#macro highlight

[unicodehealthcareservices45]

[dansnaturepictures]

My Great British Wild Year: Part 3 of 5-Dragonflies, damselflies and other wildlife

I had a dazzling year of dragonflies, from perfect moments by a stream at Nant-y-Pandy (The Dingle) on Anglesey seeing a colossal Golden-ringed Dragonfly to Keeled Skimmers in Pig Bush, New Forest’s boggy areas I had so many wonderful moments. Four-spotted Chaser was a star of my year with enchanting times seeing them at RSPB Valley Wetlands and Cors Dddyga as well as Hickling Broad, with brilliant Broad-bodied Chaser a key species enjoyed too. Emperors in all their masterful glory including one seen egg laying, eye catching and bold Southern Hawkers and marvellous manoeuvring Migrant Hawkers were ones I enjoyed fine views of locally and further afield so many times through the year. Hawkers dominated my year with gripping moments seeing distinctive Brown Hawker and also a fantastically fresh new species for us the Norfolk Hawker a key moment in my year on July trips to Norfolk and Rutland. Black-tailed Skimmer was a shining constant on my Lakeside walks in summer weeks, passing on the baton to scintillating Common Darter as well as Migrant Hawker as the season and year went on, the Common Darter another I had a great year for also seeing some mating. Delicate Ruddy Darter and Hairy Dragonfly were good to see too. A pivotal moment in my dragonfly year and an enchanting spectacle came at Thursley Common in late September when I was amazed to see so many slick, dainty and fabulous Black Darters.

Norfolk Hawker at RSPB Strumpshaw Fen

Black-tailed Skimmer at Lakeside in June

A Common Darter that was magical to see at Lakeside in August

It was an Azure Damselfly year for sure with especially at Lakeside Country Park and also at RSPB Cors Ddyga these splendid damselflies seen well. Especially at Lakeside Blue-tailed Damselflies were a strong theme of my year seeing so many, with strong showings from Beautiful and Banded Demoiselle this year. Pinnacles of my dreamy damselfly year perhaps were at at Hickling Broad when we saw a precious Emerald Damselfly, seeing them again twice in the September week off at RSPB Minsmere and Thursley.

A Blue-tailed Damselfly I enjoyed seeing at Cors Ddyga too.

I enjoyed immersing myself in other parts of nature I am less familiar with again this year especially other insects with some epic things seen both new and that I had before. Beetles playing a big part in this with tremendous views of Green Tiger beetle at Bentley Wood again, a striking Rose Chafer beetle seen at South Stack, Chrysomela populi at Newborough, Cardinal beetle, Swollen-thighed Beetle, Oedemera lurida, Black-and-yellow Longhorn beetle at Lakeside, oil beetles, bold Bloody-nosed beetle, Black Clock beetle and Violet Ground beetle on the Norfolk and Rutland July weekends respectively, many splendid Common Red Soldier beetles in the summer and Black-spotted Longhorn beetle at Bentley Wood. I did well for caterpillars this year too with Oak Eggar, Fox moth, Yellow-tail moth, Peacock butterfly and Garden Tiger moth ones standouts. Common Field Grasshopper, Roesel’s Bush-cricket, Long-winged Conehead and giant Great Green Bush-cricket a sensation to see on an insect fest at Durlston made it a strong cricket/grasshopper year for me. As well as a fair few Hornets themselves I had a really good year for seeing Hornet Mimic Hoverflies in the summer again and my first ever Lesser Hornet Hoverflies, truly appealing insects. I had great moments seeing Long and Marmalade Hoverfly this year too. One of my greatest wild moments of the year came in early August when I was euphoric to fulfill a goal of a seeing a Wasp Spider in the grass of Lakeside Country Park. An outstanding arachnid, and another was a treat to see a few times this year beautiful Nursery Web spider in a strong year of spiders I had with Long-bodied Cellar spider another key species especially in autumn. I got excellent views of Common Lizard and Slow Worm in 2023.

An eyecatching Chrysomela populi

Grammoptera ruficornis and Black spotted Longhorn beetle at Bentley Wood

Hornet mimic hoverfly on hemp agrimony at Winnall Moors

[mutant-distraction]

Marian spencer (credit)

Aurora Mycena: The ‘Rainbow Glowcaps’

Aurora mycena, known as the ‘Rainbow Glowcaps,’ is a breathtaking fungal species that dazzles with its vibrant, saturated hues. Found on damp logs in misty forests, these small, fan-shaped mushrooms display a radiant spectrum of colors—from fiery reds and oranges to calming blues, vivid purples, and golden yellows—both on their caps and gilled undersides. Their otherworldly glow makes them a true gem of the fungal world.

Native to the temperate rainforests of the Pacific Northwest, Aurora mycena thrives in dimly lit, moisture-rich habitats, where its colors stand out against the muted greens and browns of mossy woodland floors.

What sets these fungi apart is their striking bioluminescence. When night falls, Aurora mycena comes alive with a luminous glow, casting vibrant, colorful light across the forest floor. This natural radiance not only highlights their delicate structures but also adds a layer of mystery to their already magical appearance.

Despite their enchanting allure, Aurora mycena serves as a silent guardian of the forest, deterring animals and foragers alike with its highly toxic compounds. Consuming these fungi can cause severe harm, solidifying their role as the “keepers of the forest balance.”

These glowing beauties are a dream subject for macro photography enthusiasts, who often capture their ethereal hues and glowing textures with meticulous focus stacking. So, if you happen upon these radiant wonders on your forest adventures, admire them from a safe distance and let them continue their role as protectors of their ecosystem. "

[bottomjayceweek]

◇PROMPTS◇

( Basic event info )

For all your art & fic needs: the #bottomjayceweek theme list!

♡Multiple options are provided for variety, pick just 1 per day if you prefer! ♡Interpret & fashion the themes to your liking - we've gone for topics covering a broad range, so you decide your approach.

E.G. "Monsterfucking" can refer to the arcane herald or werewolves/ vampires/ aliens/ black lagoon creature etc "Body augmentation" includes anything from steampunk prosthetics to hexcore tentadicks (or phalloplasty!) "Size difference" may refer to toys or cosmic macro/micro & so on. ♡ "X Magevik" & "X Machine Herald" are Viktor-type variety themes: They don't need to *specifically* refer to the mage or league's OG machine herald if you'd rather do something else with an older viktor/ cyborg viktor. We just want to highlight rarer viktor tags!

Our Bluesky page is hosting fully uncensored art! Come join us ❤️

Or read the collection on AO3

[chubbychiquita]

how was size-con? seems like it was pretty big this year (pun intended)

sizecon was so much fun!!! a little sparse on the feedist creators and panels, but it was rlly cool to see all macro/micro, vore, inflation, & blueberry stuff too!! highlight was definitely hanging out with my mutuals and meeting other feedists. and then most of them following up after to tell me i was bigger in person 🥹

[novlr]

Could you please give some tips to maintain flow and pacing in fiction writing?

Before diving into the tips, let’s briefly define what we mean by flow and pacing:

Flow

Flow is the smooth progression of ideas, scenes, and events in your story. It includes:

Logical development of ideas and themes.

Seamless transitions between scenes.

Natural event sequencing.

Organic character development.

Well-timed information reveals.

Appropriate emotional progression.

Getting the flow right immerses readers in the story so they can easily follow the narrative. It’s the invisible thread that unifies all aspects of your writing, ensuring each element contributes to the whole.

Pacing

Pacing refers to the speed at which your story unfolds and how quickly (or slowly) you reveal information to the reader. It’s a vital element of any narrative that affects the rhythm and tension. Effective pacing keeps readers engaged, controls the emotional impact of your story, and helps maintain momentum.

The most important considerations in pacing include:

Story rhythm: The overall tempo of your narrative can vary from fast-paced and thrilling to slow and contemplative.

Information reveals: How and when you disclose plot points, character backstories, and world-building details to your readers.

Tension and release: The balance between building suspense and providing resolution or relief.

Scene and chapter length: The structure of your story at both micro and macro levels can affect how quickly readers progress through your narrative.

Narrative focus: What you choose to emphasise in your story and how much time you spend on different elements (e.g., action, dialogue, description, introspection).

Both these elements play together to create an immersive and entertaining experience for readers, so it’s important to get them right. But how, exactly, do you do that? Here are some tips!

Vary sentence structure and length

One of the most effective ways to maintain flow and control pacing is by varying your sentence structure and length. This technique helps create rhythm in your prose and prevents monotony. Here’s how:

Mix short, punchy sentences with longer, more complex ones.

Use sentence fragments for emphasis or to quicken the pace.

Use compound and complex sentences to slow things down and add depth.

Start sentences with different parts of speech (nouns, verbs, adjectives) to keep things interesting (academic writing will tell you not to start a sentence with “and” or “but”, but I’m here to tell you it’s fine to break those rules!)

Use paragraph breaks strategically

Paragraph breaks are often overlooked but are a powerful tool for controlling the flow and pacing of your story. They provide visual cues to the reader and can be used to emphasise certain story points or create suspense.

Use shorter paragraphs to increase tension and quicken the pace.

Use longer paragraphs for descriptive passages or to slow things down.

Create single-sentence paragraphs for dramatic effect or to highlight important information.

Master the art of transitions

Smooth transitions between scenes, ideas, and events are essential for maintaining flow in your writing. They help guide the reader through your story without jarring interruptions.

Use transitional phrases or words (e.g., “meanwhile,” “later that day,” “across town”) sparingly. Clarity is best, but it’s easy to overuse them and turn them into crutch words.

Use sensory details to bridge scenes (e.g., describing a sound that carries over from one scene to the next).

Let your characters’ actions or thoughts link different parts of your story.

Create thematic connections between scenes or chapters.

Balance action and downtime

A well-paced story strikes a balance between action-packed scenes and moments of introspection or character development. This balance helps maintain reader interest while giving your narrative necessary depth.

Follow intense action scenes with quieter moments of reflection.

Use introspective passages to build tension before action sequences.

Weave character thoughts and feelings into action scenes for added depth and character development.

Avoid long stretches of either pure action or pure introspection, as it can be either overwhelming, exhausting, or boring for readers to have too much of the same tone.

Control the flow of information

How and when you reveal information to the reader is a critical aspect of pacing. Carefully controlling the release of information can create suspense, maintain mystery, and keep readers engaged.

Use foreshadowing to hint at future events without giving everything away.

Employ flashbacks judiciously to provide backstory without disrupting the main narrative.

Reveal character motivations gradually throughout the story.

Create mini-mysteries or subplots to maintain reader interest between major plot points.

Use dialogue effectively

Dialogue always seems easy, but it’s difficult to do well. But when it is done well, it’s a powerful tool for controlling pacing and maintaining flow in your story. It can quicken the pace, provide character development, and convey important information.

Use short, snappy exchanges to increase tension and pace.

Write longer conversations for character development or to slow things down.

Intersperse dialogue with action beats to maintain flow and provide context.

Vary dialogue tags and consider using action instead of tags to avoid repetition.

Create a rhythm with scene structure

The structure of your scenes can greatly impact the flow and pacing of your story. By varying scene length and intensity, you can create a rhythm that keeps your story moving smoothly.

Alternate between long and short scenes to create variety.

Use scene breaks or chapter endings to create cliffhangers and maintain suspense.

Vary the intensity of scenes, following high-tension moments with calmer ones.

Consider the overall arc of your story when structuring scenes, building towards climactic moments.

Show, don’t tell

It’s the most common writing advice for a reason. And it all boils down to using sensory language to enhance a reader’s experience. It turns a list of plot points into a story. Sensory details can enhance flow and pacing by immersing readers in the world you’ve created. However, it’s also important to use them wisely. It’s not about showing everything but showing what you need to at the right time for the best effect.

Use vivid sensory details during important moments to slow down time and increase impact.

Use brief sensory descriptions to quickly set the scene without disrupting pacing.

Choose specific, evocative details rather than providing exhaustive descriptions.

Vary the senses you appeal to, not just relying on visual descriptions.

Mini info-dumps work

Knowing when to summarise events or passages of time is often overlooked, but it’s an important part of pacing your story. While in general info-dumping is frowned on, sometimes it’s a necessary part of plotting. Not every moment needs to be shown in real time; sometimes, a brief summary can help move the story along.

Use short info-dumps for less important events or time passages.

Info-dumps can bridge gaps between key scenes.

Combine an info-dump with scene-specific details to make it feel more natural.

[ohmightydevviepuu]

ficbinding: a sailor moon tete-beche

so here's the thing:

my first love? my first fandom? sailor moon, 1995. it's horrifically old-fashioned now to admit this (there are so many, many, many interpretations of the various relationships and potential love stories 30 years later) but i was obsessed with the reincarnated love story of it all and i lost my damn mind when i saw that, because of a series of drawings done by the manga artist, it is technically canon that the sailor senshi also had forbidden lovers in another life.

i was 13. it really stuck with me. it still does.

these stories are a matched set--one from the past (the silver millennium) and one set in the future (crystal tokyo). they are from 2011 and i found them in a time when i was Going Through It and needed to return to that first love and it was that impulse that drove me to finally bind them. well, that and the @renegadeguild annual binderary. we had an excellent workshop and session on using macros in word to simplify typesetting and i just went on a slightly unhinged spree, grabbing everything i could and running it through to have on standby.

these fics were slightly more complicated--originally posted on FF.net, not AO3, and had been deleted by the author in the intervening years (so i will not be linking them here). fortunately i was able to track it down and make this bind by adapting the macro workflow and incorporating the .txt files from the internet archive. the cover art is from mimiclothing on deviant art as highlighted by the senshi/shitennou appreciation blog.

the bind

legal quarto faux 3-pc bradel bind, with cutouts

art from mimiclothing and printed on semi-lustre moab paper

dubletta and verona bookcloth

churchpaper bookbinder's special 24# warm white

italian marbled endpapers from mulberry paper

sewn headbands (not pictured)

graphical elements are allusions to the alchemical symbols for mars and for fire, given that sailor mars is a fire senshi

[irradiatedsnakes]

hey! here's the rip of all of dialtown's text!

hiiiii it's finally here! i cleaned it up! every line of dialogue in the game ripped out (over 300k words, it's a chunky game!) and laid out in plain text for your easy reference. includes both the basegame and roger dlc!

HOW THIS WORKS:

there's a couple versions of the 000 ALL THE TEXT IN THE GAME CLEAN file. this is the entire game in one file, for easy crtl+f'ing. it's also the cleanest version, without any code/font specification/color specification present. this file is included in both .txt and .docx versions. i don't recommend opening this file with google docs, the length makes it sad. it works just fine for me opening in MS word and notepad for searching up dialogue. this is what it looks like!

there is also the 000 RAW ALL THE TEXT IN THE GAME file. this is the un-cleaned-up version, as the text ripper spit it back out at me. it has no paragraph breaks. it looks like this.

lastly is all the rest of the files in the drive, ALL THE INDIVIDUAL MAP FILES. in these, dialogue is split up by each individual map (generally, every scene is its own map). these are ordered and named according to the ingame data. these also include code bits- font changes, text colors, pauses in speaking, text size, and so on. it looks like this!

enjoy! i hope you find it useful. (and tysm to dogman for permission to post this!)

HOW TO READ THESE:

so, there's a couple quirks with these. firstly, nested choices don't really display in a very comprehensible format: they're more just in order. so, for example, this exchange:

what i've highlighted here first are gingi's 3 dialogue options. you can see each option denoted by a -. so like:

Gingi: -"Option 1." -"Option 2." -"Option 3."

the corresponding start of peter's dialogue is highlighted in the same color. in cases like this, you mostly have to use context to figure out what's responding to what.

you'll also see repeated lines when someone uses a gendered term to refer to gingi- all versions of the line (for whether you're playing as a man/woman/neither) will be in a row, like so.

one kink i wasn't able to iron out is the narrator's dialogue in the all-the-text-in-the-game file. while the paragraph breaks in the individual map files make it clear (because the narrator's the only one with no name and font tags), the all-the-text file just has narrator's dialogue immediately follow whoever spoke previously, almost always gingi. use context clues, or check up on the individual map file

all-the-text:

individual map:

use context clues, or check up on the individual map file to be absolutely sure. if you want to know which map file you're at, scroll up til you get to something that looks like this:

so, you can see that this convo with madame mediocre happens in map 31, "randmug". this one!

you may also notice the blank space or \n[#] where gingi's pronouns would go. that's just a byproduct of the pronoun system. imagine whichever gingi-noun you wish

laaastly, a little guide to the individual map files' code bits, or at least the most common ones:

\fn changes font. usually present at the start of someone's dialogue

\. indicates a 1/4 second pause in dialogue

\c[#] changes the font color

\{ and \} text within these brackets is bigger

\m[Name] a shorthand macro used for a few characters to call their font and color.

\fi makes text italic. most of the text in the game is in italics, so a lot of dialogue starts with this.

i think that's all the notes i've got..let me know if i've missed anything egregious. have fun!

[rosygames]

Another update

Hello everyone!

I come bearing news. This is a decision I came to after a month of back and forth, and after consulting some of the people in my personal life. I’ve been thinking about this for much longer, but it is only recently when I really thought of actually doing it.

I know I said I’d switch over to Twine, and I even finished the template (and even submitted it as my final requirement to graduate uni!) but with all the recent happenings in my personal life and being stumped with how much more complicated coding and bug fixing is on Twine, I decided to stick with CSIDE.

While I do still have my own opinions on COG and everything that’s happened a few years ago, CSIDE is still an incredibly helpful and accessible way to get a loved story out. The community is not perfect, but it is one of the most supportive and welcoming communities I’ve ever been in.

Coding is incredibly complicated on Twine, and I don’t mean learning it. I’ve learned it, and I know how to do it, but the tedious way of doing it is making it all difficult to actually write. I like writing fast, I like letting my fingers fly across the keyboard and watching a story come to life on my screen. I like minimalism in my code because too much code makes my vision swim, especially when it’s repetitive. I do like the designing aspect of it, I do love coding CSS, and I am proud of what I’ve finished for it, but I looked at it as a long term project and I felt so exhausted. I felt like I might get burnt out so easily with it. Especially with how stressful the past few months of my life has been.

Not only that, but bug fixing seems next to impossible to me. With CSIDE/Dashingdon (I’m aware it’s gone), it was a simple click and wait to see any game breaking bugs. It was also a simple click, wait, and compute to see the word count/average word count per play through. For Twine, I’ve just been raw dogging the bug fixing on my own and I know I missed a lot with the Prologue + 1/3 of Chapter 1 that I have done in my private files. I use VSCODE, and I know it’s simply finding the red highlights to see any broken links etc, but I think of the branching in the future and the possible circles the story will take, and I don’t think it’ll be that easy.

Apart from that, I’ve already talked about how itch.io wouldn’t work with our internet service provider for months last 2023. This was one of the major things that stalled me from actually doing anything with the game (aside from the blistering heat I’d already talked about, but we recently installed an AC in my + my sister’s rooms and it helps during particularly difficult heat waves). We were asked to pay so much more money monthly just to “unlock” it basically. If I remember correctly, and please do not quote me on this as this was almost two years ago, we were asked to basically double our monthly payment which was absolutely not happening. It hasn’t happened since then, from what I can tell (I rarely visit the site though) but it is still a fear of mine that it’ll randomly stop working again and I’ll have to pay double just to get the game going.

Lastly, I know that Twine can be difficult for readers. The mobile version can be quite clunky (even the well coded ones) and it’s much more accessible for readers to go to HG/COG. I am also taking this into account since my readers’ experience is incredibly important to me. I, too, read on my phone and I admittedly do not do so with the Twine games I enjoy.

Twine, of course, has its pros. I love the customization, I can keep a ton of information for readers to come back to and read if they need a refresher on things. I was warned when I was still on CSIDE that my “stat” screen could start being laggy due to the amount of information in it. With Twine, I can have a codex, and I can have fun with how to present the information without worrying about lag. I loved creating the UI and editing the pages. There are also macros on Twine that obviously do not work with CSIDE—the cycle macro in particular is something I will be sad to let go of. Twine and CSIDE are just vastly different and I think, for TRO at least, CSIDE is the way to go.

With that being said, I am going to go back to working on the CSIDE version of the new story. I’m aware that others think revision kills a project (and I will admit that TRO was in a critical state lol) but I couldn’t go through with the early TRO because I felt that wasn’t the story I was truly trying and wanting to tell. I’ve said that it was a bunch of bullshitting on page, spurred on by mania and love for the characters and the world. I changed a lot, and I’m aware of that. This version will be the final version, barring some revisions just to make things flow better. The story will be final, the characters will be final. I spent the past two years being honest with myself and my ambitions for this game. I’d had to let go of characters, of some arcs and cool background stories, and I had to decide what to actually do.

I will be working on it, and possibly posting the new demo soon. I know I said soon last year, but 2025 was shitty, to say the very least. I will go into a little more detail under the cut, but things were out of my control and I don’t think I’ve had a more draining year than 2025 since… ever. Please understand that what happened in my personal life recently is a big reason why I am sticking with the easier and more familiar code of CSIDE.

I will create the account soon, and I will post the “main post” soon (I am already writing it but I do not want to post until I have Chapter 1 ready). I will update you guys, and will post a final post here before turning this into a locked archive.

For everyone who is satisfied with what’s said up there, thank you and I hope to see you again when the next demo is live. For those who are curious about what’s happened recently, continue on.

I will not be going into details about some of the things because I am uncomfortable with sharing them publicly, but I hope this can shed some light on why it’s been so difficult to update the past two years.

I’ve mentioned here that it was hot in the Philippines last summer 2023, and it was. It was so hot that I was having daily headaches. It was not ideal at all, and we didn’t have AC in our rooms. The heat passed, and I found myself struggling to access itch.io. This went on for months, until I stopped trying late 2023.

Late 2023, I had an episode. I cannot speak much of it since it was literally just a week of me, well, to explain I felt like I was “out” of my body. Everything felt gray, and I felt so detached. It was scary, and I didn’t know what to do, and I’d informed my parents of this but I could do nothing but let it pass because we didn’t know what was happening. I think stress may have caused this, since I was at the time stressed with school work, but it was one of the most terrifying things that has happened to me. It made me want to go back to my psychiatrist and get treated for my illnesses. I’d stopped medication some years ago because they were making me miserable, but this event made me want to go back. And I made plans to go back, I went on my first online appointment with a new doctor and I was getting my blood checked for any other problems (found none that we didn’t already know of), but things halted once more because something life-changing (and not in a good way) had happened to our family. No worries, it wasn’t health related and everyone’s safe, but it wasn’t good. The effects of this situation went on for months (even now, there are lingering effects), and I had to drop a few of my classes and postpone my graduation for a year.

I lost all motivation then. I stopped working on anything but class related projects. I was too busy trying to help with what was happening to really focus on anything else. I was still thinking of the episode I had and wanting to get it possibly checked. This went on for a few months until I started working on the Twine version once more since I decided to make it my final project—the project needed to graduate from my program.

This went well, as I already mentioned. I was working on it semi-regularly, and I had arrived at a point where I thought I could post it soon. January and February of this year were hectic, but thankfully pretty peaceful.

Then March happened, and with it other household/family problems that were too big to ignore. I was once again one of those in charge of making sure things were okay, and I don’t know. I really do not want to give more details since these are family problems, but they were so stressful that I was nauseous and losing sleep over this. What made it worse is that, before the situation even concluded (caused it to conclude without any real “solution”, even), one of our dogs got sick with a blood parasite despite having flea medication. We caught the symptoms a little too late, and it had already affected her liver. We were in and out of the vet clinic for weeks, and for some days it felt like she was getting better, but she unfortunately passed early May. The same month, our senior dog caught a virus and similar to the other dog, we did everything we could to save him but he unfortunately passed. It was peaceful—poetic even, as he’d passed on the day of the previous dog’s birthday and as the sun was setting, we were all there with him as he took his last breath. It was easier to accept compared to the other dog’s death because he was old, and I suppose the previous heartbreak had made us all more accepting. Still, it was painful since they were both with us for many, many colorful years and we love and miss them each day. We’ve become quite protective over the remaining dogs since then, and it is honestly making my anxiety spike lol.

The kicker is that all of this happened around finals’ week. My sister and I were swamped with deadlines and all this was happening during then. I was busy with the Twine version and hurrying the process because not being able to pass it this semester would’ve meant I’d delay my graduation once more. Thankfully, my adviser was understanding and I managed to pass the project. If things all go according to plan, I will be graduating after this semester!

As you can see, it was a difficult few years. A part of me thought maybe the game was cursed, since problems seemed to have appeared every time after I started becoming more serious with working on it. I thank the tremendous effort I’d put into learning myself and my triggers and how to deal with the symptoms of my illnesses because I don’t think I could’ve survived the past two years without that, and I definitely don’t think I’d go back to working on this game without that.

I apologize for the silence, I was busy trying to survive all the curveballs life has thrown my way. I don’t know what tomorrow brings, but if what happened the past few months has not made me want to give up on this game, I don’t think anything will.

That being said, thank you for being patient and thank you for loving the game. I hope I see you guys next time.

[valuentumbrian]

How Does 37% Sound?

Image: The Schwab U.S. Large Cap Growth ETF (SCHG) is up more than 37% so far in 2024.

By Brian Nelson, CFA

How does 37% sound? That was the price-only performance of the Schwab U.S. Large Cap Growth ETF (SCHG) thus far in 2024. Over the preceding 5-year period, the SCHG is up over 140%.

For years, I have pounded the table on the theory that there are not value or growth stocks, but rather undervalued, fairly valued, or overvalued stocks. It’s why many growth stocks can be undervalued. It’s the Theory of Universal Valuation found in Value Trap that ties myriad areas of finance to the well-known discounted cash-flow [DCF] model. Growth is a component of value. Hook, line, and sinker.

For years, I have been pounding the table on large cap growth as my favorite area for idea generation (given its Valuentum stock tendencies), and I have put my money where my mouth is, too, with a meaningful portion of my net worth in SCHG. You’ll find that a lot of the top holdings in SCHG are top considerations in the Best Ideas Newsletter portfolio, too, so there’s some good overlap between what I consider Valuentum stocks and where I’m putting my money.

But why don’t I actually own all the stocks I like? It’s the question I have been asked for more than a decade. Here’s what I wrote back in September 2023. I’m an old school analyst that cut my teeth in this business following the Global Analyst Settlement, meaning I believe that writers should generally not be taking stakes in the individual stocks they write about. Writers with positions in the stocks they write about can lead to biased research, or worse, terrible outcomes.

So what’s the playbook for 2025? You can probably guess that I think large cap growth and big cap tech will continue to lead the markets to new heights. 2024 was a boring year, if a 37% return can be considered boring for large cap growth. Frankly, with the market focusing on macro data and the Fed during 2024, there wasn’t much material to write about. We all already know the story: Inflation is under control, the job market remains healthy, the Fed is cutting, and artificial intelligence will be the name of the game this decade.

I think it’s worth clarifying some of our offerings every now and then, as each one focuses on a unique vertical. For those seeking capital appreciation, the Best Ideas Newsletter portfolio may be of interest. For those seeking dividend growth, the Dividend Growth Newsletter portfolio includes our favorite ideas, while for those seeking high yield, the High Yield Dividend Newsletter may be your cup of tea. Dividend growth focuses on dividend growth potential; high yield focuses on current high yield, and so on and so forth.

The Exclusive publication is one of my favorite publications, where we highlight an income idea, a capital appreciation idea and a short idea consideration each month. You can read more about the Exclusive publication here. As of the date of the release of the December edition of the Exclusive publication, success rates for Capital Appreciation Ideas were 90.1%, while success rates for Short Idea Considerations were 88.1%. If you haven’t yet tried out the Exclusive, please do so.

Okay – so what about dividends? Unfortunately, I think we’re in for another difficult year for dividend growth investing. The SPDR S&P Dividend ETF (SDY) is only up 6% year-to-date, trailing both the equal-weight and market-cap weighted S&P 500 indices by sizable margins. With the 10-year Treasury yield at 4.6% and certificate-of-deposit rates still elevated, dividend-only-focused investors will likely continue to trail the broader markets. Remember: dividends are capital appreciation that otherwise would have been achieved, so don’t let the dividend tail wag the total return dog.

What about Bitcoin? I really don’t know. It’s definitely a greater fool asset like gold, but I have totally underestimated the number of fools there are these days. Haha. Just kidding, but seriously, with the regulatory environment easing with respect to crypto and with President-elect Donald Trump supporting crypto assets, who really knows how high Bitcoin can get or just how volatile the asset may become as institutional money ebbs and flows.

So what about small cap value? Well, year-to-date, the iShares Russell 2000 Value ETF (IWN) is up a meager 6%, and it is up just 28% over the past 5 years, trailing large cap growth considerably. With a near 30% weighting in financials and 10% weighting in real estate in the IWN, for me, it’s a no-brainer to avoid. The only way I believe the gap between large cap growth and small cap value narrows is if large cap growth falls on difficult times, which can never be ruled out. But that said, there’s no reason to believe in the IWN, no matter what the statisticians say about quantitative value. I tackle the issue of the pitfalls of falling in love with historical data in Value Trap, too.

All things considered, 2024 was an absolutely amazing year for our core research exposure (i.e. large cap growth). Do I think the SCHG will repeat its dazzling performance in 2025? Probably not to the same extent, but it’s hard to bet against some of the strongest net-cash-rich, free-cash-flow generating powerhouses on the market today. Give me Apple (AAPL), Nvidia (NVDA), Microsoft (MSFT), Amazon (AMZN), Alphabet (GOOG) any day of the week, especially over any financials-heavy index. Enjoy the rest of 2024 folks!

Leave a comment >>

----------

The High Yield Dividend Newsletter, Best Ideas Newsletter, Dividend Growth Newsletter, Valuentum Exclusive publication, ESG Newsletter, and any reports, data and content found on this website are for information purposes only and should not be considered a solicitation to buy or sell any security. Valuentum is not responsible for any errors or omissions or for results obtained from the use of its newsletters, reports, commentary, data or publications and accepts no liability for how readers may choose to utilize the content. Valuentum is not a money manager, is not a registered investment advisor, and does not offer brokerage or investment banking services. The sources of the data used on this website and reports are believed by Valuentum to be reliable, but the data’s accuracy, completeness or interpretation cannot be guaranteed. Valuentum, its employees, and independent contractors may have long, short or derivative positions in the securities mentioned on this website. The High Yield Dividend Newsletter portfolio, ESG Newsletter portfolio, Best Ideas Newsletter portfolio and Dividend Growth Newsletter portfolio are not real money portfolios. Performance, including that in the Valuentum Exclusive publication and additional options commentary feature, is hypothetical and does not represent actual trading. Actual results may differ from simulated information, results, or performance being presented. For more information about Valuentum and the products and services it offers, please contact us at info@valuentum.com.

[erikftglitter]

Antidote - One

The Derby.

—

“Hey Kay! Let me know when you’re ready!”

Kadence barely registers Mia’s text. The notification flashes, and beneath it, the message is sent with Siri. Typical.

Mia Crawford, Kadence’s best friend, shortens the name of everyone she meets. No one in Mia’s proximity stood a chance against the development of a short-must-have- nickname.

Kadence despised hers though. Kay. A name that could belong to a dozen girls. Dozens of lives. None of them hers. Maybe this was the outcome of a lost girl who wanted to be different, who longed for separation, who dreamt of becoming an outlier in every single aspect, but this was Kadence’s life.

Kadence had never liked being reduced and restrained to one thing. Her name mattered—four distinct definitions that she’d love to share.

But no one ever asked.

Second-year event coordinator. Brand strategist. These were just some of the titles that followed Kadence’s name in LinkedIn. A Micro-influencer with macro-ambitions. She learned early how to make her life look effortless—even when nothing about it was. Through grainy, low contrast, filtered videos, Kadence found love.

Kadence loved nice things and nice things seemed to love her back. Every receipt was a small victory. Every collaboration, another connection made. Her Instagram Stories looked like diary entries from someone else’s fantasy.

Kadence lived for creating an empire and would settle for death if she had to settle at all. Old Kadence would have a heart attack if she knew her currant credit limit. The sky was really beginning to favor the limit.

Today was no different. Derby Day. The holy grail of Southern aesthetics and social climbing. She and Mia were due at the track by noon, full glam.

“I’m the best to ever do this shit.” Kadence half-mumbled over the music blaring from her MacBook.

The entire room was full of combustible reminders of how far she’s come. She had every right to be as proud as she was. That’s what she scribbled in her wellness journal on a weekly basis

Didn’t she deserve it all?

Kadence twisted the last section of her hair, inspecting her reflection. The blush tone in her dress whispered elegance; the gloss on her lips screamed sponsorship. Her curls sat right, her highlight popped. She looked like money.

“Just about done, Mia,” she texted, before grabbing her hat—a wide-brimmed one covered in pale pink orchids. Mia had picked it out. Kadence had picked the price.

Mia entered the room, dripping in champagne satin and chaos.

Mia was very grounded with content creation as well but didn’t mind voicing her personality on the internet. She didn’t mind the risk of controversy, but Mia had the security that Kadence couldn’t purchase.

A multimillionaire of a father and a shitload of an inheritance. If you can erase the fact that, “Super Rich Kids” was inspired by Mia’s childhood then Kadence could have possibly been envious.

“Bitch, we look good,” she grinned, her iridescent tooth gems catching the bright sunlight.

“I like to imagine that God took his time and then some.” She smiles, twirling her best friend around. Her smile stiffens when she spots the discolored bruise on Mia’s foot.

“How’d that happen?”

“One of those nights I wore the So Kate’s. Don’t ask.”

Kadence nodded. The shoes explained everything. So did the silence that followed.

⸻

By midday, they were at the derby and the hum of old money flooded through Kadence’s head. Her and Mia must’ve took a dozen pictures every minute. This was one of the few times where Kadence felt so stress free.

Still, something felt off.

She first noticed it during a break in filming. Mia had wandered off to grab a drink for the two of them, and Kadence stood in charge of their belongings, occasionally adjusting the flower tucked behind her ear. She felt the hair on her neck rise.

That’s when she saw him.

A man. Standing perfectly still near the track’s edge. He was watching but his style was so much more different than everyone else’s.

He was tall, intriguing, dressed in all black despite the heat. No name tag. No company. No visible sweat. His eyes—impossibly dark—were suddenly locked on her.

Kadence blinked. A chilling rushed up her spine. But when she looked again, he was gone.

Her stomach dropped.

“Two Mojitosss.” Mia sang, returning just in time to catch her expression.

“You alright?”

Kadence hesitated. “Yeah this is just what I needed.”

She told herself she was intoxicated.

Delirious, maybe.

She took a sip of her drink, swallowed the unease.

But the feeling didn’t leave.

Even hours later, long after the race had concluded and the crowd had thinned, she couldn’t shake the weight of being watched. The man’s gaze felt so real. It welted into her memory like a dream too vivid to dismiss.

That night, Kadence dreamt of him for the first time.

Not the Derby. Not the hat.

Just him.

Watching her.

And smiling.

⸻

[jadeseadragon]

[rei-ismyname]

Krakoan Diaspora and the Labor Market part 2

The radicalisation of the working class

In part 1, Murray the capitalist pig fired all his human workers because cheap mutant labor is far more profitable. He avoided any blame for this rampant exploitation by shifting it to the 'freaks' - taking advantage of preexisting mistrust of mutants in a union-free workplace.

Murray pushes it even further, underpaying Skin by an undisclosed amount citing rising 'cost of materials' and an appeal to authority of head office. I'm not an expert on Chicago's labor laws, but being paid in cash that's less than what was promised suggests a verbal agreement - leaving Angelo at the whims of this greedy fuck. I'm sure costs are rising, as they are for everyone, but the company should be more profitable than ever. Mutant workers are completing jobs much faster with fewer workers and tools required. The only fat here is Murray and no individual is protected by the ruling class.

If there's more to the conversation, we don't hear it. We cut to Skin begrudgingly accepting less pay, feeling none too good about it. It's been at least a couple of days since the human workers were let go but they're here now with a bone to pick. Their dialogue suggests that they're showing up on payday intentionally - drunk, using offensive language, proposing Skin share his paycheck under clear but deniable threat of violence.

We've only met Nick before but he's with two former coworkers who were almost certainly given the same story - Murray 'had to fire them' because 'the mutant island leaving changed everything.' They're understandably focused on the 'mutant' part, jobless and frustrated with nobody else to blame.

Angelo has his own shit going on and probably isn't in the best mood for making friends. His dialogue is a little stilted, suggesting he's code switching for this social situation. Maybe he's trying to get some levity going, or maybe he's being incredibly polite to three men demanding his paycheck. He likely doesn't know what we know - the justification for firing these men. It probably doesn't matter...

... Because Paul brought a baseball bat with him, beating Angelo across the face with it in objection to his 'smart mouth.' Nick is surprised by this, I'm not.

The plan was to scare Skin, apparently. Nick thinks he went way too far, the third guy stands there awkwardly, and Paul justifies his actions in very bad faith. How thin is the line between three men with a baseball scaring someone and actually hitting them with it? Very thin, in my experience, especially factoring in alcohol and threats.

Murray watches the fruits of his lies and stays in his office.

Angelo recovers after a little while, using his X-Men training and stretchy limbs to take the three out. He doesn't lose his cool and he doesn't hurt them badly either. They're almost certainly embarrassed and emasculated, but physically they're fine - especially compared to a baseball bat in the face.

See? Nice guy Angelo.

Sadly, as predicted this does tie into the A plot. Flatscanners is an anti-mutant message board run as a recruitment pipeline for a Purifiers-type group. Nick lost the ability to see his daughter due unpaid child support, and he's angry about the world. That he'd blame his woes on mutants in general is a predictable beat, if a little heavy-handed. This is issue 2 of a 3 or 4 issue arc and some things don't need to be subtle. 'Took my job' is especially loaded as a barely disguised dogwhistle for migrant labour.

Last issue highlighted how an influx of mutants might affect the labor market, using the background of workplace exploitation to ignite conflict. This issue pays off that conflict and touches on how economic insecurity and perceived culpability of the other can translate into anger, violence and radicalisation. A great many studies and analysts link political shifts to the right to economic insecurity, especially in manual workers though that's a macro trend - this focuses on the micro. The personal.

As a poor and angry person I have empathy for all these people (except Murray, fuck him) but more than that they should be angry. Part of the misery of capitalism is its zero-sum nature - for someone to gain, someone must lose. Corporate interests are prioritised over the individual - cost of living rises while wages do not. I don't have a solution to this, but I know it's violence against the working class or minorities. We're all in the same hellscape being shit on by the rich.

[hauntingthenarrativepod]

Happy New Year, babes!!

In lieu of actual resolutions:

BEHOLD, OUR SCHEDULE!

(You can also find our currently released episodes on our tumblr with the tag #HTNEpisodes The notes are worth reading.)

Text Version below, with extra details:

8th Jan - Ghost Economics 101 (a macro look at the economy in the Problem universe)

22nd Jan - What the **** is Ezekiel? (three theories are presented for you to vote on (mine's the best))

Late Jan or Early Feb - The Notorious Scarlett & Browne, babes (BONUS EP because the whole fandom is sleeping on this series)

5th Feb - Locklyle, my heart (let's talk about how to write a romance without the kiss)

Thank you all for humouring us over the last month -- watching the numbers tick up and reading your comments has been the absolute highlight of our December. We've had a blast working on this project and so far and we can't wait to see what 2025 will hold for it!

[bird-inacage]

Only Friends: EP10 Ray's Therapy Scene (First Focus)

I've been meaning to do a deep dive on this scene, which has no doubt been immensely commended for Khaotung's stellar performance (I'm running out of vocabulary to gush about how talented that boy is). However the purpose of this post is to highlight how equally superb First is, as I fear some may overlook the excellent work he does here.

The reason why this scene warrants a huge amount of respect is how challenging this dynamic is on both actors. Only Ray is speaking the entire way through, which means the tone and rhythm of the scene is led by Khaotung, whilst First's role here as Sand is to be reactive to this immense outpouring and release of emotion. First is required to be a very restrained and contemplative presence - a projection and visual representation of Sand in Ray's own mind. It's literally acting on a macro (Khaotung) and micro (First) level in tandem.

I want to start by mentioning how well First portrays this bedded-in weariness in Sand’s demeanor throughout, an expression we’ve seen in Episode 8. It carries this heartbreakingly heavy and worn down quality. A symptom of a man who bears far too much weight on his shoulders, whose mental toil never seems to end; a product of his own nature and those who knowingly or unknowingly take advantage of it. This is the tragedy of Sand's character. And this is the realisation that is well and truly hitting Ray now. His temper and behaviour have inevitably taken its toll on someone Ray knows doesn't deserve all the suffering he's been putting him through.

⬆️ "I was stupid, but I want you to understand me. I was mad at you because I cared so much about you."

When Ray starts asking for forgiveness, there's an air of slightly deflated scepticism that flits across Sand's face. Sand's immediate instinct is to be hopeful, to give someone the benefit of the doubt. But the reality is Ray has apologised a number of times before and that hasn’t stopped him from hurting Sand still. So Sand’s expression sobers, conscious of how likely it is that Ray will let him down again.

This is Ray acknowledging that he's fallen into a pattern of taking Sand for granted. If that’s all Sand has come to expect, why would his apology this time change anything? Ray has not earnt his redemption yet as he hasn't apologised to Sand in person, and has no guarantee it would be accepted. Which is why he's so upset because he registers that Sand's disappointment in him is fully deserved.

⬆️ "There's no one more caring or loving than you. Though I've been nothing but an asshole to you."

You see the tiniest lift of Sand's brow that's tinged with grateful disbelief, 'Me? But I'm nothing special'. His gaze softens by the sentiment, a visible breath inhaled in as if taken aback, clearly touched but hesitant to believe it. A humbling trait of Sand's is that he genuinely struggles to see his own value. He doesn't realise just how meaningful he can be to someone. That he could hold such weight.

And all the criticism that Ray has thrown at Sand has only piled onto the insecurities he possesses. Remarks that have questioned Sand's principles, his dignity, his sense of worth.

⬆️ "But if you don't want to put up with me anymore, that's alright. I get you."

Ray's image of Sand watches on as he begins to fall apart, crushed by a mixture of intense fear, regret, and despair that this may be too little too late. That his last outburst may well have been the final straw, and he failed to appreciate Sand when it mattered.

On the surface Sand may look numb or somewhat devoid of emotion, but you can detect the turbulence brewing underneath. Sand has a habit of holding in his feelings in to an almost painful degree (which begs for release). It gives you the impression he could suddenly burst at the seams at any given moment. But Sand as always holds still, holds strong, holds steady. Other than the slight twitch of his lip, he holds himself together somehow.

⬆️ "No one can put up with me".

Ray vocalises his own self-hatred, how little he deserves someone like Sand, how guilty he feels for causing this damage. Whilst he does so, Sand appears increasingly teary, lip ever so slightly quivering, brows crumpling. He looks like he desperately wants to break down and cry along with Ray.

What sets Sand apart from everyone else in Ray’s life is he understands. He can sympathise with why Ray is the way he is. Despite everything Ray has done, Sand still very much wants to protect him, shield him, care for him. He doesn't blame him. It breaks his heart to see Ray upset, to see Ray hurting. His compassion for Ray has always been his undoing.

The last thing he would want is for Ray to feel unwanted or intolerable. He tries to be the person who can withstand Ray's temper, his volatile nature, because he knows Ray is still deserving of love. It’s because of this love that he can feel every single thing that Ray is going through.

Sand exudes an incredibly strong parental presence in this scene; a form of unconditional love and patience. As we're often told by our parents, they're not angry at us when we veer off path, just disappointed and perhaps saddened on our behalf - but that won't stop them from loving us all the same. This is beautifully captured by First. You can detect Sand's selfless love for Ray in his every gaze, always.

⬆️ "Ever since you walked into my life, I've been so happy. So damn happy Sand."

This is where Sand almost breaks down as he displays a small, tentative smile that is laced with pained and tired relief. His eyes close in an attempt to maintain composure. Whilst there’s overwhelm, there’s also finally a glimmer of peace.

This is what Ray knows Sand needs to hear, what Ray wishes he'd said sooner. Ray picturing himself saying this to Sand may be a form of vindication in the event he doesn't get say this to him in-person.

Finally Ray collapses into Sand's arms. Sand seems to visibly reign in his own emotions, in order to revert back to 'care-taker' mode. Sand nods once, a gesture of kindness and true acceptance that says 'It's all okay, I know.'

He's Ray's pillar, his rock, and his raft. Sand has become Ray's primary source of safety and comfort. Sand's gaze is so endlessly gentle as he nestles in close to hold Ray. Everything about his embrace feels warm and stable in such a reassuring way. Sand is every bit as loving and caring as Ray just described him to be.

What makes this entire portrayal so devastating is this is the Sand Ray sees and knows. Ray mentions in Episode 11 that he’s been stowing away these details. Which indicates that everything Sand has done and said has not gone unnoticed. Whether it was due to denial or ignorance that prevented Ray from confronting it sooner, he has unconsciously taken note of it all. How Ray's image of Sand responds in this scene is based on every interaction he's had with Sand up until now. This imaginary representation of Sand is proof of everything that Ray has come to fall in love with.

First was not given any dialogue in which to communicate in this scene. His entire performance relies solely on the tiniest of micro-expressions and gestures. He symbolises the essence of Sand but not the physical manifestation of him. Therefore his acting may come across as understated but that’s a sign of real talent when you can say so much with so little.

[aspoonofsugar]

Hi ! I’m the same anon that send you a few days ago questions about Arcane and it’s ending. I read your post about your opinion on the ending of Arcane and when you said that half of the fandom thinks Jinx is dead and the other half thinks Jinx faked her death so Vi could move on. You said for the second option that the argument used was not valid because it goes back to the scene in the bunker where Caitlyn freed Vi and where Vi had a development between this scene and the final battle. But don't you think that in the end Vi has regressed again and proves that she is not able to let go because she refuses to let go of Vander ? Since Vander is the one who imposed all these responsibilities on her, this could mean that in the end Vi is metaphorically unable to let go of the role that Vander imposed on her. This is further emphasized when Jinx tells her "you can't save him", meaning that Vi hasn't let go of her role as a protector who constantly seeks to protect and save her family and in addition Vi has a post-traumatic episode at that time reliving the events of episode 3 of season 1, indicating that she remained in the past and has not healed since that night and that she will not be able to let go of the expectations and hopes that Vander has placed on her. Vi ultimately didn't prioritize herself; she was blinded by her desire to save and protect Vander, completely ignoring the danger of the situation, indicating that she would never stop prioritizing her family above everything else. So Jinx realized that the only way for Vi to move on was if she was forced to, and that's why she felt compelled to keep her survival hidden after saving Vi because otherwise she knew Vi would never be able to move forward with Caitlyn. So Vi was a character who, despite everything, remained stuck in the past and that she would never be able to move forward unless she was put in a position that forced her to move on. What do you think ? I'm sorry to bother you with this, I'll try not to pester you with my Arcane questions anymore.

Hi!

Thank you for reading my analysis :)

I mean, your thoughts are valid, but they do not justify the writing tbh. Vi is not a person, she is a character and characters are meant to have arcs.

Vi's arc is about letting go of the past by integrating with it, so that she can embrace the future. This means coming to peace with what happened with Powder and be happy in her new life with Caitlin. On the macro-level it also means Vi's arc should comment on some kind of integration between Zaun (Jinx) and Piltover (Cait). Now, she can either succeed in her arc, which means she finds peace with Jinx, moves on and finds happiness with Cait. Or she can fail, which means she is unable to move on from the past, gets annihilated by it and doesn't get to be with Cait. Whatever the result, Vi should have agency in it, which means she should make a choice in a key moment that solves her arc. By having Jinx fake her suicide and choose for her, the story takes away Vi's agency hence making her struggle pointless. By the end Vi has nothing to tell us about how to face grief and has nothing to teach about overcoming hate and anger to find integration.

To that, you also add in the final fight she is basically useless to the main climax and you wander why was Vi even in the story to begin with? Why did we follow her around so much? Why was she given so much focus?

Let me highlight I don't hate Vi's character. I think she is great and she is a character with a lot of depth to her. Still, that depth means nothing, if it is not explored by a strong arc, which is important to the story she is in. That is because in the end characters are just that... they are tools in a story. They are good characters if they serve the story, they fail as characters if they fail the story. Sometimes, you can have great characters with interesting premises and psychology that simply do not fit the narrative they are in. Which means that is probably the wrong story for them. Vi is a character that starts very strong and feels like a person, but in the end her struggle amounts to very little in the great context of Arcane. And that in itself is a waste.

In short, I am not trying to analyze Vi psychologically as if she were a person, but to analyze her as a character. That is the lens that interests me. You can come up with many psychological explanations about how she acted and her state of mind. Still, they can't solve her arc in a way that I personally find satisfying on a narrative level. However, I know for other people it is different and are perfectly fine with the ending they got, which is great!

To me, it is still not a good ending, though :)

So, I do not really have much to add to your thoughts because I feel they are moving in a different context from the one I used to craft mine. You are analyzing Vi psychologically, while I am analyzing her narratively :) To each their own!

Thank you for passing by and for taking the time to write your analysis!