#will make all of these conclusions without engaging in the original media

[weaselandfriends]

The Making Of: Fargo

Today, May 4 2025, is the tenth anniversary of when I started Fargo! To celebrate, here is a behind-the-scenes/retrospective on the work. Enjoy!

I. This Is Your Brain On Anime

I started writing Fargo at the lowest point in my life. I'd been watching anime.

For years, I'd managed to not watch anime. Sure, there was Pokémon as a kid, and to a lesser extent Digimon and Yu-Gi-Oh. And as a preteen cinephile who followed the Oscars, Spirited Away's Best Animated win got me to pick it up on DVD. I'd later seen a handful of anime films that similarly carried cinephile credibility: other Miyazakis (Nausicaä, Princess Mononoke), Akira, Ghost in the Shell, Paprika. But I had always refused to watch anime anime. You know what I mean. The seasonal stuff.

In 2007, the final fringe of Wild West internet before Facebook changed everything, seasonal anime was exploding in popularity. A lot of this was due to sheer accessibility. No longer did you need to find a VHS release of some OVA or hope for a play on Adult Swim. Fan subbing and dubbing communities rendered more-or-less anything showing up in Japan available to worldwide audiences via a nifty new site called YouTube. This level of immediacy, combined with the niche tight-knit communities that governed the internet prior to social media, made following seasonal anime a social event. Week by week people posted reactions, reviews, theories, and memes, driving up engagement and rapidly expanding anime's reach as an entertainment medium.

The big breakthrough title in this regard is 2006's The Melancholy of Haruhi Suzumiya, a massively influential show that changed the look and feel of mainstream anime for years. But my first brush with the anime community came via the following year's Lucky Star, by the same studio and with the same moe stylings. As I prowled the boards of Nintendo's official forum, Nsider, and its successor Nsider 2 (after Nintendo, in characteristically Nintendo fashion, annihilated the site from existence without warning), I found myself constantly bumping into people posting pictures of these four hyper-cutesy anime girls with candy-colored hair. They were everywhere. Teenage me took one look and came to an unshakeable and incontrovertible conclusion:

Only girls would watch this!

Saccharine aesthetic? Lack of plot? And, god, all of the characters are girls? Girl show. No doubt in my mind. Nah, none of this "anime" crap for me. I'll stick with real media, like Leprechaun 4: In Space (which I eagerly stayed up until midnight to watch on the SciFi Channel) and Eli Roth's splatterhouse classic Cabin Fever.

Then some devious motherfucker, I don't even remember who they were, told me something truly insidious, something that would haunt me for years to come. "Hey," they said, "what if there was a show like Lucky Star except they all killed each other with knives? Wouldn't that be awesome?"

And they recommended me Higurashi no Naku Koro ni.

(They showed me an AMV with a similar feel to this one to entice me. Unfortunately that original AMV is lost to history.)

I wound up bingeing the entire 50-episode show, in 10-minute chunks on YouTube, across a single 24-hour period. I couldn't stop myself. It was the same obsessive consumption that would infest me when I discovered Homestuck five years later. Obsession so intense that after I finished it, I immediately went crawling in search of more anime and devoured Death Note in another 24-hour span.

Emerging, blinking, back into the sun, I looked around and realized I couldn't go on like this. I couldn't plunge headlong, headless, into anime. I could not become the dreaded "weeb."

So I cut off anime. No more. As quickly as my drop into the abyss began, I ended it. And a few years later, when I went to college, I cut off the internet as a social experience altogether. No more forums, no more chatrooms. I was an adult. Time to do adult stuff, like read classic literature, write novels, and play League of Legends for 10 hours every day.

Despite how it sounds, college was a great time in my life. I enjoyed learning, enjoyed going to classes, enjoyed reading textbooks, enjoyed writing essays. And I was good at it, very very good—even with the 10-hour League sessions. I felt no need to reconsider anime.

Then I graduated.

Graduating college was like slamming face-first into a brick wall. My entire life until then had seemed to be building toward something. Academia is a series of stepping stones to more prestigious levels of academia (middle school! high school! college!) with a golden gleaming Adulthood at the end of the line, omnipresent. And I did it! My success in college got me a job, eight hours in an office five days a week, much better than anyone else in my post-recession cohort. Adulthood accomplished.

It was miserable. That gleaming paradise Adulthood was a sham. I was doing less work and less difficult work than at college but they were demanding I spend way more time doing it. All sense of fulfilment vanished. There was no longer progress, no bigger and better things on the horizon. I had nothing to hope for. I'd achieved the thing people tend to hope for, and THIS WAS IT. The notion that consumed me was that my life had slipped into overtime, a dead zone past its expiration date, treading water in misery. I also had a 90-minute daily commute in SoCal traffic.

My free time was cut down to a fraction of what it was in college, so no more 10-hour League sessions. I tried to maintain my schedule of reading 50 pages and writing 2,000 words a day, but I no longer had the time or energy, and it didn't make sense why I didn't have the time or energy, because I was doing things that were so trivial and easy compared to my college courseload. Work was an arbitrary time-wasting machine with nothing ahead except 40 more years of work. I wanted to die.

Despairing, seeking nothing save relief, I turned back to anime.

In a Skype groupchat I wound up in, there were two teenagers with their fingers on the pulse of the latest anime buzz. They were my guides back into this wretched world. First, I was served up Fate/Zero, which I consumed quickly (though not with the same leisure time to afford a 24-hour binge) before asking for seconds. I was then recommended Angel Beats. Okay, I said, typing Angel Beats into YouTube, which seven years after Higurashi I still assumed was the main way to watch anime. The first result I got was called Bludgeoning Angel Dokuro-chan. Aha, I said. Angel Beats, Bludgeoning Angel, I know what this is. It's an alternate translation of the title.

It's the kind of comedy of errors that could only happen to someone who timewarped directly from 2007 to 2014 with complete ignorance of the intervening years. Angel Beats, of course, is a tearjerking Key show about students in the afterlife coming to grips with their tragic deaths. Bludgeoning Angel Dokuro-chan is about an angel repeatedly bludgeoning a boy because otherwise he will grow up and create a world where every woman stops aging at 10 years old—a so-called "Lolicon Paradise." (As someone who reads classic lit, seeing the bizarre cross-cultural route Nabokov's novel has taken always amuses me.)

When I started Bludgeoning Angel, I was a little uncertain whether I had the right show. Its tone didn't quite jive with Bingus and Bungus in the Skype chat. Hesitantly, I decided to react in chat to the first thing that happens in the show. "Haha," I said. "The angel really just killed that guy."

In a sadistic twist of fate, this is somehow exactly how Angel Beats begins, too. My friends responded as though everything was total normal, and I figured I must have the right show after all. Thus, I wound up watching the entirety of Bludgeoning Angel Dokuro-chan, which becomes increasingly surreal, violent, and depraved as it goes on, and only learned my mistake after the final episode. That show probably tainted me forever.

Afterward, I watched the real Angel Beats (in my depressive stupor, it made me cry), Mirai Nikki, and the "only for girls" Lucky Star (it also made me cry). I was getting hooked. It was only a matter of time before Bingus and Bungus recommended me a true landmine. They did. "I think you might like this," Bungus said, tepidly, not exactly sure.

"Hit me," I said.

II. Puella Magi Madoka Magica

The League of Legends-induced timewarp that imprisoned me in college had the side effect of allowing me, in early 2015, to watch Puella Magi Madoka Magica completely blind. I hadn't the faintest idea what it was about, or even a hint of its reputation. Bungus said, "Watch it," and I watched it.

Believe it or not, this blindness backfired. Despite the sanctity people place on spoilers, expectations are a crucial component of the narrative experience. Unaware of what I was watching, I was not nearly as impacted by what I saw. The much-famed Episode 3 twist was nothing to me. Why? I was certain, absolutely certain, the death wouldn't stick. I felt extremely confident either Madoka or Sayaka would make a wish to bring Mami back to life.

Nonetheless, the show grew on me. The cute exterior steadily transforming grimmer was a Ratatouille flashback to Higurashi; there's something so delicious about how jaggedly the hyper-poppy upbeat OP jumpscares in the middle of increasingly hopeless situations during the show's back half. After 12 episodes and a movie I needed more. Not more anime. More Madoka Magica.

I didn't get it from the spinoffs, of which there were several even then, most of which I knew nothing about. Instead I went looking for it on more familiar terrain, another relic of my 2007 timewarp: fanfiction-dot-net. This is where people go to engage with media fandom, right? I hit up the Madoka page, sorted content by number of reviews, and got this:

Well, sort of. Fargo wasn't there yet, obviously. The other five were, in this same order. I opened To the Stars, read a chapter or two, found it impossibly boring and nothing at all like the show, and discarded it. Resonance Days, A Happy Dream, and cat's cradle [sic] all looked like shipfics, which was not my speed. That left one fic, which I would read in one day home sick (legitimately) from work, one fic that would prove massively influential on the idea for Fargo I didn't yet have.

Puella Magi Homura Magica by Lestaki, despite its second-place position on this prestigious list (behind only a work once described by acclaimed guy-with-a-blog Eliezer Yudkowsky as the most prescient depiction of future warfare ever written), is a fanfic I have never heard anyone mention once in my now 10-year stint in the Madoka Magica trenches. Even in the subculture it is a blank of memory, which makes sense if you look at its publication and last updated dates. It came out May 24, 2011—barely a month after the show finished airing—and was unceremoniously abandoned, incomplete, little over a year later. It's easy to see the fic emerging in the frenzy of activity prompted by the show's immediate popularity, rising on the tide, and vanishing under the waves of works with more temporally dogged creators.

So what is it?

PMHM is a three-arc story set after the show (and ignoring, of course, Rebellion, which it predates). Its first arc focuses on the three-man band of Homura, Kyoko, and Mami as they prepare to fight against a "demon prince"—an exceptionally powerful, city-destroying wraith—that Kyubey predicts will be born in Mitakihara soon. The demon prince is so powerful that the trio cannot possibly defeat it on their own, causing them to soon be joined by a ragtag team of original characters, spinoff characters, and a contracting Hitomi. The squad butts heads, but ultimately manages to come together to destroy the demon prince when it appears.

The second arc revolves around an inter-city magical girl war. The Mitakihara girls, for reasons I don't fully remember, have to invade and defeat an OC magical girl warlord in charge of another city. Both sides amass allies until the final confrontation involves at least a hundred magical girls. At the end of the arc, the OC villain reveals she manufactured the war to put Homura in a situation where she would be forced to continually use her time-rewinding powers to save Kyoko and Mami (whom she has come to care for over the course of the story), which is part of the villain's plot to generate enough karmic potential that she can create a new Madoka-esque god. Homura is aware that every time she rewinds time, she is helping the villain usurp Madoka, so she's torn between saving her living friends and saving her conceptual girlfriend.

That's where the story abruptly ends, mired in a series of repetitive chapters where the villain keeps finding ways to kill Kyoko and/or Mami and forcing Homura to turn back time. (It seems the author trapped themselves in the concept of showing each timeline in detail and lost momentum fast.)

And that's where Fargo begins.

III. Williston

Fargo was not a conscious work. Unlike most of my fiction, it was not assiduously planned. It was not kicked around in my head for years before I started writing it. It was not drafted and redrafted. Fargo was a creature of instinct, and because of that even now I look at it with a certain sense of wonder. Both Chicago and Cleveland Quixotic originated with me examining Fargo, trying to see what made it so popular, and laboriously reengineering whatever I concluded was the cause (I was wrong both times).

It emerged in my head not as an idea, but a vibe. Frigid, frostbitten wasteland. A tough, take-no-bullshit magical girl, dead inside. She'd use a Gatling gun. Long brown coat.

I was 60,000 words into a draft of a story I'd been planning since I first read Homestuck in 2012, a story I was tentatively calling Soulstealer but would eventually call Modern Cannibals. But I didn't want to write it anymore. At work, I was still miserable. I wanted to write a work of misery. I wanted to write a miserable human being. I abandoned the Modern Cannibals draft despite how far along it was (I was at the scene where Z. rescues Kiki from Mitchum's party). I began, as if automatically, writing something else. It was the same surrender that had led me to anime in the first place. The path of emotional, intellectual least resistance.

It's probably because I was on this path that I wound up unconsciously borrowing so many structural and worldbuilding cues from Puella Magi Homura Magica, especially in the first arc, with the Williston archon substituted for the Mitakihara demon prince. It wasn't even a conscious decision to do what I had seen in PMHM; I didn't realize the overlap until later. I was putting onto page the last thing lodged in my brain, and that was it. At work, I'd recently learned about the homeless crisis in Williston due to the shale oil boom, and that wound up in the story too.

Basically every part of the first few chapters of Fargo manifested on the page without me having any idea what it would build to. When Kyubey told Sloan to go to Williston, I knew he was being deceptive, but I didn't know how, and certainly had not figured out his elaborate plot to defeat Homura yet. Ditto Omaha. Clair Ibsen as Sloan's detested rival was a name I flicked onto the page at random (combining Clair, the gym leader from Pokémon, with Henrik Ibsen, Norwegian playwright, because I figured a character from Minnesota should have a Scandinavian surname). The girl, unnamed, who scuffles with Sloan in Chapter 1 was not yet Anoka; I had no plans for her to reappear, nor plans to make her relevant to how the Williston archon was born. When writing Chapter 2, I had no conception of Delaney or Erika (another Pokémon gym leader) as characters until I started writing them, at which point their personalities emerged, fully-formed, all at once. I didn't know Delaney's backstory, only that she was suspicious.

What made Fargo work is that I very quickly figured this stuff out.

Throwing these ideas and characters onto the board was like putting myself in an escape room, and the challenge then became to figure out how everything slotted together. It was around Chapter 4—which I had written fully before I started posting the story, and which was about the time I realized I actually wanted to go through with what was starting to shape up as a long and ambitious work—that I started seeing the connective tissue. Kyubey's plot came into view, as well as Omaha's role in it. (Hence why Chapter 5 begins with a scene involving Homura.) I figured out Delaney's backstory, though I hadn't yet figured out how she was part of Kyubey's plot yet. The end of the first arc formed in my mind: Erika dead, Delaney alive, she and Sloan en route to Minneapolis to fight Clair. I had the beginnings of an idea how the second arc would go; there was the ghost of an idea for a third arc, but that made the story seem impossibly long, so I wrote with the belief everything would end with Clair. By the end of the arc, when I had started thinking about Clair's goons, I had the idea for Anoka, and incorporated her into the Williston archon's origin story.

I think there are still signs of lack of foresight. The actual plot of Fargo's first arc is like the plot of a Legend of Zelda game. Go to three different places, fight three bosses, then go to the final dungeon where the final boss awaits. What the characters actually do, narratively, is spin their wheels in endless action sequences; all sense of progression is driven by the slow unveiling of Delaney and Erika's backstories, which recontextualizes them as characters, as well as broadening hints toward Kyubey's plot. And Sloan's gradual recovery from the precipice of despair, of course.

That last one was a mirror of the author. Fargo was an immediate smash hit of the kind I had never seen before; I was getting two to three comments per chapter, and they were good comments, too. Before, I hadn't even been able to beg friends and family to read my novels. (I once described the plot of a pre-Bavitz novel to my grandmother; she said, "That doesn't sound any good at all.") I expected obscurity, an obscurity reflected by the aggressively anti-SEO title I decided on as a joke (Fargo being a movie I don't particularly like, and the only real overlap between that one and mine being neither is actually set in Fargo). Receiving any reception at all was a miracle.

At the same time, I moved closer to where I worked, killing my daily commute once and for all. Time, energy, and hope were surging back into me. The dream I had always harbored of being an internationally-renowned author seemed to be finally coming true. Everything was looking up. Riding this momentum, I no longer worried about the ambitious length of my story. It was worth it. I was in for the long haul.

IV. Minneapolis

Clair's personality emerged as the natural foil to Sloan, the brutish, instinct-driven meathead: elegant, careful, intelligent, poised. It was my get-out-of-the-escape-room problem solving that led me to realize this made her similar to Kyubey himself; that connection inspired the plot twist that she was, in fact, a homunculus created by him, which turned into Delaney being a homunculus too. (In early Williston chapters, I repeatedly focused on Delaney's dead eyes to foreshadow her sociopathic turn; this pedestrian bit of description became eerily serendipitous for explaining how she changed her eye color with magic to hide its natural red.)

As an author, I myself was transitioning from Sloan-esque instinct to more careful and intelligent planning. I'd already come up with Anoka, but the other Minneapolis girls emerged in ways I thought would play well off of Clair, emphasizing her uncanny and aristocratic coldness. I entered the second arc with more elaborate plotting, where I would set up characters like chess pieces and knock them over in spectacular and fulfilling ways. It all centered around the Yaldabaoth fight, which was the first part of the second arc I came up with, in a first arc sense of unconsciousness: A massive monster of light, crawling across a city, chasing magical girls as they sped around in a car.

There were some speed bumps. This arc featured the only time while writing Fargo that I scrapped a scene and rewrote it; this being the Terminatrix's introduction, which originally showed her receiving her commission from Kyubey. I felt it was plodding and tedious compared to her current introduction, which remains highly popular. (As a side note, Puella Magi Homura Magica also includes a character whom Kyubey pays to kill magical girls he doesn't like.)

Otherwise, though, I was locked in. Everything just worked. I came up with an idea for a character or a plot twist and it made perfect sense with what I had already established. It was like magic. It was effortless. I was reading literature again, too, after a year away from it; my prose improved as a result. There is unparalleled exhilaration in growth. It was like academia all over again, where I learned new things day after day and always seemed to be ascending to some better place. I started imagining future greatness. It wouldn't stop here. Fargo was just the start. My next work would be even better, would be read by more people. (Modern Cannibals remained bouncing in the back of my mind.) It wouldn't be long before I was breaking out of the internet and into the real world. They'd be talking about me...

V. Mitakihara

Why did Puella Magi Madoka Magica mean so much to me?

Because, as I mentioned, it didn't leave an immediate impact. A lot of what I look at now as masterstroke storytelling—Mami's death, or Rebellion in general—I first watched insensible, uncomprehending, somewhat blandly being washed over. Only a few months prior I had watched Lucky Star, a work that would heavily inspire one of my future stories (Cockatiel x Chameleon), and was profoundly and immediately emotionally affected by it in a way I almost never am. I cried at its conclusion. There was something unbearable and tragic in the ending of such a nice world, no matter how inoffensive that ending was; in the banal high school life it depicted, I saw reflected what I had lost forever, been sealed away from on this side of Adulthood.

(Which explains why my mindset on it changed so radically from when I was an actual high schooler, its ostensible target demographic.)

I didn't have a similar reaction to Madoka Magica. I liked it, for sure, but it was not an emotionally harrowing experience for me. Yet it grew in my mind, in ways I didn't consciously understand. It kept crawling, kept forcing me to think about it, until there was no option but for me to drop what I was doing and write over 300,000 words of fan fiction for it.

I never figured out the answer until a few years later, when I chanced upon a post someone made on Tumblr. "Okay," it said, in typical I-know-everything tone, "but can any of you tell me a single THEME in Madoka Magica?"

It made me think. What IS Madoka Magica about, beyond a plot-and-character level? The story, at least in the show, is so lean and tight that it lacks a lot of obvious signposting in this regard. It's easy to look at Madoka Magica and see a sharp story founded on a series of slick twists, with a banal hope versus despair angle for a bit of emotional punchiness. Regardless of whether you agree with that assessment or not, it certainly couldn't have been what I saw in it to make me so obsessed, right?

It's not even like Madoka Magica is a story that lends itself to fanfic, past the level of shipfic or slice of life AU. Its extreme economy of characters renders it vitriolic to expansion. Everything that matters in the world of Madoka Magica is happening in Mitakihara to five specific people. The system extends beyond them but in a useless way; magical girls in Osaka or Russia or Fargo exist, but they are doomed to irrelevance, doomed to die pointlessly. Every canonical Madoka spinoff falls into this same pratfall; the best involve the backstories of the main cast or past Homura timeloops, the rest fail to rise above sideshow.

I think what gnawed at me, what made me brute force a new narrative into this story that doesn't need one, was the reflection I saw in it. The Lucky Star kids with all their hopes and dreams and pleasant optimism tossed into the clanking reality of Adulthood, forced to work jobs with no point and no hope until they finally just died. The more I rewatch the show, the more I become consumed by a socioeconomic reading of it, the financial disparities between the characters (Hitomi, free from all of this, is rich; Madoka, the redemptive savior, is too—while Mami is faking it and Sayaka is shabbily middle class in a foreboding and monotone apartment complex, consumed by dreams of an upper-class recital she once saw), the conversations Madoka has with her parents (who tell her again and again what "being an adult is like," only to then give advice that is utterly unhelpful), the emotionless and mercenary way Kyubey dissolves all meaning in the universe to a system of pluses and minuses.

Unconsciously, the socioeconomic aspects of the original story emerged in Fargo with even more exaggeration: Sloan is introduced in terms of her outrageous poverty, everyone else is on the economic fringes (prostitutes, drug dealers), and only Clair lives in a state of financial stability. (There's a sideplot in the Minneapolis arc where she plans to gentrify the city by rooting out its Ramseys, all in service of creating a model community to show off online.) Sloan pursues monomaniacal revenge for a betrayal she suffered at Clair's hands, but the crux of the reader's disdain for Clair lies in the unctuousness of her wealth and the disposable way she treats her employees. Plus, there's the plaid-shirted workers who osmose around Williston, silent as they fall into pits and keel over dead on the streets, parts of an economy founded on resource extraction not all too dissimilar from Kyubey's own system (though he, ironically, wonders at one point why humans would get so up in arms over such a "primitive energy source").

Sloan is a have-not and Clair is a have, so there's an innate sympathy for her in favor of her archnemesis, on top of the innate sympathy readers have for protagonists over antagonists. This all sets the stage for what is in my opinion the best part of Fargo, its third arc, where the story's thematic elements come together in more interesting and subversive ways. It's all predicated on Sloan's quest for revenge having been faulty from the start, her motives much less ironclad than they first appear and her bullheadedness making her the perfect pawn in Kyubey's schemes.

The best aspect of the third arc is how Sloan is irrelevant. Seeing the outcome of her self-absorption cuts her off at the knees, and she has to grapple with the fact that the world is a lot bigger than her immediate purview. Ultimately, her role in the climax is tangential, a singular meaningful wrench tossed into a much larger machine that manages to prompt an unexpected positive outcome. She barely even factors into the penultimate chapter. (Fun fact: Chapter 41, Love, with its 10+ character POVs, was both directly inspired by Ulysses but also by a comment I got during the first arc hoping for more POVs with drastically different writing styles.) The emotional power of Sloan's arc stems from her coming to peace with her own inadequacies, both morally and in terms of greatness, and in that way she wound up being a mirror for me to the end, didn't she? In academia, I believed I was going to be someone important, and much of the existential dread of my workplace came from its boundless mediocrity. Fargo allowed me to come to terms with that mediocrity, both in the story and without; though much of that "coming to terms" was based on the new delusion that my popular fanfic would spur me on to mainstream literary success, a delusion I would not need to reckon with until after the minimal readership for my next work, Modern Cannibals.

This also explains my decision to frame Madoka's magical girl heaven as a giant office job. Though I would also defend that decision from a textual standpoint, given the esteem Madoka has for her company suit mother, and how she visualizes her mother as an example of "successful" adulthood in contrast to the cruel failure of the magical girl system.

Lastly, there's the instinctual level of things. All this socioeconomic stuff was not explicitly clear to me even as I was writing it; I didn't consciously think "Oh gotta make this about having a job." It just came out that way, an expelling of the self, the same way I unconsciously modeled some of Fargo's structure and worldbuilding on Homura Magica. The same way, I suppose, I modeled the emotional thrust of the story on Madoka Magica. A bleak downward spiral of misery and death culminating in a sudden and unexpected redemption. When, as a teen, I watched Higurashi, I remember being bowled over by its unexpectedly happy ending. I'd never seen anything like it, not in something otherwise so macabre and pessimistic. As a teen, I enjoyed that ending as a subversion of expectations, an original and novel idea. As an adult, watching Madoka Magica, it held a lot more emotional potency, and that potency was, like everything else, unconsciously replicated in Fargo.

When I wrote that final chapter, I remember being utterly drained. The finish line was in sight and I had been doing this for a year, for 300,000 words, far longer than any other story I'd ever written until then. I remember feeling like my prose was sloppy, like I was stumbling right at the end, like the chapter was no good. But the reviews were overwhelmingly positive, and now when I reread that chapter I see nothing wrong with its prose or technique. Even stripped bare, exhausted, that unconscious emotional core remained, and maybe that sense of being stripped down, so that nothing else is there but it, is what gives it so much power.

VI. Retrospective

There are flaws in Fargo. The prose is not always my best, and there are stretches that are clunky. In Chapter 3 I wrote a 5,000-word fight scene, and became possessed by the notion that all subsequent fights must be even longer, which led to some truly overlong combat sequences. There are a lot of continuity errors and mistakes, some small, some embarrassing (there's a scene where Clair tortures Delaney with boiling water and it's clear I had never boiled water before). And, significant to me, there is a lack of thematic complexity compared to my other works, with long parts of the story that aren't interested in meaning anything at all, at least overtly.

That last part might not really be a flaw, though. There is a singleminded focus on plot and character in Fargo, prompted perhaps by the unconscious way I wrote it, that was a major driver of its success. Nobody has ever complained about the continuity errors, either. At the end of the day, people might care a lot more about what comes from the heart, rather than what comes from the mind.

I'm glad, though, to be writing this retrospective on the heels of When I Win, an assiduously structured work with a lot of deliberate thematic potency that managed to achieve similar levels of success as Fargo. For a long time Fargo was a millstone around my neck. What I once looked at as the start of my literary rise started to seem like its peak. This work that I, its author, so poorly understood, could not replicate even when I tried, and yet was by far my most popular story... It was a terrifying prospect for a long time. Though a lot of detail in this regard should probably be saved for if I write a Making Of post for Chicago in the future. (Side note: Despite the prominent role Cicero and the Chicagoans play in the final arc of Fargo, with their own unresolved theater of worldbuilding, I had no intention of writing a Fargo sequel until after the "commercial failure" of Modern Cannibals.)

Even at the depths of my self-esteem, though, I never resented Fargo or its success. It's a story I like. It's a story with a lot to like about it. And, even if I don't fully understand it, it's a story that has a lot of myself in it.

Thank you, everyone, for reading.

The concept art throughout this post was created by Phetaritette, from whom a fan once commissioned art of the main characters. At the end of the Making Of posts for Cleveland Quixotic and When I Win, I talked about where I got the names of the characters from, but other than the two Pokémon gym leader names and Henrik Ibsen reference I mentioned before, most of the names in this story were dredged from people I once knew. The only other exceptions are Erika's surname, which comes from Frank "Doc" DuFresne from Red vs. Blue; Bloomington's surname, which comes from rapper Dennis "Ghostface Killah" Coles (who would be the primary template for the rapper Malkwon in Modern Cannibals); and Hennepin's surname, which comes from League of Legends pro player Johnny "Altec" Ru.

[signor-signor]

This month, it will have been 10 years (one decade) since Craig McCracken made a pitch for Season 3 of Wander Over Yonder, several months before Disney turned it down. While we wait for Craig to finish up whatever he’s been working on since he left Netflix (specifically, Foster’s Funtime for Imaginary Friends), let’s ask ourselves:

How do we get SaveWOY and other related material back on track in an effort to convince Disney to give WOY proper closure?

In other words…

How do we renew interest in reviving WOY?

Thanks to a user on a SaveWOY Facebook group, we have the information to explain it all…

Remember that Securing Disney’s approval is just Step 1, but to truly make a Wander Over Yonder revival work, we need Craig McCracken and the original creative team on board. Without them, the show risks losing what made it special in the first place.

STEPS FOR A SUCCESSFUL WOY REVIVAL

STEP 1: CONVINCE DISNEY TO GREENLIGHT THE PROJECT

• Show Disney that WOY still has a passionate fanbase and potential for success.

• Push for Disney+ as the ideal home, where revivals like The Clone Wars and The Proud Family have thrived.

• Emphasize the unfinished story—Disney knows that fan outcry for closure (Gravity Falls, The Owl House) can influence decisions.

STEP 2: ENSURE CRAIG MCCRACKEN & KEY CREATORS ARE INVOLVED

• Craig McCracken’s Approval is Crucial. WOY is his vision—without him, it wouldn't be the same. His presence ensures consistency in tone, characters, and storytelling.

• Other Key Members Needed - Jack McBrayer (Wander): His voice defines Wander’s character—recasting him would be a mistake.

Andy Bean (Composer): His music shaped WOY’s energy and emotional moments.

Other Writers & Animators: The humor, heart, and art style need the original team’s touch.

STEP 3: CAMPAIGN FOR THEIR RETURN

• If Disney says yes to a revival, the next step is getting Craig and his team excited about returning.

• Make it clear to Disney that a WOY revival must have the original team to succeed.

BOTTOM LINE

Getting Disney’s approval is the first major hurdle, but without Craig McCracken and his team, a third season wouldn’t be the same. Fans need to push for WOY’s return with the original creative team intact to preserve its heart and magic!

But that’s not all.

WHY THIS MATTERS FOR GAINING MORE SUPPORT

1. Clarifying That WOY Wasn’t Meant to End at Season 2 - Some potential supporters might think WOY had a proper ending, so they don’t see the need for a revival.

The campaign needs to spread awareness that Craig McCracken had a full third season planned and that the final episode wasn’t a real conclusion.

2. Attracting Fans of Other Shows That Got Proper Closures - Fans of shows like Gravity Falls, Steven Universe, or The Owl House—all of which got finales—might not feel the urgency to fight for WOY unless they understand that it was left unfinished.

Making the case that WOY deserves the same closure as those shows can help gain their support.

3. Using Other Fan Revivals as Inspiration - Campaigns like Young Justice and The Clone Wars proved that strong fan demand can bring back shows, even years later.

Showing that WOY has unfinished business makes the case even stronger—this isn’t just nostalgia, it’s about completing the story.

WHAT FANS CAN DO NOW

• Emphasize the Cliffhanger: Social media campaigns should highlight that WOY never got its intended ending.

Posts, videos, and petitions should stress that Season 2 was not a real finale.

• Engage Fans of Other Shows: Get Gravity Falls, Owl House, and Amphibia fans interested by framing WOY as the next show that needs proper closure.

Many of those fans already fought for extended content and could help boost the movement.

• Create Buzz Around Craig’s Original Plan: More people need to know that a fully planned Season 3 existed, but Disney shut it down.

Spreading concept art, old interviews, and Craig’s vision for Lord Dominator’s arc could build more excitement.

BOTTOM LINE

The more people understand that WOY wasn’t actually completed, the easier it will be to get broader fan support. The campaign needs to educate people on the cliffhanger and show why a Season 3 or TV movie is necessary to give the series the ending it deserves!

I couldn’t have said it all better myself.

[rholsof-film]

A Palate Cleanser on Proper Research

Witnessing so much discourse happen on astro tumblr it’s hard not to think about certain things. For one proper research; we’ve all had to do school projects that consisted of researching things and even understanding certain terms. When you get to university, and even grad school, research becomes even more fundamental to your learning. Gathering as much information as possible that is properly sourced—and even backed by scholars is imperative.

With that being said, I feel that proper research should be carried into everyday practice. From reading news articles to even scrolling through social media. With fake news becoming increasingly common in our political world it’s important to do a full circulation on what is valid information and know that you shouldn’t believe just anything you see on socials because someone said it was true and here is “proof” and it’s just one sentence in a conversation or it’s a cropped news article with no title. So how do we properly intake sources?

1. We don’t jump to conclusions because of multiple “tea” blogs that suddenly popped out of the blue proclaiming they are some type of judge or law enforcement of the astro community on tumblr and they are here to save the day. Always check for full context. Never trust cropped screenshots or isolated quotes without full conversations or source links. A valid source includes complete information, not just one sentence pulled from dialogue.

2. Verify the original source. Ask: where is this information coming from? Is it from a credible source? Was the source manipulated or altered? If the so called proof provided is a cropped photo of one sentence in a conversation instead of the full context of the conversation not being shown then it’s what? An invalid source. It would be convenient to know what the context of the source provided in full is but if it’s not provided then you can’t just assume what’s being provided is what actually happened.

3. Look for multiple perspectives, Don’t settle for one person’s version of events. Cross-reference multiple accounts, viewpoints, or witnesses to better understand what happened. if one side of a situation is the only side that’s presented then it’s just a half cup full. If the other context is missing you can’t really tell for yourself what actually happened. That’s not to say that someone that was hurt is invalid but you need to proceed with caution. It’s not to say you can’t believe what happened but you can’t just jump the gun without full context either.

4. Check for Bias! . What is a bias? Prejudice in favor of or against one thing, person, or group compared with another, usually in a way considered to be unfair. These tea accounts have been pointing fingers at each other claiming one another are biased. An most aren’t even active anymore except one. So, what’s there to do? Probably not fully believe what’s provided given full context isn’t there. Cropped conversations don’t give full depth to the situation, therefore you can’t really use the source material to determine if it’s 100% true.

5. Don’t confuse popularity with credibility. Multiple blogs, tea accounts, or threads say several different things—it doesn’t add up . Rumors spread like wild fire—accuracy requires verification.

An it’s so easy to believe what’s being said because of the emotional conviction behind it! However, a lot of the plot has been lost and there’s a clear bias being shown now. The other side of that story is still not being spoken—given the refusal to engage. All of this is very tired and I just want to make sure we all stay literate in how we properly engage with information being thrown. Because now we have multiple people throwing in a lot of different things and arguments it’s hard to even keep up. What was the actual baseline of all of this? Things have gotten so blurry and multiple long post have been made from several different accounts with cropped “evidence”.

Now I also want to add disclaimer since terms like racism has been thrown.

*Black people cannot be racist towards one another. They do not hold systemic power over one another in the way racism usually applies. Now, black people can harm each other through prejudice and bias but we as people don’t hold systemic power or oppression. An black Americans have reclaimed harmful terminology within their own communities that cannot be used outside of their communities. Each case is unique, the diaspora is very vast but we don’t hold systemic power over each other. *

*If you don’t believe I have credentials on this, I’ve had to take several research classes in knowing how to properly research, I’ve studied sociology in grad school, and I’m also black. However, this can be googled and verified and I implore people to do so! Don’t just go on my word, look it up yourself! Read thoroughly about racism, prejudice, bias, internalized racism, anti blackness amongst nonblacks, etc.*

If you’re as tired as I am reading through all this drama, take a break! An that’s all I’ll say on all this

Thanks for listening!

[mesetacadre]

(Different anon to the one who asked the original question)

Can you elaborate on this part of your post or give reading recs?

"The student, housing, queer, etc. movements will have varying importance depending on time and place, will be more or less permeable to communist positions, and it'll be more or less useful to participate in them. But the worker's movement, whose mobilizations always have a direct relation with the mode of production and capitalism's prime contradiction, should at all times be the focus of any pretension of revolutionary work."

I've been interested in this for a while, but I don't have enough knowledge to have a fully-fledged opinion. I just know I dislike the common "we shouldn't get involved with feminism/trans rights/[insert 'controversial' issue of the time] because it distracts from the worker's movement" or alternative "divides the working class" I hear on social media. I do not think the party needs to be involved in every space, and that sometimes we can even build alliances without dedicating our few and precious resources to work in certain movements, but I think the party lines do need to be defined and its members as well versed as possible in dialectical materialism to reach the appropriate conclusions. The issue is, knowing where to intervene and where to remain on the sideline seems a very complicated decision that some parties seem to base purely on "what are people talking about right now" and that also seems like an error, though I struggle to define how.

I'm not saying that those issues are distracting or unimportant, I'm describing the workers shift. The worker's movement must be a priority and the spine of a CP's work, because it's the closeness that it achieves with the working class at the whirlwind of class struggle that allows a party to actually exert a vanguard role. It's the recognition of the proletariat as the revolutionary class, the class that capitalism itself places as the bourgeoisie's undertaker because of its position in the capitalist mode of production.

Having said this, there are many more ways, or fronts, in which capitalism keeps the working class subjugated, and yes, divided. However saying that those other fronts divide the working class does not mean that they should be ignored, waved away as unimportant, on the contrary. It necessarily concludes that, if your goal is the unity of the working class in a single party, then the work in those fronts should be focused in that sense. Not abandon them, but also participate in these fronts just like a CP can participate in a worker-aristocratic union, to promote through the consistent allyship that only a consistent class position can bring the view of these structural oppressions through a class lens. Talk and fight for the struggle of gay, trans, migrant, women workers, because it is only by eliminating the infiltration of bourgeois demands in these movements that they can ever achieve liberation. If bourgeoisie feminism divides the working class across gender, then the only way to mend that division is to make feminist movements be hegemonically proletarian in class content through the intervention of the CP, not to completely abandon the fight against structural mysogyny.

So while I do agree with you that these phrases (divide the working class, it's a distraction, less important, etc) are generally said by reactionary workerists, I think they're taking a kernel of truth to form a lazy excuse for their prejudice. Marxism understands capitalism in its totality, starting from the abstract to work towards the most concrete, that is, complete, understanding of the mechanisms and relations of capitalism. Recognizing that these movements don't directly deal with the core of the mode of production should not mean disregarding them, it should mean engaging with them with the purview that the structures of oppression they fight are still important for capitalism's continued existence, and that therefore, can only really be removed by destroying the mode of production itself.

So I'd say that the criteria for a party's engagement with these questions should be to aspire to work for the proletariat's hegemony in all of them, and working towards that through prioritization without ever losing sight of the workers shift, because that's what gives the engagement in those other fronts any purpose. Looking at Europe, which what the text you quoted is dealing with, and also the context I know best, I think the priority fronts are migrant workers, working women, and trans workers, because the first two's oppression has a direct relevance to the current form of production in Europe, and because all three form the main avenues of attack against our class that reactionaries take.

The entire 9th issue of the International Communist Review deals with placing workers at the center of communist organizing (though I can't vow for what every participating party says or implies about these other fronts), and I've also talked more about how rejecting the centrality of work has come about in the historical CPs.

[lighthouseas]

hello! :)

i saw your post about stranger things s3 and it's satirizing of capitalism and america dreams

and while i totally agree that this is well-represented in certain area (and i would argue against the tags that it having a more bright, flashy coloring is symbolic as it's like the paint trying to hide the rust behind capitalism by branding itself as vibrant and happy)

but i do have to ask your opinion on the cartoonish representation (imo) of russian ? especially with russian terminator. i always felt like this part in the show was lacking.

hi!!! thank you for the ask actually. this is a topic i find very nuanced and interesting.

i will be the first to say - and you can check the og tags on that post where i conceded about this - that i don't think st3 is completely without its issues. this is one of them. while i do think, inevitably, the duffers WERE going to make russia a part of the plot (the show takes place in the 80s and focuses on a girl who was originally meant to be a spy for the cia. there is literally no way a plot concerning russia could have been avoided. hell they were LITERALLY TALKING ABOUT SPYING ON RUSSIA all the way back in SEASON ONE and yet people just seem to. forget about that. the cold war was, like, a pretty big thing in the 80s guys.) i also think the way they handled portraying russians was kind of stupid but i DO see where they were going with it and think it could've been something had it been handled better. and yes i do think the russian terminator vs hopper scenes were dumb as hell. they were too long and drawn out lol.

HOWEVER. when i say i like where they were going with it i mean that i think the concept was absolutely there - the portrayal of the "evil russians under the american town mall" was meant to add to the satirical aspect of s3, and i think it absolutely did at times. mainly because the only reason the russians were able to even get there is because of mayor kline (who is portrayed as the stereotypical white american male politician of the time) doing a shitty job and allowing them to infiltrate the town by leasing land to them. this led to the building of the mall which shut a ton of local businesses down. hm. an american politician let the russians in. not random citizens who were alleged to be spies at the time as was typical with the soviet spy paranoia. NO. IT WAS LARRY KLINE. THE RICH WHITE MALE CAPITALIST MAYOR OF HAWKINS. hm. interesting. which could mean NOTHING of course.

i also feel like the so called "cartoonish" representation of the russians, while, admittedly, not done very well, was also meant to add to the satire! because this is how russians are often unfairly seen and portrayed in american media, ESPECIALLY AT THE TIME! like, are they really bloodthirsty stoic mad scientists or are they just like us? no, how could they be? we are the Americans, the good guys. the capitalists. the innovators. it's not like we started this whole thing with opening the first upside down gates. it's not like we were the ones to let the russians in in the first place. no, the russians must just be evil. and us? well, we are free of blame just because we are american. ignore the homophobia, though. and the oppression. and the deaths. and the corrupt mayor. ignore all of it. keep being normal and blame russia for all of it - when the real truth of it is that we started it. we did it. and we are perpetuating that cycle of violence by not trying to make peace or put a stop to it all.

you see what i mean?

so, in conclusion - i think that this argument is more nuanced than people tend to make it (this is the stranger things fandom though so im not really surprised). the portrayal of the russians wasn't GOOD, but it also was never meant to come across as pro-capitalism and pro-america. in fact i would say that even reading it as that is totally and completely incorrect and also comes from a place of refusing to engage with the show beyond a surface level and what confirms one's biases about st3. i honestly think that the russia plot in s3 (because s4 is a whole other can of worms that i don't particularly feel like opening) was a great addition to the satirical aspect of the season. it reflected the u.s. government's crimes right back at them in an extreme manner, literally showing that because they meddled, because they opened those gates, now the gates have gone global and have the potential to get involved in international conflicts with them. which, as we know - has the potential to end the world as we know it. and then none of this stupid capitalism vs. communism shit will matter.

[aavec]

The post making the rounds about how westerners have boiled down Ghibli to “comfort uwu Japan” movies pisses me off sooo bad! So here’s my counterpoints:

1) Ghibli films ARE both serious and comforting, that’s the point. The world is hard and bad things happen, but there is also beauty and kindness and wisdom in the world and if you are open to what’s around you, you can navigate the challenges you face.

2) To somehow imply that the serious nature of the stories means that people can’t remark on the beauty of the animation or score is to disregard the talent that goes into making these movies so beautiful. Their beauty is also what has helped Ghibli become an internationally renowned studio- if they didn’t look like this, they may have not had Western releases in the first place! If not for the aesthetic food gif compilations, many may not have found these films!

3) Everyone talking about “they couldn’t handle Grave of The Fireflies” need to get off their high horses- we’ve all seen it, and yeah it’s deeply upsetting. That was the first movie that ever made me cry as a kid, and it taught me that a)it’s ok to cry at movies and b)sometimes crying is important, and yes- comforting! This is part of the appeal of Ghibli work!

4) While some Ghibli movies are distinctly set in non-Japanese settings, the ones that are set in Japan (or fantasy worlds based on Japan) are a love letter to the culture! If Westerners are inspired and curious about the bath houses, temples, islands, and history of Japan after seeing these movies, is that not intentional? Miyazaki’s love of other culture aesthetics has fueled some of the most beautiful Ghibli films, so that fascination is, to a certain extent, mutual. I’m not going to say that every westerner has embodied this appreciation without falling into appropriation, and I won’t condone that appropriation, but frankly that’s getting into a tangential discussion that should get its own post.

For my conclusion I’m going to refer to Mononoke specifically, because it was mentioned in the original post and many comments: San and Ashitaka represent two sides of the debate around environmentalism- San is militant, angry, and unbending/ Ashitaka is hopeful, compassionate, and curious about coexistence.

They can be interpreted as a representation of the serious/comforting dichotomy of ghibli movies perfectly. Does Ashitaka shoot off heads and engage in violence while on a mission of understanding and healing? Yes. Does San curl up for comforting and aesthetic naps with her giant wolf siblings in between acts of violent resistance? Yes.

The point is that both characters engage deeply with both the serious challenges and the comforting beauty of this world, and those who consume Ghibli films are also engaging with this balance. We need to be inspired to appreciate beauty while also engaging in activism. We need to be aware existential threats while also connecting to the people and world around us. To ask folks to focus only on the scary/serious aspects of Ghibli, as with life, is to invite burnout. To encourage people to see the scary and the beautiful as two sides of the same coin is (according to my interpretation) part of the mission of Studio Ghibli. This studio partially shaped my worldview, and I’m never going to shame myself or my friends for finding comfort in a serious film, because I want us to also find comfort in a serious world.

All this to say, I understand where the OPs were coming from, but in their opposition to those who deny the nuance of Ghibli they’ve created an equally nuance-free take which imparts moral superiority upon those who deny aesthetics in favor of “seriousness”. I don’t think this was their intention, bc there is a lot to be said about the way that westerners engage with non western media, the post just really spun out in a direction that I can’t agree with.

[haaniyasmp4]

Skibidi Toilet is a hilarious and absurd internet phenomenon that has captured the attention of many. It features a series of short, quirky videos that combine elements of humor, dance, and surrealism. The concept revolves around a toilet that has been anthropomorphized, often depicted dancing and engaging in various antics. This bizarre yet entertaining premise has sparked a wave of creativity among creators and fans alike.

The Skibidi Toilet videos typically showcase catchy music and exaggerated movements, making them highly shareable on social media platforms. The unique blend of humor and absurdity resonates with viewers, leading to countless remixes and parodies. This has created a community of fans who enjoy sharing their own interpretations of the Skibidi Toilet concept.

One of the key aspects of Skibidi Toilet's appeal is its simplicity. The videos often feature minimal dialogue, relying instead on visual gags and catchy tunes to convey humor. This allows people of all ages and backgrounds to enjoy the content without needing to understand complex narratives or cultural references.

The phenomenon has also sparked discussions about the nature of humor in the digital age. With the rise of platforms like TikTok and Instagram, short-form content has become increasingly popular. Skibidi Toilet is a prime example of how creativity can thrive in these formats, encouraging users to experiment with their own ideas and share them with the world.

As the Skibidi Toilet trend continues to evolve, it has inspired various merchandise, memes, and even fan art. This further solidifies its place in internet culture and showcases the creativity of its community. Fans often come together to celebrate their love for Skibidi Toilet, sharing their favorite videos and creating new content inspired by the original series.

The phenomenon also highlights the power of viral trends. What started as a simple idea quickly gained traction, demonstrating how quickly content can spread across the internet. This rapid growth has led to discussions about the factors that contribute to a trend's success, including relatability, humor, and the ability to evoke strong emotions.

Moreover, Skibidi Toilet serves as a reminder of the importance of humor in our lives. In a world that can often feel overwhelming, the absurdity of Skibidi Toilet provides a light-hearted escape. It encourages viewers to embrace silliness and find joy in the unexpected, reminding us that laughter can be a powerful tool for connection.

In conclusion, Skibidi Toilet is more than just a viral trend; it's a cultural phenomenon that showcases the creativity and humor of the digital age. Its unique blend of absurdity and catchy music has captured the hearts of many, inspiring a community of fans who continue to create and share their own interpretations. As we navigate the ever-changing landscape of internet culture, Skibidi Toilet stands as a testament to the enduring power of laughter and creativity.

[andronicmusicblog]

Hi-Fi Rush: A shadow drop to breakout hit

Hi-Fi Rush an "over the top" rhythm action game called. It explores combining music and gameplay mechanics to create an engaging experience for players.

Hi-Fi Rush, a rhythm-action game from Tango Gameworks, was released as a shadow drop on January 25, 2023, surprising and delighting gamers alike. The game was critically acclaimed for its unique gameplay, vibrant visuals, and catchy soundtrack.

In a recent interview, Hi-Fi Rush director John Johanas revealed the game's journey from shadow drop to breakout hit. He said that the team originally wanted a short marketing campaign, but they couldn't find a good time to launch the game without being overshadowed by other releases.

"We wanted a very short campaign," Johanas said. "Realistically, we wanted something like 3 months. [...] But then we just could not find a good time to make it feel like it wouldn’t get overshadowed by anything else."

So, the team decided to shadow drop Hi-Fi Rush. This was a risky move, but it paid off. The game quickly gained traction on social media, and word-of-mouth spread quickly. Hi-Fi Rush became one of the most popular games on Xbox Game Pass, and it was praised by critics and gamers alike.

"When it came out, it was all a lovely surprise," said Hi-Fi Rush producer Shinji Mikami. "Because you don’t have any information of that ad campaign and so there was that kind of strangely nostalgic feel to it."

Johanas said that Hi-Fi Rush was a passion project for him. He wanted to create a game that was fun and nostalgic, and he hoped that it would resonate with other gamers who had similar desires.

"It was really a game made for me," Johanas admitted. "But if I think if this game is made for me, then there’s probably a lot of people who also will also resonate with this idea."

Hi-Fi Rush's success is a testament to the power of word-of-mouth marketing. The game showed that gamers are still willing to take chances on new and unknown releases, especially if they are well-made and enjoyable.

The music of Hi-Fi Rush

One of the things that makes Hi-Fi Rush so special is its music. The game features a diverse soundtrack of original music, including rock, pop, and electronic tracks. The music is perfectly integrated into the gameplay, and it helps to create a truly immersive experience.

The music for Hi-Fi Rush was composed by a team of talented musicians, including Daisuke Asakura, Wataru Hokoyama, and Masatoshi Yanagi. The team worked closely with Johanas to create a soundtrack that would fit the game's tone and style.

"We wanted the music to be catchy and fun, and to really get the player's blood pumping," said Asakura. "We also wanted to make sure that the music was integrated into the gameplay in a meaningful way."

The team succeeded in creating a soundtrack that is both catchy and meaningful. The music of Hi-Fi Rush is one of the things that makes the game so special, and it is one of the reasons why the game has been so successful.

Conclusion

Hi-Fi Rush is a breakout hit that has shown the power of word-of-mouth marketing and the importance of creating a well-made and enjoyable game. The game's success is also a testament to the talented team at Tango Gameworks, who created a unique and innovative experience.

[hueynomure]

top 5 fics you've written!!

Ooo, that's a tricky one! I'm only gonna consider finished Ao3 autonomous fics - there's so many WIPs in my folders, so many enticing ideas that haven't turned into real fics (yet)... I've also written quite a bit for the Magic: Expanded Multiverse project (Magic the Gathering fics, but keeping the worldbuilding roots and giving a wide berth to canon) and permutations of my own OCs there, but calling most of them - and especially my fave to write - fully autonomous fics would be a bit disingenuous, I feel. I'm still pretty proud of those, though.

So, without further ado and in no particular order, these are the 5 fics that come to mind right now when I think of being the best for me, in combined terms of quality and importance for myself and my growth as a writer:

Dragon's Blood: a classic fairy tale about princes, dragons and maidens fair... with a twist. I've had a lot of fun, experimenting with the narrative tone! The connection with the original media is practically nonexistent - a wink to a certain character of the aforementioned MtG fan project.

The Antlion's Den: A Naruto recursive fanfic. I have an undying appreciation for what @jumpingjacktrash did for me just by existing and posting his stories, so when I had the inspiration to make recursive fics of his work I jumped at the chance to... return the favor, in a sense? The Antlion's Den is the meatier of the two fic, featuring his OC being cute, my OC being a bastard and a bigass fight at the end... when he said it was the best recursive fic he had ever received it easily made my week - I still smile at the thought.

Farewell gifts: This is a shared spot with Breaking Point and Woven In, really - they are my first steps in the Miraculous "fanficdom", but while Breaking Point features one of my best tropes ever and it's my very first ML (and Loveybug!) fic, Farewell Gifts features the Mariwalker post-reveal scene I wrote in THREE DIFFERENT FICS (wtf) and most importantly it was the first time I tried to engage a sweet, adorable teenage romance on its terms - I'm way more used to write gritty fights, bitchy dialogue and angst.

Undercover: the first smut I publicly shared! It was so exciting, to explore this whole new genre, weaving fluff and smut with no further goal than indulging my writing itch! And the response was incredible, it gave me so much confidence to continue and eventually write Augmentation and its continuation, which I'm pretty sure I'll finish writing at some point. Speaking of long-awaited conclusions...

Are Hexagon Square Dances a Thing?: if you had asked me a few weeks ago, this wouldn't have made the cut. I was so excited to join in @asukiess's Valentine Week celebration of Loveybug, figuring out a way to use all the LoveyWeek prompts to build some sort of plot (with @mostmagical's amazing help) and daily posting was so much fun! ...until it came to a jarring stop. The very last chapter got stuck in my brain sideways, and it took me EIGHT MONTHS to get through it. It soured the whole memory of that delightful week for me, so I'm glad I was able to finish it. To keep with the First Times theme, this was the first fandom event I joined in my life! And except for that snag at the end, I had a grand time.

Thank you for the ask! It was cool, to look back at my work this way 💜

[bookstorethembo]

Hi. If you read that text block and agreed with it, this post isn’t for you. Sorry for the confusion.

One of my favorite quotes from the VP debate is “That’s a gross generalization.”- Tim Walz.

This is in fact a VP debate rant. If you’re not here for it, bye, have a nice day.

I need to gather my thoughts and tumblr is the only place I can scream into the void where the void sometimes screams back.

First and foremost, this text block contains two cognitive distortions: jumping to conclusions and over generalization. A LOT of quick little media doodles contain cognitive distortion (not picking on this particular snippet, this was just close at hand to use as an example and I originally grabbed it to remember two parts of the debate I wanted to talk about specifically). Anyway, if you don’t know what cognitive distortion is, I urge you to read up on it. It’s important to note that the “shots fired” type of posting that is so automatic and common on every social media platform today is harmful to your wellbeing. You’re playing yourself by participating in a social practice that is not mindful but impacts the frame of your thoughts regardless, subconsciously. The more cognitive distortion you passively skim and interact with, the more it will change the process of thought until your initial reaction to things will be in that same frame of mind. Don’t add hundreds to your therapy bill by handicapping your consciousness, friends. Read up cognitive distortion, know what it is and call it out when you see it, even just to yourself so you become more aware of when it is happening.

I say all that to say- when someone is trapped in these thought patterns, it becomes easier to manipulate them. And that’s what this is really about. Know when you are being manipulated by knowing the framework. That’s all. Emotional intelligence isn’t taught to us in school (at least not my school, or my home) so it is on us to do our own homework to be stronger and kinder individuals that can sidestep false narratives without engaging emotionally in the process.

Now. Onto the real reason I grabbed this text block.

A perspective on abortion and the right to autonomy: Vance said “One of the things that changed is in the state of Ohio, we had a referendum in 2023 and the people of Ohio voted overwhelmingly, by the way, against my position. And I think what I learned from that… is that we’ve got to do a better job at winning back people’s trust.”

My wife and I got married in Ohio in late September of 2023, and there is one thing that I will never forget about the day before my wedding. My sister and her family had just drove up from Tennessee to celebrate with us and I was with my sister on a coffee run when she said to me “Wow. What’s going on here guys? Why are there so many ‘pray to end abortion’ signs in everyone’s yards? I think I saw a billboard.” She did see a billboard. There were several in my small city ranging from run of the mill ‘pray to end abortion’ to some that were very damning of women’s rights to make their own decisions using the words murder and other criminal language.

I didn’t live in a big city like Columbus or Cinci or Cleveland where pro choice had an equal voice. I lived in rural big town small city Northwest Ohio where the Catholics had the most money of any demographic outside of farmers and the vendiagram between those two descriptors was almost a circle. So, there was a lot of money available to one specific caste and money talks.

What really bothers me about what Vance said is “we’ve got to do a better job at winning back people’s trust.” In the weeks leading up to the referendum there were protestors at the courthouse every day. Stories were circulating about women who had been given terrible medical care because of the grey area of law that had been created. Doctors were afraid of what they could and couldn’t legally do because it wasn’t a clear cut policy. There were plenty of distractions from the demonization of trans people to the demonization of health care practices en masse involving reproductive rights and women’s health- things that hadn’t even been passed into law but were hot button topics keeping people at each other’s throats about which side of the political spectrum they were on. It’s silly how divided people become on basic human rights. It’s nuts that we want to focus so much on one or two parts of the constitution that we will alienated whole sections to do so. It’s sad that the laws put into place that led to the referendum created chaos for citizens of Ohio as life-or-death decisions were left to be hashed out between medical professionals and the insurance companies of the people they were trying to care for. It was ridiculous. So when he says he needs to earn back the trust of the people, I need anyone who wasn’t living there at the time to know how badly he butchered the policies he tried to implement. The overall concept of the people he represents is that the state should have the right to decide. But as a person that was living in the state where he implemented the decision and it had to be voted against, I’m here to tell you, it’s not that simple. Because what he really did was put into practice laws that didn’t guard the people and their medical decision, but instead left a bargaining chip open for their insurance companies to use against them. It’s about money guys. It always has been. It always will be. There is no law in action that wasn’t brought to the table because of someone’s interest in protecting their investments.

Which brings me to my next thought. The right to bear arms.

The moderator asked Tim Walz to clarify his position to which he replied, “I’m of an age where my shotgun was in my car so I could pheasant hunt after football practice. That’s not where we live today.”

Clever answer. Very clever. Let’s slice it up and examine it. He is saying things have changed since he was a teen. What has changed? The death rate of human vs. ammunition. Why? The type of weapon and the availability. Note that he said shotgun and not assault rifle. Do you know how long it takes to load a shot gun? Do you know the firing time of a semiautomatic rifle?

A COMBAT shotgun fires 300 rounds per minute. Approximately. The second amendment was written before that kind of weapon even existed. It is not meant for that type of force. It should not be taken out of context to protect the current standard of force guys. This is the issue.

In comparison:

Assault rifles fire 600-1100 rounds per minute.

Assault rifles my guy. The use is in the name of the tool. An AR-15 (the most common example I have seen used personally by NRA supporters) something I could go out and buy RIgHT NOW, can fire 600 rounds per minute.

Just. Throwing that out there.

Also. I’m pretty sure the second amendment was pointing toward the right for citizens to own weapons to protect themselves and unite as a private militia if deemed necessary (think revolutionary war and civil war). The only reason we need that kind of fire power to protect against an attack (by a government or government agency as that law would have considered), is because the military budget focuses more on an arms race than it does on the human race it employs. Point. Blank.

Reframe the existing structures. Stop the government (any side, all sides) from using private defense companies and their billions as their moral compass, and you stop the gross over production and circulation of military grade weapons. Period.

We can create the place we want to be, but we have to look past the curtain and see who is really operating the machine.

[actuallylorelaigilmore]

2023 Movie Journey #8: The Menu

the menu. i’m glad i decided to watch this one. it wasn’t originally on my list, because i only knew ralph fiennes was in it and it’s about food--neither of those are specific draws for me. i had heard it involves class issues, it was being compared to glass onion in headlines i skimmed, so i wasn’t totally opposed to it, i just wasn’t sure either way. but then i saw john leguizamo talk about his role in an interview, and i hadn’t realized he was part of it; that made me reconsider. and then my favorite movie podcast put out an episode where they discussed m3gan--which i am desperate to get someone else’s opinion on since i saw it alone--BUT the episode also includes discussion of the menu. so i figured if i was ever planning on watching the menu, i had better do so soon, and then i’d be able to enjoy that podcast double-feature. (which now i can, yay!)

but my impression of this movie was definitely wrong, i’ll start by saying. i didn’t know it was really a horror movie--i knew there was some violence or gore, but i honestly thought for some reason that it was a movie about cannibalism, where the menu involved killing and cooking the customers. i have no idea where i got that idea, since it is not true. so now i’ve already watched more horror movies this year than i have in the last several combined, even if this one was by accident. and since i’m about to watch scream 5 (because i never did when it came out) in order to decide if i want to see scream 6 in the theater, i’m starting to reacclimate to horror and that’s a surprisingly nice feeling. in real life, i prefer to avoid violence always...but i’m okay with being desensitized to it in media because i don’t get to choose which stories include violence (so many!) and those stories can hold a lot of value for me otherwise.

anyhow, this movie really was good, and i’m not sure i have too much to say beyond that--the cast is great, from personal faves like judith light and nicholas hoult to reliable talents like ralph fiennes and anna taylor-joy. i didn’t realize before watching this that ralph fiennes is a jkr defender, so obviously that sucks, but he was hitting all the necessary levels in this--terrifying, sad, obsessive. and anna taylor-joy was another actor i didn’t even know was in this, which is pretty funny since she’s the real star. she makes an excellent final girl and as somebody who couldn’t get through the queen’s gambit i am thrilled to now know more of her work. i adore her thanks to this movie alone.

i did engage my newly-implemented horror rule of looking away when i need to--there are multiple suicides in this, for example, but most of the deaths were telegraphed well in advance so i didn’t have to see them. and because of my relationship to food, tbh there were some times when i looked away that didn’t involve any violence at all. this movie is simultaneously a love letter to food and a takedown of foodie culture, as much as it’s a takedown of wealthy restaurant customers and the way that restaurant culture destroys the workers that pour their lives into crafting food. because i’m so detached from food, i mostly enjoyed it as a well-told story rather than relating to any of it. 

i will add though that this is a fucking weird movie. that was my first immediate impression as i was watching it, so i shouldn’t just say i liked it without adding that. it is incredibly dark and twisted. but it so clearly knows what it wants to be doing that i was happily along for the ride. there’s something really enjoyable--at least for me--about a movie that’s completely committed to its premise, no matter how intense or specific (or bizarre) it may be. 

oh, also i liked the soundtrack to this one a lot. it wasn’t exactly all that special, more of the ‘classical with a modern twist’ that i love whenever i encounter it...but it made it fun for me to let the credits play to the end, because i enjoy that style of music all the time.

in conclusion, i would recommend this one if you like the cast, are interested in commentary on fine dining and the people that create it, or enjoy modern horror movies (especially ones that justify murdering the wealthy). i liked it a lot more than i thought i would.

[happymodiosjailbreak]

Potion Permit Mod APK

Welcome to the enchanting world of Potion Permit Mod APK, where magic, adventure, and alchemy blend together to create an unforgettable experience. If you're looking for a game that combines elements of RPGs, simulation, and crafting, then you've come to the right place. In this article, we'll dive deep into the world of Potion Permit Mod APK, exploring its features, gameplay, and how you can download it from our site https://www.potionpermitapk.com/potion-permit-mod-apk/.

What is Potion Permit Mod APK?

Potion Permit Mod APK is a modified version of the popular game Potion Permit, developed by MassHive Media. This version offers enhanced features and gameplay elements that are not available in the original game. With its captivating storyline, engaging gameplay, and beautiful pixel art graphics, Potion Permit Mod APK promises an immersive gaming experience.

Key Features of Potion Permit Mod APK

Unlimited Resources: The mod version provides unlimited resources, allowing you to craft potions and upgrade your equipment without any limitations.

Enhanced Graphics: Enjoy improved graphics and animations that bring the world of Potion Permit to life.

New Quests and Challenges: Discover new quests and challenges that will test your alchemy skills and strategic thinking.

Customization Options: Customize your character and home with a variety of options to make your experience unique.

No Ads: Play without any interruptions, as the mod version eliminates all advertisements.

Gameplay Overview

In Potion Permit Mod APK, you take on the role of a skilled alchemist sent to the small town of Moonbury. The town's mayor has requested your expertise to cure his daughter and other townsfolk of various ailments. Your mission is to gather ingredients, brew potions, and heal the residents, all while exploring the vast world around you.

The game combines elements of exploration, crafting, and relationship-building. You'll interact with the townsfolk, forge friendships, and even find romance. Each character has a unique story, and your interactions with them will shape the course of the game.

How to Download Potion Permit Mod APK

Downloading Potion Permit Mod APK is easy and straightforward. Simply follow these steps:

Visit our website at https://www.potionpermitapk.com/potion-permit-mod-apk/.

Click on the download link for Potion Permit Mod APK.

Once the download is complete, locate the file in your device's download folder.

Install the APK file on your device. Make sure to allow installation from unknown sources in your device settings.

Open the game and start your magical adventure!

Tips for Playing Potion Permit Mod APK

Gather Ingredients Regularly: Ingredients are essential for crafting potions. Make sure to explore the world and gather as many as you can.

Prioritize Quests: Completing quests will help you progress in the game and unlock new areas and features.

Build Relationships: Interacting with the townsfolk is crucial. Build strong relationships to gain their trust and unlock new storylines.

Upgrade Your Equipment: As you progress, upgrade your equipment to improve your potion-making abilities.

Experiment with Recipes: Don't be afraid to experiment with different ingredient combinations to discover new potions.

Conclusion

Potion Permit Mod APK offers an enchanting blend of adventure, crafting, and storytelling. With its unlimited resources, enhanced graphics, and new challenges, this mod version takes the original game to new heights. Download it today from our site and embark on a magical journey in the world of Potion Permit. Whether you're a seasoned alchemist or a newcomer to the genre, this game promises hours of engaging and immersive gameplay. So grab your cauldron and start brewing - the town of Moonbury awaits your expertise!

[youroriginalcontent]

How a Global Content Writing Agency Can Boost Your Online Presence

Efficient online decision-making is a must for any business, regardless of size. A strong online presence includes more than a good-looking website and social media platforms.

Content production has to be the priority to remain on top of the game, with or without the required skills and resources. This is where the Global Content Writing Agency would be the perfect person in this scenario. In this piece of writing, we are going to discuss the ways in which a Global Content Writing Agency can multiply the effectiveness of your online presence and help you achieve the targets of the business.

1. Access to a Wide Pool of Talent

The agency's key competitive advantage is utilizing global talent with professionals based worldwide. The agencies take advantage of special aspects of writing and are resourceful as they have experienced writers with skills that concern different industries, niches, and languages. That will be the case since your content needs will always be met with the selection of a professional writer with the skills and knowledge to compose top-notch content that appeals to your target audience.

Moreover, the Global Content Writing Agency can bring you new perspectives; through it, you will find out how different cultures and preferences are viewed. This keeps the conversation going and is highly beneficial if your brand targets an international audience or expands into new markets.

2. Consistency and Quality

It is important to keep the continuity and quality of your content intact if you`re looking to develop a proper brand identity and interest in the viewership. The Global Content Writing Agency can assist you in this endeavor by defining an appropriate content strategy and a rulebook that corresponds with your brand voice and should be consistently communicated.

They'll be ready to execute an individual work plan based on your demands and unique interests, ensuring that all the content created is up to your standards and meets your expectations. This may entail adhering to the grammar, style, and formatting rules, adding keywords, and optimizing the content for the search engine.

3. Scalability and Flexibility

As your business starts and develops, you will need more related content accordingly. A Global Content Writing Agency can provide the required scalability and flexibility to address changing needs. From a one-off freelance project to consistent content assistance, they have relevant solutions to match your requirements.

4. Cost-Effectiveness

Retaining an in-house content team can be quite costly, especially if the marketer needs to employ every type of specialist and expert. By utilizing a Global Content Writing Agency to create your content, you can save on the costs of hiring, training, employee benefits, and a lot more.

Furthermore, a global agency can provide you with attractive prices and flexible rates that can ease pressure on your budget and adjust to your needs. Consequently, you don’t have to spend a fortune on content writing services since you can get quality services that match your needs.

Conclusion

Employing a Global Content Writing Agency can be the game-changer you need to look beyond and expand your online presence. Utilizing the experience and the expertise of such a respectable agency as Your Original Content, you can engage your audience effectively with content that is unique and interesting and helps your company to differ from the competitors.

[monetfawn]

AudGram: The Intuitive Platform for Effortless Audiograms

In today's thriving audio content scene, creators, podcasters, and marketers are constantly seeking innovative methods to broaden their audience reach and heighten engagement. Enter AudGram, a groundbreaking platform that transforms audio content into visually captivating audiograms. This tool not merely raises the visibility of audio content but additionally boosts its engagement potential, allowing creators to refresh and reimagine their existing material.

Unlocking the Power of Audiograms

Audiograms combine audio clips with visual elements, providing a compelling approach to share crucial insights, standout moments, or memorable quotes from podcasts along with other audio formats. Research shows that visual content significantly increases engagement on social websites. By converting audio into audiograms, creators can attract more listeners and encourage search for the total content. AudGram streamlines this method with the easy-to-use interface for creating these dynamic visual assets.

Tailored for Versatile Creators

Recognizing the diverse requirements of its users, AudGram is made designed for content creators, podcasters, and marketers. With a focus on optimizing user experience, the woking platform offers features that appeal to the initial needs of each and every group. Podcasters can highlight captivating moments off their episodes, marketers can get promotional snippets for campaigns, and content creators can spread engaging soundbites across various platforms. This versatility makes AudGram an important tool for everyone trying to expand their audio content's reach.

AI-Driven, Easy-to-Use Platform

A standout feature of AudGram is its AI-powered technology, enabling users to produce high-quality audiograms without technical know-how. Its intuitive design ensures accessibility for all, irrespective of their background in audio or graphic design. Users simply upload their audio, choose visual components, and let AudGram's AI handle the remaining. This approach removes the steep learning curve often associated with creating audiovisual content, allowing creators to concentrate on crafting compelling audio.

Features to Enhance Engagement

AudGram offers a suite of features built to maximize audiogram impact. Users can customize backgrounds, select fonts, and add subtitles or captions. Additionally, the working platform includes waveform animations, adding dynamism and visual interest to audiograms. These enhancements not merely enhance the look and feel from the content and also ensure greater accessibility for audiences who consume content without sound.

Boosting Social Media Impact

In the digital era, social networking is a vital element of any content distribution strategy. AudGram's audiograms are optimized for platforms like Instagram, Twitter, and Facebook, making it easier for creators to interact with their audience. The visual part of audiograms raises the likelihood of capturing the interest of potential listeners, driving them to explore the original content. By utilizing AudGram, creators can significantly strengthen their social websites presence and interact more efficiently with followers.

Conclusion

In conclusion, AudGram represents a significant advancement within the sharing and experiencing of audio content. By transforming audio files into engaging audiograms, this platform enables content creators, podcasters, and marketers to effortlessly improve their visibility and engagement. As the requirement for audio content is maintaining growth, platforms like AudGram will probably be essential in helping creators actually know the chance of their work, ensuring they remain influential and relevant inside a competitive landscape.

You can find the Audgram review video by following this link: https://youtu.be/xI0ytoDRZuE?si=o2Q89owSTTczX6-o

[itsameyallixd]

Discover the Power of AudGram in Visual Content Creation

In a period where audio content has surged in popularity, content creators, podcasters, and marketers are constantly seeking innovative ways to boost their reach and engagement. AudGram emerges being a groundbreaking platform designed specifically to change audio content into visually captivating audiograms. This innovative tool not just amplifies the visibility of audio content but also helps it be more engaging for audiences, allowing creators to leverage their existing material in new and inventive ways.

The Power of Audiograms

Audiograms combine audio snippets with visual elements, which makes them a highly effective medium for sharing insights, highlights, or quotes from podcasts as well as other audio content. Research has shown that visual content can significantly increase engagement rates on social websites platforms. By converting audio files into audiograms, creators can have more listeners, encouraging the crooks to engage the total content. AudGram simplifies this method, providing a user-friendly interface that streamlines the creation of these dynamic visual assets.

Tailored for Creators

Recognizing the diverse needs of their users, AudGram is crafted designed for content creators, podcasters, and marketers. With a target enhancing buyer experience, system offers features that focus on the initial requirements of every group. Podcasters can highlight compelling moments off their episodes, marketers can create promotional snippets for campaigns, and content creators can share engaging soundbites across various platforms. This versatility makes sure that AudGram is usually a valuable tool for anyone aiming to expand their audio content's reach.

Intuitive AI-Driven Solution

One of AudGram's standout features is its AI-driven technology, that allows users to generate professional-quality audiograms without any technical skills. The intuitive design can make it accessible for all, no matter their familiarity with audio or graphic design. Users simply upload their audio files, choose their desired visual elements, and let AudGram's AI handle the remaining. This eliminates the steep learning curve often related to audiovisual content creation, allowing creators to target what they do best: producing compelling audio content.

Features that Elevate Engagement

AudGram comes with a plethora of features designed to increase the effectiveness of audiograms. Users can customize backgrounds, select fonts, and add subtitles or captions with their audiograms. Additionally, the platform provides choices for waveform animations, making audiograms more dynamic and attention-grabbing. These features not just improve the aesthetic benefit of this content but in addition be sure that it can be offered to a wider audience, including those that may be listening without sound.

Amplifying Visibility on Social Media

In today’s digital landscape, social networking is a vital element of any content distribution strategy. AudGram’s audiograms are optimized for sharing on platforms like Instagram, Twitter, and Facebook, making it easier for creators to succeed in their audience. The visual format is more more likely to catch the eye of potential listeners, getting visitors or traffic to the original content. By utilizing AudGram, creators can significantly boost their social media presence and build relationships with their audience more effectively.

Conclusion

In conclusion, AudGram represents a substantial advancement in the way audio submissions are shared and consumed. By transforming audio recordings into engaging audiograms, this platform empowers content creators, podcasters, and marketers to elevate their visibility and engagement without the need for technical expertise. As the requirement for audio content continues to grow, platforms like AudGram may play a pivotal role in assisting creators harness the total potential of these work, ensuring they remain relevant and impactful in the competitive landscape.

Click this link to watch the Audgram video review: https://youtu.be/xI0ytoDRZuE?si=o2Q89owSTTczX6-o

[madmancodyg]

Visualize Your Podcast with AudGram’s AI Tools

In a period where audio content has surged in popularity, content creators, podcasters, and marketers are constantly seeking innovative ways to enhance their reach and engagement. AudGram emerges like a groundbreaking platform designed specifically metamorph audio content into visually captivating audiograms. This innovative tool not merely amplifies the visibility of audio content but also causes it to be more engaging for audiences, allowing creators to leverage their existing material in new and inventive ways.

The Power of Audiograms

Audiograms combine audio snippets with visual elements, making them a highly effective medium for sharing insights, highlights, or quotes from podcasts as well as other audio content. Research has shown that visual content can significantly increase engagement rates on social media platforms. By converting audio tracks into audiograms, creators can attract more listeners, encouraging the crooks to build relationships with the total content. AudGram simplifies this procedure, providing a user-friendly interface that streamlines the creation of these dynamic visual assets.

Tailored for Creators

Recognizing the diverse needs of their users, AudGram is crafted especially for content creators, podcasters, and marketers. With a concentrate on enhancing buyer experience, the platform offers features that cater to the initial requirements of each group. Podcasters can highlight compelling moments from other episodes, marketers can make promotional snippets for campaigns, and content creators can share engaging soundbites across various platforms. This versatility helps to ensure that AudGram could be a valuable tool for anybody trying to expand their audio content's reach.

Intuitive AI-Driven Solution

One of AudGram's standout features is its AI-driven technology, which allows users to generate professional-quality audiograms without the technical skills. The intuitive design helps it be accessible for all, in spite of their familiarity with audio or graphic design. Users simply upload their audio recordings, choose their desired visual elements, and let AudGram's AI handle the remaining. This eliminates the steep learning curve often connected with audiovisual content creation, allowing creators to give attention to what they do best: producing compelling audio content.

Features that Elevate Engagement

AudGram comes with a plethora of features meant to enhance the effectiveness of audiograms. Users can customize backgrounds, select fonts, and add subtitles or captions for their audiograms. Additionally, the platform provides selections for waveform animations, making audiograms more dynamic and attention-grabbing. These features not only increase the aesthetic appeal of the information but additionally ensure that it can be accessible to a wider audience, including people that could possibly be listening without sound.

Amplifying Visibility on Social Media

In today’s digital landscape, social media is a component of any content distribution strategy. AudGram’s audiograms are optimized for sharing on platforms like Instagram, Twitter, and Facebook, making it easier for creators to achieve their audience. The visual format is a lot more more likely to catch a person's eye of potential listeners, driving traffic on the original content. By utilizing AudGram, creators can significantly boost their social media presence and build relationships with their audience more efficiently.

Conclusion

In conclusion, AudGram represents a tremendous advancement in how audio content articles are shared and consumed. By transforming audio tracks into engaging audiograms, this platform empowers content creators, podcasters, and marketers to raise their visibility and engagement without making use of technical expertise. As the need for audio content keeps growing, platforms like AudGram can play a pivotal role in helping creators harness the entire potential of these work, ensuring they remain relevant and impactful in a competitive landscape.

Explore the Audgram review video at these links: https://youtu.be/xI0ytoDRZuE?si=o2Q89owSTTczX6-o