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bidrums · 3 years

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My idea for the Repo sequel that we’ll never get and if we do probably won’t be like this but it’s my post and my idea so fuck it

Potential title- Repo! The Genetic Opera 2: Great Googly Moogly It’s All Gone To Shit Even More Than The Last Time /j

This will be a bit rambly and all over the place, and I’m going to format it with character arcs rather than plot points. Hopefully that will make this less all over the place.

So without further ado, here’s my idea:

(Read more because this will be loooooong)

General ideas:

-This will focus on the long-term fallout from the Opera Incident in the first film. It will be focused on one event, but on a larger scale

-Two plots: Master Plot and Lower Plot (because there will always be 20 subplots in an opera and I want to distinguish the main subplot from the other 19 lol)

-The themes from the original story of 1. Destiny versus choice and 2. Dystopian Economic Lessons will still be present

-It’s still an opera and we will milk all the opera we can out of it dammit

Master Plot:

-Set this years after the Opera Incident

-Focus on the Largo siblings and have Shilo be more on the side

-Go more into MOS and just how it affects people

-The tension will be the fact that Amber has her brothers on short leashes but is barely able to keep them in line, and it’s obvious to anyone with a set of eyes (so all the poor people)

-Luigi is in charge of the Repo Men, and he’s loving it. Unfortunately, he’s been ramping up their activity and setting them loose on everyone every chance he gets. Over the course of the story he’s shown to be going after people he has personal grudges against, as well as anyone he thinks will bring a profit to Geneco. He’ll get killed by one of his cronies, which he’ll be very shocked by

-Pavi’s in charge of surgery operations, but the messy parts that aren’t glamorous and are more importantly out of any PR fiascos. That doesn’t stop him from getting into PR fiascos, but those are just him being him. He also uses his position for personal gain, having a new face each week and having to replace Genterns and customers each week. His fate will be more ambiguous, but he does lose access to all his faces and will be cut off from the power that let him run around doing it. It’ll be heavily implied he gets MOS.

-Amber is just Not Vibing. She isn’t the star opera singer, having a company to run and all, and she HATES that. She’s good at handling the PR and appearing competent and even has gone without changing her appearance for a month! But she’s also struggling with the management side of things regarding surgeries and the organs and keeping the repossessions on schedule. And her history with street zydrate doesn’t help with the efforts to crack down on illegal Z doings, which she has been doing (the Repo men do more than repossess now!). She also knows her brothers are cooperating until they get the chance to take over and is trying to get that to not happen in her lifetime. At the end she’ll be stripped of everything and will be just another face looking for a hit of z in the crowd

-There’s gonna be a lot of trios and duets about these three, and Amber gets a couple of solos. As a treat.

-The Repo Men play a bigger role in this, obviously. Expand on the lore of the Repo Man, but keep them faceless unless they’re injured in some way (for example, Luigi stabs one to make a point). Make it clear that a good chunk of them are doing this under duress, wether to pay for a surgery or because of blackmail. But those people aren’t distinguishable under the uniforms. At the end they as a collective will be the ones in charge and not just the servants of the company, and everyone will live in fear of the Repo Man regardless of if you’ve paid off your debt or not

-Graverobber is still the narrator and he’s the only character that’s consistently thriving. More bodies to make more Z, after all. He’ll be the one to introduce the concept of an economic bubble, which will build off of the “for every market a submarket grows” deal he had, as well as set the stakes for Geneco. He’s gotten bolder, lurking around company property and doing business in more places than just alleys. No backstory, he doesn’t need one. He’s here to narrate shit and give you the cure. At the end, he’s the king of the streets and if you aren’t one of the people who can afford the ever-increasing expenses of getting treated by Geneco, you go to him.

-The climax will start with a broadcasted speech by Amber (thinking of something like “An appeal to [something]”. It’ll be right after Pavi gets demoted in whatever way he gets, and it’s intercut with Luigi and the Repo Men. The speech will be a solo set in the Opera and will basically be Amber trying to keep things under control as well as try to get the people who have been starting to rebel to not and work things out. It’s interrupted by the Repo Men stabbing Luigi and tossing his corpse onto the stage. Then we get something called “The bubble pops” or similar, which is the payoff for the economic bubble motif. Maybe something about crashes. People flood the opera from everywhere, carrying Amber and the remaining Genterns with them. It spills out into the streets, where confused and scared people are surrounded by the people hurting. And in the eye of the storm, narrating everything as calm as can be, is Graverobber

-The last song is the aftermath where Graverobber is hanging out doing his thing while the Repo Men prowl the streets. Not everything completely sucks, and you know eventually someone else will take over and build another market that will spawn a sub-market. That’s for another day, however.

Lower Plot

-A few side characters that work for Geneco will have some focus, mainly in the departments of “trying to keep this company going” and “trying not to die due to the Largo siblings”. They’ll be used to show how the power struggles trickle down through the company until they alongside the Repo Men take that power away.

-But the lower plot belongs to my girl Shilo.

-Poor Shilo can’t catch a break ever and I’d like to apologize for adding to that fact

-Shilo, having reclaimed her identity and her destiny, is still scared of what her father’s legacy will do to her and how people perceive her. So she swaps out one form of isolation for another, this time doing as much as she can to donate and start things to curb the need for Repo Men. They’re not very successful and have become something of a joke or just a hollow way to act like she’s doing something. Which she’s trying to do, she really is. She’s just not very successful

-She’s kept the holograms of her mom but has added a few of Nathan as well. The basement kill room is now her bug collection room. Small changes like that, but it’s not that changed

-She doesn’t really go out during the day that much, and only sticks to a few locations at night. She will hang out with Graverobber for a chat and cryptic narration, but she’ll be as detached of an observer as she can be

-Towards the climax, her health takes a sharp downwards turn and she has to go into public. Turns out she did inherit Marni’s blood disease, which manifests later in life. Just a freak accident of the genes

-Desperate to keep public faith, Amber offers to pay for the surgery and cure to the disease. Shilo’s faced with the conundrum of what to do

-She decides to just take medication (real medication) and attempts to not believe that it’s secretly poison like she took her whole life. It help her, but it severs her ties with Geneco, leaving her to survive on her own

-The new lead opera singer is the one to warn Shilo of the impending disaster that is the climax, and she’s faced with another choice: bar herself in her house and accept the life she’s made as a shut-in, or brave the mob and actually be involved with public life once again

-She chooses the latter, and is the second, smaller eye of the storm. She and Graverobber make eye contact, he knowingly nods in a silent promise to keep her safe, and she runs into the Opera to see what the damage is

-Reprise of a solo she had, and maybe have a callback to the Opera incident in it

-After everything, Shilo is shown to be an opposing force to the Repo Men; a small force, but a force nevertheless. She’s turned her house into a kind of sanctuary where people are actually protected without a ruler, and has started to campaign for change. For people to decide what happens to their genes

So yeah, that’s what I imagine. Sorry that it’s all over the place! Let me know what you think

#repo! the genetic opera

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fmdseolhwa · 3 years

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30 5 DAYS OF CHARACTER DEVELOPMENT: THE IDOL EDITION : DAY ONE

+ Day One: Introduce your muse. Are they solo or in a group? What is their position in the group? Consider this day the day for writing the basics.

Seolhwa is the main vocal and lead dancer of Femme Fatale under Gold Star Media. She debuted on December 31, 2017 and is currently twenty-four years old (twenty-five Korean age).

+ Day Two: Talk about your muse’s childhood. Where did they grow up? Did they have any dream jobs besides being an idol? When did they realize they wanted to be an idol?

Seolhwa had a cushy childhood, raised within a family that was pretty well-off. There was a lot of pressure placed on grades and career success within the Moon household, as the Moon patriarch had a high-level career status position as the main executive and owner of a bank and their mother had been a successful television news announcer. Seolhwa’s first dream job was being an engineer. It’s a dream she held onto all through her teens, though she also developed an interest in international politics in her teens. Seolhwa decided on a whim that she wanted to be a famous singer when she was thirteen, but she’d never really fully planned on being an idol until she, once again on a whim, signed on as a Gold Star Media trainee.

+ Day Three: Take us back to when your muse was either recruited or auditioned to become an idol. How did that go? How did they feel getting up on stage for recruiters? If your muse could give their younger selves advice before the audition, what would they say?

One thing Seolhwa’s parents taught her growing up was to be confident in her own competence. Those who are insecure in their own abilities don’t get anywhere with them. Because of that and the fact that, at the time, her entire future wasn’t riding on being accepted into Gold Star, Seolhwa wasn’t that nervous. She was more determined to prove herself than anything. It was only five years ago that she auditioned and while she has grown in that time, there isn’t any advice she’d retroactively want to give herself.

+ Day Four: Remember the trainee days? What are some of your muse’s memories of being a trainee? How long were they a trainee? Were they worried about potentially not making a debut? Talk about any challenges they might have encountered.

Seolhwa was a trainee for about a year and a half. Most of her memories are in regards to extremely long hours. She had no real professional training in singing or dancing and she had to work hard to catch up to those around her. Seolhwa refused to be seen as a weak link among the trainees, so she dedicated everything she had to getting better, which meant, at times, getting very caught up in the toxic atmosphere idol training can be. If she’d stopped and given herself time to consider the possibility of not debuting, she would have worried, but she didn’t let herself consider that as an option.

+ Day Five: Recall your muse’s debut. What was the song they debuted with? How did it feel performing for the first time on stage as an idol? Feel free to bring up their thoughts about the concept, choreography, lyrics, music video, or other components.

Femme Fatale’s debut songs were “Boombayah” and “Whistle”. Seolhwa far preferred the latter song and still does to this day, but she was excited to debut with songs that felt so impactful. She took Femme Fatale’s immediate success as a sign of all of her hard work paying off, and the group’s debut era was one of the times she felt the most optimistic about the group. There haven’t been many of those in the time since.

+ Day Six: What concept does your muse think they can pull off best? Cutesy? Manly? Sexy? What concept do they have a hard time pulling off? What kind of concept would they want to do at some point?

Seolhwa believes she fits Femme Fatale’s concept well, but would like to try something more stripped back sometime. Something like “Stay” again would be nice, because she felt that fit her. She’d struggle the most with something full-on cute or something very in-your-face sexy as opposed to sensual.

#— character development —

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pauladchnd2c · 3 years

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Something Told Research

Conceptual still life photography

Tips:

1. Choose Subjects that Speak to You

What you photograph is completely up to you. Have a search around the house to see if you can find something simple but interesting to start with. Please don’t feel like you have to take photos of fruit or flowers just because everyone else does: think outside the box without being overly ambitious.

If when you’re out and about something catches your eye, take it home with you (don’t steal it!) or make a note of it so as to remember to try photographing it in a still life context. Try to avoid reflective surfaces such as glass and metal to begin with, as they will be extremely difficult with regards to lighting. Once you’ve mastered the single object shots, try mixing it up, combine objects of contrasting shape, colour, texture and see what you can come up with.

2. Get Comfortable with Light and Lighting

Lighting doesn’t have to be expensive. I know certainly for me that a set of studio lights aren’t really within my budget, so for still life shoots I need to utilize all the light I can get my hands on, and that often means sunlight.

Remember that you have full control over the shoot, so if you want, find a room in which you can block out all natural light by using shutters or curtains, this way you will have complete control over the light upon your subject.

Using standard table lamps can work extremely well if used effectively. Be sure to try multiple positioning set ups, not all light has to come from the front of the object, side and back lighting will add interest, shadows and depth to the shot. Alternatively, choose a room that is well lit via a window, and use this to your advantage. The natural light from one side will comprehensively light your subject and you can compliment this with a lamp or reflector.

3. Get a Good Tripod and Work Your Angles

Depending on your lighting situation, you may or may not need to use a tripod and shutter release. I would recommend using these as they will allow you to observe and work with your subject matter. This set up will also allow you to use slightly longer shutter speeds than usual to ensure a small aperture allowing the image to be in focus front to back, if you so choose.

However, please don’t let a static camera stifle your creativity, it quickly gets forgotten that your camera has been sat in the same position for the whole shoot. Be sure to vary the angles and heights at which you are shooting. Otherwise, before you know it, you’ll have a whole collection of shots all take from the same point with little or know variation. Mix it up a bit. Try shooting at the level of the subject or try a bird’s eye view, looking down onto the subject, but be careful if you are moving around not to cast any shadows on your subject!

4. Get the Backdrop Right

Having a suitable backdrop for your subject matter will play a crucial role in the overall success of your shots. It’s best to keep it nice and simple, so it doesn’t interfere with your subject. A plain painted wall or a large sheet of white or plain colored paper would be ideal.

Think about how your choice of background contrasts the subject, do you want a neutral background, or are there tones that may work in complimenting the shades within your subject. For smaller objects, you may not need a backdrop as such, but instead require a surface to place the items on, for which something like black velvet is ideal, as it absorbs light and looks like a solid black surface.

5. Compose the Shot

The compositional element of your still life work is an absolutely crucial part of ensuring that your work is engaging and unique. Consider the rule of thirds, how can that be applied to your shoot to create a strong composition. Ensure there are no distractions within the frame, just the subject and the backdrop.

Be sure to vary the composition of the subject matter through the shoot and think outside the box. Where are you leading the eye within the image? Are you utilizing negative space or might it work to try and fill the frame? Engage with the subject, what are its defining features? What is it used for? Are you able to put it into context or does it work as a stand alone subject?

6. Take All Day Over It, If You Need

I often find that my mentality surrounding a shoot is dependent on the reason for the shoot. If I am simply taking photos for pleasure or for myself (as opposed to being assigned work by somebody else), I will be less stringent with ensuring that all the aspects of the shoot are as well executed as they can be. This is obviously a bad habit that am aiming to shed, but when it comes to still life photography, there is no reason not to get it right. You have as much time as you need to do a good job!

Unlike a landscape shoot, the light isn’t rapidly changing and unlike a portrait, you’re subject isn’t going to get bored of keeping still for long periods of time. Take advantage of this, set up your subject, lighting, backdrop and camera, try a few shots, then move things around a bit and have another go. If you get to a point where you feel like things aren’t going quite right, you can just leave everything set up, make yourself a cup of tea and come back to it refreshed later on.

Another advantage is that there’s no excuse not to have clean and sharp images, take time to get the lighting and focus just right. If you can get your hands on one, a macro lens will be ideal for this sort of work, however, if not, try selecting macro mode on your camera to give you the best chance of capturing the close up detail in your subject.

7. Get Inspired by the Masters

If you’re struggling with the lighting, composing or structuring of your shots, then you need to find some inspiration, and where better to look than to the original still life masterpieces of years gone by. Have a search online for renaissance still life artists and observe the elements of the pieces.

Studying these paintings will help you to think about form, shades and how the colors work together and will hopefully give you a few ideas on how you can shape your photography work to form strong and engaging images.

8. Develop Your Eye for Still Life Scenes

Now it’s time for you to have a go yourself. Find a quiet day in your schedule and set aside some time to practice. Try setting up your camera and backdrop by a suitably light spot next to a window and get snapping!

Once you’ve mastered the basics, try getting creative, experiment with camera angles, lighting angles and alternative light sources such as candles and lamps. You could even try getting creative with apertures and use a f/1.8 prime lens to achieve an artistic shallow focus. However, if you take one thing from this tutorial, let it be this: still life photography does not have to be of fruit and flowers! Find some unique and inspiring subject matter that gets you excited and start shooting!

9. Perfect Your Post-Production Process

Working with your pictures after the shoot shouldn't feel like a chore. It should be fun!

Photoshop actions are often touted as a great time-saver, but to my mind the biggest advantage they give you is a highly repeatable workflow. Instead of having to work through all the steps from scratch, and action makes a set of choices for you, then you teak and adjust to make things perfect.

https://photography.tutsplus.com/tutorials/10-tips-to-get-started-with-still-life-photography--photo-8278

Some examples:

Liam J Curtin

Dave Bradley

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basicsofislam · 3 years

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ISLAM 101: Muslim Culture and Character: IDEAL GENERATIONS

On the eve of the beautiful days of the future, days whose dawns are breathing festivities, it is clear that we face crises that seem insurmountable. Like social troubles, national problems, and natural disasters, the crises that besiege a society cannot be overcome or resolved by mundane measures. Solutions for such crises depend on insight, knowledge, and wisdom becoming widespread. It is of no use—indeed, it is a mere waste of time—to try to solve such crises with aimless, limited, unpromising policies that are like mundane political maneuvers. From the past to the present, people of spirit, essence, and insight have resolved the commonest and most widespread depressions and crises with their immense horizons and zeal with unimaginable ease by using and activating the present day sources of power for the future. Some laypeople suppose that their own ingenious measures are superhuman and have admired and marveled at them as such. However, all they are doing, like all other successful people, is to use fully and efficiently the capacity, talents, and opportunities granted them by Almighty God.

People of discernment are always, in all their acts and manners, busy and preoccupied with plans and projects for today and tomorrow; they use all they have and all possibilities and opportunities as material to build the bridge to cross over to the future; and they always feel the pain and distress of carrying today onto tomorrow; to resolve the problems depends, to a certain extent, on overcoming or passing over the present time, and in fact being beyond time. That is, being able to see, foresee, and evaluate today and tomorrow in the same way. You can call such scope of thought, which entails embracing tomorrow from today and comprehending the future’s spirit and essence and content, an “ideal,” if you so wish. One who does not have such a horizon can neither overcome a multitude of problems nor promise anything for tomorrow. Even though some simple people have assumed great proportions like these, the pomp, circumstance, and magnificence of the Pharaohs, Nimrods, Caesars, and Napoleons, their noisy and hectic lives, which bedazzled so many, never became, and can never become, promising for the future in any way. For those people were the poor, the wretched, who subjugated truth to the command of might, who always sought social ties and congruity around self-interest and profit, and who lived their lives as slaves, never accepting freedom from spite, selfishness, and sensuality.

In contrast, first the Four Rightly-Guided Caliphs and later the Ottomans presented such great works, whose consequences exceed this world and reach to the next, that these works are in essence able to compete with the centuries; of course, only for those who are not beguiled by temporary eclipses. Although they lived their lives and duties fully and passed away, they will always be remembered, talked of, and find a place in our hearts as the good and the admirable. In every corner of our country, the spirit and essence of such people as Alparslan, Meliksah, Osman Gazi, Fatih, and many others, waft like the scent of incense, and hopes and glad tidings flow into our spirits from their vision.

Caesar trampled down the ideal of Rome with his whims and desires; Napoleon imprisoned and killed the ideal of Great France in the net of his greed and ambitions; and Hitler consumed the aim of Great Germany with his rash madness. On the other hand, the ideal, which is open to continuity, of our people, whose heroism expresses integrity and continuousness, has always been held high and above all meanness or vulgarity, whether in victory or defeat; it is held dear, beloved, sacred, and highly esteemed, like a banner for whose sake lives are given. Under such a banner, Fatih walked through Constantinople, Süleyman the Magnificent advanced in the West, and our people during the First World War and the National War, for another time, maintained their loyalty and gave their lives for the understanding that the banner must wave so forever.

An ideal in the hands of an ideal man reaches the most elevated values and turns into the charm of victory and accomplishment. If the people who represent such an ideal are not the correct people for the task, then that banner or standard turns into a pennant under which common low whims and ambitions are expressed. Although such a pennant is able to bring together the children in the street, driving them to strike the targets, as if in a game, it is not capable of realizing the emotions and aspirations that reside in the depths of the souls of our people.

A person of ideals is, first of all, a hero of love, who loves God, the Almighty Creator devotedly and feels a deep interest in the whole of creation under the wings of that love, who embraces everything and everybody with compassion, filled with an attachment to the country and people; they care for children as the buds of the future, they advise the young to become people of ideals, giving them high aims and targets, who honors the old with wholehearted regard and esteem, who develops bridges over the abysses to connect and unite the different sections of society, and who exerts all their efforts to polish thoroughly whatever may already exist of harmony between people.

A true person of ideals is also a person of wisdom. While observing everything from the comprehensive realm of reason, they also assess everything with the measures of their appreciative heart, testing them through the criteria of self-criticism and self-supervision, kneading and forming them in the crucible of reason, and always trying to possess and take further the radiance of the mind and the light of the heart in equal harness.

A person of ideals is a true example of responsibility to the society in which they live. To reach their targets, the first of which is, of course, the pleasure of their Creator, they sacrifice everything that God has bestowed on them, without giving the matter a second thought; they have no fear or concern for anything worldly, their heart is captivated by nothing other than God; they have neither ambition for individual happiness nor worry about unhappiness; they are a savior, a hero of the spirit, they do not mind being in hellfire, so long as their ideals and their country are everlastingly firm, stable, and permanent.

A person of ideals and high standing feels respect for the values they are attached to with profound self-supervision, performing their duties in the exhilaration of worship, and living as a hero of love and enthusiasm. Agreeing with and abiding by the truth with minutely meticulous sensitivity they always exercise their preference for sublime ideals. They are always in a struggle in the depths of their heart, a struggle to be the master of their self at all times; they have been sentenced to being a slave to the truth, they are disinterested and indifferent to positions and titles, and they see fame, covetousness, and fondness of comfort and ease as a fatal poison. That is why such people always win where they have an opportunity to win and turn unfavorable circumstances to their advantage.

Walking on this path along with the glorious spirits, such a person is so sincerely devoted to the Will of God that the storms of ambitions which hit them intensify and consolidate their sense of right, justice, and right-mindedness; floods of hatred, grudge, and malice enthuse the springs of love and compassion in their soul; they ignore and tread upon the gifts and blessings that ordinary people are caught up with and they oppose retaliation. If we are to think of such heroes of ideals at their true horizon, a place which perplexes the mind, then we are able to picture a person with an almost prophet-like resoluteness; superhuman pictures flow into our feelings from the doors which have been opened by these associations, and our house of imagination overflows with historical examples of heroism. Thus, are we enthralled by the loyalty and sincerity of Uqba ibn Nafi in the African deserts, enraptured by the bravery and intrepidity of Tariq ibn Ziyad after crossing Gibraltar, lost in admiration of Fatih (Mehmed II) and his resolution, entranced by Gazi Osman Pasha in Plevne, and we salute with reverence the lions of Gallipoli on whose heads bombs and shells were showered and who faced onslaught with a smile on their face.

We do not need anything else but exemplary people of high character and ideals. These exalted souls of the highest ideals will realize the re-establishment of our nation in the coming years. These heroic people, the yeast of whose existence is faith, love, wisdom, and insight, have not yielded to or been shaken by the numerous attacks that came from within and without over almost ten centuries. Perhaps they have shrunk a bit and become a little smaller. However, by acquiring some strength and firmness, they have come to a level where they can settle their accounts with the future, and have observed the age and bided their time to take over the duty with an extraordinary power of spirit.

It is a fact that over the last few ages, love, wisdom, insight, and the consciousness of responsibility have shrunk and simple daily matters have replaced the great ideals. Of course, it is not possible to say that we have done nothing in the name of reform within that period. However, the things put forward remain nothing more than low mimicry and sound effects. Such blind imitation, as a disguise for the introduction of vice and immorality into the thought of the nation, and as a means that leads to the destruction of its spirit, has brought about more harm than good. When the nation was bleeding from the injuries inflicted, one after another, on community’s stamina, the real problem was not diagnosed, the way to cure and treat it was not known or defined, and incorrect treatment and meddling caused the masses to be paralyzed. The effects of the crises of the last few ages are still making themselves felt today in flares, eruptions, and centrifugal outbursts of rage.

Therefore, just like before, if we do not deal with the true causes of the problems, if we do not approach and treat individual, familial, and social problems with the ability, sensitivity, and skill of surgeons, if we are not saved from the swamp of vice, immorality, and filthy affairs and dealings from which we have been struggling to extricate ourselves for the last few ages, we will run into errors, one after the other, while looking for remedies; our crises will get much worse and deepen, and we will never be relieved from the vicious circle of crises and depressions.

It doesn’t matter if those who hold the reins continue in their age-old obstinacy. We have deep absolute trust in the ideal generations whose thoughts, feelings, and actions turn to the future, who are attached and devoted to their country, people, and ideals, who are focused to serve and contribute to people, indeed to all of humanity, who are taut and ready to be released, like the string of a bow, to serve all with the understanding and consciousness of responsibility. We trust that they will tackle and overcome all negativity and make the newest developments come true. One day, their strong desires and wishes, their love and longing to serve people will penetrate into all sections of society and will turn into seeds that flourish wherever they fall. This approach, which will eradicate the so-called realities of materialism and corporeality, will certainly embroider once more the canvas of its spirit with its own worldview and plan of action.

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queernuck · 4 years

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What To Do In November: On The Critique of Pornography

Recognition of the origin of a critique, what the genealogical structure of surrounding ideological and epistemic claims imply about it, and how exactly to draw that out and oppose it to the intended reading of a critique is a process which cannot be neglected when discussing contentious issues. it is so often neglected when it should be heavily involved in enacting important acts of critical inquiry, as the content of critique and the arrangement thereof can function as part of a series of binary-machines, a series of machines through which the critique flows such that the enacting or appropriation of potentially fascist or despotic structures of critique will lead to an eventual stoppage of any liberatory potential, a kind of replication of a certain desire. When this is a discussion of doubled-desire, desiring-desire in relation to desiring-repression as a fascist ideological position, the means by which sexual desire is itself restructured into apparently-neutered flows of resignification which in turn become sexual through invocation of a phallic lack, the care with which one’s critique is offered and redoubled, what exactly one discusses regarding it is a highly important matter of contention.

The paradigm of deviancy, degeneracy, the means by which it is named and aestheticized, how that aesthetic function is used to signify a specific sort of unwellness, a certain and rather particular framework for looking at structures of power and flows of desire, makes it such that the implications of one’s desire, decision to apply a certain framework, raises questions about exactly what surrounding suppositions are also implied specifically because of what languages “degeneracy” finds itself most comfortable within. Certainly there is the relatively symbolic, perhaps even masturbatory pride-in-degeneracy most associated with anarchists, and its reactionary mirroring in the National-Anarchist or “Apolitical Anarchist” irony wherein either a black metal Paganism or Satanism is used to describe a hedonistic-but-not-degenerate series of becomings, or the mirroring in various sanctimonious politics of the body and sanctification thereof, anarchist or not, which ascribe these tendencies to authority and sees a control of self-in-self, becoming-unlike-others as the most anarchist of acts. Regardless, there are singularities around behavior and its realization, the intensity of identity and exertion, but “degeneracy” is a term most associated with fascist vocabularies, and for good reason.

Degeneracy as a paradigm is particularly associated with repression-desiring, with a certain sort of limitation of desire only possible through the desiring, inviting of such a turn, the necessity of mapping that turn onto one’s potential for the body. Thus, one enters into a fetishistic relationship with degeneracy, as seen with the fascist concepts of degenerate art, or degenerate sexuality, or degenerate lack-of-morality. Indeed, the relationship between sexuality and art is one which is found in the sort of ironic return that conspiracy theories regarding the porn industry and antisemitic tropes about porn (and Hollywood) frequently return to: scholarly work has been produced on the way that various figures in the creation of the porn industry as-such were Jewish, and to deny this would be to deny the wrong aspect of the conspiratorial thinking. In large part as an extension and repetition of the influences that lead to Jewish presence in filmmaking in the US at the beginnings of the Hollywood era, the respectability of the industry was low, as were the overheads, leading to decent profit margins and when technical knowledges, techniques and Virtual spaces of creation were carried over in filmmaking, that pornographic films were made with little distance from other movies of the time is hardly surprising.

However, and this is an incredibly important distinction, the way that even this acknowledgement is resignified as a kind of kernel of truth, as a means of “redpilling” those who will eventually turn toward conspiracy, and an acceptance of the outright conspiracy predicated on this initial rejection. The turn occurs later on, once a kind of barrier has been passed, as with the sort of conspiratorial thinking that leads one to read within Behold A Pale Horse for a sort of foolish socialism which claims that the Protocols of the Elders of Zion are in fact a genuine document, simply a misattributed one: this lures in those who have an obvious and meaningful interest in anticapitalist critique due to the means by which the conspiratorial structure is mapped onto ongoing imperialist violence, but from there, one eventually turns and reveals that in fact, the conspiratorial turn that was originally rejected is the more genuine one, that it is in fact the genuinely held belief at the core of the claim. Similarly, discussions of “pedophile rings” that turn to “satanic cults” are ones where the same process endures: once a certain level of commitment is sustained, once one has shown sufficient buy-in to the structure which has been named as such, it is then revealed that this is simply a stand-in for pedophilic blood libel, as seen with much of the discussion surrounding the death of Jeffrey Epstein. Without the contextualization of not only the notion that his death is suspicious (and that he very well may not have committed suicide) the notion that, regardless of his suicide there were likely very rich people with some stake in his death is one which on its face is unobjectionable simply because of how rich he was, how his wealth was used to create a terrifying sort of power, and the desire (flowing through fascist machines of resignification) to believe that it is not simply accumulation that allowed him to exert this kind of power, that there must have been some sort of organ through which it was conducted.

This refusal, the refusal to believe that in fact capitalist violence can account for a great deal of the violence raised with any of these critiques, leads to the means by which fascist appropriations of the discourses surrounding sexual expression, “degeneracy”, pornography, trans and LGBT identities, and kink are restructured into a demarcation of a profoundly violently restricted body. To recognize that “kink” is a relative structure, relative subject, one needs only to look at how trans women most generally have sex: that is, pornographically, outside themselves, for the benefit of men, as an extension of pornographic bodies of work and pornographic restructuring of the body such that becoming-woman and becoming-trans is a new sort of transition from one violently marked body into another, both sharing the structural position of “failed masculinity” and the same kinds of spaces as gay and bisexual men in relation to certain kinds of kink, and to submissive or fetishizingly dominant women in others. There are certain acts of humiliation and appropriation of the body for oneself going on in most acts of interaction with trans women that one sees. This is specifically because of how trans women are so rarely depicted outside of the pornographic, and how as a result trans women are drawn in a sense toward embodying the pornographic in order to make themselves intelligible by at least some fashion. If by nothing else, then, the pornographic stands as an example of what one can become.

This is true as well for many gay men, for lesbians, is true along lines of race and most of all is the sort of critical violence, ideological fetishization that is misunderstood by critical reactions to kink and pornography. Instead, many follow specific genealogies of radical feminist thought which follow from a notion that heterosexual sex is still the only moral sort, but that this too must be excluded, and as a result either only approximations of sex made sexless (the sexless and neutered top and bottom, the sort of ideation of a never-present ever-rigid “butch and femme” scene that some radfems seem to think they fit into) or a genine sexlessness is offered as identity. So often, there is no room for sex to be made meaningful, beautiful, for sex that is not “kink” to be discussed specifically because all gay sex is already a priori a sort of kink, a subgenre on a porn website intended to steer white men away from investment in fascist structures of reproductive labor.

The structuring of a kind of false division between being against fascist ideation of "degeneracy" around masturbation and porn, and supporting businesses like PornHub or xHamster is one that has cropped up in response to the successful liberal signification of “wokeness” by such companies, alongside the revelation of exactly how these sites operate, means that the rift created by reactionary positions is ever deeper, ever more obvious, ever more important. When speaking of these companies, some will mention various marketing gimmicks, such as planting trees or plowing roads, intended to specifically juxtapose the ill repute of the porn industry with the apparent good of the deed. There is an irony there, and it is what is relied upon for the PR stunt to function as such. However, at the same time it has recently been confirmed that both of the aforementioned companies have been involved in specifically coercing nonconsensual performances from women lured in with “modeling” gigs and pushed toward taking part in sex acts, which are then spread with the intent of associating them with them in a fashion that is difficult to break. These women are trafficked, abused, and xHamster, PornHub, along with other popular porn websites profit off of trafficking, and affirming this, affirming that they are not part of a harmless industry but rather that there is a definite, sexualized, violent element is obviously important.

In an attempt to distract from this, xHamster may discuss the right-wing Manosphere roots of “No Nut November”, both playing on its business model and lessening the seriousness of its own support of sexual violence. In turn, the right pushes back not on its own terms, but rather by couching its response in ambiguity, disguising that this is indeed a right-wing offering. But making it such that the right wing ideology at hand has a monopoly on the ideological framing makes it so that when one begins to critique it, there are continuous implications of antisemitic conspiracies, homophobia, race replacement theories, and other acts supporting an ideology which is not developed from a genuine act of caring about the women harmed by porn and trafficking for it beyond some sort of nebulous invocation of them for white dudes and their virility. The prevalence of “cuck” as an insult is itself tied to this: it is highly racialized, as is most cuckold pornography, and in turn is linked to “breeding” as a fetish, which itself is a kind of libidinal acting-out of the replacement anxiety that fascist desire operates on. It has created a language of its own to speak to itself, to create a representation of the very fantasies it fears. In turn, it then accuses its enemies of creating this in order to act in favor of indoctrination, to act as if the way in which these desires have been cultivated has nothing to do with reactionaries’ own languages of desire.

Reactionaries have been allowed to dominate critique of porn for so long that it seems natural to allow them to continue to dominate it, rather than to question that dominance, to realize that xHamster is happy to support genuinely harmful practices and pretend to make them "woke" with the help of "leftists" who either buy into them outright or let reactionary ideology go unchecked so that the material conditions at hand are not critiqued, just renamed in a fascist vocabulary. Similarly, when offering a critique of the porn industry, sex work, or the means by which criminalization and violence are inextricably tied to these, the way in which the very concept of the carceral is invoked within (and then sexualized by) this discussion contributes to the referencing of certain anxieties as desires: trans women are degenerates, pornsick, cumbrained, are only possible as kinks, in inherently sexual existences. By extension of eliminating these other supposed-pornographic experiences, trans women too much be exterminated, along with gay men, along with lesbians, along with gender nonconformity that does not itself restructure a certain acceptable heterosexuality.

Effectively, the means by which antisemitic theories on the origins of sexuality and pornography become repeated in mainstream discussions contributes to an eventual willingness to accept fascist demarcations of how “degenerates” are to be marked, to be treated, and most of all to refuse to meaningfully examine why kink may be harmful, but additionally to accept that difference insofar as it is strange rather than based in drawing out and emphasizing a desire for repression, is perhaps not as horrifying as it is made out to be. Being clear, being open, and most of all affirming that the antisemitic, homophobic, racist ideological forebearers of a given insight are condemned, and that one does not link the machines of critique to these bodies, to fascist embodiments of opposition to degeneracy, means a genuine turn toward caring about women, about those harmed by pornography, about how this fits into capitalist accumulation and in turn how sexual lives are one part of the many sorts of lives and acts of living commodified and made into discrete, purchased and resold and resignified sorts of concept-objects, products of experience to be played with.

#antisemitism//#homophobia//#transmisogyny//

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veyrahlaw · 5 years

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DOUBTFUL RECEIVABLES IN INDIA: THE INSOLVENCY CODE SOLUTION

The Insolvency and Bankruptcy Code, 2016 (Code) was legislated with the intent to resolve the banking crisis that had engulfed the Indian economy. While the Code provides banks and other financial creditors a theoretically faster mechanism to resolve their bad debts, the infrastructural and procedural aspects surrounding the resolution process are leading to delays. The National Company Law Tribunals (Tribunal) which are the adjudicating authorities under the Code, are understaffed to deal with the vast number of cases being filed. Faster resolution of debts has further been complicated by frequent amendments to the Code. The jury is still out on whether the Code and related enforcement mechanisms have rendered substantial benefits to the banking industry.

However, a welcome beneficiary of the Code has been the domestic and/or foreign vendor supplying goods or rendering services (Suppliers) to businesses in India. Until the introduction of the Code, Suppliers were dependent on the cash flow situation or the discretion of their customers for receiving payments. It is common knowledge that most Indian businesses rarely pay their vendors on time and quite often business losses are passed onto vendors. This severely impacts businesses by causing working capital challenges due to delayed payment cycles.

But, with the commencement of the Code, Suppliers have been empowered significantly as they can utilise the Code to their benefit to recover erstwhile bad debts. This shift of powers, in an Indian context, was demonstrated best by the recent case of Reliance Communications settling Ericsson SA’s outstanding dues of approximately USD 67.42 million. Ericsson SA was a Supplier to Reliance Communications and had initiated the process under the Code as an operational creditor to recover unpaid dues. Under the Code, Suppliers are categorised as operational creditors.

An ‘operational creditor’ can initiate an insolvency process against a defaulting corporate for unpaid dues. “Operational Creditor” means a person (either foreign or domestic) to whom an operational debt is owed and includes any person to whom such debt has been legally assigned or transferred. “Operational Debt” would include a claim from a domestic or foreign vendor for supply of goods or services. Most domestic and foreign Suppliers would be covered within the definition of the term ‘operational creditor’.

Under the Code a defaulting customer (Corporate Debtor) will suffer severe consequences if an operational creditor’s claim is admitted by the Tribunal. Once the operational creditor’s claim is admitted, the controlling persons of the Corporate Debtor lose control of the business!The control of such a defaulting customer is immediately entrusted with a professional called the Interim Resolution Professional / Resolution Professional (Resolution Professional). The Resolution Professional is then required to either remedy the defaulting customer’s business by way of a third party take over or liquidate the business assets. Either of the options are meant to ensure that all creditors of the Corporate Debtor receive their unpaid dues to the extent possible.

Below, we have explained the steps for a Supplier to file a proceeding with the Tribunal and its advantages over conventional civil remedies in India.

WHEN CAN A SUPPLIER BECOME ELIGIBLE TO PROCEED UNDER THE CODE AGAINST A DEFAULTING CUSTOMER?

Before initiating any steps under the Code, the Supplier should check certain important points to avoid the claim from being rejected by the Tribunal.

The unpaid amounts should be with respect to supply of services or goods.

The unpaid amount should be in excess of INR 1,00,000 (approx. USD 1,400).

The unpaid amount should have become due and payable to the Supplier either by way of a contract or express acknowledgement by the defaulting customer for payment on a particular date.

The defaulting customer (client or consumer) should not have raised any dispute on the Supplier regarding the invoice, goods or services in question before the formal notice under the Code is sent. Existence of a genuine dispute prior to sending the formal notice will lead to rejection of the claim by the Tribunal.

The debt in question should not be older than 3 years.

The validity of a Supplier’s claim will be dependent on the facts and circumstances of each matter. But, a positive confirmation on the above points will ensure a higher degree of success in sustaining the claim.

CAN ALL DEFAULTING CUSTOMERS BE MADE ACCOUNTABLE UNDER THE CODE?

The provisions that are currently operative, can be used only against companies, limited liability partnerships (LLP) and other body corporates. Body corporates would include any other statutory organizations or entity which is different from its stake holders. If a Supplier has unpaid dues against a partnership firm, proprietorship firm or such other unincorporated association of persons, they cannot initiate action against them under the currently operative provisions of the Code.

HOW LONG DOES THE RECOVERY PROCESS TAKE?

Practically, if the Supplier has a legitimate undisputed debt, the defaulting customer would approach the Supplier to settle the outstanding dues, once an application is filed with the Tribunal. However, many Indian businesses attempt to defend the proceedings before the Tribunal and the matter could proceed for anytime from 2 months to 6 months until the settlement of the claim / admission of insolvency application. Settlement of the claim even within a year, is also a significant advantage compared to the timelines under any other conventional civil action in India. Enforcement in India is notoriously slow and conventional methods rarely offer any advantage to an unpaid Supplier.

WHAT IS THE PROCESS FOR RECOVERY?

The first step to initiate proceedings under the Code against a Corporate Debtor is to issue a statutory notice to the defaulting Corporate Debtor in a format prescribed under the Code. Within 10 days if the Corporate Debtor does not repay the dues, the Supplier can initiate proceedings by filing an application with the Tribunal for resolution of the debt. A significant advantage of the process under the Code is that any frivolous counter claim or dispute raised by the Corporate Debtor after receipt of the statutory notice is usually disregarded by the Tribunal.

WHICH TRIBUNAL SHOULD A SUPPLIER FILE HIS CLAIM IN?

The Supplier should file the application before the Tribunal which has jurisdiction over the area in which the Corporate Debtor’s registered office is located. The jurisdiction of all the Tribunal benches is listed on the website of the Ministry of Corporate Affairs in India. For e.g. the Tribunal in Mumbai has the jurisdiction to hear proceedings against all companies / LLPs which have their registered office in the states of Maharashtra & Goa.

WHAT ARE THE STATUTORY COSTS INVOLVED?

The Supplier does not have to incur significant statutory costs to initiate an application under the Code. The statutory fee payable for filing the application is INR 2,000 (approx. USD 30). Apart from this, a Supplier will have to incur costs for the professionals it engages to represent itself before the Tribunal and other general expenses for stamp duty, notarisation etc. Miscellaneous expenses other than professional fees could be in the range of INR 10,000 (approx. USD 145)

WHAT SUPPORTING DOCUMENTS ARE REQUIRED TO BE FILED IN SUPPORT OF THE SUPPLIER’S CLAIM?

The Supplier in support of its claim must file the documents listed below (among others) to prove the existence of the debt and it being due and payable:

a signed contract with Corporate Debtor for the supply of goods and/or services;

last paid invoice / proof of last payment by Corporate Debtor;

copy of unpaid invoice and/or statutory demand notice delivered to Corporate Debtor; and

certificate from the banker of the Supplier that payment has not been received from the Corporate Debtor.

IS IT MANDATORY FOR THE SUPPLIER TO APPOINT A RESOLUTION PROFESSIONAL?

No, it is not mandatory for a Supplier to appoint a Resolution Professional. The Resolution Professional for all Supplier / operational creditor applications will be appointed by the Tribunal, if not proposed by the applicant Supplier. The fees for such Resolution Professional are to be borne by the Corporate Debtor.

WHAT SHOULD BE THE OBJECTIVE OF THE UNPAID SUPPLIER?

The Supplier should seek to settle the dues if the customer / Corporate Debtor is willing to discuss and offer a settlement. They could at the least seek to recover a negotiated amount that would allow them to offset the expenses incurred for pursuing the claim along with 75-80% (if not 100%) of their written off debt.

OTHER USEFUL STRATEGIC CONSIDERATIONS

It may not be a useful strategy to file a proceeding before the Tribunal in every situation, even though, in theory, a Supplier may have a good case to file against the Corporate Debtor. Outlined below are some practical points, among others, to consider before initiating any action:

What is the Corporate Debtor’s turnover, assets and net worth?

If the Corporate Debtor in question is already an insolvent entity, it would be a waste of time to attempt a recovery against such an entity. The chances of compelling a settlement are significant if the defaulter in question is a solvent company and has proportionately material net worth, business assets and turnover.

Have other creditors (banks or other lenders) initiated proceedings against the Corporate Debtor? Has the Corporate Debtor already been categorised as a defaulter by banks?

If other creditors have initiated proceedings against the Corporate Debtor in question, it would be more useful to file one’s claim with the already appointed Resolution Professional as opposed to initiating separate applications against the Corporate Debtor.

Is the Supplier’s debt extremely significant in comparison to the Corporate Debtor’s net worth or turnover?

If the Supplier’s debt is a significant portion of the overall debt of the Corporate Debtor, the chances of recovery get reduced. On the contrary, if the Supplier’s debt is of a proportionately low value compared to other bank and formal debt incurred by the defaulting customer, it would be a good case to pursue.

CONCLUSION

The Code is an empowering tool in the hands of both domestic and foreign Suppliers and can be used effectively depending on a Supplier’s fact pattern. It is a boon for businesses who were previously frustrated without a practical remedy against a defaulting customer, given the delays and costs involved in litigating before normal civil courts in India.

Most importantly the provisions of the Code will act as a disciplining tool for businesses in India, ensuring that vendor / supplier payments are managed efficiently. This will in turn prevent locking up precious working capital in all stages of the economy and allow better cash flow across businesses.

Lastly, Suppliers must bear in mind that the Code and Tribunal are beneficial only for acknowledged and undisputed debts and are not meant to be a substitute for other contract dispute resolution forums.

Ajay Joseph (Partner, Veyrah Law) and Anshu Bhanot (Of Counsel, Veyrah Law)

Views expressed above are for information purposes only and should not be considered as a formal legal opinion or advice on any subject matter therein.

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coffee-for-himchan · 6 years

Text

if i never knew you | himchan

Word count: 2.9 k+

Genre/warnings: 1920s AU, slice-of-life, romance, fluff

Summary: It was the golden age of jazz, and seated at the piano was no other than the young and ambitious performer Kim Himchan, who’s talent and all the hard work he’s put into his music exceeds anyone else’s. What made it even better was how sweet of a person he was to converse with.

Jazz.

Jazz had recently become the call of the soul of many, and even though the world was just a few decades down the line of the 1900's, it was safe to assume that jazz would be the thing to envelop the whole century and keep it safe in it's embrace, uniting not only generations, but whole nations. It was a genre so new to the world yet so prominent and bright even in it's stages of development that it was more than clear it had been made to become legendary and unstoppable in it's way to success.

The shapes and sizes of it varied. Recently, big bands had become a craze, and more than just often men could be seen lounging around bars and hotel lounges with their instrument cases swiftly tucked underneath their arms. Young boys peaking through doors of practice spaces, their eyes wide and mouths open in amazement as they watched self-proclaimed musicians jamming to new tunes, instruments getting assembled and cases getting stacked one upon the other because of lack of space... That was the new look, the new rule to live by. Working long hours and shifts just to get unappreciated and underpaid, and stopping by the local music bars or lounges on the way home to let loose of reality and dive right into the world of refreshing, new tunes. Listening to scruffy, cracking recordings on vinyl and thinking that it couldn't possibly get any better than this - humanity has finally found a way to capture sound, at a time when masterpieces were born one after one, to add to it. And everyone could play or sing if they had the skill and wanted to, no matter their race, their status and their job, because as long as it came from the heart, it was appreciated. As long as you were living solely for the music, you wouldn't be shoved outside this inner circle of the new trend that had traveled it's long way form New Orleans and has spanned all across the globe now. Jazz offered a warm welcome to every hard-working and creative musician that tried to embrace it.

Kim Himchan was no exception, and you found it hard to take your eyes off of him for various reasons.

No, he didn't hold onto a shiny trumpet and raise it up into the air while playing in the third octave. He didn't sing addictive, raspy melodies into the worn out microphone hanging loosely from the stand either, and no, he didn't pour out rhythms on cymbals and toms and didn't dance his nights away among the audience. His hands rather worked magic on something more classic and delicate than all these previously mentioned things, his heart and soul jumping in on the bandwagon to help him shape every one of his performances to have just enough edge to it, just enough bliss, passion and ecstasy in every note he gifted his audience with to make his presence well known and unforgettable.

He was a piano player, having comfortably settled from playing classics to playing this absurd new trendy music everyone was so sold for. And he was by far the best at what he was doing, no matter his classical education on his art and all the people who had once doubted him on his ability to adapt.

He was mesmerizing without even needing to be studied closer. Known to be a pleasant, social man, he always opened doors for ladies and greeted every person in the room politely. His face was beautifully sculpted, having made him the talk among many of the younger women of this part of town quite often, and his skill was just as widely discussed as his personality and face. His eyes always bore a spark that showed his passion for the life he was leading, and it undeniably made him so attractive that it hurt.

But anyone who would've spent a good amount of their time studying him from afar while he played would know exactly what the real thing about him was that could make hearts race. It wasn't his gorgeous profile, or the way he smiled when off stage and roaming the lounge of the bar he usually played in to find conversation and stress relief in the form of a few drinks. It was the way he treated his music, the way he made it of first importance to him, putting it before anyone and anything else in this world. It was the way he lived for being up on this same stage of this local bar that's already seen it's best years decades ago every night, and loving what he did just as often.

He was meant to be in the supporting band for the singers and the brass and woodwinds that stole the show every night with their vivid improvisations, melodies and themes, but somehow, he never quite stayed a supporting act for long. His fingers slid over the black and white keys with extra precision, with care, and every time he pressed down on a set of keys beautiful harmonies left the instrument. They were too prominent to be secondary, containing too much feeling to just be considered "support". In the big mix of all the instruments that played on stage at the same time, they could easily get lost, but once everyone else got tired and took a short break between songs, he never did. Those were his moments, in which he whipped out his own little, amusing tunes, and those were beyond charming and adorable.

Your glance continued lingering on him throughout the whole night of performance. A few hours of being out down the line, you had originally come to spend an evening with your fellow friends who considered themselves too precious to be caught up in commitment and household chores, yet once again had stayed for the performance rather than their company. Only this time, you did not want to walk away with just a head full of daydreams about the charming musician from the bar down the road. You wanted to once again come up and talk to him, because he too, was one of your less formal friends. Maybe rather a good acquaintance, but still.. To some extent, he was your something, which gave you the right to want to talk to him.

"Hello, maestro."

Himchan's head turned at the polite call upon him, and you looked up to his face with pleasure written all across yours. Up close he sure was even more mesmerizing than from afar, and the smile he gifted you with displayed his gratitude for this pleasant call upon him.

"I'm glad to have once again witnessed your performance, it was mesmerizing as always," was all you were able to get out before a new wave of loud music swallowed the room whole as the next performer of the night took upon the stage. Himchan seemed to not like it more than you did, throwing a disapproving glance back at the stage. Forgive him, but he was trying to have a conversation over here.

His glance scanned the room to analyze the masses of people present, and soon, his arm was offered to you and he smiled, stating a quiet offer.

"Would you like to go someplace quieter?"

You wanted to, of course. There was suddenly a lump in your throat as you realized that it was just the two of you this time around, for now, at least. Usually there were other people around too - his co-performers and their admirers or your acquaintances, but this time around, you were all on your own. Had all your personal spaces for only each other to lend, all your words for only each other to tell.

Your grip on his arm was feather light, and so were his tugs as you quietly walked across the room and to a place further away from the stage. On his way, many threw him glances or hellos, and he took them all with a Hollywood smile and a few grateful "thank you's" and "hellos" in return. Being charming as always.

His attention turned back to you the moment you arrived at a table for two, and not hesitating or thinking twice, he tapped on the arm of a bypassing waitress and asked her if he could get an order taken, to which she shouted over the music that she’d get right back to him in a minute or so.

Himchan's eyes fell upon you, and sitting back in his chair, he loosened his tie more than just casually and asked innocently.

"How have you been, dear?"

You were fine, really, but nothing ever changed. Waking up in the morning and making sure you were looking "presentable" for walking into modern society. Working shifts in the sewing fabric and searching for bargains in nearby shops afterwards to somehow fuse the desire to get pretty things and the never-expanding budget. Coming home and being considered something among the lines of a rebel for not being a housewife - of course, doing the cleaning up and the cooking, but for only yourself, and leaving with your friends to go and have fun in lounges and take part in dance events during evenings right after, being free and acting upon your own will just because you could. Trying to live life with suppressed opportunities and increasing, but still slim rights regarding many things. There was nothing interesting about it.

"I’ve been doing alright."

"You always give me the same plain answer," he chuckled, looking back up at the waitress as she hurried back to your table from her previous position at the bar. Two drinks - he threw you a glance while ordering them to make sure you weren’t opposed to his choice of beverage. You looked pleased with it though and only nodded in reply.

"Well... What did you want me to respond with instead?"

"I don't know," he grinned sheepishly, fiddling with the sleeve of his dress shirt, "Something more.. Personal, I guess. I know there's usually a lot of people around, but it's just me sitting across of you tonight. You and me, we.. We talk often. But we don’t talk for real. And I think that’s a shame."

Talking for real.. It sounded inviting. A little scary, but pleasant, and as the waitress made a comeback to your table with her signature hip-swinging walk and the said two drinks on her round tray, you realized you were leaning on your elbows against the table and looking at Himchan in an amused manner. Being.. Open, for once.

The air around was still filled to the brim with jazz, but now, there was a tint of something else in there as well.

“What makes you so eager about talking with me “for real”?”

“Hmm.. The intrigue, perhaps,” he thanked the waitress and waited until you had your glass in your hand before continuing, “I know you, and at the same time, I don’t. And I want to be aware of what I am missing out on.”

People had started throwing glances into your direction. They were subtle and barely there, and still, they made your cheeks heat up. Himchan was a free man, after all, and the fact he was sitting across of you like this made questions arise. It was supposed to be commitment, but you knew it wasn’t. It was a friendly little get-together. You looked back at his shiny eyes and asked.

"But what if I don’t have anything interesting enough to tell you?" you took a sip from your drink, seeing him raising a brow while mirroring your actions, "My life is like anybody else's. Not everyone can have such interesting days like you, maestro. Not everything has interesting stories to tell."

His eyes lit up - a little bit with deep pride and a little bit with thankfulness for the compliment - and he pursed his lips as he removed them from the glass, about to break something to you.

"Tell me about the usual then, and in return, I promise I’ll show you how ordinary and usual my own supposedly unusual can get."

“And what if I am not in the mood for long talks?”

“Then we would have to move to the dance floor, but pardon me, I am not much of a dancer and that will probably only lead to your devastation and my embarrassment,” he chuckled, seeing how you bit your lip in response to suppress a chuckle, “So tell me instead.”

“You've convinced me.”

He had convinced you for real this time around, as once the conversation started flowing, it never really stopped. It was absurd, how much you actually had in common with a simple acquaintance, but even more absurd was the fact that you would've never even known if you wouldn't have put all of your fears away tonight and wouldn't have come up to talk to him. He himself was talkative too, and didn't hesitate to catch onto every little detail of what you told him - on a polite and interested rather than obsessive level - making it easy to converse with him. Making it a pleasant exchange for both of you.

People still were looking your way every now and then, but somehow, you felt much braver and freer in your actions than before. Ways of living had recently been changing, and this was an informal environment. Himchan’s hand had brushed against yours a few times during the evening already, and you thought it was completely fine. The way he spoke provoked certain thoughts and emotions too, and that was also fine. You were letting it happen.

At some point during the evening, he was called from all across the room back over on stage, and you sat there and smiled as you watched him leaving with an apology yet a bright smile on his face in order to to join the current band for a few collaborative songs to end the evening with. And as those had come to an end and he was completely freed form duty, he made his way back to where he had left you at and offered you his hand.

“I’m afraid I’ll have to leave to go home soon,” you told him, unsure if you should accept his hand in case he had planned on doing something else, “And I apologize for that, but I want you to know that I had a great time tonight. I really enjoyed it.”

“Let me drive you home, in that case,” he offered completely out of the blue, as if it was a casual thing to do.

“You really don’t have to.. It’s not a long walk from here,” you tried to speak him out of it for some reason, but his hand remained stretched out towards you and he looked persistent in his idea.

“And still, I believe it would be safer if you would let me do it.”

Within another moment of consideration, you hesitantly took his hand along with his offer.

It was the first time that a man offered you a ride home. Cars weren’t owned by just anyone, and as you made your way out of the building and into the streets, a new wave of unusual feelings made their way inside your chest. You had to be somewhat important for him to drive you home, right?

But it was still so unusual, as you had just started getting to know each other.

The car ride was silent. You quietly watched buildings and people passing by, inspected the interior of the car, and threw quiet glances at Himchan as well. He was kind, you knew that already. He was hard working, talented and everything.. But he wasn’t like some other men from around here. He didn’t live for following standards - he lived for his passions. His conversation wasn’t about sneakily peaking into your family or financial status to compare it to his own or to make an initial judgement, but he was eager to know about other things that defined you, such as your hobbies, your favorite flowers and the things you did on weekends. He took your thoughts into objection, made your opinions seem important and necessary. He loved how open you were, loved to express his own talkative nature. He wasn’t a typical man, really.

No one had ever caught your eye to such an extent, and it was unusual to actually consider something such as “feelings”. Not for someone you had to be with, not someone who was specifically assigned to you, but someone whom you’ve stumbled upon a while ago rather accidentally. Free from supervision and standards.

Did he think in a similar way, perhaps?

His car stopped not far from your home, and creaking the door open, you bid him a silent farewell and set your foot onto the pavement. You were hesitant though, not quite wanting to leave. At least not without a promise that this wasn’t the last of your meetings.

“(Y/N)?”

You looked back at Himchan to see him smiling up at you, charming as always.

“I hope to see you at the bar sometime soon again. You know.. I do play every night. And some of those nights I want to play for you.”

That last sentence triggered surprise, but a pleasant one. He had just offered you something dear to him, and you looked back at him gratefully and happily.

“Thank you for your kind invitation.. I will consider.”

He knew you’d come back by the tone of your voice, and he quietly watched as you vanished into the night, starting the engine back up and making his way back onto the road right after.

You know.. Lately he’d been having trouble finding his motivation and reasons to play. But now that he’s been seeing you in his audience recently and would continue doing so, he was sure he’d be fine. Maybe more than just that.

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azureflight · 6 years

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WHAT IS THE HORDE AND HOW DOES IT WORK?

TL,DR: The Horde is structured like a feudal empire and thus suffers some of the problems that plague such institutions. With certain reforms they could transform into a more of a federative state, which would greatly benefit both the Horde and the Azeroth as a whole.

Conversations regarding the Horde often revolve around the morality of their actions. The past, the present and even the potential future events are brought forth with what is either accusatory or defensive attitudes. As a result, blames and excuses dominate the discourse. All of these usually lead to a parallel argument of “which Horde”: Is the Horde that came through the Dark Portal and the Horde living on Azeroth today the same organization? Even if the aren't, can the current Horde be considered a legitimate successor of the old one? Are the reigns of different Warchiefs constitute different institutions and can a given Warchief's reign be divorced from the rest?

All of these questions are motivated by a need to find reasons and explanations behind the various incidents surrounding the Horde. However, in order to understand the actions and history of any organization, one must first understand what the subject at hand truly is. Thus the real question that should be asked and answered is a far more fundamental and also a simple one: What really is the Horde and how does it function?

From a completely structural point of view, the Horde that exist today is an Orcish one: The traditions, the rules and the institutional body is pretty much as it was determined by the Orcs in Draenor with final tweaks added by Orgrim Doomhammer and Thrall:

There is a single Warchief who is the absolute ruler of the entire Horde. All of the Horde is bound to serve them by a blood oath and obey their commands no matter what.

Warchief serves till death or abdication. Ruling Warchief appoints their successor right before death or abdication.

All the leaders of the Horde races (formerly all the leaders of Orc clans) have absolute control over their own people.

A Warchief can be challenged to mak'gora and if they lose, they are legally ousted from their position. This is the only legitimate way to challenge the rule of a Warchief. As of Thrall's reign, mak'gora need not be to the death, though both participants can chose to forgo this.

Upon initiation of a new race/nation, it is expected that the Warchief respects the traditions of these new people, though this is not exactly an absolute, as Thrall did ask several people to change several customs.

By looking at all of the above, we can say that the Horde's form of government is pretty much that of a feudal empire: A seemingly absolute ruler at the top who serves till death or abdication with vassals sworn to that ruler, who are also absolute rulers of their own lesser domains. As a result, the Horde exhibits many of the political characteristics and problems present in such organizations. The first and most crucial of these are a lack of means for peaceful political opposition and limited means for peaceful transfer of power.The only legitimate way a Warchief can be challenged is through a duel that is often fought to the death. The only other realistic option is open rebellion which often means fighting not only against the Warchief but the rest of the Horde as well. As a result, the political discourse within Horde is often too dire and stakes are always too high:

Whenever a racial leader has a disagreement with the Warchief, they need to decide whether the matter of disagreement is worth dying for.

The leaders then need to decide if their disagreement is something worth risking the lives of their people and whether they can convince their people to fight and die for this cause.

Lastly, they need to decide whether this is something they can convince the other leaders and their people to fight and die for.

With the possible repercussions always so dramatically heavy, the Horde leaders often keep quiet in the face of plenty of aggression, mismanagement and even abuse. They wait, bottle things up and tensions brew until someone decides the situation is worse than death or at least risking death is acceptable. And even then, it is only those with the political capital necesseray to rally the rest who can actually act. The others wait for one of those people to take the lead:

Lor'themar Theron and his Blood Elves did not have the power or the numbers to put up any meaningful resistence, so he kept quiet despite being unhappy with Garrosh's rule.

Sylvanas and her Forsaken were actually quite powerful on paper, but they did not have good relationships with anyone in the Horde. As a result, Sylvanas did no more than speak a few words of disagreement and then fell in line with the rest.

Gallywix didn't really care about his own people and was not liked by anyone in the Horde, so he waited till the last minute when Garrosh started endangering him personally.

Cairne was a leader respected both within his people and the rest of the Horde, a figure many could rally behing. So he took it upon himself to oppose Garrosh, yet he lost the mak'gora (due to foul play by another enemy), leading to the collapse of the political power he gathered, while Garrosh's rule solidified.

Ultimately, it was Vol'jin, the only other leader with a similar popularity to Cairne who managed to start a successful rebellion. But he and his Darkspear Trolls lacked the raw numbers, so they had to wait until the rest of the Horde decided Garrosh needed to go, even if meant death.

Another aspect of the Horde's system of government is how it manages the power balance among the different Horde races. As rulers within a feudal institution, each racial leader draws their power from their own people's strenght rather than any other Horde-wide or legal source. Even if a Horde race has a different inner system for themselves, the relationships between rulers of each race are still determined by the feudal power dynamics:

In a feudal system, “laws” aren't really laws. They are customs or traditions, meaning they are not codified, thus vague and open to various interpretations, even contradictions. As a result, they work in a way that someone with enough power and influence can bend or break them to their advantage. Garrosh often abused his powers as Warchief to violate the autonomy of Blood Elves, going behind Lor'themar's and Aethas Sunreaver's back to get his deeds done.

This type of violations don't simply happen top to down, but also occur among those of seemingly equal rank: Sylvanas and Lor'themar are both leaders of their own respective races and are suppose to be on equal footing. Yet in reality the Forsaken hold far more power than the Blood Elves and at least until recently Quel'Thalas was dependent on the Forsaken for their protection. So when the Northrend campaign began, Sylvanas was able to blackmail Lor'themar into sending troops to a war his people weren't exactly in a position to fight in.

These power plays basically mean whatever agreed upon values or rules hold as much weight as the sincerity of each leader and their power to enforce it upon one another. Thrall was able to successfully outlaw cannibalism of Darkspear Trolls, but he had no idea that the Frosaken were developing a plague that would kill both the living and the dead. And both his and Garrosh's attempts at controlling Sylvanas's use of Blight ended in failure as she managed to circumvent their restictions or simply ignore it and act like nothing happened later.

This imbalance of influence restricts the cooperation and integration among various Horde races. Anyone who wants to usher in a new way, has to force it onto others, and if they don't have the power to force it then the change never happens. Blood Elves and now Nightborne have plenty of valuable information and techniques regarding agriculture, warfare and arcane. Yet they have no method of making them mainstream within the Horde unless Orcs, Forsaken and Tauren decide to adopt it on their own.

Since each racial leader has as much power as their own race and has as much freedom to their actions as their races' autonomy, there is no incentive for making sacrifices from their own nations's priorities to help the greater Horde. For example, lands that the Forsaken rule used to be extremely fertile ground. These lands could be purified and reopened for agriculture which would substantially benefit the Horde and help them pass through their greatest economic bottleneck. Yet Forsaken has no use for food, turning those lands habitable to the living brings in the danger of human expansionism and opening their lands to other Horde races bring their laws and scrutiny to Undercity's gates. Result is that the Forsaken continues to wash those lands with Blight, making them unusable to both the Alliance and the Horde.

With all of these in mind, we can see that the real problems the Horde faced during Garrosh's rule were not unique to him or his reign. On the contrary, they were systemic ones which he took advantage of. Therefore, the “which Horde” question is a moot one. Whether we divorce the current Horde from the Horde of the first two wars and even Garrosh's reign or not no longer matters. The issue lies with the very form of government of the Horde, which doesn't change from one Warchief to another. Now with Sylvanas in charge, anyone who has a problem with her rule, faces the same choices and has to make the same calculations as they did under Garrosh. In the future, if the Horde were to have another Warchief, these difficulties would persist through their reign as well.

This is not to say, however, that the Horde's system is all drawbacks with no pay offs. On the contrary, the system is one with flaws that if mended, could make the Horde the greatest empire the Azeroth has ever seen. Horde is essentially a single state, meaning they present a unified front in not just warfare, but in all forms of international politics, allowing them to throw their full weight behing whatever is decided in Orgrimmar. They mobilize faster, deploy more rapidly than the Alliance and theoretically can control the focus of all of their industries, coming up with a far greater output in any field. What the Horde needs is a change to their system that does not rob them of these advantages but rather increases their efficiency. A move towards a more federative state instead of an imperial one:

The Horde needs to move into a structure of greater cooperation. For this, they need to pull the various positions of power to a more centralized build. First, they need to decrease the powers of the Warchief. For example, a council of leaders directed by the Warchief governing the Horde instead of a Warchief just gathering leaders to tell them what to do.

The second step of this centralization would be to decrease the power each racial leader has over their own race while increasing the control and influence they have over the greater Horde. This way something that is to the benefit of the majority of the Horde could be done without need for any bloodshed and less powerful races could form deeper and greater ties that would protect them rather than desperately hoping they are left alone.

There should be a peaceful method of political opposition and transfer of power. For example, leaders could vote on divisive issues, at least on crucial ones like declarations of war. And a unanimous vote could depose a Warchief while a majority vote could appoint a new one.

The rules and laws should be codified. This would get rid of the ambiguity and contradictions, giving everyone a clear and balanced ground to act upon. People would know what their rights and duties are. They would get to call out abuses and violations, defend their rights and make sure everyone fulfills their duties. A unified system of justice would present a peaceful medium for solving various conflicts between both the individuals and the sub-factions of the Horde.

With these reforms, the Horde would still continue to act as a united force and would greatly reduce internal conflicts and civil wars as well as their general international aggression. Every tiny disagreement wouldn't fester until it turned into a cancer and the Horde wouldn't cannibalize itself every few years. We would see a calmer, more collected Horde that is more focused on and more successful at enriching itself, which could only be good for the Azeroth as a whole, including even their greatest rivals, the Alliance.

Sources: Chronicle Volume 2, Tides of Darkness, Lord of the Clans, Arthas: Rise of the Lich King, “In the Shadow of the Sun”, World of Warcraft: Wrath of the Lich King, The Shattering, World of Warcraft: Cataclysm, Tides of War, World of Warcraft: Mists of Pandaria, “Troll Compendium”.

#World of Warcraft #horde #alliance #Sylvanas Windrunner #garrosh hellscream

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beinglibertarian · 6 years

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What a Socialist Victory Can Teach Us in Our Fight for Freedom – Lowdown on Liberty

Last week, New York saw what could’ve been the biggest primary-election upset in recent history, with Alexandria Ocasio-Cortez defeating the number four Democrat in the House, Joe Crowley. Ocasio-Cortez, a 28-year-old, self-identified democratic socialist, swung nearly 50 points in two weeks to unseat the 10-term incumbent in New York’s 14th district. Now, for those of us not in favor of socialism, the recent feeling of a surge in its popularity can be disheartening. Rather than sulk however, it’s important to see the positives every situation holds for your own cause, and in this case, we should be asking ourselves, what can a socialist victory teach us in our fight for freedom?

Since her victory, Ocasio-Cortez has been thrown into the spotlight, making appearances on shows like The View and receiving invites for interviews on just about every media outlet. During her interview on The Late Show with Stephen Colbert, she was asked to define “democratic socialism”, where she said: “I believe that in a modern, moral, and wealthy society, no person in America should be too poor to live.” It should come as no surprise that this was met with roaring applause, which, for libertarians, is our first place to learn a lesson.

Jason Stapleton often likes to say that, “in the arena of ideas, we cannot lose,” implying that we hold the truth on our side. The only problem is that, when winning requires swaying the emotionally-charged voting bloc of the American public, choosing facts over feelings at the wrong time can actually prove harmful to your chances; and knowing the time and place for it can be the difference between winning and losing. Sure, we can sit amongst ourselves and easily pick apart Ocasio-Cortez’s ridiculous answer simply by asking her to point out who in today’s society actually wants people to be too poor to live, but that does nothing to draw in interest to our own ideas. And when libertarians are asked similar questions, or even put in a corner about our unorthodox views, responding with a “what’s radical about non-violence?” can garner infinitely more attention from someone hearing our message for the first time than going into a breakdown of the Austrian business cycle theory.

I’m not saying we need to abandon our logic altogether, but libertarians have always fallen a bit short in their messaging, especially when it comes to strategy. This is partially due to libertarianism being a descriptive ethic, or simply pointing out the truth about how things are; as opposed to prescriptive, essentially claiming how things ought to be. And to an uneducated voter, that can lead to confusion and a rejection of our ideas. For example, libertarians often say that universal healthcare, when broken down, equates to theft and slavery. While this may be true, it only appeals to those willing to set emotion aside in favor of logic, which, unfortunately, appears to be the opposite of what most Americans are taught in school today. A prescriptive example could be Bernie Sanders saying, “no one should go without healthcare in the US today.” Although the latter lacks severely in actual substance, it manages to give people something to grab onto emotionally, essentially providing a hook for new audiences while also serving to lower their guard.

We can see the effectiveness of this strategy in both major parties today, too. Democrats love to pitch things like a “living wage” and healthcare as a right, as a way of appealing to the emotions of American voters. And how often do we hear them dissemble when asked to define what those mean? Yet, people attracted to that idea seem to repeat it ad nauseam anyway. And while it may be more prominent on the left, the biggest example of this technique comes from Donald Trump. His slogan of “Make America Great Again” could be the single most effective instance in recent memory. The obviously empty slogan gives republicans an idea to look forward to that is both easily digestible and impossible to disprove. Just like with Orcasio-Cortez’s empty definition of democratic socialism, you’d also be hard-pressed to find someone who doesn’t wish to make their own country “great” again, even though each person’s idea of great may differ widely. And that’s the attraction, it triggers a positive image in the voter’s head, and allows them to create their own specific definition. And as we can see, regardless of party, these emotional appeals work wonders by giving people an idea to cheer for that appears to be a higher cause; but in order to reach long-term success, you also need something else libertarians seem to be missing.

With each and every successful campaign, what inevitably must follow the intangible ideas are simple, concrete goals to measure success. Philosophical ideas are a good starting point to reel people in, but they’re only good for a short while. What keeps the momentum going is where the political rubber meets the road; people need something to rally behind. We saw this with Obama, where he followed up his “hope and change” idea with calls to close Guantanamo and end the wars in Iraq and Afghanistan. Trump followed suit with his “build the wall” chants and his promises to bring back jobs. Even Bernie Sanders had his $15 minimum wage and Medicare-for-all promises. These are simple things that can give people something to work and fight for. And with the appeal to emotion starting them out, people are less likely to care if the follow-up ideas are actually workable. Did people care when we explained that Obamacare would fail, that higher minimum wages cause more unemployment, or that building the wall will be ineffective? No, because not only are they already hooked with an emotional investment, but they see themselves as the good guys either way, due in large part to the way these messages were marketed to them.

Now, which one of Gary Johnson’s slogans had any of that? Did “be libertarian with me”, “live free”, “#TeamGov” or “You in?” sound like grand ideas people will rally around? Of course not, and when you pair it with vague campaign promises of “we’re socially liberal and fiscally conservative”, or “we’ll let the market sort it out”, it’s no wonder we couldn’t even break 5% nationally against the two most unpopular candidates in modern history. On the other hand, what is it that everyone remembers from the Ron Paul campaign? End the Fed. It was everywhere. His “Restore America Now” and “Ron Paul Revolution” slogans reminded us all of the broken promises, endless wars, and out of control monetary policy we’ve come to hate, and also worked to inspire newcomers to feel like this was the moment to join and help change it. By coupling all that with the measurable goal of ending the Fed as a solution to those problems, it proved to be a center point for people to rally and organize around. And that’s exactly the kind of campaign we need again.

We’ve seen the continual success our political opponents have gotten already from these very basic strategies. If we hope to be competitive anytime soon in the political arena, we need to realize that not everyone who may come into libertarianism is going to be a rational economist who just powered through Human Action, and while having an objective, moral ethic is something that can win us arguments in the long-run, we need to “read the room” in regards to politics today, and react accordingly if we hope to stand a chance at the ballot box.

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aion-rsa · 3 years

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How a Batman 1989 Deleted Scene Cost Sean Young the Co-Starring Role

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1989’s Batman is widely regarded as a time-tested, transformative entry for the comic book movie genre, and its $411.5 million worldwide gross ($872.8 million adjusted for inflation,) certainly shook an unsuspecting film industry to its core. However, for actress Sean Young, who was initially set to co-star in the film as Vicki Vale opposite Michael Keaton’s Caped Crusader, it represents a point in which misfortune pulled her away from a prospective mainstream breakthrough. Indeed, not only did a pre-production accident force her off the film, but the scene for which she was preparing ended up getting cut from the movie!

Director Tim Burton’s choice of Sean Young for Batman’s leading lady role, photojournalist Vicky Vale, seemed auspicious, since it brought the genre experiment a rising star with pertinent gravitas from roles in then-recent offering like Blade Runner and Dune, along with dramas like No Way Out and Wall Street. It was a positive outlier against the buildup from the film’s 1988 production, during which it was preemptively savaged by fans and critics over Burton’s selection of comedic character actor Michael Keaton—fresh from starring in Burton’s 1988 hit, Beetlejuice —as opposed to a conventionally imposing action movie star. However, a fateful accident would see blonde bombshell Kim Basinger take the role of Vicki, depriving Young of the film’s defiant, industry-altering success.

Amongst a normal number of revised permutations, the Batman script, written by Sam Hamm and Warren Skaaren, once had equestrian leanings—initially involving Vicki—designed to build toward a major action sequence. Consequently, in a setback that now resides in the realm of comic book movie legend, Young, who had been in London for four weeks of read-throughs and rehearsals for Batman’s imminent production in Pinewood Studios, was practicing her horse-riding skills when she was thrown off and sustained a fractured arm. That led producer Jon Peters—who had purportedly convinced Burton to cast Keaton—to suggest that the incapacitated Young be replaced with Kim Basinger, as cameras were set to roll in a week. The suggestion was immediately accepted, resulting in the replacement being quickly flown in, costing Young what was to be the biggest role of her career.

“They did spring the horse-riding thing on me, and I fell and had an accident,” explains Young in a recent interview with The Daily Beast. “Could they have kept me on the show and shot around my arm? They probably could have. I think [producer] Jon Peters had this hard-on for Kim Basinger, and he saw an opportunity to exit me, and he did. And no one ended up being very happy with that choice. But it is what it is. I had an accident and then got walked to the door.”

Warner Bros.

The scene in question was the intended start of Bruce Wayne and Vicki Vale’s first date, set at Wayne Manor. While the final cut started the date inside the dreary, echoey estate, the date would have instead started outside, at the horse stables. There, we briefly see the two riding horses—with Vicki coming across as the more experienced rider—before they dismount and kick off their flirtations. In an example of intended foreshadowing, Bruce says, furtively alluding to his secret crimefighting exploits, “Horses love me. I keep falling off. Maybe that’s why they love me. You should see me, I’m one big mass of bruises.” At that point, they walk off to a patio on which Alfred (Michael Gough) awaits them with a bottle of champagne,” at which point their date continues inside. Indeed, it’s a minor scene, and, as we were meant to see later in the film, Vicki’s horseback riding was merely a plot device designed to set Bruce on an arc for his own horseback action sequence; an aspect that lends Young’s role-costing accident a cruel element of irony.

The eventual payoff to the stable scene would have manifested after a scene that did make the film (at least partially), in which Bruce visits Vicki in her apartment, hemming and hawing as he tries to muster up the courage to reveal to her that he’s Batman. Of course, the Joker (Jack Nicholson)—enamored with Vicki—then interrupts at the door, resulting in a confrontation with Bruce that ends with Joker—after dropping the crucial clue of the “You ever danced with the devil in the pale moonlight?” line—shooting Bruce with a pistol, leaving Joker convinced that he killed him before leaving Vicki with an offer to consider. As we saw in the movie, Bruce secretly lined his shirt with a bullet-stopping metal tray, and pulled a Batman-esque disappearing act on Vicki after Joker departed. However, this scene was initially designed to kick off an elaborate chase sequence.

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In a major contrast from Batman’s onscreen form, early drafts of the script’s apartment scene had the Joker kidnapping Vicki after he revealed the suicide of girlfriend Alicia (Jerry Hall), and smashed the porcelain mask that covered her acid scars. Indeed, the famous, “You can’t make an omelet without breaking a few eggs” line was to be followed by a dramatic cut, after which we see that Vicki was taken by the Joker and his men in their convoy of purple vehicles. At this point, Bruce arrives on the scene to find a mounted policeman in bad shape, sporting a familiar unnatural grin delivered by Smilex gas. Thus, without any other vehicle nearby, Bruce commandeers the cop’s horse and proceeds to chase down the Joker’s convoy. As the chase through Gotham starts to prove fruitless, a red symbol light flashes on Bruce’s belt, at which point a Volkswagen Bug—conspicuously going 70 mph—closes in on him, revealing the driver to be Alfred, who arrives bearing a bundle of fresh Batman attire, resulting a quick pit-stop before the rescue commences. It’s a major divergence from the film itself, in which Vicki wasn’t taken by the Joker at all, save for the climactic scene atop Gotham Cathedral.

“Falling off that horse was something kind of—I couldn’t hang on. There’s kind of a poetic symbolism about that,” lamented Young back in 2005 DVD documentary Shadows of The Bat: The Cinematic Saga of The Dark Knight. “In a way, I look back at that particular time in my life and I go, ‘Wow, I wish I’d been able to hang onto that horse. I wish I’d been able to do that.’ Because then the turning point in my particular career—I would have been able to stay on the film, I would have been in a big box office hit, I would have been able to go on to other big box office hits. That kind of domino effect would have occurred in my career. That was the turning point in my career where that didn’t happen.”

DC Comics

The horseback scenes, while ultimately cut, weren’t as excessive as they seem in retrospect. That’s because it was always clear that Burton’s version of Batman was to reflect the darker elements that came into prominence with Frank Miller’s groundbreaking, profoundly influential 1986 DC Comics miniseries The Dark Knight Returns. By no coincidence, that comic story contains a scene in which Batman rides a horse off into battle; an element of the story that created iconic imagery. Thus, it was merely a reflection of the revolutionary influences—divorcing Batman from the comical stereotype from the 1960s Adam West TV series—that helped form the film. Additionally, one draft even used this sequence as the vehicle to set up the origin story of Robin.

Yet, the saga of Sean Young and Batman continued in the public sphere—sans horses. As the sequel that would eventually become 1992’s Batman Returns had just cast Michelle Pfeiffer for the key role of Selina Kyle/Catwoman, Young felt slighted for not having been given the chance to audition for the part. It’s an understandable feeling, given the way she was unceremoniously recast, which belied any serious volition for her to field the part, since they could have possibly shot around her broken arm during the production’s initial months. Consequently, Young started what became a very public campaign to be cast as Catwoman. This culminated in a 1991 appearance on The Joan Rivers Show (seen just below), in which Young showed up in a homemade Catwoman getup and—through a sultry performance of the character evocative of Eartha Kitt—took Tim Burton to task on his apparent reluctance to even meet with Young in any capacity.

“Even if he wasn’t even going to use me in the sequel, I can’t understand why he wouldn’t at least see me. He wouldn’t see me,” exclaimed Young—at this point out of character—to the late talk show host, who then brought up the rumor that Burton thought the Walkie-talkie Young liked to carry during those days was a gun. “How would I know what he thinks,” Young responded. “He wouldn’t see me, he ducked me, he ran. And then later on, my agent told me that he was going to hire a bodyguard because I was like a dangerous lethal person.”

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Nevertheless, Batman‘s nixed horseback scenes ultimately proved to be a major undoing for Sean Young. Her status as a rising headliner evaporated after that tumble. She would subsequently suffer from, as she now alleges, being blackballed by prominent Hollywood figures such as Steven Spielberg, Warren Beatty and, yes, Tim Burton. In fact her most prominent post-80s movie was the co-starring (twist-touting) role in 1994’s Ace Ventura: Pet Detective, which Young says she only landed because star Jim Carrey advocated on her behalf in spite of studio Morgan Creek. Yet, Young has always worked steadily, and was recently seen in director Tracy Wren’s 2020 drama, Rain Beau’s End, with multiple movies still on her backlog. So, don’t discount the prospect of a potential Sean Young-issance just yet.

The post How a Batman 1989 Deleted Scene Cost Sean Young the Co-Starring Role appeared first on Den of Geek.

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grimecrow · 6 years

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The Significance Of Carl Grimes... To Me At Least

I’ve tried writing this note so many times. I’ve tried to put into proper words and constructed thoughts just why Carl is so important to me but I always fail. I’ve often wondered if I have a full understanding myself; to be honesty I’ve often wondered if I actually have what could be defined as a partial understanding. Don’t know if I do but maybe it’s time to push ahead and try. Normally I have tried to do this by explaining the character, or myself but seeing as those never succeed perhaps it is time to try a hybrid of the two and hope for success. The usual reasons we end up choosing those we do as our favorite characters comes from the fact that they are the most relatable of those available to who we were, who we are, or who we wish we could be. The more in sync we are with the character in one of those three ways the closer we get to phrases like “Carl Grimes is my spirit animal” which I may or may not say from time to time. Gah! It’s happening again! I spent all morning planning this out in my head and now that I am sitting here writing everything is all jumbled and jammed up again. If this ends up sounding disjointed or flat I apologize because I am going to push through. While Carl in the comics and Carl in the show have been portrayed very differently I think at their core they are the same character who is perfect, now I don’t say that lightly nor blindly. I know the character has a lot of negative traits and done undesirable things which to me makes him more perfect. He is perfectly flawed perfection caught in three dimensions. As opposed to other character even within the Walking Dead that are so flat and one dimensional that they really do look like paper cut outs living in a world that lives and breathes with depth and distance all its own. I guess I should tackle the elephant in the room first which is that Carl is a role model and champion to many who have been abused or suffered in their life. The show one more than the comic one because of reasons I will get into later as to why the amount of effort Chandler Riggs put into Carl was important. I consider this an elephant in the room because if you are in certain circles or communities you tend to know that this is one of the main reasons a certain percentage of Carl fans gravitate towards Carl in the first place and if you know that and I don’t address it then it could paint everything else I say with a brush I don’t want it painted with. Now then time to let my inner fanboy out and really jump into what makes Carl who he is.

Carl Grimes is innately good; he is innately good even though quite honestly there is a mountain of reasons; perfectly understandable reasons why he shouldn’t be. “Everybody can’t be bad” is his mantra, his way of life despite Shane turning out to be a monster, dealing with the Governor, the cannibals, the rape, the betrayals...he still keeps his belief alive. Sure you could argue that he is just trying to live up to his dying mother’s last words or the ideals he believes those in his life have instilled or placed upon him but let’s be honest if there wasn’t an indestructible core of goodness in him there’s no way. I think I can be honest enough with the fact that I have trust issues and I haven’t been hurt, tortured, almost killed, raped, left to starve or threatened by 80% of the people I encounter in my life. Now I know I shouldn’t bring religion into this as doing so is damaging to the discussion for those that have issues with religion but the Walking Dead is what lead me to be Christian. Which must really be egg on the face of Kirkman and Gimple as they both have always tried to drive a quiet and small anti-religious sentiment into the show form the start but it wasn’t just Rick praying in the church, or Hershel talking about how Rick should be able to see God’s hand at work in his life. It wasn’t any of the Christian stuff that made me Christian, in a way it Carl had a big influence on that. To be 100% honest I think I was looking to find religion and this was more a result rather than a catalyst so don’t think I’m saying that Carl is a converter because he’s not. He’s an example. When I was questioning and searching I wanted to see an example in action and there is no better example of Christian ideals mixed with mortal flaws I have ever found. Carl is a tremendous example because of how good he is, how giving he, how he tries to help people, he tries to trust people and support the good in them. No matter the risk, no matter how little he has, no matter how much he has been hurt he will always try even if it ends in a bad way. Even if he ends up having to pay a high price...

If helping a stranger would risk your life would you do it? If it costs you your life would you regret it? There have been times where both versions of Carl have had to pay high prices for their kindness though I think it’s safe to argue the show one has paid a higher price but the comic version has also not gotten off easy for the high crime of thinking of others.

Yet there is never any regret; never any doubt about having to try to help the next person, to try to trust the next person. Yes even when doing so is in actuality a stupid idea that the character’s goodness and determination blind him from seeing for what it is.

I talk about how in the regard of helping others, and of trusting others he never has doubts or regrets which is true. In every other regard of himself though? Not so much. Carl is so...human. No matter what good he does, no matter how much he changes people’s lives for the better he can only see his flaws, his mistakes and his need to change them, to make amends. If you think I’m going to try to spin this as a positive trait you don’t have to worry I won’t be but it is certainly a very relatable trait. To see him struggle with it is watching myself struggle with it and we both have the same amount of success. His doubt and how he deals with it though is an inspiration to me. Again he has far more reason than many to give up and just give in but going back to that indestructible core I was talking about before he still has the strength to try. To doubt yourself to the point you question your own humanity...yeah it’s more than relatable and over the years watching him do that but push on has given me the strength and ability to try as I may to do the same. He has had more success than I but he is stronger than I am; he’s fictional he gets to have the writers help him cheat. Though not once has he ever overcome in a way that is beyond who he is, or in a way that seems forced or contrived.

In addition to his beliefs Carl has managed to hang on to his ability to feel joy, feel fear and to be human. Carl is honestly never at his best when he is being ‘Carl, The All American-Boy’ or King Carl, or the bad ass kid. At least not for me. There is a certain hope to be found in the moments when like the one above and below this paragraph. As a person who has lost his ability to feel certain concepts at time these little reminders that despite it all you can, should and will be able to retain these abilities naturally and if you feel that you haven’t that you should try.

This is the concept I always have the most difficulty putting into words as on one hand you could simply state that it is simply retaining your innocence but that isn’t what it is. Carl knows he isn’t an innocent and he doesn’t act like he still has his innocence because he doesn’t nor does he act like he does. Some would say he is a kid who has been able to retain the qualities that make up what we see as childhood but even that isn’t true because he has a level of maturity beyond childhood. Though the immaturity of youth sure shows up a lot in some of his more ...aggressive... decision making. I guess I could summarize everything above as; because of his tribulations and his natural ability to never lose who he is; to be strong enough to retain his sense of self and his humanity is this beautiful thing I desperately strive for. The example I always reach to when I feel too lost and adrift; when I think I have failed or fallen too far. Why bother explaining it out the way I have? Because I’m hoping that I am saying more than I realize I am. I’m hoping that my phrasing, thought construction and the general feel of the piece is saying all the emotional stuff I can’t say. So I’ve shown Carl as this flawed, yet almost angelic character so far but there is another side of him the side of me that revels in the violence and blood. The side I latches onto when I need some inspiration or comfort that is more visceral. King Carl. The beast.

I know I should have chosen a more iconic moment to show this off; like when he tries to kill Negan on his own. Most of my examples haven’t actually been iconic moments save the second but it is never an iconic moment that makes a character great or shows off their traits the best. Everyone can have one shining moment of quality or flaw X. It’s the small moments, the consistent moments that seem to happen naturally and play out organically that show a character for who they are. Even when he is good, even when he does the right thing Carl can have this dark, dark edge to him that I won’t lie makes me hug the book or want to hug the screen.

The beast aka King Carl to me is what happens when the weight and effect of the dark things he’s been through have merged with who he is and who he tries to be. There is almost a primal aspect to this side of Carl and its something I can relate to completely as it is exactly how I am. It’s how I’ve always been, I try to either help or ignore you but once you’ve crossed that line or I think you will cross that line then I will destroy you. I am also very upfront about it when the time comes, and I am never satisfied with just blood, I never just get someone in trouble at their work, never just punch them I always go to quote Veronica on Riverdale ‘Full dark, no stars’. Well old me did, new me is usually not well or strong enough to really free the beast these days and I tend to now just cut things away. Less for what they did and more for my inability to deal with it the way my feelings and instincts wish to. King Carl is never without cause, without warrant but when he feels it’s necessary he both feels like a completely different person and the natural conclusion to his own life’s experiences mixed with who he is. Not only do I remember when I was like King Carl but he stirs within me and satisfies my own desire to see these types of actions and reactions in the world by allowing me to live vicariously through him.

This is going to sound weird or maybe like I’m making it up but it finally has clicked to me why I Carl is my favorite fictional character of all time. Remember at the beginning why I said we normally pick our favorite characters? Carl for me is all three; I’ve had the dark edge of King Carl (and still do as best I can); I right now very much have the same thought and flow as ‘I’m another monster too’, and I always want to try to emulate and strive for that unbreakable core of strength, determination, and kindness though much like the horizon I always feel like I can keep trying to get there but I will never reach it. Carl Grimes is my spirit animal. I’m hoping that by reading this it will help you understand what I’ve been going through; and why I feel the way about the character that I do. The more we understand each other, the better we can relate. Also there is always a chance that by reading this I have gotten you thinking about yourself a bit and maybe by understanding me more, help you understand something more about yourself which is always important. Before I end this I do want to take a moment to talk about Chandler Rigg’s portrayal of Carl on the TV show specifically and why he helped so many in the way he did. Television has a huge power that a lot of people never think of; a couple actually. First is that when you are so broken all you can do is sit and stare you can still experience television. Especially in the age of everything being available pretty much all the time. Loading up a scene on Youtube or an episode that gives you inspiration or makes you happy or gives you strength is so easy that few really can’t manage it. Also there is comfort in the fact that you know what happens once you are watching it for the second or more time so you will very rarely have whatever you are looking for or trying to draw from television actually pulled out or ruined for you. Second is that television is secret. Have a sexuality that you think will get you in trouble with others in the house? Feeling suicidal and found a character or story that helps you through but don’t want anyone to know? You can watch a television show that feeds, helps or supports you and no one will know. Television, watching and liking television is so ingrained in our culture you can watch a show that empowers or helps you escape from things you aren’t ready for others to know about without risking them knowing.

Chandler’s acting wasn’t always perfect, and to say otherwise is a disservice to him as well as yourself but he had never read the comics before auditioning; he didn’t even think a zombie show would do well. Yet he managed to capture everything about Carl Grimes so perfectly; he...in every scene he showed off and gave us all of Carl’s aspects for better or worse. He put so much heart into what he was doing, and it showed. For years in a show that at times didn’t seem like it cared or was trying he did his best to never waiver. Carl is a character that can give so much to those who need it and vibe with him in the subconscious ways needed to potentially connect with a character. I remember at times I couldn’t think, barely move and when I was at my darkest unable to read at the time due to health issues I could watch Chandler Riggs as Carl clips and be pulled out of my darkness, out of my sadness and be given hope again. His portrayal was just so great. I won’t lie he literally saved my life a couple of times doing what he did. Losing continued additions to that well on a going forward basis because as I have stated elsewhere I have so little that I can connect to; that can pull me up, that can save me when I need saving is a huge concern. One I haven’t really figured out an answer to yet aside form ‘at least I have eight seasons of material to draw on when I am unable to draw on new material from the comics. I know he will never see this but I want to thank him not only for what he did unknowingly for me but for some many others. There are testimonials popping up all over the place about how Chandler’s Carl helped them, about what he gave them it breaks my heart. Conclusions are always so hard for me; they’ve always been a weak spot. All I can do is thank you for reading and hope that if you haven’t yet found the character that does as much for you as Carl does for me that you do soon. If you have; well I then hope they don’t fall prey to a lazy writer or management of a company that doesn’t seem to understand what it’s doing.

#twd #walking dead #chandler riggs #carl grimes #twd spoilers #spoilers

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marketingagency121-blog · 3 years

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Are Infrared panel heaters a good way to heat a room?

Infrared board radiators at infraroodpaneel are a generally better approach to warm your home. They work distinctively to radiators, and have a few favorable circumstances with regards to energy proficiency.

Infrared board radiators use radiation to warm the room rather than convection. This implies that they convey heat straightforwardly to individuals and goods as opposed to attempting to warm the whole space. Power is costly, so electric warming is regularly viewed as an uneconomical choice, yet by moving warmth all the more productively board radiators can give a decent option in contrast to customary focal warming frameworks.

So what is the distinction among convection and radiation? Furthermore, what are the benefits of one over the other?

Warmth consistently moves from more sultry items to colder ones. There are a few manners by which warmth can be moved starting with one spot then onto the next. The most well-known are conduction, convection and radiation.

Conduction essentially happens through solids. Nuclear power is passed starting with one iota then onto the next, thus moves quickly through an item. A few materials, for example, metal, lead heat proficiently. This why the outside of a radiator rapidly heats up when high temp water is siphoned through it. Different substances send heat significantly less effectively, thus make great protection.

Convection is the development at infraroodpanelen Webshop of warmth through a liquid, for example, air or water. At the point when a liquid becomes hot its thickness diminishes, this is the reason hot air rises. At the point when it chills off again it gets denser, and sinks. This sets up a flow, and warmth is moved starting with one spot then onto the next by the moving liquid.

Radiation is the transmission of energy by electromagnetic waves. Warmth is principally sent by photons in the infrared scope of the range. These convey the energy from its source, and convey it to any object which ingests them. This implies that radiation can go through any straightforward medium, including a vacuum.

Most focal warming frameworks depend on convection to convey heat. Notwithstanding their name radiators warm up the air around them, which courses through the room. They produce some warm radiation, which is the reason we can feel heat falling off them. Anyway this isn’t their main role.

Infrared boards depend on radiation, which makes them a serious proficient warming framework insofar as we don’t attempt to utilize them similarly as an ordinary radiator. As opposed to warming the air an infrared board conveys heat straightforwardly to the inhabitants and goods of the room. Anybody sitting before a board will feel warm, regardless of whether the air around them is still genuinely cold. This implies substantially less power must be utilized than if the whole volume of the house must be warmed all together for the tenants to be agreeable.

This implies that infrared board radiators are especially successful in more established structures which have drafts or helpless protection. Absence of protection makes an ordinary warming framework hugely wasteful. The warmth created by the evaporator is continually lost through the texture of the structure. This isn’t an issue for infrared radiators since the warmth is conveyed straightforwardly to the inhabitants of the room. It is additionally consumed by dividers and goods, which store heat substantially more successfully than air.

Infrared radiators can be utilized to set up temperature drafting inside a room, since just the region in view of the warmer gets energy. This can be a preferred position in enormous and drafty rooms, especially on the off chance that you will be sat in similar spot for extensive stretches of time. Since the boards are independent units, without any lines, they can be situated to fit the format of the room, in any event, being held tight the roof so they point down at the individuals underneath.

The primary strength of infrared boards can likewise be their biggest shortcoming; they give a coordinated warmth source, instead of a space warming arrangement. This implies that they are exceptionally dependent on view. In the event that you are straightforwardly before the board you will feel warm, however once you switch off the radiator or move to an alternate zone you will be cold once more.

This implies that they work best on the off chance that you intend to remain in a similar territory for some time, however aren’t as acceptable in the event that you will be moving around a great deal. Infrared boards can’t be mounted in similar spots as customary radiators, since furniture will effortlessly hinder the board. Dividers and goods will reemit energy for a brief timeframe after the radiator quits running, yet generally you should maintain it on in control to feel warm. want Wholesale infraredheating panels Visit us now!!

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paradisetechsoftsolutions · 3 years

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Why marketers are using chatbots?

If you are a business owner, then the chatbots can be a great way to outsourcing your business in a colossal AI market. Chatbots have become so popular among businesses and keep enhancing & transforming the way trade markets interact with their customers, and especially when the chatbot is of higher quality, however, such alterations are so positive. Chatbots are so unique because they not only run the communication but also engage with your customers, moreover they also retain them.

This means that unlike other forms of marketing, chatbots keep your customers entertained for longer. For instance, let's say you catch your audience's attention with a video. While this video may be extremely engaging, once it ends, it doesn't have much more to offer.

The products of chatbot allow you to conduct conversational marketing by implementing a piece of code onto your website or landing page that enables a chat interface to appear. The free versions of chatbots seldom allow for any of the flashy artificial intelligence (AI) capabilities of their outrageous counterparts so you are manual if you aren't willing to pay.

Moreover, they store a myriad of customer data such as past purchase history and buying habits over time. The next time, the same customer visits the market or store, the data is employed to render a seamless user experience and convert them more efficiently.

Ways of Chatbot that can fit into your Digital marketing strategy

Here, chatbots are mainly designed to simply complement your website and the presence of your social media, having scripted conversations with possible leads to support in solving common concerns and forge strong relationships. They also support businesses to generate and nurture more relevant leads, collect the superior data and improve their sales potential. Chat for marketing is a strategy for getting customers interested in your product or service through human-like conversation. A marketing chatbot accommodates companies to stay connected with customers, streamline service processes, and simply enhances profitability.

Business owners or partners must be informed of the strategies only for their marketing purposes. In this section, we are going to share some of the strategies for you all. Let's devour one by one:

Communicate with website users

This is one of the most common and necessitated actions performed by bots, which holds a myriad of benefits. You know what, when visitors come to the website, they need answers regarding products or other services. If there are no answers, then the visitors leave forever. Helping potential customers is a priority, but it can be difficult if you have small customer support and sales team. This is where bots can be needed and saved. Set up the bot to stimulate live chat and communicate with the customers. Moreover, it may come as a surprise that customers like to chat.

Organize your team

Here, when we utter "Marketing strategy" oftentimes we think about things like "Search Engine Optimization" FB ads, plus the blog posts. The performance of the team does not usually come to mind, but it is one of the most crucial parts of the marketing strategies unless you are an individual entrepreneur. In organizable the team, there are always unavoidable conflicts in a while. If everyone is on the same wavelength, this will deduct the amount of time, resistance and support the coordinated work or performances.

Moreover, bots like SlackBot

and Nikabot

forges the organizations more cohesive, specifically if you hold remote workers among you.

Such bots completely support keep track of what people on your organizations or firms are doing and keep everyone updated. The best projects, that we have ever worked on are due to excellent communication within the organization. Despite whether you are a large or a small one, you should always on enhancing it.

Integrate bots into messenger platforms

That is where they manifest themselves in all their reputations. Chatbots are the most popular on messaging platforms. And that makes a lot of sense. After all, most of the bots are designed to communicate with your customers. In general, many bots are available for slack and Facebook messenger.

The bots are so great for the backstage company use. Facebook messenger bots are quite superior to likely customers.

Social media Chatbots

Chatbots are completely regarded as a potent device to change the core of social media marketing itself by alternating the accurate meaning of engagement. As opposed to the major and the traditional concepts of online advertising wherein engagement refers to playing a video or an ad click, engaging with a bot is essentially about holding an accurate conversation with a human-sounding bot.

The WhatsApp bot now using for marketing purposes as well. Whatsapp bots for the businesses help to increase the sales as well. Here, you can simply promote your business-level wherever you desire to do. Now as we all know, the chatbots are computer programs that are simply integrated into the messaging apps that are capable of mimicking human-like communication. Moreover, they're simple and rule-based programs that can answer the most common questions or programs equipped with deep learning and artificial intelligence (AI) that can adapt to customer behavior. Although many businesses haven't commenced using chatbots yet or even heard of them for that matter, there are those who are already reaping the advantages of this marketing tool.

Let's dive and the leading chatbots that are used for some specific and meaningful messages and those which dispatch useful messages, such as, WhatsApp messenger, Hike messenger, Skype, and Facebook messenger and so on.

WHAT IS SKYPE CHATBOT?

If we talk about Skype chatbots, then, a Microsoft product, unfurled its APIs at the end of 2016. Microsoft made a serious of big and crucial announcements around several of their products, brands, and services. The developers from all around the World could now create chatbots on this platform. Skype for business is the chosen enterprise instant messaging (IM) and Unified Communications (UC) platform for a zillion of business worldwide. It, in fact, relishes the enormous market share in this space.

Skype Bot

Though, as a messaging platform, Skype for Business does not recommend bots out of the box. All after our contemporary and uncommonly successful launch of MeshBot which is an Enterprise Intranet Bot for SharePoint, and it is available as an implanted experience within a corporate intranet we determined to upgrade the scene for Skype for businesses & for the manufacturers too.

WHAT IS WHATSAPP CHATBOT?

If we talk about the WhatsApp chat bot then it is a service powered by the rules and sometimes artificial intelligence that runs on a WhatsApp platform. The users converse with a chatbot all via the chat interface, like how they would chat with a real person.

WhatsApp Bot

WhatsApp chatbot is the colossal platform for marketing the products, services, and other brands. WhatsApp marketing is emerging so quickly that anyone creates a new startup whatever they were looking for.

WHAT IS FACEBOOK MESSENGER CHATBOT?

Facebook messenger is a piece of automated messaging software that uses Artificial Intelligence directly to converse with people. Chatbots are programmed to grasp questions, provide answers, and execute the tasks.

Facebook Messenger Bot

In today's world, the messenger bots of facebook are transforming businesses. They've changed the entire marketing game. And they use the enormous power for whatever business you're in all according to your field. In this article or blog post, we'll tell you exactly how to use bots for business purposes. Now, if you don't have knowledge about using Messenger bots in business, you're good. And if you know a lot, that's also a cool thing. Here, this article will take you from neophyte to savant, proffer you with comprehensive awareness and the more tactical skills.

Bottom Line

Your business doesn't have to be the size of Facebook to initiate by using Chatbots. You'll attain a huge engagement if you give it a shot- specifically when you use a chatbot software that permits you to supplement customized welcome messages, on-session personalization and more.

#Social media Chatbots #Why marketers are using chatbots?#chatbot marketing

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