How Do Characters Use 'Can I Ask You A Favour'?

I binged the film with a half-eaten bowl of ramen and a dog-eared copy of 'Dune' beside me, and here's the short, honest take: 'Dune: Part Two' largely finishes the core of Frank Herbert's first novel but it does so through a cinematic lens that both trims and reshapes a few beats. The movie hits the big turning points — Paul’s rise among the Fremen, the fall of the Harkonnens, the confrontation with the Emperor, and the duel/conflict that settles the immediate power struggle — so you do get the novel’s climax. Villeneuve leans on atmosphere and spectacle, so a lot of internal monologue and political nuance that lives on the page is either externalized visually or compressed into sharper scenes. That means some subplots are streamlined and some characters get less screen time than the book gives them. Most importantly, the film avoids trying to cram Herbert’s sprawling aftermath into one run time: the epic consequences (the galactic jihad and long-term ripple effects) are implied rather than spelled out, leaving a haunting ambiguity that feels deliberate. I left the theater satisfied but curious, like someone who just finished a great chapter and is already hungry for the next one.

My hype radar instantly flicks on whenever chatter about 'Dragon Ball' movies starts. The short version: yes, I think it's very likely we'll see more theatrical releases. After the success of 'Dragon Ball Super: Broly' and then 'Dragon Ball Super: Super Hero', Toei has clearly proven that big-screen outings still hit hard with both domestic and international audiences. The manga by Toyotarou (with Toriyama overseeing) keeps giving the franchise fresh material, and every time the franchise gets a creative spark, the studio smells opportunity. Looking back at the pattern — long-running TV arcs, a pause, then a high-quality film that re-energizes the fandom — I can imagine future movies taking a few different routes: a direct adaptation of a manga arc, an original story penned or at least shaped by Toriyama, or even a character-focused side tale (Gohan getting more time in the limelight would make me cheer). Streaming demand and global box office numbers also push Toei and licensors to aim for big, cinematic spectacles rather than tiny experiments. If a new film drops, I hope it keeps the modern standards: dynamic animation, emotionally grounded stakes, and a villain who isn't just a power-scaling checklist. I also want more clever team-ups and fun character beats—Vegeta and Goku rivalry with genuine stakes always does the trick for me. Either way, I’m already marking my calendar in spirit and would be hyped to see where they take the saga next.

I've been chewing on this question a lot lately, and honestly the short history of how 'Dragon Ball' games have been made gives me hope. Over the last decade we've seen big swings: pure arena fighters, party-based adventures, and full-on narrative RPGs. 'Dragon Ball Z: Kakarot' showed that a faithful, story-driven single-player experience can sell well and capture fans' hearts — it wasn't perfect, but it proved there's a market. On the other hand, the 'Xenoverse' series kept pushing original story content tied to time travel and fanservice, which also did great because it gave players a fresh narrative playground. Realistically, whether new story-driven games continue depends on a few things: sales numbers, internal priorities at the publisher, available talent, and how eager Toei and the creators are to greenlight original timelines. Licensing plays a role too — getting creative freedom to explore alternate arcs or brand-new sagas can be tricky. Still, with remasters, live-service tie-ins, and renewed interest in anime adaptations, I think we'll keep seeing story-focused titles, but probably in mixed formats: big single-player epics, episodic releases, or story expansions for popular multiplayer titles. I want to see a sprawling, lovingly crafted saga that treats the source material like a living world rather than a checklist of fights, but I'm also realistic: we'll probably get both polished story games and quick tie-ins. Either way, I'm excited — fingers crossed for something that makes me want to replay the saga for years.

Crazy to imagine how much 'Dragon Ball' has shifted from a lone mangaka's weekly grind to a sprawling multimedia machine. I've followed the franchise since the manga days, and what I see now is a collaboration model: Akira Toriyama still shows up, but mostly in a high-level way. For 'Dragon Ball Super' he provided original concepts, character designs, and rough story outlines, while someone like Toyotarou handles the heavy lifting of monthly chapters and continuity. The movies — 'Dragon Ball Z: Battle of Gods', 'Dragon Ball Super: Broly', and 'Dragon Ball Super: Super Hero' — all had Toriyama involved to differing degrees, which tells me the studios and publishers value his voice for major milestones. That said, the industry side is loud and clear: the franchise's ecosystem (publishers, animation studios, merch partners) can and will continue the story without Toriyama scripting every beat. Practically, that means future arcs or films will likely bear his stamp in concept and approval, but day-to-day plotting, scripting, and production will be handled by teams who know the brand. If Toriyama ever decides to pull back more, they'll keep him around for key approvals and cameo designs to preserve authenticity. Personally, I like that balance — his fingerprints keep the series feeling legitimate, while fresh creators bring new energy and ideas that keep me excited to tune in.

My brain lights up every time someone asks about promoting an indie novel on social media—I live for this stuff. First thing I do is narrow the audience: who's the reader who can't put this book down? Once I picture that person (I imagine them with a dog, reading on the commute), I map platforms to moments—TikTok for short, hungry discovery; Instagram for aesthetic mood boards and quote images; Twitter/X for conversations and threads; email for people who actually buy; and Goodreads for the review-minded. From there I build content pillars: a hooky trailer or 15–30s scene tease, a behind-the-scenes post about the weird research detail, character microfiction, cover-art reveals, and reader reactions. A simple content calendar—three posts a week and one story/live—keeps things sane. I once turned a two-minute scene read into a TikTok that gained momentum because a single line hit the right mood; that taught me to always craft 3–4 'shareable' moments per chapter. Next I focus on community and leverage: give ARC copies to a small, engaged team and ask for honest reviews tied to a release date; approach micro-influencers and bookstagrammers with a personalized pitch and a free digital ARC; run a Goodreads giveaway or a small Instagram giveaway with one rule that grows reach (tag two friends and follow). Paid ads are useful but surgical—start with $5–10/day on Facebook/Instagram and test copy/imagery to find what hooks. For Amazon authors, AMS ads with well-researched keywords can be a direct sales channel. I also repurpose content across platforms so you don't burn out: a 60s TikTok becomes an Instagram Reel, a 280-character thread breaks down into quote cards, and a newsletter gets an expanded version of your story-behind-the-story. Keep tracking simple: clicks to your store, newsletter signups, and cost-per-acquisition. If a creative type of post gets 10x the signups, do more of that. Finally, be human. Share mistakes, tiny rituals (I light a candle before editing), and invite readers into the process—host a live Q&A, read a chapter aloud, or run a caption contest that sparks fan content. Cross-promote with other indie authors in your genre—swapping promo slots in newsletters or doing short joint lives can multiply reach. Above all, iterate: try one paid ad, one influencer pitch, and one giveaway per month and keep what works. It’s messy, strategic, and oddly fun—if you want, I can sketch a 30-day rollout for a specific genre or book vibe that fits your voice.

Honestly, if you want a legal PDF of 'Ask and It Is Given', I usually start at the publisher and major ebook stores—those are the cleanest routes. Hay House, which publishes a lot of similar material, often sells e-books in EPUB or PDF formats directly or points you to retailers. Amazon Kindle, Apple Books, Google Play Books, Kobo and Barnes & Noble will all sell legit digital copies (sometimes DRM-protected), and purchasing there means you can download to your device or app immediately. Many of those stores offer a free sample too, so you can peek before you buy. If you prefer borrowing, I always check my public library’s digital services first. OverDrive/Libby and Hoopla let you borrow e-books and audiobooks legally if your library carries the title; you just sign in with your library card and borrow. Another option is to look for audiobook versions on Audible or other audiobook platforms if listening works better for you. If you need the book in a specific accessible format (large print, DAISY, etc.), contacting the publisher or a local library for accessibility services is a good move. Finally, be wary of random PDF download sites—if the site doesn’t show a publisher imprint, ISBN, or known retailer links, it’s probably unauthorized. I like the peace of mind of buying or borrowing through official channels, and it keeps the creators supported.

In 'Ask and It Is Given', the key principles revolve around the Law of Attraction, which states that like attracts like. The book emphasizes focusing on positive thoughts to manifest desired outcomes. It introduces the concept of vibrational alignment, suggesting that aligning your emotions with your desires brings them into reality. The authors stress the importance of clarity in asking, believing in the process, and allowing the universe to deliver. They also discuss the role of resistance and how it can block manifestations, encouraging readers to release negative emotions. Another principle is the idea of 'allowing,' which means letting go of control and trusting that what you desire is on its way. The book provides practical tools like scripting, visualization, and focusing wheels to help readers shift their energy. It’s not just about asking but also about maintaining a high vibrational state to attract what you want. The core message is that you are the creator of your reality, and your thoughts and emotions are the building blocks of your experiences.

Reading 'Ask and It Is Given' was like finding a roadmap to my own potential. The book dives deep into the Law of Attraction, but it’s not just about manifesting material things—it’s about aligning your energy with what you truly want. I started practicing the exercises, like focusing on positive aspects and using the Emotional Guidance Scale, and it shifted how I approach challenges. Instead of feeling stuck, I began seeing opportunities everywhere. It’s not a quick fix, but it’s a mindset shift that’s helped me grow more patient, intentional, and self-aware. The book also emphasizes the importance of joy and gratitude, which has made me appreciate the small wins in life. It’s not just about asking for what you want; it’s about becoming the kind of person who can receive it. What stood out to me was the idea that your emotions are your guidance system. I used to ignore my feelings or push them aside, but now I see them as signals. If I’m feeling frustrated, I know I’m out of alignment with my desires, and I can take steps to shift my focus. The book also introduced me to the concept of 'vibrational alignment,' which sounds abstract but makes so much sense in practice. It’s about raising your energy to match what you want to attract. I’ve noticed that when I’m in a good mood, things flow more easily. It’s like the universe is conspiring to help me. This book has been a game-changer for my personal growth, and I’d recommend it to anyone looking to take control of their life and happiness.