#Brand Analysis

[techsagacorporation]

Zadig & Voltaire, founded in 1997, is a luxury brand known for freedom, creativity, and audacity. With a 99/100 score on France’s gender equality index, the brand seeks passionate individuals to address social and environmental challenges in the 21st century.

#Zadig & Voltaire #Brand Analysis #Techsaga Corporations #Brand #Life Style #Perfumes #Clothes

[projectworld4real]

Brand Analysis Assignment

Assessment Task Detail and Instructions: An Individual project report on a brand of your choice. The brand must only currently be available in a limited amount of countries or a particular region and must have a physical market offering/s. The case study should be between 4000 and 6000 words (with 6000 words being the maximum) and must be completed individually. The assignments must contain the…

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#academic models and theories #Brand Analysis #Brand elements #Brand Equity (Keller&039;s CBBE model) #Brand Introduction #Brand Mantra #Brand Portfolio / Availability #Harvard style referencing #Intended Points of Parity (POP) #International Market Analyses #Marketing mix framework #Points of Differentiation (POD) #Strategy for Market Entry

[jos-has-too-many-hobbies]

One of my favorite metaphors of Glass Onion is the Mona Lisa vs the Glass Onion.

Miles is constantly comparing himself, whether directly or indirectly, to the Mona Lisa. He wants to be “forever remembered in the same breath” as her. He plays up the mystery and the complexity of the painting, the artistry, the skill and the knowledge that went into it; All traits that he wants others to see in him.

But when Miles is describing the painting, who gets the closeup shot? Not Miles, but Helen. Helen is the one who gets multiple shots throughout the movie mirroring the Mona Lisa- same pose, same unreadable expression.

Because Miles isn’t the Mona Lisa, however much he wishes he was. Miles is the Glass Onion. Something trying to look complex and layered on the outside, when in reality, the center is in plain sight. Miles isn’t some enigmatic genius, he is exactly what he appears to be at first glance: an idiotic, rich, egotistical, shithead.

He didn’t make his own puzzles, he didn’t write his own murder, he didn’t create his own art, he didn’t even come up with the idea for his company. His island is filled with things made by other people. He isn’t even the person who did the thing that will forever connect him to the Mona Lisa. The thing that will forever tie him to Helen Brand.

Helen is the one with complexity. Helen is the one surrounded by mystery. Helen is the one who’s more than meets the eye. Helen is the Mona Lisa, and the Mona Lisa destroyed herself to take down Miles Bron.

#glass onion #knives out #miles bron #helen brand #I could talk about all the symbolism and metaphor in this movie for hours #movie analysis #wordificating

[avalonglobal]

Consumer Insights, Consumer Behaviour Research & Data Analytics, Brand Analysis | Avalon Global Research

Avalon Global Research specializes in in-depth consumer insights study, consumer behaviour research and analytics, brand analysis, helping its clients understand their consumer better and devise more effective business strategies.

#Consumer Data Analytics #Consumer Behaviour Research #Brand Analysis #Consumer Research Services

[t1sunfortunate]

I truly do think one of the largest pitfalls among the "media consumption is my passion" crowd is the tendency to treat characters as human beings with agency rather than narrative tools manipulated by the author

#as soon as you start assigning agency to characters any criticism of the series comes under strawman fallacy arguments #about how humans make irrational choices not always understood by others etc etc etc #thus insulating the author and the work from any sort of meaningful criticism or analysis #i think current popular advice on character writing overemphasizes relatability and likability at the expense of narrative relevance #it certainly isn't hurtful to do exercises where you think about their coffee order or favourite animal or preferred toilet paper brand #but none of that matters in the end if you have no idea what purpose a character is supposed to serve in a literary sense

[ouroborosorder]

I once heard someone say that because Arknights' disability representation is mostly tied to their fantasy turbo-cancer, then it doesn't feel like real disabled representation, and I've been unable to get it out of my head, like a piece of popcorn stuck in my teeth. So, rather than doing my homework like I'm supposed to be, I want to talk about why I disagree and why I love Arknights' approach to disability.

So, for those who are unaware, Arknights has a shockingly high amount of disabled characters, and characters who are disabled in a lot of different ways, both caused by being Infected and just being disabled in the way that normal people are. Nightingale has chronic pain, Lemuen is the best sniper in Laterano while being in a wheelchair, Akafuyu is mostly blind, Eyja has severe hearing loss, Rosmontis has severe memory loss, Amiya has very severe PTSD, I could go on and on.

And of course there'd be a lot of operators with disabilities! Rhodes Island is a medical organization dedicated towards long-term care of terminally ill patients. Of course many of them would develop disabilities, and of course Rhodes would have the resources and facilities to help them. They even make notes of how to treat them in their medical files, like how Ejyafjalla's has a little guide on how to best have a conversation with her. It makes perfect sense, but I can't say a lot of games would think about it on that level.

And that why I like this game's approach to disability so much. A lot of video games just treat disability as "someone missing an arm" or "someone in a wheelchair because of Their Injuries From Combat. It's usually treated as an individual thing, just someone who got hurt, or who maybe has a frail constitution or whatever. But in Arknights, disability isn't simply treated as a character trait for individuals, but as part of the worldbuilding itself. The world is largely defined by Oripathy, this fatal degenerative disease with no cure. And the Infected are treated as second-class citizens, considered free labor that they don't have to treat ethically because they're dying anyway. The writers realized that this would cause severe disability, both real and fantastical, and worked it into the story and world.

This runs the other way, too! Arknights' worldbuilding follows a sort of social model of disability, in a way. There's a lot of fantasy stories that treat the inability to use magic as a sort of disability, but to Arknights, it's... not. Because Arts require specialized training, and so a lot of people just don't know how to use them, and might not even know they can't use Arts. So it's not treated as such, even though it is still a physical inability to perform things other people can.

But on the other end, Laterano's culture is based around the Sankta having empathic communication between each other. Mostima, as a fallen angel, can't use this telepathy anymore, and she speaks about how othering it feels sometimes, to be physically unable to engage with an important part of her culture. While it's not explicitly stated as a disability to the Lateran culture, I certainly feel like it's treated as one to some degree. Namely that it's explicitly contrasted with Fiametta's PTSD rendering her unwilling to empathize with the people around her, as opposed to Mostima's physical inability. It's the fantasy disability treated with the same weight as real world disability, because within the world of Terra, they're the same thing.

And of course there's just some of the more fucked up fantasy stuff like "On top of her existing narcolepsy, Ptilopsis was forced to become plural after she had to have part of her brain replaced with a computer that forces her to speak and think like a computer or else it causes her severe mental stress to the point of physical pain." Which uh. I don't know where that fits in the conversation but jesus christ someone hug that owl

Of course, its representation isn't always perfect. Just off the top of my head, Nightmare is a pretty rough stereotype, with the whole "Oripathy gave her multiple personality disorder with a violent personality trying to take control of her body!!" trope. And, of course, I'm sure other people have complaints with the representation of their disability in ways that I'm not aware of because I only have the perspective I have.

But... what I remember about this game's treatment of disability isn't when it fails. What I remember is reading Glaucus' module for the first time, the story of the first time she ever put on the mechanical exo-suit legs that allowed her to walk for the first time in her life. And I started bawling my fucking eyes out. I cried because, even though I don't know the specific feeling of walking for the first time in years, I know well what she felt. That feeling of liberation from something you secretly feared was just who you are now. Even though you know it won't be a perfect solution, the physically choking emotion that you're able to get a little closer to a normalcy you've always wanted. The feeling that right now, the only thing you can do is run like the wind.

#arknights #long post #critical analysis #just gonna tag all future essays as critical analysis so that i can find them in the future because i am proud of my writing in these #writing an extremely long essay in order to put off my creative writing homework may be the most on brand thing i've ever done

[messiahzzz]

while it’s perfectly fine to have your own headcanons that are non-canon compliant — by all means, go wild. recognizing pieces of yourselves in fictional characters can be a very healing and validating experience. this is nonetheless a casual, well-intentioned reminder that gale, in fact, does not have bpd.

bpd is a pervasive pattern of instability affecting interpersonal relationships, self-image, and mood. the disorder is marked by impulsivity beginning in early adulthood and is present in a variety of contexts. a diagnosis requires at least 5 of the following 9 criteria to be met:

Fear of abandonment

Unstable or changing relationships

Unstable self-image; struggles with identity or sense of self

Impulsive or self-damaging behaviors (e.g., excessive spending, unsafe sex, substance abuse, reckless driving, binge eating).

Suicidal behavior or self-injury

Varied or random mood swings

Constant feelings of worthlessness or sadness

Problems with anger, including frequent loss of temper or physical fights

Stress-related paranoia or loss of contact with reality

source: [x]

i highlighted the criteria that do apply to gale in one way or another in a pretty purple.

i personally believe that it’s rather harmful to equate his relationship with mystra with her being “his fp”. she is a deity, his goddess, and the source of his powers, who is in in full control of the magic he wields.

gale: mystra commands all magic. salvation, if such a thing exists, is hers to bestow or withhold.

gale has been effectively groomed and conditioned to serve and revere her at every turn since early childhood. imo this comparison really undermines a lot of crucial points in gale’s story that deal with his overall trauma and abuse. after all, you wouldn’t call shar sh*dowhe*rt’s fp either.

gale doesn’t revile mystra, nor does he commit benevolent deeds solely motivated by the secret hope that she will somehow notice and take him back. when you meet gale in the game he has already fully come to terms with the fact that he has been abandoned by mystra with no hope of reconciliation whatsoever. he also had some very fitting lines in ea regarding this topic that i'm sad haven't been repurposed in the full release in some way.

gale: [the tadpoles] don't know that some things are impossible. they don't know that... they don't know. player: what is impossible about what you're being shown? gale: forgiveness. gale: it is mystra i see. and yet it cannot be her. there was a time when i would have believed - but no longer. gale: suffice it to say she would not bestow upon me the favors promised in these dreams. that is how i know they are delusions.

he has already reached the stage of acceptance. moreover, gale only starts to realize that mystra might have been in the wrong for requesting his death once the tadpole squad & tav speak some sense into him. and even then he doesn’t ever show that his emotions regarding mystra are anywhere along those lines. he is instead rightfully angered that she only saw value in his death, after he had been worshipping her loyally for years.

gale: i worshipped mystra loyally for years, and in that time she granted me the barest sliver of the power i was ready to wield. gale: even with the fate of the world at stake, she had little more to offer me than the means of blowing myself up at a more convenient time. she's done nothing to help us.

gale: you abandoned me in my hour of greatest need. i had no obligation to help you in yours. gale: because you had no right to ask that of me. you cast me out, remember?

gale doesn’t display rapid changes in mood either. he is a character who is generally very composed and has been known to remain nonchalant even in the face of utter horror. tim downie himself even commented on this once. source: [x]

the only instance i can think of is his sudden switch from resigned-to-death to utter-eye-sparkling-enthusiasm once he spots the crown of karsus. apart from crucial story reasons that i won’t touch upon in this post, i’d also like to add that it’s a rather common phenomenon for people who have just barely survived a suicide attempt to suddenly be filled with zeal and unbridled energy. he doesn't display impulsivity without thorough consideration when it comes to its acquisition either. he considers this a golden opportunity and is positively enthusiastic and elated that this might prove an alternative to him ending up in a cloud of netherese smoke. nonetheless, he knows what he is doing. evident in him actually succeeding in ascending in one of his endings.

gale: this is no passing whim, trust me. if i can obtain that crown, it will affect us all. it is not a decision i'll take lightly. gale: it's our future that i'm thinking of - we can't rely on anyone else to do it for us. gale: for now - we've learned all we can.

neither are his relationships that we do know of (namely elminster, tara, and morena) frequently changing. they are marked by years of mutual respect, care, and consistency. there is nothing unstable about them. while it's important to note that his relationship with tav is still in its honeymoon stages during the main game, there is no inclination of any push-and-pull dynamic between them whatsoever.

gale isn’t preoccupied with keeping up some sort of benevolent act in order to win (back) affection — he genuinely IS a good person and he proves this at every turn. moreover, to have a tressym become your familiar you must be of Good alignment.

(taken from tumblr user galedekarios's post.)

there is never a moment where his ideals or alignment suddenly change. in fact, i’d argue that he and wyll are most consistent in this regard when compared to the rest of the companions. gale makes his moral standpoint very clear from the beginning on and also explicitly states that he believes that in order to survive this entire ordeal it would be selfish of him if he wouldn’t be willing to compromise on his morals. this isn’t a sudden bout of ✨muahahaha wizard hubris✨ that he barely contained to hold in before, this is yet another act of selflessness — it is what he’s willing to do for the group and subsequently, the welfare of faerun.

player: i love unsavoury things. don't feel guilty on my account. gale: that's good to know. although i should say i do what i do out of a sense of utility and pragmatism, not a love of the unsavoury. gale: we're up against the greatest threat faerun has ever faced. i don't mind getting my hands dirty if it gives us a better chance of surviving. gale: whatever advantage i can gain for us. i will. and i refuse to feel guilty for it, no matter how much mystra's chidings might echo in my skull.

this is him, once again trying to be useful in whatever way he can. to give them an advantage, a slither of hope against seemingly impossible odds, so they might make it out of this in one piece. gale wouldn’t approve of those actions under normal circumstances, but their predicament is as far from any definition of “normal” as it can get.

gale is no fool, he realizes this is essentially about survival. he knows that he has no option left other than to tolerate, which is why he can be convinced to not immediately depart tav’s company even if they choose to commit atrocities. this is no character flaw of his or him displaying a previously dormant openness for cruelty, this is about recognizing the necessity.

player: you don't stand a chance alone. you're free to go. i dare you. gale: gods damn you - you're right. few things are more powerful than the will to live.

gale: i thought the orb to be the greatest of my sins, but i see now that there are darker depths to which i might yet sink. you may be content to sink into that abyss, but i assure you - i am not.

gale doesn’t lead a split existence. he has a very strong sense of identity. he knows what he wants, what he doesn’t want and he isn’t shy in expressing his boundaries either. which he has especially shown when it comes to his relationship with tav. i originally had intended to touch upon this in another post entirely but: i firmly believe his entire Gale of Waterdeep™ persona is more of a performance than him struggling to find a sense of identity and trying them on for size. it is an intentional decision to separate gale dekarios from the great wizard of waterdeep, to create distance and make sure his family name remains untarnished in case things should ever go sideways.

gale: i agree. and on the plus side, if i get myself into any truly cataclysmic straits during the remainder of our journey, my family name will go untarnished.

there is also a deep-rooted feeling of unworthiness and his firm belief that love and praise are conditional resources that he will only be granted through his talents alone, naturally. presenting himself as gale dekarios, the man, would mean highlighting his shortcomings and very human flaws, while distracting from the aspects of himself that are deemed praiseworthy, the ones that actually matter: his magical prowess.

i personally believe that part of the beauty of gale’s story is him realizing just how “little” it takes for him to be truly content. he gets his happy ending, with someone at his side who truly sees him, understands him and unabashedly commits to him. they worship and adore him in return — and it is well deserved. he isn’t reduced to be constantly and restlessly searching for some unattainable ideal to fill the gaping void within himself. he doesn’t secretly thirst for more power still or believes that in being with tav he is settling for something. instead, he is finally happy to just be. be and be accepted. teaching a class of unruly wizards and coming home to his spouse each day already fulfills him.

gale: that's how i feel with you - content. it's a rather unfamiliar feeling, i must say. not something gale of waterdeep ever craved.

even if he doesn’t pursue a romance with tav, he reaches a realization of “oh, it appears i am not irredeemably flawed and only able to reach true redemption through my own death. what i needed was actually with me all along.” throughout their journey and through his friend's support. i think that’s a very powerful and comforting message. he is very well capable of finding peace within himself.

devnotes: his default state is that he returned to waterdeep and became a professor of illusory magic at his former school, blackstaff academy. general vibe here is that this is a gale who's found peace with himself - he's a great teacher, one his students are mostly in awe of.

to repeat myself: sharing your headcanons is all in good fun, nor should you ever be discouraged from doing so. this is your personal tumblr experience, after all. but i personally think we should be mindful of unintentionally perpetuating negative stereotypes, such as narcissism being a general indicator or being deemed a classic depiction of bpd. i think we can all agree that the continuous longing for acceptance, connection, praise, and approval is something we all have in common deep down, regardless of whatever disorder we may have. [insert victoria justice meme here]

gale may be many things to many people, but he is no entitled narcissist.

#with love. a person diagnosed with bpd <3 #this turned much longer than i originally intended it to be (aka less of a reply and more of a character study) #by now you know that i am incapable of cutting myself short. i’m so sorry #i debated if i should put this in the tag at first #but i personally think that this is a very interesting discussion #also to reiterate: this is by NO MEANS a slight at the original poster #i just thought it more respectful to make my own post instead of invading theirs with my ranting #fandom is all about fun and escapism. #if you interpret characters in a certain way that i personally disagree with that is a-okay #BUT i’m also gonna have my own specific brand of fun by pointing out why you’re wrong (affectionately) #also i quickly want to add that if you're interested in a very accurate and respectful portrayal of bpd: watch crazy ex-girlfriend!! #its on netflix and genuinely such a funny and unapologetically weird show. the writers have really done their homework #bg3 #baldurs gate 3 #gale dekarios #gale of waterdeep #bg3 meta #character analysis #it speaks #long post #suicide mention

[anthurak]

Since Mammon’s Magnificent Musical Midseason Special released, I’ve been seeing a lot of people make a point about how Mammon is so different from Asmodeus and Beelzebub (namely that he’s a selfish, exploitative scumbag while the other two have been overall pretty nice) because ‘Greed’ is some inherently cruel/exploitative/evil quality and that there was no way Mammon could have been ‘good’, or at least ‘nice’ like Ozzie and Bee.

And I can’t help but feel that this take is missing what I think is a subtle but very KEY detail we’ve been seeing about the Sins.

Namely, that the Kings of Sin don’t seem to be bound or otherwise ‘compelled’ to any one specific way of expressing the ‘sin’ they embody.

We got hints of this with Beelzebub in her episode, with how she is both able to tell and is concerned when someone is indulging in gluttony in a harmful manner. But we’ve really seen this disconnect with Asmodeus.

Like it’s been a running gag at this point that Ozzie and Fizz are massive hypocrites for espousing some ‘lovey-dovey bullshit is for bitches and saps’ while actually being completely head-over-heels in love with each other. But let’s actually step back for a minute and consider what it MEANS that this ‘Embodiment of Lust’ CAN be a massive hypocrite about how he expresses his ‘Sin’ in the first place.

It’s clear from all their private scenes together that Ozzie does not struggle at all to express just how deeply he LOVES Fizz. He has no inherent lust-related ‘compulsion’ that he has to somehow ‘fight against’ to express his love for Fizz.

Instead the actual struggle that Ozzie and Fizz face is one of simple personal/social insecurity; feeling afraid to express their love openly around others. And with the whole ‘worst kept secret in Hell’ thing, it’s clear they weren’t even doing a good job at keeping it a secret.

In hindsight, I think we can guess that Asmodeus used to fully believe in what he was spouting in his debut episode, that lust should be all about pleasure with none of that lovey-dovey bullshit. BUT, then he met Fizzerolli and gradually fell more and more in love himself with the imp. To the point where he’s now had to reframe how he expresses his ‘Sin’, both in private and as of the latest episode publicly as well.

What this means is that there was NOTHING ever forcing Ozzie to express his ‘Sin’ in this specific way. Instead he simply chose to express his sin in this way, based on his personal beliefs about ‘Lust’. Beliefs that he’s clearly reevaluated since meeting and falling in love with Fizz.

And I think we can only assume that the same applies to the OTHER Sins as well. That the way they express their specific sin was never something they were ‘decreed’ or ‘compelled’ to do, but simply a CHOICE they made.

Which means that Mammon being some petty, skeevy, exploitative asshole ISN’T some grand ‘Embodiment of Greed’ thing, but rather simply a MAMMON thing. A choice he made likely based on simply his own personal hangups and insecurities.

I think the more we learn about the Sins, we’re going to learn that they are defined NOT by what ‘Sin’ they embody or any nebulous inherent ‘quality’ that their Sin might represent, but rather defined simply by their own personal experiences, struggles, triumphs and failures just like everyone else.

#helluva boss #helluva boss analysis #mammon #helluva mammon #asmodeus #helluva asmodeus #beelzebub #helluva beelzebub #analyzing the helluva sins #mammon isn't some grand ultimate evil #he's just an asshole #the lords of hell are celebrities #and their 'sins' are their branding

[ms-scarletwings]

Honest truth, with every episode of this messed up show I finish rewatching I’m more are more sure that Dib is just as incompetent and short-sighted when it comes to his “mission” as Zim is. But it’s so funny to me that while Zim just makes bad plans, has awful priorities, and improvises a lot by the seat of his pants, Dib’s incompetent in the classical bumbling villain sense. Like, he’s doing the right thing, he generally has clever approaches and insights, makes full use of his resources, yet,

He’s still aesthetically and narratively such an antihero, the poor dweeb.

Observe, my magnificent Venn diagram

Only thing I didn’t want to tack on that because it bears worth of some more elaboration: Both of these two are horrible about recklessly arming their nemesis with tons of free information and striking opportunity that can only be used against them.

And Dib is worse at this, like, so… so much worse. Zim will do the classic ‘Muahahaha, now that I have you right where I want you, here’s a detailed presentation of my entire insidious plan, Batman!’ routine while at least having the class to wait until the hero is being lowered over the acid vat or tied to the train tracks. Dib, as a villain? Would start reciting that same speech while in the middle of trying to kidnap the hero, about 3 and a half steps way too early. It’s actually crazy how fast he will telegraph his next move even when he’s not in a position of having a real advantage yet.

The first time the two met and Dib stood there loudly showing himself as the most perceptive and hostile human in range? And then stood there explaining alien sleep cuffs and what he was going to do with them? And then stood there declaring war and that he’d identified Zim’s base location, swinging said cuffs around in front of the gnome brigade? Granted, he wasn’t aware of Zim’s security at the time, but the essence of that sequence was a pattern that he was more than happy to keep repeating for the next couple seasons.

Also, Zim’s brutalism, while it went to some shudder inducing places, is more expected from a genocidal maniac born from a race of colonial supremacists. It’s part of his theatrics and it’s fun for him in the same way it’s fun for his leaders to blow up innocent ice cream space-trucks and unlucky planets. Dib gets mean with their face offs in a way that’s just dripping with spite. All the time spite. Trivial, personal, petulant spite. Even more than Tak and her grudge, which, should be a lot more surprising to me. But it’s really not.

What it did do instead was remind me of a very interesting quote I once heard, from a Cracked video about online gaming behavior, of all places,

#invader zim #dib membrane #iz #iz dib #iz analysis #my memes #adorkable jerkass #Only real thing separating their brands of idiocy is Zim’s blissful denial lmao #he infodumps about his plans like me rambling about my dnd campaigns lmfao #dib slander #scarlet talks about things

[posletsvet]

It's only just now clicked for me that all the despicable horrors Sukuna drags Yuuji through time and again, all the feats of grand, unseen violence he puts up just for Yuuji, all the heinous atrocities and pain he inflicts on Yuuji -- they actually carry an inkling of something strategical, coldly calculated. Don't get me wrong, doing all that Sukuna clearly enjoys himself, his rampage in Shibuya sizzling with euphoria of finally getting to move freely, unshackled, and in the end that is the very nature of a curse -- cause suffering for the sake of suffering and feast upon it. But Sukuna, perhaps rather oddly, doesn't strike me as someone who would hold petty grudges and act upon them spitefully. Especially in regard to someone like Yuuji, who Sukuna considers little different from the filth beneath his feet and doesn't hesitate to make it known. So why even bother hating something so insignificant, miniscule? Why spare an effort to make this particular life miserable when suffering is already inherent to human condition? And while I'm at it, here's one more question, perhaps more on point with what I'm trying to say: why retreat of your own free will to the state of entrapment and give up the reins of control so soon after they fell into your hands?

Back to the point I started this rambling with, it seems to me that in the chaos Sukuna causes there is calculation. I think he's trying to do to Yuuji what he did in the end to Megumi -- crash this boy's beating heart and drown his soul. Sukuna's actions appear pointed, aware of the effect they make, targeted directly at that very thing which would hurt Yuuji the most, thus pushing him to the breaking point. Countless casualties, pointless bloodshed and utter devastation -- all to crack Yuuji's resistance, to eliminate the ability to fight back in a boy who was careless enough to wear his heart out on his sleeve in a world that grinds the kind down and spits out their bones.

But the darker the weather, the better the man. Where every other human being would break, Yuuji stands unyielding. The more is taken away from him, the more reasons he has to keep fighting. When the only sacrifice he could ever accept was his own, he lost too much. So he ploughs on -- because that's the only way he can pay the unfathomably high cost of him being alive. And for all his experience and cunning wit, Sukuna's miscalculated with this one: he cannot destroy Yuuji's heart for it was never Yuuji's to keep. He gave it away a long time ago. It beats with other people's pulse.

#jjk #jujutsu kaisen #jjk analysis #jujutsu kaisen spoilers #ryomen sukuna #itadori yuuji #god thinking about yuuji and the path that took him to where he is now makes me so incredibly sad #'you do not have to walk on your knees for a hundred miles through the desert repenting' #this quote will always remind me of him #because it's straight-up unbearable that jujutsu society reduced him from a person to an accumulation of his pain #and that same society convinced him that death is the only possible outcome for him because it's a cheap price to pay for #the eradication of the calamity known as sukuna #*checks the notes* #what was it? 'the system branded him guilty from the very beginning?' #except the only thing yuuji or if it comes to it any other sorcerer did to deserve such punishment #is really just turning out to be of use to the system

[techsagacorporation]

Zadig & Voltaire, founded in 1997, is a luxury brand known for freedom, creativity, and audacity. With a 99/100 score on France’s gender equality index, the brand seeks passionate individuals to address social and environmental challenges in the 21st century.

#Zadig & Voltaire #Brand Analysis #Clothes #Perfumes #Bags

[whamss]

Every now and then I think I'm kind of sleeping on classpect analysis, but also what you have to understand about me is that I'm way less enchanted by the act of defining classes and aspects and way moreso by how individual Characters contextualize their relationship with their aspects and assign meaning to it based on their experiences

Something that I always found striking about late Act 6 Kanaya was the way she recontextualizes her relationship with her aspect as something so specific to her and her own experiences. Something about the juxtaposition between Alt Calliope mapping out hard rules about her classpect, saying "This is what it means to be a Space player" "This is what it means to be X" while Kanaya talks about how her experiences formulated her own relationship with her classpect. It's a fascinating difference between them where I never think that the story tries to say that either of them are Wrong about how they view Space. But there's such an underappreciated depth there where Calliope is demonstrated to be somebody who's obsessed with rules, strict categorization, while Kanaya says "this is what my experiences have told me, this is what Space means to Me." And Alt Calliope saying things like Space players are inseparably tied to loneliness are interesting claims, but also putting these beliefs in context with each other you can just as easily see how Alt Calliope's views of space can be formulated by her lifelong (deathlong) experience with isolation.

I think a big reason that I always found it hard to engage with a lot of classpect analysis is that there's this insistence that classpects must have strict categories that define people, when throughout the comic we consistently see how things like aspects and classes mean different things to different people. The way that Kanaya, Calliope, and Jade all see Space and their relationship to it is so so different, I sort of wonder if they'd have any common ground if they actually discussed it between each other (or wrote their thoughts down and passed it around, as Calliope would undoubtedly dominate that conversation lol). The same goes for Rose and Vriska with Light, the Time players... I don't know, it's striking to me. I can understand why the rumored Hussie Classpect doc is supposedly only a sentence or so per classpect because what do you even say? When the variety of experiences is so broad among them, it's impossible to define Classpects cohesively. Alternatively, aspects are something strictly defined by the meaning that people (characters) assign to them

#talk tag #homestuck #kanaya maryam #alt calliope #also i know that karkat also takes part in the “redefining classpect” (more intricately even) but consider i like kanaya more #and also the technical comparison between two space players is more fun to me #anyways this isnt to say that i dont think classpects have some assigned meaning to them i just leave that particular brand of close readinh #to people who care more about it #i like thinking about parallels between characters with the same classes/aspects though #rose and her ties to vris/rezi #interesting stuff #anyways no shade to actual classpect analysis dhdkdhkd this is just me tossing out some thoughts ive had while skimming logs

[variksel]

taking a DEEP BREATH yeah but have you considered that taylor broke the cycle in the exact way than his friends did, through love, and his character development might have been more subtle yeah but it was still extremely there and taylors ending was SUCH a good addition to the message at the core of season 2 because it says "hey your parents fucked up and YOU DONT HAVE TO FORGIVE THEM"

taylors character development was realizing that his dad FUCKED UP massively. and maybe he had justified reasons for it, even. just like the other dads, he had reasons for why he did what he did. but that doesnt erase the fact that it was fucked up, and that nicky hurt taylor, and that the damage is irreversible. and taylor doesnt have to forgive that, he doesnt have to put up with it.

i think its so good and important that linc and norm for example forgave their dads and love them at the end of all of s2. they chose their fucked up dads and they broke the cycle of fucking up, but its equally as important that taylor did that too by choosing to NOT forgive his dad. and at the end of the day he broke it by choosing love, by seeing who his dad really is and choosing to love his mom who was always there for him instead of the deadbeat with good intentions

"this is as good as it gets." and for taylor, that wasnt good enough

#DEEP EXHALE #there we go another dramatic close boy analysis!!!! #i feel like these are my brand now #and now ive done one for each of the close boys! the cicle continues and all lmao #but ya as someone with parents who have shit parents #(like full on extremely abusive ones #and my own parents completely broke the cycle which is why s2 REAALLY hits for me i love it a lot) #i think taylors message is also SO important #sometimes your fucked up parents dont actually deserve second chances. and sometimes they do #and whether or not they do depends entirely on the person it affects #ANYWAY #i loved the finale a lot #dndads #dungeons and daddies #shitpost #lgbt #glenn close #dndads spoilers #dndads s2 #dndads season 2 #taylor swift #taylor swift (not that one) #lincoln li wilson #normal oak #scary marlow #scary marlowe #grant wilson #ron stampler #henry oak #dungeons and daddies s2

[late-to-the-party-99]

I love the ending of Glass Onion (spoilers beyond this point)! Miles Bron falls because Helen uses his reckless super fuel to burn down his house and the world’s most famous painting. She makes his failings and his fragility plain to everyone. Nobody can ignore that his presentation as a forward-thinking, brilliant man is a lie. Helen wins because she destroys Miles’ reputation. That is the true power of billionaires. That is how they keep the people that protect them and build them up. When you strip away their reputation, you knock out their supports and bring them back down to earth. You turn their “golden tits” into brass, and nobody will lie to keep suckling on brass. 

#glass onion #knives out #glass onion: a knives out mystery #glass onion spoilers #glass onion: a knives out mystery spoilers #helen brand #billionaire #billionaires #taking down billionaires #film analysis #character analysis #analysis #late talks #i am sleep deprived but very excited about this film #so I hope this makes sense #miles bron

[biceratops7]

Sooo…

is anyone else having like, somber autistic thoughts about Muriel? Cause there’s just something so deeply relatable about this young-looking being, curious and delighted by the world around them, but constantly bewildered, overwhelmed.

Always so grateful for connection, not to be underestimated or overlooked. Knowing they’re probably being tricked or lied to, but still somehow unable to not fall for it. Just that constant sinking feeling mixed with stubborn hope.

I think the one good thing that came from this whole mess is that this friendless person kept in HORRENDOUSLY isolated circumstances with very little stimuli has found a way out, or at least a start. They are somewhere warm and homey, surrounded by books, things that are made to entertain, effect, comfort. Where people walk by every day, are in their space everyday, and they have all the freedom and ability to learn to be part of them.

#we’re very different people but ​they’re loneliness feels like the same brand of mine #btw I don’t blame crowley in that situation #he was desperate and didn’t really have a choice #good omens #season 2 #muriel #autistic coding #neurodivergent #meta #analysis #character analysis #2x06 #2x03 #biceratops

[jacky-rubou]

you guys ever really notice how casually suicidal Ford comes off sometimes? he constantly refers to himself dying without seeming to mind the idea or fearing it, always begs those around him to get away from danger rather than save him from said danger, is generally just... reckless beyond reason sometimes and even called his mission a suicide mission when the kids went to do practically the same thing he was going to do before the portal opened... and all that.

but also... maybe it's inconsequential and not something to look so far into, but Ford also jokes about suicide at least twice in the journal. Once, where he begs in code 'KILL ME PLEASE' in reference to the Leprecorn, and the other when he recounts his time in the M dimension. While yes, they are clearly jokes, with what we know about Ford's thoughts about death already, there seems to be something more there, you know? who knows, maybe he was feeling a bit suicidal by the time he got to the m dimension and when he got back to the journal to recount his time there, he joked about it with the 'muicidal' pun to make it seem less bad or something. who knows?

i know i'm probably looking way too deep into that stuff about the jokes, but you know what they say, jokes have some truth in them!

#suicide mention #gravity falls #ford pines #stanford pines #grunkle ford #analysis #sleep deprived and crazy i know #hope this made sense anyway #also #under the insight of the interview and ford's shame and probable guilt over his mistakes #i wouldn't be surprised if the jokes were that part of him slipping #and he just twisted them into his brand of humor #to try ignoring them #but who knows