#need of content analysis

[flowersio]

Understanding Content Analysis: A Comprehensive Guide

In the digital era, content is king. From blogs and articles to social media posts and product descriptions, content drives engagement and fuels online conversations. But how do we know if the content we’re creating is effective? This is where content analysis comes into play.

Content analysis is a systematic technique used to analyze and evaluate the content produced for various platforms. It helps to assess how well content is performing, whether it’s meeting objectives, and how it aligns with the target audience’s preferences. In this article, we’ll break down the concept of content analysis, why it’s essential for businesses, and how to conduct one effectively.

What is Content Analysis?

At its core, content analysis is the process of studying and interpreting content — be it text, video, images, or any other form of media. It’s used to identify patterns, trends, and insights that can inform content strategies and improve future content creation.

Content analysis can be both qualitative and quantitative. Qualitative content analysis focuses on interpreting meaning, context, and themes in content. It involves understanding the nuances of language, tone, and the emotional appeal of the content. On the other hand, quantitative content analysis is more about measuring and counting certain elements, such as keywords, hashtags, or engagement metrics (likes, shares, comments, etc.).

In essence, content analysis is about understanding both the “what” and the “how” of the content, and how it impacts its audience.

Why is Content Analysis Important?

Improves Content Strategy Through content analysis, businesses can gain valuable insights into what type of content resonates with their target audience. Whether it’s blog posts, social media updates, or email newsletters, knowing what works allows content creators to focus on producing high-performing content. By tracking trends in user engagement, companies can optimize their content strategy for better results.

Enhances SEO Efforts One of the key aspects of content analysis is keyword analysis. By analyzing the keywords used in the content, businesses can improve their search engine optimization (SEO) strategies. If certain keywords are overused or underused, adjustments can be made to rank higher on search engine results pages (SERPs). Additionally, content analysis can highlight gaps in content that may be affecting SEO performance, helping businesses stay ahead of their competition.

Aligns Content with Business Goals Every piece of content created should serve a purpose. Whether it’s driving traffic to a website, increasing brand awareness, or converting leads into customers, content needs to align with the company’s overall business objectives. Through content analysis, companies can measure how well content is supporting these goals. If it isn’t, adjustments can be made to improve outcomes.

Audience Understanding Content analysis helps businesses understand their audience better. By examining how different segments of the audience interact with the content, marketers can tailor future content to meet their needs. Analyzing metrics such as engagement rates, click-through rates (CTR), and bounce rates can help identify audience preferences, behaviors, and pain points.

Competitive Advantage Keeping track of competitors’ content can provide a huge advantage. Through content analysis, companies can analyze the type of content their competitors are producing, how it’s performing, and where there might be opportunities to differentiate. This gives businesses a clear picture of the market and helps them stay competitive.

How to Conduct Content Analysis?

Now that we understand the importance of content analysis, let’s explore how to carry out an effective content analysis. While the specifics may vary depending on your objectives and tools available, the following steps outline a general approach.

1. Define Your Goals

Before diving into the analysis, you need to know what you want to achieve. Are you trying to improve engagement? Boost SEO? Understand your audience better? Defining clear goals will guide the entire analysis process.

2. Choose Your Content Type

Decide what content you want to analyze. Are you focusing on blogs, social media posts, videos, or product reviews? Different content types may require different analysis techniques, so it’s important to have a clear focus.

3. Select Key Metrics

Choose the metrics you’ll analyze. For qualitative analysis, this could include tone, sentiment, themes, or visual elements. For quantitative analysis, consider metrics like traffic, engagement (likes, shares, comments), CTR, bounce rate, or conversions.

4. Collect Data

Gather all the content you plan to analyze. This could involve using tools like Google Analytics, social media analytics platforms, or specialized software for in-depth content analysis. Make sure you collect enough data for a comprehensive analysis.

5. Analyze the Content

Now, dive into the actual analysis. Start by identifying trends in the content — look for patterns in engagement, language, visual elements, or even sentiment. In quantitative analysis, you’ll be counting occurrences of certain words, hashtags, or engagement types to identify trends.

6. Evaluate Performance

Compare the results to your defined goals. How well is the content meeting your objectives? Are there areas for improvement? This step will guide your next move — whether it’s tweaking your SEO strategy, shifting your content focus, or adjusting your messaging to better connect with your audience.

7. Make Improvements

Based on your findings, make adjustments to your content. If certain topics are performing well, create more content around those themes. If certain keywords are underperforming, adjust your strategy accordingly.

Conclusion

Content analysis is a powerful tool for anyone creating digital content, whether you’re a small business owner, a content marketer, or a blogger. By regularly analyzing your content’s performance, you can ensure it aligns with your business goals, engages your target audience, and drives measurable results. With the right tools and techniques, content analysis becomes an invaluable resource for refining your content strategy, optimizing SEO, and gaining a competitive edge in today’s crowded digital landscape.

So, start digging into your content today — there’s a wealth of insight waiting to be uncovered!

[mr-jack-letterman]

We need more young stan content out here.

And nah I ain't talking about 12 year old Stanley or 30 year old mullet Stan, I'm talking 17 year old, slicked back hair, acne riddled Stan pines.

Yeah that one.

I am so happy mullet Stan is so popular because his fit slaps ngl and the angst is so potent I can't not respect it. But teenage Stan has so much potential it's driving me insane.

There is a line dividing the 17 years of relative happiness Stan had with Ford and the 10+ years of depression and crime he had on the streets, and teenage Stan uses that line as a goddamn jump rope.

Seriously, depending on how you look at it dude is either living his best life or is fighting for said life in the trenches of homelessness and poverty.

I see a lot of content regarding Stan on the streets but it only ever focuses on 30ish Stan in his later years of homelessness where he's already a hardened adult after years of dealing with this bullshit. But Stan didn't just drive away and then magically turn 30. There were times in those first few months after Stan got kicked out where he was in his car, trying to sleep, probably starving, while still being fundamentally a child.

Hell, compared to the 30ish age of mullet Stan and the 60+ year old con man he'd later become, teenage Stan is damn near a baby. There's a certain brightness about him, a sort of warm naive optimism that still clings to him because he's straight up just too young to know any better.

He's still fully convinced he's gonna make it rich and go back to his family in a few years. He still believes wholeheartedly that even if shit sucks right now, eventually everything is gonna be okay. It has to be. But it's not gonna be okay. It's not gonna be okay for a long time. And some parts are just never gonna be okay.

Seeing a happy and oblivious teenage Stan feels like watching a baby lamb walk into a slaughter house.

The next 10-something years are going to tear him apart limb from limb. In 40 years he's going to wake up on a boat during a bout of amnesia thinking he's in Columbian prison, or he's locked in the trunk of a car and about to drown, or his shoulder is on fire and his brother is gone, or it's the end of the world and everyone he ever dared to give a shit about is about to die in front of him and it's all his fault because he was too weak to stop it.

At some point, a young Stanley is going to get into his first true life or death fight. He doesn't even have to be involved with crime yet for it to happen. He's probably bruised and bleeding, with not nearly enough money to afford a doctor. He's sitting in the driver's seat of his El Diablo having a complete and utter break down because he almost died and suddenly everything is real.

Nothing is okay, absolutely nothing is going to be okay and whatever is left of his teenage innocence, naivety, and warmth dies in that car and it never comes back.

The next 10+ years are going to fundamentally change Stanley as a person and he's never going to be the same ever again. But teenage Stan doesn't know that, he's still a kid trying to sleep in the back of his car, ignoring hunger pangs and finding comfort in the half baked business ideas his mind cooks up because he doesn't understand how utterly done for he is.

12 year old Stanley I believe is so appealing because of his bright rambunctious spirit. He's still just a kid playing on the beach with his brother, but so was teenage Stan. I just wish the wholesomeness that comes with that and the subsequent hurt that follows as that spirit is broken over and over again by the world was explored more.

Thank you for coming to my Ted talk.

[srslylini]

I have some thoughts about the idea of forgiveness and moving on we see in media and fans. The thoughts mostly come from being in therapy and spending time with people who specialize in those fields and helped me come to terms with my own pain.

This can very well be taken in general but is mostly about Vi.

Right. So.

Vi is a genuinely interesting character, who has gone through hell and back to put it lightly. She lives in conditions in the undercity that has people who don't live in them wear masks to handle them. She grew up and saw her parents die, which means she had to step up. Vander did adopt her, her sister, Mylo and Claggor but Vander still put a lot of responsibilities on Vi. She was told she cannot be selfish when people look up to her.

Then, of course, the entire act 1 of season 1 happens, which in itself is already very much and not something that should have ever happened to anyone, let alone a kid/teenager. She then, on TOP of all of this, got thrown into Stillwater after seeing her entire family die (and presumed Powder also as dead, although she continued to hope), where she was canonically beaten, starved, put into isolation and... the rest is up to interpretation because I guess the writers did not care. But that interpretation is not a good one.

What I am trying to say with all of this is that Vi has been put through so much by the system and by people (Enforcers get a special mention here) all around her.

This gets me to the point. I see a lot of people, the writers themself even, talk about how Vi needs to (or already did) forgive and move on. And I just wonder where this idea comes from?

In all my time in therapy, no matter what and who I talked about, you know what I have never heard? That I need to forgive.

What I heard instead was rather close to this:

"What happened was not your fault. It happened and can't be changed. But there is still something you can do, because you stand here now. You can imagine yourself back then and guide yourself. Hold yourself and tell the younger version of you that what happened isn't ever going to be fine but that you are still here and that you need to be kind to yourself." She told me "take the hand of your younger version and walk her through it because in the end it will have always happened but you can choose to help yourself"

There is a lot more she told me, but that is between her and me. What I am trying to say with this is that not once did I ever get told that I need to forgive the people involved. I am also not trying to say that doing this works for everyone, because health does not work this way. The point I am making is that I find it incredibly weird that we came to the point of saying that the only way to let go is to forgive, when that could not be further from the truth.

I would say understanding it happened and being kind to yourself does a lot more than trying to forgive people who hurt you so much that it ends in you being broken to what seems beyond repair (it isn't I have learned that much, lol). That's what my therapist taught me.

Which brings me back to Vi and why I find the notion of "she needs to forgive and move on to get better" or the writers writing "she forgave and moved on" so weird.

What happened to her is not something that can be forgiven. And... that is okay. Or it should be okay. But for some reason it isn't?

I mean if you can and want to forgive that is for you to do but to say that it is a (or even THE) way to move on does not sit right with me. At all.

[geospiral]

The draw for me towards Ivan’s character in Alien Stage is that his story isn’t about the pain of unrequited love but the pain of love that seems unrequited and not just the romantic kind.

From Ivan’s perspective, he makes it seem that no one cared for him and that he was just tolerated, but we're shown time and time again that that is blatantly untrue; he sabotages himself and doesn’t form the deeper bonds he craves for because he doesn’t put himself out there. Till never knew Ivan’s feelings towards him, so the possibility of him reciprocating or not will never truly be answered because Ivan died before Till had a chance to decide. Ivan’s familial love for Sua, the thought of her as a sister, ends there at nothing but a longing for a connection that he doesn’t take the steps needed to initiate. Ivan wants autonomy over his life, but his fatalistic mindset on rejection keeps him rooted in place when it comes to the choices he can make for himself.

[f0mgl3]

i have been...listening to javiers voice lines because theres just not enough content about him and im obsessed... so i wanted to share the things ive noticed about him! :D (and ill compare his voice lines with other character's)

Bro does NOT bother to hide it when he's irritated. He's actually pretty mean LOL He raises his voice pretty fast whenever he "greets" someone when he's annoyed. He says stuff like, "WHAT, (gang member)?" or "What you staring at?" or "Don't even start." pretty agressively. He even calls Uncle a waste of space 😭😭 (he also snaps at Dutch too! Not exactly being mean towards him, but raising his voice and asking him if he's gonna do something about the things going on)

John, on the other hand, greets people normally when he's annoyed. His tone is just different but he still actually greets people LMAO (which is the same for a lot of members) while Javier is just snapping at everyone 😭 The only person he doesnt snap at is MaryBeth i think. While he's yelling at everyone to be quiet and leave him alone, when he's speaking to MaryBeth he's literally like "You seeing this? This place... How do you deal with these idiots?" 😭 Instead of snapping at her, he's ranting to her. Which is kinda interesting cause I thought instead of MaryBeth it would be Tilly (because its implied they have something going on) but nah he snaps at Tilly too.

Lots of members make kinda passive agressive and mean comments about Arthur staying in camp for too long, but Javier is actually concerned! He doesn't make any mean comments, genuinely sounds concerned when he's saying it's not like him to stay in camp for so long, and he actually asks him if he's okay!!! I know its like... the bare minumim, asking someone if theyre alright when they're not acting like themselves, but the other camp members sound like they dont really give a damn 😭 so its very nice to hear javier caring.

Javier genuinely sounds confused and offended if Arthur wears a strange outfit LMFAOO ITS SO FUNNY ACTUALLY other members are amused or confused and Javier sounds offended lmfaooo

Also another thing I noticed! Javier likes it when Arthur joins and sits next to him by the campfire. Other members will ask him to sit down aswell, yes, but some of them will do it in a way that kinda implies "bro why you moving around so much c'mon have a seat and relax" (sadie, for example) lmfao but javier doesnt make any comments about arthur moving around a lot, he just asks him to join him. Uncle, for example, if he's annoyed, he won't want Arthur to sit down next to him. He'll say stuff like "if you sit down, dont expect company" or "you gonna come ruin this for me too?" But Javier, if annoyed, will still ask him to join him and kinda rant to him about stuff. He'll say stuff like "You joining me here?" "Always fun times around here." "I dont know why I bother sometimes."

He won't ask Arthur to join him by the campfire in beaver hollow 😔 He'll ask him if he's feeling alright, and he'll say "won't even sit next to me no more. 😒" which is kind of an invitation in a passive agressive way if you think about it😭 but like man. that line makes me think about arthur and javier's friendship. they were actually pretty close friends before beaver 😔 the way they speak with each other and act around each other, you could tell they were close and liked each other's company. yk how arthur was supposed to be meaner and colder but the developers changed that? yeah, there are deleted voice lines of that mean, cold arthur speaking with javier in which arthur is ranting to him about things and they have a little argument. javier is defending john and he says something like:

javier: "anybody would think you've given up on us all. the way youce been acting in camp recently. people been talking."

arthur: "people, huh?"

javier: "not me. i just hear things."

arthur: "yeah? sounds to me you've been talking too."

javier: "ever since we got stuck up here (colter) its like you just dont give a damn about noone no more!"

and like ik this is them not getting along but to be honest, to speak like this with not just someone but arthur (who's got a very high position in the gang and remind you, this is the colder version) you just gotta be close with him. he's not scared of him, he's just calling him out on his bullshit and he's comfortable around him enough to be able to do this.

in conclusion javier is a mean asshole when he's annoyed (also he DOES NOT like to be stared at, it makes him very uncomfortable and he gets agressive when he's annoyed) and him and arthur used to be pretty good friends before both of them started to believe theyve been betrayed by the other. :(

[fumifooms]

The ultimate dogboy in Dunmeshi to me isn’t Laios, Lycion or even Kuro. It’s Mickbell.

Little dog man’s never had enough. Little dog man has someone in his hands already but it’s not all that he’s wanted and craved. He’s hungered for so long and now he doesn’t know what can quench it. When you’ve been hungry, once you have something it’s hard to not binge eat it because you never know when you’ll lose it. He wants more from them, more of them, more to chew, more safely locked within his teeth, more to taste on his tongue. Hungry greedy unkempt misbehaved. I think he loves like a dog I think he slobbers and digs his teeth in because he doesn’t want to let his bone go and he’s hungry and starved.

And he’s not like Laios he’s not like Kuro he’s not like Lycion, calling him a dog in any way would be the greatest offense to him but also it’s true. Sorry. Dogboy against your consent. You better be ready to unpack a lot of stuff you don’t like hearing about yourself!!!! The unwilling dogboy analogies are the most interesting ones get out Laios and Lycion. Mick doesn’t want to be a dog, it’s dehumanizing, demeaning, but he is, he loves like a dog.

Feeling dehumanized and demeaned by loving so much, by being walked on a leash by your feelings until your body acts on instinct like it’s primal and animalistic, for feelings you cannot control, and you’re drooling you’re drooling you’re clawing teeth snapping but you’re on hands and knees begging for scraps and treats. Just a dog picking up crumbs of a fine meal from where it’s dropped on the floor, affection from coerced hands, peanuts of self-esteem from judging others, anything to soothe while surviving.

It will come back by Hozier save me. "I love like a dog" and everyone is unhappy about this, it’s too much for everyone involved, 10/10. Dunmeshi animalistic metaphors you never miss. Stray dog mick. If I don’t use a dog motif in my mick fics it’s not me someone is impersonating me

This was my train of thought for the mickbell & kuro web weaving i made a while ago I guess. Dog imagery mickbell you will always get to me…

Little dog man wants a white picket fence family and house, somewhere someone to belong to :( Okay that’s more Kuro actually, happy to just have his little kennel day after day just following his owner, shackling yourself for the love. Ough.

Mickbell, my ultimate dogboy... He plays the part so well (derogatory)

Coughing blood

[un-till-the-end]

The True Face Deconstruction (1/2)

I'm seeing a lot of people jump to Mizi's defense after the latest comic (good), but then continue to criticize the other characters at face value. Everyone is acting out of character, and the entire comic contradicts all the existing lore we have so far.

I'm skeptical these are actual memories. People recognize how her perception of herself is distorted but don't seem to be considering that her perception of others is distorted as well.

We're not seeing the true face of herself or any of the other characters, but rather her resentment toward everyone including herself. The comic makes sense as a mental breakdown and her warping reality to both blame and pity herself. It makes no sense to be taken as fact on any level.

Sua would not act like this. Mizi would not act like this. Till would not act like this. There's a difference between revealing a darker side to characters and completely contradicting who the characters are.

Before jumping in, I will point out there are many fascinating themes present in this: the burden of being loved because she has what others do not; the extent to which she recognizes the suffering of those around her; how everyone enabling her as their form of "love" led to this intense suffering; her feelings toward her situation and everyone retroactively; etc. I'll leave that analysis to those more versed in Mizi's character.

The comic starts where we left off: Mizi despairing at the deaths of all her friends.

The first "event" to happen is Sua leaning down next to her, asking if she finds it regrettable and describing her as "cunning." This seems to be her survivor's guilt accusing her of letting this happen and tells us right from the start that this is all happening in Mizi's mind.

The next event is an unknown boy asking her if she and Till are an item.

His uncanny resemblance to Luka could mean he's a representation of her experience in Round 5. He could be a culmination of all the men who have confessed to Mizi before (though it was Sua being confessed to, not Mizi). He could be a real person, and this is a conversation that actually happened. I have no idea. I do not think that slap actually happened though, because of everyone's underwhelming response.

The segyein teachers closely watch the children, record events happening, and report back to each child's guardian. The art book confirms the flowers have cameras in them (pg. 74), leaving the children with little to no privacy.

It doesn't show on the Field Day page available on Twitter or the Patreon, but Shine has signed every single one of Mizi's notes.

Till's entries show us that any children who act out are reprimanded and recommended regular education at home. The segyein teachers promise to do their best to prevent future incidents. In regards to Till getting into a fight with Ivan, it's written "Ivan has generously forgiven him" suggesting the segyein teachers intervene and facilitate the aftermath.

By extension, the unknown boy's tirade could not have happened without intervention either. These are Mizi's own thoughts about herself.

Now we get to Sua. Sua was possessive of Mizi in subtle and unobtrusive ways. She didn't like others being around her and would get jealous when Mizi was equally kind to everyone.

She wouldn't have just brushed over someone slapping Mizi.

She is also nothing but affectionate with Mizi in every official art we see of them together. There's too many to even list. If you're splitting hairs, this is the only image I noticed that could be construed otherwise, and here Mizi is resting on her shoulder. Sua's just not happy in whatever she's thinking about.

Sua harbored intense guilt for keeping Mizi in the dark:

In Heart, she calls the "dream [she holds ...] filthy as hell." We can infer that is most likely referring to these feelings.

Sua is described as a character who is "fragile" and "soft-hearted". She "kept her feelings tightly hidden" and only confided in her sister and Mizi. Mizi considered "her heart [...] cleaner and finer than any other friend".

Sua was always focused on Mizi who allowed her to turn a blind eye to the cruel facts of their world. It was her only way of survival (pg 41). It was her only escape (pg 44). She just wanted to stay in the happy moments with Mizi (pg 39).

Sua didn't reveal her emotions to the very end. She never would have hinted at anything.

She "doesn't even have the courage to blame others or express herself." Sua wouldn't have said "I told you so" or shown resentment toward Mizi. She didn't resent Mizi, if anything Mizi resents her.

She has every right to. Sua led Mizi to dream of and believe in a happy ending. She left Mizi completely unprepared for her death (pg 44).

Vivinos says Mizi "is still like a child. She can't control her emotions very well, and she has trouble dealing with many of the events she has to face." She was left confused and became defensive (pg 143).

A hallmark of Mizi's character is her pureness of heart. She is a character who is the same on the outside and inside (pg. 29). Her enthusiasm and naivety prior to Round 1 are both genuine. Even the segyein audience was "struck [...] with a sense of sincerity" during My Clematis.

Part 2

[strawberrybyers]

me trying to figure out if the analysis and theories i have in the drafts should be posted before the possible teaser release on may 31st or if i should wait in case the teaser gives me more to elaborate on or if the teaser just dismisses my theories completely and i should just wait to see what is worth my time

[fuumiku]

Chilcille huh... ngl I was a little suspicious. like why would you do that, huh... hope youre not mischaracterizing anyone in your weird and wacky ship. a little weird. but then you said they both had flat asses and you know what? I salute you and your perfect characterization

The fact you seem to think you managed to not make this ask insulting is baffling. What the hell. Fuck off.

If you actually care to be open minded about the ship, I talk about marchil on my sideblog 24/7. Funnily enough I’m currently 4k words deep into an analysis of their character arc together in canon, but that’ll take some more days to get done. Some notable posts:

Of course without counting the analyses of Chilchuck on his own I’ve made, like my masterpost on his family situation. Or better yet you could also read my fics for them, see how weird and wacky they are here.

Wanna talk about mischaracterisation? They’re literally a comedic duo who interacts 24/7. Marchil is crazy bc ppl are like "did those shipper read with their eyes CLOSED?? They have no chemistry!" Meanwhile canon is like: "She’s obsessed with knowing everything she can about him and she reads him like a book." In her eyes he’s like that extra rare and hard and shiny unlockable dating sim character, that brooding mysterious character trope that’s thrilling to crack open and typically is at the center of the plot. The wife roleplay???? "Hey, did you know his type is blondes. Hey did you know he likes his women pretty and blonde. Hey did you know he likes her hair. Hey did you know that he teases her 24/7 and it’s one of the few things that consistently gets him grinning because he finds her reactions cute." Like a schoolyard bully pulling on the pigtails of the girl he likes.

It’s not like they have any thematic narratives or relevance. It’s not like she’ll live to 1000 and has existential dread about it while he’s logically gonna be her next friend to die at 50 and wether it’s romantic or platonic it’ll terrify her to lose him. It’s not like it’s fear of death x fear of rejection so they’re both obsessed with the thought of loss looming, past and ongoing. It’s not like it’s half-elf x half-foot and there’s an inherent journey that was and still is to dispel prejudices and truly come to see each other. It’s not like he’s painfully real and raw and flawed but still a good man, that he’s not the figure of prince charming that she’s always dreamed of while still being virtuous and worth fighting for. Or you know, her hair being golden and it being the epitome of beauty to him, and his hair turning silver and it being Marcille’s worst nightmare.

Just a weird wacky ship who means nothing but shallow things to people who have weirdo reasons for liking it. Like can you not. If you’re not imaginative enough to think of reasons why this ship may have an appealing dynamic that’s not my issue. But yes, yes, they’re both flat asses to me, thanks.

[smiling-stel]

Tcf novel spoilers o7

Im all for Caleism my fandom friends, and also cooing or face-palming over how altruistic Cale's actions are

But thats the difference

◇ His [actions] end up being altruistic - that's an undeniable fact - but Cale, himself, isn't

And we know this from all his internal dialouge since the narrative is 98% from his perspective

Multiple times over does he advocate for survival above all, emphasizing this msg especially towards the children

His entire mentality is this. He would rather the crew Fail than ever get to the point of no return to succeed in whatever they're working toward atp

"Because you can always strike again as long as you're still alive" ~im paraphrasing from later chapters of Book 1 (i think this msg was directly said once Cale's backstory was touched into more)

The majority of the time, Cale's "acts of altruism" are him, not being fully aware of the consequences of using his ancient powers.

Either from miscalculation (ex. Second time he used Fire of Destruction after fortification + first time he uses Sky Eating Water in ch. 295) or from complete oversight, being caught up in the moment (ex. first time he uses Fire of Destruction in the elven kingdom)

◇ Sure, it all resulted in Cale coughing up blood or fainting after an Act that benefits someone other than him, but his intention was never "ill die for this cause" so therefore Cale cannot be called an altruist

♤ but ofc that doesn't mean his actions aren't altruistic

Because as always, there's a fine line between what someone [intends to happen] and [what does happen]- which also isn't helped by the fact Cale doesnt ever explain himself ((which, like valid sometimes- but dam communicate with ur found family please TToTT))

-

Anyways I just wanted to make a post saying this cause I've noticed a trend in the fandom babying or cursing Cale for being overly Altruistic 》》 playing with this borderline mischaracterization (which is fair cause its Hella entertaining, I get it) but practically simplifying a large part of Cale's character to JUST being a hopeless altruist,,

So I wanted to just get this out there that Cale isn't an altruist, but dam do his actions result in altruism.

Tldr; Cale's a begrudging altruist- an altruist only by the perceived situation, not the definition

-

But thats why his story and character are so beloved - at least for me that's why I like him as a character so much. This is one of my favorite stories, if not my number 1.

The misconceptions cause by Cale's actions seemingly being selfless, but then the complete opposite internal dialouge is so gold every time

☆ I really adore how Trash of the Count's Family is written with him as a biased narrator, but still showing glimpses of the other character's minds as well as the perceived opinion of the masses within that world. - which, i guess is the definition of Unreliable Narrator, but compared to ORV with Kim Dokja or Shen Yuan in SVSSS (ik, horrendous line up of stories, im cringing w myself too orz) it feels like Cale doesnt gaslight or fool the readers NEARLY as much--

Its 1st person POV like the other two stories mentioned, but its also more 3rd person restricted POV than ORV or SVSSS(?) Perhaps this is me going insane after staring at words on a screen for the majority of the day today, but TCF feels less of a biased perspective(?) If that makes sense..

[Edited thx to @/ghocty's comment <3!]

TCF is 3rd person while ORV is 1st person (tho ORV has its own nuances due to worldbuilding but we won't get into that rn) meaning we can see more of the other characters thoughts n other scenes we otherwise shouldn't know ab if it were 1st/2nd/or even 3rd person limited narration (because Cale isn't aware of some scenes, but we the readers know thx to the 3rd person omniscient narration)

However both TCF and SVSSS are 3rd person omni (unless I'm wrong again, to which, just shoot--- I mean plz allow me to correct myself again), but TCF, in my opinion, has waaaaaaay less bent or twisted truths from the narration than SVSSS (because Shen Yuan is legit a freak, we all been knowing)

♡ Its just how each story is written/how the characters interact w each other//the differences between the Genre of the stories bc SVSSS is mostly focused on the main pair's romance, so ofc the narration would be narrower than TCF which is around Cale's life, who he is as a person, and why it leads to him alw getting more work to do

Cale's POV doesnt feel like it warps the exposition it as much compared to Dokja or Yuan anyway-

This is reminding me of that one pic of the triangle titled "unreliable narrators" with Dokja as a liar, someone else as delusional, and Cale as oblivious - cause yea,, accurate.

[grimalkinmessor]

Just to put a lot of my posts and beliefs about Light Yagami's character in one post (headcanons not included):

• He does not do anything for purely moral reasons. The reason he started killing criminals was because he was curious, and then afterward his "crusade" was built from panic and spite. He thought using the Death Note was going to kill him, so he decided to take everyone he considered a threat to society down with him—that way he would still be good. He would still be remembered. If he can't live, then criminals don't deserve to either. The weight loss and the insomnia shown in the manga, were more likely results of a fear of dying than moral stress.

• Then Light discovers he won't die. This negates part of the spite, but not the need for a moral justification to keep himself "good". He no longer needs to be a martyr, so instead he's chosen to become a God.

• During this week and half of time, Light goes from being a bored, lonely, listless teenager disgusted with the world because it's not how his father taught him it should be, disgusted because if he can manage perfection why can't the rest of the world—to a boy with a new friend and a new mission that gives him purpose. Something interesting. If the world can't be perfect on its own, he'll have to help it. The world needs his help, making him its "savior".

• In comes L. It is no longer about Kira, no longer about saving the world from itself, even if he might tell himself it is—it's about the game. Kira was a fun pastime, yes, but L has made things so much more interesting. (Light and Ryuk are actually wildly similar in several ways it's just not immediately obvious). This game is more fun, too, because this time he has an opponent—one not so nebulous as "the criminals of the world", who offered no challenge. Light is still justifying his actions through a lens of morality, because he has to, but they're beginning to run rather thin.

• Both the broadcast and the obvious taunts to L through changing Kira's killing methods supports the above. "You're too stupid, L. If you were just a little smarter, we could've had some fun." Drawing L in was to progress their game, not Kira's goals. If Light truly only cared about Kira's vision, Kira's new world, Kira's righteous justice; then he wouldn't have continued to play the game after the broadcast. There was no way for L to find him without Light drawing him in—the Death Note is literally the perfect murder weapon. Light knew this, he just ignored it because he wanted to play.

• In the same vein: Yotsuba Light doesn't know he's playing the game. He's forgotten that there even is a game, and so he sees L as someone who's been duped, who either isn't as intelligent as he's been made out to seem, or someone who's being purposefully cruel just because he can. Either way, to Yotsuba Light, L's threat level has only increased, because Light no longer has any sort of weapon to go against him with. He can't even wield his own innocence against him, because his innocence is not certain. Even to himself. Yotsuba Light knows that he has to play along with L's plays of friendship and morality in order to secure his freedom, but he does not respect L or like him. At least, not until near the end, where they're closing in on Higuchi. Where his freedom seems closer....and yet he sees his own, true innocence as more tenuous than ever. Notably, even when Light feels positively towards L there, he still does not share his suspicions about himself with him. His own life still takes precedence over any sort of justice or morality he might have, because Yotsuba Light is still Light. And Light will always put his own self-interests first.

• After killing L, something interesting happens. Because the game ends, but Kira is still left. And Light was willing to take risks and make wild plans in his game with L, but Kira's goals always, always came after his own life. And when only Kira's goals are left, Light stops taking those big, potentially lethal risks. (i.e. bomb desk trap, killing Raye Penber in person by handing him pages of the Death Note, killing Naomi Misora in person right in front of the police station, writing Higuchi's name while sitting right beside L with the murder weapon literally in his hand, etc. etc.). Winning the game was worth dying for—Kira's ideals are not. Or, to put it even more simply: His pride is worth dying for, but his morals are not. Five years after his victory against L, he's presented with another game, but instead of feeling fearful and excited as he did with L, Light is angry. Arrogant and angry. Because this isn't a game to these opponents, as it was to L—they're playing against each other, and Light is merely a piece in it. This game is not like his game with L; it's more like his "game" with the criminals of the world. One with no true challenge, just another defense of Kira's world—worth winning, but not worth dying for.

• Light's pride is more important to him than anything. He needs to be able to take pride in himself and his actions. Pride comes before everything else, before Kira, before family, before L, even before his own desires and physical health. He does not enjoy killing—he just turned it into something he could be proud of. Into another mastering of craft. Light is not particularly sadistic, he's just spiteful. He'll only take pleasure in someone's suffering if they make someone else suffer first, especially if that someone is him. Attacking his pride would count as making him suffer, because that's the most important thing in the world to him. Even though Light also values his life incredibly highly, attempting to kill him wouldn't invoke as much hell-hot wrath as attempting to humiliate him would. And Light will always get even. Always. He does not forgive and forget.

• He believes every lie he tells himself. Every. Lie. He is a Good Man. He is Good Son. He is a Savior. He is Better. He is NOT Evil, he is Good. He's incredibly adept at not only fooling other people, but fooling himself. Even if he's vaguely aware of the truth, he'll take great pains to make sure that truth never comes to light—because it would crush him.

• Light does not take his own desires into account. If he likes or wants something that contradicts with the perfect image he's crafted, he purges it from his mind. Makes excuses for why he doesn't need it, or even convinces himself very thoroughly that he didn't even want it in the first place. If it's not something he can be proud of (or convince himself to be proud of), he doesn't allow himself to desire it.

• Light sees everyone as beneath him (family notwithstanding, Light loves his family deeply), and while it's a pyramid scale of how far beneath him they are, it's not actually ranked by things like gender, sexuality, race—it's ranked by morality and intelligence. The more intelligent and moral you are, the higher up you are on the scale. Light feeling hostile towards someone does not always mean he sees them as further down beneath him; with L and Misa specifically, it means that they're a threat. Light tends to only see people near the top of the intelligence pyramid as threats; evidenced by him dismissing Matsuda completely even with the knowledge that Matsuda was a marksmen, and yet him immediately setting out to kill Naomi when he found out she figured out one of Kira's secrets. With Takada and Mikami, he treats them exactly the same as each other because they're both on the same level of the scale—and he didn't hesitate to get rid of either of them. (Or try to get rid of, in Mikami's case). Everyone is either a tool, a threat, a criminal, a citizen, or family to him. People to use (tool, criminal), people to serve and/or placate (citizen, family), and people to eliminate (threat, criminal). Everyone falls into at least one of these categories for him.

• Light Yagami is a tragic character. And he's a tragic character because he refuses to believe he's part of a tragedy. He would rather swallow broken glass than be considered a victim of anything.

[meraki-yao]

RWRB Book Thoughts: Ellen and Oscar

Re-reading RWRB and thinking about Oscar and Ellen. The thing is book Ellen and Oscar's relationship scares me because it's like the worst-case scenario of my own parents (they're a lot better now but covid was hell) So I understand it.

Ellen and Oscar are soulmates. As in they are both intelligent, stubborn and headstrong. They are very similar people. Unfortunately this is a case where it's like forcefully pushing two North ends of a magnet together: Ellen in particular wants and needs a complimentary relationship instead of collaborative relationship, which is why Leo works for her: Leo is meek compared to Oscar. He really just listens and generally agrees with Ellen. His appearances are limited in the book but when he does show up he doesn't really have his own opinion. Ellen wants/needs someone who won't speak up against her.

Honestly? I, kinda feel sad for Oscar. He said it himself, "We're both too fucking proud. But God, that woman. Your mother is, without question, the love of my life. I'll never love anyone else like that." It's sad to know that he never stopped loving Ellen while vice versa isn't true, and to know that she's it for Oscar.

When it comes to parenting I honestly think Oscar is the better parent. It was really shitty of him to leave without telling Alex and June and that evidently really hurt Alex til this day, but when it comes to the other parent things? I was re-reading/listening to Chapter Four today when he goes to DC for Christmas, and both Alex and June are so much more comfortable with him. Part of that is probably because he doesn't carry the inherent pressure of being the fucking president, but part of it is that he really cares about his kids as they are. Ellen downplays June's passion for journalism and pressures her into a political job that she didn't want at all, while Oscar "raved about June's latest blog post for The Atlantic". Ellen immediately started piling up all the political consequences of firstprince literally minutes after Alex plucked up the courage to come out to her while Oscar gave him relationship advice. This isn't to say Ellen isn't a good mother, she is flawed, as Oscar is, as all parents are. But if we're looking at non-crisis moments, Oscar's actions are more comfortable for his children.

There's a reason June initially wanted to go to California and be close to her dad. Yesterday I talked a little about how I hated how Ellen and Alex treated June at the earlier chapters of the book. Well in the rest of the book it's implied that she has a much closer relationship with Oscar, jumping into his arms when he arrives at the White House, him picking her up and spinning her when they arrive at the lakehouse.

Either way, Ellen and Oscar clash becasue they're too alike, and my opinion is that Ellen tends to fan the flames more, see Christmas dinner where Oscar suggests campaigning with them to help and she immediately shoots it down with "you can't be serious". Anyways, the children suffer the most. And uh, speaking from experience here, that shit never goes away. My parents are still together and are a lot better compared to the past, but I flinch at any sound of argument/angry yelling because of all of their fighting.

And there's this one paragraph in the book: "Even before Alex's parents split, they both had a habit of calling him by the other's last name when he exhibited a particular trait. They still do. When he runs his mouth off to the press, his mom called him into her office and says ' get your shit together Diaz.' When his hard-headedness gets him stuck, his dad texts him, 'Let it go, Claremont'" and God that's so shitty? To know, to be reminded that one parent hates the part of you that is from the other parent. Even if that's not what Ellen and Oscar's intention is, that's what it feels like, and it's really, fucking, shitty.

I wonder how would book Alex feel if he know that there was an alternative universe out there where his family was functional. I wonder how would he feel if he knew that movie Alex doesn't have his loving sister, but has loving, gentle parents who have a healthy, functional relationship.

My guess, is that he would say that he'd choose his life and his sister no matter what, and he means it because he does love June, but deep down a part of him would be jealous of movie Alex for having a smaller but healthier and happier family.

[angelsdean]

don't know how people multi-fandom. dipped my toe into another one and immediately backed out bc everyone there was insufferable.

[edlinklover]

guyz im gonna be so real i finished all endings of hundred line over 2 weeks ago and ever since then i haven't been able to get it out of my brain it's been like a parasite

[helluvaandhazbinarelife]

IS ANYONE OUT THERE INTO INTO THE WOODS

preferably the Broadway version not the movie, but honestly if you a fan I do not care. I DESPERATELY need to make some fan content for these fuckers I am DYING OVER HERE

[pikopiikko]

i am getting barraged CONSTANTLY on all sides by STUFF THAT SHORT CIRCUITS MY BRAIN THIS EPISODE