat. They probably all wear peacock-teal and gold accessories in solidarity. They have definitely disappeared people for talking shit on their boss before. Aventurine has no idea how much they actually like him.

[smile-files]

something interesting i realized while on the vessel-making screen in the deltarune introduction is that it's physically impossible to make kris: there is no hair that perfectly matches theirs (none have the cowlick or the right jagged shape on the bottom), and there is no sweater that perfectly matches theirs (none have a single stripe). this is fascinating, as it perhaps suggest that, if we (the player) had a choice, we *wouldn't* make kris. they aren't something we want, or are even capable of wanting, rather something we're stuck with.

and i suppose the fact that they can't be *created* as a vessel is telling, because we didn't create kris -- they weren't made for us, they're not a player avatar. they're a pre-existing person we just happen to gain possession of.

we weren't made for each other; they don't want us, and we don't seem to want them either (if the inability to choose to create someone like them says anything); funny, then, that in a way we're "soulmates"...

(both pictures are from the deltarune wiki!)

[caffeinatedattorney]

Thinking about Harvey's little

"...be safe and b-be good, Bruce Wayne..."

So, to overanalize it: I don't think text can convey how big of a confession that is? I don't mean romantic. I mean like, this is Harvey's most personal, hardcoded language. This is the stuff he tells himself all the time. Survive. Be a good person. It's him showing his inner machinations, his innermost thoughts and fears, and maybe, just maybe he regrets saying it halfway through bc of it and he trails off.

Bruce says "I love you," pretty nonchalantly and tries to play it off as casual ("knock it off") and it's clear he's more used to treating ppl this way. But of course, Bruce knows Harvey and how he is, he understands. Of course he does. He'll do anything for Harvey.

[wordsandrobots]

Let's talk about Haman Karn and presentation.

(This post contains a lot of images, including some stitched frames that would have been a lot easier to put together if the animators hadn't gone wild with overlay effects.)

When first introduced in the back half of Zeta Gundam, Haman is presented as the wicked witch in the Neo Zeon court, a powerful, dangerous 'newtype' who plays the conscientious regent to girl-queen Mineva Zabi while in truth calling all the shots. What is most striking about Haman's initial design is how simple it is. A funereal black tunic and grey leggings is almost laughably at odds with the rich, golden-threaded uniforms of the Zeon military officers, as worn in miniature by Mineva herself. Haman displays no rank and you could almost think, in isolation, that she had no official position.

But she isn't presented in isolation. That she is the axis (pun intended) around which Neo Zeon revolves is shown by how her appearance actually interacts with the scenes she's in. For one thing, pink hair and a red inner lining to her cape combined with an otherwise excessively sombre colour scheme draw the eye when contrasted with the rest of her forces, making her appear far more significant. For another, the cape grants her the outline of other important Zeon characters like Char Aznable and Kycilia Zabi, something further emphasised when she takes to the battlefield.

As with Char before her, she opts against wearing a spacesuit, a show of utter confidence in her abilities that proves well-founded. She emerges triumphant in battle, overpowering her predecessor with greater psychic abilities. There is thus a strong element of performative humility to her costume. It places her outside the military hierarchy, in a fashion distantly akin to Mineva's other attendants, yet there is never any question as to where the power behind the resurgent Zeon lies.

Complicating this picture is a vision shared with Zeta's protagonist, Kamile Bidan. When their minds link during combat, he catches a glimpse of Haman's prior relationship with Char, implied to have been romantic in nature. I don't believe we ever get confirmation as to whether this is a recollection or a fantasy; Haman states the visions are both dreams and memories. Certainly Haman and Char know and despise one another in the present, so nothing that happened between them ended well.

In this moment we catch a glimpse of an 'innocent' version of Haman, dressed casually, her overall palette matched to her hair rather than counterpointing it. Aside from establishing more of the history gestured to by her interactions with Char, it demonstrates that there is purpose to her current mode of dress. Ostentatiously plain black is not the default for a happy, contented Haman Karn.

Haman's next chronological appearance, several episodes into sequel series Gundam ZZ, comes after several (literally rose-tinted) flashbacks that show her still in her 'witch's blacks'. However when she finally comes on screen in the flesh, it is in very different ensemble: a tightly-buttoned charcoal dress and white scarf that appear to be a form of 'back-stage' attire

It's the least made-up we ever see her, with rather bedraggled hair in place of her normal sweeping coiffure, as if co-villain Glemy Toto and later protagonist Judau Ashta have caught her right after stepping out of the shower - the one to give a report hinting at a later arc, the other to sneak in by mistake and trigger a series-long rivalry.

The roses in over-the-top imaginings of brainwashed minion Mashymre Cello are reduced to balcony decorations and Haman possesses none of the glow he ascribes to her. This is the truth behind the delusions, canny and hard-faced. It is a grounding moment for the character, removing the implicit theatre of her previous appearances. Mineva is nowhere to be seen and without her, there is no need for Haman to pretend.

These scenes also establishes Haman's newtype credentials, as Judau sees her starkly overlaid upon cosmic fog and then projecting a monstrous apparition that shows the danger lying under her presently unassuming surface. The theatrics may be absent; the threat she poses very much is not.

Having in this manner brought us up to speed on the character, the show proceeds to roll out a second performance from Haman. We watch as she is dressed ahead of taking charge of a battle-fleet. In tight close-up, an attendant helps her into a flamboyant outfit featuring projecting epaulettes and a much longer cape, then presents her with a spiked, crown-like headpiece.

There is only one word to adequately describe the result: regal.

Gone is any pretence of being subordinate to someone else. When Haman steps on to the bridge of her flagship, it is as the true queen of Neo Zeon, ready to crush all who oppose her. Projected as a hologram above the Earth, this new costume's purpose as a propaganda tool becomes crystal clear. Haman has taken the place of Zeon's previous rulers, the Zabi family, replicating their flare for dramatic rhetoric and dressing herself in their flag.

It is in this guise that Haman makes her attempt to 'seduce' Judau (canonically 14) and to get up on my soapbox again, this is very obviously an act. We can see the calculation in her facial expressions as she exerts psychic 'pressure' and generates a starry vision to entreat him to join her cause, even when the assault on his senses culminates in a near-kiss.

These are means of control comparable to the chivalric romance fantasy via which she manipulates Mashymre. She is lying and once snapped out of the trance, Judau sees that - much to Haman's annoyance. Another powerful newtype is a wildcard she can ill-afford to let run free and her easy solution to the problem has been foiled. This sets the tone for their interactions from here on out.

Haman next appears at a reception in the Federation capital of Dakar, which Neo Zeon have occupied, effectively signalling their triumph over Earth's official forces. This is an extremely key scene in terms of ZZ's overall themes, as it starkly illuminates the craven, greedy nature of the supposed authorities. As Leina Ashta, Judau's sister, observes via her empathic abilities, everybody in the ballroom is pretending, buttering up the Zeon leaders in anticipation of their victory. We see multiple Federation officials bowing politely to Mineva and to Haman, for entirely self-serving reasons. Cynicism, manners and social convention are turned into a source of horror, an ersatz world of fake smiles and hollow laughter.

Within this, Haman is dressed to the nines, putting a new twist on her original presentation. Once again, she is the sole member of Neo Zeon wearing civilian clothes, standing out from a wall of elaborate ceremonial uniforms. Moreover, her superficially restrained black and white dress is enhanced with a smattering of jewellery befitting the occasion, and she has donned visible make-up, something she otherwise does not use to any great degree. These mark out her social standing, emphasising that those present should pay attention to her and her alone.

One thing I do think this dress highlights is the way in which ZZ does not go out of its way to sexualise Haman. The show generally commits to bawdy comedy far more than its predecessors, featuring as it does Chara Soon, a woman who gets *ahem* excited by mobile suit combat and is dubbed 'Boobazilla' for her antics with respect to the male members of the cast. But although Haman is depicted as pretty and not above attempting seduction, her costuming never really leans into that. If anything, the reverse: she favours restrained, formal looks that rarely display her skin in suggestive ways. [Please see a correction/addition on this point here.]

Her Dakar attire is the most daring she gets and intentionally striking in comparison to the other attendees at the ball. She still remains an aloof, intimidating figure, defined by sharp angles and a wide-shouldered outline.

Proceedings are naturally interrupted by non-Federation resistance groups and Judau breaks into the mansion to rescue his sister (Leina's arc through the first half of the show has her kidnapped and subjected to Neo Zeon attempts to 'civilise' her). Sensing his presence, Haman moves to confront him, only to end up talking unexpectedly openly about her motivations for conquering Earth. After expressing rage at having returned from the depths of space to discover an Earth-bound elite continuing to wreak ecological ruin on the planet, she notes what an odd feeling honesty is.

Judau is unimpressed and rejects again the idea of joining forces against the Federation. Restating that she cannot therefore allow him to live, Haman attempts to shoot him, only for Leina to be injured in the struggle. This sends her brother into a rage, his newtype powers manifesting at full blast.

Now it is Haman who sees a monstrous vision overlaid upon her opponent and, putting a nasty twist on the idea of being able to speak her mind around Judau, her composure cracks entirely. All at once, Haman is reduced to abject terror, firing blindly then outright fleeing the anger directed at her.

Intriguingly, Haman's sense of Judau is as a bestial force yet Judau's friends pick up only a gigantic version of the boy they know. It is as if what they experience as a normal if exaggerated emotional reaction is, to Haman, utterly horrific, reducing her to hiding in her bedroom, appalled that anyone could exert such pressure upon her.

With the reception disrupted and her propaganda coup in tatters, Haman retreats both to her flagship and to her warrior queen attire. While it makes sense for her to change into something more suited to taking command, there is something compelling in the idea this represents an attempt to reinforce her authority after the shock of confronting Judau. Perhaps this is Haman taking comfort in her authority over Neo Zeon, as embodied by the crown she wears into battle.

Moreover, her next major action is to order a colony drop (literally displacing an orbital space colony so it crashes to Earth) on Dublin, a hideously destructive war crime designed specifically to "demonstrate [Zeon's] power through terror!" Coming hard on the heels of her brush with Judau's fury, it is tempting to draw a straight line from discovering something capable of scaring her to wanting to remind the whole world why it should be scared of her.

Between Dakar and Dublin are a couple of brief asides with Haman that underline again how conscientious she is about how she presents herself. During another meeting with Glemy - indicated over the course of ZZ to be a bastard son of the Zabi family - she reverts to her black tunic, as in Mashymre's visions, trying to exert control over this wayward heir. The ploy is a failure since Glemy shortly thereafter makes an angry break with her, unconvinced by her shows of deference to his heritage.

In the following episode, Haman resumes her battledress, only sans crown for the simple reason that she is back in the same room as Mineva. She makes a point of maintaining appearances, irrespective of how much she overshadows her supposed superior. At the tail end of this scene, her inner monologue reflects on her older sister's death in service to the Zabis and on Char's abandonment of the cause named for his father, Zeon Zum Deikun. Haman concludes that she has always been alone, a sentiment deserving sympathy but overshadowed by her upcoming decision to effectively nuke Ireland. Regardless, there is a telling novelty about seeing Haman dressed as the war-queen but without the masking structure of the crown. Thanks to the way her collar is cut, this renders her more visibly open than any of her other costumes, a visual blending nicely with the reveal of some context for this most singular villainess.

Now is a good time to reflect on that, on Haman being Gundam's first major female villain (Kycilia Zabi, though striking in her own right, cannot claim the status of arch foe for an entire series). That Haman Karn is a woman is important to how she works as a character. I hope I have covered sufficient ground to demonstrate how she is conceptualised in terms of appearance and the manipulation of social forces. Her attempt to seduce the hero alone marks her out from her male counterparts - Zeta's main antagonist, Paptimus Scirocco, displayed the power to entice women via the force of his personality, but this did not take the form of allure or leaning in for a kiss, and was never applied to Kamile.

Surprising I think no one, Gundam ZZ is as committed to a distinction between male and female signifiers as its predecessors. The very fact I am writing an essay about how Haman controls and changes her appearance depending on the situation should be ample demonstration of how specifically feminine villainy is portrayed. Glemy doesn't have nearly so vast a wardrobe.

Even so, something ZZ has over its predecessor is a shift in how masculinity and feminity are discussed. No longer is this part of the diegetic content: we are spared characters philosophising over the nature of womanhood in the context of war. More than that, Glemy's attempts to mould Leina into a (fascist) vision of a perfect lady are oppressive and quite literally an act of imprisonment. This casts Haman's own position in a somewhat more nuanced light. She is navigating a sexist society with intent, and her own flaws are not presented as anything so gauche as 'needing a good man in her life'. Char, the subject of that vision from Zeta, left Haman to shoulder the burden of leadership, rather than being merely guilty of jilting her. The thrust of her self-reflection is a combination of hating the Zabis for her sister's death, determination never to be that kind of victim, and the conclusion she alone must build her future. It's as worthy a motivation for Gundam villain as we might find anywhere else.

Nevertheless, we now have to turn our attention to Haman's next major arc, which sees her donning a disguise in order to sneak closer to Judau.

The Tigerbaum arc sees sexism and the objectification of women profoundly muddled between something the show is highlighting with a critical eye and something it is itself engaged in. Minor villain Stampa's lecherous abuse of his position as colony governor to prey on young women is presented as deplorable. At the same time, these episodes give us yet another entry on Gundam creator Yoshiyuki Tomino's long list of female characters killed to provide an air of tragedy and motivate male members of the cast, this iteration so badly animated, it isn't even clear *why* or *how* the poor woman is mortally injured.

Haman's choice to personally infiltrate the situation by donning a blonde wig and an unassuming red skirt and jacket combination marks renewed emphasis on her two-faced nature. Her obsession with Judau has developed such that this is mission is entirely in service of trying once more to recruit him to her side. Not incidentally, this results in her dropping the ball on the Glemy situation, providing him the room to start a full-blown coup.

It is established in the characters' minds over the course of this arc that Judau and Haman are on some level calling to one another. When they come face to face, Haman entreats her young foe to help build a world for newtypes and to stop being held back by his emotions and his attachment to others. Meanwhile, a convenient psychic priest clues us in to a sadness hidden behind this standard villainous pitch. Sarasa even explicitly tells Haman that, at their core, her feelings are no different from Judau's.

Haman rejects this assessment. Her spycraft is defined by an inability to play the part of anything other than the haughty aristocrat. The red disguise, while distinct enough to hide her at first, quickly proves to have a silhouette close to her original costume, broad sleeves tapering elegantly to thin wrists, and her briefly expressed interest in seeing "how the common people live" is an exercise in contempt. She has no time for those who don't serve her goals or share her vision.

From the first, Haman has been - seemingly by her own design - the singular figure at the heart of Neo Zeon. This is how she chose to cloak her loneliness, aiming to take total control of the world and punish those she deems to have been inexcusably careless towards Earth. She is bad at disguising what she truly is, even when it would be to her advantage. Judau senses who she is from a touch and only doesn't realise what it means until later because circumstances distract him. Glemy's disillusionment stems precisely from Haman's failure to convincingly appear to serve the Zabi bloodline. As I said at the start, she draws the eye.

Events race towards a head and as the Neo Zeon civil war heats up, we get a last outing for the black costume. Haman returns to Core 3, the old heart of Zabi power, where Mineva is being kept, and adopts the old theatre. Except, it is wearing very thin by now. Breaking into the huge palace, Judau encounters Mineva on her own and she states outright that while Haman claims to care for her, she doesn't believe it any more. We'll later learn this isn't the real Mineva Zabi but a double, a girl saved by the Haman and used to safely hold people's focus, lending these words an extra layer of pathos. This false Mineva is a prop: Haman has reduced the focus of Neo Zeon belief - the righteous of the Zabi's cause - to empty puppetry.

Where this sequence sings is in the continued interplay between Judau and Haman. Judau, partly at the 'Mineva's' insistence, attempts to steal the child away. Haman catches him and is delighted when he threatens Mineva to ensure safe passage, since it means he no longer holds the moral high ground over her (insofar as using others to get what she wants). A small victory, suggesting to her mind that he has started to see things her way.

Judau is not willing to actually harm a child and returns Mineva, over the double's protests since she can no longer stand being trapped as a tool for Haman's ambitions. Surprisingly, Haman keeps her word, allowing Judau and fellow pilot Roux to leave the palace grounds in exchange for surrendering their 'captive' and ordering her men not to 'disgrace her honour'. It's a hollow promise since she immediately tries to trap the escapees inside the colony and have them killed, but it's significant, since we've not been given any indication before that Haman has a sense of honour.

This said, we certainly have every reason to believe she has a sense of pride.

The civil war kicks into high gear, Glemy and Haman's forces tear each other apart, and eventually the would-be usurper meets his doom at Roux's hands. This leaves Haman the victor on paper but with she and Judau orbiting one another closer and closer, they both accept a final duel is inevitable. Over the protests of her remaining subordinates, she boards her Qubeley, the mobile suit she used to beat Char all the way back at the end of Zeta, claiming aloud that Judau is already subject to her will.

This is a last bit of acting. Safe in the privacy of the Qubeley's cockpit, she expresses frustration that Judau has driven her to don a normal suit, a beat recapitulating the end of the original Gundam series. Char, who habitually declineed to wear a spacesuit out of a belief it would make little difference were he to suffer defeat, agrees to do so in order to soothe another character's worries. Here, it is Haman's fear, of a "mere child", that drives her to take the same precaution.

For once, her mode of dress has nothing to do with furthering her goals. This choice is made out of concern for her life, which perhaps above all explains exactly why she should have become so obsessed with conquering Judau in particular.

He scares her. He will not be controlled and he sent her running, overwhelmed by his presence. How could she possibly let him live after that?

Haman is an extremely proud woman. She will not suffer to be seen publicly breaking her word and doesn't - cannot - hide her ambitions. Where another leader might have delegated spy-work at a crucial time, she goes herself. She does not trust others to act of their own free will, manipulating and brainwashing them into extensions of herself. She does not trust other people full stop. That's the irreconcilable difference between her and Judau, who loves those around him and retains faith in ordinary human beings.

So they fight, screaming their philosophies at one another, each stubborn and defiant and convinced they're right, Haman proving as emotionally driven as the boy she laughed at for still possessing mercy. There is nothing logical about fighting him fair and square but this is precisely what she does, refraining from using the full extent of the Qubeley's abilities so she might match Judau one on one, pilot to pilot.

If she couldn't beat him on her own, what would be the point?

But Judau doesn't fight alone. The souls of newtypes fallen in battles Haman shares the blame for starting come to his aid, driving her back and giving him the power to overcome her. When the final blows are struck, she is left the loser and though he reaches for her, true to his nature, trying to save her life, she defies his compassion, proud to the very end.

At the same time, she says she is glad to have met this "strong child" who has beaten her. She proceeded on the basis that everyone was alone and the hope of greater understanding promised by newtype abilities was, in essence, a lie. If there existed no possibility harmonious cooperation would overturn the Federation's indifference, then of course the only way to prosper was to seize control of everything and everyone. Yet Judau proves the chance of a different path remains.

As she choses death over living with defeat, Haman looks the most content we ever see her. Her spirit, blasted loose as the Qubeley is destroyed, smiles joyfully. Her helmet, opened moments prior, is gone, leaving her hair to billow wild. The embellishments to her normal suit are likewise loosened, lines softened by the implied force of the explosion.

Haman Karn dies undone, no longer the carefully composed centre of a lonely universe, not even the posed teenager seen in flashback, but instead freed from her own stage-management.

And at last she is happy.

[lucanderie]

Feel like in the UT fandom's attempt to reverse the 2015-era-gremlinification of Chara Undertale there's risen a common- not necessarily mischaracterization, but misremembering of Chara's dialogue as being needlessly formal or "proper". It is true that they're eloquent, (and they do use a more formal text style in the Japanese translation)- but it's common to extend this trait in fan content to them being flowery, or even never using contractions. Nothing wrong with having these headcanons! But for one, they very much do use contractions:

The undoubtably-Chara lines in the game's narration do have a very specific style! They're blunt, matter-of-fact, impatient, and clipped- with just a little of that pacifist-route curiosity peaking through:

Again, they are a well-spoken kid, but I think we may have mentally misfiled Chara's genocide dialogue as "flowery and formal" when it's really more... stilted and un-natural. It's weirdly detached, kind of like they're, you know, the ghost of a dead kid who's been grafted onto your soul as a personification of pointless level-grinding:

The dialogue isn't weird because it's formal, it's unnatural. It purposefully doesn't "flow". (As opposed to the geno dialogue, which you can definitely picture this little rosy-cheeked kid bluntly stating under their breath as they inspect every little corner of New Home for what-have-you).

And for the NarraChara theory, the game's narration isn't eloquent in a "fancy" way- it has a very distinctive "dry, technical-sounding language contrasting typically-informal subject matter" you could clearly imagine in the mouth of the kind of 2010s kid who reads Tumblr posts on Pinterest and edits TV Tropes (though order of influence may actually be reversed).

We very much are picking through scraps here, and technically we don't have any living-and-with-a-soul Chara dialogue- so this is all headcanon ground, anyway. I do think it's odd though, that in fan works we have both extremes of Chara speaking-styles: the "gremlin" take and the "extremely proper" take. I personally see them as more direct and a little stilted- a kid who's pretty talkative and has a sense of humor, yet clearly doesn't get into many two-sided conversations.