Anything Goes

PART 1 — BEFORE CAPITAL: WHAT PRESSURE IS THE SYSTEM TRYING TO ELIMINATE?

Capital doesn’t flow toward opportunity — it flows away from instability.

Every financial system begins with a pressure the market can no longer tolerate: volatility, opacity, fragmentation, or mispriced assets.

Once that pressure is named, the role of capital becomes obvious, and the instruments that follow stop being speculative guesses and start becoming structural responses.

PART 2 — BEFORE INSTRUMENTS: WHAT BEHAVIOR MUST THE SYSTEM MAKE IMPOSSIBLE?

Financial instruments don’t exist to create returns — they exist to prevent failure.

Upstream clarity begins by identifying the behaviors the system cannot allow: unpredictable cashflow, unverifiable value, non‑standardized collateral, or ungoverned risk.

When those behaviors are removed at the design level, the system stabilizes, and every downstream mechanism — loans, credit, collateral, securitization — becomes predictable instead of reactive.

I'm having trouble deleting my header on my profile page. I don't know what to do.

This is something I wrote about my love for Disney. I hope it will help you all understand why I want to work with them.

MY WORDS: DISNEY

One reason I want to work with Disney is because I connect to their characters, like their dreamers (from Snow White, Aladdin, Cinderella, Hercules, Joe Gardner, Pinocchio, Luca, Judy Hopps, Asha), to ones considered misfits (like Hercules, Sadness, Flik, Mulan, Nick Wilde, #22, and Pinocchio), to the ones who wish to do good (like Robin Hood, Woody, Buzz Lightyear, Belle, and Bob Parr). To ones who face personal issues and fulfill a dream (like Quasimodo, Rapunzel, and Merida).

Plus, many of them go through these experiences that allows them to grow and become better people like Prince Naveen, Lightening McQueen, Hiro Yamada, and many others. Each one shows a character who thinks they have an idea of what they want but then something happens and they discover something about themselves and others, and how every little thing matters. The villains they have created represent the foil to the heroes and oppose everything the hero stands for, showing those who show what the hero could have turned into.

The shows display characters who end up in situations, learn from them, and as they grow into better people.

The movies and shows taught us to believe in ourselves, our dreams, our imagination, and that anything is possible. That is why I want to be part of something that means a lot to me.

What are your creative goals for 2026? Sound off here and find the support you need!

PART 1 — BEFORE VALUATION: WHAT PRESSURE IS THE MARKET PLACING ON IP AS AN ASSET CLASS?

IP isn’t undervalued because it lacks worth — it’s undervalued because the market lacks a framework.

Once the pressure is named, valuation becomes a structural correction, not a speculative guess.

PART 2 — BEFORE COLLATERALIZATION: WHAT FUNCTION MUST IP SERVE INSIDE A FINANCIAL SYSTEM?

Collateral is not about ownership — it’s about reliability.

Upstream, the question is not “What is this IP worth?” but “What role must this IP play in stabilizing capital flow?”

PART 3 — BEFORE INSTRUMENT DESIGN: WHAT BEHAVIOR MUST THE FINANCIAL SYSTEM MAKE IMPOSSIBLE?

Every financial instrument exists to prevent a specific failure.

IPBSE emerges when the system can no longer tolerate volatility, opacity, or non‑standardized IP treatment.

PART 4 — BEFORE RISK MODELS: WHAT IS THE NATURAL VOLATILITY PROFILE OF IP?

IP behaves differently from physical assets, equity, or debt.

Upstream clarity begins by naming IP’s inherent volatility pattern — the rhythm that risk models must respect rather than override.

PART 5 — BEFORE LIQUIDITY: WHAT IS THE SYSTEM’S RULE FOR HOW IP ENTERS AND EXITS CAPITAL MARKETS?

Liquidity is not a feature — it’s a governance rule.

Once the entry/exit logic is defined, IP stops behaving like a creative artifact and starts behaving like a financial participant.

PART 6 — BEFORE SECURITIZATION: WHAT IS THE ENERGY ECONOMY OF IP‑BACKED CAPITAL?

Capital has an energy cycle — accumulation, deployment, return, redistribution.

IPBSE works because it aligns IP’s creative energy cycle with the financial system’s capital cycle.

PART 7 — BEFORE ADOPTION: WHAT PROMISE DOES IPBSE MAKE TO INSTITUTIONS?

No system scales without a governing promise.

IPBSE’s promise is simple: standardization, predictability, and collateral integrity.

Once that promise is named, adoption becomes a matter of alignment, not persuasion.

PART 1 — BEFORE INTENTION: WHAT FUNCTION DOES THE MUSIC SERVE IN THE STORY’S SYSTEM?

Every score begins with a function, not a feeling.

When the function is named, the emotional palette becomes inevitable instead of guessed.

PART 2 — BEFORE THEME: WHAT BEHAVIOR MUST THE MUSIC MAKE IMPOSSIBLE?

Theme isn’t decoration — it’s constraint.

A strong theme removes options the story should never take, which is why clarity begins with subtraction, not addition.

PART 3 — BEFORE MOTIF: WHAT PRESSURE IS THE SCENE ACTUALLY CARRYING?

Motifs don’t emerge from characters; they emerge from pressure.

Once the pressure is named, the motif becomes a structural response, not a stylistic choice.

PART 4 — BEFORE PALETTE: WHAT IS THE STORY’S NATURAL FREQUENCY?

Every narrative vibrates at a specific frequency — tonal, emotional, rhythmic.

The palette is simply the instrumentation that resonates with that frequency instead of fighting it.

PART 5 — BEFORE CUES: WHAT IS THE SYSTEM’S RULE FOR WHEN MUSIC IS ALLOWED TO ENTER?

Most scores fail not because of the notes, but because of the timing logic.

When the entry rule is named, the score stops feeling arbitrary and starts feeling inevitable.

PART 6 — BEFORE TRANSITIONS: WHAT IS THE STORY’S ENERGY ECONOMY?

Transitions aren’t musical problems — they’re energy problems.

Once you understand how the story spends and restores energy, transitions write themselves.

PART 7 — BEFORE THE FINAL MIX: WHAT IS THE SCORE’S GOVERNING PROMISE TO THE AUDIENCE?

Every score makes a promise — tension, restraint, propulsion, mystery, intimacy.

The final mix is simply the enforcement of that promise across the entire system.

pretty new to this platform does it seem like there’s a lot of strange people or scammers always trying to contact you or is this just me any comment or experience?

Has been a long time since I posted a game (years?) for my fellow creatives, why don't we start again? 

The next one is very funny and useful to let you know yourself (and maybe help others to know it). 

Knowing your own working method is a great way to grow!!

Describe your approach to your industry (writing/art/directing/editing/design) as if you were a Marvel character or (if you ain't a Marvel fan) any fictional character _

I go first: 

I definetly go through some books before putting my hand at work. I do some research on books and then asking wise people.  Then I grab a pen and my hand start working opening passage to anothers worlds where anything can happen! 

As if were Marvel's Dr. Strange :D That happens when I am designing a new graphic 

now it's your turn ;) 

https://youtu.be/iKA5KalCysQ?si=75TMWLu8B_7igXn-

PART 1 — BEFORE STRATEGY: WHAT PRESSURE IS THE SYSTEM PLACING ON THE DECISION‑MAKER?

Most financial conversations begin with tactics — asset classes, timing, diversification, risk profiles. Upstream, the real question is: What pressure is the system exerting on the person making the decision?

Is the environment demanding liquidity, stability, velocity, or insulation?

When the pressure is named first, strategy stops being a guess and becomes a structural response.

Capital behaves differently when the system is understood before the instrument.

PART 2 — BEFORE RISK: WHAT IS THE TRUE COST OF INACTION?

Risk is usually framed as the potential downside of taking action. Upstream, the more revealing question is: What is the cost of doing nothing?

Every financial environment has a silent erosion factor — inflation, opportunity decay, competitive displacement, or structural drift.

When the cost of inaction is named, risk becomes a comparative metric instead of a fear‑based one.

Clarity emerges when the baseline is defined before the exposure.

PART 3 — BEFORE VEHICLES: WHAT IS THE FINANCIAL FUNCTION YOU’RE TRYING TO PERFORM?

People choose vehicles — stocks, real estate, funds, credit instruments — without naming the function they need the capital to perform.

Is the goal preservation, expansion, leverage, insulation, or transformation?

Upstream clarity means defining the function before selecting the vehicle.

Once the function is named, the universe of viable instruments shrinks to a coherent set, and the noise disappears.

PART 4 — BEFORE GROWTH: WHAT IS THE SYSTEM’S CAPACITY TO ABSORB CAPITAL?

Growth is often treated as a universal good, but upstream, the question is: Can the system actually absorb more capital without destabilizing?

Every environment has a capacity limit — operational, structural, regulatory, or psychological.

When capacity is named early, growth becomes sustainable instead of reactive.

Capital flows cleanly when the system’s limits are understood before expansion.

PART 1 — BEFORE INTENTION: WHAT FUNCTION DOES THE MUSIC SERVE IN THE STORY’S SYSTEM?

Most composers begin by asking what the music should feel like. Upstream, the real question is what the music is for. Every score operates inside a story system, and that system assigns the music a function long before a cue is written.

Is the score:

- stabilizing emotional volatility

- revealing what the characters can’t say

- countering the scene’s surface energy

- binding disconnected narrative threads

- creating pressure the visuals can’t carry alone

When the composer identifies the function first, the music stops being expressive and becomes structural infrastructure.

The score isn’t “supporting” the film — it’s performing a job the story cannot complete without it.

Upstream clarity begins with function, not feeling.

PART 2 — BEFORE TEXTURE: WHAT IS THE STORY’S THERMAL STATE?

Every story has a temperature — not emotional, but energetic.

Is the narrative running hot, cold, or oscillating between the two?

This thermal state determines the textures the score can sustain.

Hot stories demand:

- density

- propulsion

- harmonic friction

- rhythmic instability

Cold stories demand:

- spaciousness

- restraint

- tonal minimalism

- slow harmonic metabolism

Most composers discover this halfway through the project, after cues start contradicting each other.

Upstream, naming the thermal state early creates a coherent sonic climate.

Texture becomes inevitable.

Instrumentation becomes obvious.

The score stops drifting and starts behaving like a single organism.

Upstream clarity means the music’s texture is not chosen — it is dictated by the story’s temperature.