#and having your original characters depicted by other artists is a huge deal

[canisalbus]

My absolute favorite thing about your blog, even more favorite that Vachete, is the care and interest you put into each response. Be it an ask or an art piece, you always eloquently break down each individual aspect and comment on them. It always makes me smile.

.

[sprawa-przybyszewskiej]

Ekphrasis in The Danton Case, Thermidor, and their adaptations

Ekphrasis is invoking a piece of visual media into a literary piece. It can be done for a variety of reasons, from entirely pragmatic (mostly grounding the literature in reality - if the invoked piece is a real piece of art, one you could find in a museum, for example) or more poetic (drawing some symbolic meaning between the piece of art and the idea behind the text).

In Przybyszewska's plays ekphrasis is nonexistent, at least on the foreground. I don't recall any clearly established visual, given to the readers by the original author. It's not weird in any way - how many pieces of medai do you recall which refrain from its sophisticated and additional piece of subtext and iformation? Hundreds, probably. The only other artistic thing that she has weaved into her plays is La Marseillaise, which is invoked twice in The Danton Case. There are also three book references to Othello, Orlando furioso and this one book Robespierre summarizes to Saint-Just when he's talking about hatred (but of which I have no idea if it's a real one - it probably is - or not). Other than that - nothing, plus the books count only a little, forekpfrasis should be, as I said, visual in nature.

Of course, the historical aspect of her works is what grounds them in our reality, and so cleverly, too (seeing as they're not really historical plays in any way or form, but manage to fool most anybody). And thanks to her extensive stage directions, we have no need of any additional element helping us visualize the scenes, for she does it perfectly enough on her own.

However, seein as these are plays calls for a mirror ekpfrastic effect and thus theatrical and cinematographical adapations are born. And they, on the other hand, have a potential to be filled to the brim with visual refernces. Here I would like to have a look at a few, which are taken from one of the most well known staging and the famous Wajda movie (plus some). In no particular order, there goes:

This is the very first scene of a controversial theatre adaptation of The Danton Case. Instead on portraying Robespierre as a firm leader, who only in the very end collapsed temporarily under the huge responsibility he now had to bear, the director decided to portray him as someone physically weak, not in the sense Danton meant when he called him a weakling, but in the sense of somebody who already bears so much responsibility, pain, physical ailments, doubts and whatnot. Just: everything, everythin a human could possible deal with, he deals with, and has to do so in a way that doesn't make people suspiscious about his "shortcomings". There is a interesting parallel between him and Saint-Just, whose upright and unbreakeable character is symbolised by a neck braces, something which people wear after a spine endangering accidents - and incidentally, wasn't it Saint-Just who accused Robespierre of "breaking his spine"? But not in this adaptation, oh no - here their very last scene is cut extremely short and they recite the last few sentences along with some Thermidor lines as two floating heads, a vision into the future which awaits them.

Enough about Saint-Just, though, let's focus on Robespierre and Marat. I must admit I know next to nothing about him, only what some passage here and there in this or that historical study might tell me, but I know, as does everybody, that he was known as L'ami du Peuple, which is why of the reasons, I think, why the director took this image and transposed it onto Robespierre: to make him even more likeable, to show for the umpteenth time that it is Robespierre whom we should cheer on and whom we should feel sorry for. This might also be a parallel between their both's tarnished health, their premature deaths and - last but not least - the role of an icon of the Rvolution both of them play in nowadays' audience's minds. You don't have to study history to knowwho Robespierre was, you don't have to study art to know this painting. Even if you don't agree with some more in-depth explanation of linking this person to this painting, it is a good opening image. It captures our attention in a good way.

I had mention Saint-Just and there he is, in the background of the picture, symbolically assisting Danton and his clique in their last moments. Instead of shwoign them in torn shirts, the director went into another direction altogether and enshrouded them in white sheets from heads to toes, making them all look like very stereotypical ghosts, whom they will all become in just a couple of moments.

In Polish culture, the first thing that comes to mind when talking about ghosts is Dziady, an old slavic tradition that is now replaced with the Catholic All Souls Eve. Dziady is no longer, apart from perhaps some small minorities who still practice old pagan faiths, but as a ritual, they are immortalised in a play by Adam Mickiewicz, undoubtedly the greatest Polish poet ever. Everybody know this play, some scens - by heart, and they were and are being staged pretty much constantly from one point on. Needless to say, they inspire a lot of art, and I decided to show this very fmous poster by the most famous Polish poster designer, Franciszek Starowieyski…

…who is important in this case, because he played David in Wajda's movie.

Not many people know - because his other carreer overshadowed by a lot his first one - that Wajda was a painter. Who actually hated his art, some of his pieces are in the national museum of contemporary art in Łódź alongside stars such as Władysław Strzemiński (the hero of Wajda's very last movie), which is a fact he absolutely detested. I dont know, nor do I care, why was that, because what matters is his previous education as an artist at the very least helped him not only to envision the visuals of the movie, but also acquainted him with great works of art. On which he could model this or that setup. I think it's a nice little detail he catsed Starowieyski as David, a real painter acting as another real painter, it adds a layer of reality onto the movie, and presumably makes for a more natural acting in the few scenes he was in his studio (I also think they look alike).

Speaking of David's studio, I once stumbled upon a lecture which drew parallels between some scenes in the movie and some paitings, which was mostly focused on character and costume design, and truth be told didn't contribute much to the overall watching experience of Danton. However, I must admit the lecturer had a very good eye in this one particular case, in which he pointed out that this quick shot in David's studio pretty obviously invokes the Fussli's The Artist's Despair Before The Grandeur Of Ancient Ruins. I don't think it's a coincidence (or at the very least, would be funny if it were) this shot is shown during the scene where Robespierre starts to grasp at desperate measures to save the country/save his own face in the trial. It is an artist's despair, only artist of a different kind. And it is a despair when being faced with a (possible) ruin of something great, even if its greatness is not yet formed, as opposed to the greatness passed.

The very last example I was able to think of was this photo I found of The Danton Case from 1975. It is one of those old, very classical (I presume) adaptations, which are mostly filled to the brim with riddiculosly attractive people and very often deliberately drew from other sources of artistry, like the one pictured above. No matter what the real relationship between Louise Danton and her husband was, in the play it is portrayed as something atrocious, and I cringe whenever directors try to make it something else without good reasons for doing so, so I am very glad in the past at least they stuck with classicaly depicted acts of violation against women, not because it is a violation, but because in the classical stories (like the myth of Persephone shown in the sculpture above) the woman will usually get her revenge. Just like Przybyszewska's Louison did.

Thank you for bearing with me until the end, and if you have any other examples of this come to your mind, I compel you to share them with me!

List of pieces of art in the order of their appearance:

Jacques-Louis David, The Death of Marat

Franciszek Starowieyski, Dziady

Jacques-Louis David, Self-portrait

Heinrich Fussli, The Artist's Despair Before The Grandeur Of Ancient Ruins

Gianlorenzo Bernini, The Rape Of Persephone

[calzona-ga]

She might change her mind; she certainly has before. But midway through an interview, Ellen Pompeo casually drops the bomb that after more than 360 episodes, the upcoming 17th season of “Grey’s Anatomy” may be its last.

“We don’t know when the show is really ending yet,” Pompeo says, answering a question that was not at all about when the show might end. “But the truth is, this year could be it.”

Pompeo has played Meredith Grey — the superstar surgeon around whom “Grey’s Anatomy” revolves — since its start. The show, created by Shonda Rhimes, premiered on ABC on March 27, 2005, and became an immediate, noisy hit. Since then, for a remarkably long time in Hollywood years, the drama has been among the most popular series on TV, even as the landscape of television has changed seismically. At its Season 2 ratings height, the program drew an average audience of 20 million viewers. And all these years later — in a TV universe now divided by more than 500 scripted shows —“Grey’s” ranks as the No. 1 drama among 18- to 34- year-olds and No. 2 among adults 18 to 49. In delayed, multiplatform viewing, Season 16 averaged 15 million viewers.

Strikingly, technology is such that teenagers who were born when the show premiered, and later binged “Grey’s” on Netflix, watch new episodes live with their parents. The series has spawned two successful spinoffs for ABC, “Private Practice” (which ran from 2007 to 2013) and “Station 19” (which enters its fourth season this fall). “Grey’s Anatomy” has been licensed in more than 200 territories across the world, translated into more than 60 languages, and catapulted the careers of music artists — from Ingrid Michaelson and Snow Patrol to Tegan and Sara and the Fray — whose songs have played during key emotional sequences.

In its explosive initial success, “Grey’s Anatomy” was an insurgent force in popular culture. The Season 1 cast featured three Black actors — Chandra Wilson, James Pickens Jr. and Isaiah Washington — as doctors in positions of power at the Seattle hospital where the show is set, and Sandra Oh played the ambitious intern Cristina Yang, who would become Meredith’s best friend. For the women characters, the “Grey’s” approach to sex was defiant and joyful, starting in the pilot with Meredith’s one-night stand with Derek (Patrick Dempsey), who turned out to be one of her bosses at the hospital.

Rhimes presented these images to the world like they were no big deal, when in fact, nothing like “Grey’s” had ever been seen on network television. Krista Vernoff has been the “Grey’s Anatomy” showrunner since Season 14, as anointed by Rhimes, and was the head writer for the first seven seasons. She remembers the moment she realized how radical “Grey’s” was — a medical show driven entirely by its characters instead of their surgeries — as she watched an episode early in Season 1. “My whole body was covered in chills,” Vernoff recalls. “I was like, ‘Oh, we thought we were making a sweet little medical show — and we’re making a revolution.’”

Still, no one expected “Grey’s Anatomy” to become the longest-running primetime medical drama in TV history, outlasting “MASH” and “ER,” the previous record-holder. Since 2005, “Grey’s” has inspired countless women to become doctors, and along the way, its depiction of illness has even saved a few lives. The show has remained popular through three presidential administrations, the Great Recession, tectonic shifts in how people watch TV and two cultural reckonings — one feminist, one anti-racist — that demonstrate how ahead of its time “Grey’s Anatomy” has always been.

And they’re not done yet. When Season 17 premieres on Nov. 12, “Grey’s Anatomy” will tackle the subject of the coronavirus as experienced by the doctors at Grey Sloan Memorial, all while filming under strict COVID-19 protocols. The season is dedicated to frontline workers. And Pompeo, a producer on “Grey’s” — whose Meredith has removed a live bomb from a patient’s body, was in a plane crash, was widowed after Derek died in a car accident, was beaten nearly to death by a patient and, in a separate incident, actually did die briefly after a ferry accident — is intent on making the show top itself once again.

“I’m constantly fighting for the show as a whole to be as good as it can be. As a producer, I feel like I have permission to be able to do that,” Pompeo says. “I mean, this is the last year of my contract right now. I don’t know that this is the last year? But it could very well could be.”

Pompeo has been refreshingly transparent about her fight to become the highest-paid female actor on television, having detailed a few years ago how she negotiated a paycheck for more than $20 million a year. She clearly knows what she’s doing with these frank pronouncements as well.

As Pompeo laughs over the phone from her car, she says in a near shout: “There’s your sound bite! There’s your clickbait! ABC’s on the phone!”

The “Grey’s Anatomy” team — led by Rhimes and executive producer Betsy Beers — created the first season in a vacuum, because the show did not have an airdate. The 2004-05 season was a comeback year for ABC because “Desperate Housewives” and “Lost,” both of which debuted that fall, became phenomena — not only ratings successes but also watercooler events.

But at “Grey’s,” Rhimes was getting noted to death by network president Steve McPherson. According to Vernoff, McPherson — who resigned in 2010 under a cloud of sexual harassment allegations — stonewalled with “pushback every step of the way,” as ABC’s then- head of drama, Suzanne Patmore Gibbs, fought for the show. Vernoff was close with Patmore Gibbs, who died in 2018, and recalls her talking about her clashes with McPherson.

“He just didn’t get it; he didn’t like it,” Vernoff continues. “Honestly, I’m going to say, I don’t think he liked the ambitious women having sex unapologetically.”

Wilson, when she was cast as Miranda Bailey on “Grey’s,” was a New York theater actor (“Caroline, or Change”) relatively new to series television. But she was well aware of the network’s issues. “We took a creative break around the Christmas holiday, which to me meant ‘Oh, we’re out of a job.’”

Pompeo was frustrated: “Once we finally got an airdate, two weeks before that airdate they wanted to change the title of the show to ‘Complications.’”

In an email to Variety, McPherson disputed these assertions, saying, “I made the original deal with Shonda. I developed ‘Grey’s Anatomy’ at the studio. I picked it up at ABC.” He praised Patmore Gibbs, and added, “As for defaming me again and again, I don’t know what to say other than it’s sad that anyone feels the need to spread lies about me.”

Yet there was so little faith in the show that the writers were asked to clear out their offices when they finished the season. But to Vernoff, who had clicked right away with Rhimes, the early episodes had “felt like a labor of love.”

And it was worth the battle. “We fought for the right for Meredith and Bailey to be whole human beings, with whole sex lives, and not a network TV idea of likable,” Vernoff says. “You might not have been likable, but now you’re iconic.”

As far as the medicine went, the cases were often ostentatious. “Every kind of crazy accident that had ever caused terrible harm to any human ever, that was our homework at night,” Vernoff says. It was up to Zoanne Clack, an emergency room doctor-turned-writer, to be a sounding board in the writers’ room. She began as the only doctor on staff during the first season, and is now an executive producer. “What was interesting was that the writers don’t have those boundaries because they don’t know the rules, so they would come up with all of these scenarios, and my immediate thought was like, ‘No way!’” Clack says. “Then I’d have to think about it and go, ‘But could it?’”

When the program finally premiered — on a Sunday night after “Desperate Housewives” — to massive ratings, it was a shock to the cast and crew, given that they had shot the first season under a cloud, Pompeo says, adding, “So the fact that the numbers were that huge the first time we aired was a big f–k-you to McPherson!”

With Season 2 now a given, everything changed, Vernoff says: “It was like a hurricane-force gale, and everyone was just trying to hold on.” They had made 13 episodes for Season 1, airing nine of them and holding the final four for Season 2 — Meredith finding out that Derek was actually married (to Addison, played by Kate Walsh) had felt like the perfect finale. But upon the writers’ return, Vernoff says, the feeling was ��Holy s—. We have to make 22.”

The entire cast — mostly unknown actors like Katherine Heigl as the sunny Izzie Stevens, T.R. Knight as the chummy neurotic George O’Malley, and Justin Chambers as the troubled, secretly vulnerable Alex Karev — had become famous overnight. For Wilson, whose Bailey was the stern teacher the interns called “the Nazi,” it was a new experience. “Folks were scared to talk to me, like in the store or in the Target — people would just kind of leave me alone,” she says. “It was like, ‘What’s going on?’”

According to Vernoff, “Paparazzi were following the cast to work — it was wild.”

The mid- to late-2000s were the height of glossy gossip magazines such as Us Weekly (and its copycats), as well as the inception of TMZ and Perez Hilton as celebrity-hounding, news-breaking forces that fueled (and soiled) the fame-industrial complex. The cast of “Grey’s Anatomy” was firmly in the sights of these new, often toxic forces in media.

Pompeo says the cast was so talented that it “was all worth it” — but yes, the transition to stardom was hard for the group: “At the time, it was just a real combination of exhaustion and stress and drama. Actors competing with each other — and envious.”

Heigl, Knight and Isaiah Washington all went through press cycles that made the show seem scandal-prone. To rehash it all now seems pointless; you can look it up. Washington was fired in June 2007. Knight and Heigl asked to be written out of the show preemptively, in Seasons 5 and 6, respectively.

Vernoff and the other writers were watching the internal messes unfold. They had to deal with how the fallout affected the show’s plot, as when Washington was fired just as Burke, his character, was about to marry Cristina. “When word comes down that an actor is leaving the show, and what you’ve got scripted is a wedding …” Vernoff trails off, laughing.

“There was a lot of drama on-screen and drama off-screen, and young people navigating intense stardom for the first time in their lives,” she continues. “I think that a lot of those actors, if they could go back in time and talk to their younger selves, it would be a different thing. Everybody’s grown and changed and evolved — but it was an intense time.”

Pompeo doesn’t want to talk about what happened with individual actors from the show, because when she has in the past, “it doesn’t get received in the way in which I intend it to be.” But she does make a point about the way television is produced. “Nobody should be working 16 hours a day, 10 months a year — nobody,” she says. “And it’s just causing people to be exhausted, pissed, sad, depressed. It’s a really, really unhealthy model. And I hope post-COVID nobody ever goes back to 24 or 22 episodes a season.

“It’s why people get sick. It’s why people have breakdowns. It’s why actors fight! You want to get rid of a lot of bad behavior? Let people go home and sleep.”

Debbie Allen would eventually be Pompeo’s savior in that regard, but that was years away. Allen — an actor and a dancer — began her directing career when she was on the 1980s TV series “Fame” as a “natural progression” because, she says, “I was in charge of the musical numbers, and so many directors didn’t really know how to shoot them.” She went on to be a prolific director and producer, most notably overhauling NBC’s “A Different World” after a tumultuous first season. As a fan of “Grey’s Anatomy,” Allen wanted to work on the show, and in Season 6, she was hired to direct. To prepare for it, Allen shadowed Wilson, who had been tapped to direct by executive producer-director Rob Corn. (“He came to me and said, ‘You should direct,’” says Wilson, who has now helmed 21 episodes. “And I said, ‘OK.’ Because I didn’t know what else to say.”)

Directing that sixth-season episode led to Allen’s fruitful relationship with “Grey’s.” In Season 8, Rhimes wrote Allen into the show to play Catherine, a star surgeon, a love interest for Richard Webber (Pickens) and the mother of Jackson Avery (Jesse Williams). Ahead of Season 12 in 2015, Allen became the show’s EP/director. Her duties included hiring all of the directors, weighing in on scripts and casting, and, as Allen puts it, “minding that people feel good about themselves.” Several years before the revived #MeToo movement would lead to calls for systemic changes behind the camera in Hollywood, Allen set a goal of hiring 50% women directors. She also increased the number of Black men who directed “Grey’s” during her first season as executive producer, among them Denzel Washington. (When she sold him on it, she recounts, he said to her, “I’m going to say yes, Debbie Allen.”)

Pompeo and Allen are close. Allen began her new role the year after Dempsey left, “at a time when we were really broken,” Pompeo says. “And so much of our problems were perpetuated by bad male management. Debbie came in at a time when we really, really needed a breath of fresh air, and some new positive energy.”

Pompeo continues with a laugh: “Debbie really brought in a spirit to the show that we had never seen — we had never seen optimism! We had never seen celebration. We had never seen joy!”

According to Pompeo, Allen began advocating for her to have more humane hours — Fridays off (Pompeo: “And I was like, ‘What? What? Fridays off?’”) — and for the show to shoot 12-hour days maximum, and ideally no more than 10 hours (Pompeo: “And I was like, I love this woman.”).

Allen speaks affectionately about her bond with Pompeo. “Coming out of Boston, she’s so earthy and real in a way that you might not know,” Allen says. “There’s a sisterhood between us — I guess you would say it’s almost a Blackness that exists between us. And she’s part of our tribe.”

Allen has been a key member of the “Grey’s Anatomy” brain trust since Season 12, and two seasons later, Vernoff returned to run the show. She’d left at the end of Season 7, consulted on “Private Practice” for a few years, and then went to Showtime’s “Shameless” for five seasons. As her contract was set to expire, Rhimes asked Vernoff to lunch, and told her she wanted her to take over. “It felt like she was saying, ‘Hey, our kid needs you,’” Vernoff says.

Before accepting the offer, Vernoff had to catch up on the show. She had always written “Grey’s” as a romantic comedy, and what she saw on-screen during her binge was dark as hell — especially after Derek’s death. “If this show that you are currently making is the show that you want ‘Grey’s Anatomy’ to be,” she recalls telling Rhimes, “I am, in fact, not the right writer for it.” But Rhimes was insistent, saying it was time for a change after the mourning period for Derek.

Vanessa Delgado, who started as a production intern during the seventh season and has worked her way up to being lead editor and co-producer, says the show’s trajectory shifted when Vernoff came back — it was a return to the original, saucier tone of “Grey’s.” “We changed the music completely,” Delgado says. “The dialogue felt lighter and more fun, and wewere having fun again.”

That lightness will be difficult to maintain this year, of course, when, as Allen puts it, “COVID is No. 1 on the call sheet right now.”

Vernoff at first wondered whether “Grey’s” should ignore the coronavirus, thinking the audience comes to the show “for relief.” But the doctors in the writers’ room convinced her this wasn’t the time for escapism, saying to her, “This is the biggest medical story of our lifetime, and it is changing medicine permanently.”

When they’ve had doctors and nurses come speak with them this season, Vernoff says, “they were different human beings than the people we’ve been talking to every year. And I want to honor that, tonally. I just want to inspire people to take care of each other.”

Pompeo, who is not shy about offering criticism, sounds positively enthusiastic: “I’ll say the pilot episode to this season — girl, hold on.

“What nobody thinks we can continue to do, we have done. Hold on. That’s all we’re going to say about that!”

Pompeo has a few more months before she decides whether she wants to continue — and as Rhimes and ABC have made clear in recent years, the show will likely end when she leaves. “I don’t take the decision lightly,” Pompeo says. “We employ a lot of people, and we have a huge platform. And I’m very grateful for it.”

“You know, I’m just weighing out creatively what can we do,” she says. “I’m really, really, really excited about this season. It’s probably going to be one of our best seasons ever. And I know that sounds nuts to say, but it’s really true.”

Vernoff doesn’t worry about the creative well drying up. “We’ve blown past so many potential endings to ‘Grey’s Anatomy’ that I always assume it can go on forever,” she says.

And Wilson knows how important “Grey’s” is to its audience, in that the characters have essentially become people who “live in their house.” As one of only three actors who’ve been on “Grey’s” since the beginning — the other is James Pickens Jr. — Wilson is in it until the end: “In my mind, Bailey is there until the doors close, until the hospital burns down, until the last thing happens on ‘Grey’s Anatomy.’ That is her entire arc.”

Whenever the show does conclude, part of its legacy will be about the talent it launched into the world, beginning with Rhimes, who will soon release her first shows for Netflix, after her company, Shondaland, made a lucrative deal with the streamer in 2017.

But it will also be about the characters of “Grey’s Anatomy”— mostly women and people of color — who are trying to make the world a better place as they find friendship, love and community.

“The show, at its core, brings people together,” Pompeo says. “And the fact that people can come together and watch the show, and think about things they may not have ordinarily thought about, or see things normalized and humanized in a way that a lot of people really need to see — it helps you become a better human being. If this show has helped anybody become a better human being, then that’s the legacy I’d love to sit with.”

[phoenotopia]

2020 October Update

So... we've launched. And our launch was... actually kind of... bad...

This is a dev blog, so I'll speak on it. But before that, we do have the game's steam page up. If you're anticipating the PC release, please do visit the steam page and add it to your wish list. It would help us a lot.

VISIT STEAM LINK

...

So what didn't go so well?

1. We launched in Nintendo's Americas and Europe territory. If you've been following the release, you'd know that America got the game first. We didn't move to launch in Europe at all since I thought the EFIGS languages (English, French, Italian, German, Spanish) were pre-requisites for Europe. By the time I learned that this wasn't necessarily the case, and attempted to course correct, the damage was done. We had half the allotment of keys to do outreach, and maybe some European outlets that would've covered us, did not.

2. When the game launched, rather than a victory lap, what we experienced was more of a public lashing. We did get some reviews that praised the game highly, but just as many reviews lampooned the game for its high difficulty or other failings. I've since released two patches (or 3, depending on how you count it) to address the difficulty. A lot of overnighters. If you recall in the last blog post, I thought it'd be a good start if we got 20 or so reviews on Open Critic. But we've only 8 as of this writing, and the aggregate score isn't so hot. So that's a fail by my metric.

3. A publisher reached out to us because they were interested in physically printing the game! Yay! But... to advance our talks, they wanted to see the game's sales numbers to ensure that there's a good chance their investment could be recouped. And unfortunately, the game's sales numbers are pretty low. They backed out :(

Some hard lessons were learned. The biggest lesson for me concerns how well we playtested the game. Looking at the original playtester list, it's a short list. You may recall from a previous blog post that our ability to test was severely hampered by technical limitations. Add to that, a lot of people on this list are objectively really achieved players. We're talking power ranked in Smash Bros, regular tournament goers, and people who've played and bested every Souls game. And as the maker of the game, I am most blind to the game's challenges.

Now, I'm definitely more of the opinion that you prioritize PC development first. I still have some reservations about some stages of PC development. But if you do PC/Steam first, you have the great benefit of being able to do Early Access, which gives you access to a greater testing pool. I now view it as an invaluable part of the equation. If we had been able to do Early Access for 1 or 2 months before release, we probably could have ironed out most of the game's difficulty and balance problems. Hard lessons, indeed.

There were a lot of other notable events that occurred over the past 2 months - the travails of press outreach, realizing my own limits as a developer, feeling defeated and getting back up again, etc. There's too much stuff to chronicle or go into detail. But it wasn't all bad.

Some good things did happen...

We got a publisher to publish for Japan! It came as a huge relief, because clearly, we don't know what the heck we're doing.

The publisher has been an invaluable source of information and feedback. They've recommended some changes to the game to improve user experience. Some of these changes I was hesitant to do at first because they concerned systems I thought integral to the identity of the game. But after trying it, I have to admit, they're good changes.

So a Japanese version of the game was moving ahead. And it looked like that'd be it. I wasn't planning to move forward with any other language translations due to the game's low sales and our funds being depleted. 

But, I was approached by a translator who urged me to move ahead with translations. He told me he was willing to work for only a small price initially and then be paid the rest after from a percentage of the game's sales until the cost of the translation was paid in full.

I was surprised translators were willing to work under such a model since it's entirely likely the game's current low sales trajectory would continue and they wouldn't earn back the full cost of translation. But I was also flattered they were willing to take a risk with me. After that, I approached some others with the same hypothetical deal, and long story short, we're now moving forward with French, German, Spanish, Portuguese and Russian translations. As for why these languages in particular, they were languages for whom I had contacts (because they reached out to me at some point in the past). And also because they were deemed more likely to be profitable based on their home country's gaming market/buying habits. I'd be personally happy to have my native language be represented, but it's not expected to be a profitable territory. But if the game does better in the future, it may justify the costs of translation. There could be a chance!

The plan right now is to get the game supporting these first round of languages and then to patch that into the Switch version as well as launch the PC version with these languages - all in December. A lot of things need to align for this to occur, so a delay isn't out of the question. It'll be busy... I'll update the blog again in latter half of December, probably near the game's PC launch date... OR to announce a delay. Let's hope it doesn't come to that.

Fan Support

While the past two months have been grueling, one good thing remains constant - fan art! Thank you everyone who submitted. It means a lot to me and the team!

Big thanks to Pimez who's taken on watching over the reddit community as moderator. He also combs the other communities and makes sure I see every new art piece. Despite juggling his own life and all these tasks, he still found some time to draw.

Pimez's piece reminds us that just because the new game's out doesn't mean we can't still celebrate the original flash game. The jail dog is a dog found only in jail and only in the flash game. I imagine Gail is just tossing a stick, and they're playing fetch.

A new artist to this scene æv draws both the Phoenix logo AND a super cute picture of Gail playing the flute. So precious, you want to pinch her cheek. Even the Sand Drake is enthralled!

Another new artist, beet4ppy arrives on the scene with two pictures! One features a no-nonsense battle-hardened Gail looking stoic and tough! Kinda reminds me of Vinland Saga actually. The other, a more cheerful group composition - I must say I'm a big fan of Fran's classic anime-style eye!

A returning artist, Cody G, returns with a picture depicting the tribulations of cooking. Gotta love Gail's frantic expression! I've heard the complaints, which is why we've added an option to slow the cooking mini-game down. An improved button font is also on the way.

Gamesing with two undertale x phoenotopia crossovers. Thomas being a robot builder makes sense taking a role similar to Alphys. But why is Alex dressed like a clown? Perhaps there is a hidden meaning here... 

A new artist, Warotar, draws both a pooki wearing Gail's clothes and Gail wearing pooki clothes. Awww. The pooki is a bit scary - it kinda reminds me of a tragic event in a certain anime. But the Gail is adorable!

POL#5655 submitted this one to KM's discord which made its way to me. Here, a stylized Gail appears unnerved by the dark red eyes stalking her in the background. Are they bats or something more sinister?

A new artist, MilesCPW, arrives on the scene with three rare well-vectorized arts! Love it! One scene depicts Gail balancing a bomb on her head - that's a speedrunning trick I only learned about recently after someone emailed me a video O_O

The other drawing gives us new insight into Katash - he could actually look cute if he wasn't trying to kill you.

And the bees... Okay, this one got a chuckle from me :D

A returning artist roccy_chair draws this heart-warming scene from the beginning of the new game. Aww. Mika doesn't get much screen time for story reasons, so it's nice to see her represented.

UnrealWorld_32 returns with another drawing of Gail in Panselo, this time capturing a more idyllic time. I like the tranquil nature of this piece. And Gail does in fact play the guitar, denoted by the guitar in her room.

Returning artist shafiyahh draws a nice portrait of Prince Leo - looking regal and princely. I like the storybook art style of this piece. It made me immediately think of "the Little Prince" - one of my favorite books actually!

Negativus Core returns with a beautiful group composition of Gail and the gang - flying from a Switch shaped window - totally sensible considering the game is only Switch right now. As usual, I'm impressed by Negativus Core's use of challenging angles to frame a more dynamic shot of the characters. Great job!

And it wasn't only artists bearing the banner. I'd like to give a big shoutout to everyone in all the game's little communities (from the reddit to the discords to this tumblr). I've seen this community help newcomers with gameplay and walkthrough advice, discussions, updating the wiki, and so on. It does bring a smile to my face. Thank you everyone!

[franklyautistic]

Alternatives to H*rry P*tter

Given Robert Galbraith’s recent decision to become a Death Eater (”I just don’t want mudbloods in pure-blood spaces”), I am sure many people are looking for new fandoms to get involved in. So here are two great literary fantasy worlds to get stuck into.

I have strictly stuck to 1) fantasy, and 2) series, so great SFF authors like @annleckie, @neil-gaiman, @charliejane-anders, @jscalzi, @maryrobinette, Annalee Newitz, Yoon Ha Lee, and many more had to miss out. Particular shout-outs to Anders and Lee, who are both trans, and Newitz and Leckie in particular have handled trans issues very well in their writing.

(If anyone is looking for recommendations of stand-alone works, or sci fi, or more queer-focused works, or anything else, then hit me up and I can throw ideas at you.)

All these books share two key things: characters who jump off the page and into your heart, and

So, without further ado:

N.K. Jemisin’s Broken Earth trilogy

There is a paradox in recommendation: the better something is, the less one wants to say about it, in case it spoils the experience. With most stories, one does not want to spoil the dramatic twists and turns, the surprises, the emotional highs and lows. And the Broken Earth trilogy has all of that. There are several major twists in the first book alone. There are characters you will love, and others you will despise with intense venom, and some who will make you feel both at once. This is a series full of triumph and despair, wonder and amazement. But you could have all the plot twists spoiled for you and it wouldn’t diminish your enjoyment of this book. The emotion is never cheap, but built up through excellent thematic work which gives the series a huge amount of depth and subtlety.

Jemisin is a middle-aged black woman, not a demographic frequently represented in epic fantasy stories like this, but here she wears her blackness and femininity with pride. This story could not have been written by anyone other than a black woman, a proud feminist and black rights advocate. It’s a staggering work which will make you feel intense feelings in even the most mundane details.

Did I mention that all three books won the Hugo Award? That’s a huge deal, completely unprecedented. By any measure, these are historically important fantasy books.

Lastly, there is a trans character who has a significant supporting role, receives lots of development, and who finds a loving, accepting community. She is not fetishised, and while her transness is made explicit on occasion, it does not define her. There are other queer characters, including two very important ones, and a poly relationship. And nearly all the characters are black.

Patrick Rothfuss’s Kingkiller Chronicles

I can’t not mention Rothfuss. The first thing you notice about The Kingkiller Chronicles is that Rothfuss’ prose is extremely rich. The story is narrated by Kvothe, who was once the greatest adventurer in the world but has lost his magic, and is now trying to live out his life in peace. As well as the great prose, Rothfuss excels at character development. Kvothe is never allowed to get comfortable. His life is constantly driven forwards, and his character builds along with it. And there’s some really good payoff in the form of a few great “crowning moments of awesome” when Kvothe masters a skill.

I will say that some of the sex scenes are rather cringeworthy. I hope that this is intentional, with Kvothe being deliberately portrayed as an arrogant guy who plays up his sexual conquests. But he isn’t just a bad boy

There are no trans characters that I am aware of. There are two obviously gay characters who are in a relationship with each other. While there is a range of female characters, the depictions of women are occasionally a little limited - it’s a step above Tolkien but far from perfect.

And given that this is about Galbraith - in 2015 Rothfuss unthinkingly shared a transphobic New York Times article. It would have been easy for him to claim it was a mis-click, or to double down, just like Galbraith. Instead, he owned up to his ignorance and committed to listening to trans voices and becoming better informed.

Laini Taylor - Daughter of Smoke and Bone

Karou is a young artist who collects teeth for a mysterious benefactor, who might be the devil.

This starts out as an atmospheric urban fantasy book, but builds into a sprawling epic, full of tension, some really brutal scenes, and also lots of feely goodness. Characters bare their souls, get them torn up in their face, pick up the scraps, pull them back together again, and do it all again. Themes include identity, memory, transformation, appearances, good and evil, and love. And once you’re done with the trilogy, there is a weakly-related duology (Strange The Dreamer and Muse of Nightmares) to crack on with.

The nature of most of the characters in the original trilogy makes applying human labels difficult. There is an explicitly asexual character who is shown in a romantic relationship, but the first clearly same-sex relationships don’t show up until the later duology, which is slightly disappointing given the first series focuses on romance. However, I think Taylor’s works very much lend themselves to being read through a queer lens, particularly from a gender perspective.

-----

That’s what I have for you. The intent here is to recommend brilliant fantasy series that can replace Harry Potter in your heart. If you’d like queerer SFF, or black SFF, Asian SFF, or anything else, let me know and I can pull a recommendation post together.

[sirikenobi12]

Creator Tag Game

I was tagged by the absolutely wonderful @mahizli (Meysun on AO3) - 2020 has been overall terrible for many reasons, but it brought me back to the world of Star Wars fanfiction and introduced me to so many amazing writers such as Meysun who continue to inspire my work!

Rules: It’s time to love yourselves! Choose your 5 (ish) favorite works you created in the past year (fics, art, edits, etc.) and link them below to reflect on the amazing things you brought into the world in 2020. Tag as many writers/artists/etc. as you want (fan or original) so we can spread the love and link each other to awesome works!

Deception -  Back from an undercover mission Siri Tachi learns of Obi-Wan’s “death” at the hand of assassin Rako Hardeen – but she sees through the Deception (set during The Clone Wars animated series episode 4.15 entitled Deception).

So, this was the very first fic that I wrote after a decade and it’s very dear to my heart! Watching TCW for the first time re-ignited my passion for Star Wars (Obi-Wan in particular) and this arc felt just perfect to bring Siri Tachi into the world of the animated series. This one also started my first series which is finding ways to include Siri into TCW. 

It Takes a Village - The events, consequences and aftermath of the Phantom Menace as seen through the eyes of Obi-Wan’s closest friends. And when they see their friend grieving the loss of his Master, dealing with the fame associated with killing a Sith while also taking on a Padawan (the Chosen One no less) they step in to help because they realize he is in WAY over his head.

This is probably hands down my favorite story that I’ve ever written (so far). This fic not only allowed me to write about not just the difficulties Obi-Wan faced after Naboo, but also Siri having to prepare for her Krayn mission. It gave me an opportunity to discover my love of writing this group of friends and caused me to want to include Quinlan Vos in nearly everything I write! This fic also was special because it was a sort of collaboration with @mahizli and just how much fun it was to write our two fics at the same time! 

Aftermath, the Fall of Kenobi - Obi-wan is struggling, the darkness he felt on Zigoola has come back full force after the death of Satine and he is close to falling. It doesn’t help that Sidious was injured after his duel with Darth Maul and he is now looking to transfer his essence into someone.

This fic nearly killed me, but I am so oddly proud of it! It all started when someone prompted me to try and write a “realistic” depiction of a Dark Obi-Wan and it ended up in the most complicated story I’ve ever written. I have never felt comfortable writing duels or battle scenes and I ended up with huge chapters that showcased probably 15 different characters dueling and battling. This also took me on a wild deep Wookiepedia dive to learn about ancient Sith prophecies and tactics. Even though it was a struggle to write I am so very happy with how it turned out, and it’s one of my more popular stories which is also pretty cool. 

Tested - There is an unspoken rule throughout the galaxy - if you go after a Jedi Padawan you better make sure the Master isn’t breathing. Unfortunately, not everyone follows that particular rule. 15 year old Obi-Wan Kenobi is kidnapped and experimented on by an old enemy and Qui-Gon races to his rescue. 

This is my most recent story and is currently a WIP. I wasn’t expecting this one to be as fun to write as it was, it was really just supposed to be a short writing exercise to see if I could write other characters (like Qui-Gon, Tahl and Mace Windu). It was a super fun surprise to learn just how enjoyable writing these other characters were. Plus, this is so full of angst and Obi-whump how could it not be one of my top 5?? 

It’s also overwhelming just how popular this story is!! Definitely my most popular to date. 

Memoirs of Kadavo - Siri Tachi was the spy who gave Obi-Wan and Anakin the intel on the Zygerrian Queen in order to help rescue the people of Kiros. She did not agree with their plan to infiltrate the slave market undercover, but of course our boys didn’t listen to her warnings. Now, she has to pick up the pieces of three traumatized Jedi.

This was another installment of bringing Siri Tachi into the world of the Clone Wars series and what was supposed to be a simple story that dealt more with Obi-Wan’s mental health after Zygerria instead of his physical turned into a crazy ride through the Force and Obi-Wan’s past. 

This story became a character study of Obi-Wan and also it dealt with the difference between attachment and love. Not to mention it had some quality Siri and Ahsoka bonding which was such a treasure to write (and can’t wait to write more). 

The Jedi Virus -   A deadly and highly contagious virus which specifically targets Midi-chlorians has been secretly created by unknown forces. Siri Tachi and Obi-Wan Kenobi have unknowingly been infected with the virus, and now both are under strict quarantine orders. As they face their fate together in isolation another team of Jedi race to find an antidote before it’s too late.

So, I know this game is only 5 fics, but I’d be remise if for 2020 I didn’t include my quarantine fanfic. I wrote this at the beginning of the lock down in March when it was only supposed to be a couple of weeks and here we are 9 months later and it still relevant. This story started out as just a fun short story with the idea of how fun it’d be to have Obi-Wan and Siri stuck in quarantine together and it became a huge plot that will come into play in some of my future fics. I really enjoyed writing this one!

 Well, there you have it my friends. Thank you again to the wonderful @mahizli for tagging me in this game! I’m tagging other authors who have really inspired my work this year (besides Meysun’s). No pressure tags (I’m sure you’ve all already been tagged): @luvvewan @stolen-pen-name23 @kckenobi harpforhim  @meantforinfinitesadness​  kyitsya @firondoiel 

[comradesalazar]

2020 Creator Wrap: Favorite Works

I will admit I got a lil Emotional that I got tagged in this but I’m so excited to go through it because this year has been SO PRODUCTIVE for me when it comes to writing. Thank you to the legend @that0negayslytherin​ for tagging me and the other legends, you the real MVP (and also thanks again for setting up the LV fic discord bc that place... really b Wild and really b a wonderful place to motivate each other to be our best.) Legends only!!

Anyhway! Onto this thing... I’m excited.

[rules: it’s time to love yourselves! choose your 5 (or so) favourite works you created in the past year (fics, art, edits, etc.) and link them below to reflect on the amazing things you brought to the world in 2020. tag as many writers/artists/etc. as you want (fan or original) so we can spread the love and link each other to awesome works!]

So. Most of my works from this year have been Venji related because I’m still in the deep pit of Love, Victor obsession and idk when that’ll go away. Hopefully not anytime soon because I’m having a great time and fic was an amazing way for me to improve my craft. I do have one piece of original work on this list, but the rest is fic. It’s difficult to choose favorites so I think I’ll go chronologically. A couple of these have graphics but not all of them. Anyway... let’s get into this, shall we.

Arakhne of the Floating Mountain

So this the first work I completed this year. It’s an original novella I wrote for Wattpad’s Open Novella Contest and it’s a very fun, character-centric story that reimagines Arakhne/Arachne (the one from the legend who gets turned into a spider after challenging Athena) as a lonely lesbian who lives alone on, you guessed it, a palace on a mountain in the sky, until three sisters drop by asking for her to create their coronation dresses for when they become the queens of Heaven, Hell and Purgatory. The sisters (Soledad, Luna and Estelle) basically try to court her and it’s a good time. Obviously, I didn’t win the competition but it was still a really fun story for me to write and part of my journey of realizing I can create a writing habit and work on something over the course of a long time, since the only other completed long work I had was for NaNo, which was just binge-writing over 30 days before I had the chance to get bored. If you’re into magical lesbians, check it out!

The stars will love me even if you don’t

I have so much to say about this work. I started it just on a whim in August after I watched Love, Victor in July and began wanting to actually contribute to the works of fandom. Little did I know that I would be embarking on a journey of 120k words and counting, with 33 chapters. This story deals with a whole random of issues -- from long-distance relationships, substance abuse, mental health problems especially around anxiety and depression/suicidality, toxic relationships, codependency, self-harm, the project of becoming oneself and being able to manage life and navigate the world in a healthy way, all the things. In a lot of ways, it is a personal project. But also in a lot of ways I wanted to correct a lot of ideas we have about what constitutes a healthy relationship and what love should look like. There were many times when I wanted to give up on this project due to frustration and exhaustion, but I continued to work at it. I learned so much about my own capabilities, about developing a writing habit, and about what it’s like to write a behemoth of a story. It isn’t perfect by any means but I appreciate the people who have reached out to me and told me that they learned some things about themselves from reading. This is truly a labor of love and I can see that it already accomplished the goal I set for myself which was to help people. It’s lit. And thank you so much to @callmevenji​ for the lovely cover!! She’s a legend!! 

The Thousand-Eyed Wraith (TTEW)

This was a little one-shot I wrote for the Halloween Venji Fic Fest and it takes place in the world of my original work, The Thousand-Eyed Crow. Basically, it’s about what would happen if Venji ended up in that world and had to deal with some spooky nonsense and eventually ended up joining a cult. It was fun for me because it was more stream of consciousness and post-modernist, which is very different to how I normally write but it was a really fun experiment tbh. 

You Only Live Forever (YOLF)

This was another one-shot I wrote for the Fic Fest, but this one was much smuttier and mature than TTEW. I was really inspired by Beyonce’s “Partition” (the song and the video lmao) and thought it would be interesting to put Venji in a world similar to Greendale in The Chilling Adventures of Sabrina but with s*x magic, so it was essentially a Love, Victor and CAOS cross-over for grownups lol. Apparently it worked out well, though, and they ended up trying to summon Satan which went... questionably. But I had a lot of fun writing this, as well, especially when it came to sorta balancing the old-timey setting with the modern day and the smutty scenes with the softer, fluffier ones. 

Part of Your World

So one day I had an idea to write a Little Mermaid-inspired Venji story that would be so sweet and romantic... And so I did. I took a lot of inspiration from several sources -- one, of course, was the Disney version of the Little Mermaid, as well as the original version which is a lot darker and more sinister, as well as mythology around sirens and selkies and just, I guess like, class warfare. So I ended up with a sorta more adult-version of the Little Mermaid where Benji gets attacked by humans and is distrustful of them until he meets Victor who is “not like other humans” and helps patch him up, and they embark on a bit of a whirlwind romance. This has been a treat to work on even though it’s probably one of my least popular fics because I imagine people are coming for something a bit more light-hearted but I’m incapable of writing something that is 100% fun and not chock full of imagery and meaning. I think this has also been the work that showcased and tested my imagery-writing and dialogue-writing abilities the most and brought out my inner poet. And once again a huge thank you to @callmevenji​ for the fanart, if you haven’t already followed her you should bc she’s a legend.

Dead Men Feed the Fish

Finally, my last and most recent work is also the story I worked on for NaNoWriMo this year. 63,000 words completed in less than a month, depicting the initial meeting of Venji and the way their romance develops and deepens over time. It’s just (chef’s kiss). I had originally had the idea for pirate!Venji and really wanted to write it because I was inspired by That One Scene in Pirates of the Caribbean, which is probably one of the most romantic scenes I’ve ever seen and between the only het pairing I stan. So I just had to write a story that included this scene and that allowed me to write my dream scenario of Venji out on the open seas being gay and having a good time and going on adventures and having homoerotic sword fights. This story has basically everything -- romance, action, adventure, magic/fantasy, a lil bit of spice/kink, good communication, tension, cute animals, everyone is gay, what’s not to love. I’m also looking to edit and publish traditionally so I’m in the process of fixing all that up now. And once again, thank you to @callmevenji​ for the brilliant fanart!

Anyway, that was that, and I hope that if you have the time and you get the chance, that you give some of my works a shot because I would be very grateful and I think you will have fun. 

I’ll tag @kateis-cakeis​, @g531​, and I guess anyone else who wants to do this! 

[curious-minx]

Denis Leary is making an animated vignette series based on Dogs Playing Poker and 10 Other Pieces of Kitsch Art That Should Be Turned Into TV

KITSCH auction house tremors and stampedes.

Dennis Leary basically discovered sex, drugs and rock n’ roll with his 2015 two season FX series Sex & Drugs & Rock & Roll. Leary’s always been one of those guys that can’t be beaten down  in spite of how dopey and cynical his edgy working class personal brand is. He’s got an entire deal set up with Fox, the flailing broadcasting company has placed all of their chips on a Denis with only one lousy  “N” in his name. I can’t even with this fake Irish Bostonian droid. Relish in the delicate thought process of Leary and leftover former Daily Show producer, Jim Margolis,  bringing up a Pinterest screen grab of the Dogs Playing Poker by Grand Master of Kitsch Cassius Marcellus Coolidge and money signs popping out of both of their heads. Here is a dramatic retelling of this thought process:

“Yo, get this Big D,” salivates the recently fired from Netflix Jim Margolis to Leary over a Zoom, “Fox got this Bento Box Animation Studio sitting around doing nothing but churning out animated interstitials for the Masked Singer, Paradise PD, The Prince, The Blues Brothers animated series, animated Harold And Kumar, Housebroken, The Great North, and ugh..um..Hoops..”

“I fuckin love Hoops, Jimmy! Why aren’t we pitching this on Netflix again?”

“Because Dogs Playing Poker is going to work so much better as pregame filler for live Sporting Events...on Fox.”

“Oh yeah. All of those rotten good for nothing grease monkey and lunch pail people will probably be giving each other Budweiser flavored Covid at the local saloon with these damn dog pictures hanging up. It’s like when old drunks would stay out late and watch the Flinstones at the bar, did you know that actual human male adults would sit in a town like Boston and waste away in a bar watching Flintsones. Can you believe that Johny?”

“My name is Jimmy, err Jim, but yeah Denis we’ll send you the scripts over. Any idea who we should cast?”

“Get me the hot blonde from Inspector Gadget 2, God dammit I miss Louie..are we sure we can’t get Louie back on air?”

“Afraid after Patton Oswalt dognapped his role from him in Secret Life of Pets, Louie CK has been banned from ever appearing as a talking dog again.”

“So bogus. Bobby Kelly will have to do.” Denis gets a text. “Dammit, Adam is getting all thirsty for this juicy  delicious bone. Gotta throw a  big bone to my dog Ferrera. Who else?”

“Ok. I’ll get one of those sad Daily Show losers. Um picking one at random, Roy Wood Jr. They’ll pretty much jump into anything, because John Oliver was in Love Guru they start thinking they can fail their way up.”

“I said no politics at the table! Paws off the table! This is going to be so fucking lit!”

////

Kitsch Art deserves so much more. George Lucas, retired American filmmaker, robber baron of childhoods and all around  mensch has been heavily invested in the kitsch art of Norman Rockwell. There are a bounty of stories to tell. Too many of them are far too white and basic, but there are rich narratives to be found in his out of date even for his own time romanticism of The Old Masters. Hopelessly out of date could have been a failing of Rockwell, but his politics grew progressive as his career went on and fought against the system. Cassius Marcellus Coolidge is the man that operated the first bank in Antwerp, New York  had the astronaut-like grace to wonder, “what if dogs played poker like people played poker?” A painting that dates back to 1894 used as means to sell cigars. What strikes me most about this painting is that they aren’t wearing clothes, but I bet when you try to imagine the painting you imagine these dogs fully decked out in some sort of work coat. There is a further anthropromized version of the ad called “His Station and Four Aces” that depicts a glimpse at a look at an entire canine furry society. His ideas of putting an animal in clothes remains to this day one of the most novel and surefire commercially friendly means of artistic expression. The original cynical man laughing all the way to the bank, his own bank that he founded to boot.

Seen above: An example of a Comic Foreground that also demonstrates the failings of having too few people in your party to properly partake in the comic foreground experience. 

“Cash” Cassius wasn’t the first man to imagine a domestic pet in people clothes, but he’s probably one of the few to do so with such commercial finesse. The man also at one point filed the patent on the “Comic Foregrounds,” which is the technical name of one of those carnival boards with holes to stick your head in. In post Covid times how many more heads will be salivating and rushing towards those holes to pop their heads in to create a lasting memory, if only for a second. So when I start learning more about this remarkable weirdo Cassius Coolidge, a man according to his official website dogsplayingpoker.com’s Biography: “Trying to chase mischievous boys from an abandoned house, he fell from a window and hurt his knee, leaving him injured for the rest of his life.”

Flash forward back to 2021 and Denis Leary and his career a man with a wikipedia with fun entries about all the accusations of plagiarism and hate speech against autism I start to worry about the legacy of more Kitsch art falling into the hands of other greedy and desperate TV executives. That being said if you are a greedy TV executive who happens to be a maniac that likes reading rando’s tumblr pages do I have a list for you!

TOP TEN PIECES OF KITSCH ART THAT SHOULD BE TURNED INTO SOME KIND OF SOMETHING

“We Are Having a Heavenly Time” Columbian Bike Monkey and Parakeet by, once again, Cassius Coolidge

Coolidge’s anthropomorphic foresight strikes again! This time he effortlessly establishes a captivating duo that could be easily voiced by an endless combination of celebrity voice actors. PAUL RUDD as “Monkey” and ISSA RAE as “Parakeet” present “We Are Having a Heavenly Time” present a travel show. You could basically use whatever leftover footage you have lying around from the many Conan O’Brien segments and plug Monkey and Parakeet and their trusty bicycle anywhere for an irreverent glimpse into the foreign World around us.

2. “Clown and The Girl” by Haddon Sundblom  

Now I know what you’re thinking, that title is miserable! I agree, but with a little  reverse engineering you get The Girl and Clown, which could be a whole new addition to the Girl on a Train, Girl with a Dragon Tattoo, Girl with a Dangly Earpiece, the Girl-Verse! The girl appears to be quite fearless of this clown, which is good because we need someone to be brave for when the clown takes off his mask.

Sundblom is also the original artist for the Coke a cola Santa Claus and how is it that we have gone this many rotations around the sun without a single Coke a cola Santa Claus special is the real reason why Christmas will always be the saddest time of year.

3. “Clean Your Fornasetti” based around the artistic Plate collection of Pierro Fornasetti 

Muk bangs, videos of people eating are a huge cyber traffic boom. People love watching people eat. Why not add the element of surprise by what kind of playful Fornasetti chanteuse is hiding underneath this plate full of gruel? Fornasetti is an artist with over 11,000 items created in his name and over 500 of them are based around a variety of expressions of a single woman. Clean Your Fornasetti is a deep and poetic rumination of the romance between the act of someone cleaning their plate and the reveal that the plate contained a visual feast all its own.

4. “Mickey’s Kinkade Playhouse” by the one and only Thomas Kinkade

The Kinkade Studios features over 63 “narrative panoramas” featuring Disney characters, but largely Mickey and Minnie, simply vibing. It’s time we stop pretending that small children like Mickey Mouse and market him for wistful older audiences that want to radiate in a nice long warm bath of color and sound. I am not sure I am even pitching an actual series but more of a Narrative Panoply. One thing that is missing from Disney Plus, and streaming services in general, is a severe lack of programming frills and flourishing. The iconic Adult Swim bumps are something completely lost to the dustbins of programming history left to remain in youtube compilations. Thomas Kinkade is a lot like Enya. Art critics treated him like a comedic punching bag for so long, but I doubt there’s an artist that grasps the kind of sterile enchantment people want after a long day of opioid benders. We’re all trapped inside doing puzzles why not do the bare minimum of slightly animating a pleasant scene of Mickey and Minnie roasting marshmallows or enjoying a breath of fresh Alpine air?

5. “Dust Lickers” by Odd Nerdrum

Quick! Get me Trash Humpers’ Harmony Korine on the Line Show him Shit Rock! The world of Odd Nerdrum is a harsh and primeval one that would make for an astonishing animated landscape. Odd Nerdrum himself feels like a worthy subject of some kind of documentary based around his imagery and insistence on making his art in the most arcane and old fashioned methods possible. Once again, maybe the visual world of Odd Nerdrum may not make for a full on narrative series, but once again would make for one hell of an animated segment.

6. “Homemade Pasta” by John Currin 

A cozy Queer slice of life cooking drama based around the two charming fellows of John Currin’s Homemade Pasta scene. A series of vignettes based around the completely unfabulous and domestic version of bliss that was denied many people as a result of the AIDS crisis. You can’t tell me you don’t see those two nice guys getting cozy and making pasta together and you aren’t dying to see how they go about rolling out their own focaccia bread.

7. “The Velvet Elvis” by the Collective Conscious 

David Lynch at one point in time was trying to crack into making his own Elvis biopic. I think it’s pretty safe to say that the age of a public wanting a David Lynch directed Elvis biopic has probably passed, but that does not stop Velvet art enthusiasts. TheVelvetStore.com is featuring a remarkable promo that could really bump up what a David Lynch Elvis movie could be like and the horror of having one’s soul trapped inside of a Velvet Elvis rendition painting seems like a pretty fertile place to begin a proper story about Elvis in America. 

8. “Big Eye Bunch” by Margaret Keane 

Yes, it was only a matter of time before Ms. Big Eyes herself, Queen of Kitsch, Margaret Keane would come up on a list like this. Tim Burton tried and sort of kind of captured what it so endearing about Keane’s work, but I think a fully animated dive into an orphanage full of sad Big Eye kids that time travel and meet other Big Eyed children version of historical figures is a Big Idea that could make a whole new generation keen on Keane.

9. “Banality” by Jeff Koons

An animated series based around the artistic sensibilities of Jeff Koons would be a tricky affair, but just the kind of gaudy whimsy that someone like Michel Gondrey could use to proper effect. A series based around someone trying to steal the fifteen million dollar Michael Jackson statue would also be appropriate.

10. “Groovenians reboot” by Kenny Scharf

Scharf is the only artist on this list that actually was a kitsch artist that caught the attention of early aughts adult swim. A tv show that only features the artistic sensibilities of Scharf but also a voice acting cast that consisted of Paul Reubens, Rupaul, Vincent Gallo, and Dennis Hopper. There’s also a theme song performed by the B-52s and musical direction by Devo’s Mark Mothersbaugh. One of the only known published reviews of the pilot describe the show as needing mind altering substances to enjoy and that it is essentially like “watching a cartoon reflected off of a funhouse mirror. This is basically a description of the modern tik tok addled twitchy type content that makes a killing on the Internet for millenial and zoomer types. Basically the whole aesthetic of a warped and broken looking cartoon is the exact sort of thing weirdos deep diving at youtube at four in the morning are looking for and seeing that this gets a failed pilot and Denis Leary’s Dog Poker vignettes get greenlit is exactly what’s wrong with the world.

[venus-says]

Kamen Rider Ghost Movies and Specials

It's very amusing that I'm covering a horror movie here, but that isn't a part of the Ghost series.

It is time to (kinda) close the book on the Ghost season.

I gotta be honest, I wasn't looking forward to doing this, and I was both very disappointed and also very surprise. It was a fun journey, with a few questionable choices, but still fun nonetheless.

But before I get to the works that belong under this umbrella, we'll dive into something a bit different at first...

Kamen Rider: THE FIRST & Kamen Rider: THE NEXT

So, while looking at the list of Ghost's movies I saw that Kamen Rider 1 was on the list and that it was also technically part of the canon. I debated if I should watch it or not since, after all, my knowledge of the OG Kamen Rider is pretty much below basic and I was very afraid I would be missing in a lot of stuff. I was well aware I wouldn't be able to watch the actual show right now and I didn't want to read the wiki so I was about to give up on the idea when I looked at my notes and I saw that Kamen Rider THE FIRST and THE NEXT were a thing, and I thought this would fit in perfectly with the amount of time I have right now. I knew THE FIRST was a remake/adaptation of the original TV show and the manga and THE NEXT was its sequel so this would probably give me enough context to watch Kamen Rider 1.

And I wish I had done some more research before watching these movies because I feel like watching THE NEXT was a mistake.

Like, while I can't attest how truthful to the source material THE FIRST is, it was pretty much one of those compilation movies. The impression I had was that they choose the most crucial moments in a "The Best of" format and just glued that together and sold it as a movie. Which was not really a problem because it was pretty much a very solid movie, despite the cuts that leave a lot of gaps between each point. It lacked a lot of information, like how Hayato got to Shocker, and it kinda wasted time with the plotline of the kids from the hospital that didn't get a proper payoff, but it was still an entertaining movie. I love the action scenes, I'm not a specialist in this matter but it was really refreshing seeing a fight scene that was pretty much all done with practical stunts and very little CGI. This movie made me really curious to watch the original show, I know this is not exactly what I'll get whenever I watch it, but it left the "I want more" taste in my mouth.

THE NEXT on the other hand, while it was more of a "film" rather than a "compilation", it was also less of a Rider movie, they had riders on it, but it felt like they weren't the main focus. The feeling I had while watching it was that the producers either read the Helter Skelter manga, or watched Perfect Blue, or they saw one of those conspiracy theories of artists who don't seem to age that died and were replaced and wanted to make a horror movie that would deal in with the cruelty of the entertainment world, but they got denied and were put in to make the sequel of THE FIRST without wanting it, so they picked their original idea and shoved Kamen Rider into it as a secondary element that feels like it doesn't belong in that movie, and in the end, it fails at both. Admittedly, the horror portion was pretty good, I would be interested in watching it. It was the rider portion that was a letdown, it was pretty much just some random action, and while watching that girl fighting with a chainsaw was cool as hell there wasn't much background stuff to justify all of that and put some meaning on it. And there's also the terrible final scene with that awful CGI fire that was cringy as hell. If you want some advice, skip this one, it's not worth it.

Kamen Rider Ghost: Legendary! Riders' Souls!

Because I was left with the feeling that I got no useful information after watching THE NEXT, I decided to do something that I never do that is watch the web specials they release for each movie in the hopes that I would have enough context to watch Kamen Rider 1 without a problem. And well... I didn't expect them to be so pointless. Like, they have enough content to be its own TV movie and it's all just to explain how they got the Rider Eyecons, AND THAT'S IN THE MOVIE FOR LESS THAN FIVE MINUTES!!!!!!!!!! And like, these form changes are so useless that if they had taken that out of the movie it wouldn't make a difference!!! I swear to god, why do they still think this kind of stuff is cool? UGH

I don't have much to say because this was pretty much just a boss rush, but I have to say this. PLEASE STOP BRINGING FINAL BOSSES BACK, they're final bosses for a reason goddammit, they're not cannon fodder! When you bring a final boss back anytime you have a chance it just loses the cool effect it could have. Please, Kamen Rider, stop, we get it, you love your own franchise, you don't need to keep doing this circle jerk all the time when you wanna do something cool that serves as an homage to your own history.

Kamen Rider 1

Complains aside, finally the actual first Ghost movie, in the Ghost Movies and Specials post.

And this was a great movie, probably my favorite thing that came out of Ghost. This movie is exciting, it has things for both old and new fans, the plot is pretty decent, the action is a lot of fun, and the emotional beats work very well. I felt in love with Takeshi after this movie, he's such a cool guy, and I really like the actor, it was always a joy seeing him on the screen, his whole thing with Mayu was great, it was very endearing, and when Takeshi dies I really felt it, and the only reason why I'm okay with them bringing him back is that I like him so much and I didn't want to see him die. If THE FIRST made me want to watch the original series, seeing Takeshi in this movie made me want that even more.

I expected the Ghost cast to be the low point of this movie, and while my biggest complaint is about a thing related to the Ghost lore, I overall liked seeing Takeru tag along with Takeshi. To the surprise of a total of 0 people, Makoto was useless again, but honestly, his participation in this movie is so minor it doesn't even bother me. I also like that the villains of the movie were Shocker and Nova Shocker and not that white-suit guy from the specials. Having both Shockers there fighting not only the riders but also each other earned a lot of points with me, I particularly love how Nova Shocker decided to do their thing by embracing capitalism and becoming a corporation because corporative people are the scariest and I love when they make villains based on that.

But I think what I like the most of this movie is that brings up to discussion a theme that I always thought the show should've tackled on TV that is the importance of life, and all that Love&Peace talk about how we're all connected, and that we're connected to nature, that is connected to the world, and yadda yadda yadda. Yes, it's a pretty old speech and everything, but it's one of the subjects that match the most with what I believe is the premise of this show, and while I love that this is a part of this movie, it's pretty sad that none of this bleeds out to the TV show.

And talking about things that are pretty sad, the element I liked the least was the thing that Mayu had a very powerful Eyecon that has been dormant inside her. I understand this is a Ghost movie and they wanna use their gimmick, but they could've used Takeru's gimmick of going full ghost mode and start fo follow Mayu while invisible instead of making the final villain just another MOTW. I honestly think the conflict between Shocker and Nova Shocker was enough to make everything they wanted to do, on the scale they envisioned, without having to add anything related to the villains of this season.

Regardless of the complaints, this is worth watching, for sure, and I wish I hadn't wasted my time with THE NEXT and the specials because I wish I could've met this movie way sooner. XD

Ghost: The 100 Eyecons and Ghost's Fateful Moment

This movie... was a choice. I feel like I have nothing to say about this movie, it was empty, it was pretty much a copy of the Wizard and the OOO's movies merged together, there were a lot of depiction of historical figures that would probably leave some people turning on their graves, they tried to make not just one but TWO familiar dramas and both of them failed in being interesting or having a good pay off at the end, and if all of that wasn't bad enough, guess what? Takeru died again! And was "revived" once more! Yay! I swear, this movie is so frustrating, I just wanna forget it exists.

Well... at least the new Napoleon and Darwin forms looked good I guess.

The Legend of Hero Alain

Now, what wasn't a frustration was Alain's special series! I absolutely love being able to see different points of view of the same story, and being able to see that from the perspective of who became my favorite among the riders of this season was a true delight. I do think episode 4 was a bit useless and if they wanted to make an epilogue they could've done something better, but the other 3 episodes are pretty good.

In particular episodes 2 and 3, that are from the time around his redemption arc, were very touching and a huge part of that is obviously from the presence of the best character of this show, the #1 takoyaki lady, Fumi-san, who once again was here giving her wisdom and passing down some of the messages the TV show tried to pass but that it failed completely. And even though I knew they would eventually hit a point where they would talk about her death, I was still hit by the feels like if they were a truck and I cried.

If I have to say two things that I don't like about these specials it would be that "Human Life Course" Takeru, Akari, and Onari had in episode 3, that was just ridiculous. And I'm not the biggest fan of having this thing of Alain and Fumi having a story that goes way back than what we saw in the show. But honestly, even with these problems, this is one of my favorite media that came out of Ghost.

Kamen Rider Ghost RE:BIRTH: Kamen Rider Specter

Last, and deservedly the least, is Specter's movie. And talk about a bad movie,

You would think that at least on his own movie Makoto would be important, play a big role, but even though he defeated the big bad in the end, he actually did nothing that couldn't have been done for another character. Heck, if you think about it, the real hero at the end of the day was Onari because it was sneaking around and stealing that gem that solved the main problem about clearing the sky atmosphere in the end. All Makoto did here was take a dumb decision after the other and is dreadful to watch.

I think the biggest problem of this movie is that it depends on us believing in feelings developed between two characters that know each other for less than three days and one of those characters is framed by the movie SINCE THE BEGINNING as a maniac villain. And our pay off of this is to believe Makoto forgive the guy who was conducting crazy experiments and that threatened to kill his beloved sister because he considered her a failure. Thanks, I hate it!

Oh yeah and we had power-ups for Necrom and Specter that came out of nowhere and we just have to buy it. At least Spector's new form looks pretty cool, despite me not buying the "sin" motif, I would like to have an opinion on Necrom's form, but it happened on a shitty rain scene and I couldn't distinguish any memorable feature while watching it.

All in all, this movie was another disappointment.

Well, that's it for Ghost. I wish I could have something good to say to sendoff this series, but I honestly don't so I'll just wrap-up here after all this post is already long enough. What are your thoughts on these? Have you watched any of them recently? Let me know in the comments down below. Stay healthy, stay safe, never stop resisting, thank you so much for reading, and until the next time. Bye~

[decimadragonoid]

The Undertale - RETRACE Rulebook

For those who have read my fan comic project Undertale - RETRACE so far here or on Deviantart, we have reached the end of Chapter 1. Over time, more chapters will be posted. First off, thank you guys so much for tuning in. For those who are just starting to read this comic, welcome aboard! For those who haven't played Undertale yet but are interested in this story, I suggest you play the game through to the end, but it's your own decision.

Before we continue further into the story, there are some rules I'd like you to follow over the course of this comic. I will post this rulebook on existing pages. The rules are as follows...

   * “Is this an Undertale AU?” - No. It's not. This story isn't an AU or alternate timeline, but if YOU want to identify this story as such, then by all means, go ahead. I won't stop you. It’s up to you to decide.

- This story is a new series of events a couple years or so after the original events of Undertale.  * "Why the title 'Undertale - RETRACE?' Why not something simple like 'RetraceTale?'" - As I interpret this story as a new series of events a couple years or so after the Post-Pacifist Ending, calling this story "RetraceTale" or "Underretrace" and sugarcoating it to make my fanmade story known to the fandom doesn't appeal to me, nor is it something I see as beneficial to my vision of the game and my fan project overall. - Long story short, my story is set in the original universe in some way, shape, or form.

   * “What’s up with these new character personalities?” - I just felt it’d be appropriate for the characters to go through certain changes in character development, personality, and intellect. The story is set a couple years after the original Undertale after all.

   * “Are there going to be any RESETS?” - No. Plain and simple.

- In this story, the RESETS no longer exist. Although the word may be reintroduced a couple times or so, no one can RESET anymore, not even Frisk. They decided to willingly discard it forever, and they understand that any future actions will be permanent. They burned this bridge a long time ago.

   * “No! You can’t do that! What if someone dies and it can’t be fixed??”

   * “Keep it, but don’t abuse it.”

- No. Time shouldn’t even be messed with. Not ever.

   * “What’s the purpose of RETRACE?” - The purpose of my Undertale story RETRACE is to create my own interpretation and dig deeper into Frisk’s past to see what life was like for them before they fell into the Underground, as well as unearth a new antagonist.

- Questions include the following…    * What was life like for Frisk before they fell into the Underground?

   *  Did they suffer amnesia?

   *  What were Frisk’s parents like?

   *  What if Frisk actually met a monster long before they fell into the Underground?

   *  Was something or someone responsible for their misfortune before they fell into the Underground and returned to the surface with the monsters, and if so, is that person still around?

   *  If this person was responsible for Frisk’s past events, whatever they may be, is that person still around, intending to bring ruin?

   *  There’s so much ground to cover. This is gonna be one hell of a ride!  * "I really like your art style!" / "Your style for Frisk is awesome!" / "Nice upgraded outfits!" - First off, thank you so much for your compliments on my styles and interpretations for the characters! - I will treat this project as a learning process and improve over time. - As such, I might make slight changes to one or two of my designs, and nothing would make me happier than for you guys to be the witnesses of my improvements and potential design changes!

   * “Frisk/Chara killed everyone! They were responsible for everything!” - Don’t even go there with me. You WILL be ignored.

- You have your way of interpreting the game and Undertale comics, and I have mine. - I've personally seen other comic artists get bashed for their Undertale headcanons, views on the characters, and alignments. This will NOT be tolerated here.

- I can very well choose to depict Frisk/Chara as either a hero or villain if I wanted to. I could even depict the monsters as such. But this comic is not about taking sides. I'm simply making this story out of love for the game, and to tell a story overall.

- Toby Fox left the events and characters of Undertale to our own unique interpretations. There is no right or wrong way to depict the Undertale characters. That’s why comics like this exist. I only write and draw this story out of love for Undertale.

- If you don’t like this comic or my depictions, don’t say anything. Leave. Now.

   * “Can I translate this comic in a different language?” - By all means! If English is not your native language, or if you want to translate my comic in a different language so other people with different ethnicities and cultures can read and enjoy this story, you’re more than welcome to translate it in any language you want.

- All I ask is that you credit me afterwards. Also, be sure to translate this rulebook as well to avoid confusion.

   * “Can I/we dub your comic?” - Absolutely! I encourage comic dubs for RETRACE! All I ask is that you credit me afterwards.

- Show me some talent! ^^

   * “Are there any ships?” - No.

- Here’s the deal… I see the monsters as a huge family Frisk never thought they could ever have.

- And you don’t need ships to do it.

- However, if you say things like, “Oooh! I ship this!” or “This ship bothers me,” that’s okay. I won’t judge you for it. I'm not going to condemn you for shipping anyone. You have your own opinion. But just know that there are no ships to be had in this comic, and I don’t want any problems to escalate.

    * “Which monster do you see as the dad, uncle, mother, etc.?” - You’ll see.

    * “When’s the next page?” / “Bro, you’re taking too long!” / “I wanna know what happens next!” - When I say, “WHEN I CAN,” I mean, “WHEN I CAN!”

- Please don’t ask me this. I don’t appreciate being rushed or pressured, and neither do any other artists out there. It’s disrespectful to me and other viewers.

- If there is any huge delay whatsoever, I’ll explain myself.

- I have other responsibilities besides drawing comics. Of course, this doesn’t mean I don’t enjoy drawing Undertale. In fact, I love it!

- I don’t mind comments like, “I can’t wait for the next page,” “My feels,” “Aaugh!! Cliffhanger,” etc. But please don’t ask me when I’m posting the next page. I’m not a robot. I cannot stress that enough.

    * “Can I use this comic as reference material?” - Absolutely! Just be sure to credit me later!

    * “Can I draw fanart of your comic?” - Absolutely! I 100% encourage you to draw any Undertale or RETRACE fanart! Just be sure to credit me afterwards!

    * “Can I suggest any changes for the story?” - No.

- I have scripted this comic already, so it’s already set in stone. However, I will allow constructive criticism for any visual errors and story errors I might make.

    * “To be continued…?” - When one of my pages says, “To be continued…,” it means you’ve reached the end of a chapter.

- After the end of each chapter, I’ll prepare an askbox so that you can ask questions to any characters that show up in RETRACE or anyone outside the story, whether they be your favorites or any original characters specific to this story.

- This way, I can interact with you all in the most positive and/or appropriate way possible. - In addition, I will also give you the option to dub my askbox and the responses so far, which will be listed in the askbox's description for your convenience.

    *  “What questions can I ask?” - You can ask pretty much anything, so as long as it’s not anything NSFW-related.

- The question can be something totally random, comedic, sad, family-bonding, or related to the story.

- But for the sake of this rulebook, I’ll give you some examples…

    * “Hey, <UT!Character>! How’s life on the surface?”

    * “How’s it hanging, <UT!Character>?”

    * “What kind of hobbies did you find ever since coming to the surface?”     * "What do you like to do with <UT!Character>?"

    * “Any jobs?”

    * “Can I give you a present, <UT!Character>?”

    * “What kind of stuff do you guys do around the house?”

    * “How’s school?”

    * “What are your favorite subjects?”

    * “How did you feel after this happened?”

    * “Will everything be okay?”

- I will randomly handpick any question you ask any Undertale character, original character, or myself. If one of your questions haven’t been answered, don’t repeat the same question over and over again. Ask a different one, and maybe you’ll be lucky.

- If I make up some funny or weird scenario when answering questions, you can add on to the scenario if you want. It’s more fun that way, and it gives me the chance to interact with you all and keep the ball rolling! I wanna hear from you guys, so feel free to ask away!

    * “How many chapters do you plan to make?” - Let’s just say it’s almost as long as Lesser Dog’s extensive neck. When it comes to fantasy, I tend to write a lot. I try to draw and improve my skills as much as I can, but I do exceptionally well with writing it out.

- As such, I’ll also provide Undertale – RETRACE chapters in a novel format after the end of each chapter, if you want it. I'd like to make this project open to everyone who likes Undertale, whether they like comics, novels, or have any preferences, impairments, or even physical or mental disabilities.

- I want everyone to enjoy this story as much as I enjoy making it for Undertale fans, fan artists, and artists in general to see.

Also, I highly recommend you to play the game before viewing this comic. Whether you do or don’t is up to you. Otherwise, welcome aboard! I hope you enjoy this fresh, new Undertale experience! We’re gonna have a ‘skele-ton’ of fun, people! ~ DecimaDragonoid

[ohayohimawari]

Ask Me About Kakashi - Answer

I’m answering a two-part question about Kakashi that was left as a reply to my original post. @sweetestcreeper asked:

“Honestly, I really wanna know how he sleeps, like everyone has their own way… some sleep on their side, some has a weird shape, some sleep straight (not many). And I really wanna know if he is capable of flirting…”

I’m lucky that all of the questions I’ve received have been so darn good, and these two are no exception. Thank you for asking them! I’ve had a lot of fun thinking about how best to answer you.

You stated where you were in the series, and I will honor your request for no spoilers.

In the anime and manga, I always see Kakashi sleeping straight, on his back. There is one other episode in which he tries to sneak in a nap and even then, he is lying on his back, but with his arms on either side of his head. In fanart, he is often depicted sleeping on his side in the fetal position, or on his stomach with his arms wrapped around the pillow.

I turned to the infinite knowledge of the internet where I searched sleeping positions and what they reveal about personalities. I literally lol’d at the results.

The position in which he is most often shown while sleeping is straight, on his back (see also: Kakashi gets the most sleep while hospitalized). This sleeping position is called (get this) The Soldier. But wait, there’s more. This sleeping position is associated with people that, “typically are quiet, reserved and hold both themselves and other people to high standards and strict moral codes.” Bullseye.

The napping position I described above occurred later in the series, after the Fourth Great Ninja War. That position is called The Stargazer, and according to my internet search, “They make their friends a priority and do anything in their power to help those they hold dear to them. People who sleep in this position tend to have a positive, ‘happy-go-lucky’ outlook on life.” Again, while I concede the second half of that personality description doesn’t exactly apply as well as the first, I think this is right on par with how Kakashi is portrayed at that point in the series. I like to think of him as being comfortable in his own skin at this stage of his life. He’s definitely more laid-back and certainly closer to “happy-go-lucky” than he ever was before.

As far as the fetal and tummy-time positions where I find a sleeping Kakashi in many fanart pieces… I think that can be explained by the fact that they are quite popular sleeping positions in general and not necessarily having anything to do with capturing his personality. In fact, the traits associated with those positions are further away from the mark:

Fetal: “Those who find comfort in this natural position can be described as having a hard shell: tough on the outside but a huge softy on the inside. They typically are shy when you meet them, then tend to open up and relax quickly.” I don’t recognize Kakashi in this description. I’ll grant the “tough on the outside” part, but that’s about it. The “tend to open up and relax quickly” is practically the opposite of what you can expect of the Copy Nin.

As for the other, what I called tummy-time, the almighty top search result calls The Freefaller. “Freefalling sleepers are bold and sociable on the outside, but typically don’t have the thick skin to deal with criticism or absurd situations.” I don’t think this fits Kakashi at all (don’t @ me, just my opinion).

But damn, does he look hot in that position. I certainly wouldn’t mind waking up to a view like that. So, artists: don’t pay any heed to these results and keep on keeping on with your sexy, sleepy Kakashi art. Please.

Speaking of sexy, if Kakashi ever did manage to acquire an OTP of his own, I think some part of him would have to be touching his lover while sleeping. I don’t mean he’d have to be all over them like an extreme spooner, subjecting his partner to the full force of his stanky, Kaka-morning-breath-no-jutsu. However, I see him resting the back of his hand against or draping an arm over his lover’s sleeping form. Also, I imagine him waking when said lover shifts in their sleep. He’d lift his head, peek at them with one eye and go back to sleep after making sure all is well and safe.

In order to get to the having-a-lover part, Kakashi would have to manage some modicum of flirtation, which brings me to the second part of your question.

I love this knucklehead to pieces, but my poor assassinating bean is one emotionally and socially stunted shinobi. However, Kakashi is aware of flattery and how to use it to his advantage. I’m thinking of a scene where he sweet-talks our dear Yams into buying his lunch; flaunting his mastery of this “ability” to his student, Naruto. In matters of the heart, rather than his wallet, I think the silver-haired prodigy of Konoha would be at a disadvantage. To make matters worse, he would know it too.

Kakashi would be an awkward flirt.

I’m actually writing a series that depicts a developing relationship between him and another high-ranking ninja dork. In that series, I explore this aspect of his character. In those stories, I imagine him as a nervous, old-fashioned date. He stammers his way through asking the object of his affections on a first date. He rambles on and on about his ninken-talking at great length about nothing-fueled by nerves and the desire to remain in their company. He shows up on time. He shaves and tries to tame his mane, efforts that are wasted because of his mask and cowlicks. He’s chivalrous; he behaves in a gentlemanly manner, without being condescending.

These little behaviors, the compliments he gives, all of the little gestures become romantic because of his earnest wish to do and say nice things to his lover, simply because he cares for them.

P.S. Here’s the link to the site I referred to for sleeping positions and personality traits.

XOXO

[daresplaining]

“Purple” Part 3: Several Matt Murdocks Walk into a Bar...

    As much as I dislike the ramifications of the Purple Children’s decision to “solve” Matt’s secret identity dilemma by making everyone forget it, the “Purple” arc that establishes this plot point is quite good. The progression of Matt’s feelings about having a public identity from where Waid left him to the present makes logical sense, and his struggles to figure out how to deal with his escalating problems in this new status quo make for an emotional read. The mind wipe was not his idea, and he has mixed feelings about it, which I appreciate.

    However, for the sake of this run overview, I wanted to highlight #19 in particular, which is a stand-out issue that works just as well as a one-shot as it does an integrated part of the run, and which showcases a vital and-- I think-- perfectly in-character element of Matt’s personality. 

    For this story we are back in Matt’s head, though the landscape of the place looks significantly different than it did in issue #8, thanks to the intrusion of the Purple Man. While Matt’s blindness has always given him a degree of protection against Purple Man’s specific brand of mind-control, in this story arc he has found a way to amp up the potency and reach of his powers by using his children. This issue follows what happens to Matt while under the Purple Man’s sway, and switches back-and-forth between the real world and Matt’s mind-controlled subconscious, which here takes the form of a rather unusual bar.       

    This issue is pencilled and inked by guest artist Marc Laming, who is one of my favorite artists to work on Soule’s run. His work is beautifully detailed and expressive, and he and colorists Matt Milla and Miroslav Mrva do a great job of depicting the many Daredevils (and a few of their significant others) from throughout the comic’s history who populate the bar. For anyone not up on their DD continuity, here’s a breakdown: 

    With one of his greatest nemeses now finally under his full control, the Purple Man is eager to have some revenge. But instead of inflicting his own flavor of  pain on Matt, he decides to take a more insidious approach: he asks Matt to name the worst thing he (Matt) could possibly imagine himself doing. Something repulsive, that would break him were he to actually carry it out. This becomes a topic of debate for the Matts in the bar, each of whom has their own answer.

“Man Without Fear” Matt: “You lose control. You put your hands on the people who can’t defend themselves. You let the darkness out. You hear the bones splintering. You smell the blood, the coppery, swampy blood. You know the exact moment their hearts stop.”

Public Identity Matt: “Easy there, friend. We’re all just trying to have a good time here. How about you get back over there and I’ll buy you a drink?”

“Man Without Fear” Matt: “Who the hell are you supposed to be?”

Public Identity Matt: “Oh, you know.”

    (Please note Public Identity Matt, Foggy, and Kirsten’s facial expressions in the first panel. They crack me up.)

    It’s not only fun, on a geeky level, to see all these different versions of the Daredevil identity fight interact with each other, but it’s also a great way of exploring the huge range of character development Matt has experienced-- which is something I’ve always loved about him. Matt’s mindset and approach to superheroing, and the tone of the stories, encompasses such a huge range that all of the Matts in the bar have slightly different personalities based on where he was, mentally, at the time. And it’s logical that all of these different perspectives and conflicting ideologies are still present in the back of his mind. Matt has always been a complex character, and this issue gifts us a visual representation of that. 

    Black Suit Matt’s presence here is worth pointing out, because he is the result of some messy continuity that has never been resolved. He’s from the Man Without Fear mini-series, which is Frank Miller and John Romita Jr.’s alternate universe re-imagining of Matt’s origin story. It’s much more brutal and violent than Stan Lee’s version, and features a shuffling of the timeline that resulted in Jack dying while Matt was still in high school. Despite the fact that it was not written as a retcon, writers on the main DD series were quick to integrate elements of MWF into 616 Matt’s backstory. But it wasn’t a complete reboot; Matt’s yellow costume is still considered his first by most writers (it’s even in this issue!), Jack still died while Matt was in college (...or law school), and so Black Suit Man Without Fear Matt exists in a strange limbo, not quite canon but still somehow part of the 616 universe. 

    But for the sake of this issue, it’s best to just not think about it too hard. Here, he represents the most violent side of Matt’s psyche, which inspires his first response to the Purple Man’s question: which is seemingly to kill Kirsten. 

Kirsten: “Matt! What are you... What are you doing? Why are you with the Purple Man?”

Purple Man: “Be patient, Kirsten the Girlfriend! You don’t want to spoil the surprise.”

Matt: “You know... no. This feels a little small. I mean, I’ve lost girlfriends before. This would be terrible, sure, but... been there, done that. I can do better. Or worse, actually.”

    ...PHEW. Fortunately, Matt talks himself out of it. 

    If the issue were longer, we might have heard all of the Daredevils’ ideas, but sadly we only get a few more. 

Yellow Suit Matt: “You’re making this too complicated. Keep it simple. Get back to your roots.”

Armored Matt: “Wrong, idiot! You’re not thinking big enough, Murdock. The worst thing needs to be... extreme.”

    Again, part of the entertainment value of this issue is seeing the different Daredevils react to each other, and Soule makes a point of pairing the chipper DDs with the, shall we say, less psychologically healthy ones. And it’s worth noting that the two solid answers to the Purple Man’s question that Matt comes up with are both put forth by his darker identities; as mentioned, Man Without Fear Matt is emotionally raw by design, and while the armored suit period in the 90s wasn’t actually, relatively speaking, that depressing, it was a reinvention of Daredevil that Matt intended to be violent and frightening. And it makes sense that these darker DDs would have an easier time dredging up worst case scenarios. Frankly, it’s surprising that Volume 2 Matt-- arguably the darkest DD of all-- didn’t jump into the conversation (but maybe he was too distracted by hanging out with Milla (see above), and who can blame him?). 

    It’s also clever that the whole discussion is mediated by the one Matt who isn’t a superhero: Matt the Lawyer (who isn’t blind, which is a little weird). While the Daredevils represent all of the bombastic chaos of Matt’s impulses and emotions, Lawyer Matt sorts through their answers from a slightly removed vantage point and tries to apply logic to them. He is the clever, analytical part of Matt’s mind, and I love that he essentially serves as the main character for this issue. 

    Armored Matt (actually, his civilian identity was Jack Batlin, if we want to be really precise about this) makes the requisite “extreme!” 90s comics joke-- which made me laugh out loud the first time I read this issue-- and that leads Lawyer Matt to figure out his final answer. He requests that the Purple Man create worldwide chaos using his newly enhanced powers. And from what Matt and the reader can tell, he does. And then Matt explains what he has in mind.  

Purple Man: “...Now what?”

Lawyer Matt: “Nothing.”

Purple Man: “Wait... what? Nothing?”

Lawyer Matt: “Yes. This is the worst thing. The entire world goes to hell, I know about it, I have the power to help, and I do... nothing.”

Purple Man: “WHAT?”

    Arguments can be made about whether this is the actual worst thing Matt can imagine himself doing. That’s kind of the point of the issue, and I’m sure the answer changes daily for Matt. But it fits, and brings him-- as Yellow Suit DD advises-- “back to [his] roots”. The Daredevil identity serves many purposes for Matt, but one of its main functions is as a tool of empowerment. Its initial purpose was to give him a way to avenge his father’s death without breaking his promise to not become a fighter. After growing up unable to defend himself from bullies, unable to use his training (once he acquired it) out in the open, and ultimately unable to protect the person who meant most to him, he put on a mask and gave himself an alias, and thereby empowered himself to break free of that cycle of helplessness. Losing that power is certainly one of his greatest fears, and so the idea of choosing to render himself useless would be horrifying to him. 

    This is also a theme of Soule’s run in particular. This arc deals with the deterioration of the wonderful life he built for himself, Kirsten, and Foggy in San Francisco-- a destruction that is partly his fault, and which he is powerless to stop. It leads to the Purple Children’s decision to make the world forget Daredevil’s secret identity-- a decision in what Matt had no say. In the arc before this, Matt nearly commits suicide because he was unable to stop Muse from blinding Sam. And of course, the final arc of the run-- “The Death of Daredevil”-- is all about powerlessness; Matt achieves a huge victory over the Kingpin, then realizes it was just a dream. But the lesson inherent in Soule’s run is that whether or not he wins, Matt will never choose to not fight. 

    This moment of clarity and self-awareness, and the realization that his worst nightmare is actually coming true and he needs to stop it, allows Matt to break free of the mind control. He kicks the Purple Man’s butt and saves the Purple Children, who repay him by “solving” his secret identity issues (Hey, at least they meant well. I love the Purple Children...) But regardless of the unfortunate outcome, this is a great battle of wills between Matt and one of his most dangerous enemies, and is definitely one of my favorite single issues of the run.  

[dokidokiliteraturegirls]

 Hello everyone! Yui here, with today’s special feature, DDLitG Behind the Scenes: What’s the deal with Ako?

In this special update we’ll talk about her character in general, design, her place in the story, and more! So get comfortable in your seat, get yourself some good snacks, and let’s delve into the background of DDLitG’s 1st-ish original character~

Who is Ako?

Ako, formerly known as “female student”, was originally one of the many NPCs used by the game’s engine to fill its world with nondescript background characters, so as to make it feel less empty. However, Sayori took a special interest in her, and decided to befriend her, following the steps of a young MC who befriended Sayori in a similar situation and ended up saving her life. This would in turn allow Ako to grow as a character beyond her 1 line of coding and get her own sprites, as well as being able to interact with the world. She would later go on to fall in love with Sayori and shenanigans ensue.

Ako was created with the purpose of telling the story of the Friendship arc.

Designing Ako.

Let me make one thing clear: I’m not a character designer. I don’t know jack about it besides the very basics. But I did try to make someone who looked mildly original and, most importantly, different from the other girls.

Originally, she was going to be the image of a shy, fragile girl who Sayori befriended out of pity, more than anything. Based on this initial idea, I made this beta Ako design on one of my copybooks when I should’ve been working:

As you can see, her very first sprite was the one where she’s shyly looking away to avoid eye contact (and to seem annoying, but more on that later). I was happy with the pose but not with her face, as it looked super unoriginal. She resembled Ochako Uraraka from My Hero Academia a bit too much, so I tried to change her hair to make her stand out more. Here is her second iteration:

This time, I felt like I cranked it up too much to the other side. Now she stood out TOO much. Her hair felt like it came more from a protagonist than someone who’s supposed to be a background character. I adopted a new philosophy after seeing this result: she had to look as bland as possible. She had to be the kind of character you see all the time in the background of an anime - those simple, unassuming designs you’d never look twice at because you’re too focused on the protagonists with candy-coloured hair. In DDLitG’s canon she’s a filler NPC brought to the forefront, and her design had to reflect that more than my desire to make her look “cool”.

With this in mind, we come to Ako v0.3

As you can see, this is much closer to her current design. But this was still a sketch (even the drawing above is very much unfinished). As you can see, I got closer to her 0.1 version with the hair, but changed the eyes to make them look more unique, giving her that more neutral, “nothing” expression. Having finally found some ground I was comfortable with, I redefined her design a little further, gave her some more details around the hair and clothes, adjusted the proportions of her body (because apparently I draw heads huge), and made her finalized design.

I was happy.

What’s with this sassy... monochrome child?

If there’s one constant to be found in the pictures above, is that she was always meant to be black and white. There are plenty of reasons, which I’ll list because, honestly, there are a lot.

1. I didn’t want to look her like the rest of the cast at fucking all. She is an OC introduced in a story with already established characters made by a much more talented writer. She’s an outsider, someone who doesn’t belong with this cast of colorful characters, and I wanted readers to be able to tell that at first glance. No, she’s not like the other girls. They don’t belong in the same place. She is not a member of the original DDLC cast, and it shows.

2. I know I can’t draw as well as Satchely, so trying to copy DDLC’s art style would just end up looking awkward and wrong. I had no choice but to do my own thing. And if I’m doing my own thing, why not take it all the way? I already gave myself artistic freedom, I might as well go crazy with it~

3. I just adore characters in a fictional universe that look different from the rest of the cast or have some strange design choice for literally no reason. Like Krillin from Dragonball, with his eyes that make him look like he belongs in an entirely different manga...

...or even Jotaro Kujo, whose hat merges with his hair because why not!

I live for dumb crap like that.

4. A huuuuuge inspiration for me while writing (besides my own uninteresting life) is music. Many times I listen to a specific track or imagine situations with specific background music to make them seem more real, and be able to better portray the feelings of a scene when writing [For example, I listened to My Chemical Romance’s Welcome to the Black Parade a lot while writing Monika’s Death].

Ako’s creation was no exception. Her appearance was partially based on the cover for not only one of my favorite Vocaloid albums of all time, but one of my favorite albums period: Wowaka’s glorious Unhappy Refrain.

I’ve been writing stuff based on this album alone for years because it’s just so damn striking to me. The picture of the faceless schoolgirl falling into the unseen abyss, the background uninterested characters that imply they are used to seeing fellow girls suffer, the distorted world they live in, the album’s way to explore teenage depression, the freaking name of the album, EVERYTHING! IT’S SUCH A GOOD EXPLORATION OF THE DIFFICULT LIFE TEENS FACE THAT OFTEN GOES UNNOTICED!! AAAAAAHHHH IT’S SO GOOD.

5. Ako was also based on a previous design I made for another character meant for an original visual novel I was writing and I’m probably never going to finish, who was also going to be monochromatic to reference this album (in that context it made more sense though cuz every character was a musical reference).

This character, in turn, was based on Monoko from Yume Nikki, which is more obvious because of her crying eye and extra arm.

So basically at this point it would’ve been weird if I hadn’t made her monochromatic.

Naming Ako

This was one of the most difficult parts, ngl.

As I mentioned, Ako was originally going to be a fragile, shy girl. Based on this, her original name during the design face was Moromi, which is one more letter than “Moroi”, which Google translate promises me means “Brittle” or “Fragile” in Japanese.

However, after the philosophy change that happened during her conceptual stage, “Fragility” was no longer at the core of her character, as it was now “Nothingness/Blandness”. Because of this, I changed her name to “Ako”.

Many people have submitted their interpretations of the name, ranging from its meaning “To teach/to learn”, and “To yearn for”, which all fit better than the original tbh.

The intended meaning is for “Ako” to be read as “A-Ko”, which is a way by which Japenese media often refers to filler characters, as it translates to “Girl A”.

Examples of this can be seen in Super Danganronpa 2, where a character in a videogame is called “A-Ko” to hide their identity...

...and in a movie called “Project A-ko”, which was a parody of the anime tropes from the time, so they gave the protagonist the most generic name ever. The antagonist and side character, by the way, are called “B-Ko” and “C-Ko” respectively. This movie is fucking awesome.

This name also made sense in the context of the story, because we already had a character named “Student A”, so this goes to show that the game just gave Ako the default name it had stored for female NPCs.

Blinded Ako, or How I Learned to Convey Emotion Through Ahegao

When I came up with Ako, she was meant to have most of her character revolving around her infatuation with Sayori. She was, after all, written in the story with the purpose of falling in love with her, and nothing else. Her character, personality, likes/dislikes, and hobbies came afterwards. As the story progressed, however, I decided that she should have a personality separate from just being in love with another character. So to separate the actions she committed under the influence of her passion, I did a little design change in the middle of the arc: Blinded Ako.

In this version, Ako has been literally blinded by love and stops being rational. This is represented by the hearts covering her eyes, and clouding her judgement. This was done not only with the purpose of representing she was past her breaking point, but also to differentiate the Ako that makes mistakes with the Ako that was introduced in the beginning of the arc. Almost so as to make them two different characters, so when she is reintroduced as a regular character after Friendship, readers could think “oh, she’s not going to do dumb stuff again, she’s not blinded by love anymore.”

Many people compared the above panel with “ahegao”, a trope in hentai manga where a character does a silly face to represent them breaking from enjoying themselves so much. This was done partially on purpose. The main idea was to represent Ako being blinded by her infatuation for Sayori, not to equate her sate of being with anything sexual. It DID end up looking more hentai-esque than I expected though, as, well, Ako is in black and white, and the heart eyes are also a trope in ahegao. And she’s sweating. And she’s saying that she’s about to break....

.....

....well at least I drove my point home.

Ako’s musical influences

Above I mentioned how music was a big part of my inspiration, and how I listened to Welcome to the Black Parade while writing Monika’s Death, so the question in no one’s mind is: what music did Yui use as inspiration for Ako’s character and the arc? 🤔

Well, hypothetical reader, the answer is that since Ako was meant to be bland and flavour-free, her original depiction is not based on a song or anything. Her desperation towards Sayori and Blinded Ako, though, are based on TRONICBOX’s 80′s style remix of Ariana Grande’s Into You. And yes, this 80′s remix in specific. Not the original song. I highly encourage you to give it a listen and pay attention to the lyrics if you want an insight into how Ako was feeling during her breaking point.

Also, as a side note, no one has asked me this, but I imagine Ako’s voice to sound like the vocals of Panty and Stocking’s ending, Fallen Angel. It’s a truly beautiful song, and once again, I highly encourage you to give it a listen and pay attention tot he lyrics if you want an insight in Ako’s current feelings towards Sayori.

Ako’s reception

This is more something personal than an explanation of the character, but it’s something I want to share nonetheless.

Remember when I said Ako was meant to be annoying? Yeah... xD

When I decided to add a new character I did so under the idea that everyone was going to hate her, because it’s a purposefully boring OC made by some insane person with the sole purpose of being added to an already interesting and loved cast of characters just to fuck everything up.

The first scene I ever wrote for Ako was the part where Monika asked if she had hurt Sayori, and she said “Not intentionally...” while looking away, which is why her first sprite ever was in that position. She was meant to make people feel frustrated over this girl just looking away from her problems and avoiding responsibility, while also telling Monika to her face that she had done something bad to Sayori. Readers were expected to hate her. That’s why in the beginning she says she doesn’t like literature, to assure you that she’s not joining the literature club. That’s why there’s a scene where she gets punched in the face. That’s why she looks so extremely out of place.

YOU WERE SUPPOSED TO DISLIKE HER!! omg I’m still surprised at how warm the reception was, you guys are just too nice for me~ ❤️

Because of the unexpected reception I had to change some parts of the arc, which were originally going to be much crueler towards her [I even questioned adding the punch at all, but it was an important part of Monika’s development so I felt it]. I also established her as a recurring character in spite of her dislike of literature, and did my best to make her less hate-able than she was originally going to be, even cutting some planned lines of dialogue that made her pretty irredeemable. Looking back, I am glad I did those changes, we ended up with a well-liked and pretty nice girl because of it~

Final thoughts

The introduction of Ako and writing Friendship in general was a very intense experience for me. It was very difficult to balance Ako as being both relevant to the story and moving the plot forward, but not make her the sole focus of everything and have her obscure everyone else, because OCs in established pieces of media tend to do that.

This arc also got a LOT of mixed reviews, some people liking it, some hating everything I did. This made me really question what I was doing and at many points even regret I was writing Friendship at all. At a certain point I lost almost 50 followers in a single update.

I also had trouble writing some parts because they were too sad. And that’s not my style! I like writing happy people being good friends, damn it, not everyone crying and hating each other.

But when all is said and done, I’m happy I wrote both Friendship and Ako into the story. I’ve received many wonderful, supportive messages telling me how much readers enjoyed it. Even some people saying they had been in a similar situation to the one depicted in the story, and were glad to see a story that showed a positive outcome.

Will I write more OCs into DDLitG?

Meh, who knows. I love writing more original stuff and expanding the world of DDLitG, but I also feel like if I introduce yet another OC, people will crucify me and hate me for flooding the story with too much stuff that’s irrelevant to the DDLC they’re used to. That being said, writing this blog is my first, and very possibly last chance to expose my stories to such a large audience. And seeing people like what you do not only because you’re riding the coattails of a recognizable brand, but because they like what you do with it, makes me pretty darn happy. Being completely honest, I’d like to add another character. But just one. And only if it’s something that will push both the story and the girls’ character arcs forward. Not just adding OCs for the sake of it.

Thanks for sticking until the end of this BTS, and I hope you found it an enjoyable read, or at the very least I made you a little bit less bored~ ❤️

Next time, in DDLitG Behind the scenes: What’s the deal with The Perfect Yuri?

[lookinghbo]

'Looking' Made Raúl Castillo A Sex Symbol. Sheer Force Made Him A Star.

In New York, in the middle of July, if the fickle subway system allows it, you’d be wise to arrive at a destination 10 minutes early. You’ll need that time to let the sweat evaporate, to stamp out the damp spots that have betrayed your outfit.

Raúl Castillo forfeited his chance to cool down before shaking my hand at a Manhattan hotel restaurant on a sweltering Thursday morning. I didn’t mind. It was an honest mistake.

The “Looking” star was running slightly late and looking slightly frazzled when he bounded toward our table. He’d confused this hotel for another within walking distance where, the previous night, Castillo had attended a screening of the new Alexander McQueen documentary with his girlfriend, the costume designer Alexis Forte, who has the late fashion maverick’s biography at their Brooklyn apartment.

It’s cute to see celebrities frayed, even ones who are still building their marquee value. Castillo is the type who hasn’t yet abandoned public transportation when navigating the city, even though it’s becoming harder to do so without attracting strangers’ gazes. While trekking home from the “McQueen” event, a Latina teenager tapped him to say she loved “Atypical,” the Netflix series in which Castillo played a charismatic bartender sleeping with Jennifer Jason Leigh’s married character. The teenager’s mother loved “Seven Seconds,” the Netflix series in which Castillo played a narcotics detective tending to a racially charged investigation.

Raúl Castillo: a guy you can bring home to Mom, punctual or otherwise.

It’s his voice that people recognize, the 40-year-old actor said, a modest notion considering his breakthrough role as the sensitive barber Richie on “Looking” made Castillo a veritable heartthrob, despite the HBO show’s modest ratings. But it’s true that his warm baritone gravel is a distinguishing trait. Earlier this year, when I saw “Unsane,” Steven Soderbergh’s scrappy iPhone thriller set inside a mental institution, I recognized Castillo’s intonation before his face appeared onscreen.

That’s a significant feat. Castillo mumbled so much as an adolescent that a teacher recommended he see a speech therapist. He refused, instead reminding himself to enunciate or else using the impediment as a defense mechanism. “I have all these things wrong with my voice,” Castillo said, though few today would agree.

Castillo’s cadence may be growing familiar, but fame hardly seems like his long game. This is, after all, a guy who studied playwriting ― hardly the creative pursuit that commands the brightest spotlight ― at Boston University, after which he paid about $300 a month to live in a garage in Austin and perform local Chicano theater. “We the Animals,” a Sundance indie opening this weekend, marks the first time Castillo is the one generating a project’s star power. He portrays the father of three tight-knit boys storming through a wooded town in upstate New York. The movie, adapted from Justin Torres’ autobiographical novel of the same name, combines elements of “Beasts of the Southern Wild” and “Moonlight” to capture a domestic home life that’s equal parts tender and volatile, where abuse and affection are equally common.

Castillo’s enthusiasm about “We the Animals,” and about the possibly of again working with its director, Jeremiah Zagar (“Captivated: The Trials of Pamela Smart”), speaks to his ambivalence toward the celebrity ecosystem.

“He could be like Tom Cruise without the child slavery,” Zagar said, roasting the “Mission: Impossible” moneymaker’s Scientology association (and its alleged history of forced manual labor). “Raúl’s that kind of a dude. He’s a perfect-looking dude, and yet he’s incredibly real and honest and true. There’s never a false note. He’s also incredibly collaborative. As a director, that’s a wonderful thing. I didn’t know what I was doing, really, because I had never directed a narrative before, and Raúl had a way of making me feel comfortable and confident in my own beliefs and my own material. He’s so seasoned and so clear about what he needs to do to make a scene work and a character work and to elevate other people around him.”

It’s a small movie with grainy aesthetics and an impressionistic lyricism ― in no way the kind of thing that will make a killing at the box office. For someone who first fell in love with theater by discovering the plays of Puerto Rican and Mexican writers like Miguel Piñero and Luis Valdez in his high school library, playing the complicated patriarch of a mixed-race family feels like a destiny fulfilled. (Sheila Vand, star of the Iranian horror gem “A Girl Walks Home Alone at Night,” plays Castillo’s wife.) At this point, opportunities to extend his commercial footprint ― guest spots as a cannibal on “Gotham” and a music teacher on “Riverdale,” for example ― will find Castillo one way or another.

“I’ve always felt that I was never cookie-cutter,” he said. “For as much as I tried to fit my square peg into round holes, constantly, my whole career, I could never do it. Whenever I read ‘We the Animals,’ I didn’t think I would be cast in that film. [...] I felt viewed more as a Richie. People think I tend to find those roles easier than I do a role like this, ’cause it’s harsh. I knew that I could do it. I’m so grateful for both Jeremiah and Justin, who did see that in me.”

Born in McAllen, Texas, a midsize agricultural town that sits on the Mexican border, Castillo’s triumphs were born out of people believing in him at the exact right moments. He belongs to a first-generation immigrant family, even if home was a mere 10 miles down the road. Castillo didn’t feel othered, but his dual identity instilled a sort of anti-establishment fluster.

“I just saw a lot of bullshit in the structures that were established for me,” he said. “I found a lot of hypocrisies. People valued money, and I think when I was very young, I valued money and I didn’t have it. I think I hated myself for it.”

Slowly shedding the Catholic mysticism that once awed him, he took up bass and played in punk bands. When his friend Tanya Saracho, who would go on to write for “Looking” and “How to Get Away with Murder,” likened his GPA to a lifeline out of McAllen, Castillo decided to care about school. But in Boston, he was suddenly the minority. His “bad attitude” kept him out of second-year acting courses, until mentorship from a professor of color let Castillo understand that he shouldn’t punish himself for being subjected to an overwhelmingly white institution. And when he moved to New York in 2002, his pal Mando Alvarado, now a writer for “Greenleaf” and “Vida” (on which Castillo will soon appear), posited presentation as a mark of self-worth; if he didn’t put care into his résumé and headshot, why should anyone put care into hiring him?

Of course, when success takes years to manifest, it’s easy to forget the lessons you’ve learned. Living with four or five roommates at once, Castillo worked his way into the Labyrinth Theater Company, an experimental off-Broadway troupe founded by Philip Seymour Hoffman and John Ortiz. He still wanted to be a writer ― in high school, Castillo only ever acted to impress girls anyway ― but in 2006 he found himself starring in a Labyrinth production of “School of the Americas,” a play by “Motorcycle Diaries” scribe José Rivera. The acting bug stuck. In 2009, his play “Knives and Other Sharp Objects,” a multigenerational drama about class in Texas, opened off-Broadway, earning a mixed review from The New York Times.

Still, nothing quite lasted. The business side of things was grueling, and his coffee-shop gigs were getting old, even if he did count Lili Taylor and RuPaul as customers. An agent sent him on auditions for “huge” Hollywood movies ― which ones, Castillo wouldn’t say ― but dropped him after none proved fruitful. He was ready to give up altogether when “Looking” came around. Castillo had starred in the short film that became a prototype for the series. Its director, Michael Lannan, called him to audition for Richie (the character he’d initially played) and Augustin (a more prominent Latino character who worked as an artist’s assistant). He didn’t land either role, even though he’d originated one of them.

But by the time “Looking” was a week away from shooting, a Richie still hadn’t been cast. The producers called Castillo to read for Andrew Haigh, the gifted English director who shepherded the half-hour dramedy. Haigh had seen Castillo in an indie mystery called “Cold Weather” that gave him “street cred.” Crashing on John Ortiz’s couch in Hell’s Kitchen, wondering what else he could do with his life, Castillo was at a bar one night when he received an email with a contract attached. He had no representation to negotiate his salary, but it didn’t matter: After living check to check, he was on HBO.

“I was like, ‘Yes. Take my soul. I don’t care. Pay me. I need money,’” Castillo recalled. “I needed not just a paycheck but the affirmation. I needed something artistically that I could sink my teeth into that had value to it. Something that was substantial. Something that had a real point of view. I needed a character that gave me a platform to do what I do in a really great scale in the best way possible. And it ended up being that. That show was such a great gift to me.”

All of Castillo’s ensuing fortune can be linked to “Looking.” It made him a sex symbol, a love interest, a fan favorite, a rising star whose claim to fame meant a great deal to anyone hungry for frank depictions of queer intimacy. Richie was the good-natured, self-righteous ideal ― a perfect counterpoint for Patrick (Jonathan Groff), the series’ unsettled protagonist. It became gay viewers’ great disappointment when they learned that Castillo, their anointed hunk, was in fact straight.

“His inability to be fake as a person translates directly into his acting,” Groff said. “There is nothing extraneous or false about Raúl, and he brought a grounded, honest integrity to the character that absolutely no one else could have. He’s also just innately magic on screen and has that ‘it’ factor.”

Perhaps it was Castillo’s dual identity as a Mexican-American that helped him shine as a gay, blue-collar Californian who was sure of himself despite being rejected by his family. It’s certainly what lets him shine as the cash-strapped paterfamilias, caught between unremitting love for his kin and an inescapable pattern of violence, in “We the Animals.” This dyad comes at time when Castillo sees his identity splashed across the evening news.

McAllen houses the U.S. Border Patrol’s busiest hub for detaining immigrants suspected of entering the country illegally. While Castillo was vacationing in Europe and playing make-believe on sets, children were being ripped from their parents’ arms in his hometown.

“I would always have to explain where McAllen was, and now it’s this name you’re seeing constantly in the news for all these reasons that represent, for me, everything that’s wrong with this country,” Castillo said. “It was paralyzing. I was sitting in a beach in Europe, wondering why I deserved to be there. My parents had access to this country in ways that people who are coming from longer distances don’t. We had the great gift of citizenship, which is an incredible privilege. But my parents were immigrants, and they navigated that dynamic our entire lives. I saw my mom and my dad deal with all the insecurities and all the precarious nature of what being an immigrant in this country is. [...] Having grown up going back and forth across the border throughout my whole life, it’s disheartening and upsetting to see what’s happening. And then to think about this particular movie that deals with children, who are especially in that age when their minds are being formed and their view of the world is taking shape, to think about [the ones] locked in cages is enraging.”

Castillo may be miles from that crisis now, but he’s done more to better the world for brown people than he can know. His goal hasn’t been to diversity Hollywood roles written for white ensembles; it’s been to find work that naturally accentuates the grooves of his Latino heritage. He saw almost no Chicano role models in popular culture growing up, and now he is writing and starring in artistic endeavors that paint all shades of the human experience ― gay, poor, brown, cannibalistic, whatever ― with a dynamic brush.

Which isn’t to say everything’s gotten easy. He was slated to play the lead in “Mix Tape” (a musical drama set in Los Angeles) and appear on “One Day at a Time” (the Norman Lear reboot), but has since exited both series and would rather not disclose why. I got the sense, during our two-hour breakfast, that Castillo is still protective of how he is perceived. Maybe he always will be. He’s comfortable reflecting on his upbringing and his relationship with race ― concepts he’s spent his whole life processing ― but being candid about recent setbacks, as routinely asked of celebrities in interviews, does not yet come easy.

It’s the “ego business bullshit” that still eats at him. It’s what eats at most of us. But when someone makes a name for himself, that burden slowly fades to the periphery, replaced by a newfound comfort, even power. The man who once served RuPaul coffee now shares an agent with the drag dignitary.

“For so long, it was all feast or famine,” Castillo said. “I just took work when I could take it. And at this point, I’m in a new place where I want to be more thoughtful about the roles that I take on from here on out. The projects, the roles, the people. I’ve learned so much in the journey that now I want to apply all that and also honor my experience, because at this point I want to work with people who challenge me in all the right ways and push me to become a better actor and a better artist.”

[zelmagludina-blog]

Black facing

In this blog, I am going to be discussing how black facing, a widely historically known event has still been seen throughout our generation through social media platforms such as Instagram, Tumblr or any other easily assemble internet source. The purpose of this blog is to bring awareness to how black facing has been promoted throughout history and has traces of it still seen in today society that have been overshadowed by other events guided towards the general public. Blackface movement has been seen throughout history and thought to have been disappeared in the 2000s yet is purely masked by social media that presses on other topics that gain the general public eye and overshadows movements like black facing.

Black facing originated around the early 1830s and had really taken the general publics attention around the year 1845 when people began to perform mistral shows, musicals and wrote music that was orientated around black facing, the performers were most often white middle age men who changed the style of their language, movement, and overall character by painting their skin black in order to play the role of a black man/women primarily to entertain the middle age class. 

Black facing is a very important topic because it can influence one's life in a negative way by being surrounded by such immoral events that no human should ever experience. We need to take such events more importantly and bring justice to people that have to experience things like black facing in their daily life. In my research blog, I will be analyzing how all of these events have led to where black facing is now and how the society views it in the current age vs. how it was view back in 1800′s.

In a news article that was published on February 7th, 2019 a news report has released an image of Democratic Virginia Gov. Ralph Northam back in 1984 was spotted in a racist yearbook for Eastern Virginia Medical School he discussed how his values have changed since that time. He also does not plan to resign from his position yet he was later asked to resign from his position after the incident had come to be heard by more people. I believe it is outrageous how someone with a history of clear black facing could even become affiliated with the government, I thought there were stricter laws on the background check, especially for the government? Or was it because of previous family history that he was so easily accepted into becoming a governor?

The photo on the right shows an image of two men, one dressed in a KKK costume and the other is in blackface, the photo is taken from a 1984 yearbook of  Ralph Northam. He does not admit to which one was he said it was an irrelevant fact. Under the photo the quote “ There are more old drunks than old doctors in this world so I think I’ll have another beer”. The quote can be interpreted in many ways but my view on it is that he wanted to be like the general public, follow trends and fit in. People like Northam have taken positions in the government and have been a part of the society, with a background of black facing nobody should be allowed to have power over governmental issues dealing with society.

An article discussing the historical events that have had a major influence on black facing found on “Blackface!” Blackface! - Blackface History Prior to Minstrel Shows article states that Thomas Dartmouth “the father of American minstrelsy” performed song and dance routines in blackface in 1828 New York City. he was a widely known artist that really helped the growth of blackface throughout history.

In 1842 songwriter Daniel Decatur Emmett had devised a program of singing and dancing blackface. 1850’s minstrel shows developed into a standard format of three parts developed by Edwin Christy. There Are multiple different personas that have made an enormous impact on the blackface movement, each from a different aspect which combined made the blackface movement a normal, day to day aspect. There were no laws that had made blackfacing illegal and so black people had to be exposed to such unhuman instances throughout their life.

A current event that has made the headlines on December 15, 2018, was Prada's new collection which depicted blackface in their new collection. The figures were black and had large red lip monkeys. People believe such controversy would have never occurred if Prada had a more diverse workforce with having very few people of any other race then white working on their staff. Prada has made many apologies regarding this event but the collection and idea should have never been made in the first place.

Pradas collection had a very strong similarity to a “Three blackface masks Collection of the Smithsonian National Museum of African American History and Culture” It was a gift of the Collection of James M. Caselli and Jonathan Mark Scharer. The blackface mask has the same style as Prada's hoodies, with a black and red mouth. The similarities cannot be mistaken and Prada has crossed the line with releasing the 2018 collection, “When are you going to allow black folks to be decision-makers, to be something other than window dressing at your company, so you don’t have Sambo window dressing?” states a reporter. She had observed that most of the population that worked in the store had been of one race, and so no other cultural influences had been introduced which led to such outcomes.

A current event posted on November 24, 2018, shows a Video posted by a family-run hardware store in Ireland that had his skin painted black, the video was to promote Black Friday sales, not only is the painting in black he also waggles his tongue during the video resembling a savage look to add on to the black painted skin. These portrayals of African Americans were what created jezebel and uncle tom and others. Such events still occur in today's society and could be detrimental to ones mental health on how one views the world.

Rachel Dolezal a box braider extraordinaire who has recently changed her name to avoid going to trial for welfare fraud has agreed to pay over $9,000 in restitution and complete 120 hours of community service to avoid going on trial for welfare fraud. Rachel claims to have seen herself as black rather than white beginning with her childhood, even though both of her parents are fully white. Through all of the lies, she has been through she “has made multiple allegations that she’s been a victim”. Rachel has made multiple statements that she has “a huge issue with blackface” she also had mentioned in the article “that she wants to be photographed in the sun so that her skin looks darker”. It is one thing to want to have a more complex skin color and have your hair curly, Rachel Dolezal took it to another level by claiming to be black, receiving support from the government and many more.

Many factors influence the way black facing had originated, drawing from all of these sources, there is great history in black facing, and multiple factors have influenced the growth and evolution of such performances and how It had become a social norm throughout the years. Blackfacing is still seen in today's society and there are many structural aspects such as dialogic arrangements, character, narrative mechanics of blackface that became the dominant ways in which one represented blackness. There were many widely known people that greatly affected the mass entertainment of these performances throughout history and in today's society we see people that are involved in the government field have had an association with black facing.

From analyzing multiple sources that all involve a type of black facing, some direct and some indirect, we can see how any of these events could make an impact on someone's life. If events such as these went unnoticed they would end up growing and possibly shifting back into the way it used to be in the 1800s, social media is a powerful tool and people need to learn to utilize it to our best abilities and to grow as a society.

Methodological issues are associated with being socially acceptable and thought as humor. The methods that we could begin to establish in a society are to bring awareness and not undermine any morally wrong situations that could lead to trauma. methodologies involving racial differences could be viewed as a socially influenced, could lead back to colonialism involving power and control ones has upon someone else.

MLA citations 

“Blackface!” Blackface! - Blackface History Prior to Minstrel Shows, www.blackface.com/ blackface-history.htm

Barr, Sabrina. “Prada Issues Apology after Accusations over Blackface Imagery.”www.independent.co.uk/life-style/prada-blackface-racism-backlash-criticism-apology-statement-fashion-a8684636.html.

Rahim, Zamira. www.independent.co.uk/news/uk/home-news/black-friday-2018-blackface-smyths-homevalue-ireland-racist-promotional-video-a8649841.html.

Hopper, Nate. “Rachel Dolezal, White Privilege and Appropriating Culture.” Time, Time, 20 Apr. 2017, time.com/4748965/rachel-dolezal-stranger-interview/.

Kelly, Caroline. “Northam Apologizes for 'Racist and Offensive' Costume.” CNN, Cable News Network, 7 Feb. 2019, www.cnn.com/2019/02/01/politics/northam-blackface-photo/ index.html.

[lefrenchfox]

(Note: The 3 censored images you can see here, are used for the explanations below, here, I will refer them as “case 1″, “case 2″, “case 3″ and are a few examples of my artworks on deviantart.com that got banned)

To answer you @muhznit, well, I could desribe in detail how they’re wrong, but I just don’t want to write a Bible of how DeviantArt is an unwelcoming place for mature content artists. Many mature content artists with DeviantArt experience probably already know why this website is turning into the an anti-mature content integrist website. So.... If you want to know, let’s go with the long (but not exhaustive) version : I have been in DeviantArt for more than a decade. I wasn’t even adult myself when I start browsing it and drawing mature content for DeviantArt. Back then, there was already a policy, a contract between artists and deviantart. Mature content artwork = artwork tagged as such. Mature content being every artwork showing explicit breasts, naked butt or genitalia. Such content weren’t allowed with fictional character if, at least once in this fictional character biography, it has ever be represented as a child, then whatever you do remotely “sexy” with this character is called “underrage pornography”... A weird policy where you wouldn’t be allow to draw Scarlett Johansson in lingerie for example, if she ever was a fictional character, because we already saw her as a child before in cinema. Hence, it would be child pornography to depict Scarlett Johansson in bikini. (just to show how retard this policy is in a first place) But it won’t apply to her since she’s a real person and not a fictional character, phew... But it’s not that much the concern of why DeviantArt is acting like fascism against Mature content artists. Starting some weeks ago now, (some might linked that with the recent events of DeviantArt being bought by WIX.com a bigger media company based in Israel) many mature content artists started to get their artworks suddenly massively having the “Are your artwork breaking our policy ??” ultimatum accusation, with one of the policy part being pointed at, but nowhere any info about how the artwork would be, in any way, breaking the policy they were accusing your artwork to break. That’s one major flaw to start with. They throw an ultimatum to mature content artwork saying, “you might have or have not broke that one of our rule...”, but gives you no reason on why. Giving them a really stupid situation where DeviantArt, a stick in their hand, suggest you to do something about your artwork because it is ““wrong”“ but not pointing you “what” is. In my personal, ALL, and I mean : “ALL” my sensible artworks had always been censored. By that, I mean big black square and circle to cover up up to 80% of the actual artwork, by hiding breasts, butts, vagina, everything, and even characters’ faces to not let them being recognizable (and then, objectively not being able to be recognizable and so not reasonably being called “underraged”, if there is no possibility to identify them). THEN! Me, along other mature content artists unlucky enough to have been picked on by some angry narrow-minded moderators, got a lot of these warning ultimatum on our artworks by huge stack. I myself, got more than 50 artworks getting an ultimatum in less than a hour! that would be less than a minute per artwork to qualify them as “breaking this or that policy”. You can see my screenshot of all these questionable ultimatum DeviantArt put suddenly on nearly half my 10 years old gallery, on my DeviantArt profile itself. I repeat myself : all my mature content artworks were always tagged as such. And all my mature content artworks featuring a character that has been once underraged in their History had been censored, exactly for that very reason of not being annoyed by “underraged sexualization”‘s claims... Still, less than 2 days after receiving more than 50 warning ultimatum at once from DeviantArt moderation questioning if my artworks were breaking any rules. And, aside a couple of them that were, and I admit it, because I forgot to censor 3 artworks... all the others were censored far from enough to claim any sexualization, and I even put mature tag on them despite them, ironically, not being mature content at all, as the artwork were covered with censoring area mostly. You see the image linked here ? It’s just 3 examples of my 50 artworks who were all report under the same accusation “Underraged sexualization”. Case 1 : the pink kuribo and the black censor bubble is hiding basically everything of the artwork ----> got banned by DeviantArt without actual justification aside “it’s breaking policy” There was nothing left breaking policy in this artwork, but they act like it did... * * * Case 2 : Particularly interesting case. This artwork is sexualization, yes... You can see “oulala” woman nipples drawn on it (such a big deal..). But the most interesting thing in this artwork is that... It’s my OC (= original character), it’s a character completely created by myself (not a fan art of an already existing character). An original character made by myself, and myself only, and described as a 20 years old adult, and a queen of Egypt. Got it ? An original character made by myself, for myself, and created and designed as a 20 years old adult ... Right.... now, do you know why it was removed ?... Yep... “underraged sexualization” policy. THIS artwork of a 20 years old adult created by myself, was banned because moderators of DeviantArt are so fucking dumb, they succeed to claim an original character made by someone, described as adult... isn’t adult. WOOOW. Mind blow! DeviantArt staff members know more your character than yourself. They define their own arbitrary opinion as truth and above the character’s creator himself.

And it was written “OC” or “Original Character” way too often to miss that this character was my OC. So, it’s IMPOSSIBLE, if moderators did really their job of investigating if this artwork was breaking policies, that they missed it was an OC drawn here. Even more as, you can see yourself, I spammed inside the artwork itself that she’s an OC, an adult OC, so that it’s moronic to claim above me, the creator of that OC, that despite what you see and what I claim, she’s not an adult. Simple fucking logic. AAaaaaaaand it got still banned ! Move on on case 3 now ... * * * Case 3 : It’s a standing censored character in a female mesmer costume I took from the Guild Wars 2 video game. If interested, here is a screenshot of the costume :

It’s cute and charming, back then I wanted to draw this costume and so I did in this artwork you see on case 3. Mature tag was on, as always, on this artwork. It was silly, since there is nothing mature in just a character wearing a costume not even revealing any sexual part.... But I still put a mature tag, because I know DeviantArt is dumb, anyway, way dumber than the prudest church man ever existed. And I know for DeviantArt, a skirt is enough for them to go “oooh nooo mature content, OMG!”... So, case 3 here was tagged mature content even nobody here wouldn’t probably even call it ecchi... But whatever ... Who is the character drawn here ? You don’t know ? Ah, yeah, that’s because I censored her face... You don’t know who is this. As far as you see it’s an anonymous faceless character. You just don’t know, and it’s normal. You only see a body, and the name wasn’t even given on description and tag. After the warning ultimatum I can ensure you I ensure myself no clue, no name was given to tell with definite fact who was this character. .... .... BUT DEVIANTART STAFF MEMBERS ARE MAGICIANS !! \o/ You don’t know who is the character ? Well, them, they do! Because with only a drawn faceless body, these all-mighty geniuses could tell it was an “underraged sexualization” policy breaking artwork! Something you, obviously, can claim only if you know that the drawn character here is an existing fictional character and that this character is underraged. DeviantArt is so brilliant, they can claim a faceless adult body and unindentified person drawn, just standing in a costume is an underraged sexualization case. You should realize at that point that DeviantArt moderation is over the top in overstepping basic logic, and goes completely non-sense, irrational and just dumb with their ban of artwork and policy application... But wait, there is more ! ... All these 50 artworks who got ultimately banned, each similar to these 3 cases ( - Artwork so censored it shows nothing....(case1) - Artwork who is my adult OC, and so can’t be called underraged (case 2) - Artwork who the character is unnamed and made anonymous and unindentified (case 3)) All these 50 artworks were like 1 of these 3 examples (if not like all of 3 together). Yet, all my 50 artworks... representing nearly half my gallery since 6 years, were banned by DeviantArt moderations for fallacy and personal judgment from them based on 0 factual element. For all these artworks, I dispute their decision, and politely asked them to tell me, to show me, to point evidence on the artwork(s) of “underraged sexualization” policy violation. That they show me, by which magic, they can claim this or that artwork is an underraged sexualization case ? Name given ? Element that let you recognize who is it ? Element that let you know it’s a “sexualization” scene ? I asked them to show me the elements that can let you decide it’s underraged sexualization in all these 50 artworks, because I know they simply don’t have any factual proof in what these artworks were, that it break policy. If an anonymous faceless female corpse in skirt, just standing right here, is “underraged sexualization”, then, you are forced to claim all artworks ever posted on DeviantArt.com featuring a woman body in clothes are “underraged sexualization” case. Of course, only a fucking retard would look at a woman body in whatever costume, doing nothing, just standing, and claim “heyyy!! That’s underraged sexualization!!” ... You know what DeviantArt answered to me when I dispute those 50 bans, with solid reasoning, logic, and giving them facts refuting their bans being legit and unbias ? ... Well, they didn’t answered.. How convenient ! I show them proof of my artworks not breaking their stupid policies, and probably because they can’t contredict me or my argue, they just ignore my dispute... Excellent way to manage the website! Banning artists’ artworks for more than questionable reasons, act like they give you a chance to defend themselves, but actually ignoring any complain, any valuable defense the aimed artist can give. You may say I’m exaggerating when I call DeviantArt staff members nazi, But look : People who punish artist under reasons they never give and never justify, people who destroys artists/people properties only because they don’t like them, not because of breaking laws, and not giving them the right of speech, ignoring their right to defend themselves. Isn’t it what looks like a nazi behavior ? DeviantArt is acting against Mature Content artists just like nazis were doing against form of Arts they disapproved. Not arts that were breaking any laws. Just that they disapproved and doesn’t wanted to see. They never justified tangible and legitimate reasons to destroys arts. They just did, because “fuck off, we do whatever we want”. That’s exactly how DeviantArt staff members are acting agains Mature Content Artists. This is not democracy, this is the reign of totalitarian moderators who do, banned and destroy Arts, depending solely on their moods, not on fact. They come, they makes assumptions, they accuse you, because they can, bringing no elements of proof to back their accusation. They just do... And then you defend yourself, but they don’t give a fuck. “olol, whatever, I had already decided to ban your artwork from the start anyway lololol”. In civilized world : Everyone is innocent of any accusation unless proven guilty by facts. In deviantArt world : You’re guilty, because... because I say so (pfff, us bringing element to why you would be guilty ? pffff! What for? lel)... Now, it’s on you to prove you’re innocents by showing us how you... OH, well, forget... we don’t care. It’s more simple to just assumed you’re guilty so : BANNED! Thank you! Next! And here is, @muhznit , why I allow myself to call DeviantArt.com a place ruled by nazis. Of course, you may find it exagerrate, since DeviantArt isn’t killing people, but lol, of course they don’t... They would be in jail and we wouldn’t be discussed about this website, obviously, if they were entirely like nazis... But yeah, I claim DeviantArt is as much respectful to Mature Content Artists as nazis would have been with expressionist, and what nazis were calling “Degenerate Art“.