#There are better artists with more relevant criticism of china

[radio-charlie]

Isn't Ai Wei Wei CIA lol

[nutty1005]

Xiao Zhan: Learning to Live with Different Opinions

Original Article: https://mp.weixin.qq.com/s/kFwWw70e6UvJ75egnRe7BA This article is published by Blogger World 博客天下 Weixin. This is also part of the article published in Blogger World 《博客天下》2020 8th Issue.

Giving others the space and freedom to voice different opinions is also a form of respect. Accepting criticisms during growth, displaying kindness in adversity.

Eye of the Storm

Acting is a profession, once you become famous, you will be labelled as “a celebrity” and you become a public figure, but in essence, you are still an average person. Just like everyone else during the pandemic period, they still need to stay quarantined at home and consider their daily meals.

“Celebrity” Xiao Zhan, who has a huge fan following, was also at home catching up on the movies on his to-watch list, watching dramas, reading, practicing his culinary skills – his work was no longer as tightly scheduled as before. This was supposed to be a rare relaxation period, but because of the sudden internet controversy, he found himself landed in the midst of public outcry, and this shattered his initial peace.

At first, he was quite confused, although he understood that any public figure would come with some sense of controversy, but when some of the controversy affected his friends and family, he felt that these were unfair to them. This point was something he could not quite understand.

After the passage of time, he slowly calmed down, and he attempted to learn to live with these different opinions. He feels that giving others the space and freedom to voice different opinions is also a form of respect, and he will accept criticisms during growth, and display kindness in adversity.

After a problem appears, the best method is to resolve the problem, and not to create another problem. This problem will obviously inspire fans (of any idol) to reflect on their actions, and consider how to reasonably handle themselves as a fan. At the same time, artists will also consider how to handle their relationships with their fans, and their teams will need to be more precise in their work. Whereas to the general public, when viewing the whole incident rationally, this can be also considered to be a part of creating a healthy internet environment.

Chance

When some people consider Xiao Zhan as one of the core members of the controversial “traffic” celebrities (TN: Traffic is a term that is used in China to describe idols with a lot of fan following), and lambast him for it, it is necessary to view his journey rationally – understand his chance entry into the entertainment business, and his unique qualities that set him apart from the rest.

Born in 1991, Xiao Zhan is almost 30, but he actually had not been famous for more than a year. Before this, like many other youngsters, he went through high school, university and work life, and never thought that he would become an artist. His university was Chongqing Technology and Business University; he majored in graphic design; while schooling he had received titles such was “Advanced Literary Individual” and “Excellent Team Member”, and also participated in the charity poster design competition organized by his university, winning awards “First Standard Award” and “Most Popular Award”; he even started his own studio with his friends. As such, it can be said that he went through a complete university education, and hence he has a certain amount of knowledge literacy.

After graduating in 2014, he worked for almost a year in a design firm. In June of the second year, because he loved singing, he joined a variety show “X-Fire”《燃烧吧少年》, in hopes of being seen by more people. This was not an easy part of his life – he had to learn dancing with zero foundation, stretching, memorizing movements, with great difficulty. Finally, he debuted as a member of the X-NINE X玖少年团 boyband.

That year, he was 25, and this fulfilled the lyrics of a song by Stefanie Sun – “The 25 year old me, there are differences now.” Then, he thought 25 years old was far away, but in the end it was really different.

However, at that point in time, China talent search variety shows did not have the popularity it would have later on, hence he was not popular upon debut – there was a period of dormancy. In the years following that, he switched paths to become an actor, and participated in web dramas, television dramas, as well as a minor role in the movie “Monster Hunt” 《捉妖记》, totaling a number of 7 to 8 shows. Because he did not come from an acting background, he felt inferior to his partners, who graduated from acting schools, during the shoots. During this period of time, he also doubted his decisions, and wondered if he had a future.

Later on, in the interview with Ren Min Wang 人民网 “Friendly Chat” 《友聊》 he said, “If initially I knew that I would later on go through so much things, I might retreat.” This is actually very similar with the encounters of many other actors, from low to high, from silent to outstanding, experience, works and reputation all have to go through an accumulation process.

At that time, he already had fans, although not too many. In his Weibo, he once had a post that was meant to communicate with his fans, named “Secret Garden”, to tell one another stories, encourage and comfort one another – it was a type of positive interaction.

Fame

The true fame came on the June of 2019. The web drama “The Untamed”, where he starred as the leading actor, aired. This drama came with a fan following from the novel it was based on, and with exquisite production quality, good acting portrayal and performance, this drama became the hottest drama of that year. It scored 7.7 in Douban (TN: Somewhat like China IMDB), which was considered above average in China, and it is worthy as a piece of “work” – although Xiao Zhan said in this interview, “Currently, I don’t think I have any piece of noteworthy work, hence I cherish every opportunity to participate in creative work.”

From this, he obtained a huge reputation, his fan size grew multi-fold, and this objectively created more difficulties for his team working behind him. From a commoner to an artist, and then to a celebrity, based on Xiao Zhan’s behavior, he is careful and cautious. When interviewed by China Youth Papers 《中国青年报》, he said “When I encounter difficulties, I will not give up easily, I will think of ways to resolve it”; “Respect everyone around me, I have to uphold the heart to honor and respect everyone around me.” When interviewed by Guang Ming Times《光明日报》, he hoped “the works that he participated in could transmit some positive values.”

At the end of last year, in CCTV Movie Channel, he also reviewed his legendary experience of 2019, “There are no adjectives to describe my 2019, hence I will say thank you, thank you to all the experiences, to all that I have.” He never talks about what role he is most satisfied with, but only that he could do better, “maybe it could be the next one”. At the same time, he expressed that he will put the focus of his career in 2020 on acting, “to an actor, works are my foundation.” This clearly shows that he is clear about his own acting career.

But evidently, the start of this year was not smooth sailing for him. This internet controversy, as a related party, he received numerous criticisms, whether with good or bad intentions, and how he viewed this whole incident, what psychological process he went through, how a public figure should bear the social responsibility, and what his next steps are…

For this, the aim of this Blogger World interview with Xiao Zhan is to “understand the problem, obtain a common understanding”.

Understood Some Things

(TN: R = Reporter, XZ = Xiao Zhan)

R: Earlier when the pandemic was at its peak, what were you busy with?

XZ: Quarantine, just like everyone else during the pandemic period. I remember it was during Chinese New Year period, following the news, seeing the medical personnel fighting at the forefront. It was especially touching when you see that they were relentlessly fighting even though they were facing a lack of medical supplies. At that time, I spoke with my staff, thought about wanting to do something, and do what I can. After the discussion to decide what to donate, we started contacting the relevant suitable organizations, communicate on what was needed, etc.

Besides this, I also received invitations to record ID videos to cheer on Wuhan and songs to beat back the pandemic. Because the songs required more professional equipment, hence I remember around the end of January, we went to the recording studio. At that time, the pandemic was at its critical period, to ensure safety, there were very limited staff on site, everyone were wearing masks, everything was strictly disinfected, every staff had to perform multiple roles, but we finished the recording with high efficiency. To me, this was a very special experience. Other then that, I was quarantined at home.

R: When you were at home, how was your daily life? How did you spend the time?

XZ: Actually just like everyone else, watch the news, watch dramas, watch movies, read books and rest. It is also quite inconvenient to order takeouts during quarantine period, hence I also trained my culinary skills. Just right at the time there were charity events to aid the farmers, hence I bought some fruits and farm products.

R: Were you concerned with the daily changes of the pandemic, what did you feel and think about?

XZ: Of course I did, I was following up on the pandemic news everyday, there were many moments that touched me. Previously there was this piece of news, a pair of husband and wife, there were both medical staff at the forefront, recognized each other despite wearing isolation robes and hugged together, that scene of reunion touched me very much. But at the same time, I saw that there were a lot more people who needed assistance, and I also felt personally that what one person can do is very limited, and I did too little.

R: When the internet controversy happened, what were you doing, what was your initial reaction, and what happened after?

XZ: I was quarantined at home at that time, when I first saw it I was extremely surprised, why there were suddenly so much topics, felt a bit confused, and understood it later like everyone else. Actually with regards to controversy, as a public figure, I was willing to bear these controversy, but some of them affected my friends and family, I felt that these were unfair to them. I could not quite understand (why they did this). And that point in time was the most critical period of the pandemic, I did not want my issues to take away too much attention, and bother everyone, hence I did not make much responses. Later on, my friends also gave me advice, and this period gave me more time to ponder over it, I also went out to do voice overs, in preparation for my future jobs, slowly I understood some things, so after a while, I started to slowly calm down.

R: You once said that in order to survive in society, one needs to learn to be complex, do you realize the complexity even more so now? Where there any changes to your life views?

XZ: There is definitely complexity, I do not think this is anything bad. Facing complex situations, we do not have the ability to force any changes, but I feel, as long as we maintain the most initial kindness and purity, work hard to do the best for the things we have decided. I have always upheld these principles, and these are also what I want to do.

R: Do you feel misunderstood? How do you adjust yourself?

XZ: It is still the same phrase from the previous interview, “When serious – work, when confused – read, when alone – think, when upset – sleep.” Actually I think this phrase can be used to aptly describe my condition for the past few months.

R: After a period of time, how do you feel about the controversy now?

XZ: We need to learn to live with different opinions, and also respect everyone’s rights to voice theirs. But this world is like this, there is a balance of energy, there are those who love you, who like you, at the the same time there will be people who hates you, who dislikes you. Giving others the space and freedom to voice different opinions is also a form of respect. Accepting criticisms during growth, displaying kindness in adversity.

No one likes you for no reason

R: We will talk about your experiences as an artist, when did you realize that you are famous? How did you feel?

XZ: Last summer, after seeing that there were more people who supported and liked me, very thankful and grateful. My father told me since young “no one likes you for no reason”, hence I hope I can live up to everyone’s like.

R: When you first entered the entertainment business, what goal did you hope to attain?

XZ: Actually my thoughts were very simple then, that is work hard to do the best in the competition, and hope to receive more recognition.

R: In being an artist, what did you feel is the most toilsome?

XZ: Every profession has its own toils, I treat my work very seriously, hardship is actually something you cannot avoid. If I really have to say something as toilsome, then it will be how I face the complex environment.

R: Many felt that you became famous overnight, but actually you already participated in several different dramas, how was your condition like then? What desires did you have for the future?

XZ: Actually there were not much difference, previously I just hoped that I always have jobs, have the opportunity to contact better roles, now is just work seriously, act properly, live everyday to the fullest. Continue on the path of an actor.

R: How did you learn performance? Where there any experience that was especially memorable?

XZ: At the start, I had no concept with regards to performance, later on I also took performance classes, with directions from performance teachers. The experience that was especially memorable was during the shooting of “The Wolf”, there was a crying scene on the highlands, a night scene, and it needed to rain, but that time, no matter what I did, I could not cry.

R: What do you think the relationship of front stage and back stage is?

XZ: I feel that front stage and back stage is not a type of relationship, but is the same job. Without the serious work and support of the backstage, the front stage will not be able to become better.

R: The character Wei Wuxian gave you a lot of glory as well as some controversy, how did you view the role?

XZ: I treat every role I have acted in seriously and with deep respect, because their story are all alternate lives that I would never experience. And portraying these characters, I really hoped that we can achieve success mutually, and win the recognition and love from the audience. I am lucky and thankful to have participated in a part of Wei Wuxian’s life, and this role also became an important part of my acting career. Also I am very grateful to the hard work from all the staff as part of this creative work, and gifted this character vitality. All these creative artists gave me the chance, and allowed me as an actor, using my own thoughts and performances, to bring forth the character Wei Wuxian, even more vividly in front of the general audiences.

R: With regards to “work”, how do you define it?

XZ: I feel that a piece of work is not just the result of a person’s hard work, behind it are also everyone’s sacrifices and creation. Currently, I don’t think I have any piece of noteworthy work, hence I cherish every opportunity to participate in creative work, and also treat every job seriously, in the future I will do my best in singing and acting.

R: The journey of fame, how did you establish your confidence, from inexperience to mature?

XZ: It is definitely a slow process. Actually it is just like that lyric in my new song “All traces passed by turned into light spots.” That is when you encounter difficulties, from it you learn and grow, the accumulation of every step, you are always on the path of growing.

R: In facing the exhaustion from work, the disturbances from the outside world, do you feel that fame is a double edged sword? How do you hope to be viewed by the outside world?

XZ: I feel that anything has its pros and cons, I have already learnt to handle it with common sense, I hope that I am still the same initial me, to be able to maintain humility and politeness.

R: Are you afraid of the uncertainty of life? Do you have insecurities?

XZ: Of course I am. Life is made up of a lot of uncertainties, many times I would also feel insecure, but isn’t the unknown life’s greatest challenge? The feeling of “singing as you walk” is great.

Be yourself, actions speak louder than words

R: You once said in an interview that you do not want to be a perfect person, can you explain what you meant?

XZ: I feel that no one can be perfect, neither can I.

R: Actor, artist and traffic celebrity, what do you think the difference are in these terms?

XZ: Actor is my career, artist and traffic celebrity, to me, are just a label, that is on every public figure. I will do the best for my job, in the future I will be even more serious in my singing, acting, and continue to bear whatever social responsibility I should bear.

R: You once said that communication is very important, now that you are too famous, will this bring about difficulties in communication?

XZ: The changes in my identity definitely brought along some inconveniences, but to my friends, my family and me, the communication has always remained the same. In facing those who like me and support me, I feel that I am communicating with them via my works, hence I will humbly accept all good intent criticisms and corrections on my profession.

R: You did not change your Weibo account after your debut, and also said that that you are very real, and you want to show everyone the real you. To the public who do not understand you, what do you have to say?

XZ: I always said, I am not a perfect person, but that does not prevent me from working hard towards becoming a better person. I am a more direct person, I also wanted to present the real me to everyone, hence I never considered changing my Weibo account, those were all my experiences and memories, the testament to my growth. I will not use youth or commoner as an excuse.

I started using Weibo when I was 19 or 20 years old, when I was still young and a commoner, and I said some very inappropriate words or opinions that are unacceptable now, and it probably did cause trouble or hurt to others. Hence I also wanted to say, after reflecting, to those who were hurt by these opinions, I express my most sincere apologies. If I could use my current experience and sensibleness back then, I would definitely respect everyone’s effort in their work, and will not comment rashly.

R: Your Weibo used to be very lively, full of witty words, you also liked to snatch the top comment on your own posts, and interacted with your fans, but later on, these posts were generally non existent, almost as if your image became flat, how do you feel?

XZ: Just representing myself only, I feel that the image on social media cannot encompass an entire person, that is only an outlet. I am always willing to communicate with everyone, but I am also afraid to bother others, if the effect of bother becomes greater than sharing, that would be something that I very much would not want to see.

[ryanmeft]

Ryan’s Favorite Films of 2019

A stuttering detective,

A top hat-wearing vamp

A forced-perspective war,

A bit of Blaxploitation camp

Prisoners on a space ship

Having sex with bears

A writer goes remembering

Whenever his pain flares

  A prancing, dancing Hitler

A gambler high on strife

Here will go cavorting with

A mom who becomes a wife

A family plot with many threads

Three men against their own

A stuntman and his actor

A mobster now quite alone

Doubles under the earth

Two men in a tall house

Are here to watch a woman who

Is battling with her spouse

A family’s plans for their strong son

Go awry one night

A man rejects his country

Which is spoiling for a fight

 A house built by his grandpa

(Maybe; we’re not sure)

Looks out upon three prisoners

Whose passions are a lure

  All these are on my list this year

It’s longer than before

Because picking only ten this time

Was too great of a chore

  What are limits anyway?

They’re just things we invented

I don’t really find them useful

So, this year, I’ve dissented

  You may have noticed this time out

That numbers, I did grant

Promise they’ll stay in this order, though?

Now that, I just can’t

  I’m always changing my mind

Because, after all, you see

Good film is about the heart

And mine’s rather finicky

  There are a lot more I could name

(And I’ll change my mind at any time)

For now, though, consider these

The ones I found sublime

 20. Motherless Brooklyn

I’ve got a (hard-boiled) soft spot for 90’s neo-noirs like L.A. Confidential, Red Rock West and Seven, and Edward Norton’s ‘50’s take on Jonathan Lethem’s 90’s -set novel can stand firmly in that company.

19. Doctor Sleep

There’s something about Stephen King’s best writing that transcends mere popularity; his work may not be fine literature, but it is immune to the fads of the moment. So, too, are the best movies based on that work. This one, an engaging adventure-horror, deserved better than it got from audiences.

18. Jojo Rabbit

There was a time when the anything-goes satire of Mel Brooks could produce a major box office hit.  Disney’s prudish refusal to market the film coupled with the dominance of franchises means that’s no longer the case. If you bothered to give Jojo a shot, though, you got the strange-but-rewarding experience of guffawing one moment and being horrified the next.

17. By The Grace of God

I’d venture this is the least-seen film on my list; even among us brie-eating, wine-sniffing art house snobs, I rarely hear it mentioned. Focusing on the perspectives of three men dealing with a particularly heinous and unrepentant abusive priest and the hierarchy that protects him, it’s every bit as disquieting and infuriating as 2015’s Oscar-winning Spotlight.

16. Waves

You think Trey Edward Shultz’s Waves will be one thing---a domestic drama about an affluent African-American family (and that in and of itself is a rarity). Then it becomes something else entirely. It addresses something movies often avoid: that as life goes on, the person telling the story will always change.

15. Transit

You’re better off not questioning exactly where and when the film is set (it is based on a book about Nazi Germany but has been changed to be a more generalized Fascist state). The central theme here is identity, as three people change theirs back and forth based on need and desire.

14. American Woman

Movies about regular, working class, small-town American usually focus on men. This one is about a much-too-young mother and grandmother, played brilliantly by Sierra Miller, dealing with unexpected loss and the attendant responsibilities she isn’t ready for. 

13. Marriage Story

There is an argument between a married couple in here that is as true a human moment as ever was on screen---free of trumped-up screenplay drama and accurate to how angry people really argue. The entire movie strives to be about the kind of realistic divorce you don’t see on-screen. It is oddly refreshing.

12. Once Upon a Time in Hollywood

Quentin Tarantino’s love letter to 70’s Tinseltown is essentially a question: What if the murder that changed the industry forever had gone down differently? Along the way, it also manages to be a clever and insightful study of fame and fulfillment, or lack thereof.

11. High Life

Claire Denis is damned determined not to be boring. Your reaction to her latest film will probably depend on how receptive you are to that as the driving force of a film. Myself, I’m very receptive. I want to see the personal struggles of convicts unwittingly shipped into space, told without Action-Adventure tropes, in a movie that sometimes misfires but is never dull.

 10. Dolemite Is My Name

And fuckin’ up motherfuckers is my game! Look, if you don’t like naughty words, you probably shouldn’t be reading my columns---and you definitely shouldn’t be watching this movie. Eddie Murphy plays Rudy Ray Moore, the ambitious, irrepressible and endlessly optimistic creator of Blaxpoitation character Dolemite. Have you seen the 1975 film? It’s either terrible and wonderful, or wonderful and terrible, and the jury’s still out. Either way, Moore in the film is a self-made comic who establishes himself by talking in a unique rhyming style that speaks to black Americans at a time when black pop culture (and not just the white rendition of it) was finally beginning to pierce the American consciousness. What The Disaster Artist did for The Room, this movie does for Dolemite---with the difference being I felt like I learned something I didn’t know here.

 9. 1917

Breathless, nerve-wracking and somehow intensely personal even though it almost never takes time to slow down, it is fair to call Sam Mendes’s film a thrill ride---but it’s one that enlightens us on a fading historical time, rather than simply being empty calories. Filmed in such a way as to make it seem like one continuous, two-hour take, for which some critics dismissed it as a gimmick, the technique is used to lock us in with the soldiers whose mission it is to save an entire division from disaster. We are given no information or perspective that the two central soldiers---merely two, in a countless multitude---do not have, and so we are with them at every moment, deprived of the relief of omniscience. I freely admit I tend to give anything about World War I the benefit of the doubt, but there’s no doubt that the movie earns my trust.

8. Ash Is Purest White

Known by the much less cool-sounding name Sons and Daughters of Jianghu in China, here is a story that starts off ostensibly about crime---a young woman and her boyfriend are powerful in the small-potatoes mob scene of a dying industrial town---but after the surprising first act becomes a meditation on life, perseverance and exactly how much power is worth, anyway, when it is so fleeting and so easily lost. What do you do when everything that defined you is gone? You go on living. This is my first exposure to writer-director Jia Zhangke, an oversight I must strive hard to correct in future.

7. Knives Out

The whodunit is a lost art, a standard genre belonging to a time when mass audiences could appreciate a picture even if someone didn’t run, yell or explode while running and yelling every ten minutes. Rian Johnson and an all-star cast rescued it from the brink of cinematic extinction and gave it just enough of a modern injection to keep it relevant. Every second of the film is engaging; Johnson even manages to have a character whose central trait is throwing up when asked to lie, and he makes it seem sympathetic rather than juvenile. The fantastic cast of characters is backed up with all the qualities of “true” cinema: perfect camerawork, an effective score, mesmerizing production design. As someone who didn’t much care for Johnson’s Star Wars outing, I’m honestly put out this didn’t do better at the box office than it did.

6. A Hidden Life

After a few questionable efforts and completely losing the thread with the execrable vanity project Song to Song, Terence Malick returns to his bread and butter: meditative dramas on the nature of faith, family, and being on the outside looking in, which encompass a healthy dose of nature, philosophy and people talking without moving their lips. That last is a little dig, but it’s true: Malick does Malick, and if you don’t like his thing, this true story about a German dissenter in World War II will not change your mind. For me, what Malick has done is that rarest of things: he had made a movie about faith, and about a character who is faithful, without proselytizing. That the closeness and repressiveness of the Nazi regime is characterized against Malick’s typical soaring backdrops is a masterstroke, and the best-ever use of his visual style.

5. The Lighthouse

Robert Eggers is a different kind of horror filmmaker. After redefining what was possible with traditional horror monsters in The Witch, he returned with something that couldn’t be more different: an exploration of madness more in the vein of European film than American. Robert Pattinson and Willem Dafoe are two men stranded in a lighthouse together slowly losing their minds, or what is left of them. The haunting score and stark, black-and-white photography evoke a nightmare caught on tape, something we’re not supposed to be seeing. It’s not satisfying in a traditional way, but for those craving something more cerebral from horror, Eggers has it covered.

4. Us

I have become slightly notorious in my own little circle for not thinking Get Out was the greatest film ever made, and now I’ve become rather known for thinking Us just might be. Ok, so that’s definite hyperbole: “greatest” is a tall claim for almost any horror movie. Yet here Jordan Peele shows that he can command an audience’s attention even when not benefiting from a popular cultural zeitgeist in terms of subject matter. It’s a movie with no easy or clear message, one that specializes in simply unsettling us with the idea that the world is fundamentally Not Right. I firmly believe that if Peele becomes a force in the genre, 50 years from now when he and all of us are gone, his first film will be remembered as a competent start, while this will be remembered as the beginning of his greatness.

3. The Last Black Man in San Francisco

Ostensibly about urban gentrification, this story of a young black man trying to save his ancestral home from the grasping reach of white encroachment is a flower with many petals to reveal. Don’t let my political-sounding description turn you off: the movie is not a polemic in the slightest, but rather a wry, sensitive look at people, their personalities and how those personalities are intertwined with the places they call home. Though the movie is the directorial debut of Joe Talbot, it is based loosely on the memories and feelings of his friend Jimmie Falls, who also plays one of the two central characters. If you’ve ever watched a place you love fall to the ravages of time and change, this movie may strike quite a chord with you.

2. Uncut Gems

When asked why this movie is great, I usually say that it was unbelievably stressful and caused me great anxiety. This description is not usually successful in selling it. The Safdie Brothers have essentially filmed chaos: a man self-destructing in slow-motion, if you can call it slow. Howard Ratner has probably been gradually exploding all his life; he strikes you as someone who came out of the womb throwing punches. He’s an addictive gambler who loves the risk much more than the reward, and can’t gain anything good in life without risking it on a proverbial roll of the dice. His behavior is destructive. His attitude is toxic. Why do we root for him? Perhaps because, as played by Adam Sandler, he never has any doubt as to who he is---something few of us can say. He’s an asshole, but he’s a genuine asshole, and somehow that’s appealing even when you’re in his line of fire.

1. Pain and Glory

When I realized I would, for the first time, have the chance to see a Pedro Almodovar film on the screen, I was overjoyed. His movies aren’t always great, but that was of little concern: he’s one of the handful of directors on the planet who can fairly call back to the avant-garde traditions of Bergman or Truffaut, making the movies he wants to make about the things he want to make them about, and I’d never seen one of his films when it was new and fresh, only months or years later on DVD.

It seems I picked right, as his latest has been almost universally hailed as one of the best of his long career. An aging, aching filmmaker spends his days in his apartment, ignoring the fans of his original hit film and most of his own acquaintances, alive or dead---he tries hard to put his memories away. Throughout the course of the movie, he re-engages with most of them in one way or another, coming to terms with who he is and where he’s been, though not in a Hallmark-movie-of-the-week way. Antonio Banderas plays him in the role that was always denied him by his stud status in Hollywood. It isn’t simply him, though: every person we meet is engaging and, we sense, has their own story outside of how they intersect with his. Most engaging is that of his deceased mother, who in her youth was played vivaciously by a sun-toughened Penelope Cruz. Perhaps Almodovar will tell us some of their stories some day. Perhaps not. I would read an entire book of short fiction all about them. This is the year’s best film.

[kanski03]

         THE SIGNIFICANCE OF YELLOW.

There's a duality to yellow; it's a symbolically-rich oxymoron which, with its conflicting associations, fits Lara completely. Particularly in the 19th Century, yellow was associated with sickness, stigma, and cowardice in Western society, whilst adversely being a colour associated with value, spirituality, and heroism in the East. Interestingly, it would come to be associated with p.ornography in both Western and Eastern society.

In addition to its history, yellow’s ambivalent character as both attractive and repulsive is something that appealed to me in regards to Lara’s character, for it is in-tune with my portrayal of her character; whilst certainly beautiful, with a history of idealism and spirit, this beauty constantly is at-odds with the aspects of her personality that evoke repulsion; her violence, her temper, her blood-lust, and her undeniable greed.

To sum, the following are terms associated with the colour;

indecency. eroticism. literature. salome. spectacle. sarah bernhardt. stigma. reclamation. betrayal. repression. obsession. instability. entrapment. war. memorial. dynasty. wealth. knowledge. censorship. death. ancient. toxicity. poison. arsenic. rarity. art. incompatibility. striking. gold. eternal life. murder.

         YELLOW IN LITERATURE.

In 1895, when Oscar Wilde was arrested for 'gross indecency', he was seen to be carrying a French novel with a vivid yellow book which, at the time, would denote literature of an i.llicit and e.rotic nature. People misidentified the material to be The Yellow Book (a British quarterly literary periodical of the time that published the work of authors and artists such as Henry James, H.G Wells, William Butler Yeats, John Singer Sargent, and its first art editor, Aubrey Beardsley) and associated the publication with Wilde. The day after Wilde's arrest, people demonstrated in front of the publisher, and a flurry of media reports soon cemented an association between yellow paperbacks and homosexual content. Somewhat amusingly, Wilde had previously referred to The Yellow Book as 'dull' and 'not yellow at all' in an argument with Beardsley, whom he had once collaborated with for his play Salomé, first published in France. Less amusingly, Beardsley’s reputation was for a time so ruined by tabloid journalism after the arrest of Wilde that he and his sister were forced to vacate the house they shared.

On the subject of Salome, a play that rewrote the biblical figure of the New Testament, yellow plays a particular significance; though the colour is only mentioned seemingly in passing in the play in describing her veils, the Dance of the Seven Veils was infamous in its spectacle and, in contrast with recent depictions of Salome* (notably Rita Hayworth’s portrayal), Wilde reportedly stressed the importance of the dance being in monochrome yellow to the production's costume designer, W. Graham Robertson. Yellow’s importance can also be noted in the portrait of Salomé painted by Henri Regnault, Judith II (Salome) by Gustav Klimt, and Hans Makart’s portrait of the esteemed Sarah Bernhardt**, Wilde’s friend for whom the role Salome was written but by whom it would never be performed.

Makart, a Viennese painter, found his portrait of the ‘Divine Sarah’ was met with much criticism, however, due to its yellow appearance, and thus he withdrew it from an exhibition, an action that upset Bernhardt in a time of rife Antisemitism, thus sensitivity surrounding the figure of Salome. She formulated this response in a letter to Makart that showed her initial appreciation for the portrait, her disappointment in its removal and Makart’s shame for the piece: "Yellow on yellow was the colour of Henri Regault, the late master from Paris, when he painted his Salome   shouldn’t the famed Sarah not also be permitted to be yellow? [...] Yes, Mr. Makart, even though my statue has been rescued from the Ring Theatre fire, my portrait must now be driven away. And yet my head and arms are so beautifully made up, the gown, the table cloth, the embroidery, the palm fan, everything is so beautifully yellow. Take assurance that I, too, have become truly yellow from gall, because you, whom I held to be my friend, betrayed me, after you painted me in yellow.” Bernhardt knew of the stigmatising reputation of the colour at such a time, but it would seem she was interested in its reclamation and in showcasing the colour for its beauty; when she acquired the Paris theatre, then the Théâtre des Nations, she had the red plush and gilt replaced with yellow velvet and brocade and renamed it ‘Théâtre Sarah Bernhardt’. The theatre kept the name the Occupation of France by the Germans in World War II, when the name was sadly changed to Théâtre de la Cité because of Bernhardt's Jewish ancestry.

* I do use the figure of Salome as an inspiration in itself, though not from her Antisemitic depiction in the New Testament or as the seductress of Wilde’s play, but rather in how her reputation was created in itself; almost all our information about her derives from the writings of Josephus whom relied heavily on the works of Herod’s court historian Nicolaus of Damascus, and our picture of Salome is marred by the latter’s personal feud with her. Herod’s personal life was full of intrigue and violence, and Nicolaus used Salome as a decoy so as to divert the reader’s wrath at these deeds away from her brother. Thus she is described as being the instigator of all the ‘tragedies' that befell Herod, and it is only after Herod’s death that we learn why Nicolaus hated Salome: in the question of Herod’s will and Herod’s apparent heir, she supported the claim of Herod Antipas, while Nicolaus supported the pretensions of Archelaus, thus in a public hearing on the issue in Rome they were found on two opposing sides of the question. When he eventually wrote on Herodian history, he had still not forgiven Salome for this affront and thus made her into a monster. To me, she seems to be another victim of history being written by male victors.

** Sarah Bernhardt was a primary inspiration for both Lara’s grandmother, Lady Margot Peletier, and Lara herself. Ethnically Jewish, Bernhardt was the child of a wealthy Dutch Jewish courtesan, Judith Bernard. Her father payed for her education, under the proviso that she be baptised as Roman Catholic. However, she never forgot her Jewish heritage. When asked by a reporter if she were a Christian, she replied: "No, I'm a Roman Catholic, and a member of the great Jewish race. I'm waiting until Christians become better."

I have briefly mentioned before the significance of Charlotte Perkins Gilman’s The Yellow Wallpaper in my portrayal, though its relevance is primarily in regards to Lara’s mother, Lady Aemilia E. Croft, and her diagnosis of what was then referred to as ‘puerperal insanity’. Gilman’s story is one of repression and obsession, with the narrator so clearly struggling with her role as a woman of the time and her inability to be the mother that was expected of her, in society that advised women to stick to being mothers and wives and resist the temptation to over-exert themselves physically, creatively, and mentally. The Yellow Wallpaper is famous enough that I don’t think I need to write too much on it, but I would argue that the pairing of yellow and specifically female instability and female entrapment is a clear one, particularly in relation to Lara.  

         YELLOW IN TRADITION.

The famous song ‘She Wore a Yellow Ribbon’, a song that has existed in various forms for at least four centuries and was a popular U.S Army marching song, also bears plenty of relevance to my portrayal of Lara, based on the tradition of a yellow ribbon being associated with those waiting for the return of a loved one or of military troops who are temporarily unable to come home from war. Thus, yellow too is associated with memorial.

Though in China the term 'yellow', in regards to printed materials like books and images, too has more recently denoted p.ornography     and an association for prostitution in Hong Kong     the term '黃' being a colloquial for something that is 'p.ornographic' or 'l.ewd' *, it was once a colour favoured by Imperial Emperors. The beginning of the Tang dynasty, Emperor Gaozong expressly forbade others from wearing clothing in of 'reddish-yellow' (his purported reasoning being that it was the colour of THE SUN and, just as there cannot be two suns in the sky, there cannot be two emperors in a nation'), and further regulations on wearing the colour yellow would be set by following dynasties, particularly the Qing Dynasty. Royal palaces were also recognised by their yellow roofs.

* I won't pretend to be an expert on this because I definitely am not, but I do remember reading something about forbidden books of the early Mao era being hidden under yellow covers, so I'll conjecture that perhaps as being why (as well as globalisation) as, due to censorship, it remains a difficult topic to research.

In India, the colour is associated with the Hindu deity Krishna who, generally, is depicted wearing a vivid yellow robe to contrast with his blue skin. Additionally, it’s there often associated with knowledge and peace, arguably both similar or opposing to its usage in Ancient Egypt ... ;

         YELLOW IN DEATH.

... there, yellow was worn to signify the dead. In contrast, it has been widely purported that Henry VIII and Anne Boleyn wore yellow on receiving the news of Catherine of Aragon's death in a calculated insult to the memory of the woman Anne Boleyn had supplanted.

I based the colouring of my Google Doc and graphics on Orpiment, an inspiration that might be becoming a little more clear in my most recent promotional graphic, which is attested as another one of the reasons for yellow's negative associations. Orpiment was a pigment relied upon by artists from ancient times until the 19th century, in spite of its extreme toxicity and its incompatibility with other common lead- and copper-based pigments, due to clear and bright yellow pigments being in rare supply.

Orpiment had a hand in the infamous case of the Dutch serial killer Maria Swanenburg, once known locally as 'Goeie Mie' or 'Good Mie' when she cared for both children and the sick and elderly in the poor Leiden neighbourhood in which she lived, who murdered an confirmed number of 27 victims (though she is suspected of possibly having killed more than 90), including her own parents, with Orpiment arsenic between 1880-83.

Though commonly a golden colour, the mineral's streak (the colour of its powder when dragged across an un-weathered surface, which tends to be more consistent than a mineral's apparent colour due to various possible trace impurities) is closer to the pale lemon-yellow. It has notably been found on the walls of the Taj Mahal, as well as in the wall decor of Tutankhamen's tomb and ancient Egyptian scrolls.

Because of its visually striking colour, the mineral itself was of wide interest to alchemists throughout Europe and Asia when searching for a way to make gold and in their quest for eternal life     perhaps ironic, considering its poisonous nature. In a similar vein, it was used as a medicine for a time, in spite of its toxicity as an arsenic sulphide mineral. Perhaps more suitably, it too was used to tip poison arrows.

[greenlightmusicreviews2]

Hyperion - St. Lucia | Album Review • 7/10

Now Playing: Hyperion by electro-pop outfit St. Lucia.

I feel like where we fit in and where we're unique is that what we do is positive, but it's also not preaching to you or hitting you over the head with a message. I think it makes you feel positive.

- Jean-Philip Grobler (2018)

Bright, dancing keys - big, reverb-drenched drums - and bright, energetic vocals is how Hyperion, the third album from St. Lucia, electro-pop artist extraordinaire, begins.

“Bigger” is a heavy dose of the feel-good pop music that Jean-Philip Grobler - St. Lucia bandleader - is so intent on delivering. In his own words:

“I think that we need more positivity,” [Grobler] concludes. “Not in a brain-dead way where we don't acknowledge problems, but rather to show there's a way to overcome them. You can make reactionary music that is negative and aggressive, but I gravitate towards the things that feel more inspirational. Social change has often come from a positive force, not an anarchistic one. How can you make your life the most enriched positive thing that it can possibly be?”

Not every song sounds like the feel good hit of the summer, though every song does carry this quality of positivity. Even in darker sounding songs like “A Brighter Love,” where these dark, introspective synths glisten below Grobler’s lilted South African tenor, with partner-in-crime Patti Beranek offering her vocal talents in the chorus where the song “finds [its] way to a brighter love” complete with handclaps and sonic burps that remind me of Chi Ali’s repetitive uh - come on! on Black Sheep’s “The Choice Is Yours (Revisited).” On a similar note, the fourth track “Walking Away” is as aggressive as it gets on Hyperion which has the memorable line “the summer days are numbered.”

“Walking Away” brings me to the unabashed 1980s synth-pop influence that is all over this record.

I had a friend tell me once that the 1980s was one of the most influential periods for pop culture - especially for music, basically saying that a lot of what we hear from many artists today, you can pick out the influence from ‘80s musical trends. I don’t think that’s a totally unfair claim to make - I think a lot of rock acts from the 2010s certainly had a neo-hair/glam metal way about them; there is of course the Lady Gaga/Katy Perry comparison to Madonna; and the wave of synth-oriented acts like St. Lucia.

You can hear the ‘80s influence often in the musical themes and motifs. The triple-threat of “Walking Away,” “Tokyo” and “Gun” are all very reminiscent of that cool mix of new wave synth and funk guitar with some big nods to classic rock of the 1970s. Take a song like “Gun,” for example, the faux-horns and the triumphant dun-dun-dun-dun electric keyboard that would not sound out of place on a latter-day Phil Collins record, and with a chorus that is achingly catchy. In fact, a lot of the album’s best moments manage to combine an older, traditional pop styling with a bit of psychedelic moments that are taken straight from Dark Side of the Moon. In particular, “Tokyo” and “Gun” both feature these dazzling and winding synth leads that remind me of the VCS 3 synth used on “Any Colour You Like.”

I want to highlight that line of thought - what Hyperion does best is blend traditional pop styling with a tinge of psychedelia that comes out in songs like “Paradise Is Waiting” with it’s sunny gospel-style choir and lyrics like:

Every night I dream about a man who takes my place Tells me to go up, up into the highest mountain In the dream I wait, among the lonely ancient beings ’Til I hear that voice, telling me to come to paradise

“Paradise Is Waiting”

“Paradise Is Waiting” is of course, one of a few songs featuring, again, the Pink Floyd-esque synthesizers, which brings me to “Tokyo,” where the synth comes in at around the halfway mark and just takes the song to the next level.

One of the album’s biggest highlights for me is “Tokyo,” a love song for that popular Japanese metropolis. The drums are perfectly understated, and the synth work is tastefully done with gorgeous vocals that are stacked and harmonized to perfection. The hook is catchy and not in the way that other songs are where it can be gratingly so.

Later on in the record, it does lose a little bit of steam. “China Shop” is good, though the annoying synth lead imitating something that I think is supposed to sound Chinese does not do it for me. A lot of the back end of this record begin with interesting ideas and sounds, and there are some great, lush and atmospheric instrumental passages (intro to “Next To You,” all of “Last Dance”) that don’t lead anywhere that makes it enough of a satisfying listen, and often just devolve into cliches by album’s end. Do we really need another song about “saving the last dance?” And “Next To You” has a verse where the descending chord progression has been done to death and reminds me of “Overkill” by Men At Work.

Although the group does occasionally fall into instrumental and lyrical cliches mentioned before, there are some poignant moments where Grobler displays his talent for writing thoughtful lyrics.

Apparently there’s a bit on this record that’s meant to be confrontational and political. “Gun” for example is an examination on the issue of gun control and power dynamics between men and women - however, there are times when Grobler’s lyricism is just too vague and toothless for any meaningful dissection of what he wants to get across. It’s interesting that “Gun” is the song that he chooses to make as an example, because there are other songs that convey his political messaging much better. A song like “Next To You,” which I wasn’t terribly impressed with, does have some of the most direct and interesting lyricism on the record:

And millions of people keep checking their phones As a Labrador keeps licking the bone That it hid in the earth 5 years ago The director tells the actress to say her lines quick There ain’t no time here to overthink The world’s changed, and it’s changing so quickly And can’t we build a skyscraper 20 miles thick And fill it up with all the shit that we bought At the president’s impeachment sale

“Next to You”

Even the album closer “You Should Know Better” manages to maybe convey some kind of message to the political and upper class in America.

Hyperion at times manages to reach the potential that its leader seems to so passionately reach for: music that is positive, meaningful, thoughtful and provocative in a proactive way - but sometimes it just amounts to pleasant-enough sounding electro-pop bedroom hits. In a featured piece in Riff Magazine, there’s a very touching and illuminating part of the profile where Jean-Philip is utterly candid in his experience recording this album:

[Grobler] felt like pop music stopped being about being truthful and inspiring others. “I take what I do very seriously, and I didn’t know how to bridge that gap,” he said. “I felt like what I was trying to make was so at-odds with where the music world is heading. Sometimes I wondered if it was even possible. It’s like climbing up a sheer rock face and not seeing another ledge to hang off of.”

Riff Magazine | Sept. 25, 2018

The back-and-forth struggle between the need for honesty and truth in your music, and the desire for artistic relevancy, was clearly on display on this record. No doubt the music industry has long been a pretty machine that spits out pop hit after pop hit while disposing of artists when they have no use for them anymore, but there are a lot of “pop” artists that still manage to create totally compelling works while not necessarily becoming the Billboard darlings, or while even being critical/commercial chart toppers. St. Lucia, and Grobler in particular, totally appear passionate about the music they create, and I hope that on future records that they can just run with it with no pretense of who to please other than their following and the muses in their heads. That’s when a lot of the best music is made.

Hyperion: 7/10

Favorite songs: "Paradise Is Waiting" • "Walking Away" • "Tokyo" • "Gun"

[gentleladyaims]

The Farewell: An In-Depth Reflection

I was not emotionally prepared to watch this movie- I packed some tissues in my purse as always (as I am apt to shed tears over most movies- I just get super emotional!), but it was nowhere near enough. I was literally biting my tongue and trying not to sob out loud and looked like a wet blob in the theatre with tears streaming down my face!! My husband was like "Honey, are you okay?? Let me give you a hug!!"

As a young Chinese-American woman, I’ve never watched a movie that hit so close to home and felt so… relevant? I feel so seen and acknowledged seeing this story play out on the big screen. Fsor a Chinese-American woman like Lulu Wang to direct the movie I grew up in Beijing with my grandparents; my parents came to the U.S. right after I was born when my dad got an amazing scholarship to Duke. As a result, I’m super close with my grandparents and they basically raised me and instilled in me the morals/values I have today. I came to the U.S. for the first time when I was three (briefly), then permanently moved to the States when I was six. It was jarring, an entirely new environment, having to learn a foreign language, leaving the comforts of my home behind. Thankfully, my grandma came with us to leave for awhile, but my grandpa stayed back in Beijing. I missed him so much every single day. As I grew up, I’d visit my grandparents back in Beijing almost every single summer and spend my entire vacation with them. I cherish those moments so much.

All the little details in “The Farewell” are so genuine and realistic to how Chinese culture actually is. Of course, no movie is representative of everyone’s experience, however, many facets of it were reflective of my own life.

How Billi's mom seems to be very critical of her life decisions, especially regarding her career, and being snarky/making fun of Billi for pursuing an artistic path with writing. How Nai Nai is so affectionate with Billi (the opening scene when they're on the phone and she asks Billi how the weather is and if Billi's wearing a hat etc is soo hilarious and true!! My grandma always asks that and tells me "Bundle up, don't get a cold now!") and makes the funny comments about her round butt. Even the little nuance of her commenting on Billi's weight and how she doesn't seem to have lost much weight, in comparison with what Billi's mom said (a lot of Chinese people/family always seem to make unsolicited comments about people's figures/weight and just will straight up say "you're fat!" or "OMG you're too skinny!!" it's a hard dichotomy to walk and it seems no one is happy either way). When Billi gets to the hotel and the hotel clerk is asking her which is better, China or America? *Literally* I get asked that question every. single. time. and my response is the same as Billi's- "It's different!" It's like comparing bananas and chicken. Both have their pros and cons, but it seems like they're always expecting you to say one or the other. Some of my relatives definitely idealise the West/America and seem to think everyone in the U.S. is: rich, blond, gorgeous like a movie star, and happy.

The family style meals and the food!! Sooo realistic. Also how Mr. Li pours the boiling water for Nai Nai's hot water soak for her feet. I want to make a note that even the fashion/style is pretty accurate too- my grandpa totally wore the same tank top and high-waisted pants and slippers like Mr. Li, haha. Watching this movie gave me such a feeling of familiarity and belonging, like "wow, someone actually knows how it feels to be in a Chinese family and can identify with these things!!" I cried so hard when Billi had her big breakthrough moment with her mom, confessing that she never felt like she was good enough/that it was hard for her to adjust to life in America. That she felt home with her grandparents. The way her dad asks her questions like "how's your job? do you have enough money?" and little things about her daily life and Billi just brushes him off and says everything's fine. I feel that hardcore because especially when I was younger, I'd just say everything's fine to my parents as to not worry them. Why mention it if they're just going to be fearful/scared/worried/anxious? I'm learning to be more honest and open now- working on developing better communication skills is a major theme in my family (between my mom and dad too).

The comparisons between the East and the West also felt true to life. How Billi's uncle mentions the West values individualism whereas the East values community/the family unit more. I often feel struggles within myself about wanting to be a good daughter and be obedient to my parents versus my own desires and pursuing things I would like, even though it may not be things my parents want for me. I've learned that being a good daughter doesn't always equate to doing what my parents want. I've had to learn to fight for and seek out my independence and find my own self-identity, not just what my family thinks I should be/should do. I feel like in Chinese culture, the elders' opinions are always respected and thought of highly- my mom says "I've crossed these paths of life before, I have more experience/knowledge than you, I know best- just trust me." And it's like... "Yes Mom, sure that may be true, but also I need to make my own decision? And just because you've had a certain experience, doesn't mean it's true for my current life situation?" I'm also careful to tell my parents that I always respect their input, but that just because I don't follow their advice, doesn't mean I don't love them or value their opinion!!! It's been a tough thing for them (more so my mom) to grasp, but I'm glad I'm doing it, despite it being challenging.

The parts of the movie that hit me the most are Billi's moments with her grandma. And also how she has to process this huge emotional burden and her grief. I share a somewhat similar experience, but am SO happy that my grandparents didn't choose to hide anything from me. I don't know if I could've forgiven them if they did... who knows? I found out during my junior year of college that my grandpa had late-stage lymphoma. It had already progressed into his bone marrow and he was in a lot of pain- it also affect some of his mental function and cognition, unfortunately. My parents and I booked tickets right away to see him in Beijing. It was so hard to try and be positive in front of my grandma and not just cry all the time. We were reunited under the worst of circumstances- but at least we could be open about our struggles and endure it together. I couldn't imagine if it was a huge secret and I had to bear it like Billi did. The ending where Billi has to say goodbye to her grandma hit me so hard- like that is literally me every time I have to bid farewell to my Lao Lao. I try to hold in the tears until I get to the taxi and then I just break down. Even though my grandma doesn't have a terminal illness, it's just... the trip between the U.S. and China is a long and arduous one and it's hard being so far away from family, separated by miles and miles and oceans.

My heart ached for my grandpa after watching the movie. When Nai Nai was standing at her husband's grave and lamenting how he passed too soon... that's exactly what my grandma says. She's sad that my grandpa didn't get to see me graduate college, get married, get a job, etc. I will always miss my grandpa, but it's comforting to know that I got to spend my time with him at the end and that we were together, as a family.

Did anyone else feel a particular pull to this movie?? I'd love to hear thoughts, comments, etc!!

[firehawk12]

Crazy Rich Asians (2018): The Flawed But Necessary Asian-American Cultural Milestone

(Apologies!  I keep forgetting to update my Tumblr... repost from my Medium account)

There is so much to unpack before you can even talk about Crazy Rich Asiansin any meaningful manner and understand why so much of the Asian-American community has gotten behind the film via the so-called #goldopenmovement.

I think the easiest way to begin is to imagine what life would be like if you had no sense of belonging within the culture you inhabit. Books, music, television, film, theater, fashion — none of it reflected who you are and how you were necessarily different from everyone else. For the last half-century, this is essentially how Asian-Americans (and by extension, Asians-Canadians) lived their lives.

I can only write on my behalf, but I knew at an early age that I would never really be considered a “Canadian”, because as much as we like to pretend we’re in some kind of post-race multicultural utopia, I still feel foreign despite having lived in Canada for essentially my entire life.

But obviously that’s not necessarily unique to my experience — certainly a lot of people feel alienated within their own homelands because they don’t look like, act like, or otherwise inhabit the space of normativity that defines “Canadian-ness” (or “American-ness”).

But I can’t really claim to be “Chinese” either. Certainly I am racially and ethnically Han Chinese, but culturally I am as far removed from being Chinese as one possibly can be as a “Canadian Born Chinese”. I can functionally communicate in Cantonese, read Hanzi at a grade school level, and I’ve never actually been to China or Hong Kong, and my Chinese cultural references are old John Woo and Stephen Chow movies. There is a cultural void that I’ve felt for most of my life, and it comes from — as Crazy Rich Asians explains — being a “banana”, where my race and my cultural context have created the extreme feeling of alienation that is familiar to most, if not all, minorities living in North America.

So this is where we land on the North American notion of the hybrid identity that has developed over the last century. I’m not Chinese, I’m not Canadian, but I exist in some undefined border — the liminal space between the two — as a “Chinese-Canadian”. But what does that even mean when there is no culture that defines Chinese-Canadian identity? I don’t want to deny the great cultural contributions of artists such as Mina Shum or Wayson Choy and many others (Double Happiness is still a foundational text for me in terms of being able to articulate the fact that I don’t have an identity whatsoever), and I mean no offence when I suggest that these artists aren’t household names (and I’d much rather re-read Choy than yet another Atwood novel…).

I came to Double Happiness when I was in my teens, already feeling the anxiety of not having an identity and being unable to articulate it because there was simply no outlet for me to express my inability to connect with the greater culture around me. I saw myself in Sandra Oh’s Jade, a woman who would never be Chinese enough for her parents or other Chinese people, but who isn’t Canadian enough to be accepted by Canadian society as an actress (I’m sure this was something that Sandra Oh had to fight against during the early parts of her career). I think it was at that moment that I understand that I would always feel like an outsider in my own homeland, not necessarily because I was marked with a visible difference, but because it took so long for me to see myself reflected in the culture that I consumed.

This isn’t necessarily a unique Chinese or even Asian-North American experience. As I wrote several years ago when I began to unpack the importance of yet another seminal Asian American cultural moment — the debut of Fresh Off The Boat — both the “real” and fictional Eddie Huang embraced hip hop because he was able to relate to a culture defined by alienation. Meanwhile, Gene Yang’s American Born Chinese ends by having the main character admit that he can never be white and escape “Chin-Kee”, the specter of Chinese-ness that haunts his every waking moment, and accept that being Chinese is a part of what defines him even if he doesn’t necessarily explain how that acceptance manifests itself.

But the fact that I can make references to a hit ABC sitcom and an Eisner award-winning graphic novel in order to try to articulate some notion of Chinese-American identity is precisely why it is so crucial to have a culture that represents the unique situation of being neither Chinese and neither American (or Canadian).

I love James Hong and respect him for his long career and the work he has done in order to help insert a Chinese face into American culture, but my entire identity in the early 90s was essentially tied to this clip:

The fact that I can’t remember any other “role models” from my childhood except James Hong putting on that accent and annoying Jerry, Elaine, and George is perhaps a sad reflection of my limited worldview as a child of the 90s, but also a condemnation of what happens when there is no one for you to look up to.

We are so hungry for representation because we live in a cultural vacuum, where the only other cultural reference you can make is to The Joy Luck Club or how fucked up it was that people thought this was okay:

It’s interesting because Hari Kondabolu’s attempts to address the problematic nature of Apu from The Simpsons touches on this exact same anxiety, where being South Asian is defined entirely by a single cultural touch point that can influence your life forever (that’s even before addressing the indignity of being represented by a white man putting on an accent in a bout of modern brown-face). Thankfully between The Mindy Project, The Big Sick and Master of None, South Asian-American representation has certainly improved in the last few years.

That’s not to say that East Asian-American representation, both on screen and off screen, hasn’t improved either. In film alone, Justin Lin basically built up one of the most improbably popular blockbuster franchises in recent history out of nothing — made more miraculous when you think about how the Fast and Furious films were culturally diverse before Disney decided that maybe their superheroes didn’t all have to be white men.

But even so, it’s been contingent on the Asian community to just accept things the way they are and not raise too much of a commotion about cultural representation. So when Tina Fey decides to double down on her racism with an episode of Unbreakable Kimmy Schmidt about how Asian-Americans humourless internet trolls who don’t understand comedy, we’re just to accept the fact that she above criticism. When Ghost in the Shell ends by explaining a Japanese girl had her brain carved out and placed into Scarlet Johansson’s body, we should be grateful that they mentioned the character’s Japanese origins at all. When Scott Buck refuses to address Iron Fist’s Orientalism, we just have to accept that no one is allowed to change the origins of a character because comic books are sacrosanct.

All of that explains why Crazy Rich Asians is such an important film for the community. With all of this cultural baggage on their backs, I respect the sacrifice Kevin Kwan and Jon Chu made when they eschewed an easy Netflix deal in order to bring the film to theaters even more than I did when I had initially read the interview.

It’s not that there haven’t been countless great Asian-American films made between The Joy Luck Club and Crazy Rich Asians. Justin Lin’s own Better Luck Tomorrow, or Only the Brave, or Saving Face, or Eat With Me, or the recently released Gook to just name a handful are great films in their own right for telling stories about Asian Americans that simply aren’t reflected in the culture otherwise

(Edit: I’ve been told that I’ve been remiss in not including the Harold and Kumar trilogy in the above list. Apologies to John Cho and Kal Penn!)

But the only way to get the culture to pay attention — not just the people consuming it, but also the people producing it — is to make the biggest impact possible and even in 2018 with streaming services and video on demand, the path to cultural relevance is still through a major movie studio that can both promote your film and widely distribute it across the world. It’s unfortunate, but that’s why people still point to The Joy Luck Club and don’t mention any of the smaller independent films that have come out since then. The fact that the last film before The Joy Luck Club to feature an all Asian cast to be distributed by a major movie studio was Flower Drum Song in 1961 (which is a film/musical that probably has as much, if not more, cultural baggage associated with it than even The Joy Luck Club) points to the significance of Crazy Rich Asians and why it has become a moment for Asian-Americans.

Kevin Kwan made another important production decision that drives home how much is riding on this film’s success. During pitch meetings, Kwan recounts meetings where producers suggested that having a white actress in the Rachel Chu role would make for a more successful film — to pull a quote from the interview, apparently he was told that “it’s a pity you don’t have a white character” — makes his decision to option the rights to his book for a dollar in order to maintain creative control a moral stance against Hollywood producers who don’t see any value in Asian actors.

Certainly the film’s fish out of water story could have easily been adapted so that Rachel Chu became Rachael Churchill (starring Scarlett Johansson or Emma Stone, of course) and many of the beats would have been the same. But his film is so powerful precisely because Rachel (Constance Wu) is Chinese-American. She isn’t Chinese, as Nick’s mother Eleanor (performed with perfect stoicism by Michelle Yeoh) constantly points out throughout the film, and that’s actually not a problem for her. In fact, the film goes out of its way to show how her Chinese-American identity helps her navigate the precariousness of Singapore’s socialite lifestyle, allowing Rachel to be proud of being a “banana”.

Are there problems with the film? Undoubtedly. The fact that the one time South Asians are shown in the film involves using them as comedy propspoints to narrow focus of the film and how much it ignores of the realSingapore. Or how Oliver (Nico Santos) is queer, but is never actually shown with another man, perhaps because gay sex is technically still a criminal offence in Singapore. Of course, the title itself points out that the only poor people shown in the film are the servants who presumably slink back to their cramped government subsidized high-rises after they are done serving the crazy rich Asians who employ them.

Even if you ignore the social issues, the film itself isn’t perfect either. It has the feel of an adaptation where they didn’t want to cut any of the cast, but had to cut all of their supporting stories in order to get the film to hit the 120 minute running time. And I mean this with utmost respect to Jon Chu’s career, but I still haven’t forgiven him for what he did to Jem and the Holograms a few years ago and there are times when the film feels just as workmanlike and banal as that failed outing. You’d think the climatic moment where Nick chases down Rachel in order to propose to her (again) would be wonderfully cinematic, but it’s perhaps the least exciting visual moment of the film. Similarly, the much written about Mahjong battle at the end was a great moment in spite of the direction, not because of it.

There is a lot wrong with the film. That’s unavoidable. Do I wish a studio picked up George Takei’s Allegiance and I was writing about about a big budget film about a Japanese-American family torn apart by the forced internment policies of a racist United States? That would have been great.

But in a way, this is very much like Fresh Off The Boat (and not just because of Constance Wu). When the real Eddie Huang quit narrating the show because it deviated so far from the harsh reality of his childhood experiences as a Chinese-American growing up in Florida, I totally sympathized with his decision and understood his rationale. Fresh Off The Boat isn’t an unvarnished look at the Chinese-American experience, nor is it ever going to touch on issues of race in a meaningful way. For better or for worse, it’s just not that kind of show nor is it trying to be. But the producers of the show were able to include an episode where the entire B-story was in Mandarin, a first for a family sitcom in America.

Crazy Rich Asians is very much in the same position as Fresh Off The Boat. It’s telling the world that Asians and Asian-Americans are just people like everyone else, facing similar problems as we try to carve out an existence in the world and live our lives. We fight with our in-laws, we get cheated on by our husbands, we have rivals who try to sabotage us, we deal with friends that we only talk to because we grew up with them and not because we have anything in common with them, we even deal with racism from time to time (although most of us don’t have the money to humiliate a racist by buying their place of employment).

It’s not the Asian-American of Do The Right Thing, let alone BlacKkKlansman, but I have to hope that if this movie is a success, then those types of stories will come in time. Maybe they’ll make a spin-off featuring Nico Santos’ Oliver called Crazy Rich Gaysians and have his character confront Singapore’s endemic social and structural homophobia. Or maybe they’ll make a Rosencrantz and Guildenstern are Dead-like movie about the two guards where they discuss the existential crisis of life defined only by serving as a backdrop to the stories of the rich. I believe that we can get there eventually, we just need to use Crazy Rich Asians as the push to get us there.

Anecdotally, the movie feels like it is appealing to more than just Asian-Americans desperate to be represented on screen. When the credits started rolling at my screening, a couple of Jewish women (who went out of their way to build a connection with me by telling me that Jewish culture and Chinese culture are connected by Mahjong and Chinese food at Christmas) told me that they had a great time watching the film. And in the moment of hesitation I felt when they unknowingly asked me to represent my entire race and culture by asking me if I liked the film, I told them that I did.

Maybe I don’t like the film for all the same reasons that they did, but that’s the point. Crazy Rich Asians is a film that is miraculously both culturally specific and broadly appealing. Even if you don’t care about any of what I wrote and just want to watch a good romantic comedy, you would be hard pressed to find one as good as this one in recent years. But if you are that Asian-American who has been waiting for over two decades to feel like you belong to a culture that has largely ignored you and taken you for granted, you will be witnessing a moment of cinematic history. That alone is worth the price of admission.

I didn’t have any place to put this, and it’s such a minor point that really isn’t worth including, but as a former teaching assistant I felt compelled to at least mention it.

So the film is supposed to take place during Rachel’s spring break. We see early in the film that she has a TA (that she tortures), so it’s possible that she dumps all her papers on him and tells him to grade everything while she’s having an adventure in Singapore. That’s perfectly fine, but it seems clear that she ends up staying in Singapore for much longer than a week (there is at least 3 days of flying time depicted in the film).

This means that there is no way she gets back in time to teach her class, assuming she even goes back after getting engaged, which means the poor TA is stuck holding the bag with a bunch of undergrads who will probably blame him for their grades not being in or for class being delayed.

Won’t anyone think of the poor teaching assistants who don’t have billionaire partners to sweep them off their feet?

[astyle-alex]

[the Old Guard] the Thing about Technology... | Fanfic by PrettyMissKitty

Fandom: the Old Guard Pairing / Character Focus: Andy | Andromache of Scythia & Technology Warnings: None Word Count: 1380 Summary: Booker might be the Guard's official Tech Guy, but I don't think google would be Andy's handicap, because the thing about technology is that it's not about how old you are, it's about how closely you've been paying attention. Tech is only scary if you look away and miss something in its development (and you don't have the luxury of time to learn what you missed).Here's a short over-view of Andy's history with technology, because when she was young, Zero hadn't been invented yet! *Includes Historical Notes!

The Thing About Technology...

           The thing about technology and old folks is that the old folks usually missed something, some critically important step in leaning, not how to use a piece of tech, but the context of why it was created and therefore how to manipulate its variables.

           Old folks can’t use a cell phone because they’re focused on the end result of making the photo-thing take pictures rather than on the process of finding a way to access the camera. They usually missed the developmental stage in tech when the camera was a physical button-press being grafted onto basic coding. And most old folks today certainly weren’t around for when ‘coding’ meant shoving paper punchout card by hand into a mechanical maw the size of god damn building and physically pulling levers to manipulate it.

           Old folks generally can’t use tech because they weren’t there to see the layers of it get invented— and they can’t keep up with learning the how-to’s when they never learned the why’s. They look away for a second, distracted with Life, a job, or having kids, and suddenly the world is different and they can't sit down and backtrack until the figure out what they missed.

           When one is an immortal, no part of that problem is really relevant.

           Andy knows how tech works.

           She even likes most of it.

           Well over 6000 years of technological developments and her ancient ass is still up on all the latest shiny things. It kills her with hysteric giggles how people younger than her age by over 40 fold think they can’t call her ‘kid’ with such disdain, and call her a ‘millennial’ with dismissive rancor even when begging for her help because ‘their gps is broken’ (the function is not usually broken, but it’s rarely been enabled).

           Over 6000 years and Andy still remembers the first big new thing to make its mark upon the world. She’s old as sin itself at this point, but written Language was still fairly new when she was born… phonetics and syllable symbols were becoming more common [1] , but alphabetical written language? Woo, well that had still been mostly an experiment [2] .

           Likewise, the concept of zero was a pretty cool thing.

           Zero popped up about 2000 years into Andy’s time on earth, though it wasn’t given it’s own symbol in the writing system until about a thousand years later [3] .

           Around that same time, saddle girths came into being [4] . And blink a few hundred years away ‘till when stirrups came along [5] . As far as Andy was concerned, that was the moment when real warfare was invented. Elegant and noble warfare, at least, the kind with a grand strategy and careful deliberation in the use of armies.

           Technically, war had been around for thousands of years before Andromache first drew breath, but only in the far east (as she would only learn after several millennia of fighting) had war become something other than foot soldiers and a few mounted units or those in chariots just randomly bashing up against each other.

           A thousand years before Andromache became the scourge and savoir of Scythia, East Asia had made war into an Art, and by the time she was halfway through her 4th millennia, they'd even wrote a book abut it [6] .

           Bows and arrows had been around forever [7] , but the deign for a recurved composite bow came around as an exhilarating shock— appearing a little after girths and a bit before stirrups [8] .

           Combined, stirrups and girths and recurve bows made war into and elegant dance of skill and strategy— a contest in which there were clear victors and few civilians caught in the crossfire. What armies did outside of battle was another story, one that had such heinous chapters that Andromache wet her blade far more often in the chests of men dying off the battlefield rather than on it.

           And the gunpowder came along [9] .

           Things got messy with gunpowder. War became less a contest of skill and planning, and more a contest ruthlessness and willingness to utterly destroy the object of one’s aim to conquer... no matter who got in the way.

           Still, gunpowder meant the delights of fireworks and noise crackers and smoke-bombs for dramatic exits.

           Even with the higher casualty count and increase brutality and suffering in battle, Andy counted gunpowder a solid boon.

           And outside of warfare? Well, windmills were pretty cool [10] .

           Efficient mills made bread cheaper and made it taste much better than before— good, highly efficient mills made everything easier which lowered the risk of having a baker cheat you with most of the flour used to bake really being sand.

           The magnetic compass was neat [11] , but what really drew Andy’s attention was the development of mechanical clocks and celestial calendars [12] — the metallurgy skills of her Scythian heritage could feel the hum of craftsmanship in the work behind their making.

           Books were always pretty much magical, even when they’d been written down by hand. But once the printing press had been developed [13] , Andy started reading everything available.

           She perhaps wasn’t there for the invention of the oil lamp [14] , but the cleaner burn of kerosene [15] changed how Andy spent her nights, spending longer and longer into the evening enjoying time out on the town— at least until things got out of hand with air pollution and roughing it like the good old days before lamps and plumbing seemed infinitely preferable to staying in a city.

           Skipping all the big-but-little developments, like railways / cars / planes and the telegraph (all of which Andy needed to utilize with capital effort to be effective in her self-appointed role as a from-the-shadows world-improver), Andy was there when electric lighting came to be [16] .

           1901 saw radios becoming legitimately useful in Andy’s line of work, which made a lot of things far easier. Conversely, 1935’s development of radar made many things much harder.

           Room-sized calculators in the 1920’s and 30’s and 40’s gave way to legitimate computers by the 50’s, 60’s, and 70’s… with the niche interest of computer programming and networking going from mostly military or home-grown super geek to entirely mainstream in a single blink once 1985’s release of an ATARI graphic interface hit. That was when tech really took off, in Andy’s mind, at least.

           The pace of its development certainly exploded.

           But the advantage of being an immortal is that she never had to look backwards to learn tech’s history. When something new came along, she could learn it with the benefit of having the full depth of its context there behind her to bolster her way passed any minor blips of confusion.

           So, now, when Andy’s bored to death with waiting for the noise to start, she can listen to an audio book while playing CandyCrush or MarioKart Tour or PokemonGO and run up annoying threads of banal conversation in the group chat for her little Family.

           Poor Nile’s caught between treating Andy and the others like people from her own tech-savvy generation and staring incredulously at a text message from Joe or Booker that reads more like the Constitution than like a plan for supper.

           Sometimes the long-windedness is meant to be a joke to confuse her, and sometimes they forget she doesn’t really know how to take that kind of thing very seriously anyway.

           It still turns out funny without any effort.

           All in all, the only thing Andy cares about is the safety of her Family. She’ll exploit whatever tech she can to ensure their happiness and security.

           The endless entertainment of YouTube is certainly a boon, but instantaneous wire transfers and multinational credit accounts are better.

           Andy may be an old lady who cannot be arsed to care what TikTok vid is trending, but she’s also a kick-ass pioneer whose VPN can keep the CIA and such from getting at all handsy with her nearly bottomless cash accounts.

           The thing about technology is that is less about how old you are than it is how consistently you’ve kept up with paying attention to the new developments— and with 6000 years of active learning under her belt, Andy’s got the patience to ensure that she always keeps herself perfectly up to date.

- - - - -

Historical Notes: 

[1] Mesopotamian cuneiform was developed circa 3200-3500 BC, an ‘alphabet’ of syllabic phenoms. [2] Semitic peoples in regions of Egypt and Phoenicia developed a truer form of alphabetic script, ca 2000~2500 BC [3] Zero popped up in Mesopotamia around 3000 BC, but it was recorded as a blank space. It got a symbol in accounting archives in approx. 2000 BC. [4] Girths appeared on the Kazakh Steppes around 700 BC. [5] Stirrups appeared, also on the Kazakh Steppes around 300 BC [6] Sun Tzu’s ‘Art of War’, published in the 5th century BC. [7] Something ~71,000 BC shows artistic representations of bows being made and used in dozens of cultures. [8] Recurved bows, the Scythian version in particular, began appearing regularly in ~500 BC. [9] ~850 CE, gunpowder was invented in China. [10] Windmills appeared in Persia around 950 CE, to both move water for irrigation and to grind down grains for flour. [11] Magnetic compasses appeared in China around 1044 CE. [12] The golden age of precious metalwork as a function high-art came in the 14~1500’s CE. [13] Gutenberg invented his moveable type press in 1436, but China and Korea had woodblock printing in 800 CE and had a thriving industry of fiction being published before the western world invented the concept of a fiction novel narrator (‘Tom Jones’, by Henry Fielding, published 1749 is the one of the earliest western examples). [14] Oil lamps appeared in the Middle East in 9000 BC. [15] Kerosene was derived in the 1840’s~50’s, it burns cleaner than natural oils, but is cheap enough to be used at obscenely excessive volume. So an individual dwelling wouldn’t be coated in black residue, but whole cities would be—and with the other kinds of air pollution… yeah. Country living looked real nice. [16] Edison’s light bulb was released in 1879 and Edison Electric had a working power plant established by 1882.

Author’s Notes: This fic is cross-posted on my Ao3 Account (PrettyMissKitty) and on my Patreon (Astyle_Alex). It’s the first of at least 3 (but probably many more) fics that I plan to post in this amazing fandom, written in a single sitting because I just could NOT contain myself after watching the awesomeness that is the Old Guard.

(And if you're curious as to what ELSE I am / should be working on, check out my schedule and project lists!): October 2020 Schedule: https://www.patreon.com/posts/current-project-42144611 Project Masterlist: https://www.patreon.com/posts/current-projects-30172736

[itsfinancethings]

In his early 20s, after leaving business school to follow his ambition of becoming an artist and performer, Heezy Kim Yang was drawn to an out-of-the-way area of Seoul’s Itaewon district known as Homo Hill, a longtime haven for LGBTQ people in South Korea.

There, he found a place where he could interact with others without fear of judgement or discrimination, while exploring ways to express his sexuality through art. The area is a craggy hill near a U.S. military base, where, after dark, bright signs bearing the names of clubs like Queen and Soho cast the streets in multicolored light.

Nowadays, those lights are off, the bars and nightclubs are closed and the usually buzzing streets are uncharacteristically quiet after a coronavirus cluster with more than 130 cases shined unwanted attention on the neighborhood—sparking a surge in homophobia, activists say.

The South Korean government is now trying to track down anyone who visited establishments in the neighborhood, sparking fears that the country’s efficient, aggressive system of contact tracing could lead to people being outed, and imperil the neighborhood’s status as a discreet area where LGBTQ people can be themselves.

Courtesy Heezy Kim YangArtist and drag performer Heezy Kim Yang poses in a photo he posted to social media following the Itaewon coronavirus outbreak. The message on his mask translates roughly: “No Hate, Yes Solidarity.”

Now a well-known drag performer and visual artist, Yang, 29, says that the area, represents a kind of openness that is impossible to find elsewhere in South Korea.

“You cannot be completely free in other areas, as free as you can be on Homo Hill,” Yang tells TIME. “Like holding hands or kissing, you can’t do that anywhere else.”

The news of the rising number of infections has weighed on him. “I worry about friends and acquaintances because not everyone has a family that supports them,” he says.

The publicity is a stark departure for an area that is normally a discreet sanctuary for LGBTQ people in South Korea—a country that ranks low among developed economies for LGBTQ acceptance, and where many choose to keep their sexual orientations private to avoid discrimination at their workplaces or from their families.

South Korea’s media began focusing on the neighborhood after public health authorities announced that a 29-year-old man who later tested positive for the coronavirus visited several establishments in the area on May 2. Authorities gathered a list of more than 5,500 people who visited clubs there. As of Thursday, they had still not managed to contact some 2,500 of them.

Keep up to date on the growing threat to global health by signing up for our daily coronavirus newsletter.

The timing of these new COVID-19 cases was particularly bad. South Korea officially relaxed its social distancing guidelines on May 6, and appeared to have gotten control of a coronavirus outbreak that, in late February, was the largest outside China. The country of 52 million has won plaudits abroad for its system of widespread testing and contact tracing. By late April, authorities had brought the number of new daily cases down to single digits—without having enacted a comprehensive lockdown.

The celebration was short lived. The number of daily new cases—two or three dozen early this week—is still far below the hundreds of new infections South Korea reported per day in late February and early March, but the new cluster has caused dismay by coming at a time many felt the country was getting back to normal.

Escalating the tension, all patrons of clubs in Itaewon were required to provide their names and contact information, though authorities said some details later proved false or incomplete. The uncertainty in tracking everyone down echoed the early escalation of South Korea’s outbreak, when members of a secretive religious group were accused of refusing to be tested and thereby spreading the virus—before church leaders agreed to provide a full list of members.

Due to concerns over the new momentum of the virus’s spread in South Korea, the government has delayed the opening of the new school year. Itaewon revelers have also become objects of scorn.

One newspaper, the Kukmin Ilbo, garnered criticism for articles that used language depicting gay men as promiscuous and prone to risky sexual behavior. Activists argued that the newspaper unnecessarily highlighted that the initial subject of the outbreak investigation had visited a gay club in an effort to stir up homophobia.

The South Korea office of Amnesty International condemned the article in a statement on Tuesday, saying such reporting “foments stigma and anti-LGBT sentiment.”

The situation leaves the South Korean government to strike a delicate balance. The country’s success in tackling the coronavirus has required citizens to cede a degree of privacy by allowing the government to track their movements through mobile phone data, then disclose those movements with or without consent. The government releases highly detailed information about the movements of each known coronavirus case. Authorities are now seeking a way to continue such tracking while being careful not to inadvertently disclose information that could lead to neighbors and colleagues learning an infected person visited a gay bar.

“Sexual orientation is not relevant for virus-prevention efforts, and such disclosure could violate rights to privacy. If information like that is disclosed, why would anyone come forward and admit that they visited those places?” said Kim Woo-joo, a professor in the Division of Infectious Diseases at Korea University Guro Hospital in Seoul.

Homosexuality is not illegal in South Korea, but openly gay public figures are rare.

On Tuesday, Hong Seok-chun, an actor and television personality who is credited as being South Korea’s first openly gay celebrity, publicly weighed in on the intensifying situation, posting a photo of Itaewon on Instagram and imploring anyone who has spent time in the area of late to get tested.

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지금은 용기를 내야 할 때입니다. 성소수자는 기본적으로 자신의 정체성이 가족에게, 지인에게, 사회에 알려지는 게 두려운 게 사실이기 때문입니다. 그래서 용기가 필요합니다. 오랫동안 이태원에서 자리를 잡고 있는 사람으로서 이번 일이 참 안타깝고 걱정스러운데, 무엇보다 아직도 검진을 받지 않고 연락이 안되는 사람들이 너무 많다는 것이 가장 우려됩니다 물론 ‘아웃팅’에 대한 걱정이 크다는 건 누구보다 잘 알고 있습니다 하지만 지금은 그 무엇보다도 본인과 가족, 그리고 사회의 건강과 안전이 우선입니다. 다행히 ‘익명 보장’ 검사가 가능하다고 하니, 지금���라도 당장 검사를 받아야 합니다. 지금은 모두가 힘든 시기입니다. 그리고 모두가 이 사태에서 벗어나고 싶어 힘을 모으고 있습니다. 방역 당국과 의료진, 그리고 국민 한 사람 한사람이 쏟은 그동안의 힘과 노력이 헛되지 않게 지금 당장 용기를 내서 검사에 임하길 간곡히 권합니다.

A post shared by Tonyhong1004 (@tonyhong1004) on May 11, 2020 at 7:46pm PDT

“Now is the time to be brave,” Hong wrote. “I, better than anyone, know the worries over outing, but right now what’s most important is the health and safety of our families and society.”

Hong is one example of how LGBTQ South Koreans are banding together. On Tuesday, to provide assistance to people in need of support, a coalition of South Korean civic groups announced the launch of a hotline for anyone who wants to be tested anonymously. “Let’s form a new community in the midst of a crisis and support each other,” the group said in a statement.

LGBTQ South Koreans who are not out to colleagues and family members, have watched with anxiety as their relatively small and discreet community suddenly garnering national scrutiny. Nightclubs with names like Trunk, H.I.M and Pink Elephant, which were previously only known to a few, are national news.

“Now these are the most famous clubs in Korea,” says Kim, a gay 30-year-old resident of Seoul, who asked that only his surname be used because he is not out to his family or employer.

Kim feels that the community has grown strong enough to withstand the crisis. “I don’t worry about those bars closing. And even if they did close, other bars and clubs would open.”

He is in favor of the government’s contact tracing program and hopes the Itaewon outbreak will be a turning point for LGBTQ Koreans. “The media’s frame for reporting on the LGBTQ community has been sensationalism,” he says. “Now is the time to take action to defend ourselves from hatred.”

Despite the current tensions, in recent years South Korea’s LGBTQ community has taken steps out of the Itaewon shadows. Compared to the start of his career, Yang, the artist and drag performer, finds more opportunities to show his work in new places and collaborate with non-LGBTQ artists.

“Things are definitely better than they were five or ten years ago. Now I can open up to people relatively more easily, most people are more open minded and don’t have any prejudice,” he says.

He feels that the ongoing backlash is a response to LGBTQ people’s growing profile. “Now we are vocal and visible, our status is higher now and we’re being talked about.”

Yang also worries that, with the climate of distrust caused by the ongoing pandemic, those gains are now in peril, saying, “I don’t want everything that we’ve achieved to go away.”

Please send tips, leads, and stories from the frontlines to virus@time.com.

[donveinot]

A Big Plan for a Small Planet: The Humbug Manifesto 2000

(This originally appeared in the Winter 2000 edition of the MCOI Journal) By Sarah Flashing & Joy A. Veinot

Many people faced the new Millennium with a sense of dread and apprehension. What would happen to the world in our new century? War? Famine? Economic collapse? Armageddon? We have now survived Y2K, so perhaps millennial fever will cool down for a time. Perhaps the rosy optimists will have the upper hand for a time—at least until another war or famine or something comes along and dashes their Utopian hopes. One thing is sure: Only God knows what the future will bring. The pessimists and the optimists have been overtaken and embarrassed by REALITY time and time again. One group of optimists in particular, those known as Secular Humanists, presumes to offer the alternative to the doomsday predictions that have marked the end of the twentieth century. By insinuating that they exercise a level of thought and reason not available to lesser humans, they seek to address the real and imagined perils of the next thousand years of history and offer “reasonable” solutions. By bringing alleged “fresh thinking” to bear upon the human condition,((Drafted by Paul Kurtz, “Humanist Manifest 2000: A Plan for Peace, Dignity, and Freedom in the Global Human Family,” Free Inquiry, Vol. 19, No. 4 (Fall 1999), p4. Free Inquiry is a quarterly published by the Council for Secular Humanism, a non-profit educational corporation.)) the latest version of the Humanist Manifesto suggests a plan “to cope with the global society that is now emerging.”((Ibid., p 4)) But let the reader beware: Close examination of the Humanist Manifesto 2000 shows itself to be just another “humbug manifesto” in matter of fact. Even their preposterous boast that Humanism represents “fresh thinking” is absurd in light of the fact that, in the very first paragraph of the preamble, they trace their Humanistic heritage back to “the philosophers and poets of ancient Greece and Rome, Confucian China, and the Carvaka movement in classical India.”((Ibid., p4)) They stress the fact that “humanist artists, writers, scientists, and thinkers have been shaping the modern era for over half a millennium.”((bid., p4)) If a rehash of outdated pagan philosophy represents “fresh thinking,” what, we ask, is “stale old thinking?” It is no surprise to us that Humbug 2000 blames “fundamentalist” religions for saddling mankind with “old ideas and traditions” that are “no longer relevant to current realities and future opportunities.”((Ibid., p4)) These fundamentalist religions are not identified by name—I suppose the Humanists figured that we would know who we are!! The only requirement to be labeled a “fundamentalist” today, by liberals and Atheists alike, is to be one who believes one’s religion is actually TRUE, which would include followers of biblical Christianity, Islam, Orthodox Judaism, and other religions. Why Humanistic ideas are “fresh and new,” while Christian beliefs are “old and irrelevant” is not spelled out here … we are just supposed to accept their unsupported assertion on good, old-fashioned faith, I guess. ! This revised manifesto is divided into several sections. The preamble provides a very helpful historical review of previous (failed) manifestos. Exuberantly they assert, “… humanist ideas and values express a renewed confidence in the power of human beings to solve their own problems and conquer uncharted frontiers.”((Ibid., p4)) Such blarney! What does their confidence have to do with anything? The Heaven’s Gate folks had great confidence a spaceship was coming to pick them up—such great confidence that they laid down their lives for that belief. Their confidence, however, did not make it so. Confidence is just faith, folks, nothing more or less. Anyone who takes a serious look at human history cannot have much reason to believe human beings are going to solve their own problems. Therefore, upon what is such sanguine confidence based? We have pointed out that there have been numerous formerly ballyhooed manifestos that have utterly failed to achieve their objectives. So, the Humanist’s “renewed confidence” in this latest offering (HM2000) does nothing to convince us they finally got it right this time! Didn’t earlier Humanists have complete confidence in Humanist Manifesto I, which appeared in 1933 and advocated “national economic and social planning?” I suppose they did until 1973, when Manifesto II appeared and “no longer defended a planned economy, but left the question open to alternative economic systems.”((Ibid., p5)) Why did they lose confidence in the boldly offered social solutions offered in Manifesto I? Well, here is how they explain it—STUFF HAPPENED—stuff like the rise of fascism, World War II, Communism’s ascendance on the world scene, the Cold War, the decolonialization (their word) of the third world, the creation of the United Nations, and on, and on. We Have Zealous Faith In Our Non-Religion … So, what happened that derailed Manifesto II? MORE STUFF HAPPENED, that’s what. In particular, some mean, old, nasty critics labeled Secular Humanism a religion— that dirty word!!! So in 1980, in response to attacks “particularly from fundamentalist religious and rightwing political forces in the United States”((Ibid, p5)) a.k.a. the Big Bad Wolf, a.k.a. You-know-who-you-are, A Secular Humanist Declaration was boldly and confidently issued in 1980. Their condensed response to the critics who insisted Secular Humanism is a religion was as follows: No we’re not! The Declaration declared that, unlike religion, Secular Humanism expresses “… a set of moral values and a non-theistic philosophical and scientific viewpoint that could not be equated with religious faith.”((Ibid., p5)) So is Secular Humanism a religion? You bet it is! You don’t need a deity to have a religion. Everyone would agree that Buddhism is a religion, yet many sects of Buddhism claim no deity. Webster defines “religion,” in part, as “any specific system of belief and worship, often involving a code of ethics and a philosophy (the Christian religion, the Buddhist religion, etc.) b) Any system of beliefs, practices, ethical values, etc. resembling, suggestive of, or likened to such a system (humanism as a religion).”((Webster’s New World College Dictionary, 3d ed., s.v. “religion.”)) Bingo. So, the Humanists are operating on faith the same as any other religion; and they are quite open about where their faith is placed—in the most unreliable and untrustworthy of sources—mankind! Okay, back to the inspiring tale ... After 1980, MORE STUFF HAPPENED, so A Declaration of Interdependence was boldly, confidently, and ardently issued in 1988 “calling for a new global ethics and the building of a world community.”((HM2000, p5)) Planetary Humanism Well, all that sounds very well and good, so why do we need Humbug 2000? You guessed it—MORE STUFF HAS HAPPENED! It’s discouraging, isn’t it? More stuff keeps happening all the time! And, since Humanism has not solved our problems so far, it is obvious more Humanism is needed. So now they make a fervent, ardent, zealous case for planetary humanism. First, we are treated to what, in their opinion, is evidence that mankind is on the road to paradise. The section of HM2000 entitled “Prospects for a Better Future” takes a look at how the world has benefited from science and technology. (We have to admire how the Humanists manage to imply that science and technologies are the exclusive domain of Secularists, as if Christians are not well-represented in the sciences and among inventors—both historically and currently.) From the discovery of antibiotics and the development of vaccines, to increased crop yields impacting starvation and new modes of transportation,((Ibid, p6)) HM2000 looks to the accomplishments of our past to predict a rosy future for mankind. The authors boast happily that “human inquiry is now able to advance … while the metaphysical and theological speculations of the past have made little or no progress.”((Ibid., p6)) Our prospects for a better future, they assert, rest in the hands of the human species equipped with confidence and rationale combined with science and technology. One might wonder why the Humanists have not solved all of humanity’s problems already. After all, by their own reckoning, they have been working at it for half a millennium now. As it turns out, the Humanists probably could have solved the world’s problems by now if only the religionists and other wackos had gotten out of their way and let them make all the rules! Even now, it seems these religious dinosaurs are standing in the way of progress. And so, HM2000 reveals some insecurity about where our race may be headed, and what bad stuff may befall us in the future, if we do not heed this warning and follow their well-reasoned plan. They are, they say, “… especially concerned about antiscientific, anti-modern trends …” Some of these trends are identified as “the emergence of shrill fundamental voices, and the persistence of bigotry and intolerance, whether religious, political, or tribal in origin.”((Ibid., p8)) They accuse these reactionary fundamentalists of “opposing efforts to resolve social problems or to ameliorate the human condition …”((Ibid, p8)) At this point, it is fair to ask just what the Humanists have done (besides writing endless manifestos, that is) to “resolve social problems or ameliorate the human condition.” How many hospitals and universities have Atheists established? How many prison ministries have they founded? How many food pantries have they set up? It seems they are more talk than action. Yet, Christians—who did found many of our universities, hospitals, food pantries, homeless shelters, and all manner of compassionate organizations—are scorned by the Humanists as having done nothing to ameliorate human suffering. Moreover, they hold “theists and transcendentalists” responsible for all of the atrocities committed throughout history. From slavery and capital punishment, to wars inspired by “intransigent dogma,” it is implied that Atheists would never take part in such atrocities. Humbug. It is true; of course, that religious people, including Christians, have persecuted and even killed people in the name of God. And, yes, Christians have held slaves and even upheld slavery as an institution at one time. These are terrible things. There is no denying that Christians have often transgressed God’s law and have not displayed His love. And, indisputably, pagan and mystical religions have also been responsible for much unpleasantness—what with human slavery and sacrifice, persecutions, and wars from the pre-Christian era to the present. But, the old charge that religion (in general) and Christianity (in particular) is to blame for all or even most of man’s inhumanity to man is patently false. In our twentieth century, Atheism has been a very deadly philosophy, indeed. Stalin, Pol Pot, Idi Amin, Chairman Mao—there’s not a Christian or theist in the bunch! Millions upon millions in the twentieth century alone have died at the hands of Atheistic Utopian schemers in their attempt to recreate paradise without God. The Rocks on The Roadway Not only are people of faith responsible (in the Humanist’s view) for all of the bad stuff that has happened in history, but, as we have previously alluded to, they now prevent a lot of good stuff from happening. Faith-based worldviews are the biggest obstacle to progress in the Humanistic worldview. HM2000 states that economic development and the reduction in poverty are repressed because certain religious and political groups refuse to fund programs that are “designed to reduce fertility and stabilize population growth.”((Ibid., p8)) Have you ever noticed Christians can be blamed for almost anything? On the fiftieth anniversary of the Holocaust in Europe, our local newspaper took the opportunity to blast European Christians for not preventing that atrocity. Yet, this same paper, on another page, branded Christians in America as “right wing extremists” for their attempts to stop our modern-day holocaust of abortion on demand! Should Christians live according to their consciences or not? But we digress …New Age adherents, with their “spiritual/paranormal views of reality,”((bid, p6)) cause great consternation to the Humanists as well. This is in spite of the fact New Agers generally agree with the Humanists that there is no such thing as absolute truth in the religious realm. The problem the Humanists have with New Agers is the NA’s tendency to reject all absolutes including those of the Humanist’s vaunted scientific and technological variety. For example, New Agers believe all spiritual paths are equally valid and lead to salvation however one chooses to define it. Unfortunately, from the Humanist’s standpoint, many New Agers also believe that Mother earth (Gaia) is a living being and find some benefit in communing with trees. This is pure nonsense from the rationally minded Humanist point of view. And they are even more upset by the NA’s tendency to reject proven, scientific, medical techniques, etc., in favor of touchy-feely, unscientific, or even anti-scientific therapies of various kinds. Humanists are distressed at the appearance and even ascendancy of Postmodernism in our universities, decrying Postmodernist’s “questioning the basic premise of modernity and humanism, attacking science and technology, and questioning humanistic ideals and values.”((Ibid., p6)) This seems strange to us. Christians, it should be noted, share the Humanist’s concern with the rejection of objective truth that manifests itself in the New Age and Postmodernist worldview, because Christianity strongly holds to absolute truth and rejects moral, spiritual, and scientific relativism. (We believe adultery is wrong, God is ONE, and 1+1=2, for example.) But, on what basis can the Humanists deny Postmodernist’s right to question Humanist values and ideals—after all, Humanists have made a career out of questioning Christianity’s values and ideals. And, shouldn’t the right of human inquiry, so highly praised in this very document when it applies to the religious goose, include the right to question the Atheist gander’s faith as well? Nope. The Humanists defend their beliefs with a religious fervor unmatched by many “religious fundamentalists,” which only proves religious hypocrisy comes in all stripes. Whose “Morality” Is “Right?” What are the Humanists “values and ideals?” The following is a condensation of some of the key principles of the ethics of Humanism:((Ibid, pp12-14)) - Moral responsibility - Humane treatment of all persons (A fetus, of course is not one of the “favored” persons—we can abuse them all we please.) - Moral education for young people - Reflective inquiry regarding ethical judgements - An openness to the modification of ethical principles - Autonomy of choice These principles sound really great until you realize no definitions are given. What does “moral” or “ethical” mean?” Who decides what it means to act “responsibly?” “Humane treatment of all persons” sounds great, but people disagree strongly about just what that expression entails. For example, some people believe it is “humane” to euthanize the disabled, the physically or mentally ill, or even those who are merely unwanted. Christians, for one group, would most certainly disagree with that definition. Whose definition rules? Also, although they presumably would mandate humane treatment for all persons, they elsewhere in this document advocate very inhumane, indeed brutal, treatment of those they deem to be non-persons—the unborn. In addition, what do they mean by suggesting we maintain “an openness to the modification of ethical principles.”((Ibid., p11)) Whose outdated, inferior, ethical principles will have to be “modified” to suit whose superior, rational, modern principles? Dear Reader— can you hazard a guess? We would, of course, welcome any modification of their supposed “ethical principles” (to allow for the protection of the unborn, for example), but I really cannot see that happening, can you? In fact, the modification they seek is to “the moral absolutes of the past” in order to promote greater “autonomy of choice.” In other words, our moral ideals must give way to their superior ones. They state: “We should be prepared to select rationally the new reproductive powers made possible by scientific research—such as in vitro fertilization, surrogate motherhood, genetic engineering, organ transplantation, and cloning. We cannot look back to the moral absolutes of the past for guidance here. We need to respect autonomy of choice.”((Ibid., p6)) Anyone hearing any alarm bells about now? Of course, to be consistent with their worldview, the Humanists could not claim that their opinion on any disputed issue was “right.” There can be no “right” or “wrong” on philosophical issues from the Humanist standpoint, because philosophical issues are non-material and cannot be tested or proven by scientific examination. They would have to resort to New Age subjectivism (How does this idea “feel” to me?) to justify their moral position. The Humanists realize this is a major dilemma for them; so in HM2000, they attempt to answer this objection, but their effort falls short. The authors state: “Humanists have been unfairly accused of being unable to provide viable foundations for ethical responsibilities ... Throughout the centuries, philosophers have provided solid secular foundations for humanistic moral action.”((Ibid, p10)) To credit mere human philosophers for one’s moral understanding is not reasonable or rational. It just pushes the problem back in time. After all, where did these ancient philosophers get their views of morality? How can any philosophical viewpoint, however ancient, be evaluated scientifically and proven to be technologically viable. And, no matter how much the Humanist may agree with these ancient thinkers, what gives them the authority to force the rest of humanity to accept the reasoning of these men. Are they gods that we must listen to them? Now they switch gears and offer another, equally lame and irrational argument to resolve this dilemma: “Moreover, countless millions of humanists have led exemplary lives, been responsible citizens, raised their children with loving care, and contributed significantly to the moral enhancement of society.”((Ibid., p10)) It’s the old “sun is yellow” excuse. Yes, the sun is yellow, but how does that prove your point, Bub? I’m sure that “countless humanists have led exemplary lives” (if there is such a thing as “exemplary” that can be proven scientifically) but WHY? Why are they moral, responsible, loving, etc., and why is that way of life any better than immorality, irresponsibility, and hatred? Again, what is the foundation? What IS “morality,” exactly? Christian morality has always been tied to God and His law, but Humanists deny His existence and reject His law. So, to get back to the issue—why shouldn’t Postmodernists or others reject Humanistic morality? After all, one man’s idea of an “exemplary life” may be another man’s idea of squandered opportunity. How could one viewpoint be scientifically proven to be any better than the other is? Why are Hitler’s values any worse than yours or mine are? Hitler was extremely scientifically and technologically advanced for his time. His eugenic theories were very scientifically fashionable in his day. University professors taught the “scientific” theory of eugenics,((Henry Friedlander, The Origins of Nazi Genocide: from euthanasia to the final solution, (Chapel Hill: University of North Carolina Press, 1995), p4. “The term ‘eugenics’ was coined in 1881 by the British naturalist and mathematician Francis Galton and described by the leading American eugenicist, Charles B. Davenport, as ‘the science of the improvement of the human race by better breeding.’ Eugenics developed within the larger movement of Social Darwinism, which applied Darwin’s ‘struggle for survival’ to human affairs. Recruited from the biological and social sciences, or what today might be called the life sciences, eugenicists firmly believed that just as the Mendelian laws governed the hereditary transmission of human traits like color blindness or particular blood group, these laws also determined the inheritance of social traits.”)) and doctors were the first to carry out Hitler’s orders to kill (humanely, of course), long before the less educated grunts in the military started herding people into ditches and shooting them. The Holocaust was only a natural outgrowth of Hitler’s philosophical Darwinian beliefs. And very evil philosophical ideas can be no more scientifically repudiated than good ones can be scientifically validated. Hitler rejected Christianity as a religion for weaklings—all that “love your neighbor” stuff was, to use the Humanists own words, “no longer relevant to current realities and future opportunities.”((HM2000, Preamble, p4)) Intolerant of Intolerance— Those Wackos Have Got To Go “We should be tolerant of cultural diversity except where those cultures are intolerant or repressive.”((Ibid., p11)) There they go again. Whose standard will be used to determine which cultures are “intolerant or repressive?” Will the Secular Humanists remember to include themselves in this list, considering how intolerant they seem to be of those dastardly fundamentalists and transcendentalists? Seems doubtful to us. Whose freedoms will have to be squashed to eliminate “intolerance and repression?” And whose intolerance will be praised and even institutionalized? That should not be too difficult to determine, since HM2000 harshly criticizes any worldview that doesn’t rely on man for absolutely everything. Under the heading “Scientific Naturalism,” HM2000 exhibits a clear intolerance toward spirituality of any kind. How long before such “backward” views will be repressed by the enlightened elite, who are, after all, the only ones who can be relied upon to apply rational thinking and reason to man’s plight? Don’t think that will ever happen? It certainly will happen if the Humanists get their way. A New Bill of Rights … and Responsibilities In the section titled “A Planetary Bill of Rights and Responsibilities,” it is stated that: “Parents should provide a secure and loving environment for their children.”((Ibid., p13)) As humane and benign as this statement may initially sound, it ominously adds: “Parents should not deny their children access to education, cultural enrichment, and intellectual stimulation. Although parental moral guidance is vital, parents should not simply impose their own religious outlook or moral values on their children or indoctrinate them.”((Ibid., p13)) Do you catch what they are saying? To “indoctrinate” is to “imbue with principles, doctrines, beliefs,” or “to teach or instruct.”((The Pocket Webster School and Office Dictionary, 3d ed., s.v. "indoctrinate")) Huh? One of our great new principles is that parents cannot teach principles to their young? Parents are not to instruct their own children? What kind of nonsense is this? Good-bye sweet American freedom: hello gulag … (a gulag is a Soviet labor camp). Humanists would indoctrinate our young to be “tolerant” instead of teaching them there is indisputable truth regarding morality or faith. The only indisputable truth that Humanists adhere to in the spiritual realm is that there is NO indisputable truth! While we believe it is ultimately up to each person to choose what he or she will believe in adulthood, it would be illogical for a parent of any persuasion to present their young child with a “salad bar” of opposing ideas to choose from. No loving parent would allow a small child to choose what the parent believed would be the cause of much grief— nor would they introduce them to ideas and practices they felt would be harmful in this life or eternally destructive. In keeping with their obvious intention to indoctrinate all children without parental interference, HM2000 promotes sexual education at an early age. This teaching, they believe, should include “responsible sexual behavior, family planning, and contraceptive techniques.”((Ibid., p 13)) The Humanists claim to believe in freedom of religion, yet, how committed can they be when goals such as these are even conceived? Responsible sexual behavior, family planning, and contraception are “religious issues” for billions of us on this small planet. What gives Atheists any authority over us in these issues? Why should we follow their plan over our deeply held religious convictions? How shall we be governed in our new great society? Globally, of course! Forget your cherished citizenship, baby; you’ll be pledging your allegiance to the planet! “We need more than ever a world body that represents the people of the world rather than nation-states ... the world needs at some point in the future to establish an effective World Parliament—and elections to it based on population—which will represent the people, not their governments.”((Ibid., p16)) We realize Humanists truly believe their plan will result in a better world for all of mankind. We do not impugn their motives. But, it must be said the Humanist’s Planetary Bill of Rights, if some “world body” ever enacts it, will only take our cherished rights from us! Historically, Utopian schemers have meant well, but their plans have always resulted in the loss of precious freedom … freedom of religion, freedom of speech, freedom of thought, and freedom to raise our children as we see fit. If the drafters of this manifesto get their way, we could enter another long, dark night of despotism as we experienced so often in the twentieth century. William Pfaff, syndicated columnist for the Los Angeles Times, recently wrote an excellent article that powerfully speaks to this issue. Looking back on the twentieth century, about to pass into history, he writes: “… The West today no longer acknowledges the existence of an external rule-giver or moral authority. It regards mankind as totally autonomous, existing within a moral framework entirely of its own creation, responsible only to itself. Until the 20th century, religion was central to Western civilization. It originally defined that civilization … Since the 19th century; however, the Western consensus of belief in an external moral universe, to which men owe obedience, has very widely broken down. Western thinkers have attempted to construct a rational secular alternative to this moral structure … The record of this period is one of secular political and scientific Utopias substituted for religion’s expectation of a salvation located outside of time and history. The result of making this Utopia a matter of political organization and action in this world has thus far included totalitarianism … and Faustian scientific adventure, eugenic in purpose but nihilistic in practice …”((Columnist William Pfaff, “With No External Ruler, the West Must Come to Terms With its Moral Autonomy,” Chicago Tribune, (Tuesday, December 28, 1999), sec. 1, p25)) Pfaff concludes rather chillingly: “No one can say what will happen in the new century and the new Millennium. My concern in writing this is simply to note that we in the West enter not only a new Millennium on Jan. 1, but truly a New Age, when man has declared his radical autonomy, his absolute freedom to do whatever he chooses—alone in the universe.”((Ibid)) We affirm, as Pfaff states, that no one can say what will happen in the new century. Will the Humanists prevail in society and remake our culture in their image? Or, will the Secular Humanists, who are essentially Modernists, be swept away by the tidal wave of Postmodernism currently engulfing our culture? Or will some entirely new ideology/worldview rise up to conquer both of these? Certainly, the Humanists have been exceedingly confident each and every time they offered up their idealistic plans for human progress, and each and every time their vaunted plans have come to naught because stuff happened beyond their ability to foresee or control. This only proves the old familiar adage originally penned by Scottish poet Robert Burns: “The best-laid plans o’ mice an’ men Gang aft a-gley, An’ leave us nought but grief an’ pain For promised joy.”((Robert Burns (1759-1796), To a Mouse. Burn’s phrase was also used by American writer John Steinbeck (1902-1968) in his 1937 novella Of Mice and Men)) What does “aft a-gley” mean? Loosely translated into twenty first century American English, the expression means—STUFF HAPPENS. Contrary to what both the Humanists and the Postmodernist’s believe, there is an absolute spiritual reality that everyone needs to know. Man is not “alone in the universe.” God is still here, and He is in control. There is absolute truth and “right” and “wrong.” Salvation is not found in man as professed in the manifesto.((HM2000, Preamble, p18)) In fact, with the evidence given in this document alone, it should be apparent to all that this world is broken and we can‘t fix it! Someday all the wrongs will be set right—by God. And through the long dark nights of human folly, as man has striven to recreate the Paradise lost by our first human parents, God has been there for his own. We can trust in Him to see us through—whatever may come. We watch and pray and wait on our God. Ω © 2015, Midwest Christian Outreach, Inc. All rights reserved. Excerpts and links may be used if full and clear credit is given with specific direction to the original content. Read the full article

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SUCCESS FACTORS FOR PLATFORMS

Creating a gravitating platform with millions of users is still one of the most attractive business propositions in the tech industry, but as Matthew put it centuries ago; “For many are called, but few are chosen”. So, what does it take to make the grade of creating a successful platform business? And what separates the good from the great? Some of the most successful tech companies are platforms. It´s probably not a coincidence that three of the “big four” are platforms and even Apple has a substantial part of their revenue coming from platforms like AppStore, iTunes and Apple Tv. Facebook, Google and Amazon of course have non-platform business areas as well, but the core of their business is their platforms.   The five factors Being in the platform business myself, as CPO for the ID platform Freja eID, I´ve given this topic quite a lot of thought, both from the product perspective but also from an investors point of view. So, if you are aspiring to build a platform business or looking into investing in one, here are five factors to evaluate in order to assess the potential. 1. Stickiness Stickiness is basically about two things; user retention and frequency. To make a very far-fetched example, the e-service at the Tax Authority is extremely sticky on the retention side – I´m forced by law to hand in my tax return once a year – but five minutes once a year does not score very high on frequency. User retention can be created either by a high degree of either relevance or reward. Google is probably the most obvious example of relevance; the service solves the problem of finding information better than anyone else. Facebook is much less of a relevant utility in that sense. Yes, your life would probably be a bit more boring without the social network but you´d still be able to connect with your friends or find news. But the dopamine reward you get from getting a bunch of likes or from discovering something interesting while scrolling the feed keeps you coming back for more. Frequency is about the total time the user spends on a service. This can be achieved by either many short sessions – like Google - fewer longer sessions – like Facebook - or both. Snapchat has tuned every inch of their UX around frequency, most notably with their streaks feature where you build a score by snapping at least once a day with a particular friend. If you miss just one day, your streak falls. Services like Pinterest and Instagram are building heavily on dopamine rewards by the way they present images and stories in the bottomless scroll feature. 2. Positive interaction A platform needs to have a value proposition for both sides and what you should be looking for is a positive interaction between the two. In a platform like AirBnB, both sides benefit from the total growth; each host that joins the platform adds a value to the tenants and each tenant that joins adds a value to the host. Facebook on the other hand has a negative interaction. The more users that join the platform is extremely beneficial for the other side, the advertisers. However, from a user’s point of view if the four million advertisers that are currently using Facebook increase to five million, it is not necessarily adding to a positive user experience. It´s more likely that the opposite is true. 3. Margin There is a general assumption that all platforms are extremely profitable by default, as long as they are digitally scalable. But when you look into the details you will discover that there are huge differences in the potential profitability for different platforms. Spotify is as much of a poster boy in digital disruption as it gets. The current market cap of 28 billion dollars assumes that there is a lot of money to me made here. Still Spotify has, with few exceptions, been losing money quarter after quarter since its inception in 2006. The losses accumulate to billions of dollars. And when you crunch the numbers it not very surprising. For each dollar in revenue that Spotify generates, 75 cents walks straight out the door to the record labels and artists. A 25% gross margin is not very impressive in any digital business and obviously not enough to make Spotify profitable. Google on the other hand has a close to 100% gross margin. So, if you click on an ad word like “Casino” you would generate 55 dollars in revenue for Google, where pretty much all stays within the company. For Spotify to generate 55 dollars in gross revenue, you would have to pay a premium subscription for about two years. This is not black or white and if you are looking at a low margin business, you should investigate whether there are ways to increase the margins. Netflix, that basically has the same model as Spotify, shows gross margins of around 35%. Why? If you wonder why they push their “Netflix Original”-content so hard, you´ll find the answer; owning the content adds hugely to the bottom line. My personal guess is that Spotify´s move towards podcasts is a strategic move along the same lines; I would not be surprised if the rev-share to podcasters are substantially lower than to record labels. 4. Moats The fact that many of the businesses in the digital era is characterized by a winner-takes-all evolution does not mean that the winner takes it all for ever. Before Facebook there was a Swedish social network called LunarStorm that had a close to 100% penetration among teenagers in Sweden. When Facebook came, they lacked moats to keep the competition at bay – in their case the predominant reason being the focus on Swedish users. In general, having a dominance in terms of users is a pretty effective moat. For me to change from Facebook to a competing network would mean that the network would need to convince all my friends to move as well, in order for them to be on par with Facebook. Product excellence is an effective way to keep competitors at bay. Google taking over the search market and keeping the leadership is all about product superiority. Forming habits is another moat building on our human aversion of change. I know that my bank is not offering me as good a service as many competing banks, but I´m just too tied in to my habits to do something about it. In a sense, stickiness and moats are two sides of the same coin. Dependency is a great example. As long as we are using Skype within our company for video calls, I will keep it, whether I like it or not. On the other hand, as soon as IT decides to change to some other service, the moat will instantly dry out. A very rigid moat is regulatory compliance. The reason why you don’t see competitors to MasterCard and Visa making a run for their margins is regulations. Becoming PCI/DSS compliant is no trivial thing and if you add the obstacle of integration with payment terminals on a global scale you´ll find that the two giants have created a pretty deep moat. 5.  Scalability Discussing scalability in tech without separating China from the equation is like discussing Einstein´s general relativity without separating it from quantum physics. Google ticks off more points on the platform scoreboard than any other company, including the scalability factor – if we disregard the blocking from China. However, China is not the only country that limits the space for platforms based on regulation and – just like quantum physics – we will just have to live with regulations even if we do not understand them. So, if we focus on the observable tech universe there are some interesting factors underpinning the overall scalability of a platform. The first one is physical limitations. A platform like Uber cannot offer more ride services than there are individuals prepared to be an Uber driver in a certain geography. The Same thing goes with AirBnB; the number of hosts are limited to those individuals who are willing to sublet their home to strangers. Disregarding regulatory constraints, platforms like Instagram, Facebook and Snapchat – where the content is co-created by the users – are scalable without constraints. The only limiting factor is the number of users with a smartphone. However, the revenue side of the business has constraints as there is likely a limit for any user on the amount of targeted advertising he or she can cope with. A service like Netflix does not face these limitations, not even factoring in the current cultural constraints, where the content of today is aimed at a predominant western audience. Finding the opportunity Applying the factors above to an investment or to your start-up is a good guidance to assess the basic platform qualities of a business. Obviously there are much more to factor in to make a fair evaluation of the company´s potential, such as management skills, market potential and funding.   Of course, factors can change over time. Today Google is one of the most profitable companies in the world but in the beginning they struggled to find a source of revenue. It was not until they introduced AdWords in 2000, two years after the company´s inception, that they figured out how to make money. This is an important lesson in terms of the approach you will need to hace when starting or investing in a platform; you need patience. As opposed to, lets say a software company where you can genereate revenue from the first day you ship your product, a platform can only start generating revenue when a critical mass of players on each side has been established. This means that platform busniesses normally need a longer runway to take off. On the other had the potential gain is enormous if you manage to create a digtially scalable platform with a critical mass on both sides. And to find that potential, the five factors is a pretty good place to start. 

[coinmarked]

In Conversation With Paul Snow, Founder & CEO At Factom We had a pleasure interviewing Paul Snow founder and CEO at Factom. Paul is the creator of the first blockchain technology built from the ground up, to solve real-world business problems. Paul’s innovative approach to software and application engineering has spawned a litany of inventive open-source companies and solutions that have paved the way for Factom. We had a pleasure interviewing Paul Snow founder and CEO at Factom. Paul is the creator of the first blockchain technology built from the ground up, to solve real-world business problems. Paul’s innovative approach to software and application engineering has spawned a litany of inventive open-source companies and solutions that have paved the way for Factom. A true open-source evangelist, Paul also acts as Founder and Chief Architect for DTRules, a open source project he founded in 2004 to make Decision Table based Rules Engines available to all sorts of projects. Paul is a founder of the  the Texas Bitcoin Conference, and currently serves as president and chair. He holds three patents for graphics hardware and system configuration technologies. He is a supporter of and contributor to the Colored Coins and Ethereum projects, in addition to driving the development of the Factom Network. Can you share with us the story of how you decided to pursue this career path? What lessons can others learn from your story? Prior to the blockchain, I have been involved with two major shifts in software technology and industry.  The first was the digital printing revolution, where I was part of a small team that developed truly cutting edge solutions for designing, implementing, testing, and shipping a Postscript compatible printer.  The second was when I had the opportunity to design, build, and deploy the first enterprise ready rules engine to solve eligibility determination questions for the State of Texas. Having experience identifying and building solutions to solve very hard and complex industry problems set me up to consider how to implement a public blockchain solution that would scale for a world wide collection of businesses. Always loving a challenge, I took up the blockchain, and the blockchain has certainly delivered a challenge. Can you tell me about the most interesting projects you are working on now? We are working on PegNet, a project to deliver scalable transactions, asset conversions, and real world values expected in commerce. With 29 assets to start, and with the intention to grow the asset list over time, the PegNet promises to make commerce and wealth management massively less complex and inexpensive. None of us are able to achieve success without some help along the way. Is there a particular person who you are grateful to who helped get you to where you are? Can you share a story about that? I have to say my wife is the person who has supported me, and given me the best advice in this effort. She is also an engineer, with vast experience in chip design. But at the end of the day, her encouragement, insight, and ability to talk through problems with me has been critical in allowing me to focus and to succeed. What are the 5 things that most excite you about blockchain and crypto? Why? The blockchain provides everyone in the world a level field in finance.  This is a radical shift towards equality and fairness in a way that banking and finance alone could not deliver.In a world that increasingly does not define value in a tangible way, the blockchain provides strict accounting of the unit of value.  This limits the many ways fiance traditionally has been gamed by white collar crime, by organized crime, by counterfeiters, and more.While many criticize crypto and the blockchain as being complex and hard to understand, it is actually so much simpler than banking, finance, and payments.  We should be able to understand the payment process when our entire economy depends upon it. Nobody understands fully the system we use today.Despite the blockchain and PoW criticisms otherwise, the blockchain promises vast reductions in carbon and energy for banking and finance.  The problem with comparing Bitcoin with banking in finance is that they don’t really do so. How can a system that depends on massive armored trucks to deliver paper around town be energy efficient?  While PoW can be performed anywhere in the world, and in particular where waste energy is available? Your bank office in contrast must be located in urban and populated locations.Everyone is included in the blockchain.  In contrast, the high priests of banking and finance do not include the general public in their operations and decisions.  People in the economy often win or lose based on decisions around banking, but they have no input. What are the 3 things that worry you about blockchain and crypto? Why? Government might kill it.Banks might manage to isolate the advantages and advances of the blockchain and crypto.That someone will find a way to use the blockchain to control the masses. (Not realistic in my view) How have you used your success to bring goodness to the world? Can you share a story? I have had the opportunity to support some causes I believe in, have been able to work on a project that could determine court cases in China.  In little ways here and there, I have been able, I believe, to make people’s lives better. Allowing some to be more independent, participating in something bigger. I really do believe that the blockchain and cryptocurrency brings freedom from oppressive systems of economics that are not in favor of the masses. What 3 things would you advise someone who wanted to emulate your career? Can you share an example of each idea? Do something easier? But if that isn’t what they want, Work hard, play hard.  The path I took was a challenge.  When what everyone else was doing wasn’t going to cut it, I was happy to take the path I thought would work.  Often I had to prove it would work, though quite a bit of effort. But I am happy with my life and my achievements.  When I did get a chance, I did play hard. Put work aside and leave it behind, and you will come back fresher and happier for it.Keep your eye on your goal.  It is easy to second guess yourself on one hand, or continue down a path even after it is clear it will not work.  Keep in mind the higher goals, and don’t be afraid of turning around and going down another path. A goal is not a place, but a result.Don’t expect the world to be fair.  I have had many hard knocks. Life doesn’t always deal with the winning hand.  But if you get bitter, or succumb to despair, you will only hurt yourself.  Accept your losses, but stand up and keep moving. What is your favorite “Life Lesson Quote”? Can you share a story of how that had relevance to your own life? Life is just a game. Don’t take it seriously, but play to win! This embodies my approach to life. You don’t have to repay every slight. You can be the one that forgives and forgets. You do yourself a disadvantage if you carry the burden of anger, hate, despair, grief. When true tragedy strikes, it is okay to immerse yourself in the experience, walk through the stages, but when it is over, pick up and move on. Some of the biggest names in Business, VC funding, Sports, and Entertainment read this column. Is there a person in the world whom you would love to have a private breakfast or lunch with, and why? I would love to have breakfast or lunch with Japanese manga artist ONE, the creator of One Punch Man.  For many reasons, but in particular his imagination, sense of the ridiculous, humanity, and mythology. His own personal story of success really strikes a chord with me. I should say that if ONE was too busy, J.K. Rowling would be another.  For many of the same reasons. Both ONE and Rowling demonstrated a determination and imagination that overcame massive obstacles to their success.  And this I highly admire! Of course, there are many industry leaders and politicians I would like to meet. Mostly to discuss the blockchain, and why it matters. I’ve had the opportunity to meet so many of these people, and yet it seems the message still needs to be delivered again and again. Which makes sense, because as we develop the blockchain, new reasons, new deployments, new advantages are discovered. And I’d love to be part of that conversation. How can our readers follow you on social media? Twitter: https://www.twitter.com/paulsnx2LinkedIn: https://www.linkedin.com/in/paulsn/ https://coinmarked.com/in-conversation-with-paul-snow-founder-ceo-at-factom/?feed_id=818&_unique_id=5da93233810fb

[comicteaparty]

September 14th, 2017 CTP Archive

The archive for the Comic Tea Party chat that occurred on September 14th, 2017, from 5PM - 7PM PDT.  The chat focused on Nine Twilights by Andrea Rosales, Anne Mortensen-Agnew, and Chris Hansbrough.

Featured Comment:

Chat:

RebelVampire

Good day everyone~! This week’s Comic Tea Party is now officially beginning. Today we are discussing Nine Twilights by Andrea Rosales, Anne Mortensen-Agnew, and Chris Hansbrough~! (http://www.ninetwilights.com/) For those new to CTP, discussions about the comic are freeform, so please feel free to bring up whatever you wish. However, every 30 minutes I will be dropping in a discussion question to help those who would like a prompt. These questions are totally OPTIONAL to answer so pay them no mind if you wish~! Remember, constructive criticism is allowed, but the primary focus here is to have fun and appreciate the amazing comics that the community makes~! Each chat a top comment will be picked and featured on an ad for this chat, so let’s have a great discussion~! With that said, let us begin with this first question~!

QUESTION 1. What is your favorite scene in the comic so far and why?

DracoPlato

I think I like the latest page the most because it was the happiest so far and she looks cute trying on the dress. RebelVampire

yeah i really liked seeing her embrace freedom there and get to enjoy herself.

especially since even before the big odin reveal her life was pretty crappy

was going to slap her teacher so hard O_O

DracoPlato

yeah her teacher was such a jerk >n<

I liked the transformation scene too because of the colors, but I thought it seemed really random with the rest of the tone of the story so maybe not my favorite since I wtfed a lot during it

MathTans

Hey-yay-yay-yayyay, hey-yay-yay... I said hey. What's goin' on. (re: latest page)

(That's totally He-Man meme in the background, right?)

RebelVampire

omg it is he-man

i didnt even notice

JudgementScythe

it migght be

RebelVampire

thats amazing

DracoPlato

oooomg that's awesome, lol

JudgementScythe

Andrea likes to have fun with the background elements

AndreaRosales

Hello! I'm Andrea! I'm the artist of Nine Twilights!

MathTans

As to fave scene, I'm gonna go right back to Page 13. The conversation while walking down the stairs on one side, with the rainbow on the other. That just looked so neat, like a juxtaposition of the normal with the fantastical, and I would have never thought of doing the layout that way.

AndreaRosales

I love backgrounds, but my favorite thing in making this comic is honestly just having fun with facial expressions. I love having characters emote and really act.

DracoPlato

your facial expressions are amazing, those were my favorite part of the comic

annemagnew

Anne, the writer here

DracoPlato

I really really liked the art in this

AndreaRosales

Aww garrrrsh thank you!

JudgementScythe

yeah the stairs page was one of my favorite things she sent me. It was just a really cool idea for the movement and storytelling of a page

AndreaRosales

Aw, yay! Thwe whole team is here!

MathTans

Though I also liked the transformation scene. I might have squeed.

I didn't expect it, but thought, that ups things.

DracoPlato

I thought visually it was gorgeous

altho wouldn't have minded more norse themes incorporated into the outfit

MathTans

Yay for team synergy! I'm impressed at how you work together.

DracoPlato

it reminded me more of greek designs

MathTans

I freely admit to my ignorance as far as norse goes.

AndreaRosales

The bare inks of stair page!

MathTans

Coolness! You keep all that on hand?

AndreaRosales

I do!

Actually, let me know if you guys wanna see any concept art!

I've got TONS on my compy that I'm more than happy to share.

I like talking comics process . I learned a LOT while working on 9T. It's kinda my first comic.

It is my first serious go at arting a comic

RebelVampire

i really like the composition for the panel on the right cause i find my eye auto drawn to the rainbow. which i assume is a ref to bifrost so i knew something was going down.

MathTans

Your enthusiasm is infectious. Yay for arting.

(Well, and writing and editing too!)

That whole "you knew my name thing" was well done. I picked up on it off Baltur's expression the first time she did it, but I can see how it might have been missed making for a nice callback when he hit her with the whammy.

annemagnew

@RebelVampire Definite. The Bifrost (or the current one at any rate) in our story is something of a fusion between a Boom Tube, the Thor movie's interpretation of the Bifrost, and auroras & rainbows

AndreaRosales

sketchy!

RebelVampire

i really liked the name thing cause for me i was like "wait when did he say his name maybe i missed some dialogue." but then whoops, surprise, this was an important tell

MathTans

Also friggin' impressed how a battle with the undead can have moments of levity in there. Well played. (The heavy sword, for instance.

JudgementScythe

I think, my favorite thing about this whole thing has been watching Andrea's art improve page after page.

MathTans

Cool, it's in different colours...

AndreaRosales

Those are the super rough pen and ink sketchies. I had to play with a lot of different page layouts to get it juuuust right.

DracoPlato

yeah it was good that the name was mentioned again cause i was confused if i'd missed a page

she looks like sailor saturn there XD

AndreaRosales

At one point, transformation page was gonna look like this!

MathTans

So is that by hand and scanned in?

AndreaRosales

Fun fact!

Wanda's design is actually based on Sailor Saturn!

annemagnew

@MathTans Wanda was originally going to have a sword -- Mythologically, Gungnir was a gift and not his original weapon, and one of the Viking weapons books I have mentioned swords as weapons of the nobility and spears weapons of laymen. Also, Gungnir still exists here, even if it's not currently usable. But I figured it would be better to stay "on-brand"

AndreaRosales

It was one of the first design references Anne gave me.

annemagnew

Yup. Her hair is directly lifted from Saturns

sad teenage girls with death powers

MathTans

I can see it now, right, with the glaive and everything.... clever.

AndreaRosales

I do all my layouts on paper in my sketchbook first.

I take pics on my phone, email them to myself and then I just insert them into my Manga Studio document and then I pencil and ink away.

DracoPlato

aaaaah that makes sense

AndreaRosales

Manga Studio is wonderful by the way. I really enjoy working with it.

MathTans

@annemagnew That's fair. As I say, I don't know the brand well myself, but it seemed to work for me.

DracoPlato

yeah i work in MS too, it's a great program

annemagnew

i am All About norse mythology

AndreaRosales

Sad teenage girls with death powers, but also, best friends!

MathTans

I can tell from the avatar.

AndreaRosales

I love horse mythology too.

MathTans

Pegasus?

AndreaRosales

I mean Norse mythology. Horses are cool too though.

Most def!

I didn't know that much/ anything about Norse mythos until this project.

DracoPlato

should've done Loki if you love horses, huhuhuhuhu

MathTans

That would be low key.

AndreaRosales

Neigh!

You're such a good neiiiigghbor for those puns.

I love it.

I love puns. Keep em' comin'!

MathTans

Hah. I'm mostly math puns, but I branch out. Not relevant to 9T though.

I like the idea of them going all over the world, wow! Have you travelled much? (The creators.)

JudgementScythe

I've lived in Oregon and Muskoka Ontario and spent a lot of time in Guanajuato Mexico and Costa Rica as well

You want to know about middle of nowhere Canada. I'm your guy

AndreaRosales

Woo! Concept art time! This was one of my first takes of Wanda in her magical girl form. We didn't go with this one since it wasn't Norse looking enough. So it was back to the drawing board for me!

MathTans

Heh, I'm a Canadian, so I'm good. As Indonesia, I have no idea if the city's right or not, but you seem the types to research such things.

DracoPlato

oh i really like that design

AndreaRosales

I have travelled a fair bit! Been to Italy, England, Mexico ( got lots of family there, I'm Mexican, btw, Canada, Japan, etc.)

annemagnew

I travelled a lot more when I was younger (and didn't have to pay for it, sobs). The idea of globe-hopping team actually sprung out of watching Sailor Moon as a kid. If they mentioned in the English dub why they had to stay in Crossroads (ie because they looked for the Silver Crystal everywhere else), I missed it, and wondered why the Negaverse didn't just go somewhere else. And then I thought if they did, then Sailor Moon would have to follow them! And she'd meet Sailor Scouts in cool places like China and Russia and [other countries?? in my memory those were the only other countries??]

AndreaRosales

I would looooove to travel more though.

I also wished for a more diverse sailor moon!

So when Anne approached me to work on this comic I was immediately like " YES!"

Initially with some hesitation though b/c I wasn't confident in my ability to consistently webcomic well at the time.

JudgementScythe

A lot of the indonesia scenes were taken from reference photos. As well as the fact that Anne and I have been part of the SUikoden fandom forever which has a huge indonesian contingent who I've run things past to see if we've gotten the score right

MathTans

Thumbs up for Sailor Moon, my gateway anime.

AndreaRosales

It's so, so good.

DracoPlato

yis

annemagnew

literally the thing i care about most

MathTans

I don't think anyone's confident to start out with. Or if they are, they probably need humility or whatever.

AndreaRosales

Wanda's magical girl design take 1 was based on Chris Lightfellow from Suikoden 3! I've never played a Suikoden game!

MathTans

Oh, huzzah for fandoms then.

annemagnew

look at that female videogame character with ACTUAL ARMOR

AndreaRosales

I love her design. That armor * kisses fingers*

JudgementScythe

We're going to fix that

AndreaRosales

20 CHEF KISSES FOREVER

Here's an old Wanda! I was inspired by FF games at the time so there ya go!

annemagnew

I still want to bring that pelt cloak back somehow!

AndreaRosales

another early wanda

RebelVampire

i really like the pelt cloak in that design

DracoPlato

same

AndreaRosales

Wanda's def. gonna bring pelts back in style!

MathTans

How long did you concept the comic before starting, if you don't mind the question?

Wanda's gonna pelt people?

annemagnew

@MathTans I came up with it during an internship I had in college, 2012 or 2013

I wanted to do a magical girl comic since forever, and I love Norse Mythology, so combined them. I had two ideas for the premise - the team either were reincarnated gods, a la Sailor Moon, or were just given the gifts of gods, a la Wedding Peach

MathTans

(I vaugely recall some of the bg from reading the between-volume-asides, but not well, and others reading the chat later might want to know.)

AndreaRosales

I was approached for the project in early 2014 if I recall correctly. I think Anne and Chris talked to some other artist friends of ours before they came to me.

We worked on designs and layouts for a good while.

Look at this sassy Sari. I love her attitude.

JudgementScythe

And the two of us talked about doing it for a bit but fell off until I felt the editing bug come back after time away from the industry. Then I was just like no we gotta really do this because you should be writing comics and I really am feeling making them again.

annemagnew

If I had gone with scenario B, the story would have taken place before Ragnarok, and Tyr would have been in the Baldur mentor role

AndreaRosales

OOOH BALDUR!

MathTans

Is Sari also a reincarnation, or is she just related to someone who is?

AndreaRosales

OUR FAVE TRASH BOI

I gotta throw up concept art of him

Original Baldur circa 2014!

He's vintage

annemagnew

It might have been better for the girls if Tyr was their mentor. He’s got far fewer issues about his dad than Baldur!

AndreaRosales

Baldur circa 2016!

annemagnew

Fun fact: Baldur’s entire outfit is lifted from the Balmain men’s catalogue, ca. 2014, when I wrote the first draft of chapter one.

MathTans

Tossing out the mention of Baldur's wife was clever. Helped to hint at his age and stop the shipping before it might've gotten rolling.

anne: that's awesome trivia.

RebelVampire

lol math you think thatll stop the shipping

annemagnew

please dont ship baldur with his dad/wanda with her son (also wanda's gay)

AndreaRosales

Fun fact! Rumiko Takahashi was a HUGE influence on the way that I ink Wanda's hair! I love her work!!

DracoPlato

rumiko is awesome~

annemagnew

i mean, like, do whatever you want, but also, Please Don't™

MathTans

RebelV: Eh, maybe not - I mostly ship yuri anyway though.

DracoPlato

loooooool

AndreaRosales

Look at these two dooooorks

MathTans

Was that an image of Shampoo?

DracoPlato

yis

AndreaRosales

Rumiko is the best!!

annemagnew

shampoo is the best ranma girl

RebelVampire

QUESTION 2. This comic is directly influenced by Norse mythology, with the plot being about reincarnated Norse gods (Wanda being an incarnation of Odin). Was there any allusion that particularly struck you? Or, if you’re not familiar with Norse mythology, is there anything you wish you had a better grasp of to understand the story? Lastly, what do you think happened in the past that caused so many of the gods to be reborn?

AndreaRosales

Fun fact! Sometimes I get sections of my sketches done well in my sketchbook. Those sketches aren't always right next to each other, so I just stitch them together in Photoshop to make the final page layout.

Sometimes I get lucky and manage to sketch it all out right on the first take.

MathTans

A Norse is a Norse, of course, of course... honestly, I don't really feel like my lack of myth knowledge (outside of Marvel cinema and Dirk Gently) is a hinderance to enjoyment, and I don't really feel impelled to look into it. Though I do feel like reading the comic heightened my awareness.

As to what happened in the past... Odin wanted to see how the other half lived, and others were on board with that? Dunno.

AndreaRosales

@MathTans , you are great with puns!

DracoPlato

For me I felt a disconnect between Wanda and Odin and would have liked it more if she seemed more similar to Odin in a way that made me go, oh yeah, she totally was him

MathTans

Aw, thank you. ^^

RebelVampire

man math you are missing out on so many allusions :"D

MathTans

I don't doubt it.

AndreaRosales

I didn't know much 'bout Norse mythos as I mentioned earlier, so Anne let me borrow the Prose Edda and I read it in a week. Riveting stuff.

MathTans

Andrea - the stitching's neat, I hadn't even really thought about that aspect.

AndreaRosales

Thanks!

MathTans

Draco: Like more of a fatherly figure, or which? Just curious, not knowing the mythos as well.

DracoPlato

Yeah, or even more of just a connection to anything norse at all

RebelVampire

i cant pick an allusion i like most because i like them all. i fangirled a lot and had to stop myself to remain focused

annemagnew

We actually have the reason why on our About The Comic page, ahaha. TL;DR: Odin didn't feel like being dead forever, roped his favorites (and not so favorites) into reincarnating. It was a bad move, cosmically speaking. Thanks, Odin! What a great guy!!!!!

AndreaRosales

Other times I get ultra mega lucky and all the pencil roughs next to each other work out just fine! Anyway, back to mythos chat!

DracoPlato

for me Wanda read very much as a typical protag, and the norse stuff was just sort of pasted on but not really part of her

RebelVampire

@AndreaRosales whatever works. sometimes just gotta work with what you got the stitching is definitely creative

AndreaRosales

Odin wanted to keep cracking out cool ones with the gang.

RebelVampire

odin please maybe the others just wanted to vacation

JudgementScythe

lol

AndreaRosales

@RebelVampire Thank you! I like to see how I can piece things together. Working on comic layouts is a lot like piecing together a puzzle.

MathTans

The gypsy take (uh, should I even use that word?) is interesting, I felt like it tied into the "travelling to other lands" aspect. But maybe that takes away a bit from Norse origins? I don't know.

annemagnew

Odin: We could be dead forever. Or, hear me out.... we could not

Please don't use that world, but thank you for asking

She is Romani, though.

AndreaRosales

Odin had some free pizza coupons he needed to use! Also, "Gypsy" isn't the word to use. Wanda is Romani!

MathTans

Wanda does seem more reticent than a "typical protag", but maybe that's just me in terms of what I read.

Romani, thank you. (Derp.)

AndreaRosales

All good!

MathTans

I knew there was a term out there. >.< Cleverly set up with the nasty girls using 'gyp', by the way.

annemagnew

Also, @DracoPlato -- I totally get you. Connecting Wanda to Odin was something I've worked with. Without getting into too many details/future reveals: her mother (and father, before he died) didn't raise a terrible person, but that took work. There's something in Wanda's core character that connects her more to Odin as well, and re-discovering that is a part of her arc.

DracoPlato

ah, that's good if it can circle back around to it at least

MathTans

Odin bought a time share but it's only good every other century.

AndreaRosales

First ever drawing of the "God Squad"! Our first 3 gals of the series. Got my ladies in formation! Circa 2015.

MathTans

WHOA. Two weaponing with one of them being that axe? Daaaamn.

Nice shadows.

JudgementScythe

yeah I'm really excited to get to Aish. She's going to be the tank of the party and is SO GOOD

annemagnew

Freyja on the left and and Ullr on the right. Ullr I chose because I thought it would be fun, but actually, writing a character connected to a god whose mythological presence has been mostly erased is Hard

MathTans

Tank you very much.

annemagnew

@JudgementScythe i love tank sailor venus

MathTans

Now I want to see her with a love-me chain.

AndreaRosales

Our precious badass daughter WADNA!

Aish's design is awesome. She's got a sword like Ivy from Soul Calibur. I love drawing that.

annemagnew

@MathTans she has an evolving weapon. @AndreaRosales , do you have the bookmark for her? She's got a link sword there.

Yup, there it is

AndreaRosales

Just posted it, Anne!

@annemagnew I think you mean " WHOOMP THERE IT IS"

MathTans

So here's a question that you don't have to answer, but... are all the gods reincarnated at about the same age? Or is there some kind of hierarchy thing?

annemagnew

also true

MathTans

That is indeed a link sword. Shades of Signum from Nanoha.

AndreaRosales

I can't wait to draw ULLR just doing a crazy cool ski-by on some draugar.

annemagnew

They're all in the same age group, at the most three years apart. I think Freyja's older than most of them. Wanda and Ullr are the same age.

MathTans

nods And I'm guessing Baltur's wife is a reference I don't get.

RebelVampire

ah thats probably good. dont need to have any old folks cramping their style.

annemagnew

@MathTans Nanna is Baldur's wife. She and their son Forseti are ruling Asgard in his absence.

AndreaRosales

We did a promotional mini comic sample thingy back when we debuted at Rose City Comic Con in 2015. You can see a bit more here of how weapons look, etc.

annemagnew

fun fact: forseti actually looks older than his dad does

DracoPlato

oh that's really cool~!

AndreaRosales

@annemagnew It's not the years, it's the mileage!

MathTans

Wow, you did a debut at a Con? Neat.

RebelVampire

ah that page makes me look forward to future action scenes

AndreaRosales

Well, the first time we were about to launch, we took a mini comic

DracoPlato

nice!

MathTans

I guess having a dad like Baldur ages you faster on the outside.

Also I cannot spell.

annemagnew

I see Baldur as a pretty good father, actually. Much better than Odin was.

AndreaRosales

Here's a rough pencil of the next page of that mini comic we did. I was super giddy that I got to do some super cool action stuff.

MathTans

He does seem like he's doing his best, that's for sure.

annemagnew

Of the Odinssons, Baldur and Tyr turned out the most normal and well-adjusted. Unfortunately, Baldur has tons of issues about his dad that Tyr never did.

MathTans

Oh, wait... those two people communicating through the tree, were they his wife and son?

AndreaRosales

Guys, Baldur is trying so hard man! Dad jokes are hard to do!

annemagnew

No, those were the Norns. Two of them, Verdandi and Urd.

DracoPlato

gorgeous action panels~!

MathTans

<-- is a neophyte, or something.

AndreaRosales

@DracoPlato Thank you!!

RebelVampire

i just wanna say i really like Baldur as a character. i especially like that scene where theyre in the restaurant and wanda hides. and then baldur comes in and is like "i know youre there." i totally expected him to just walk on by, but nope. he was a smart boy.

DracoPlato

I'm enjoying Baldur as well

JudgementScythe

He's dumb. but he's not dumb dumb.

MathTans

I liked when Wanda's mom was all "where do you know her from?" and Baldur's like "....School?"

DracoPlato

haha i liked that too

JudgementScythe

WAIT WADNA I JUST TOLD YOU YOU WERE MY REINCARNATED DAD WHY ARE YOU LOOKING AT ME FUNNY WHAT IT'S NOT CREEPY OR WEIRD AT ALL

DracoPlato

she should have embraced fatherhood

MathTans

"Go to your room."

RebelVampire

yeah i do have to wonder how baldur thought thatd go at all well XD like you dont just tell some teen theyre your dad.

annemagnew

he wants his dad to pay attention to him and tell him he's doing a good job (he is doing a good job right???? TELL HIM HE'S GOOD)

DracoPlato

poor baby

just wants some love

MathTans

Baldur needs head pats.

annemagnew

a decent amount of my favorite male characters remind me of this scene from IASIP https://www.youtube.com/watch?v=VBfnOtiJOWw

RebelVampire

wanda just needs to tell baldur shes going to the store to buy milk. then not come back. problem solved.

DracoPlato

oooh i really like the blue there

RebelVampire

ah im glad to see huginn and muninn in there too >v>

DracoPlato

yis

AndreaRosales

A Baldur from the character cards we give out at conventions!

MathTans

I wonder if Baldur has the stones for his task. Like, assuming all nine gods have stones.

AndreaRosales

Whoops, lol sorry for the double post

my computer is slow.

All the artwork on a 7 year old machine... ooooof

MathTans

Eh, my phone's older than that.

RebelVampire

(sppt math maybe get a new phone)

DracoPlato

is it a flip phone

MathTans

It has one of those little retractable antennas. Anyway. No prob if old computer.

DracoPlato

oooomg it has an antenna XD that is old

MathTans

I iz old. >.<

RebelVampire

QUESTION 3. At home, Wanda faces a lot of pressure from her mother to excel in her studies and pull herself out of their living situation. What do you think of this situation? Does the fact that they’re hinted to be discriminated against because they’re Romani affect your opinion? Do you think Wanda and her mother will be able to see eye to eye?

DracoPlato

wanda kicking ass

i had one too math, it's okay

I just don't use it now

MathTans

It's fair. As a teacher I'm not allowed to use a cell phone anyway, so haven't upgraded. (Btw, as a teacher, I also wanted to slap Wanda's teacher, but at the same time I could see where she was coming from.)

AndreaRosales

This has to be one of my absolutely FAVORITE goof images I've done while drawing this comic. I do a lot of em'. The relationship between Baldur and Wanda is one that I enjoy depicting a lot. I can't wait for all the fun shenanagins I'll get to draw them in later in the comic!

MathTans

"Baldur. I am your father."

DracoPlato

oh that's fair

and loooool

AndreaRosales

Oooh I like this question. They've all been super good so far!

DracoPlato

with the teacher, she should have known if the other girl's grades had drastically improved when wanda transferred there tho, perhaps

annemagnew

Wanda's time at school - and the teacher's dig at her - is a direct reference to how Romani students are discriminated against in Czech schooling.

MathTans

As to the living situation away from school, it felt genuine. (Painful, but genuine.) I'm not sure about the eye-to-eye thing, but they may both need some space for now.

AndreaRosales

Romani aren't treated well/respected in "mainstream" European society.

annemagnew

>> Roma children in the Czech Republic were segregated into “special schools” with poor curricula, lower teaching standards, and very few resources. “Testing” these children was a culturally biased process that resulted in the majority of them being pushed into the special education system. The system also segregated children with additional learning needs, unlike the inclusive education systems in the UK, Sweden, or other countries (https://www.opensocietyfoundations.org/voices/czech-republic-segregation-roma-children-continues)

MathTans

Draco - True, guess I felt like it was still start of the semester or something. Pretty sure her opinion was coloured by racism too, is the thing, so she didn't look for other explanations.

DracoPlato

yeah that could be

MathTans

Anne: That's kind of sad, but nice that it's authentic.

RebelVampire

yeah i really applaud the research into it

DracoPlato

my only issue with the bullying is I've read a ton of comics that start that way with the protag recently so I was a bit tired of the trope, so i have a bias there

MathTans

Friggin' "testing" mumble wumble argle wargle fargle.

I'm fine.

(I don't even teach in the US.)

AndreaRosales

I find myself being easily able to relate to Wanda.. my parents are Mexican and there was always that push growing up to be academically successful. That Romani are given such poor schooling is setting them up for failure and it's such a sad thing. It's something that's happened in a lot of places in the world. It's heartbreaking that Wanda is clearly very intelligent, but her brilliance can't be fully appreciated in such a biased school system.

JudgementScythe

the US testing system is so bad. I remember when they first really instituted it and it's like...take this multiple choice test to decide how much funding your school gets

AndreaRosales

That's so awful.

JudgementScythe

NO GIMME ESSAY QUESTIONS CAUSE THAT"S ALL I'M GOOD AT

MathTans

Somehow I made this talk about my job. Back to home life.

DracoPlato

teaching always relevant

MathTans

But it reminds me I have papers to mark.

I'm like Baldur. I want to do a good job.

Haha, steered it back.

AndreaRosales

You're doing a great job!

RebelVampire

i can understand both sides to the situation of their home life. cause i can understand why wanda's mom would want her to break the mold. but i side a bit more with wanda in that i think theres just way too much pressure

DracoPlato

oh cool inking~!

RebelVampire

as for seeing eye to eye, i could see them not being able to get over the odin thing.

AndreaRosales

Thanks! I really wanted to go for a high contrasty dramatic lighting thingy. Haha, I'm no good with words.. it's why I draw.

MathTans

I wonder how much Wanda's mom knows about the mythology thing. (Maybe the undead will make her read up.)

JudgementScythe

But yes... The home life was a really interesting thing to figure out. Wanda's home life, the pressure. The build. I want my life but because of my blood, I need to work 10x harder than anyone else for the same things and even then people will say I'm cheating for what I get

MathTans

Andrea - You do puns, that's good words.

annemagnew

(The bullying and constant pressure are part of why she's less like Odin than she used to be.)

AndreaRosales

I have a feeling we might get some insight into Wanda's childhood at some point... @annemagnew ?

MathTans

I would imagine Odin didn't get bullied much.

annemagnew

Wanda's mother wants her to break the mold, but in the mold she wants.

MathTans

Oooh, smol Wanda.

AndreaRosales

Hehe.. seeing eye to eye... Odin... good one, @RebelVampire !

annemagnew

@AndreaRosales no spoilers

MathTans

We saw a bit of that already, with the stargazing scene.

AndreaRosales

Gosh @annemagnew I just wanna share all the concept art and it's driving me crazy!

Uguuuu

MathTans

patpats

AndreaRosales

babbu Wanda is the most precious thing I've ever been fortunate to draw.

@annemagnew THANK YOU for writing babbu Wanda!

annemagnew

Yeah, part of the fun with her was, as I built the character, realizing her life circumstances are the exact opposite of her past life's. There's a core to her that's still Odin, but her circumstances and her context are so different.

AndreaRosales

A really great contrast of nature v. nurture!

MathTans

A bit of the nature versus .... Andrea wins.

annemagnew

That's true for a lot of them, actually. There are reincarnations who have contexts very similar to their previous lives', and others who have better (or worse) ones.

MathTans

It's nice that there's a mix that way.

Is it one volume per reincarnation for a total of nine? Or is that too far in the future to know?

AndreaRosales

Another goof!

annemagnew

Honestly the way I see this story going, it's going to run F O R E V E R

AndreaRosales

GOOD

I'm glad, @annemagnew because I seriously want to draw this forever.

MathTans

Hmmm.... and yet time passes in the real world. Like Indonesia might look different in ten years. Parallel Earth to the rescue maybe.

AndreaRosales

Here's a fun take on the toppling over due to sword weight page. Wanda's face in that last panel...

RebelVampire

poor wanda really needs to start working out. work on those sword wielding muscles

annemagnew

The way I see it right now - which I reserve the right to change! - the story starts in The Fall of whenever you started to read it, and ends in the following year's spring

@RebelVampire she gets a strength buff whenever she transforms

RebelVampire

lucky :"D

MathTans

So there might be a Christmas Episode.

annemagnew

Nanna thinks everything he wears is good. Which, you know. She's not wrong in this case, but that outfit is just... A Lot

RebelVampire

i really liked the art on the draugr. like when i saw them i definitely knew what they were and there's just something really appealing about them. in a theyre draugr kind of way.

DracoPlato

love the tails behind her~!

AndreaRosales

@annemagnew I'll have you know I'm animating the Christmas special.

annemagnew

Fun fact! Baldur's topwear is three layers: Leather jacket, blue sweater, full plate armor. (You get killed by mistletoe once...)

MathTans

"Zombies" "Draugr. And no."

AndreaRosales

OH NOESSSS!!!!

AndreaRosales

@annemagnew I don't think Baldur is quite fond of Christmas decor...

DracoPlato

Looooooool

RebelVampire

this is how wanda will escape him. trap him in a room of mistletoe then make a run for it

MathTans

Oooh, good point.

annemagnew

i'm not saying mistletoe is banned in new asgard, but i am saying it's considered in poor taste these days

AndreaRosales

Mistletoe is totally banned.

MathTans

I would imagine it tastes bad, yes.

annemagnew

baldur: you can hang it. it's fine. it's a traditional decoration gersemi: but you don't want us to hang it baldur: i didn't say that

MathTans

It's all in the cringe.

AndreaRosales

Fun fact! Anne had me reference Al Ewing's Mighty Avengers for the way that the Draugar lunge out. There's a fantastic panel of Ayala doing that in that comic.

RebelVampire

now im just picturing baldur glaring through a window, watching them to say with his eyes you better not actually hang that

AndreaRosales

Gods, I just love the image of Baldur death glaring the mistletoe away.

annemagnew

it's coming off as passive-aggressive, but he was trying to be polite and accommodating (and okay maybe a little passive-aggressive)

AndreaRosales

Mistletoe? More like mistle-don't!

MathTans

Miss-letoe.

annemagnew

baldur: i'm the god-king of the universe, not a tyrant

(some elf or whatever: can we establish a democracy then baldur: how did you get in my castle)

AndreaRosales

Fun fact! All 3 of us creators are in the most recent page of 9T! We're all in the dance club together!

MathTans

The two ravens, there's no connection to Sailor Mars, is there?

DracoPlato

awwww that's awesome

RebelVampire

ah thats cute. the more i look at that bg the more i can see how much fun stuff went into it

MathTans

Andrea: That's, like, the best easter egg. I was too focussed on He-man.

AndreaRosales

Teamwork makes the dream work!

Backgrounds can be super fun!

annemagnew

@MathTans the two ravens are Huginn and Munnin, Odin's ravens from the mythology

AndreaRosales

This isn't the first time Anne's been in the comic!

annemagnew

They're patterned here off of Pied Ravens, which were native to the Faroe Islands before they went extinct. https://en.wikipedia.org/wiki/Pied_raven

MathTans

@annemagnew Ok, cool, I suspected a mythology link was dominent but suddenly thought I'd check.

annemagnew

#DeadStuff

Fun Fact! Everything and everyone important in this story has been dead, is dead, or will be dead at some point

AndreaRosales

That's Anne in the front seat in front of Wanda on the bus!

@annemagnew true! my hand is dead from drawing so much!

MathTans

Wanda: "What are you writing?" Anne: "Uhhhh...."

AndreaRosales

it's also undead and keeps returning to life

MathTans

Also, that panel had the "she knows me" look that I caught and liked.

RebelVampire

QUESTION 4. Towards the end of the first chapter, Wanda and Baldur find themselves attacked by Draugr. It later becomes apparent that these Draugr are being controlled. Who do you think is controlling the Draugr to attack Wanda? What are their end goals and do they have anything to do with the current peril the world is supposedly in?

AndreaRosales

Wanda skips cardio day.. yet she runs a lot?

MathTans

Oh yeah, crystal ball person who's likely Norse that I don't know.

The goal is presumably not to perfect reviving the undead in order to restore a family back to life.

AndreaRosales

Fun fact! That's Chris and I getting dinner at the restaurant where Wanda and Sari are!

JudgementScythe

That's definitely a thing that we get into over the next chapters. Chapter 3 is currently pretty big. Anne and I are reworking parts of the script to really fine tune it but yeah. The end of chapter 2 and chapter 3 definitely hit on that front

MathTans

But yeah, here's the thing... if he's (gender guessing there) testing Wanda, is it possible that he'd end up killing her in the process? Would that just mean Odin revives again at some later date? Is it even possible that this did happen before, person was tested and failed and Wanda's the latest in a long line of reincarnations?

(I'm just spitballing here, no need to feel you have to answer.)

RebelVampire

@JudgementScythe looking forward to it being addressed soon then.

MathTans

And if it's not a matter of testing, what's the grudge?

RebelVampire

i feel like if there were a long line of reincarnations, thatd be sad. so many ppl whose worlds were rocked cause baldur hunted them down O_O

MathTans

(Maybe it's back to the mistletoe thing.)

Yeah, though maybe Baldur didn't find the others in time or something.

AndreaRosales

Fun fact! This page's color scheme was heavily inspired by the cinematography in John Wick.

MathTans

Oh, speaking of colours, is there a particular reason why some pages get coloured? Or simply a time thing?

JudgementScythe

We wanted to set apart magic from the real world. When the magic is on...sort of Wizard of Ozzy

annemagnew

It was born out of timing, but think of the color as akin to an FMV in an old video game as well.

AndreaRosales

Wizard of Ozzy sans the eating of Huginn and Muginn

MathTans

snaps fingers Gotcha. Interesting.

FMV?

annemagnew

Whe we meet a new character, something very important happens, or it's magic time, we switch to color.

Full Motion Video

AndreaRosales

Yep!

MathTans

Ahhhh. (Stop... Magic Time! Dun deedundundundun...)

RebelVampire

oh that makes sense for the color vs. B&W thing

AndreaRosales

Hehehehe.. nice! @MathTans

RebelVampire

i really admire the city sho4

the city shot

MathTans

^.^ Indeed. Apparently there's a lot going on in backgrounds too.

RebelVampire

my cat decided to jump on the keyboard in that moment

annemagnew

I love your cat

JudgementScythe

It's one of the things I love. Too many artists ignore the background

Like I can't name the amount of comics I've read or been pitched that had no detail. Comics need detail

annemagnew

Andrea never skimps on the details :)

AndreaRosales

Thanks! Detail drives me crazy, but once I start getting into it, I REALLY get into it.

JudgementScythe

And there are a lot of people who ignore that element

AndreaRosales

OH MY GOOOOOOOD DO I TRY

I TRYYY ALL THE TIME

MathTans

One thing I've noticed a couple times, placement of words balloons doesn't quite flow... like, I'll read one, and then the next one I read I'll realize for context should have come first. It doesn't happen that often, and it might just be me not deciphering heights properly, but thought I'd mention it on the side.

AndreaRosales

Here's an early concept painty of Wanda! March 2015!

MathTans

In your institution?

AndreaRosales

@MathTans Yes, in my institution

I'm so happy I got to throw He-man Hey YAYAYAYA in there

Originally, Anne and I had talked about having Wanda and Sari go to karaoke.

and I wanted Wanda to sing that

MathTans

Heh. I used that meme myself once, kinda. I can't do backgrounds though, I can barely draw characters. So, mad props.

AndreaRosales

Like the joke would be that that was the big Euro-pop jam

DracoPlato

Ah yeah Math I had that same issue

with the speech bubbles

a lot of times i felt like i'd missed a page or I was somehow reading it wrong, the dialogue was often really confusing

MathTans

It happened more in the early pages, I feel.

Celes, the Sun of the Universe

@AndreaRosales that looks amazing!! (both the painting and the comic)

DracoPlato

yeah definitely more earlier on

JudgementScythe

speech bubbles are hard. You can see it took a while to get used to. It's one of the reasons it drives me crazy that letterers are so underpaid

AndreaRosales

Sketchbooks on my desk at my old apt./studio space!

JudgementScythe

same with colorists

MathTans

Fair.

AndreaRosales

Ahhh!! Thank you, @Celes, the Sun of the Universe !! I'm barely figuring out digital painting!

I've never taken a painting class in my life!

I'm wingin' it.

DracoPlato

ah I guess, generally it's good just to find the line of eye movement with them when reading

AndreaRosales

I studied graphic design and minored in animation in college.

Graphic design is my passion.

(actually no, comics arting is)

DracoPlato

like you should have the bubble you want read first higher than the next one

AndreaRosales

Lettering is HARD.

MathTans

Yeah. Though sometimes it was higher and yet my brain still tracked right to left.

JudgementScythe

like colors and lettering are incredibly difficult. And yet industry standards are like under $30 a page for colors on an indy book.

AndreaRosales

@JudgementScythe was really on my case about it at first.

DracoPlato

yeah same

AndreaRosales

He helped me get so much better at it

Coloring is super hard too.

MathTans

It's all about improving.

AndreaRosales

I've got MAD respect for colorists too.

I thumbnail, pencil, ink, shade, color, letter and do all graphic design/social media art for Nine Twilights.

JudgementScythe

and that's one of the things I love about the book. Look at page 1 and the latest. You can tell it's the same artist, but it's so good to see the growth she's gone through since the start

AndreaRosales

It can be a lot. Luckily, @annemagnew and @JudgementScythe are super great to work with. They're always looking for ways for making things easier for me.

MathTans

Much like the protagonist? ^.-

AndreaRosales

Oooh

I'll post page 1 and the most recent page!

Celes, the Sun of the Universe

@AndreaRosales you're welcome <3

MathTans

The website, also, good job on that. It even sparkles over the links. O.o

Sometimes it's the little things.

JudgementScythe

Yeah there are some things I really want to do with it to make it a little easier to update. But I'm happy with how it came out.

DracoPlato

oh with the website I had a lot of difficulty reading on there. Your Archive isn't up to date, and the clicking the image to go to the next page stopped working around where the archive left off, and your next arrow is at the top of the page and not the bottom, which makes me have to scroll back up to go to the next page which is super annoying

and it'd be super helpful if clicking the arrow keys would go to the next page and previous

i think i have a code for it if you want

JudgementScythe

Those are exactly the updates I want to make

DracoPlato

yeah I think it super needs it cause it was almost unreadable

AndreaRosales

Hey thanks @DracoPlato ! That's our next big project. Making the site easier to navigate.

JudgementScythe

well. It's also set up to click on the page takes you to the next page. But yeah currently there are nice things but boy howdy do I want to fix a lot of that stuff

RebelVampire

@AndreaRosales yeah comparing the pages you can definitely see so much growth in the art, and that's just super great~!

DracoPlato

yeah we were clicking the pages but that stopped working after awhile

MathTans

Really? Huh. I guess I only clicked on 'Next', so I didn't see a problem.

Though the scrolling back up for the next is something that could be amended.

JudgementScythe

oh I'll have to go back through and make sure all that is fixed up this weekend.

DracoPlato

yeah would love a next arrow button on the bottom of the page or the side

http://www.smackjeeves.com/forum/viewtopic.php?f=15&t=15038

Oh i think this is it for the keyboard arrows

AndreaRosales

Oh gosh... thank you so much @RebelVampire ! I'm melting! I really push myself a LOT to get better and better with each page. Do let me know if there's things that I can work on that improve the readability of action, backgrounds, etc.

AndreaRosales

Behind the scenes look! I ink my pages on my cintiq whilst jamming to Star Wars OST, or some other random video game OST...

MathTans

The amount of extra detail in those pages is crazy. Like night and day. Which... is almost a pun? Meh.

AndreaRosales

Awww.. I'm so proud! @MathTans

RebelVampire

@AndreaRosales i think math and draco both pointed out the most major issue already with the speech bubble flow. otherwise i think youre on the right track.

MathTans

Also, kudos/props for consistency in that first year and everything. That can be tricky.

Like, in terms of updates.

DracoPlato

yis~!

AndreaRosales

We have these super cute buttons of Baldur, pouty Wanda, Sari and Zora we sell at conventions! They're my fave.

MathTans

Those are cool.

AndreaRosales

Thanks so much for the advice, @RebelVampire !! That is so super helpful!

I was super worried about posting consistency

it's probably one of the biggest reasons why I was reluctant at first to join the team. I didn't feel confident that I could keep up.

MathTans

It'll be neat to see where things go!

AndreaRosales

I'm super glad that I was able to make it work, even when I got super sick this past winter/spring.

JudgementScythe

Yeah we didn't miss an update. Then illness and other things ate our backlog which is why we've switched to wednesdays and are taking a little time off to keep things from completely overwhelming her

AndreaRosales

I had to get surgery this past April. It was no bueno. I'm much better now though.

MathTans

It's all good. Make sure to stay healthy. Whoa, surgery even. O.o

All the best going forwards.

RebelVampire

glad to hear youre doing better~!

Unfortunately, the scheduled Comic Tea Party is now complete~! Thank you everyone so much for joining this week’s chat~! That being said, if you would like to continue discussing the comic, we encourage you to do so~! We want to give a big thank you to Andrea Rosales, Anne Mortensen-Agnew, and Chris Hansbrough, as well, for volunteering Nine Twilights for our reading queue. If you liked the comic, please be sure to support the team’s efforts. If you have questions, concerns, or suggestions about CTP, please feel free to PM me, or e-mail me at RebelVampire@startfaire.com.

With that said, next week’s Comic Tea Party will focus on The Changeling’s Sister by yondoloki. Please use this week to read as much of the comic as you would like. Hope to see you next Thursday (September 21st) from 5PM to 7PM PDT~! Until then~! Comic: https://tapas.io/series/The-Changelings-Sister

[papa-de-leche-blog]

Film Reboots

(Written November 7th, 2016)

Cinema is an interesting medium, any other art is respected in it’s current form. We rarely rewrite books or plays to fit modern age. We don’t repaint paintings twice nor do we change lyrics to our favorite songs. But cinema is constantly changing. New technology is built, films are shown overseas, and critics evaluate films ruthlessly. Thus, remakes and reboots are born.

The first remake in cinema was the 1943 film, Phantom of the Opera, which was released 19 years after the original film adaptation of Gaston Leroux’s play. While the 1923 version featured no talking and was limited to black and white, the 1943 film was presented in “beautiful technicolor” and was grander and more expensive. The cycle continued in 1962, 19 years later, when the film was again remade with more impressive cinematography and had an emphasis on lighting, while quality of cameras had improved since 1943, the real advancements were in the art. That’s not even the last of it, it was remade again in 1989 and 2004.

All these films were released about 20 years apart because within that time a technological, cultural, or artistic advancement was made. While they may change the character traits or a few lines of dialogue, remakes typically focus on changing the quality of the picture or effects for a new audience. These help audiences who are used to flashy effects and impressive camera work experience old stories.

Nowadays remakes are unlikely and have been replaced with reboots, complete overhauls of scripts, molded to fit a new generation. You’ve probably seen a reboot without even knowing it. The recent film, The Magnificent 7, is based on a 1960 film of the same name (except the original has “seven” written out). Those who saw the film may have also noticed the striking resemblance of plot points to Pixar’s A Bug’s Life. This is because A Bug’s Life is actually a reboot of The Magnificent Seven (1960). These films reintroduce old films to modern audiences by changing the script, scenery, characters, and/or plot-points.

The issue with reboots is that often times the artistic factor is lost and replaced with flashy effects. The original Robocop was a love letter to B-movies and a political statement on corporations, law enforcement, and society. While the 2015 remake does retain some elements of the original, a lot of what made it special was lost. This doesn’t necessarily make Robocop (2015) a bad movie, but if all the reboot does is update graphics and water down the story so common movie-goers could understand it, should we even bother with it? This creates an argument to weather we should leave classics like Robocop alone. But with the success of the film, more films based on cult classics like Clue and Big Trouble in Little China are coming in the next few years.

There are reboots that further or reinvent franchises for the better. Scarface (1983) is critically acclaimed by both critics and the general audience. It was so well received it has actually surpassed the original 1932 film by the same name in popularity. The reboot replaced the prohibition era with the modern dangers of using and selling cocaine. Scarface (1983) will be relevant as long as cocaine is illegal, while Scarface (1932) will be seen as a “what things were like back then” kind of film.

Ghostbusters (2016) is the first of the many “gender swap” reboots. These films take movies that had male leads and replace them with female leads in light of the new feminist era. Whether you see the movie as a cheap cash in, selling tickets to feminists or a genuine love-letter to the Ghostbusters franchise with a twist, the movie is seen by most critics as subpar. It did, however, spark awareness of harassment towards women on Twitter because Leslie Jones quit Twitter after so much hate from the film. In a twisted way, the Ghostbusters reboot reflected our times in a message outside the film.

We’ve reached a point in cinema that we have so many original films that we can easily recycle them every 20 or so years. The question now is, should we? Will we ever get bored of watching the same stories and characters?

While the general population will consume whatever movies, regardless of the quality, the theaters put out, many movie-goers are getting fed-up with hollywood and moving to independent and art-house films. Although these films are less accessible to the average viewer, they support talented and struggling artists while at the same time offer another option to the “paint by numbers” hollywood reboots.

[yamarashi]

@starwarsfandomh8speopleofcolor​ putting this in a separate post so as to not clog up the artist’s notifications if you respond do so on this post, here are my original responses for reference

it literally wasn’t your post, that’s the whole point, you went onto someone else’s post and made it your platform to make a point about anti asian racism. This in itself isn’t bad but unfortunately, the artist’s race very much DOES matter and it’s unbelievable to me that a blog about the marginalization of poc in fandom would so brazenly say that it’s irrelevant. You’re using the same repetitive, western media discourse based language (which for some reason is people’s go-to subject when talking about about asian marginalization? Because that’s all people know about I guess, anyway) in your response as you did in your original rebuttal to the artist, so I’m not sure if you’re being willfully obtuse or if I didn’t get my point across. 

If you mean what you say about your call out not just being about the artist but about educating others, then this is what you did: you went on an asian person’s post, accused them of perpetuating anti asian racism and marginalization with their content in a preachy manner while very clearly under the assumption that they were not part of the group you perceived them to be marginalizing, and you used this as your platform to reach others. You addressed them the way you’d address a white person who’d done this, the accusation you made was the one appropriate to make to a white content creator, not a chinese one.

This wrongfooted, uninformed exchange is not the basis on which to build a platform to talk about anti asian racism. Making an example out of an asian content creator when you are not asian is not the way to do this. A separate post would have been more appropriate, or, better yet, boosting a post about it made by an asian person - but I suspect you already know this. You just pulled out the internalized racism card because people started telling you that the op is chinese, and it’s not even relevant to the accusation you made, because internalized racism DOESN’T perpetuate racism in the same way that whitewashing carried out by white people does. You can’t marginalize yourself. But I suspect you know this too. 

And this is the fact of the matter: if you are not asian, then you don’t get to tell an asian person that what they’re doing is internalized anti asian racism. If you are not asian, then you don’t get to tell asians about the colorism within their communities - which you didn’t even do, even though colorism IS the main issue here, not anti asian racism, not internalized racism, BECAUSE the artist is asian. Do you see why the race of the content creator matters? It matters because that makes it an intracommunity issue. The transgression becomes a fundamentally different one.

It’s absolutely vital to criticize racism in nonwhite communities, asian communities included, and I as a chinese person believe that chinese people absolutely should accept that criticism from anyone who isn’t white - there’s a LOT to criticize. If your blog has an asian mod and THEY addressed this and also switched tracks to criticizing asian colorism after realizing that the op is chinese, I’d think it wholly justified. You, however, don’t have any place policing a chinese content creator in the same way that you would hold accountable a white content creator. 

Direct from me, a chinese american first generation immigrant (so that you know I have both overseas and american chinese experiences and you can’t dismiss me for being one or the other to fit your narrative!), to you: spending two weeks in china and talking to chinese people does not qualify you to do this. Don’t speak for us, don’t do anything FOR us. 

And take responsibility for handling the issue badly at the onset, don’t backtrack and amend, which I can see you doing gracelessly with great indignation on your blog right now - won’t read it all, because frankly it looks like a mess.

a note: when I say asian colorism, I don’t mean colorism perpetuated by asians at non asians, which can also be criticized from the outside, but colorist standards they have for themselves

[santaragione]

2013 Interview for Lee Witney (never published)

1. Why have you chosen to create with this medium, what are you trying to communicate and why is it important to you?

The answer is a complex one, because what we end up doing in our lives is often a result of many different experiences. The obvious, uninteresting answer is that we've always been fascinated by games and video games, as most kids are. As friends (we met when we were 17 and 20, respectively) we were enjoying discussing our different play experiences, analyzing them, and imagining how we'd have done things differently. It started as a fun exercise of thinking "what if” we had a voice in the making of our favorite games, and as naïve sense of discovery about how things work. When we grew up and began to feel like we had something to say for ourselves, games were naturally the medium we had invested lots of thought in, and we had matured a genuine belief in its expressive potential. We decided to actually start making games with the intention to create something that wasn't catering exclusively to the games world, but was also aimed at a non-gaming audience, who share our sensibilities for themes and aesthetics. We are interested in seeing how things that are typically communicated with other media look through the medium of games and video games (like politics, for example, in our 2013 game http://finalcandidation.it that we designed for the Italian elections).

2. The term 'Game' seems quite limiting for a tool that allows a person to interact with another's ideas. Do we need a word that articulates the medium accurately, that embraces protean experiences, if so could you suggest one?

It could be argued that words like "game" and "play" are not limiting in themselves. They accommodate many different meanings that keep changing based on locations, players, social interactions, narrative content, and more. Games may be perceived as puerile, because they represent concepts and actions that are deeply rooted in our human nature, but are typically experienced for the first time during infancy. We've found that trying to define the meaning of the term "game" or "play" could be as hard as defining the meaning of the term "art". We like to consider play as a behavior and to think of games as tools that enable a play behavior. This way we do not have to think in terms of restrictions such as goals and rules. Instead, we focus on what, to us, are more important design challenges like “inspiring actions”.

3. It is important to respect history but not be constrained by it. In the mediums inauguration developers innovated because they basically had a blank canvas. Where are we now, are we bound by our history or enriched because of it?

As you say, in art, history certainly has this dual effect -- it simultaneously restrains and frees the artist. This might be true for every medium, and it might simply depend on the approach. Surely, games themselves suffer from an excessive dependence on the history of video games. We wonder if it is because game-making was for so long only relegated to engineers. On the other hand, even people with different backgrounds today choose to make “retro games”.  For instance, pixel-art is extensively celebrated, often merely out of custom or tradition, without considering the implications. There is nothing inherently wrong with making games about old games, but it is a little saddening when this celebration is all that creators are interested in participating in. Imagine if every movie was like Michel Hazanavicius’s “The Artist”.

4. How can you sell diversity to risk averse consumers, especially when the work of the imitator is embraced more than the risk taker?

There was a very interesting talk by Nathan Vella at GDC China in 2012, called “Perhaps a Time of Miracles Was at Hand: The Business & Development of #Sworcery” that explains how Capybara Games managed to have a successful product by relying on a completely niche market. If the question is about surviving while making the games we want, then Nathan’s talk possibly has the answer: there is always a niche market large enough that shares our mindset, and fortunately, contemporary distribution models enable us to reach them. We, personally, do not worry too much about the “risk averse” consumers. They will eventually turn to things they are more interested in as they develop their passions and taste. What is more important is to reach people that are interested in diverse entertainment or culture that resonates with them. The interesting part is that these people may not be familiar with games, or may have never considered that games can satisfy their need for low-fi, political science fiction worlds, and the challenge is to reach those people.

5. What responsibilities do consumers have? Their demands for the videogame to be respected contradict their buying habits; which support the same immature themes over and over again.

It is tempting to say that consumers have a responsibility. When people keep buying the third or fourth chapter of the same game with more than two hundred updated guns for $69.99, well, it’s very tempting to point fingers. But developers have really as much of a responsibility -- to do whatever they can to make the games they want to make, without starving. Let’s face it: nobody is in the game industry because “it’s an easy job”. It isn’t. Crunches, sacrifices are way too common, and it is mind boggling how so many devs are willing to go through that to work on games they dislike. Some of them might be trapped in some financial loop where they are stuck in producing the most profitable game possible, but that can’t be the final goal for people that want to express themselves through games. Another responsibility game creators have is to enrich one’s own life with enough diverse experiences. It’s hard to be original in making games if we do not have personal, deep, original experiences to draw from. Finally, it’s really disheartening the amount of sexist, misogynist, overly violent, homophobic, and transphobic content there is in games and it is our responsibility to do better. We face the problem of an audience approaching gaming as pure entertainment and not as a medium capable of convey meaning, and we, as developers, should focus on ways to change that.

6. As new concepts are explored surely critique needs to evolve, especially when trying to define experiences that do not fit into our current forms of measurement. Is there an alternative to how games are currently evaluated?

The technical focus, for instance, could shift to accessibility. Instead of telling us if this or that game is making the best use of a technological expedient, critics could tell us whether it was built with a degree of accessibility appropriate to the audience the game is addressing.  It could also be interesting to see mention of relevant media to contextualize the overall experience offered by a game. If you are playing a game about fairy tales, how does your experience relate to different works by Hans Christian Andersen or the Grimm Brothers? Why are these themes treated aesthetically differently in the game with respect to early 20th century illustrations? The tendency to evaluate games only from the game prospective and not refer to the rest of human culture and history can be limiting.

7. What happens to an idea that could advance the medium but fails to tick the boxes under our current review system. Is it left in obscurity or maybe refined by someone else. If so what is the originators role; a sacrificial stepping stone for others?

I like the idea of failures as sacrificial stepping stones. We've been inspired by our own past failures as well as by various unsuccessful game productions from obscure developers in the '90s. There’s nothing wrong with failed projects and going back to see what was good in them. It would be unfair to say that projects fail just because they don’t tick all the review or feature boxes -- there are so many factors to a game’s success.

8. Please explain your definition of quality? Does it reside in a score, an accolade, sales, mass consent, personal opinion or is there something else?

This is a tricky question. It is helpful to distinguish between what we consider a successful execution of the design we set out to realize vs how well-received the final product is. In the first case it is really a matter of scale. Not all projects are born equal, and we always put this into perspective when evaluating the quality of what we create. What was the budget? How much time did we have? The quality is the ability to forecast the scope of the project based on these values and do the best you can under the circumstances. If we couldn’t have made anything better (or, should we say, more interesting), within those constraints, then the project is successful. If, instead, we are discussing success in terms of “enabling us to work on more projects through sales”, for us success can be measured based on whether or not the revenue will allow us to work on a bigger project than the one we just finished. This is especially true now, because we are very small, and we feel we still do not have the funds to work on projects with a big enough scope to let us experiment in the ways we would like. For example, we would love to hire artists and engineers to work with us and add their vision to our projects.

9. The crash of the videogame in the 80s was due to excessive poor quality and saturated plagiarism. Do you think the market could fall again and would that necessarily be a bad thing, especially given that the videogame could be reinvented without the limitations they face today.

Back when video games rose from their ashes, the industry welcomed a new approach to game development, championed by Nintendo, that set the standard for the modern industry until this generation of games. Around this time, the whole developer kit and seal of approval model was invented, in part, to prevent plagiarism. It created a safe environment where customers could finally have fewer but better games, but it also made designing games prohibitively expensive from the start (the sky-rocketing royalties to print cartridges and the cuts Nintendo would take from the sales). The result was fewer, better games on the market but also a culturally sealed world, with not much variety of exp. Today, easily accessible platforms and big online markets like Steam or App Store, things are similar to the 80s somehow, but the medium and the consumers are open to developers with different backgrounds.  Meanwhile, thanks to new accessible frameworks like Unity, Game Maker, etc, the barrier to entry is much lower. New generation consoles so far also seem to go further in this direction. The difference might be that we now have the capacity to create independent networks that filter or curate content for end users in efficient and particular ways, so that the public won’t be as lost as it was in the early 80s.

10. How do we pursuit other forms of emotional content if there is always this expectation of fun? What is the most significant hurdle in creating work that might not be accepted commercially or critically?

The separation between “fun” and “emotional” content is not always so clear cut. Many recent games find spaces between these two areas, where interesting, elevated, or even touching content can be experienced through an entertaining series of interactions. Of course there are productions that try to distance themselves from “fun” as much as possible. But there are also many productions that stay somewhere in between these two extremes and could serve as a bridge for players from one type of content to the other. It is also fundamental to understand that fun in itself is not intrinsically related to “laughs” or “delight”. Greek theater was undeniably a form of entertainment, hence “fun”, but its themes go certainly beyond those of comedy.

11. What needs to change in the developer/publisher/consumer/critic relationship to encompass new ideas. Does any one group hold more influence than the others?

Yes, consumers have the biggest influence, as well they should. They are spending their hard-earned money, as they say, and they certainly have the right to get what they want. It is our job to reach out to consumers, critics, and publishers that have a sensibility akin to ours. If publishers and critics are responsible for slowing down the maturing of the medium, it is because they are sometimes slower at capturing the new trends, the new needs of the consumers. Some game experts can fail at seeing how a certain phenomenon, apparently non-game related, is eventually going to radically shape the way games are made. It took a while for everyone to understand, for instance, the potential of tablet/portable/mobile games as a legitimate, expressive platform for games --  the first to understand this were certainly the consumers.

12. In your ideal future what would a videogame represent and how would it be perceived?

As a medium capable of conveying meaning, not just tied to the entertainment industry, we wish for games to be part of an interactive literature, to put in Espen Aarseth’s terms. We hope people will mainly approach video games for what they communicate, rather than for just killing some time. Cinema has a great diversity, from Sundance to Cannes to the Oscars, for example, these are events that celebrate different ways to use the medium, differentiating content and other aspects, all the way down to the duration of the movie itself. We should hope for this kind of diversity for video games in the future. We would also like to see the indie community outgrow what sometimes looks like an elitist behaviour. Self-referencing groups are not bad, per se, and they are pretty common in fields where the research goes beyond the common knowledge on a topic (for example, scientific publications are often aimed at an élite for a reason). But we think it’s not good when our community scorns those who believe that games can also evolve in different directions outside the “indie manifesto”. It feels like we are going against our own goal, which is to explore the communicative power of games. The recent interview with Kurt Bieg (developer of Circadia, Twirdie and SwordFight) at penny-arcade.com addresses this problem in a very critical, but interesting way. It is definitely an important issue, and we cannot afford to lose the voice of talented and passionate developers like Kurt.