#especially when they have zero growth or agency

[sealwithfeels]

Sometimes I see someone describe a book/thing as 'character-driven' and I recognise it/go check it out and go 'bitch, what characters? Those bland cardboard cutouts who get bounced around by the plot?'

I'm seriously confused by your definition here

[chaos0pikachu]

on a meta-textual/Doylist level what I like about the Korn/Tonkla/Win subplot is there's actual tension and the fact that JJay & Fuiaz are a "branded pair" doesn't influence the story so much that the subplot overall lacks tension.

Tonkla as a character has genuine feelings towards Korn and they've shared on screen intimacy that enforces their relationship - even if that relationship is partially transactional on Korn's side or otherwise. This provides tension in the narrative with the characters and makes their overall relationships with each other and thus the story much stronger.

Comparison - one that might get me kicked but it be what it be - example the Sand/Ray/Mew/Top storyline in Only Friends which had zero tension.

Why? Because the audience pretty much knew from the get RaySand and MewTop were endgame but that's just a factor, knowing the endgame isn't contingent on poor storytelling - don't we all know how Romeo and Juliet ends after all?

No what made is weak and flimsy was the narrative never provides any real stakes or tension for those characters.

Mew never once feels anything for Ray that isn't friendship, they never even attempt to have sex (even bad sex), Ray openly continues to hookup and pursue Sand whilst with Mew (and Sand is even mostly okay with this as tho it matters none at all because ultimately, it doesn't) and while Top was bothered, he wasn't threatened. It was all just narrative punishment and penance for his cheating. We don't even see Ray and Mew on a real date or share a real moment of genuine emotional intimacy that's romantic and/or sexual, their bookshop date only makes Mew think of Top, Ray spends more time with Sand, etc.

It's not just that the endgame is Sand/Ray & Mew/Top it's that the endgame is FirstKhao and ForceBook. It's that this is an rpf au dressed up like a tv show rather than a story.

Which is where Korn/Tonkla/Win feels different.

Off the bat Tonkla and Win are already vastly different characters from White and Tee from their roles in Dead Friend Forever. Korn is obviously different from Arm in Kinnporsche. And the narrative has built genuine feeling between Korn and Tonkla, where Win's feelings for Tonkla - at this stage - appear more one-sided. Yet Tonkla's slept with both characters, he's showcasing agency and desire in different ways with both of them. His relationship with both is very different. Will he even "end up" with one or the other? How will Korn react if/when he finds out about this affair? Especially since Win's a cop and Korn is involved in illegal shit. We don't actually know which makes the story far more exciting to engage in.

Even though objectively I knew Win and Tonkla would "get together" in some capacity because of JJay/Fuiaz, there's far more tension and character motivation here which makes for a vastly more interesting story.

My issue with "branded pairings" as a whole is more often than not I find it hurts the narrative potential of a story by cutting the tension off at the knees, by not allowing more interesting and complicated relationships and character motivations to form and develop. As well as hurting an actors growth and ability to like, act when they're playing the same boxed archetype to fit their branded pairings, well, their brand.

[jujumin-translates]

[A3!] ★ Main Story | Act 15 - Painful RE:bake | Episode 6 - A Broken Shell

Taichi: --Well then, I’ve got a challenge that I’ve always wanted to take on!

Taichi: I… wanna try getting a leading role outside of the company.

Taichi: The only reason I was able to stand at position zero with my chest out as the lead role during Mantou Fist was because I had everyone in Autumn Troupe behind me.

Taichi: But for my “individual growth”, I’ve gotta go beyond that.

Taichi: I wanna play the leading role without having all of Autumn Troupe with me. That’s what will lead to my evolution and confidence as the actor, Taichi Nanao.

Taichi: That’s why… I wanna take on that challenge and give the world I once gave up on another shot head-on.

Azami: The world you once gave up on…?

Taichi: I’m gonna try my hand in the film industry, like dramas and movies, ‘cause when I did those as a child actor, I didn’t grow at all!

Sakyo: The film industry, huh…?

Taichi: I got so knocked down by Ten-chan’s overwhelming presence, especially since he was the same age as me, that I gave up on the idea that I could ever be like him…

Taichi: But now that he recognized me as an equal rival, I think there might be something I can do now.

Taichi: I wanna contribute to the troupe by re-challenging the barriers that I failed at back then and become an even better actor than I am now!

Taichi: …That said, I’ve got no clue where to even start.

Banri: If you’re tryin’ to get an audition, why don’t ya talk to Tenma?

Banri: I mean, you’d still hafta be offered the leadin’ role in a production, but the Sumeragi Agency prolly has some contacts.

Banri: That’s how I got an audition for Handsome Detective.

Taichi: Oh yeah, that’s right!

Juza: Handsome Detective, huh… That was quite the masterpiece.

Banri: Shut it.

Taichi: Alright, I’ll try talking to Ten-chan!

Azami: If that’s the kinda thing you’re talkin’ about, I’d kinda like to do something like that too.

Sakyo: That’s something I’ve always wanted to try too.

Omi: …

Taichi: Omi-kun? You okay?

Omi: Yeah-- I just need to find something to challenge like everyone else.

Omi: (I’m concerned about the matter at hand, but… I need to focus on myself.)

Banri: Aight, so that’s it for what we’re--.

Sakyo: Can I make a suggestion?

Sakyo: These individual challenges are good, but this is a sequel performance. If we don’t bring attention to Autumn Troupe, we won’t fill seats and we won’t sell on streaming.

Sakyo: We should make good use of our spare time and do something all together as Autumn Troupe.

Taichi: Like what…?

Juza: Somethin’ like how Spring Troupe did their beginner’s workshop?

Sakyo: Exactly.

Azami: I feel like that was a good opportunity to get people interested in their performance, not just our fans.

Juza: Should Autumn Troupe do that too?

Banri: Nah, a workshop for beginners with this many scary faces? …We’d just scare away the participants.

Azami: Shouldn’t it be somethin’ that take advantage of Autumn Troupe’s strengths?

Juza: Our strengths… Ya mean action?

Taichi: I getcha! We can teach people the basics too!

Sakyo: We should get Yuzo-san to supervise the rehearsal menu then.

Banri: If we’re gonna put together a plan between now and before Autumn Troupe’s performance, and talk to a buncha different people, we better get on it…

Omi: Then I’ll take care of the management stuff once you’re ready for it.

Omi: I’ve done planning and management for these kinds of events for the photography agency before.

Omi: Also, Zen-san mentioned the other day that--.

· • —– ٠ ✤ ٠ —– • ·

*Flashback*

Zen: Just let me know if any of the newborn group wants to use it for action-specific rehearsals or somethin’.

Zen: I’ll lend it to you whenever it’s available. Tell your director about it.

*Flashback end*

· • —– ٠ ✤ ٠ —– • ·

Omi: So I can get right on it and talk to him about it.

Taichi: That’s some great timing!

Sakyo: The first generation always has a soft spot for the newborn group.

Banri: I’m grateful that we’re able to rely on them now.

[ ⇠ Previous Part ] • [ Next Part ⇢ ]

[welcome-to-oslov]

One thing that keeps me hooked is how Tilrey's growth/healing journey/setbacks/etc are woven throughout the saga, and central to it.

Unfortunately when something really traumatic & ongoing happens to you at such a young age, you definitely spend time re-facing it/re-facing yourself at every stage: in your 20s, your 30s, your 40s, in your friend/family/lover/colleague relationships, when you become a parent, as you build career, when you see yourself reflected in others, etc.

The recent ask about how Tilrey told himself at the beginning that "he'd made his choice" (which he implied no one but a worthless person would do, so he must be - devastating indeed, and you would subconsciously carry that with you) really struck a chord. And how you've said that in Oslov Unraveled one thing he must finally figure out (and overcome) why he's so uncomfortable claiming power.

What do you think are some of the most pivotal moments of growth/healing/self-knowledge Tilrey's had over the years - and some of the most pivotal setbacks to his healing/evolution? Or, if not most pivotal, what have been your favorites :)

I'm also dying to ask your thoughts of what you hope to see in Oslov Unraveled, but don't want to spoil it for ourselves - since you're the author 😅🙌

I have to think about this, because Tilrey has had such a long character arc across all the stories! I just started writing some “deleted scenes” from the very beginning, before the start of AtKoB, and I remembered something, which is that young Tilrey initially believes he’s “saving his sector” when he goes to Redda, because that’s what Supervisor Fernei told him to make him cooperate.

So that’s where his arc starts: naively believing that every trauma he experiences is for a good cause. When he starts suspecting that’s not the case, he also starts seeing his “choice” to cooperate as cowardly and bad.

I think this is a pattern he experiences over and over. Sometimes he thinks that everything he undergoes is in service of a higher cause, which gives him an incentive to be active, plan, scheme, fight. Then everything suddenly seems useless, and he feels powerless and falls into depression and self-hatred again.

He feels a sense of triumph every time he learns to exercise some control over a situation, even if it’s as bad as living with Malsha or Verán. But with Gersha, and then with the True Hearth, he finally starts to get some traction and find ways to have agency. He sees that he can do more than just survive.

The interrogation where Ranek Egil forces him to admit he was raped is a milestone, because he starts acknowledging that not everything was a “choice” as he once believed. He can realize he lacked agency in the past and still seek agency now. Reclaiming his sexuality and ability to feel love with Gersha is a milestone. Confronting Malsha and not being afraid of him anymore, same. After that, and reconciling with Gersha on his own terms, he’s ready to work with the rebellion and be a leader and not just a tool.

But throughout all these stages, he has moments of backsliding into self-hatred and feeling powerless. I think one problem is that he still doesn’t know how to express his anger except by turning it on himself. He does express some of it with Vera and Tollsha during the whole unexpected pregnancy debacle. But usually he uses sex, especially D/s, as a way to channel anger and aggression.

The character of Einara is sort of a shadow self who represents Tilrey’s anger and aggression to him. So when he asks her to hurt him, it’s therapeutic, but he’s still not fully facing those emotions.

I just reread the moment in Crosscurrents and Consequences where Tilrey says no to Besha for the first time. It may seem trivial, but it’s a big deal to him, the beginning of saying no more often. Years later, when Lindahl asks him for sex, he says no with zero apologies, and that one seemingly small no becomes a catalyst for the sequence of events leading to the revolution.

So: At the time of Unraveled, he has love and affection and support in his life, but he still struggles with forgiving himself, with expressing anger, with claiming the power he now has, with saying no. I don’t know if anyone ever entirely solves these problems, but he can still make progress.

One thing I want him to do is make peace with his angry, raging inner self, and I do have an idea for that. ☺️ Having sex with Einara helped him but didn’t really heal their conflict.

So anyway, I’m still thinking about these character arcs, but it’s great to have readers who understand how these issues recur cyclically throughout a person’s life and don’t just get “cured.” Thank you for the question! ❤️

[kyndaris]

Artisaint? Arti-Hell no!

On my quest to find a possible romance partner, I've met a range of different people. Some have been nice. Most are far too nervous. And then there are a few who fail to pass muster. While I usually like to get to know someone before meeting them face-to-face, I'm not too opposed to go on a blind date once in a while if it's for coffee in the middle of the day and at a public place. So, when my grandmother's friend, who runs a dating agency, told me about a man she thought it would be good for me to meet, I said 'Sure, why not?' After all, the whole dating experiment is meant to be about testing compatibility and seeing if we could be together in a romantic sense.

Long Black - the codename for this particular individual - didn't really chat to me much via text message but was keen to have a coffee. In the end, he suggested the Artisaint cafe at Burwood. I readily agreed. It was, after all, a nice in-between location filled with a ton of people.

Unfortunately, I was late to the date. Due to a few personal circumstances, I had to take my grandmother to the bank in order to reactivate her debit card and set a pin. Then there were the groceries to purchase as well as a few household chores that needed to be done. By the time I left my place, I knew I would be late and summarily texted Long Black the situation. He seemed understanding about the fact.

Open communication. One of the first tenets to the establishment of a long-term relationship.

Trying to be the good Samaritan that he thought he was, Long Black did ask me if he ought to order anything for me and was kind enough to send through a copy of the menu. As I was driving, I couldn't respond to him but by the time I parked, I informed him I didn't drink coffee and it wouldn't be a problem for me to order when I got to the cafe.

I arrived at Artisaint twenty minutes after the assigned time - something which bugged me because I dislike being late at the best of times - said 'hello' to Long Black and quickly perused the menu. In no time, I'd ordered an ice chocolate and a spaghetti bolognese as I'd not had the time to enjoy lunch. As I ate, Long Black peppered me with questions about my interests and life. He zeroed in on murder mysteries, after I mentioned studying criminology at university, and began asking about good shows.

There were a few other questions like my job, my family make-up and a few of my hobbies. Long Black was especially quick to say 'me too' if he agreed with anything I said. While these were all good and fine, considering we didn't manage to go over shared interests during our very short-lived text conversation, it did feel like I was being interviewed.

But, dear readers, let me first paint a picture of our Mr Long Black.

On the profile he submitted to the dating agency, he provided a photo where he was out on a cliff overlooking the ocean, advised he had studied computer science and that his hobbies included singing. The man I met was a nervous introvert. While the photo showed him in jean shorts and a nice black shirt, the man I met wore a baggy black t-shirt with 'Tradie' written on it in big block letters. He also had on a pair of grey sweatpants and white tennis shoes. He'd also done a poor job at shaving, with patches on the right side of his face. I later learned he'd only studied computer science to secure himself a permanent resident visa and that he was now working in a warehouse catering to eBay.

To say I was disappointed was an understatement.

In fact, by the time I finished my spaghetti bolognese, I was looking to leave. Mr Long Black simply wasn't cutting it for me. Especially as he seemed adamant to speak in English although I'd told him (and demonstrated my ability) to speak in Mandarin. He also expressed some views that I found a bit narrow-minded, without much potential for growth.

I don't like to speak ill of the people I meet but there was an air of desperation to him. Or maybe it came from the fact he kept sipping from his coffee cup (which already looked half empty by the time I arrived). Whatever the case, he reminded me of a high school friend of mine whose girlfriend had brutally broken up with him during their overseas trip and had lost hope of ever finding someone.

Coupled with the fact that Mr Long Black didn't like his job but wasn't making any steps to changing his situation, I had the feeling he was a man looking for a woman who could encourage him out of his shell and to force him to try new things. An extrovert who didn't mind 'fixing' him, if you will.

This, of course, is not me.

If you've read my post about Stray Gods, you know Apollo didn't much appeal to me because he was just a sad boi. I would prefer a manic pixie dream boy/ himbo golden retriever, or a power mummy who will step on me.

Okay. Well, maybe they don't have to be those archetypes (especially if they're an actual flesh and blood human), but I'm definitely not someone wants a problem project of a human. And after trying to 'fix' the one ex-friend I had, who also lived an incredibly sheltered life and has only now discovered gender fluidity at thirty because of their lack of exposure to basically everything, I don't need or want to fall back into old habits.

Although, to be perfectly honest, I think I do have a type. Shout out to my friend Redoubt asking me about this during our Christmas/ New Year party at the end of 2023. But honestly, I think my type might be women. Their the ones who can draw you in because they're energetic and bubbly and you don't feel silly around when you goof up. And while their laughs can be loud, it's also endearing?

I know! Revelation after revelation!

I was reading A Man Called Over for my work bookclub and while I'm not as good with my hands as Ove is, I'm definitely the more curmudgeonly type of individual. As I've told quite a few people, I'm the grump who needs a sunshine to brighten up their days. The one whose nose is booped when they're being stubborn.

So, what I need is the Enid to my Wednesday. The Harley to my Ivy.

In any case, I didn't stay long with Mr Long Black, feigning an excuse to leave after an hour and a bit in his stomach. Given I'd also ordered more than he did, I also paid for the bill. In this age of equality and feminism, it seemed like the decent thing to do despite his objections (Long Black was seated on the cushion-y seats inside the booth while I sat outside).

Afterwards, I took a gander around Burwood Westfield before heading home, retreating once more to the comfort of my books and video games.

So ended a not so successful date.

But who knows, maybe I might have found a spark as I've been travelling overseas. By now, @bleachpanda and I are probably in Japan and will be making our way back home to Australia in a few short days. True, we'll miss out on the cherry blossom season but there's always next time!

[weboinblogs]

Voice Search SEO: Strategies to Optimize for Voice Queries

Introduction

With the rapid growth of voice-activated assistants like Siri, Google Assistant, and Amazon's Alexa, voice search has emerged as a game changer in digital marketing While more users rely on voice commands through search terms, businesses need to change their SEO strategies to compete. Voice search queries are becoming longer and more conversational, requiring a whole new approach to content optimization.

In this blog, we’ll explore key ways to optimize your website for voice search, ensuring your business remains visible in this new era of search behavior.

Why voice search is important

It is gaining in popularity thanks to the convenience of voice search and the growing popularity of smart devices. According to recent research, 58% of consumers used voice search to find local business information in the past year. As this trend grows, companies that fail to leverage voice search effectively risk losing a significant portion of their audience. Typically, voice questions are more natural and conversational, often complete sentences or questions, which changes how SEO is done.

Special optimization techniques for voice search

Focus on long-tail keywords and conversational phrases Traditional SEO emphasizes short, high-traffic keywords. However, voice search queries are generally longer and more specific. Pay close attention to long-tail keywords that reflect people’s natural speech patterns. Words like "Where can I find a digital marketing agency near me?" It will perform better in voice search than a simple "digital marketing agency" query.

Create FAQ pages Because voice search queries typically begin with words like “who,” “what,” “where,” and “how,” creating detailed query pages can help organize your content for queries such as Quizzes directly address natural language questions that people say they use, making it easier for search engines to match your content with voice search.

Do the local research thoroughly Voice searches often have a local meaning, such as “restaurants near me” or “best plumbers in [city]”. To capture this traffic, optimize your Google My Business listing, make sure your name, address, and phone number (NAP) are consistent across all directories, add location-based keywords to your content, and even, make your website mobile-friendly faster - And make sure it's loading, because a lot of voice searches are done on mobile devices.

Benefits of structured data (schema markup) Systematic branding helps search engines better understand your content and improves the chances of your website appearing in voice search results. Using structured data allows search engines to provide direct answers to voice queries. For example, adding schema markup to your local business profile increases the likelihood of it showing up in “near me” search results.

Optimize for details revealed Displayed bits of information, or "position zero" in search engine results, are often used to answer voice search queries. To capture these nuances, create clear and concise text that answers specific questions in the first few lines of your article or blog post. Organize your content in a way that makes it easier for search engines to crawl this content.

Improve website speed and mobile friendliness Voice search users typically expect fast results, which means your website should load fast, especially on mobile devices. Google algorithms favor fast-loading websites, so be sure to optimize your images, reduce server response time, and minimize the use of large files that can slow down your site.

Make conversation points Because voice search is so conversational, creating content that reflects this natural voice can boost your ranking. Include a question-and-answer format and address the needs of your audience conversationally. Think about how people talk when they ask a question and create content that answers those questions directly.

Apply natural language processing (NLP) insights Google’s algorithm now focuses on understanding the ideas behind queries rather than just matching keywords. To optimize voice search, consider the context and intent of user queries. Tools like Google’s Natural Language API can help you better understand how search engines interpret your content, so you can adjust accordingly.

Do the “Near Me” checks well A lot of voice search is location-based, especially for businesses and services. Make sure your content contains words like "near me" and make sure your location data is consistent across all directories. Additionally, building strong local backlinks and collecting positive reviews can help improve your local SEO for voice search.

Enhance your user experience (UX) Search engines, especially Google, prioritize user experience as a top priority. This includes mobile usability, web navigation, and ready access to information. Improving the UX not only helps with general SEO but also increases the chances of your content showing up in voice search results.

Conclusion:

Voice search is changing the way consumers interact with the digital world, and businesses need to evolve to stay relevant. By focusing on conversational keywords, local SEO, and small featured content, you can ensure your content ranks well in voice search queries. Using these strategies will help keep your business visible and competitive as voice search grows.

For more insights and expert guidance on digital marketing, visit Weboin’s Digital Marketing page.

FAQs:

What is voice search SEO? Voice search SEO refers to the practice of optimizing your website and content to appear in voice search results, which are typically longer, more conversational queries made using voice-activated devices like Siri or Google Assistant.

Why is voice search important for businesses? As more consumers use voice search to find information, businesses that optimize for voice queries can increase their visibility, attract more traffic, and engage better with mobile users.

How can I optimize my website for voice search? To optimize for voice search, focus on long-tail keywords, create FAQ pages, optimize for local SEO, and ensure your website is fast and mobile-friendly.

What role do featured snippets play in voice search? Featured snippets are the top results that voice assistants pull from to answer questions. Optimizing your content for featured snippets can significantly improve your chances of being chosen for voice search results.

Does voice search impact local SEO? Yes, voice search often includes location-based queries like “near me” searches. Optimizing your content for local SEO can help your business rank for these searches and attract nearby customers.

[smartfx]

Dubai: The Bustling Financial Hub of the Middle East and a Haven for Traders

Dubai has acquired its reputation as a thriving, quickly expanding trading city. It is frequently referred to as the financial center of the Middle East. Due to its advantageous geographic position, first-rate infrastructure, and forward-thinking legal system, the city attracts both domestic and foreign companies. Dubai has been a popular destination for traders from all over the world as a result of the growth in trading platforms that coincides with the expansion of global trade.

We’ll look at a few of the best trading platforms in Dubai that have become popular in this post. We’ll examine the features, costs, and user experiences of online brokerages and forex platforms in order to assist traders — whether seasoned pros or novices — in making wise choices.

Why Traders Love Dubai as a Destination

Dubai’s trading industry is supported by a number of important advantages:

A favorable business environment is provided by Dubai, which attracts merchants and firms with its zero capital gains tax, low import taxes, and tax-free income.

Strategic Location: Dubai’s location at the intersection of Europe, Asia, and Africa makes it simple to reach important markets. Modern trading facilities, a dependable banking system, and cutting-edge technology are all features of the city’s advanced infrastructure.

Encouraging Regulatory Environment: The industry is governed by the UAE Securities and Commodities Authority (SCA) and the Dubai Financial Services Authority (DFSA), which guarantee openness and safeguard investors. These elements provide the ideal setting for traders and companies to prosper, especially when paired with Dubai’s standing as a major international financial center.

Important Things to Think About in Dubai Trading Platform Choosing It can be difficult to choose the best trading platform due to the abundance of options. The following are important things to think about:

Regulation: Verify whether respectable organizations such as the DFSA or SCA are licensing and overseeing the platform.

Fees: Keep an eye out for charge structures that are clear, including spreads, commissions, and withdrawal costs.

User Experience: Both novice and seasoned traders should have an easy time using a platform that is clear and easy to use.

Asset Availability: Cryptocurrencies, equities, currency, and commodities are just a few of the many assets that certain platforms provide. Pick one based on the type of trading you enjoy.

Customer support: In particular, when problems emerge, excellent customer service can make all the difference.

Resources for Education: A few platforms offer webinars, market analysis, and instructional materials that are especially helpful for new users.

Dubai Trading Regulations and Legal Considerations

Due to strict regulations surrounding trading, investors are protected in Dubai. The Securities and Commodities Authority (SCA) is in charge of the larger UAE market, whereas the Dubai Financial Services Authority (DFSA) governs trading platforms within the Dubai International Financial Centre (DIFC). Strict control is maintained by these regulators in order to guard against fraud, enforce compliance, and guarantee openness.

Make sure the platform has a valid license from the appropriate regulatory agency before you trade. This guarantees defense against con artists and dubious service suppliers.

How to Register for a Trading Platform Account in Dubai

Select a Platform: Choose one of the regulated platforms mentioned above based on your trading objectives and requirements.

Publish the Documentation: Usually, you’ll have to provide confirmation of residency (bank statement or utility bill) as well as proof of identity (passport or national ID).

Put Money Into Your Account: The majority of platforms provide a variety of funding choices, such as e-wallets, credit cards, and bank transfers.

Get Trading: You can begin trading as soon as you have funded your account.

Resources and Tools for Traders in Dubai

Dubai’s trading community has access to numerous resources, including:

Trading Education: Many platforms offer free webinars, tutorials, and market analyses.

Financial News: Stay up-to-date with global and regional news via financial news outlets such as Bloomberg Middle East and Gulf News.

Trading Tools: Leverage platforms with advanced charting tools, market analysis, and automated trading options.

Whatever your level of experience, choosing the correct trading platform is essential to your success. To make an informed choice, take into account the platform’s regulation, costs, usability, and asset availability. Dubai’s cutting-edge infrastructure, regulatory frameworks, and friendly business climate will put you in a strong position to prosper in the rapidly expanding trading market of this thriving financial center.

[madhusachin]

Targeted Talent Acquisition: Mastering Niche Skill Hiring

In today's dynamic business landscape, organizations face an ever-evolving set of challenges in talent acquisition. The rapid advancement of technology, globalization, and the need for specialized skills have made traditional hiring practices less effective. Enter Niche skill hiring, a targeted approach to recruiting talent with specialized skills and expertise. This method is not just a trend but a necessity for companies aiming to stay competitive and innovative. In this comprehensive guide, we will explore the strategies and best practices for mastering niche skill hiring, and understand its significance in the context of modern business needs.

Understanding Niche Skill Hiring

Niche skill hiring refers to the process of identifying, attracting, and hiring individuals with highly specialized skills that are often in short supply. Unlike traditional hiring, which focuses on broader skill sets, niche skill hiring zeroes in on specific competencies crucial for certain roles. These could range from advanced technical skills in IT and engineering to specialized knowledge in healthcare, finance, or other industries.

The importance of niche skill hiring cannot be overstated. As industries evolve, the demand for specialized talent grows. Companies that can successfully implement niche skill hiring strategies are better positioned to innovate, meet market demands, and achieve long-term success.

The Importance of Niche Skill Hiring in Today's Market

The rapid pace of technological advancement has created a significant demand for specialized skills. For instance, fields like artificial intelligence, cybersecurity, and data science require expertise that is not only advanced but also constantly evolving. Traditional hiring practices often fall short in meeting these needs, leading to a skills gap that can hinder growth and innovation.

Moreover, the global nature of business today means that competition for top talent is fiercer than ever. Companies must look beyond their immediate geographical boundaries and tap into a global talent pool. This makes niche skill hiring a critical component of a successful talent acquisition strategy.

In addition to technological skills, niche skill hiring is crucial in other sectors as well. Healthcare, for example, requires specialized medical professionals and researchers. Finance needs experts in emerging areas like blockchain and fintech. The ability to attract and retain such talent can be a game-changer for organizations.

Strategies for Effective Niche Skill Hiring

1. Identifying the Skills Needed

The first step in niche skill hiring is to clearly identify the specific skills and expertise required for the role. Temporary staffing in India involves a thorough analysis of the job requirements and the competencies needed to excel in that position. Collaboration between HR and department heads is essential to ensure that the skill set identified aligns with the company's strategic goals.

2. Building a Strong Employer Brand

A strong employer brand is crucial for attracting top talent, especially when it comes to niche skills. Companies should focus on creating a compelling value proposition that highlights their commitment to innovation, employee development, and a positive work culture. This can be achieved through a combination of online presence, social media engagement, and employee testimonials.

3. Leveraging Professional Networks and Communities

Niche skill hiring often requires going beyond traditional job boards. Professional networks and communities, both online and offline, are valuable resources for finding specialized talent. Platforms like LinkedIn, industry-specific forums, and networking events provide opportunities to connect with potential candidates who possess the desired skills.

4. Utilizing Recruitment Agencies and Headhunters

Recruitment agencies and headhunters specializing in niche skill hiring can be invaluable partners. These agencies have extensive networks and expertise in identifying and attracting specialized talent. Collaborating with them can significantly reduce the time and effort required to find the right candidates.

The Role of Technology in Niche Skill Hiring

Technology plays a pivotal role in enhancing the efficiency and effectiveness of niche skill hiring. Advanced recruitment tools and platforms can streamline the hiring process, from candidate sourcing to screening and selection.

1. AI and Machine Learning

Artificial intelligence (AI) and machine learning algorithms can analyze vast amounts of data to identify potential candidates with the required skills. These technologies can also predict candidate success based on historical data, making the hiring process more precise and data-driven.

2. Applicant Tracking Systems (ATS)

Modern applicant tracking systems (ATS) are equipped with features that facilitate niche skill hiring. These systems can filter applications based on specific keywords, track candidate progress, and manage communication, ensuring a smooth and efficient hiring process.

3. Online Assessments and Simulations

Online assessments and simulations are effective tools for evaluating candidates' skills. These assessments can be tailored to test specific competencies, providing a clear picture of a candidate's suitability for the role. This is particularly useful in niche skill hiring, where practical skills are often more important than theoretical knowledge.

Challenges in Niche Skill Hiring and How to Overcome Them

While niche skill hiring offers numerous benefits, it also comes with its own set of challenges. Understanding these challenges and implementing strategies to overcome them is crucial for success.

1. Limited Talent Pool

One of the primary challenges in niche skill hiring is the limited talent pool. Specialized skills are often in short supply, making it difficult to find qualified candidates. To overcome this, companies should adopt a proactive approach to talent acquisition. Building relationships with potential candidates, even when there are no immediate openings, can help create a pipeline of talent for future needs.

2. High Competition

The competition for niche skills is intense, with many companies vying for the same talent. To stand out, organizations must offer competitive compensation packages, opportunities for career growth, and a positive work environment. Additionally, highlighting unique aspects of the company culture can attract candidates looking for a good fit beyond just the job role.

3. Retention of Specialized Talent

Retaining specialized talent is as important as hiring them. High turnover can be costly and disruptive, especially in roles requiring niche skills. Companies should focus on employee engagement, continuous learning opportunities, and career development to retain top talent.

Case Studies: Successful Niche Skill Hiring

Examining real-world examples can provide valuable insights into successful niche skill hiring strategies. Let's look at two companies that have mastered this approach.

1. Google

Google is renowned for its ability to attract and retain top talent, particularly in the tech industry. The company leverages its strong employer brand, innovative work environment, and extensive professional networks to identify and hire individuals with highly specialized skills. Google's focus on continuous learning and development also helps in retaining niche talent.

2. Mayo Clinic

In the healthcare sector, Mayo Clinic stands out for its successful niche skill hiring practices. The clinic's reputation for excellence, combined with its commitment to research and innovation, attracts top medical professionals from around the world. Mayo Clinic also invests heavily in employee development and research opportunities, ensuring that specialized talent remains engaged and motivated.

The Future of Niche Skill Hiring

As industries continue to evolve, the demand for specialized skills will only increase. Companies that can adapt to this changing landscape and implement effective niche skill hiring strategies will have a competitive edge. Temporary staffing in India future of talent acquisition lies in a combination of advanced technology, strategic partnerships, and a strong employer brand.

1. Embracing Remote Work

The COVID-19 pandemic has accelerated the shift towards remote work, opening up new possibilities for niche skill hiring. Companies are no longer limited by geographical boundaries and can tap into a global talent pool. Embracing remote work can help organizations find the best talent, regardless of location.

2. Focus on Diversity and Inclusion

Diversity and inclusion are becoming increasingly important in talent acquisition. Companies that prioritize diversity in their niche skill hiring efforts can benefit from a wider range of perspectives and ideas. This not only enhances innovation but also improves employee satisfaction and retention.

3. Continuous Learning and Development

The pace of technological advancement means that skills are constantly evolving. Companies must invest in continuous learning and development to ensure that their employees stay current with the latest trends and technologies. This not only helps in retaining specialized talent but also enhances the organization's overall capabilities.

Temporary Staffing in India: A Complementary Approach

In addition to niche skill hiring, companies can benefit from temporary staffing solutions to address short-term needs. Temporary staffing in India is particularly useful for projects requiring specialized skills for a limited duration. This approach allows organizations to remain flexible and agile, adapting to changing market demands without the long-term commitment of permanent hires.

Temporary staffing can also serve as a pipeline for permanent roles. Companies can evaluate the performance of temporary staff and offer permanent positions to top performers. This reduces the risk associated with hiring and ensures that the company is building a team of skilled and motivated individuals.

Best Practices for Implementing Temporary Staffing in India

1. Clear Job Descriptions and Requirements

As with niche skill hiring, clear job descriptions and requirements are essential for successful temporary staffing. Companies should clearly define the skills and expertise needed for the role, ensuring that the temporary staff can hit the ground running.

2. Partnering with Reputable Staffing Agencies

Partnering with reputable staffing agencies can streamline the temporary staffing process. These agencies have access to a pool of skilled professionals and can match candidates with the specific requirements of the role. This ensures a quick and efficient hiring process, reducing downtime and increasing productivity.

3. Providing Adequate Training and Support

Temporary staff should receive adequate training and support to ensure they can perform their duties effectively. This includes onboarding, access to necessary resources, and ongoing support from team members and supervisors. Providing a positive experience for temporary staff can enhance their performance and increase the likelihood of them accepting permanent roles if offered.

Conclusion

Mastering niche skill hiring is crucial for companies looking to stay competitive and innovative in today's fast-paced business environment. By understanding the importance of specialized skills, leveraging technology, and implementing effective strategies, organizations can attract and retain top talent. Additionally, temporary staffing in India can complement niche skill hiring efforts, providing flexibility

[fairfieldmarketreports]

China Microbial Fuel Cell (MFC) Market Share 2025

The global microbial fuel cell (MFC) market is anticipated to make significant strides with a projected compound annual growth rate (CAGR) of 9.8% between 2021 and 2025, culminating in a valuation of US$15 million by the end of 2025. The prevailing energy crisis on a global scale has spurred the expansion of this market, as renewable sources gain prominence as potential solutions to the scarcity of traditional resources.

With growing concerns about climate change, investments in zero-pollution fuel sources like fuel cells have gained traction. While several fuel cell technologies have already been extensively commercialized and employed in the transportation sector, companies continue to invest in research and development activities to enhance fuel cell efficiency and explore new application areas. This ongoing effort has significantly benefited the global microbial fuel cell market.

Microbial fuel cells, or MFCs, have garnered attention for their ability to meet low-to-medium power requirements. These fuel cells employ microorganisms to convert the chemical energy of organic compounds into electricity, making them a promising alternative energy source. Extensive studies have shown that MFCs can utilize a wide range of carbon sources, including waste materials, through various microbial strains. This enables the efficient generation of energy while simultaneously employing bioremediation strategies, showcasing the environmentally benign nature of MFC technology.

Access Full Report: https://www.fairfieldmarketresearch.com/report/microbial-fuel-cell-mfc-market

The outbreak of the COVID-19 pandemic has temporarily hindered research and development in the MFC field. The International Energy Agency (IEA) reports a downturn in hydrogen demand from industries such as oil refining, steel manufacturing, and chemicals due to the pandemic. However, the overall potential of MFCs in research and development remains intact.

The demand for microbial fuel cells in wastewater treatment facilities has witnessed a surge due to their ability to reduce environmental impact. MFCs play a crucial economic role in wastewater treatment, offering dual advantages. Firstly, they produce electricity at a lower cost, which can be utilized for in-house electricity needs. Secondly, they contribute to reducing overall wastewater treatment expenses. By removing environmental pollutants, such as bacteria, from wastewater, MFCs prove to be an ideal solution for minimizing treatment costs. Given that global wastewater treatment costs amount to approximately $30 billion annually and continue to rise, microbial fuel cells have emerged as an effective means of cost reduction in wastewater treatment plants.

Moreover, the adoption of microbial fuel cells in various applications leads to a reduced dependence on fossil fuel-driven energy, thereby decreasing the overall environmental footprint. MFCs offer a direct positive impact on the environment, establishing a strong foundation for their widespread adoption as renewable energy technology and a potential alternative to fossil fuels.

Compared to other types of fuel cells, MFCs are still in the nascent stage of development and adoption in the majority of nations worldwide. Consequently, there is ample room for improvement in power density, particularly when it comes to scaling up power generation through higher substrate volumes. Scientists and researchers are actively fine-tuning process efficiencies, especially in areas that involve power generation optimization.

The successful application of MFCs in wastewater treatment also relies on several variables, including the concentration and biodegradability of organic matter, wastewater temperature, and the presence of toxic chemicals. In addition to reliability and scalability, MFC systems need to be simplified to enhance cost-effectiveness, particularly at a time when solar and wind power are becoming increasingly competitive with coal.

The demand for mediator-free microbial fuel cells is expected to grow stronger in the market. Mediator-based microbial fuel cells rely on chemical mediators or agents to transport electrons to the anodic surface, whereas mediator-free microbial fuel cells utilize bacteria present in wastewater that naturally transport electrons to the electrodes through long nanowires. Mediator-free microbial fuel cells offer cost advantages over their mediator-based counterparts, as they are less toxic and require lower production costs. Consequently, extensive research and development investments are being directed towards mediator-free MFCs, increasing their market attractiveness and potential to minimize overall costs.

The Asia Pacific region currently dominates the global microbial fuel cell market, driven by the adoption of MFCs in a variety of applications, including wastewater treatment and biosensors, as well as numerous ongoing research and development endeavors. Noteworthy examples include a special MFC developed in Hyderabad, India, that generates bioelectricity by degrading wastewater, and power generation from cylindrical microbial fuel cells inoculated with P. aeruginosa as feedstock in China. Asia Pacific is poised to maintain its leading position due to its easy access to affordable and eco-friendly energy sources, aligning with the region's significant investments in green fuel and government support.

In North America, the demand for hydrogen is increasing in both the power generation sector and wastewater treatment applications, with over 90% of hydrogen consumption occurring in refineries and the industrial sector. Notably, researchers at WSU have developed a sustainable wastewater treatment system that utilizes electron-producing microbial communities to purify water, showcasing the region's commitment to innovative MFC applications.

Europe sees several investors funding research and development activities aimed at improving microbial fuel cells through groundbreaking technologies. Researchers at the University of West of England (UWE), Bristol, have made notable contributions by investigating various environmental conditions to achieve faster growth and maximum power transfer in MFCs. This effort led to the development of the EcoBot (Ecological robot), an autonomous robot that utilizes MFCs for its operational energy supply. Another example is the Slugbot, which employs microbial fuel cell technology to generate electrical energy directly from unrefined biomass, enabling the capture of slugs in the field.

Latin America and the Middle East & Africa are still in the introductory stage of adopting microbial fuel cell technology. However, notable advancements have been made, such as the development of a tin-coated copper microbial fuel cell in Turkey that achieved the highest power density of 2,965 mW/m2 by generating electricity from algae. Moreover, Morocco has set ambitious goals to increase its electricity generation from renewable sources to 52% by 2030, aligning with its green energy vision and triggering potential investments in the global microbial fuel cell market in the coming years. The competitive landscape of the global microbial fuel cell market includes key players such as Cambrian Innovation Inc, Vinpro Technologies, Open Therapeutics LLC, Triqua International BV, Sainergy Tech, Inc., MICROrganic Technologies, Prongineer, Fluence Corporation, Microbial Robotics, Emefcy, Protonex, and ElectroChem Inc. Notably, Open Therapeutics LLC focuses on the commercialization of a patent granted to Bacterial Robotics, LLC in 2015, showcasing the ongoing drive for innovation and advancement in the field.

[adventuresinclientservice]

How to help your agency survive, thrive, and grow in turbulent times.

In perpetual search of the half-full glass moment, I remain an optimist by nature, but if you work for an advertising and marketing agency, you know just how volatile this business can be, populated by fickle clients, unanticipated agency reviews, and the threat of diminishment or, even more dire, dissolution, ever present.  

Add to this the uncertainty wrought by Covid, with offices closed, people compelled to work remotely, and meetings banished to perpetual purgatory, and you have a cocktail that spells potential impending doom.  

So I was glad to read Media Post’s story about “The 4A's Latest Mission: Drawing Up 'Recession Proof' Plan For Agencies,” which quotes Four A’s CEO Marla Kaplowitz:

“Developing and retaining the strongest talent is the top challenge, Kaplowitz asserts. While some might be tempted to cut back on training and other development programs, she strongly advises agencies against doing so. ‘They should be doing more, not less’ in those areas.”

I’ve had my issues with Kaplowitz, but I agree agencies be doing more, not less, to train their people.

Kaplowitz no doubt is thinking agencies should hire The Four A’s for training. I assume (but frankly don’t actually know) their trainers are competent enough, but if this were my decision to make, I would look elsewhere.

If you call the UK home, you should hire Jenny Plant.  If you call here home, you should hire me.  

Jenny runs her very well-developed Account Accelerator Program, the only person I know who works with agency people to make them better. She’s good, very good, and if you determine there is an issue in need of attention – client attrition, lack of client growth, low-level or acute client dissatisfaction – you should connect with her straight away.

As for me, most people claim to “have written the book on account management,” but I am the only person who actually has written that book – three editions no less – that defines and deconstructs how to build and sustain trust-based relationships with clients and colleagues.  

I complement the book with a series of workshops focused on the “how” of things, as in how you build those relationships, write a Creative Brief, run a meeting, brief a colleague, do a conference report, proposal, or presentation, or handle any one of countless other details agency people confront day-in, day-out dealing with clients and colleagues.

It costs nothing to speak with Jenny or me; all it takes is a little time for a conversation.  If it goes well, with me it leads to a letter of proposal, again costing zero.  

More now than ever agency people remain with shops that support them, develop them, grow them.  Agency people -- especially the really capable ones -- who don’t get this kind of support, inevitably leave, draining the agency of talent, at a time when continuity of talent is what you need most.

If our conversation doesn’t go to your satisfaction, we shake hands (figuratively, given we likely will do this via Zoom) and you go on your way. If it does go well, a letter of proposal from me comes next, still costing nothing.  

Based on the proposal and our subsequent discussions, you decide if what I offer benefits your team. Then and only then is there a cost, one that pays dividends far exceeding the investment in terms of reduced client and colleague frustration and increased satisfaction.

I no longer run an agency, but if I still did and the shop was in the UK, I’d make calling Jenny a priority.  

If the shop were here, a priority would be getting in touch with me.

[johannas-motivational-insults]

I’ve seen a lot of people saying things along the lines of ”portal!Catra just wants to be with Adora and doesn’t resent her so obviously Catra is uwu soft baby who just wants to be loved and doesn’t actually want power” and implying that all Catra needs to find happiness and fulfillment is to give up the power-hungry charade and go be with her girlfriend. As an abuse survivor myself, I find this troubling on a number of levels, and I have a few things to say to this:

1) Portal!Catra is not real Catra.

Portal!Catra is something straight out of a really ooc high school au. She is very different from real Catra, and the contrast is meant to be shocking (much like the asshole au version of Buffy in BtVS 3x09 “The Wish”). It’s a reflection of how people are shaped by their circumstances, it’s not a character study of Catra’s actual wants and needs.

The Catra we saw in the portal, before she remembered her real history, was not dealing with the fallout of a lifetime of abuse. She did not know to be afraid of Shadow Weaver. In fact, she rolled her eyes and groaned when Shadow Weaver scolded her and Adora for goofing off and said she had high hopes for both of them. Real Catra would have killed to hear Shadow Weaver say she had high hopes for her, and here she was acting like it was an annoying lecture she heard all the time. The Catra of this “perfect world” has not spent her whole life being tortured and degraded and humiliated and told that she would never amount to anything.

So yeah, it makes sense that this version of Catra is happy for her friend who got promoted, in contrast to real Catra’s reaction. In this reality it’s good for the whole squad, and they all got the chance to prove themselves in Thaymor. In this reality it’s not a reminder that no matter what she does, she’ll never be as good as Adora, always be seen as useless and never get a chance to prove her worth. This Catra knows maybe she could become a Force Captain one day too. And if she didn’t, maybe it wouldn’t be the end of the world; she hasn’t been told time and time again how incapable she is, so she doesn’t have her canon self’s all-encompassing urge to prove people wrong about her.

In the portal reality, Catra wasn’t blamed for Adora’s failings or treated like a nuisance - a sidekick at best, a liability at worst. She wasn’t pushed down so Adora could be lifted up, they were lifted up together. Of course this Catra doesn’t resent Adora the same way she does in canon or have the same obsession with proving herself.

2) “Just being with Adora” is what caused this problem in the first place.

Catra spent her childhood finding solace in Adora while battling a growing resentment towards her. We’ve all seen “Promise,” this fact is right there in canon. Just being with Adora was Catra’s strategy to try to stay happy throughout her childhood, but it wasn’t working.

Adora was the only good thing in Catra’s life, but this relationship brought her pain as well, and not just from Shadow Weaver. She felt like Adora didn’t respect her, didn’t believe in her. And it’s hard to blame her when you see some of Adora’s cocky posturing, like the “sure you did” and “riiiiight” comments. Adora’s just teasing and playfully asserting dominance (perhaps even trying to flirt a little), but to Catra it doesn’t feel playful, it feels malicious and disrespectful. The one person who makes her feel like she’s worth anything at all so casually dismissing her abilities is devastating.

Sacrificing her need for respect and validation to go be with Adora is not going to fix Catra’s problems. It is not progress, for Catra or Catradora. It’s regression into the unhealthy dynamic that caused much of the conflict between them in the first place.

3) There is no reclaiming this “ideal Catra.”

This may seem like a callous thing to say, but it doesn’t matter what Catra could have been under better circumstances. We are all shaped by our experiences, and no amount of love or therapy will undo what we have already gone through and how it shaped our psychology. All we can do is learn how best to live with who we are now. I’ve had to learn this the hard way, as someone with an acquired disability and a boatload of trauma. There is no ideal version of yourself to get back to, only future versions of yourself to work towards.

This is as true for Catra as it is for anyone irl. It’s not fair to say that Catra “at her core” just wants to be safe and loved and with Adora and therefore all her other needs borne of her abuse and neglect are meaningless. That’s extremely negligent, actually. That attitude minimizes Catra’s trauma, implies that she just needs to learn to get over it and then she won’t have these “impurities” in her personality anymore.

Catra has been abused, and she will always be hypersensitive to indicators of abuse. She’ll get triggered and riled up by seemingly innocuous things when it feels like someone is trying to dominate or subjugate her, take away her agency. She is always going to need to feel a certain sense of power and control just to feel safe and comfortable. In certain situations and around certain people she may feel safe enough to let that guard down and just relax and trust, but that’s a privilege, not a right. On that note...

4) Catra does not need to chase this ideal for anyone’s comfort.

Yes, Catra needs to change. She needs to stop pushing away everyone who loves her, she needs to curb her self-destructive impulses. She needs to take steps toward not just redemption, but healing. This will only be possible once people finally start to acknowledge her trauma, but that’s a whole other story.

However, Catra does not need to change the ways her abuse has shaped her. That’s impossible, and an unfair expectation. Healing from trauma is not the same as erasing it, and this is a very common misconception in the real world as well as in fandom. It’s also an extremely harmful misconception.

Now, this idea in particular is a popular theme in discussions of Catradora’s relationship dynamics, the implication being that Catra will only be happy/healed if she can get to the point where she not only can, but wants to yield control to Adora and that if she can’t/won’t then she doesn’t really trust her and their relationship is broken. The yikes level of this argument, especially in NSFW contexts (which is where you will often see it), is off the charts. It is not fair to expect an abuse survivor to put herself in uncomfortable and potentially triggering situations just to prove she trusts her partner or to demonstrate personal growth. Period.

Now, that’s not to say expressions of trust on Catra’s part wouldn’t be good for the relationship. Adora wants to take care of Catra as much as Catra wants to take care of her, and feeling like Catra trusts her (in those contexts or in others) would certainly stroke Adora’s ego. The problem lies in it being an expectation or us treating it like a milestone, something to celebrate. If Adora is a good partner she will work with Catra as she is and let her express trust in ways she feels comfortable with, rather than pressuring her to do things she’s not comfortable with to prove her feelings for Adora or illustrate her progress.

In short, erasing her history and ignoring her abuse is harmful.

Like I said, portal!Catra is not real Catra, and we can’t treat her like she is. It makes zero sense to ignore or villainize her perfectly legitimate need to feel powerful and in control over her own life just because someone who lived a totally different life didn’t have that same need to the same degree.

And I know I will get comments that canon Catra doesn’t really want power either, but I disagree. Catra doesn’t really want to rule the world, it’s true, but she wants to prove that she can. We’ve seen her enjoy being in a leadership position because she’s good at it and it reminds her of her own competence and worth. Just because she found no satisfaction in losing her soul to take over the world does not mean she finds no genuine fulfillment in being in a position of influence.

Even regardless of how much she enjoys it, Catra is still drawn to power because she has grown to associate it with positive outcomes like safety, agency, and self-actualization. Yes, power may not be Catra’s ultimate goal, but that doesn’t make it meaningless to her. And I really wish people would stop acting like a perfectly normal response to abuse is a character flaw that needs to be fixed.

It seems a lot of people are quick to forget Catradora’s real history as depicted in “Promise” because they like the “Remember” version of their relationship better. Because they like this version of Catra better. It’s understandable - who doesn’t want to see Catra happy, right? But like Adora so devastatingly told Catra (and all of us), it’s not real.

We need to stop pretending it’s real.

[springsaladgaming]

i love the demo up to now but im getting very mind blind vibes from this (mysterious traumatizing childhood event which tore your family apart, determinable relationship with your brother, unapprochable older RO (ansel and ambrose), cold edgy RO where you have to be kinda rude to get their attention (teagan vs k), and just like, general vibes) and like this isn't a bad thing but i think it's important to keep in mind and make sure your story has its own remarkable distinguishing features

This story is loosely based off of a short story that I wrote when I was in University about a decade ago. The two stories don’t have anything in common in terms of plot anymore (especially since the short story was Postmodern realistic fiction and HEAVILY influenced by Chuck Palahniuk), but the entire family dynamic was based on the main character, then called Jamie, who was struggling with depression and suicidal ideation, and his family, who seem to be oblivious to what’s going on with him. Sun is a pretty close equivalent to the brother in that story, whose name was Graham. Graham was the successful older brother, the one who, in Jamie’s eyes, was everything his parents ever wanted out of a kid. He was also the only one in the family who seemed to notice what was going on with Jamie. The parents in Ninelives are also very similar to the parents in that story, only the family dynamic had to do with the mom giving the dad placebos for an imagined medical issue and lying about it for years. Jamie inadvertently discovers this and has to decide between exposing this or keeping it secret. (The two stories actually start in the same place; the bathroom. Only, in the original story, Jamie was in the bathroom after a failed suicide attempt, trying to OD on the very meds that his father took, which is how he discovered the placebo thing.) I was eventually planning on turning that short story into a novella with the main theme really touching on visibility of mental illness, but between all the writing I was doing for school and some personal issues in my own life, that short story got dusty in a digital folder on a USB drive I have somewhere. Can you believe those used to be a thing? But I digress.

I have read Mind Blind, and I’m not going to pretend that it (as well as other IFs I have read) didn’t influence me to start this project. So you aren’t totally incorrect. There are similarities, but the similarities don’t come from me basing my content off of Mind Blind. Rather, prior to deciding to try my hand at writing IFs, Mind Blind reminded me so much of this short story from college that I finally decided to revisit it, albeit reshape it into something new. And, hey, that’s Structuralism, baby.

So I can definitely understand feeling these similarities at first glance. That being said, it’s also quite early in the story still, and there is a lot the MC doesn’t know, even about their own brother.

So I guess what I ultimately want to say is, give it time. I don’t personally find the characters that similar, but I also have the advantage of knowing what’s going to happen in the story. It’s definitely my goal for this story to be its own unique beast, and I hope to live up to peoples’ expectations of that. The last thing I want is to rip off of someone else’s content. >.< It’s something I always try to keep in mind when I feel inspired by other works.

I want to touch on this subject more, and I love talking about my characters, but I don’t want to ruin anything for people who want to go in blind, so I’ll talk about the rest under this cut. No spoilers, just more background information.

Ansel is actually one of the most approachable characters in the story. If you’re referring to a specific scene that occurs with a specific choice, there is a reason that he is unapproachable in that situation, and it’s something you will get to talk about with him should you trip that flag. The thing about Ansel is, there’s enough going on with him already, even after a single day, that a player might choose to be suspicious of him. And for good reason. I want to say more on that, but honestly it’s hard to talk about what’s going on with him without touching on major spoilers, so I’ll just say that Ansel is probably the easiest character to get close to (besides maybe Rene), provided you don’t let your suspicion stop you.

Sun is in a similar boat as far as the “hard to talk about without spoilers” thing. There’s something more to his overprotectiveness besides just being a loving sibling. Ulterior movies is definitely a somewhat large focus of some of this plot, and this could become a conflict with more than one character, depending on what the player chooses to pursue. Can’t say more on Sun without heading into spoiler territory either, but your relationship with him could end up really terrible for completely justified reasons later, or you can keep it pretty great, or it can be a mix of the two. I wanted that to be determinable as well as fluctuating with him because sibling relationships are rarely ever one or the other, and I didn’t want to impose that choice on players, especially not since I was already imposing a bad relationship with the parents. I hate taking away player agency when creating their character, but there are some things I just have to do to railroad the plot in the right direction. I didn’t want Sun to be one of those things.

Teagan ultimately appears a little bit tropey. I would go so far as to say there is one of him in a LOT of interactive fictions out there. Tropes aren’t necessarily a bad thing - this is how we, as a society, have formed recognizable archetypes. But that’s something I want to work on with him. My goal is to give him his own flair. Once we start seeing Teagan interact with characters like Alex, Lucia, or Rene, he should start to show his true colors a lot more. One of my major goals with this story is giving the ROs significant opportunities for personal growth, and Teagan is one of the people who needs this the most. 

As an addendum to Teagan, he actually doesn’t respond well to people being rude to him, even though sometimes it might seem that way. 🤣 Poor guy is pretty socially inept and doesn’t have a very high emotional intelligence. Ansel also doesn’t challenge him to be better, which doesn’t help. If he smiles or smirks in response to a comment or a dialogue choice, it would be safer to err on the side of caution and make zero assumptions on what it means. There are a couple of smile/smirk scenes in there that are actually considered negatives for him. I’ve been having a little fun with this, because the choices that might seem like the “right” ones to increase relationship when we’re talking about other IFs or visual novels, for example, are often not the right ones with Teagan.

The good news here is that getting to know the characters and getting close to them in Ninelives is more about just spending time with them and learning about them than it is about making “wrong” choices. I play a lot of visual novels, and one of the things I’ve always disliked about them is how often a single wrong dialogue choice (one that usually seems arbitrary at the time) locks you out of certain routes or brings you to a game-over screen. I’ve really never like that. Between that and the fact that fully-released CSGs don’t have a save feature, one of the things I decided early on was to remove anything that resembled a game-over mechanic or a complete failure to achieve something. When applying that to character relationships, that means players are going to get ample opportunities to get to know the characters without locking themselves out of friendships or romances. This doesn’t mean there are no consequences to being an asshole to the characters all the time, but consistently failing to pick the "best” reactions with characters isn’t necessarily going to ruin your chances with them either.

[dazedandlucid]

pls elaborate more on the manic pixie trope i like hearing u talk

anon i am hijacking your message to answer other anon(s) as well i hope that is okay!

first, we must look at what a manic pixie dream character (yes this doesn’t apply only to girl characters so if it’s a dude, manic pixie dream boy, keep going from there) even is! girl or boy or non-binary, etc, a mpdc was a trope identifier coined in the ancient year of 2005 in a film review of cameron crowe’s ‘elizabethtown’. the criticism was basicaly that this type of character isn’t their own character at all and a very specific one at that. they are whimsical. quirky. they’re not like other girls/boys/nb’s. usually they are childish, bright and optimistic about life. they have cool obscure music taste. sometimes weirdly colored hair. but the biggest tell is that this character has no goals or wants of their own. they don’t want anything independently of the main character. they are there to show the, usually very drab plain boring miserable stuck in a rut protagonist, a new fresh bright way of life. they are there to “save” so to say the main character not through any heroic action but by their mere shiny oh so special ~existence~. it was originally a criticism of the way male writers wrote these, usually, female characters, with zero agency or purpose other than being a receptacle for the male character to project all his boring bullshit onto. this is a valid criticism. characters like kirsten dunst’s in ‘elizabethtown’, natalie portman’s in ‘garden state’, to a debatable extent the movie version of ramona in ‘scott pilgrim’. for male characters there’s the dude in ‘the fault in our stars’, the dude in ‘pitchperfect’. these characters are by and large thinly written vehicles for the plot, for someone else’s growth and not much else. they do not have their own journey of growth as well. but then, as people are known to do, we lost any and all nuance.

basically every sorta alterna-ish female love interest was deemed a mpdg in the mid late 00’s. even ones that either clearly were not (ie clementine in ‘eternal sunshine’) or ones that were meant to serve as a deconstruction of the trope (summer in ‘500 days of summer’) or worse ones that were a critique and deconstruction of the lazy criticism of the trope itself (ruby in ‘ruby sparks’). why are none of these characters mpdg if they surface level fit the bill? because all of these characters have agency. they want things that have nothing to do with their love interest. they actively are in opposition to the idealization of who the male main character wants them to be. (especially in ruby sparks’ case, the main character descends into insanity when the female character from his book comes to life and, try as he might, he cannot control her. she develops her own consciousness/identity completely independent of him. that’s the point.) but what does any of this have to do with rwcbmt, taekook, and who is or isn’t the mpdc? i’ll get to that, but first: we need to talk about penny lane.

i’ve talked about her at (relative) length before, so i’ll get to the point. penny lane is the main female character in cameron crowe’s (yep same cameron, see a pattern?) 2000 film ‘almost famous’. the jist of the film is a coming of age tale set in the 1970’s where the main character at 15 years old gets sent to cover a rising rock band in the last hoorah in rock’n’rolls last golden dying age. he meets penny lane, the leader of a group of “actualized” groupies, self monikered as band-aids, who takes him under her wing and is pretty much his guru in all things rockstar. af came out a good 5-7 years before mpdg internet insanity became a thing TM, and was retroactively shoved under the umbrella term (as was annie hall, katherine hepburn in ‘bringing up baby’). now, penny lane is definitely whimsical. she has a different outlook on life. she is mysterious. she is a muse. and she very much is a supporting character who helps william, 15 year old wunderkind, on his merry way. but reducing her to a mpdg completely rips her of who she is as a character. as much as penny lane is a muse, as much as william is in love with her and wants to possess her, as much as russell (our shaggy haired rock boy band lead guitarist) lusts after her and wants to posses her, penny lane is not a possession. even when she makes decisions because of men, these are her decisions. she has desires and wants beyond these men. she course corrects her life when she decides she no longer wants anything to do with either of them. she causes action in the film. she is, in fact, the catalyst of the resolution. now, you could say this makes her a character in service of the story, but all characters either serve or direct the plot in some way. and this story is william’s story. everyone is here to lead to his growth in some way, from his mother to his mentor to the band to his sister. but penny lane has her own growth, her own journey. her personal resolution has nothing to do with anyone else except herself and what she wants. if anyone wants to sit around and still argue that no penny lane is a mpdg, then i’m going to have to sit around and argue back that there’s a bigger case that if anyone is the mpdc in this movie, it’s actually russell, our shaggy haired lead guitarist idol god turned almost bff turned antagonist turned just a guy really. but i digress.

depending on when you got into bts, you may have been introduced to taehyung as “the 4-d member” which is kpop lingo for “the weird one” as in so weird they are privy to a whole entire other dimension the rest of us just aren’t. a little out there. not normal. bizarro. not like the other k-girls/boys/nb’s. and sure while he talked about pink bunnies on the moon (which is actually based on a sk folk story but w/e), spoke in a colorful language, had an outside of the box thinking style, it wasn’t all he was. the idea in itself is reductive. but it was sort of everywhere. and a huge part of the mdgc is the concept of the muse. in essence that’s what they are. they are inspiration in whatever way that is for a comparatively “grey” character. they bring the color. so when i thought up the idea of rwcbmt, i was thinking about taehyung, and i was thinking about how often jungkook is often depicted as the polar opposite of “the muse”, but i was also thinking about the mpdc trope but mostly how deeply flawed it is as a trope but also as a character critique. badly written characters should be critiqued, especially female ones for how one dimensionally they are often written, but sometimes the critique itself is derivative and trite for how it leads to the generalizations of certain archetypes. and, beyond this, the way a lot of romance is written, the love interest, not always but often enough, tends to be what the originator of mpdg was criticizing: a fantasy, a plot device for the main character, someone exciting who saves an otherwise mundane character of their own mundanity.

so in terms of rwcbmt, who is the mpdc re/deconstruction? both of them. but also, neither of them. taehyung is in some ways the “grey” character. he’s in a standstill in his life. he’s the less exciting one. he’s not the one who leads them on their adventures, argues that life is so much ~more~. but one of the first things jk asks him is something along the lines of “are you fucking real?”. he’s not like most “other guys”. an entire universe lives in his head. he does have this very wondrous rosy view of life at times. he’s very q-word and very very w-word. but he also has a very grey view of life. he’s not all that whimsical and his optimism is not rooted in the belief that life is ultimately good, but that, as a human person, it’s your responsibility to make it so. jungkook, as the non pov character, takes on the role of the object of desire. the muse. the one who is desired. he pushes taehyung’s comfort levels, makes him reassess what he thinks he knows about almost everything. but he’s in direct opposition to what the mpdc traditionally looks and acts like. there is nothing whimsical or openly childish about him, he’s not a heart on your sleeve optimist on paper. he looks and acts like the “bad boy”. but as the story unfolds, all of that is partly a facade, not because he’s secretly the archatype all along, but because characters should have the space to be multidimensional. tbh, the main reason neither is the mpdc, is because, in the end, they both have agency. they both want things beyond each other. regardless of them ending up together, the thing i’m trying to show with these characters, the thing they in essence show each other, is that no one saves you. not acknowledging that the person who “saves” you is you is removing your own agency. it’s pushing pressure and idealization onto another human person who’s kinda busy with their own shit. i harp on this a lot but my rejection of not only the mpdc trope + critique but how a lot of romantic love is depicted is because i’m trying to posit the idea that love is in essence respect, and viewing your romanic partner as their own separate person completely removed from your own wants and desires, is one of the most important but underlooked aspects of love. to love someone is, again in essence, to respect them for who they are completely beyond you.

and you know fiction is fiction and romance can be just that. idealized versions of characters/relationships/people in fiction are not some grand evil. but they do tend to be the norm so i think there should also be space for attempts of the opposite.

[rachelbethhines]

Tangled Salt Marathon - The Brothers Hook

It’s time to say goodbye to Hook Foot. He won’t be missed. 

Summary:  Rapunzel takes everyone to see Hook Hand in concert. However, this brings back bad memories in Hook Foot, as he was always overshadowed and looked down on by his elder brother. Hook Hand is revealed to be employed by the self-centered King Trevor who wants Hook Hand to play at the ceremony of the marriage between the Seal of Equis and his female mate. When Hook Foot sabotages his brother’s performance at the wedding he must face King Trevor in a dance off to save Hook hand’s career. 

The Episode Placement Is Indeed Wrong  

I talked about this last episode, but the ordering of episodes is confusing. 

The Brother’s Hook does come after Rapunzel: Day One in terms of production order and is placed after it on the Disney Plus, but it supposedly aired before Rapunzel: Day One originally and the events make more sense in that aired order. As they’re traveling on foot here because they lost the caravan, and they’re all stressed out and fighting in the first scene of this episode. Also it world explain Hook Foot’s absence in Rapunzel Day One. 

Yet why would they order things that way? Why hold off on resolving the Raps and Cass argument if you’re not going to even hint at it here? Why not place this earlier in the season so that you wouldn’t be dragging Hook Foot along in the Great Tree for no reason? 

It just goes to show how rushed and poorly planned out season two actually was. 

This is Another Pointless Parallel 

So Hook Foot is suppose to represent Cassandra here and Hook Hand is supposed to be Rapunzel in this scenario but like that doesn’t work for several reasons. 

For one, Rapunzel never discouraged Cassandra’s dreams. Cassandra herself just never opened up to tell her what those dreams were, and indeed even the audience don’t know what Cass’s dreams are now that she’s already achieved her goal of becoming a guard back in the first season. I don’t think even Cassandra knows what she wants. 

Second, Rapunzel and Cassandra’s conflict isn’t actually about ‘dreams’, it’s about control. Each wants to control the other, to be in charge, because they think themselves always right. Both equate ‘being right’ and a lack of criticism as validation and to them, and this show in general, validation is equated with ‘love and compassion’ and is the ultimate end all and be all goal for everyone. Even though that’s not how validation works and a it’s a very unhealthy mindset to promote. 

Third, no one owes you anything. Yeah, Hook Hand is a jerk here, but at the end of the day giving up on his dreams was Hook Foot’s choice. You are in charge of your own choices, and at some point you need to decide if you’re going to listen to rest of the world telling you no or have some self respect and do what you want because you want it. You don’t actually need anyone’s approval but your own. By making ‘validation’ the end all and be all of the narrative, it undermines characters agency and fails to teach people about self respect and accountability. 

Same goes for Cassandra, even more so in fact. She needs to be the one to get off her ass and try for what she wants. No one is going to hand it to her and Raps doesn’t owe her a damn thing. Cassandra is the only thing getting the way of Cassandra because time and time again the series gives her chances that she refuses to take for ill defined reasons. There’s nothing at stake for her to lose if she just left. 

Last off, no one learns anything from this. Cass gets nothing out of it despite being right there the whole time, and Rapunzel is too hypocritical and self centred to see that she is very bit the bully same as Hook Hand. Not because she crushes Cassandra’s dreams like the narrative wants you to think, but because she tries to insert herself and her views on to everyone. 

Bullshit

Once again, may I remind you that there is over twenty villians in this show and only four of them get redemptions. Four! And one of those four was Eugene’s doing not Rapunzel’s. 

The narrative does not support the ideas that it wants to push. If you want me to believe that Rapunzel does sincerely believe in second chances then you need to show her giving that chance to everybody equally. And no, not everyone has to take it, not everyone needs to be redeemed, but she needs to at least try. Especially if they’re a recurring baddie with a tragic backstory like Lady Caine’s.

Oh, and may I also remind you that currently a 15 year old orphan is rotting away in a jail cell because of the corrupt government and Rapunzel does not give a crap! 

The Song Is Sounds Good But It Adds Nothing

It doesn’t add anything to the overall narrative and it fails to add anything to the episode itself because it gives us no new information.  

This is extremely wasteful. Not only because Alan Menken and Glenn Slater are highly respected artists who are wasting their talents on crap like this, but also for pure budgetary reasons. Tangled has a limited budget for songs that is worked into the contract. Each season is suppose to get eight original songs and two reprises. (tho season three trades out one of those songs for an extra reprise) 

In an arc heavy series like this, with such a limited number of songs to convey information, then you need to choose where those songs go wisely. The writers did not choose wisely in this instance. 

Rapunzel You Are Not In A Position To Give Advice Here

This episode is foreshadowing for what season three would become. Which is a complete formula switch up that undermines the narrative’s goals. 

This is suppose to be a coming of age tale. That’s in its mission statement. It’s what the writers supposedly wanted to achieve according to interviews and the very pilot episode itself.

That requires Rapunzel learning and growing. She can’t be in the mentor role. She can’t be the one to give out sage advice if she is the one who is meant to grow the most. She not there yet. She’s not experienced enough to fulfill that place in the narrative.  

Season one may have been repetitive in it’s lessons but it at least tried to show Rapunzel owning up to mistakes and changing as a person, but here and in season three they toss that out the window and have Rapunzel teaching other people lessons instead. People who ultimately don’t matter to the overall narrative. 

Instead of showing her growing as a person and coming to fit in that role over time due to experience, it has the opposite effect of showing Rapunzel as being patronizing, selfish, and unworthy to rule. Because she has no grounds for having an opinion, no basis for her advice to go off of, no experience to back up what she says, and zero claims for being in charge except for being born in a classist feudal system. 

Had the narrative actually bothered to call out  this instead of just having Cass pitch a hissy fit over nothing, then we could have gotten a really complex character and unique moral to the show, but that’s not what actually happens. 

King Trevor Is the Saving Grace of This Episode

I don’t think the writers realize that Trevor isn’t the hateable douche that they believe him to be. 

Oh sure he’s not nice, he’s essentially the equivalent of an annoying ‘I want to speak to the manager!’ type customer. But there is a huge, huge difference between being a Karen and being a fascist dictator. One’s irritating and the other is actively malicious and a danger to people's lives. 

Frederic might be outwardly more pleasant but he’s still a person who abuses his power in order to harm poor people. Trevor is just a mother-of-bridezilla here and a perfectionist. Like big deal. 

 And to be honest Rapunzel isn’t that much better. 

Like you are a bully Raps. You’re every bit a pushy and demanding as Trevor is, particularly in season three. 

While she’s not actively malicious like Frederic, she’s still a danger to people because she refuses to acknowledge that the power she wields has an impact on others lives and that that impact can indeed be negative. 

There’s something called the banality of evil. That being simply mean to others isn’t how true evil spreads. It’s people refusing to challenge the system, and if you are a part of that system then you are a part of the evil it spreads no matter how nice you are outwardly. 

Rapunzel and the show at large, does not understand the difference between being nice and being kind. It introduces the concept of flawed government and systems but then does nothing to actually challenge it. It forgoes the actual work it takes to make change happen by focusing on easy outs and proformative progressivism. 

Trevor does more than either Frederic or Rapunzel here with this one line alone than they do in three full seasons. 

Eugene did indeed commit a violent crime, no matter how much the show tried to present such a crime as ‘funny’. Trevor is in his legal rights to prosecute the person who tried to kidnap his child/pet and assaulted his personage. 

Yet he’s actually granting mercy here. More than that, he’s inviting them to his child’s/pet’s wedding. He’s offering friendship when he could have had them killed. Because Tevor, for all his faults, recognizes the power the that he wields and then makes the conscious decision not to abuse that power. 

Moreover over he acknowledges the difference between what is a personal offense and not a an attack on his kingdom as a whole. What Eugene and Frederic did could have been considered an act of war and Trevor never even considered that an option. 

It’s sign of bad writing when the person we’re supposed to consider a jerk and a recurring antagonist is more compassionate than the main heroine herself. Even as he jeers and makes an arse of himself. 

This is the Point Where Rapunzel’s Characterization Buckles and Breaks 

At first glance this seems like growth. She’s now assertive and taking charge, and Hook Hand did indeed had this coming, but in context of the greater narrative and how Rapunzel’s character develops past this episode, this is the point where the wheels start to come off. 

Rapunzel is a hypocrite. We’ve established this as a fundamental part of her characterization back in season one and it’s the driving force behind all of the main conflicts with her in the first two seasons. But before now, her hypocrisy at least had consequences. It caused enough problems that if you were paying attention you could see it for the flaw that it was.

But here her hypocrisy is presented as being right. She looks over Hook Hand even as she tells him not to look down on others. She dictates to him how his relationship with his own brother should go, when she has zero context for said relationship. She’s heard only one side of the story and only a piece of it. She doesn’t know what actually went down between them while they were growing up nor does she honestly care why Hook Hand does what he does. Even as she asks him why. 

Yet she is rewarded for this behavior. She’s never called out as wrong. The narrative bends over backwards to accommodate her and reinforces her views. Without direct consequences a character’s flaws are rendered meaningless, and so the character will only frustrate the audience rather than endear themselves to us. 

That is the opposite of what you want to achieve in a story. You want to the audience to like you’re main characters, or at least find them entertaining in their awfulness. Making them right all of the time, even when they’re wrong sabotages this goal. 

Trevor’s Still the Better Person Here 

Like it may not have been Hook Hands fault, but at the end of the day he did screw up at his job and a paying customer has the right to be upset and refuse to work with you again or even demand their money back. That’s what being self-employed means. It’s part of the risk you take as being a contractor.  

Trevor’s not being unreasonable here just because he raised his voice and wants Hook Hand to leave the wedding premises. Yeah the insults are uncalled for, I’ll give you, but remember that Frederic locked a tailor in a stockade for accidently ripping a robe; that he has the ability to fix if he wasn’t locked up. 

And he resolves conflicts and personal insults with a dance off! 

What happened when someone called Frederic out for being a poor leader and endangering lives, oh yeah they wound up in jail! 

Also This Episode’s Big Climax is a Fucking Dance Off

Out of all the low stakes conflicts in this show this is the lowest. 

And it’s coming right off The Great Tree and the big Cassandra vs Rapunzel fight. This shouldn’t be here. It’s throws off the pacing the tone. 

Well I Guess Trevor Kept HIs Word, Which Is More Than What Frederic Would Do 

Like Trevor is defeated and he does indeed complain about losing, but everyone is apparently free to leave afterwards and Hook Hand still has a career so I guess Trevor kept his side of the bargain. Even though he has no reason to and no one to hold him to account for it. He just has a code of honor I guess. 

Meanwhile, Frederic throws a teenager in a dungeon after promising to help him and completely ignores his supposed friend Quirin being encased in amber.  

So What Was the Point In Bringing Hook Foot Along Again? 

What did Hook Foot add? What did he bring to the story that no other character out there could bring? What does writing him out of the story now achieve, and why couldn’t he have been left out of the narrative all together? 

If your answer to all of those question is ‘Nothing!’, then congratulations you have more sense than the showrunners. 

I have seen a few people get angry and suggest that Lance should have been the one to go because getting rid of Hook Foot meant getting rid of the shows main disabled rep, but that’s ignoring that getting rid of Lance would mean getting rid of the shows only real black representation as well. Because tokenism isn’t real representation.  

Yet for all of how poorly handled Lance’s character was, he still has more reason to be there than Hook Foot. He has a unique connection to one of the main characters that, once introduced, would be hard to ignore. There’s nothing connecting Hook Foot to the plot or the main characters, and that’s why he shouldn’t have been in the show at all. Regardless of how much you may have liked him. 

Destiny Isn’t a Goal!!!

How many times do I have to say this!? 

A goal needs to be specific. It needs to have logical motivation behind it. It needs a clear obstacle to be overcome for the character to achieve it. 

A vague ‘destiny’ has none of those things. 

Conclusion 

Meh. That’s the word that best describes this episode and the majority of season two. It’s not the worst thing ever if you just want to shut your brain off for 30 minutes, but it’s not actually good either, and if you stop to think about any of it for more than two seconds it falls apart.  

[kristofffaust]

The Growth of Nihilism in the Contemporary United States: a brief essay on a somewhat optimistic take on nihilist ideology.

Pictured: Existentialist anarchist Jean-Paul Sartre and his longtime domestic partner, existentialist feminist Simone de Beauvoir.

***

“Freedom is what you do with what's been done to you.” — Jean-Paul Sartre

“All oppression creates a state of war.” — Simone de Beauvoir

***

Foreward: This is meant to be a polemic against commonly accepted post-modern takes on nihilism. I find the postmodern take on nihilism a somewhat cyclical and tedious affair, and, quite frankly, their professed monopoly on existentialism is nauseating. Question everything, even if it agrees with your accepted worldview, especially if it agrees with your accepted worldview.

This is an observation on why nihilism has seen such a rapid resurgence in the modern and what it could mean if used differently than the historical stereotypes beholden to it. Indeed, if nihilism is a form of reclaimed agency, then blindly following the pre-existing dogma that nihilism is inherently destructive is, in effect, surrendering your agency to an external ideal and, quite frankly, the most anti-existentialist thing one could do.

Conversely, this is not a profession that nihilism is an entirely benign and benevolent philosophy, but that viewing it as strictly one or the other is narrow-minded and lazy. I acknowledge, with tongue-in-cheek humor, that the average nihilist would deny the existence of either category.

I guess one could say this is an attempt to profess that absurdism and nihilism are two sides of the same coin and as reliant as they are antagonistic towards each other.

***

Nihilism is a subcategory of existentialism and sister ideology to absurdism. Existentialism believes if nothing in life holds any intrinsic value, nothing in this reality matters outside of our subjective experience. As a result, our agency is our responsibility and nobody else’s. Pure nihilism, also known as cosmic nihilism, professes if nothing matters, any action we take in this life doesn’t matter in turn, so why bother. Absurdism, often attributed with existential nihilism, affirms that since nothing matters, nothing is telling us that we can’t enjoy life. This article will focus on cosmic nihilism as it stands with existential nihilism and how our current global and political climate has served as the perfect incubator for a resurgence of both. I argue that nihilism isn’t an inherent negative despite the reputation it carries. Unfortunately, I have to start with the negative as it is generally the negative which births nihilism in the first place.

Nihilism is a recurring and pervasive theme in the millennial generation. When the layers peel back, it’s easy to see how this happened. We were born on the mountain of Apocrypha with nowhere to turn. We manifested in the period between Boomer idealism and the total implosion of ‘traditional’ Amerikan ideology. Our elders taught us that the only thing we should want out of life is to get married, have children, go to college, and get a desk job. Life conditioned us to believe that our worth is directly tied to our income. We grew up thinking that we could do and achieve anything as long as we realized a dystopian dream of the perfect little citizen.

Fast forward now that we’re all in our 30’s. Only a handful of us is successful with families. Most of us divorced from our spouses at least once, if we make it to marriage at all. Most of us, who didn’t sell our souls to Uncle Sam, who had gotten college degrees are now up to our necks in debt which we will never be able to repay. Those who pursued labor jobs struggle to make ends meet because the average salary of the most commonplace millennial jobs is insufficient to live comfortably. Most of us realized we inherited the trauma of our parents and their parents and, as a result, are terrified of having children who will inherit our trauma in turn. Mental health is a privilege, even though those in the direst need of mental health come from underprivileged backgrounds. The list goes on. Indeed, there are positives of the millennial generation, but those exposed to the negative see little else. David Bowie and Jimi Hendrix give way to Cannibal Corpse, SlipKnoT, Dying Fetus, and a multitude of other extreme genres which were unheard of before the millennial generation.

Now, we can turn our analysis towards the ironic positives of nihilism. Nihilism serves as a powerful panacea to the torment of daily existence. When an individual recognizes that nothing in the universe matters and holds zero intrinsic value, suddenly, the suffering ceases to be consequential. The pain doesn’t matter. What are emotions but a complex chemical reaction engineered to elicit a specific response from our fleshy meat suits? Our mistakes don’t matter. In the infinite expanse of time, any mistakes we make in this life eventually disperse like so much dust in the wind. The only thing that truly matters is the cognizance of our current existence and the experience we glean from it at the moment. For instance, why do I write these essays which nobody bothers reading anyway? Well, why not. Whether I write them or don’t write them, in the end, holds no intrinsic value. Consequently, to write the essay is equally valid as abstaining from writing.

To be extant is the only accurate declaration we can make. Thus every stimulus we feel, every sight we take in, every smell we experience, if it’s all equally worthless, then by extension, it all holds equal value. Feel nothing if you so choose. That nothing still requires a something to stand in negation to it. Thus your exalted nothing in effect becomes something and back to nothing again [for a more exhaustive explanation of this principle, I recommend Hegel’s admittedly dense read ‘Science of Logic’].

Nihilism does not have to be destructive. I argue that reckless destruction underutilizes the power of nihilism. If we are all imprisoned in this unforgiving reality, why not make the experience less painful for each other. To induce pain upon others means that the individual has placed value in control and, by extension, ceases to be a nihilist. To completely erase the pain from existence is infinitely more nihilist in the act of devaluing something considered critical to life. Of course, the pain never ceases, but this shouldn’t bother the true nihilist. If the nihilist doesn’t matter, then why not devote your life towards devaluing that which attempts to rob agency from others? It can be a lonely and thankless road, which makes it just as good as any road. Nihilism is an expression of existentialism which is the exaltation that the only objective truth that manifests is your subjective reality. If we should destroy, we should destroy the authoritarian act of robbing another of their agency.

Or maybe it doesn’t matter in the end, and the nihilist can exist in their bubble and waste away. Such is your choice in the end.

“Will you perish like a dog, or will you fight?”

Ave Satanas

[wisdomrays]

TAFAKKUR: Part 434

OUTER SPACE: MANKIND'S NEW FRONTIER: Part 1

It is barely three and a half decades since the Soviet Sputnik entered orbit in 1957. It was taken that space, long regarded as the last frontier, began to be thought of as the newest area of human dominion. A glance at the history of the ‘space age’ reveals that it was proclaimed from the outset that space would not be subject to national appropriation, would not became an arena for new colonization and international conflict; rather, the interests of mankind as a whole would prevail over all national and private interests (1967 Outer Space Treaty, Articles 2-4).

This universalistic spirit is explicit in Article I/l of the 1967 Space Treaty: ‘The exploration and use of outer space, including the moon and other celestial bodies, shall be carried out for the benefit and in the interests of all countries… and [outer space] shall be the province of all mankind’. Two years after the Treaty was formally signed, the American astronauts broadcast the same message from the moon. When Neil A. Armstrong landed on the moon, he saw the new frontier as open not only to space-faring states, but to all mankind: ‘one small step for man, leap for mankind.’

In the quarter century since then, the rapid growth of aerospace technology, thanks to the Cold War between the then two super powers, has led to remarkable achievements and technological spin-offs. However, for most of that period space technology and science were largely focused or directed to the production of weapons of mass destruction. The end of the Cold War should herald a new era in which existing aerospace technology will only be used for ‘the benefit of all mankind’ and only ‘for peaceful purposes’ (Walter, 1985, pp.l20).

In the new post Cold War the Russians and the Americans, once rivals, have begun to pool their brain power and hardware with the aim of building space stations in orbit around the earth, then on the moon, finally on Mars (Time, 19 April 1993, pp.62-3). The European Space Agency (ESA) has already laid down its long-term space programmes that are to lead Europe’s space efforts into the 21st century (Von der Dunk, 1989, p.426). Japan, China, Brazil, India, Israel and even Australia have achieved significant satellite technology and launching capability through independent efforts (for an account of those programmes, see Gatland, 1989). They all aim to explore and exploit the natural resources and potential usage of space.

Within ‘peaceful’ uses and exploration of outer space, there are a wide range of possible activities related to scientific research and experimentation, remote sensing, telecommunications and commercial aerospace manufacturing (Tennen, 1979). It is worth considering the benefits that God, the All-Mighty, has made available to man in space.

A) SATELLITES

The first major benefit is satellite communication. Telecommunication and especially direct broadcasting satellites can only be located in an exceptional orbit known as the geostationary satellite orbit (the GSO). This orbit is a three-dimensional corridor lying on the equatorial plane, at a distance 36,000 km (22,300 miles) above the surface of the earth. The importance of this orbit is that satellites rotate in the same direction as the earth does every 24 hours. That is to say, if satellites follow an equatorial path in the direction of the earth’s rotation, they will appear to remain fixed at the same spot above the equator.

The GSO facilities those services such as direct broadcasting satellites, navigational aids and solar energy stations which require round-the-clock coverage of a given area of earth (Wihlborg and Wijkman, 1979, pp.2S-6). The great advantage of the GSO for communication purposes is that one satellite can observe approximately 40 per cent of the surface of the planet, which means that three satellites are enough for global coverage.

However, the GSO is a physically limited natural resource. Satellites located in orbital slots wander around 100 miles horizontally. Hence, once a satellite occupies a spot in the orbit, it precludes the use of the same slot by any other since slots are located in a three-dimensional tube with a total length of 150,000 miles, the GSO only has room for 1,500 such slots with a zero probability of collision.

However, no one knows exactly how many satellites can occupy the GSO. The orbit is expected, in the very near future, to be used for the gathering and transmission of solar energy from very large space objects to earth by microwave or laser beams (Christol, 1980-81). This will increase the problem of orbital slot scarcity and bring about contentious debates about use of the GSO. There are at present around some three hundred satellites in orbit so the congestion does not present a problem for the time being. However, in the decades to come the GSO will be saturated and there will be no ‘slot’ to locate a new satellite.

Since few states have satellites in the GSO, telecommunication via satellites is a very lucrative business. The overwhelming number of satellites are owned and run by the handful of technologically advanced states. Hence, they earn very significant amounts of money out of these activities. The full-time use of one single channel is around US$ 200,000 per month. A satellite transmitting 100 million message units, for example, earns $1 million each day.

Apart from broadcasting and communication satellites, there are observation satellites rotating vertically and horizontally around the world keeping their owners informed about weather, ocean conditions, catastrophes, pollution levels, atmospheric changes, the kinds and conditions of agricultural crops, the position of hidden minerals and fossil fuels (Schneider, 1986).

B) MINING

The samples collected by the Apollo showed that lunar soil contains, as percentages, 41.3 oxygen, 21.6 silicon, 15.3 iron, 5.4 aluminium, 6.8 magnesium, 0.1 potassium. There are also traceable amounts of sodium, sulphur, hydrogen, nitrogen, copper, zinc and lead in the samples collected (Bille, 1990, p.109). Out of these lunar materials, various minerals and metals, alloys, cement, electrical conductors, glass, silicone resins, rocket propellants and numerous industrial chemicals could be produced. One study concluded that hydrogen and oxygen, stored in lunar rocks, could be used to make air, water and rocket fuel. It is also said that the moon is rich in helium-3, which, almost non-existent on earth, may be usable as an ideal fuel for fusion power plants because of its low radioactivity (ibid., p.110).

Apart from the moon’s rich resources, asteroids are seen as extremely valuable celestial bodies. Scientists have found that there are dozens of mineral-rich asteroids circumnavigating the earth. These asteroids are on average 500 metres across and made of solid nickel-iron. Just one such asteroid could possibly meet years of global demand for these elements. Scientists reckon that asteroids within the vicinity of the earth contain abundant amounts of nitrogen, hydrogen and free metals. It is technologically feasible to process these asteroids on an industrial scale in outer space, more easily than exploitation of the moon’s resources. Such extraterrestrial production could avert earthbound pollution and potential conflicts over scarce earth resources (Condora, 1984, p.178). It was estimated in the 1980s that an asteroid could be worth five billion dollars. It is also projected that asteroids would be processed in outer space for extraterrestrial construction of space stations.