#a cultural history of communal storytelling

[grandapplewit]

As we’ve moved father into the post-modern era (about 1970 onwards), which is defined by the increased social emphasis on individualism, communal storytelling has become something… shunned. Past methods of communal storytelling (theatre, music, folktales) have been increasingly privatized since 1970. Because of this, we’ve seen the emergence of fanfiction (specifically slash fiction started by Star Trek fans in the 1970s) and TTRPGs (specifically Dungeons and Dragons and Pathfinder in the late 20th Century), which are both ostracized by the mainstream culture, but are also the only two sources of communal storytelling in the 21st century. TTRPGs are finding more footing in mainstream culture, but because they’ve found footing are becoming increasingly commodified. In this essay, I

[destinyandcoins]

bruh idk what's the damage on all those spiteful writers who have to have a twist ending and change shit at the last minute when people guess what's going on. when someone speculates about an upcoming twist or catches on to what I've been doing I light up like the fucking vegas strip at dusk

[subtlesolitude-tailoredtaste]

It's Sh*te Being Scottish

When we decided Scotland’s first men’s tournament in 23 years was the story of this summers Euro’s everyone told us to expect the unexpected. But even we couldn’t have foreseen the absurdity, the madness and the highs and the heartbreak. Scotland is arguably the football nation when you look into their history and relationship with the game. If you look at the very fabric of their society, for good or for bad, football is interwoven into it. This is a story as fascinating as any we have ever told.

#Scotland #WeCanBoogie #Euros

Welcome to COPA90 Stories, a channel exploring the greatest footballing stories from across the planet.For more info and content: https://www.copa90.com/stories

[writingwithcolor]

Sri Lankan Fairies and Senegalese Goddesses: Mixing Mythology as a Mixed Creator

[Note: this archive ask was submitted before the Masterpost rules took effect in 2023. The ask has been abridged for clarity.]

@reydjarinkenobi asked:

Hi, I’m half Sri Lankan/half white Australian, second gen immigrant though my mum moved when she was a kid. My main character for my story is a mixed demigod/fae. [...] Her bio mum is essentially a Scottish/Sri Lankan fairy and her other bio mum (goddess) is a goddess of my own creation, Nettamaar, who’s name is derived from [...] Wolof words [...]. The community of mages that she presided over is from the South Eastern region of Senegal [...] In the beginning years of European imperialism, the goddess basically protected them through magic and by blessing a set of triplets effectively cutting them off from the outside world for a few centuries [...] I was unable to find a goddess that fit the story I wanted to tell [...] and also couldn’t find much information on the internet for local gods, which is why I have created my own. I know that the gods in Hinduism do sort of fit into [the story] but my Sri Lankan side is Christian and I don’t feel comfortable representing the Hindu gods in the way that I will be this goddess [...]. I wanted to know if any aspect of the community’s history is problematic as well as if I should continue looking further to try and find an African deity that matched my narrative needs? I was also worried that having a mixed main character who’s specifically half black would present problems as I can’t truly understand the black experience. I plan on getting mixed and black sensitivity readers once I finish my drafts [...] I do take jabs at white supremacy and imperialism and I I am planning to reflect my feelings of growing up not immersed in your own culture and feeling overwhelmed with what you don’t know when you get older [...]. I’m sorry for the long ask but I don’t really have anyone to talk to about writing and I’m quite worried about my story coming across as insensitive or problematic because of cultural history that I am not educated enough in.

Reconciliation Requires Research

First off: how close is this world’s history to our own, omitting the magic? If you’re aiming for it to be essentially parallel, I would keep in mind that Senegal was affected by the spread of Islam before the Europeans arrived, and most people there are Muslim, albeit with Wolof and other influences. 

About your Scottish/Sri Lankan fairy character: I’ll point you to this previous post on Magical humanoid worldbuilding, Desi fairies as well as this previous post on Characterization for South Asian-coded characters for some of our commentary on South Asian ‘fae’. Since she is also Scottish, the concept can tie back to the Celtic ideas of the fae.

However, reconciliation of both sides of her background can be tricky. Do you plan on including specific Sri Lankan mythos into her heritage? I would tread carefully with it, if you plan to do so. Not every polytheistic culture will have similar analogues that you can pull from.

To put it plainly, if you’re worried about not knowing enough of the cultural histories, seek out people who have those backgrounds and talk to them about it. Do your research thoroughly: find resources that come from those cultures and read carefully about the mythos that you plan to incorporate. Look for specificity when you reach out to sensitivity readers and try to find sources that go beyond a surface-level analysis of the cultures you’re looking to portray. 

~ Abhaya

I see you are drawing on Gaelic lore for your storytelling. Abhaya has given you good links to discussions we’ve had at WWC and the potential blindspots in assuming, relative to monotheistic religions like Christianity, that all polytheistic and pluralistic lore is similar to Gaelic folklore. Fae are one kind of folklore. There are many others. Consider:

Is it compatible? Are Fae compatible with the Senegalese folklore you are utilizing? 

Is it specific? What ethnic/religious groups in Senegal are you drawing from? 

Is it suitable? Are there more appropriate cultures for the type of lore you wish to create?

Remember, Senegalese is a national designation, not an ethnic one, and certainly not a designation that will inform you with respect to religious traditions. But more importantly:

...Research Requires Reconciliation

My question is why choose Senegal when your own heritage offers so much room for exploration? This isn’t to say I believe a half Sri-Lankan person shouldn’t utilize Senegalese folklore in their coding or vice-versa, but, to put it bluntly, you don’t seem very comfortable with your heritage. Religions can change, but not everything cultural changes when this happens. I think your relationship with your mother’s side’s culture offers valuable insight to how to tackle the above, and I’ll explain why.  

I myself am biracial and bicultural, and I had to know a lot about my own background before I was confident using other cultures in my writing. I had to understand my own identity—what elements from my background I wished to prioritize and what I wished to jettison. Only then was I able to think about how my work would resonate with a person from the relevant background, what to be mindful of, and where my blindspots would interfere. 

I echo Abhaya’s recommendation for much, much more research, but also include my own personal recommendation for greater self-exploration. I strongly believe the better one knows oneself, the better they can create. It is presumptuous for me to assume, but your ask’s phrasing, the outlined plot and its themes all convey a lack of confidence in your mixed identity that may interfere with confidence when researching and world-building. I’m not saying give up on this story, but if anxiety on respectful representation is a large barrier for you at the moment, this story may be a good candidate for a personal project to keep to yourself until you feel more ready.

(See similar asker concerns here: Running Commentary: What is “ok to do” in Mixed-Culture Supernatural Fiction, here: Representing Biracial Black South American Experiences and here: Am I fetishizing my Japanese character?)

- Marika.

Start More Freely with Easy Mode

Question: Why not make a complete high-fantasy universe, with no need of establishing clear real-world parallels in the text? It gives you plenty of leg room to incorporate pluralistic, multicultural mythos + folklore into the same story without excessive sweating about historically accurate worldbuilding.

It's not a *foolproof* method; even subtly coded multicultural fantasy societies like Avatar or the Grishaverse exhibit certain harmful tropes. I also don't know if you are aiming for low vs high fantasy, or the degree of your reliance on real world culture / religion / identity cues.

But don't you think it's far easier for this fantasy project to not have the additional burden of historical accuracy in the worldbuilding? Not only because I agree with Mod Marika that perhaps you seem hesitant about the identity aspect, but because your WIP idea can include themes of othering and cultural belonging (and yes, even jabs at supremacist institutions) in an original fantasy universe too. I don't think I would mind if I saw a couple of cultural markers of a Mughal Era India-inspired society without getting a full rundown of their agricultural practices, social conventions and tax systems, lol.

Mod Abhaya has provided a few good resources about what *not* to do when drawing heavily from cultural coding. With that at hand, I don't think your project should be a problem if you simply make it an alternate universe like Etheria (She-Ra and the Princesses of Power), Inys (The Priory of the Orange Tree) or Earthsea (the Earthsea series, Ursula K. Le Guin). Mind you, we can trace the analogues to each universe, but there is a lot of freedom to maneuver as you wish when incorporating identities in original fantasy. And of course, multiple sensitivity readers are a must! Wishing you the best for the project.

- Mod Mimi

[lifeinacartoon]

CREATING AUTHENTIC DEAF AND HARD OF HEARING CHARACTERS: A WRITER'S JOURNAL

Introduction

Creating authentic characters in your writing is essential for engaging storytelling, and this includes characters who are deaf or hard of hearing. To craft a character that accurately represents this community, it's crucial to do your research, gain a deep understanding of their experiences, and portray them with sensitivity and respect. In this journal, we'll explore how to write a deaf or hard-of-hearing character, including key information and preparation steps.

Understanding Deaf and Hard-of-Hearing Characters

Research: Start by researching deaf and hard-of-hearing individuals' experiences, challenges, and culture. Read books, articles, and personal stories, and watch documentaries or interviews featuring members of the Deaf community.

Consult with Experts: Reach out to members of the Deaf community or experts in Deaf studies to gain insights into their experiences. They can provide invaluable guidance and help you avoid common misconceptions.

Diversity Within the Community: Understand that the Deaf and hard-of-hearing communities are diverse. Some individuals communicate using sign language, while others rely on lip-reading, cochlear implants, or hearing aids. Be aware of these differences when creating your character.

Character Development

Backstory and Identity: Consider your character's background. Were they born deaf, or did they become deaf later in life? How do they identify within the Deaf community? Understanding their identity and experiences will shape their character.

Language and Communication: Decide how your character communicates. Are they fluent in sign language, or do they primarily rely on lip-reading and spoken language? Their communication style will influence their interactions with other characters.

Cultural Awareness: Explore the cultural aspects of the Deaf community. Understand the importance of Deaf culture, including its history, art, and values. Incorporate these elements into your character's life when relevant.

Writing Tips

Dialogue and Communication: When writing dialogue for a deaf or hard-of-hearing character, be mindful of their unique communication style. Use visual cues, body language, and facial expressions to convey emotions and context.

Access to Information: Consider the challenges your character may face in accessing information. This could involve issues with closed captioning, subtitles, or accommodations in educational or work settings.

Social Interactions: Depict social interactions realistically. Show how your character navigates conversations, group dynamics, and social events within their community and with hearing individuals.

Preparation

Sensitivity Readers: Consider hiring sensitivity readers who are part of the Deaf or hard-of-hearing community to review your work and provide feedback. Their insights can help you avoid stereotypes and inaccuracies.

Learn Sign Language: If your character uses sign language, take the time to learn at least basic signs. This will not only enrich your writing but also demonstrate your commitment to accuracy.

Beta Readers: Seek feedback from a diverse group of beta readers who can assess the authenticity of your character and offer constructive criticism.

Engage with the Community: Attend Deaf community events, workshops, or online forums to immerse yourself in the culture and better understand the perspectives and experiences of deaf and hard-of-hearing individuals.

Creating a deaf or hard-of-hearing character that resonates with readers requires dedication, empathy, and thorough research. By following these steps and embracing the rich culture and diversity of the Deaf community, you can create a character that is not only authentic but also promotes understanding and inclusivity in your writing. In addition, when writing dialogue for your deaf or hard-of-hearing character, remember:

It's important to clarify why, when writing dialogue for a deaf character, you should continue to use structured English grammar and not sign language structured grammar.

Maintaining Structured English Grammar:

Readability: Writing in structured English grammar ensures that the text remains accessible and comprehensible to all readers, including those who may not be familiar with sign language or Deaf culture. It avoids potential confusion that could arise from using sign language grammar in written text.

Universal Understanding: English is a global language, and adhering to its grammar rules allows for a wider audience to understand and engage with your story. Sign language grammar varies between different sign languages, making it less universally applicable in written form.

Respect for the Medium: While sign language is a rich and expressive mode of communication, it is primarily a visual and gestural language. Attempting to replicate sign language grammar in written text can be cumbersome and may not fully capture the nuances of sign language communication.

Balance of Realism and Readability: Striking a balance between authenticity and readability is crucial in storytelling. Maintaining structured English grammar while depicting a deaf character's interactions helps convey the character's experience without compromising the reader's ability to follow the narrative.

As an illustration, consider the following text: Dialogues with Descriptive Sign Language:

Sarah greeted John with a warm smile, her hands moving gracefully as she signed, "Hi, how are you?"

John returned the greeting in sign language, his expressions mirroring his words. "I'm good, thanks. Did you see the new movie?"

Sarah's eyes lit up as she signed back enthusiastically, "Yes, I loved it!"

In summary, using structured English grammar when writing dialogue for a deaf character is a practical and respectful choice that ensures your writing remains inclusive and accessible to a broad audience while still authentically representing the character's identity and experiences.

Furthermore, it's essential to avoid creating a character who is overly perfect or one-dimensional. In real life, we understand that everyone has imperfections and complexities, regardless of whether they are deaf or hard of hearing. Therefore, it's entirely acceptable to depict your character as a villain with a hearing issue if that aligns with your storytelling goals.

[callmebrycelee]

Advice from a Queer Almost-40 BuckTommy Shipper

Over the last several months, there's been a one-sided war brewing between Buddie shippers and BuckTommy shippers. As we get ready for Season 8, I want to give all of you fellow BuckTommy/Tevan/Kinley shippers some advice:

Do NOT let them ruin something truly groundbreaking and special.

I repeat:

Do NOT let them ruin something truly groundbreaking and special.

Let me take you way back to the early-2010s. Glee was quite popular in the cultural zeitgeist. The show spawned a plethora of ships including Finchel, Brittana, Samcedes, and Fabrey. However, there was one ship that reigned supreme on Beyoncé and Al Gore's internet. If you were on Tumblr during this time you definitely remember the chokehold Kurt Hummel and Blaine Anderson aka Klaine had on the Glee fandom.

Now I'll admit, at first, I was into the two glee club gays being together but then episode 2x06 aired. For those of you unfamiliar with the show, episode 2x06 titled "Never Been Kissed" is episode where closeted football jock Dave Karofsky cornered Kurt in the boys' lockerroom and kissed him. What followed was some of the best storytelling in the history of the show.

Over the next few seasons, we watched Dave Karofsky come to terms with his sexuality, apologize to Kurt for his relentless bullying, finally embrace his sexuality, get outed, and attempt to un-alive himself. Those of us who initially hated Dave and his initial treatment of Kurt became fans of him due to how realistic he was. If you went to high school in the early-2000s, chances are you either knew someone like Karofsky or you were him. That's why he resonated with so many of us in the queer community.

However, the showrunners weren't invested in Dave and Kurt becoming an item. You have to remember, this was the era of listening to the fandom and giving them exactly what they wanted. The fandom wanted Rachel and Finn to be together so that's what we got. The fandom wanted Brittany and Santana to be together so that's what we got. And what the fandom wanted was Kurt and Blaine.

Till this day, I still resent the fact that the showrunners and writers went the safe route when it came to couples on Glee. For the most part, all of their main pairings were expected and boring. Over a decade removed from the show, a lot of folks have come around to the idea that maybe Kurt and Blaine aren't the #couplegoals they initially thought. A lot of us will forever wonder just how different (and possibly better) the show would have been if they took a chance on Kurt and Dave.

Fast-forward to the year 2024. We have, on another Ryan Murphy show, Klaine and Kurtofsky 2.0. The moment Eddie came on the scene back in Season 2, folks on the internet started shipping him with Buck. Nevermind that these two were coded as platonic friends, here we had, once again, two good-looking guys played by two actors who have impeccable chemistry.

Much like Klaine, a lot of us see Buddie as boring. The ship smacks of cis straight women overlly fascinated by two good-looking, masculine guys. It reminds me of the overabundance of m/m romance written by straight women which have little interest in showcasing real queer male relationships and instead serve as fantasy fulfillment for straight women using two queer men as avatars to satisfy what they feel is lacking in their own heterosexual relationships. I don't necessary have a problem with those books existing but I do take issue with that kind of storytelling overshadowing queer male content written by queer male writers.

Whew! Now that I got that out of my system, let me tell you what I loved most about the latest season of 9-1-1. It seems the showrunners and writers of this show took note of what happened with Glee and they decided to go a different route. Instead of listening to the relentless noise on the internet, they have decided to not go the safe route.

Enter: Tommy Kinard.

The romance between Buck and Tommy is truly revolutionary. As someone who grew up consuming the queer media of the 90s and early-2000s, it is quite refreshing to have a couple like Evan Buckley and Tommy Kinard on primetime television. I love that many of the scenes between these two is just slice of life. Very similar to the scenes we get between Athena and Bobby and Chimney and Maddie. I've always said that true equality is when queer people can be just as mundane as straight people. Mission accomplished. Finally, we have two queer characters just existing and being happy. No AIDS. No gay-bashing. No Don't Ask Don't Tell. No epic coming out scene. Buck and Tommy are a shining example of what queer couples can and should look like in the 2020s.

So, back to my original point. When it comes to the great ship war, please do NOT let them ruin something so groundbreaking and special. If the showrunners wanted , they could have made Buck and Eddie a thing years ago. However, that's not the direction they wanted to venture. Thank you Tim Minear for not going the safe route. I look forward to all of the rich storytelling we will get in Season 8 and I have decided that whatever happens, I'm going to enjoy this era of 9-1-1. Oliver Stark and Lou Ferrigno Jr. are amazing actors but so are Angela Bassett and Peter Krause and Aisha Hinds and Kenneth Choi. All of the actors on this show, whether main or guest or supporting, are putting their whole self into crafting the characters we know and love. Regardless of what ship you champion, keep in mind that behind these beloved characters are real, human actors who do not deserve to be bullied and harrassed and threatened due to them simply doing their job. At the end of the day, everything we see on the screen is fiction.

Okay, this has gotten really long. Stepping off of my soapbox. Remember ladies and gentlemen, it's just a show. And although it makes us feel real emotions, 9-1-1 nor Glee is real life.

[copperbadge]

I guess you probably get asked why you’re converting a lot but I still want to ask,

I dunno, I don't think I really get asked all that much, to be honest. Usually when I do it's like -- I mention I'm converting to a Jewish person and they'll be like "Getting married?" and I'll explain I'm not, which does necessitate an additional explanation.

It's difficult to vocalize, which is interesting because it has really very little to do with faith, and that's usually the most difficult part of discussing any conversion, I think. Often I'll just say, "I heard a call". Which is actually a rather Christian way of putting it, but I think it's probably the easiest way to explain, especially in a heavily Christian culture.

I had...I don't want to call it religious trauma exactly because compared to most people I know who exited Christianity, it wasn't traumatic -- I was just raised in Christianity and had trouble buying the faith in the various ways it was presented to me, and there's a certain type of ardent Christian who comes at you hard if you're in their church asking awkward questions. A few encounters with some egregious megachurches in my youth left a bad taste in my mouth, so in my twenties I really wanted nothing to do with religion and didn't have the time or energy anyway -- I wasn't actively anti-religion, just disinterested.

But in my thirties I had to ask myself, do I wish to be part of a faith community? And once I'd decided that despite being pretty heavily agnostic I did want that in my life, I had to decide what I wanted it to look like. There are churches within many branches of Christianity that are fine, and there are whole branches that are fine too, but I kept tripping over my disinterest in Jesus. I did almost become a Quaker but although I really like a lot of the Friends' attitudes towards social justice and I enjoyed silent Meeting, it eventually didn't feel quite right for me (the Quakers in my life refer to me as "Friend-ly"). I looked into Zen Buddhism but didn't click with it in quite the way I'd hoped.

Judaism didn't feel perfect, but unlike other faiths, after several years of study I have yet to reach a point where it feels "not for me" in the way the others did after a few months; even when I struggle with some aspects, instead of saying "I don't think this is it" I dig deeper, and Judaism is a place where you can just...keep digging. I like the sense of history, I like the idea that you can argue not only with other Jews but with the divine itself and maybe even win; I don't like arguing but I like that the option is there, which it never was in my Christian confirmation classes. I like the way Judaism frames community and family, I like the emphasis on scholarship and exploration. I've had to unlearn a lot of weird Christian and atheist attitudes about the Torah, but that's been educational too. Ancient cultures have always interested me and Judaism is sometimes the practice of actively conversing with ancient history that has been incredibly preserved but not calcified. I like that I can be an agnostic Jew if I so choose, once I finish conversion.

(Sometimes I joke, "Eh, I'm not really a huge fan of pork, either, so it's an excuse not to eat pork chops," but that's a joke for very specific company. I don't keep kosher or plan to, but I like that there is an option to show one's devotion through acts of nourishment, and that food is always such a huge part of Jewish ritual. And I like Jewish food.)

There is something in me that reacts to Jewish storytelling -- the fear and fasting of Esther, discourse on the sacrifice of Isaac, grumpy Rabban Gamliel from the Talmud, even the history of the Piazza Alla Cinque Schole when I stumbled into it in Rome. I didn't care particularly about the story of Moses when I learned it as a child, but I sniffle at the parting of the Red Sea in Prince of Egypt every damn time. Not even because of the miracle! I'm simply moved by the vision of a people going to freedom, scared but going, protecting each other and singing as they go.

Anyway. I'm in a conversation with Judaism that isn't over yet, and either eventually I'll reach a point where it ends, or I'll convert and be in this conversation the rest of my life. Kind of fun not to know yet which it will be.

[quincywillows]

like i remember the vitriol that came out when the mere PREMISE for ballad of songbirds and snakes came out bc it was “about the villain” and wasn’t instead a novella of one of the many cute likeable faves of the masses. i remember how fast people were to tear down the book before it even came out (and still do now). and it’s like look, i get it, suzanne created so many interesting characters that it would be incredible to learn more about and get more content for. but her choosing to write about snow for a prequel isn’t like Romanticizing The Villain or whatever bullshit y’all are claiming as hot takes on twitter -- ballad fits right into the common themes and tone of the series in that its not a romanticization but a reflection on how snow became what we know him as in the original series. both in how he already had some less than charming or healthy traits (just like katniss does -- suzanne is always clear that people are not inherently good nor evil and parallels were drawn between how snow and katniss view the world and think strategically, etc, from the second book), but also in how society and the choices of the greater community in panem created snow. like ballad is a really interesting piece of lore and history and worldbuilding for an already rich and elaborate setting that suzanne created, allowing us to see how that world even came to be and the kind of toxic impact it had on the people surviving in it while still pointing out that those people are human and that everyone has humanity and yet can still cause unfathomable harm to one another based on circumstance and need to survive and pressures of all kinds and like i have lost the plot here now but suzanne is one of the best authors of our time who actually gives a shit about creating layered, nuanced characters and worlds rather than black and white good and evil and unfortunately the hyperpolarization of our hot takes social media culture nowadays just can’t handle her anymore. suzanne im so sorry we don’t deserve your storytelling. anyway i’ll be seated for this movie y’all can skip and keep giving lukewarm takes on twitter to make urself seem so smart for hating a book you probably didnt even actually read

[viadescioism]

Kwanzaa:

Kwanzaa, an annual holiday celebrated primarily in the United States from December 26 to January 1, emphasizes the importance of pan-African family and social values. It was devised in 1966 by Maulana Karenga, Inspired by Africa’s harvest celebrations, he decided to develop a nonreligious holiday that would stress the importance of family and community while giving African Americans an opportunity to explore their African identities. Kwanzaa arose from the black nationalist movement of the 1960s and was created to help African Americans reconnect with their African cultural and historical heritage. The holiday honors African American people, their struggles in the United States, their heritage, and their culture. Kwanzaa's practices and symbolism are deeply rooted in African traditions and emphasize community, family, and cultural pride. It's a time for reflection, celebration, and the nurturing of cultural identity within the African American community.

Kwanzaa is a blend of various African cultures, reflecting the experience of many African Americans who cannot trace their exact origins; thus, it is not specific to any one African culture or region. The inclusiveness of Kwanzaa allows for a broader celebration of African heritage and identity.

Karenga created Kwanzaa during the aftermath of the Watts riots as a non-Christian, specifically African-American, holiday. His goal was to give black people an alternative to Christmas and an opportunity to celebrate themselves and their history, rather than imitating the practices of the dominant society. The name Kwanzaa derives from the Swahili phrase "matunda ya kwanza," meaning "first fruits," and is based on African harvest festival traditions from various parts of West and Southeast Africa. The holiday was first celebrated in 1966.

Each day of Kwanzaa is dedicated to one of the seven principles (Nguzo Saba), which are central values of African culture that contribute to building and reinforcing community among African Americans. These principles include Umoja (Unity), Kujichagulia (Self-Determination), Ujima (Collective Work and Responsibility), Ujamaa (Cooperative Economics), Nia (Purpose), Kuumba (Creativity), and Imani (Faith). Each family celebrates Kwanzaa in its own way, but Celebrations often include songs, dances, African drums, storytelling, poetry readings, and a large traditional meal. The holiday concludes with a communal feast called Karamu, usually held on the sixth day​​​​.

Kwanzaa is more than just a celebration; it's a spiritual journey to heal, explore, and learn from African heritage. The holiday emphasizes the importance of community and the role of children, who are considered seed bearers of cultural values and practices for the next generation. Kwanzaa is not just a holiday; it's a period of introspection and celebration of African-American identity and culture, allowing for a deeper understanding and appreciation of ancestral roots. This celebration is a testament to the resilience and enduring spirit of the African-American community.

"Kwanzaa," Encyclopaedia Britannica, last modified December 23, 2023, https://www.britannica.com/topic/Kwanzaa.

"Kwanzaa - Meaning, Candles & Principles," HISTORY, accessed December 25, 2023, https://www.history.com/topics/holidays/kwanzaa-history.

"Kwanzaa," Wikipedia, last modified December 25, 2023, https://en.wikipedia.org/wiki/Kwanzaa.

"Kwanzaa," National Museum of African American History and Culture, accessed December 25, 2023, https://nmaahc.si.edu/explore/stories/kwanzaa.

"The First Kwanzaa," HISTORY.com, accessed December 25, 2023, https://www.history.com/this-day-in-history/the-first-kwanzaa.

My Daily Kwanzaa, blog, accessed December 25, 2023, https://mydailykwanzaa.wordpress.com.

Maulana Karenga, Kwanzaa: A Celebration of Family, Community and Culture (Los Angeles, CA: University of Sankore Press, 1998), ISBN 0-943412-21-8.

"Kente Cloth," African Journey, Project Exploration, accessed December 25, 2023, https://projectexploration.org.

Expert Village, "Kwanzaa Traditions & Customs: Kwanzaa Symbols," YouTube video, accessed December 25, 2023, [Link to the specific YouTube video]. (Note: The exact URL for the YouTube video is needed for a complete citation).

"Official Kwanzaa Website," accessed December 25, 2023, https://www.officialkwanzaawebsite.org/index.html.

Michelle, Lavanda. "Let's Talk Kwanzaa: Unwrapping the Good Vibes." Lavanda Michelle, December 13, 2023. https://lavandamichelle.com/2023/12/13/lets-talk-kwanzaa-unwrapping-the-good-vibes/.

[andthespidersfrommars]

shadow and bone fans are captivated by the church scene in season 1 of the show, fixated by the weight of inej’s choice—sacrificing her faith and committing an act of violence in a place meant for solace and sanctity, all in a desperate bid to save kaz’s life. it resonates deeply with them, who appear to be enthralled by the agonizing dilemma she faces, torn between her unwavering principles and the fierce loyalty that drives her to such drastic measures, and they are even more enthralled by her choice to save her true love. however, few fans seem to talk about how inej, a victim of human trafficking who was kidnapped from her home by slavers, seemed somewhat at ease with kidnapping a girl from her home for money. no one talks about inej having no moral conflict about selling a girl to a merchant who wanted use of her skills. no one points out the hypocrisy of inej wanting to hunt down slavers after practically doing the same thing as them.

unrelatively, (not) inej is suli and her community (who leigh bardugo undeniably based on romani people and culture) are travellers, who do not stay in one place for a long time but follow old routes. their nomadism is both a reflection of their current cultural identity and a response to external forces that have marginalized them, such as persecution and hostility.

ravka may have grand, impressive churches, but the suli don’t have a fixed location of worship. their faith is obtained in saint stories, possibly some kind of rituals or traditions, and their moral values. while inej might respect churches as a symbolism of religious belief, her understanding of faith is likely derived from the same cultural notions. her relationship with her saints is personal and intimate; she believes they can hear her prayers regardless of her physical surroundings. she has had to kill people to survive in the barrel and killing someone in a church would not have more meaning to her then killing someone in the street. dunyasha falls off the church of barter when she dies but this does not seem especially significant to inej.

in the books, inej is religious but at the same time clever and logical. she isn’t blindly devoted to her faith, she understands that she had to do terrible things to survive in the barrel and is competent at her job. however something she does not ever waver on is human exploitation. she cares profoundly about people and is committed to bringing justice, and she seeks to protect those who suffer similar exploitations as she did.

in the show, she is blindly religious and at times, a mindless devotee. she is far more morally upright then a 16 year old girl in that situation would be able to be. nevertheless, her outlook on kidnapping and exploiting others seems to be quite flexible.

this phenomenon extends beyond inej’s character alone; it reflects a broader trend within the shadow and bone adaptation where critical aspects of various characters are altered or misplaced, leading to a dilution of their original significance. character traits are either largely exaggerated or diminished, leading to a compete loss of meaning in storytelling. by focusing primarily on inej’s faith while neglecting her strong stance against human trafficking—an issue that resonates deeply with her personal history—the adaptation presents a one-dimensional portrayal that fails to capture the essence of who she is meant to be. show fans are enamored with this new interpretation of inej, without fully recognizing the significant alterations made to her core values and beliefs, thereby overlooking critical themes present in bardugo’s original work.

[kaspavanlortsyal]

Let It Be Enough - 1 Year Anniversary

"You will always be enough."

This beautiful art was commissioned from the incredibly talented Elle Noir (twitter/instagram/deviantart)! Thank you, Elle, for bringing this beautiful moment in their story to life.

This time last year, I posted the first chapter of Let It Be Enough on AO3. The butterfly effect of my simple desire to share my silly little story is unbelievable. In one year it garnered over 50k hits on AO3, and that isn't even the coolest part. I made lifelong friends, found a community of wonderful writers, and fell in love. I reflect upon 2023 and bear witness to the power of storytelling. I never thought that I'd still be writing fanfiction about Petra and Miles a year later in the form of my Fairytale AU, The Memory of Stars, and yet here I am.

The world of Avatar is magnificent. It gives me hope that the highest grossing movie of all time is an allegory about colonialism. It emphasizes the importance and beauty of our connection to the Earth (or in the case of the Na’vi, Pandora), and condemns corporate greed. I sincerely love Avatar, not just because of the nostalgia, but because of how bold it is in its storytelling.

Stories are the backbone of society. For all of human history, we have told each other stories. Stories shape our worldview and helps us convey emotions and ideas. Every person finds their own truth in the shape of words.

James Cameron is a fantastic storyteller. However, he is also a white man, and some stories are not his to tell. Many aspects of the Na’vi are drawn from real world indigenous cultures. I understand that he consulted various groups in his development of the Na’vi, but if you enjoy Avatar, I strongly encourage you to seek out own voices stories as well. Our world is troubled and complicated, but I truly believe that it gets better each time someone opens their mind to traditional indigenous knowledge. That gives me hope more than anything: the will to listen. 

One of my favourite books: Braiding Sweetgrass by Robin Wall Kimmerer (If you're a fan of audiobooks, Robin reads the audiobook herself and it’s incredible. I highly highly recommend picking this up, especially if you like plants.)

Also, if you are playing Avatar: Frontiers of Pandora, please dedicate time to researching Residential Schools and their dark legacy in North America. You will better understand the real world inspiration of the Ambassador Program, but more importantly, you will be offering a listening ear to the important stories of survivors. Feel free to add more book suggestions to the comments as well!

Thank you for being here. 

[olowan-waphiya]

Centuries before we had American Sign Language, Native sign languages, broadly known as “Hand Talk,” were thriving across North America. Hand Talk would be influential in the formation of American Sign Language. But it has largely been written out of history.

One of these Hand Talk variations, Plains Indian Sign Language, was used so widely across the Great Plains that it became a lingua franca — a universal language used by both deaf and hearing people to communicate among tribes that didn’t share a common spoken language. At one point, tens of thousands of indigenous people used Plains Indian Sign Language, or PISL, for everything from trade to hunting, conflict, storytelling, and rituals.

But by the late 1800s, the federal government had implemented a policy that would change the course of indigenous history forever: a violent boarding school program designed to forcibly assimilate indigenous children into white American culture — a dark history that we’re still learning more about to this day. Because of a forced “English-only” policy, the boarding school era is one of the main reasons we lost so many Native signers — along with the eventual dominance of ASL in schools for the deaf.

Today, there are just a handful of fluent PISL signers left in the US. In the piece above we hear from two of these signers who have dedicated their lives to studying and revitalizing the language. They show us PISL in action, and help us explore how this ancient language holds centuries of indigenous history.

Read more from Melanie McKay-Cody on the history of Plains Indian Sign Language: https://shareok.org/handle/11244/319767

Check out Lanny Real Bird’s videos:    / @lannyrealbird9015  

Much of the footage of the 1930 Indian Sign Language Council isn’t online, but check out some of it here: https://commons.wikimedia.org/wiki/Fi...

Here are some original books we reference on sign talk: https://archive.org/details/indiansig...https://archive.org/details/indiansig...

The Smithsonian holds lots of photos and archives on Plains Indian Sign Language like this: https://www.si.edu/object/archives/co...

Sarah Klotz on how Native American boarding schools like Carlisle contributed to the loss of PISL: http://constell8cr.com/issue-2/the-hi.... She references archives that shows how students continued to use sign language like this one from the Carlisle Indian School Digital Resource Center: https://carlisleindian.dickinson.edu/...

[ratasum]

I'm in immense amounts of pain this morning but I just want to ramble about something that doesn't get talked a lot in the community and I wish people would consider because it's one of the most tragic and fascinating parts of asuran lore, and that's the fact that their culture is cobbled together from the bits and pieces of what they could carry brought by refugees who fled a home overrun by monsters hundreds of years ago.

I feel like the norn have similar issues, but with their tradition of oral storytelling, it may be less prevalent. (On the other hand, who knows how many skaalds they lost when they fled the north.)

The asura have their technology. Some of it came with them during the exodus. But they lost immense amounts of knowledge, huge chunks of their own history, and unfathomable cultural practices that just couldn't survive while they were trying to stay alive themselves.

I honestly think it may be one of the reasons they come off a little insular as a culture. They've lost so much and have had to fight tooth and nail to rebuild what they have now. And then they lost some of that again, to the very organization that had been formed to preserve their history and knowledge, in the Thaumanova disaster.

Like. I don't think it gets talked about enough. It's significant that the asura are a race of refugees. They do not belong here. They are painfully aware of this. Hell, it's in the opening crawl when you make a new asura.

We are the asura, lords of the deep domains that are now denied to us. Overwhelmed by numbers, power, and brute force, we have been forced to this open sunfilled world and forced to recreate our civilization. That we have succeeded is a testament to the indomitable spirit and innate intelligence of our people.

They lost nearly everything when they fled Quora Sum. Who knows how much they truly lost. And that eats away at me so much you have no idea.

[heartmachinez]

CELEBRATING 10 YEARS OF HEART MACHINE

A Decade of Creativity and Community

A decade ago, we began a journey that would lead to the birth of Heart Machine - a game studio committed to crafting immersive, vibrant experiences that resonate with players on a profound level. As we celebrate our 10-year anniversary, we reflect on our history, achievements, community, and the exciting future that lies ahead.

THINKING BACK

Glitch City, Kickstarter, and Hyper Light Drifter

In 2013, we took a leap of faith and launched a Kickstarter campaign for our debut project, Hyper Light Drifter. Little did we know that this campaign would not only secure the funds needed to bring our project to life, but also ignite a beautiful connection with supporters, players, and community members who believed in us from the outset.

Fueled by a need for camaraderie and knowledge, we spent those early days of Drifter’s development as a part of Glitch City, a then-small collective of independent game developers, artists, and creators all working together out of Alx’s basement. Those early days and (often) sleepless nights vision were critical in defining our design philosophies, studio culture, and grassroots community connections - setting the stage for what was to come.

Our Heartfelt Gratitude to Our Early Contributors

To date, thanks to the incredible support of our community, the Kickstarter for Hyper Light Drifter remains one of the most successful game projects on the platform. It smashed through the initial funding goal of $27,000 and ultimately raised over $600,000.

To our early backers who believed in us and our vision, and those fellow devs who helped us through endless rounds of playtesting and feedback, we extend our deepest gratitude. Your unwavering support enabled us to bring our dreams to life and emboldened us to continually push the boundaries of game design.

Special shout out to core Drifter team members: Alx Preston, Beau Blyth, Teddy Dief, Casey Hunt, Rich Vreeland, Akash Thakkar, Sean Ward, Lisa Brown, and Cosimo Galluzzi.

The critical reception following the release of Hyper Light Drifter was incredible - beyond our wildest expectations. We never could have anticipated the accolades and recognition it received, or the impact it made on players far and wide. It was humbling, and affirmed our dedication to continue to make great games to share with the world.

Moving Into a New Dimension

We started development on Solar Ash about a year before the multi-platform release of Hyper Light Drifter. Early on, we joined forces with Annapurna Interactive, whose expertise and resources facilitated our exploration of 3D game development. Over the next five years, Annapurna's support played a pivotal role in bringing this ambitious project to fruition. The vastness of the game's ethereal landscapes and fluid movement mechanics opened new avenues for worldbuilding and storytelling.

To date, Solar Ash continues to engage new players and inspire returning ones to create beautiful works inspired by the game. It is following in the footsteps of its predecessor and is now available on a a wide array of game platforms for a worldwide audience.

All of the positive reception that followed Solar Ash’s release proved that our community was ready to continue along this new aesthetic path with us. Just as Drifter smashed through its initial Kickstarter goals,  we are poised to once again smash the boundaries of possibility with our upcoming projects.

HEART MACHINE TODAY

Reimagining a Familiar World

As we celebrate our 10-year milestone, we're thrilled to now be well underway with our newest title set in the familiar Hyper Light Universe. This new project, Hyper Light Breaker, builds upon the foundations we've laid, evolving our creative vision in unexpected ways.

A Shared Journey

Our journey would not be complete without acknowledging the invaluable contributions of our community. From community leaders who pave the way forward with creativity and kindness, to creators who challenge us with incredible skill and passion,  to modders who continuously breathe new life into our games, to wiki writers who meticulously document every detail, to speedrunners who push the boundaries of possibility – you are the heartbeats that keep our worlds alive.

Over the years, we've had the privilege of connecting with our wonderful community at conventions and events across the digital and physical world. These gatherings allowed us to share our passion, hear your stories, and learn from your insights. Your presence and enthusiasm continue to inspire us.

We’re so grateful to: Polare, Lukas, Durtle, Clark, Yrrzy, CornMayor, Aza, Andreas, Conscy, Perfectly Mediocre, Thunderbrave, Bryonato, Utsu, NicowithaC, Covert Muffin, Sylvi, among many many others who make our work worth doing.

Our Company Vision

At Heart Machine, we've built more than games. We've cultivated a company culture that values kindness, inclusivity, and pushing the envelope. Our mission has always been not only to entertain but also leave a lasting impact. This dedication has enabled us to support and grow a thriving studio of some of the most talented, thoughtful, and fun people in the entire industry.

Our ethos revolves around fostering a work environment that prioritizes professional advancement, mental and physical health, and employee happiness. This commitment takes shape in various dimensions of our culture. We proudly offer Heart Machine University (HMU), a collaborative peer-teaching initiative where we cover everything from how to LARP or make sculptures out of driftwood to environment, concept, and tech art techniques. We also organize activities like group gaming and anime sessions, provide access to networking and learning resources, and support social and charitable initiatives to reinforce our team’s sense of purpose. As a studio, we strive to hang our culture on a framework where each individual can flourish and achieve their own growth and learning goals.

It’s no accident that the trajectory of these past 10 years has led us to forming the team we have now. We have always and will continue to adhere to our culture of high quality standards, emphasis on creative innovation, and heart-first leadership practices.

LOOKING AHEAD

As we stand at the threshold of the next chapter, we're excited to announce that Hyper Light Breaker will be arriving in Early Access in 2024. This project represents our ongoing commitment to pushing boundaries, taking risks, and creating experiences that captivate and challenge players in our specifically unique ways.

Beyond Hyper Light Breaker, we have other projects currently under wraps that will continue to define us as a studio. We can't wait to share these journeys with you as we forge into this next decade.

Thank you thank you thank you for joining us on this incredible ride. Heart Machine wouldn't be the same without each and every one of you. Here's to the many more adventures that lie ahead!

With love and gratitude,

The Heart Machine Team

[archivecon]

Statement begins...

Statement of ArCon staff, regarding the third annual ArchiveCon convention for fans of Rusty Quill’s The Magnus Archives/The Magnus Protocmagprool. Statement recorded 23/02/09 by the Official ArchiveCon Tumblr.

—

Hey archival assistants, avatars, and everyone in between!

Welcome to the official Tumblr for ArchiveCon 2024. We are proud to be hosting our THIRD (!!) ArchiveCon - a fan-lead, fan-run online mini convention for 18+ fans of the Rusty Quill horror podcast, The Magnus Archives (and now Protocol!)

Whether you are an old fan, a new fan, a deeply-rooted fandom denizen, or looking to make your first connections in our fan community, we hope you’ll join us. ArchiveCon may be online-only, but we’ve got all the energy and features of a traditional offline convention - everything from panels and special guests (voice actors, writers, and industry professionals!), to cosplay and games, streaming and discussion, and even an Artist’s Alley.  

Here’s the quick rundown:

- June 21-23, 2023 (that’s three days, folks - Friday to Sunday!)

- 18+, online only (Most areas of the con will be SFW, but you still must be 18+ to attend)

- FREE TO ATTEND! (Registration is required and must be done so before the convention starts; you can register here!)

- All events scheduled in PST, but all international fans are welcome and most panels (at the discretion of individual panelists) will be recorded for post-convention, on-demand viewing.  

- Primarily focused on The Magnus Archives/Protocol, but fans of all things horror, podcasting, and transformative works will find something to love. The Plain Old Curious are always welcome, too - we have to feed The Eye somehow, right? ;)

For more detailed information and FAQs, visit our website!

—

Are you an artist? A storyteller? A connoisseur of pulp fiction novels looking for an audience? ArchiveCon is here for you, beyond attendee registration. :)

Artists and artisans of all kinds are welcome (encouraged!) to apply for a slot in our Artists’ Alley. Do you take digital art commissions? Make soap? Knit hats?  All of the above?? (Kudos to you, you must be using superhuman eldritch powers to get all that done.) We’d love to give you a place to showcase and sell your work, reach a like-minded audience, and network with fellow creatives. 

Don’t have anything to sell, but want to share your passion for the world of The Magnus Archives and its fans? Then we’d love to chat with you about hosting a panel. ArchiveCon will host panels on a wide variety of subjects including (but not necessarily limited to!): 

- deep dives and meta on TMA/TMP characters, plot points, history, and relationships (we love a detailed ship manifesto)

- queer identities in horror and fandom spaces

- the evolution/history of fandom culture

- fan creations and transformative works (such as zines, art, fic and fic-binding, cosplay - you name it)

- friendly discussions and debates

- technical tutorials and discussions on podcast production, streaming, sound editing, etc!

For more insight and ideas, check out last year’s program schedule!

Applications aren’t open quite yet, but we’ll update all our pages when they are.  Hope to see you there!

[Statement Ends.]

[blackhistorystoryteller]

Embracing African Heritage: The Significance of Shrines and Religion

Africa, often referred to as the cradle of humanity, boasts a rich tapestry of cultures, traditions, and spiritual beliefs that have endured for millennia. Central to this heritage are the sacred shrines and profound religious practices that serve as pillars of community, identity, and connection to the divine.

Shrines, both natural and constructed, hold a special place in African spirituality. These sites are often nestled in the heart of communities or hidden within the vast landscapes of the continent. From the iconic pyramids of Egypt to the humble groves of the Yoruba in Nigeria, each shrine reflects a unique blend of history, mythology, and reverence for the ancestors.

One of the fundamental aspects of African religion is the veneration of ancestors. Ancestral shrines serve as focal points for prayers, offerings, and rituals aimed at honoring those who came before. These ancestors are believed to possess wisdom, guidance, and protection, and their spirits are invoked for blessings and assistance in times of need. In many African societies, the bond between the living and the dead is deeply cherished, with rituals and ceremonies reinforcing the interconnectedness of past, present, and future generations.

Moreover, African shrines are often associated with specific deities or spirits, each embodying different aspects of the natural world or human experience. Whether it's Oshun, the Yoruba goddess of love and fertility, or Anubis, the ancient Egyptian god of the afterlife, these divine entities are revered through elaborate ceremonies, dances, and sacrifices. Through these rituals, devotees seek communion with the divine and seek guidance in matters of health, prosperity, and spiritual growth.

However, the significance of African shrines extends beyond the realm of spirituality. They are also repositories of cultural knowledge, oral traditions, and historical narratives passed down through generations. Within the sacred precincts of these sites, elders impart wisdom, storytellers weave tales of heroism and creation, and artists imbue their craft with symbols and motifs that speak to the essence of African identity.

Unfortunately, the colonial era and the spread of Christianity and Islam have often marginalized indigenous African religions, dismissing them as primitive or pagan. Despite this, many communities continue to uphold their traditional beliefs, adapting them to the challenges of modernity while preserving their core values and rituals. In recent years, there has been a renewed interest in African spirituality, fueled by a desire to reclaim cultural heritage and reconnect with ancestral roots.

In conclusion, African shrines and religion embody the resilience, diversity, and spirituality of the continent's people. They are more than just places of worship; they are living testaments to the enduring legacy of Africa's past and the enduring power of its traditions. As we navigate an increasingly interconnected world, embracing and honoring Africa's rich heritage is not only a matter of cultural preservation but also a celebration of the human spirit's boundless capacity for faith, creativity, and reverence for the divine.