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vroenis · 3 years

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Part 2

This is part 1.

Can you tell how tired I was getting by the end? This is life under meds, but given the other benefits (I think?), I’ll take it for now.

When I woke up the next morning, I had a whole lot I was thinking about and it’s stuff I want to say given I said a lot, but didn’t cover this stuff. I’m still happy with part 1, I think that’s just how I write, moving from subject to subject more or less organically and it does show me to more unstructured even if there is a vague plan for how I want the piece to go.

Anyway let’s get going.

As always, mild spoilers for well, everything. If you haven’t seen this stuff and are mildly interested in watching them then ah, you may have a lot of catching up to do. I don’t think I’ll drop any real hard spoilers for anything but you never know.

Ghost In The Shell is an Outsider story

There are whole stacks of lore you could dive into with Stand Alone Complex in particular, with Motoko having been in an aircraft accident and getting her first shell (cyber-body) at a very early age, what that means, the thing with Kuze (avoiding spoilers here), and the extended cast - not that Paz, Boma and even Ishikawa get a whole lot of time anyway - but it’s not really that important.

Looking at just Mamoru Oshii’s 1995 film, and even more-so his 2004 film Innocence (not really a sequel but usually regarded as such), the narratives cast the characters very much as Outsiders. In the first film, Section 9 is already at odds with the government in general and while it’s subtle, Aramaki as a department head is certainly different from his contemporaries, even if we don’t see much of it - again, so much more of this in Stand Alone Complex. Motoko’s early conversation with Togusa in the first film is probably the most telling as far as playing it loud. She speaks in pragmatic terms to why he’s there, but this is a precursor to what will ultimately transpire for herself at the conclusion of the film, something very intentionally written into the film. Batou is also an Outsider in more ways than one, not only in the role he plays in the department but in the very clear personal boundary between him and Motoko. There are boundaries between Batou and everyone and they become more apparent in the second film. Togusa is easy pickings so I’ll leave him alone, suffice to say if the film needs one, he’s the audience’s window of ignorance which is why he’s discarded so willingly half way in. He gets his time in the spotlight in Stand Alone Complex and it’s pretty amazing.

As for Motoko... I admit it is difficult separating my understanding of her character from Stand Alone Complex and attempting to just isolate what’s shown of her in the first film but I’ll try.

I mentioned the film’s centrepiece montage in my previous journal, in which we might say Motoko is the centrepiece but if so, she probably shares it with the city itself, and I feel much more is being said about the two together rather than separated simultaneously. This would be one of the first indications of Motoko’s sense of identity, of otherness, isolation, questioning. Again the scene that plays it most loud would be diving on the boat and her speech to Batou. There are other moments tho; single frames of her face, looks, movements that are lingered on, I feel like Oshii is constantly telling us about her and what she’s going to do, but more important than that, why she’s going to do it and how she feels.

Ghost in the Shell is a film about great emotion, and not like I’d know because it’s been a long time since I’ve looked into the discourse around it, but I suspect no-one really talks about it as a film about feelings.

I realise these days I talk more and more about moods and art being mood pieces. I labelled my Instagram account as being “A catalogue of moods” and I’m very fond of the use of the word in vernacular. It might seem flippant but it’s immensely empowered, especially for me as an individual when I understand my moods and can translate them into, via and thru art. I do appreciate many struggle with Oshii’s cinematic language as it can appear cold and detached and that’s fine, but it’s anything but for me - it’s immensely emotionally charged, it just appears differently to what audiences are perhaps accustomed to seeing. It’s a different language that perhaps takes time to learn, but it’s all there.

This couldn’t become more evident than in Innocence (the Ghost in the Shell 2 moniker I think was a western addendum). Batou takes centre stage and is immediately presented as bluntly as possible as an Outsider, reaffirmed later by Aramaki who also cements Togusa’s position in limbo.

I should pause and say that within the GitS canon, I feel Togusa is definitely embraced by Section 9, so he’s not wholly an Outsider to the department, but for obvious reasons, he doesn’t fully share all of their daily or philosophical concerns - hence not wholly. He would also definitely be an Outsider to most other members of the force after joining Section 9, but unfortunately I’m not here to love Togusa, poor guy - I feel like he’s always a bit unloved. Someone write a giant essay in service to his greatness. He actually is great.

But I adore Batou in Innocence. I love his story, his struggle, his emotion. I love how present Motoko is without ever appearing on screen and then when she does, the impact she has on everything, especially with the lines she delivers, one of which I quoted to open the last journal. Batou is in many ways a shadow of what Motoko was and is/has become, just in physical form, mirroring her in a real world manifestation with the natural physical limitations that comes with.

For some reason I feel like I need to inject a comment about Batou putting the jacket/vest on Motoko’s body. I don’t know if people perceive this as an act of masculine modesty but it’s not how I read it. I did stumble on this action for years but as I began to interpret the films as Outsider stories, I realised that he does this as an act of inclusion, and that Motoko consents, permits him to and doesn’t immediately react with violence or technological recourse we know she is well capable of, indicates it’s mutual. Their inclusion isn’t just about the boundaries of the Section 9 department but extends beyond that, an inner circle that may only contain the two of them - inside which there are still boundaries between them Batou can never cross. Those boundaries become infinitely more apparent after the final events of the first film, and the second film effectively is all about how he feels about them. He is an ultimate Outsider, but so is Motoko in the state she now is in.

Section 9 is a department of stray dogs. Individuals who haven’t quite fit in where they belong, and found belonging with one another. Then, after a time, one of them moves on - at the conclusion of the first film, and then another feels an almost permanent and ultimate sense of separation - more or less the duration of the second film.

Ghost in the Shell isn’t about technology and sentience and hacking and corporations at all. It’s about loneliness and belonging and acceptance and affection. It’s about how that feels.

I’m Not Sure Why People Struggle With David Lynch Films

I need to stop talking about anime. Honestly I looked at the list at the start of the last journal and thought hell yea Sky Crawlers, Jin-Roh, Haibane Renmei and Lain let’s unpack some shit! but honestly I’ll run out of time and I should really draw from a variety of mediums and sources.

OK I’m not being facetious when I say Lynch’s films are fairly straight-forward narrative-wise. Again, it’s hard for me to position myself in a place where I’m not into the stuff I’m into and maybe that’s what gives me the cinematic language familiarity to parse them but that just sounds like wanker bullshit to me. I don’t mind if folks don’t like Lynch films, that’s fine. But they aren’t difficult.

So in the context of everything else, even on that short list on the last journal, plus how I keep trying to shift the discussion of works from the pragmatic reading of them to an emotional reading of them from a mood perspective, I feel as tho the same process can be applied to Lynch. So much about his films are about how they make you feel, or I’ll say - how they make *me* feel. It might be grandiose to assume I’m feeling the correct emotion, that these are the moods that David Lynch himself is attempting to create and evoke and thus, I am interpreting them correctly but hey - I enjoy the hell out of the films, feel I understand them and watch them over and over again so that’s all I’m basing it on.

That’s not to say there are things I dismiss as meaningless or that I don’t understand in his films, it’s just that I don’t have to parse them immediately at first watch and perhaps that’s the audience’s problem. I don’t know if reverse-diagnosis is appropriate but looking at how much hand-holding there is in other directors’ films might be just as telling. I mean I saw Nolan’s Tenet and was about the least confusing thing I’d ever seen in my life but apparently *that* confused people, and you know hey that’s fair I guess, but I mean Nolan did a whooooole lot of audience hand-holding in that film, I mean, the dialogue was terrible. There was so much unnecessary exposition, which I generally find in all of his films, so if an audience can’t follow that then OK sure, Lynch is going to be a problem.

The thing is popcorn cinema is totally OK. I watch it. I really love it, I’ve written about it before, it’s good Industry. There’s a lot of great creativity in popular cinema, I don’t at all think poorly of it and I love seeing a really well produced, Hollywood picture... but I guess if that’s all you consume, and I guess if folks’ short-format episodic media (aka series - think Netflix, HVO etc.) is more or less to the same standard, then it begins to make sense that anything outside of that isn’t going to make sense.

Long story short - Lynch films tell simple stories where the feeling of the film is as important as the narrative of the film. To understand the story, you have to understand the feeling, and vice-versa.

Surprise surprise, it turns out independent and deemed “fringe” film-makers... aka Outsiders... make films about Outsiders.

Now I wouldn’t know if any of the Marvel films thematically are about Outsiders or Outsider culture, they probably are and very loudly at that, but the reason I’ve never included one in my catalogue of moods is they all read the same way. Not only are Marvel films mostly indistinct from one other to me, they’re also mostly indistinct from much of popular culture in general. That doesn’t make them bad, some of them still have some pretty awesome stunts, visfx, even parts of the narratives, funny jokes etc. in them, but on the whole they’re not useful to me as things I deem truly valuable in the long-term.

It’s OK, I’m not at all going to lament the proliferation of Marvel films, a lot of them have been pretty cool and they keep people in work. Meow meow meow “the death of cinema” mate, sure - I find it more difficult to find the sorts of films I like but that’s always been the case. Humans will do what they do, it’s not a read on cinema, it’s about being an Outsider and what that’s all about. True, maybe weird shit like Lynch and Noe might be more difficult to make, but the weird-indie corner was also dominated by white men and that needs to change, so who knows what the future holds.

Can you detect the point at which I took my meds and started getting tired?

Ghost in the Shell // Innocence // What We Want // What We’re Left With

Growing up as an Outsider, I feel as tho the first Ghost in the Shell film carries the weight of isolation, questions of identity and belonging, ultimately of acceptance, empowerment and liberation. Then Innocence brings to bear very similar moods but states that things may not necessarily change for the better, they simply change state. I love that in both narratives, the main texts of hacking or corrupt corporations, crime etc. are the least common denominators and barely relevant to heart of the films. I think about the theme of icons in Innocence, icons operatively being the dolls throughout the film, and the final image of Togusa’s daughter’s gift. As humans we assume we’re to take the position of biological humanity as representative of sentience, taking moral priority over all other beings. Earlier in the film we think Togusa is in limbo, but at the conclusion Motoko asks the question, or perhaps states that perhaps we’re all in limbo together.

I think that’s a significant part of what growing up as and being an Outsider is like, what it feels like. Christians have this saying about “living in the world but not of the world” (derived from a bible verse) and honestly I don’t think they know what it means because they just operate like a cult, but I think queers and folks with long term mental health conditions have a better idea. We are pushed out to the fringes of our social groups from an early age, long before we know or understand what’s different about us. Our peers and the adults around us do this to us because their social behaviours are so well hard-coded, even they may not even know precisely what’s different about us, they just do - and they’re right. We are different. And they don’t accept us.

Maybe I am starting to get a little more upset that weird/different art is becoming more difficult to fund and make, because it’s for us, for me. It speaks to me. You already have so much, and representation and inclusion is so important. I don’t just need queer cinema, I need weird cinema, I need moods. I need quiet, introspective, pensive, reflective, Outsider moods.

I still feel like an Outsider. I have a few people who understand more about me, but I don’t think I have a place, not in a real sense. I have never felt that. Art is one of the few places I feel any connection with anything, and connecting with people is a very odd thing to consider - honestly, I actually would really like to connect with people but the unique combination of being queer *and* autistic comorbid with bipolar makes it really tough, more difficult the older I get. And now all you want to do is fund Marvel movies. I can’t feed off of that.

I’m getting tired, I’m not making any sense. It’s time for bed.

#2021 #chrono #ghost in the shell #innocence ghost in the shell #outsider culture #outsider #queer #queer culture

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kendrixtermina · 5 years

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An Alternate Take on The Prologue

It seems to have been almost universally accepted that the events in the prologue were an assassination attempt meant to remove Dimitri and Claude so that the war would go smoother later on. I’d like to present an alternative possibility.

I have no solid 100% certain proof I’m not even going to pretend that this is anything other than my own interpretation that’s no more valid than the other one. It’s just a possibility.

Thus it is ultimately an opinion that I wouldn’t base further conclusions on. We don’t know for a fact that her goal wasn’t, in fact, assassination.

Still I think because there’s quite a lot of interesting stuff going on in that scene that ppl seem to miss, that I want to dissect here regardless of wether you agree with my thesis or not

Significant Clues:

The Actual Motive

I’m not sure if it was Seteth or a random Monk, but I think more than one character goes on about how the Church’s reputation that they worked for so many years would have been tarnished if anything happened to the heirs. Especially when you consider there aren’t that many Blaiddyds left and even less Riegans and that both are expected to solve/end the dire chaos in their respective factions.

Now who would benefit from making the Church look bad? Someone who plans to declare war on them maybe?

They wouldn’t put that sort of dialogue there if we weren’t supposed to conclude something from it.

This might be less obvious if you haven’t played her route (though even then, you still get her speech in all of them don’t you?) but her declaration of war was strictly against the Church and their allies. She hands out papers everywhere, exposing the Church’s wrongdoings and asking all the rulers to choose sides. Petra mentions getting one such letter.

She knew full well that most of the Kingdom and Alliance would side with the Church (and keep fighting even after Rhea’s taken out) and that there would probably be calvacades of collateral damage, after all the Church indoctrinates the ruling elites at the Academy and thanks to the phony “crests are divine gifts” story the nobles depend on the Church for legitimacy as rulers - but every lord who doesn’t support the Church is one whose army she doesn’t have to fight.

When she declares war, she wants as many people as possible to either stand down or join her. Painting the church as incompetent (or, in her mind, “highlighting” their incompetence) to safeguard the precious heirs might have increased that number, if Byleth’s heroic intervention and subsequent appointment as a professor hadn’t overshadowed the whole thing.

Also note that for this to cause a scandal, Dimitri and Claude don’t need to be dead.

Essentially ordering a hit on herself is certainly in line with Edelgard’s other... as Claude put it, “gutsy moves” (Such as not evacuating Enbarr in GD knowing full well that Claude was not going to tear through the civilians, effectively restricting his movements) but looking at literally any other action she’s ever taken, she always goes out of her way to give people the option to surrender., consistently, all the time, all throughout her route (and even many of her engage quotes in the other routes - She offers to let Claude and Byleth go at Gronder, for example)

She even gets this whole rant before you go to fight Claude about how she wishes people would just stand down peacefully instead of starting fights they can’t win. (which is perhaps why she tells Byleth to just go ahead and finish her once she realizes that she’s beaten in the other routes)

She’ll mow you down if you oppose her alright but first she’ll make sure that both you (and her allies all of whom get the chance to opt out) are all there because you want to be/ are actually choosing to oppose her. It’s not like her to just kill people without giving them an explanation or a choice.

But smears and coverups? That’s another matter. There’s her whole secret identity/secret faustian Bargain thing, that time only Hubert, Byleth and Lysithea knew which fortress they’d be attacking, and how she pinned the Javelins of light on the church. That’s totally something she’d do, (which might’ve backfired on the credibility of her pamphlets; PR and negotiation are simply not her greatest strengths)

Which makes her less truthful than, say, Dimitri (I think the only time he ever remotely lied to an ally was to hide his investigations of Arundel from Dedue), but overall still not as deceptive as Claude or the Church , since these are all “tactical” lies for concrete short-term goals, nothing relating to their goals.

Everyone on Edelgard’s side knows that she wants to abolish hereditary rule and create an equal society, even if that means making enemies; Claude tells no one what he’s planning until the very end even though the knights might not follow him if he’d told them that he means to diminish the Church’s influence on society, kinda hoping that everyone will come around on their own - He does this even with Byleth to an extent.

(Though when it comes to the Church we must really differentiate between the Chuch as a whole established by Rhea and Seteth individually, who I’d rate as significantly more truthful than Edelgard since he only lies out of very justified self-protection and loyalty to Rhea (who is his sister, and about whose wrongdoings he only knows the tip of the iceberg), and even urges her to come clean in the end.)

Ferdinand finds it strange that they just so ran into a bunch of mercenaries and wonders if one of the house leaders knew that there were mercenaries.

As before, that Dialogue is there for a reason. One of them probably did know.

So who is it? Probably not Dimitri he can’t pokerface worth a damn.

That leaves Edelgard or Claude.

Edelgard might’ve know that there were mercenaries nearby and expected them to intervene if things went south. Or it could be Claude, and that’s why he ran off.

We know that he’s got great survival instincts, grew up in a warrior culture of sorts, and makes a habit of carefully observing his surroundings. Perhaps he just spotted a large amount of hoofprints or beaten muddy footpaths, and deduced that there might be help to be had in that direction.

For now I’ll say that Claude is the most likely option.

I mean it’s really like him to be a spanner in the works before he even known anything is up - also, he’s the one who ran. It’s because of HIM that the trio went that direction, not because of anything Edelgard did.

Leave it to Claude to look like he’s bailing when he’s actually looking for help. (but also taking a bit of a risk since he didn’t know for certain that he would find help). Also he says something like “Ain’t it great the gods of fortune sent us your way?” which is something Claude would only say ironically.

Kostas didn’t know there would be knights

As far as he knew he was just supposed to “kill some noble pipsqueaks”

But actually, our trio wasn’t supposed to be alone - it was an exercise with Alois and bunch of knights, the elite knights of Seiros, mind you, who are renowed throughout the land. (as Edelgard herself tells you after the fight)

Meaning that Edelgard probably didn’t expect them to be beaten by a bunch of bandits.

Of course beating Claude and Dimitri themselves on their own might be another matter, at least if they’re outnumbered. Still, she must’ve known that Dimitri had seen actual war before and was aware of Claude’s suspicious arrival.

Since she was with them one could think that she maybe lured them away from the group... except that the situation ultimately depended on at least two unpredictable factors:

- The guy who was supposed to get Byleth’s job bolted. He was supposed to be with the trio and presumably semi-competent.

I’m surprised that he didn’t show up as an antagonist afterwards or something. We never find out anything about this guy or why he ran though it coulve been simple cowardice.

Well, unless he too was a plant who meant to run off so Jeritza (who definitely was an imperial plant) could take his job - Didn’t someone say something about expecting Jeritza to get the job Byleth got? I think it was Felix.

- Claude ran for it, and Dimitri chased after him

Now that’s something that Edelgard really couldn’t have predicted. It’s just Claude being Claude, and Dimitri being Dimitri and hence, heroically charging after him to help him out.

If Claude hadn’t run off, the trio would have stayed with the knights who could presumably handle a bunch of bandits. If Dimitri hadn’t charged after him to save him, Claude’s plan would have worked without a hitch and he would have returned with allies - he was just one person, he’s the fastest/stealthiest and the least valuable target so he might’ve escaped by himself.

But Dimitri and Claude running off? Let alone all three? That’s all the most valuable targets on a platter so the thieves went after them. Dimitri, bless his heart, of course thought that Claude was acting as a decoy and counting on himto come after him. (consider how he eventually really DOES expect Dimitri to bail him out at the end of Dimitri’s route)

I’d like to stress that Dimitri’s genuine, unpremeditated and unplanned action with no ulterior motive besides helping out proved to be as much of a spanner here as Claude’s clever foresight and chaotic action, and that neither of the other two had been expecting it.

Dimitri and Claude explicitly tell us that the other two got separated from the group because they chased after Claude. (Again, if she just wanted to kill them, why not just stick with the knights and let them run to their deaths? She’d get a bonus alibi. Indeed she might’ve gone after them because she hadn’t meant for this to end lethally - though it’s fully possible that she just followed without thinking and didn’t intend to get separated)

Something to appreciate here is that while Edelgard is competent and had been planning this for a while, she’s still relatively young and inexperienced and she can only defy or constrain TWSITD so much until she gets the throne.

She has clearly been amassing allies of her own (she marches in with a bunch of relatively young, handpicked generals such as Randolph, Jeritza and Ladislava, and cuts a deal with some from the old regime such as Caspar’s and Linhardt’s dads... though how he goes out in the Church and Alliance routes suggests that Caspar’s dad had some redeeming qualities) , but even with all this and some tentative assent from Arundel and co. she still needed to make an unnanounced surprise visit to actually get her hands on the crown.

She’s not exactly in over her head, but she’s attempting to control a very volatile situation while essentially making a deal with a loose-canon devil she can just barely keep in check.

A microcosm of what’s to come

The central tragedy of the game is that though the faction leaders were ultimately good people who had the same enemies, they wind up fighting each other before they get at the real bad guys because they’re all acting on information that other other’s don’t have and hence don’t know the other’s situation.

In a way the introduction scene is kinda like a miniature version of that.

Each of their individual plans/decisions might have worked, but not all three at once.

If you think about it the way they would’ve died without Byleth’s intervention foreshadows each of their “bad” endings - Edelgard finds herself surrounded and outnumbered after he plans backfire and goes down fighting as no one else has a clue what she’s really doing, Dimitri rushes head-first into an unwinnable fight because he puts honor before reason, misjudged someone’s intentions and doesn’t consider his own role, and Claude would’ve either bailed, or gotten himself killed when one of his plans didn’t quite turn out like he wanted.

Too bad you can only pick one :(

The other two stay that way.

#fire emblem: three houses #fire emblem three houses #fe3h #edelgard von hresvelg #Claude von Riegan #dimitri alexandre blaiddyd

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pinelife3 · 5 years

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Mindhunter: No Magic

I’ve been reading the book Mindhunter. You might have seen the Netflix/David Fincher TV show (or read the book?) - it’s based on the life of FBI agent John Douglas, the guy who pioneered criminal profiling, especially of serial killers, in the 70s, 80s and 90s. An interesting element of Mindhunter is how many cases Douglas worked on where the police consulted a medium. I kid you not! In tough, high-profile cases where the local police needed a breakthrough, they would sometimes call a psychic to ask for confirmation on their leads, hoping that the medium could magically intuit something about the case that the cops had missed (where does the killer live, what does he look like, what’s his line of work, etc.). It doesn’t sound like Douglas himself ever called a medium, or put much faith in their psychic intuition, but he does mention that they were around and contributing to cases he worked on. It seems like in the early days of profiling, people had a similar opinion of Douglas’ work: that it was superstitious, unscientific, unreliable - this even extended to his testimony and analysis as an FBI expert sometimes being inadmissible in court:

Though I’d already been qualified as a crime-scene analysis expert in several states, the defense referred to me as a “voodoo man” for the way I came up with my interpretations, and the judge ultimately ruled that I wouldn’t testify.

In “Killing Types”, a post on this blog from January 2016, I compared two accounts of how the criminal psychological profile of the Butcher Baker was developed. One account was from Wikipedia, and the other was Douglas, who personally developed the profile:

The serial killer in question was Robert Hansen AKA the Butcher Baker (everything I’m gonna write about him is via Wikipedia. You should just read their article if you want a more detailed account as I’m just summarising here). He was a very shy, skinny young boy with acne and a stutter. He was horribly bullied and the cute girls in school didn’t like him. Wikipedia doesn’t have a citation for this, but apparently: because he was “shunned by the attractive girls in school, he grew up hating them and nursing fantasies of cruel revenge.” As he grew up, Hansen became an adept hunter. Like many serial killers, Hansen was also a thief and an arsonist. From 1971 to 1983 he murdered at least 17 women ranging in ages from 16 to 41.

Hansen’s typical move was to abduct women (usually sex workers) and take them to his cabin near Anchorage, Alaska. There he would rape them and then set them loose so he could hunt them in the woods. Of his confessed murders, many of the bodies have not been found.

By 1982, three bodies had been found in shallow graves in the woods and the Alaska state troopers called in the FBI to assist in putting together a criminal profile. According to Wikipedia, FBI agents put together a profile for a person with the following characteristics:

Experienced hunter

Low self-esteem

History of being rejected by women

Would keep ‘souvenirs’ from his murders

A stutter

...[Douglas] devotes a chapter to Hansen, and the way he describes what happened is actually kind of different from Wikipedia’s version of events. Wikipedia makes it sound like the FBI turned up and pulled the profile out of thin air just based on looking at the crimes, whereas Douglas says that when he and his boys rolled into Anchorage, Hansen was already a suspect. So what they were doing was comparing what they knew about Hansen to what they knew about the crimes and seeing how things matched up and if he was a likely suspect. So the profile they put together did include the bullet points above and, yes, some of that would have been speculation (such as the self-esteem problems, the history of rejection, and the souvenir keeping), but the rest (such as saying he had a stutter) were based on the fact that they knew Hansen and it was completely fucking obvious he had a stutter and acne scarring. Anyway, Douglas describes his profile and process as follows:

“[Hansen] was short and slight, heavily pockmarked, and spoke with a severe stutter. I surmised he had had severe skin problems as a teenager and, between that and the speech impediment, was probably teased or shunned by his peers, particularly girls. So his self-esteem would have been low… And, psychologically speaking, abusing prostitutes is a pretty standard way of getting back at women in general.

“I also made much of the fact that Hansen was known as a proficient hunter… I don’t mean to imply that most hunters are inadequate types, but in my experience, if you have an inadequate type to being with, one of the ways he might try to compensate is by hunting or playing around with guns or knives… I was betting that Hansen’s speech problem disappeared when he felt most dominant and in control.”

So I think we can call that another case closed: it is not possible for an FBI profiler, no matter how gifted, to look at a crime scene or a string of murders and miraculously determine that the killer has a speech impediment.

As you saw above, my read of the passage from Mindhunter was that Hansen was a top suspect, that Douglas made some additional speculations about Hansen, but essentially just endorsed the guy the local cops already suspected. So specific details in the profile that seem like magical inferences weren’t as magical as Wikipedia made them seem. In January 2016 I hadn’t read Mindhunter, but I looked up what I thought was the relevant section on Google Books and that was the basis for the above section of my blog post. (If you’ve never tried to read things online for free, you may not be aware of this, but Google Books provides previews of lots of books, but you have to buy the book to read the whole thing - so back in 2016, I just looked at the pages of Mindhunter that Google had made available for free.)

Now I’m finally reading Mindhunter in full, my take on the process of profiling has changed: I do believe that Douglas and co. could have inferred that the killer had a stutter or bad skin without knowing Hansen (a man with a stutter and bad skin) was the top suspect. Indeed, Douglas tells a number of stories where he and his team correctly made similar inferences - for example, in the profile they wrote up on the Trailside Killer (not covered by Wikipedia but chronicled elsewhere). On the process of developing the profile of Hansen, Douglas writes:

We didn’t profile Hansen or devise a strategy to identify and catch him according to our usual procedure. In September 1983, by the time my unit was called in, Alaska state troopers had already identified Hansen as a murder suspect. But they weren’t sure of the extent of his crimes, or whether such an unlikely individual, a family man and pillar of the community, was capable of the terrible things of which he was being accused...

Even though the police had a suspect before I heard about him, I wanted to make sure my judgement wouldn’t be clouded by the investigative work already done. So before I let them give me the specifics of their man during our first phone conference, I said, “First tell me about the crimes and let me tell you about the guy.”

They described the unsolved murders and the details of the young woman’s story. I described a scenario and an individual that they said sounded very much like their suspect, down to the stuttering...

In a sense, this was the opposite of what we normally do in that we were working from a known subject, trying to determine whether his background, personality and behaviour fit a set of crimes.

Is he a wizard? How’d he do that? How could Douglas know from the description of the crimes that Robert Hansen had a stutter?

The truth is common, ordinary, sensible: he had seen, heard about and worked on cases like this many times and had developed an impression of the kind of person who is capable of hunting women like animals in the woods. He’d spoken to serial killers in prison about their crimes, observed them up close, understood their motivations (control, domination, power, punishment, lust, rage). He’s a walking database of crimes and correlations, which allows him to mentally compile the information he’s received, query it against similar cases and then make what seem like totally uncanny inferences. In terms of demystifying something that seemed arcane and inexplicable, I don’t think I’ve ever read a book as satisfying and steady as Mindhunter. This guy isn’t magical - he’s just fucking sick at his job. He knows his shit. He’s a towering obelisk of professional competence.

That’s not to say they got everything right. For example, Douglas and his unit saw a big difference in lust killers who raped their victims vs. killers who masturbated at the scene. If a killer doesn’t rape his victim but masturbates over her, Douglas and co. would infer that the killer lacks confidence, that he’s inexperienced with women, he’s single, anti-social, probably has a shitty job or no job at all, and because of that he likely lives at home or with a relative, he feels he lacks control, etc. This type of analysis was often correct, but did sometimes lead them down the wrong path (which Douglas acknowledges in the updated foreword for the 2017 reprint of Mindhunter). Since the publication of Mindhunter in the 90s, a number of prominent non-rape lust killers have been caught and it turns out they were married with kids, they were upstanding members of their community, they were homeowners who worked decent jobs, and they seemed normal around women in social settings (see: the BTK Strangler). They simply weren’t the conspicuous, twitching deviants Douglas and his unit imagined.

Mindhunter feels like a book from a different time. Douglas is vociferously pro-death penalty. He’s more sympathetic and vengeful when the victim was a cute lil blondie than a street worn whore. He is interested in the psychology of killers, but is unmoved by their troubled backgrounds: Douglas acknowledges that practically every serial killer he studied had abusive parents, never felt loved or safe, were victims themselves in many ways - but he’s pretty indifferent towards that angle. This perspective would probably get more play in a book on criminals written today - modern writers might be interested in a holistic view of criminality and suffering as cyclical. Douglas does say the number one thing we could do to prevent the development of serial killers and psychos is love our children more and have more resources available to intervene when kids seemed to be headed down the path of darkness... but, look at Douglas’ description of a guy they were looking for in Illinois:

Like so many of these guys, this one is a real loser with a poor self-image. He may come across as confident, but deep-down, he is extremely inadequate.

The UNSUB is a real loser!

One of the key sources of information for Douglas is the killer’s signature. A signature differs from a modus operandi (MO) in that the MO is how the crime is carried out (e.g. killer surveils house for weeks in advance, cuts phone line during the night, breaks in via a window, uses the victim’s tights as a ligature, etc.) while the signature is what the killer does to get off: posing the body, keeping trophies, torturing the victim, taking photographs. Douglas says a killer’s MO may change over time based on failed crimes, stressors, changes to police work, etc. but a signature will remain steady. For example, when Bundy was at his most desperate after escaping from prison (for the second time!), he went on a poorly planned spree. By now, Bundy knew it was all over. The police knew who he was, what he’d done, and were searching for him - it was a matter of time until he was recaptured. The electric chair was waiting. Bundy’s MO had developed with experience and he was typically an organised killer who used a kit, props, and had the skill to lure his victims, but when he knew the net was closing in, he became disorganised - his MO changed. Instead of approaching a pretty girl on the street, luring her to his car and then taking his time to torture/kill her, he broke into a sorority house in the middle of the night and attacked the residents in their own rooms in vicious, quick attacks. Interestingly, this methodology was similar to his original technique when he was younger and less experienced. When he was under pressure, he regressed. Via Wikipedia:

Bundy's modus operandi evolved in organization and sophistication over time, as is typical of serial murderers, according to FBI experts. Early on, it consisted of forcible late-night entry followed by a violent attack with a blunt weapon on a sleeping victim. Some victims were sexually assaulted with inert objects; all except Healy were left as they lay, unconscious or dead. As his methodology evolved Bundy became progressively more organized in his choice of victims and crime scenes. He would employ various ruses designed to lure his victim to the vicinity of his vehicle where he had pre-positioned a weapon, usually a crowbar. In many cases he wore a plaster cast on one leg or a sling on one arm, and sometimes hobbled on crutches, then requested assistance in carrying something to his vehicle. Bundy was regarded as handsome and charismatic by many of his victims, traits he exploited to win their confidence.

For Douglas, an MO is not a reliable way of tying crimes together - because an MO can change. But a signature (which is often at the crux of why the crime was committed) will remain relatively static and is a good clue that two crimes carried out in different ways may be related. The MO may tell you some practical details about the killer (he owns or has access to a car, he’s a local who’s familiar with the back roads, he was known the victim because he was able to gain access to the home without a struggle, etc.) but the signature is driven by behaviour - and that’s what reveals the pits inside a person.

What’s been revelatory for me in Mindhunter is how there is a real, meaningful link between private behaviour and the surface-level details a person. We like to think that our interiority is private and inscrutable to others, that we’re boxed canyon mysteries with rich inner lives and motivations that are inconceivable to the people around us, that our true selves transcend superficial things like how we look or where we work - but Douglas can tell whether a guy will get a haircut after he’s killed someone. He knows if the killer was drunk at the time of the crime. He can tell if they were in the military or not - and if they were, whether they had a dishonourable discharge. How old the killer is. His race. Whether he’ll want to talk to people about the crime. The chances of him owning a German Shepherd. Whether he finished high school. If he keeps a journal. Whether he’s ever been married - and if it was a happy marriage. Most of these are visible details of ourselves that we display to the world, and feel safe displaying because they don’t give too much away: you don’t think people can accurately read anything serious or private about you based on something like how old your car is or whether you watch the nightly news. But all these insignificant details do reveal something. Maybe it is kind of magical.

#Trailside Killer #david carpenter #robert hansen #Butcher Baker #John Douglas #Mindhunter #David Fincher #FBI #Ted Bundy

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zimuse · 5 years

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All of my issues with S8 of Voltron

So. Firstly, the show is always brilliantly animated and I deeply appreciate their attention to detail. But I have WAY MORE issues than anything else, and I’m not at all happy or content with how it ended. So let me go ahead and list my gripes with the eighth season, in no particular order: 1) That whole thing with Allura violently forcing her memories on Zarkon. What the actual fuck, dude? I don’t care what Zarkon has done; this was clearly, visibly, not the same Zarkon they have been dealing with – a Zarkon who is not corrupted by quintessence, who is bewildered by what’s going on, has no clue what the hell anyone is talking about, no recollection, knowledge or memory. And she just fucking assaulted him? Moral issues aside, how do you know that that’s not going to break him and turn him into the Zarkon you do know? Oh, right, consequences; I forgot, we never think about those. And I know she’s got a lot of anger, but literally no one in the group reacted?! Not even his fellow paladins that have been trapped in this same state with him? Real heroes, guys. Bravo! 2) Zarkon calling his wife a “psychopath”. Excuse the fuck out of you, sir. She’s not a psychopath - she is doing what she believes needs to be done to get her family back. And after everything she’s been through, do I blame her? Hell no. Her driving force, her only motivation, is her family. With Zarkon dead, her focus went to her son, and she quite literally ripped through time and space to bring him back. No, I really don’t think that qualifies as a psychopath. Using what’s basically portrayed as his corpse to control the Sincline though, that’s another story but I’ll get to that later. Anyway. Check your privilege, sir. 3) Allura “seeing the good in Honerva” like she saw “the good in everyone”. Where the hell was this in the confrontation with Lotor, who she supposedly loved? Because apparently this doesn’t at all extend to him. Honerva, as much as I adore her, did so much worse than Lotor ever could be accused of. Yes, Allura did admit in the end that Lotor sought peace but, well, it was well past the point where it mattered. Seriously. He supposedly died screaming, alone, and ended up a fused quintessence robot... Zombie thing. But Honerva? She’s Altean. So she gets off easy during the actual confrontation and on screen. 4) I HAVE SO MANY ISSUES WITH THE LIMITED AMOUNT OF LOTOR IN THIS SEASON. Yes, that deserved to be in all caps. Okay, we saw a glimpse of his body, and I get that in the narrative we're supposed to believe that he's dead. Well, as the weirdly fused robot zombie. Does anyone else have a problem with this shit? BECAUSE I FUCKING DO. The quintessence field was literally described as life itself - how in the actual fuck are you going to tell me he died, surrounded by the essence of life itself? And also, yes, we saw a glimpse of his "corpse". There's no proof that it was actually a corpse. We saw the back side of him. Until I see a FULL BODY FRONT VIEW of it, I do not believe he's dead. Whoever made this be a thing... -flips off- 5) BUT if we are to accept that he's dead... The paladins literally murdered Lotor and no one, save Honerva, even stopped to acknowledge it. And honestly? This tears at my heart. 6) Was there a reason they used the name Merla for that one Altean at the end? I didn’t see any similarities between these two characters other than betrayal. Why even include it? 7) Speaking of betrayal, is this an affliction most Alteans suffer from? Because Coran is literally the only exception to this that we’ve seen. And supposedly Romelle, but I still don’t trust her, so I don’t include her. Fuck Romelle. 8) Keith as spokesperson for the Galra and Galra rep? Why would the remaining Galra with any authority listen to someone who doesn’t even look Galra? Randomly cheering at his speech? What is this. I can see his Krolia and Kolivan being the representatives and all, but why weren’t THEY the ones giving the speech? Oh yeah, I know why. The next point. 9) Oh, and about that speech, it was word for word literally what Lotor said to the Galra once up on a time (in s5, I believe?). Add insult to injury, why don’t you. 10) The Altean marks on Lance at the end, how does this even work? I thought it was genetic, purely Altean thing. Is it not? Can anyone acquire them? Does this mean you’re considered Altean now, Lance? WHY on earth is this a thing and why isn’t it explained? - EDIT: After thinking about this more and referring back to the series itself... I can conclude that the Altean marks are as magical as the race that is born with them. Think about it, these marks fundamentally tell you something about that character. Allura’s and Coran’s are small, just on their cheeks, and are smooth. They don’t have edges. Honerva, who has been corrupted, had elongated, jagged marks. But when she was “redeemed”, the long jagged marks we’ve seen throughout all eight seasons (after being corrupted), her marks shrink, becoming her old smooth marks post-corruption. And Lotor? His marks aren’t as long as his mothers’, but they were a tad jagged - signifying that at his core, he was a good person, yet he’d been touched by darkness and that darkness was a part of him. The Prince was born with the same unique energy signature that his parents were corrupted/killed/reanimated with. I do think that the marks take on the personality, for lack of better word, to match the individual. It’s visibly obvious that these things are magical in some way, but does that justify the “ability” to mark someone else with them? This could be up to interpretation. I don’t think so, though. It seemed like a random thing to toss in. So kind of like the Balmara (which I’ll get into in another point), if it had been seen previously in another portion of the series, I’d have accepted it as something that Alteans could do. As it stands in the current narrative, I don’t think it should be a thing, nor was it meant to be a thing in the original draft. It was supposed to be Lotor in Lance’s position, not actually Lance. Thus, I feel that scene was supposed to be the reappearance of Lotor’s own Altean marks. Not the gift of Lance’s. 11) Altea and Daibazaal came back... Why? That tells me it’s not actually their reality that they returned to. But then that raises several questions, so what do? If it’s because eliminating the rift undid everything associated with it, then that should have restored Alfor, Zarkon, Lotor, Honerva and literally everyone else involved with that too. Which I would have totally accepted. 12) Sooooo killing Lotor essentially not only led to the loss of millions of lives throughout the universe, but ultimately led to the erasing of all but one reality. And no one addressed the Voltron team’s hand in this? Seriously? 13) “Join the Coalition.” “What’s the alternative.” “There is no alternative.” That... That sounds like conquest to me. Thanks for the options, broski. 14) The whole way they dealt with Lahn. He brought up some excellent points, about Voltron/Allura having everything handed to them, but I guess the power of teamwork and friendship managed to give him a sudden bout of amnesia and sign up for the Coalition. ¯\_(ツ)_/¯ Way to slap a bandaid on that, guys. I hate it when writers do this. And if I ever do this? Slap me and tell me to fix it. 15) The paladins literally leaving everyone they help undefended, and then being shocked that those places have fallen to whatever villain is the focus at that time. Like, Olkarion? What were they thinking? As what was arguably the central nexus of their forces, possessing the most advanced technology they have access to, it should have been the number one priority to make sure it didn’t fall to enemy hands. But that makes way too much sense too, doesn't it? I want Shiro back as the Black Lion. Or Lotor to have returned to be the Black Lion. He did use the Black Bayard to kill Zarkon after all, and that was never revisited for... Reasons. That could have been a fantastic plot point to show that Lotor was the next Black Paladin. He’d certainly make a better one than Keith. 16) Speaking of - they never even checked up on the Olkari citizens that evacuated. Why? Was this done off-camera and just never mentioned? Because that seems really important to know WHERE your highly advanced tech/weapon makers are. Are they okay? Did they find another planet before their provisions ran out? Why are all casualties and losses either not mentioned at all or are/were glossed over? 17) Everyone treating Lotor like an immoral murderer when he was anything but. I swear. The writers present him as sympathetic and provide ample reasonable arguments on his behalf, both in show and in interviews, etc., but then proceed to have every other character treat him as though he’s a monster. Why tf are you having everyone demonize him, when you show us that it’s not true and you’re not going to bring him back for the redemption arc he deserved, and gave him the chance to explain himself? All that’s doing is affecting my opinion of the other characters lmao. 18) The paladins seriously took 5 episodes to come to the conclusion that, yes, it is Honerva that’s responsible for all of this new shenanigans. I’m honestly not sure why they’re surprised. We all knew that she went SOMEWHERE. She was the wife of Zarkon, and Lotor’s mother. She made several adversaries that Voltron struggled to face. She was the alchemic force driving the Galra Empire, and no one thought, “Hmm, we should probably keep tabs on that, she’s dangerous”? And then took another 6 episodes to figure out her motivations? There’s only one conclusion to draw from this: They’re dumb. 19) There are several opportunities taken to go to great lengths about how it’s not what you are but who you are that counts, that it doesn’t matter what you have done in the past and you can always grow from it and deserve a chance. I’m thinking specifically of the Acxa/Veronica scene, but there were a couple of other instances. I guess that we just don’t extend that courtesy to Lotor. He literally got the shit end of the stick from all directions and all of the characters are just pouring salt in the wound. -rubs temples and fumes- 20) Acxa, what the actual fuck? Lotor using their rage as half breeds? What. He never, ever let them go on a rampage, and always emphasized no killing. Zethrid and Ezor were the ones always portrayed as really bloodthirsty, but all of a sudden Ezor is the one who can’t take the anger anymore and wants out, and wants Zethrid to let go of her rage? Ezor, who was so eager to bleed and torture? Lolwat.

21) Why were there two episodes dedicated to trans-versing Honerva's mind? They were completely and utterly useless. The plot did not move forward with it, Voltron and the Paladins didn't bond stronger or learn new moves/techniques that could have helped them in their final battle with Honerva - nothing. The only thing I got from it was how much more badass Honerva actually is. She trapped SOULS in her mind and kept them prisoner. That’s terrifying and cool, but did we really need to know that? Not really. What happened to the original Paladins could have been covered in a single episode, in a different fashion. So the "dark entity" and the connection to Honerva? That didn't need to be in the narrative at all. You could argue that without it, they couldn't have saved the souls of the original paladins, but they would have been saved at the end any fucking way when Honerva and Allura sacrificed themselves to fix all the shit. Sooo. Thanks for wasting 40 minutes of our time. 22) So in episode 13, when they're chasing Honerva through the holes in dimensions... And she drains Voltron (and the paladins by extension) of energy, we see the hole CLOSE. Okay? We saw it close. That means they're stuck there forever. Done. Finito, they no longer exist - none of them, not from that dimension. Then we went to Honerva getting what she wanted at last - except she didn't. Lotor outright rejects her. I do not blame him at all for being angry if that dimension's version of his mom was dead and he's still grieving, but it was alluded to that it's been a couple years since she died. We see Zarkon protect his son in this dimension, and that he’s uncorrupted. Thus, we can assume that Honerva wasn’t corrupted either, and was never abusive towards Lotor. And he just... Didn't accept her? I know that Lotor is extremely perceptive, even as a kid, but why? If she wasn’t abusive towards him in that dimension, why does he immediately reject her? More over, his rejection seems to be the last straw - which feels... Odd, because it feels as if she’s heard it prior and that was the nail in the coffin that said “fuck it, destroy everything”. It would have made more narrative sense if Lotor had been alive, and in his own redemption arc, to tell “the witch” that his mother was dead - and that is why this dimension’s version of him saying the same thing struck such a nerve. But what bugs me the most is that Voltron came out of nowhere and continued the battle. The gateway into that dimension closed. We all saw it close. The dimension they were IN dissolved completely, so HOW did they get there?! How are they not dead at that point? This should NOT have been a thing. I’d have accepted it if they had just barely made it through the hole, but no. This is just another Dues Ex Machina, and I’m not having it. I'd have been absolutely fine with the series ending with Honerva in the alternate universe with her family, having to work to earn kid!Lotor's affection and recognition that she's his mother. That could have easily been worked on. A kid is a kid, no matter what. He'd have warmed up to her eventually. I think. And in that alternate universe, Lotor and Allura would have grown up (sort-of, she appears much older - at least a teenager at that point?) together, and more than likely still would have fallen in-love. With his father and mother there. Honerva would have had everything. 23) Did we actually need to go as big as the multi-verses being threatened? Nah. As cool as as they were, time travel would have been much easier for Honerva. And would have made a lot more sense, all things considered. If she went back to before she and her hubby were corrupted, she could have stopped ALL OF THIS SHIT from happening to begin with. THAT would have been a better ending, to have done time-travel and to fast-forward a couple years to seeing how everyone ended up. Allura and Lotor, married. ANd the rest of the cast? With the same ending as they had in the narrative, given that the original paladins either stepped down as Paladins of Voltron and let new people succeed them, or having never been involved with the plot as a whole BECAUSE the original paladins never died. I can understand that this would feel like a huge cop out, and that not everyone fancies time travel stories these days. There have been quite a number of them throughout the years. It would’ve worked here though, but I don’t think that was the point. I think the point of going to another dimension is that Honerva didn’t want to change the past - she wanted to start over, and leave the reality that she helped to fuck over.

24) What was with all of the Dues ex Machinas!? There were at least 3 or 4. That’s too many across a single episode, or even two. Like ZOOM, suddenly the Balmera were there. When did that become a thing? If it had been shown earlier in the series that they could do that, I’d have accepted it. But to bring that in so suddenly? No, the writers pulled that outta their asses. 25) And let’s not forget that Honerva used that one giant Balmera as a battery when Merla knocked out one of the towers. That mighta been a lotta crystals, but the power difference between several of those crystals and the energy of entire planets that had who even knows how much life on them, astounds and bothers me. Yeah, the crystals are used to power ships and all, but really? Those things have more energy than six planets? I need this in waaaay more detail somewhere, because until it is, this was also a Dues Ex Machina.

26) One of the two biggest issues I have with season 8 is Allurance - not because I’m against the ship nor because I dislike Lance’s character. My issue is with how it was portrayed. If you compare season 8′s Allurance with season 5 and early season 6′s Lotura, you’ll seen just how drastically different they are. We see Allura at her happiest with Lotor than we do in any other season. With Lance? She doesn’t look happy. That same spark just isn’t there. Its like she’s forcing herself to move on, and it just doesn’t work. I mean, consider the episode with the Dark Entity and how it primarily assumed Lotor’s form. She misses and longs for him, and the vision of her in the Altean robeast draining her beloved planet of quint to save it was - and I full heartedly believe this because otherwise it’s randomly there in the narrative - for Allura to feel and understand what it was like to be in Lotor’s shoes. And Lance? Lance doesn’t particularly look really happy either, honestly. Frankly, the boy looks miserable. More over, the fact that Allura has rejected him for six seasons only to sorta flirt with him in s7 and then date him in s8... Really bugs me. That’s akin to sending a message that if you persue a woman long enough, she’ll eventually cave and accept a man’s romantic feelings. No. That is not a message to send to kids ages 7 and up. Add to the fact that Lance has had thoughts of Allura clinging to his leg while he’s proclaimed as the winner and everyone is looking up to him, and that he tells Allura that he’s “great at winning prizes” which essentially hints that he thinks of her as a prize that he’s won - and this isn’t only disturbing, it’s outright revolting and sexist. If I were a parent, this is not the kind of message I’d want my child to have. Period. 27) But the most disturbing thing about season 8, and the reason it was essentially ruined, was the fate of Lotor. There were several moments throughout s8 where he could have been there. And we can clearly see in the closing scene where the lions are flying out into the cosmos that it’s not just Allura’s outline in the stars. She’s clearly with Lotor, as if he was supposed to have been there the whole time and was supposed to share her choice. Season 8 had the potential of being the most beautiful redemption story tied into a Heroine’s journey that I’ve ever seen. But instead, we see an abuse survivor that only wanted to do good, a victim of neglect that longed to be loved... Get the most graphic death in the series with absolutely no chance to redeem himself. All of his plot points are left forgotten and untouched. We’re only given more of his abusive backstory to make him a more sympathetic character. He was never given a real chance to explain his half of the story concerning the Colony; we never see the point that he killed Narti come back up between him and his generals at all, almost as though it never happened to begin with; his potential as the Black Paladin, shown when he used the Black Bayard to kill his father, is left completely unexplored; and being as he wasn’t given a redemption arc, we don’t see him get to have another chance at the White Lion trial and succeed. What we are given is the desecration of the animus, the death of a dark youth character, and the light youth Allura thus being unable to complete her heroine’s journey. The disturbing message that this sends to children, particularly to children that are/were victims of abuse themselves, is completely unacceptable. I stand with @leakinghate and @felixazrael and the others on this point. This is not the story that was written originally, and we see that in the choppiness of certain episodes, as well as the conclusion with both Allura and Lotor in the stars. Legendary Defender was always meant to be their story. I don’t personally believe that the writers who put so much thought, so much care, so much love into these characters would write them to end up as we see them in the season 8 we were given. If you haven’t already, please sign the petition to release/explain the original season eight.

#vld #vld s8 #vld s8 spoilers #spoilers ahoy #All of my issues with this season #But I will probably find more #all of the dues ex machinas #Originally I only had like #20 points but they just kept coming #oops?#Lotor deserved better #allura deserved better #Lotura forever

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leroyhellyer-blog · 7 years

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A Brand Utopian Field

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Treatment should be actually had when utilizing hilarious quotes of this nature that they carry out certainly not end up being just racist, as an example. Significant companies are transformational; they aim to transform our own selves, our lifestyles as well as our societies right; they provide our company with the products, solutions, devices, and stimulating knowledges to help individuals become better. They find out about notation, or the methods of describing human motions via using composed acronyms and also symbols. Simply puts: they can serve as sources or webs and merely associate separate elements; or they can deliver an interpretation to these persistent organizations, they can leave all of them purposeful. Specific industries from CCDA documentations gotten by HealthVault from Meaningful Use-enabled uses are actually made use of for the purpose from quizing and also generating HealthVault Meaningful Usage reports. Once you've begun consistently sending an email e-newsletter, look at mailing out occasional bodily e-newsletters, cards or even small presents to show your appreciation to your customers and contacts.

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