#and of course animation is part of the entertainment industry and a lot of the Problems are Universal

[let-us-cultivate-our-garden]

I used to be part of the TOH fandom but left after the finale - I felt it was very lacking and was a huge letdown for all the reasons you said. Patting itself on the back and lore erasure. But I'd like to ask about something different.

It's no secret Dana hates Disney. But saying it everywhere, the jabs at Disney in the actual show, the attitude of fans parroting her, especially when the news of the shortening was first out - it was legitimately intense. Disney the company has done bad things. But there was a period where I felt like a bad person for even remotely enjoying Disney movies and Disney-published books. I hated myself and felt I was 'betraying' the show, because I had been told Disney was the enemy and nothing more. Disney shortening the show was not a good decision. But it also provided fans with a convenient scapegoat to put every bit of blame on when the show had the tiniest flaw. Comics of beating up Mickey Mouse, 'Disney' being treated like a swear word, praising TOH as the holy grail of animation and saying Disney hated gay people - it made me feel I was a traitor to the show and to myself. (I'm still figuring out my sexuality, but I know I'm not straight.)

Do you think the Disney blame game was too much?

The toh fandom has this incredibly binary way of thinking; the show is the greatest thing in animation and if you don't agree then you're a bigot. Lumity is the best sapphic ship ever and if you don't think so then you're lesbophobic. Shipping non canon ships is tantamount to a war crime. And of course, any criticism of the show has the convenient Disney defense. Any and all flaws of the show is because Disney is evil for not letting the show reach its full potential.

Listen, getting your show cancelled or shortened sucks. But, unfortunately, it's not unique and writers need to prepare for that because it seems to be an occupational hazard in the entertainment industry. A lot of shows get cancelled without even having a conclusion (thank you Netflix for ending the Dark Crystal: Age of Resistance on a cliffhanger! even after the show won a got dang Emmy! 😤) so people should be thankful that at least the toh crew were allowed to finish the story.

I can give grace when analyzing a show's elements knowing what the writers had to deal with. But if they make decisions knowing ahead of time that they only have half a season and 3 specials left, and proceed to add more characters and plot lines that would require a longer season, then those are all fair game.

Dana knew of the Shortening around the production of Eda's Requiem, yet decided to add the Collector, because screw it! We like this little guy and want to see where it goes! They had Hunter get possessed and kill his best friend, yet barely any time is given to him to process that trauma. In the penultimate episode, Boscha, of all people, gets a mini sub plot despite not being relevant for a full season. Luz's angst arc gets 4. separate. resolutions.

None of this is Disney's fault. This all on the crew for not using their precious time wisely and tossing whatever they can to the wall to see what sticks.

So yeah, the Disney blame game is too much but it's also a blessing in disguise because now it's a convenient shield for whoever doesn't want to hear criticism about the show.

As for feeling guilty about liking Disney; listen, Disney has been foundational for literally millions of people for decades. Its presence and influence is seemingly inescapable. And the company has done some awful things in the name of corporate greed and profit.

But you should never feel guilty for liking something that brings you joy.

Remember that writers and artists are responsible for the shows you love. Many queer folks have seen themselves in Disney movies for a variety of reasons and there are many queer artists that have worked for Disney (hi Howard Ashman and Andreas Deja!)

So no, you're not a traitor for liking Disney.

The toh fandom has a very reactionary, us-vs-them attitude and it's incredibly toxic. So don't let the haters get you down!

I wish you well on your journey and hope you're in a better place.

Thank you for the ask!

[jmdbjk]

Wow.

I can't leave to enjoy a few days vacation without the world falling apart?

Hybe vs. Min HeeJin. Not on anyone's bingo card this year. I have not caught up on everything but who tipped off Hybe about her dastardly plans? The timing of it all... and her little extemporaneous skit she did for a press conference was perhaps part of her plan to turn public opinion in her favor? She claims to have invented kpop or at least made it what it is today but out the other side of her mouth says she hates idol culture?

Hybe's not here to play, they will not be nice. I see no benefit to her for showing us the not so pretty side of the idol industry. Maybe that's her problem, she can't see what she's doing because she's too far into it. Thirty years in the business will make you lose your objectivity. She has no idea she is coming across as a greedy, spoiled, entitled, manipulative, narcissistic, emotional female in a male dominated industry. Basically a nut case.

The lady had a tremendous opportunity to perhaps take ownership of her company in due time, become a great example for female leadership in a country where corporate culture is steeped in chaebolism. Instead she squandered that and thinks she will come out on top. Did she miss the Hybe vs. SM Entertainment episode from last year?

Anyway.

RM's new album! RPWP!

The Monochrome pop up store is doing well!

Jin will be back after 6 Fridays!

In other news. I went to Las Vegas. This is what I saw:

The Bellagio Fountains. They're huge. The Bellagio is SWANK. I looked for Jimin in Dior and Tiffany, Hobi in the Louis Vuitton store, Namjoon in the Bottega Veneta store, but none of them were in there. There was no Calvin Klein store.

When Hobi, JK and Tae were there watching the fountains dance to Dynamite, they were standing here:

Passed by Allegiant Stadium a few times. It's huge.

Drove out to Seven Magic Mountains. I am happy to report the lowest boulders had no writing or graffiti. They were amazingly huge as you can see.

Joon's pic of the above rocks:

Went to AREA 15 and it was HUGE and amazing! It's impossible to show everything that its about, there are multiple buildings and installations and activities, gift shops, bars, etc. We went into the Omega Mart (mega art) experience which led to a maze of fantastically created chambers, each different from the last one, all pulsing with animated lights, texture walls, ceilings and floors.

And ate at Hobak Korean BBQ. We couldn't find out which tables the members of BTS sat at but I got a pic of the Butter album they all signed. There were other autographs from other famous Korean celebs but the BTS signatures were displayed in a more prominent place on the wall.

We also scoped out The Sphere. Also HUGE. The concert space is arena sized. I don't know who was playing there that night but the parking lot was filling up.

We also walked the Strip.

The Fremont Street Experience. That's an animated video screen overhead with ziplines running through the length of it. It's two blocks of casinos, restaurants and gift shops. People are also doing busking and shows at street level.

Hoover Dam, view of the dam from the highway bridge and view of the highway bridge from the dam. Spent a few minutes on the Arizona side.

Hiked in the desert. Saw cactus and wildlife. Drank a lot of water.

Drove to the Mojave Desert Preserve in California just to say we did.

We hated leaving. It was a fun trip. But damn, I have so much stuff to catch up on now. Hiatus my ass.

If Vegas is on the BTS comeback tour I promise I will be there this time.

We gambled at the airport on our way out. The slot machines were next to our gate. And in the baggage claim area. But as you can see, its not just about gambling there.

In case you didn't get it, everything in Vegas is HUUUGGE and FARRRR. Walk a lot, spend a lot of money.

Overall, Las Vegas was clean, the people were extremely friendly and welcoming of course, they might be teaching hospitality as a school subject there, I don't know.

[caramelmochacrow]

i know someone probably did this already but!! i screenshot-ed parts of the story where they talked about surprisingly important stuff when it comes to fic writing for these girls? like. how yoba academy works and how influential miyu, kurumi and miiko's families are.

i'll share it here so people can save the hassle of trying to find this info for their fics!!! (even tho a lot of people have probably read this before me)

extra stuff under the cut: (i ramble how the classes work and other things)

abyssmare's classes are:

neo - vocals class (same class as kyoko)

wero - performing arts class (same class as towa noa and ibuki)

elsie - media and arts class or regular class

sophia - media and arts class or regular class

im not sure on elsie and soap's since michiru hasn't stated what her class is at this point in time, i might learn what it is if i continue catching up w the story.

anyway! notes/how i think the classes work

media and arts (MnA to make my life easier) might have the same amount of education as art schools (since yoba used to be an art school) for the artists while for people like shinobu it must have something to do with learning how the entertainment industry works/how to get yourself to start somewhere in that industry.

shinobu being in the MnA rather than music must imply being in the music classes need you to use an instrument rather than how to compose music. (rei is the only person among the yoba units to play an instrument and is the only person in the music course)

regular course must mean the regular subjects for the students (academics and such) but from what i recall from the past events, area conversations, anime and manga the other classes still indulge in academics somewhat just not as much compared to those in the regular course.

peaky back in middle school must've originally chose the regular course before deciding to take up the MnA courses so it will help w performing/future careers. (kyoko = vocals, shinobu = MnA, yuka = video, esora = design)

esora taking up design implies that she is the one who makes the outfits of peaky and also because she's stage designer and negotiator for what/where their venues will be. (in road to d4fes she did set up a whole event by herself iirc)

lyrilily family/arisugawa/rich girl world notes

hayate and kokoa are rich yes but not AS rich compared to miyu kurumi and miiko. they must be around the same status as haruna's family.

miyu's family is the riches out of the four of them since kokoa specifically used the words 'former zaibatsu' to explain her status.

zaibatsu (literally wealthy clique or rich clan) is an industrial/financial integrated business who has an influence so huge over specific parts of japan's economy in WWII. this means that her family, the sakuradas, were super important back in the day, giving them a very heightened status in the business world.

miiko's father is the head of an international group company, so her connections are all over the world. (this is also the reason she knows so many languages)

kurumi's family is one of japan's biggest companies, it doesnt state it so but it might have a connection with technology or is something else entirely.

haruna's family seems to just have a lot of money or her family came from a very rich bloodline, either way, it seems her parents/family isnt known for anything notable that kokoa would remember compared to the other three. (this must be the reason why she acts so high class compared to the other lyrilily members, to fit in w these girls that have family w big and vast connections in different businesses)

the shimizus (esora's family) must be around the same influence as the sakuradas since yuka stated in the manga that she is super well known even among rich girls.

i guess this counts as me liveblogging huh. sorry.

[fibula-rasa]

Watch More Movies Notebook: July ‘24

Favorite New-to-me Films of the Month

(listed in order pictured above, L to R)

READ on BELOW the JUMP!

Highlights and Shadows (1938)

[letterboxd | GEM]

Industrial film commissioned by Eastman Kodak made by James Sibley Watson Jr. It’s not especially common for people to watch industrial films for entertainment—though if you grew up in the kitsch-crazed 1990s US, you may be more open minded to how enjoyable they can sometimes be. Highlights and Shadows has no kitsch or camp factor (Shake Hands with Danger (1975) it is not) but it is beautifully constructed. That comes as no surprise, really, since the project was headed by Watson, who previously made the avant-garde classics The Fall of the House of Usher (1928) and Lot in Sodom (1933). Aside from the exquisite cinematography and optical effects, I appreciated the film’s shared focus on finely-engineered technology and its human element—at one point even including a shot of a janitor at work.

——— ——— ———

Sailor Moon SuperS: The Movie: Black Dream Hole (1995)

[letterboxd | imdb]

In the final film accompanying the 1990s Sailor Moon series, Chibiusa makes another weird friend. This time it’s Perle, a fairy working for an evil space queen who wants to steal the power of children’s dreams for her Black Dream Hole. This is my favorite of the Sailor Moon films we’ve watched because it has heavy Little Nemo vibes! 

——— ——— ———

A Day in Santa Fe (1931)

[letterboxd | imdb]

A charming entry in the discourse of the city symphony genre. I’m a big fan of city films, but hadn’t heard of this one before reading Lovers of Cinema this past month. Initially I wrote a whole page of notes about this film and how it sits in conversation with the films that inspired it, but decided that should be a bigger conversation for another time here on the blog! That said, A Day in Santa Fe is a often cheeky response to the urbanity of most of the other city films and, if you’re familiar with the genre, it’s worth checking out.

——— ——— ———

Bewitched Matches / Les Allumettes ensorcelées (1913)

[letterboxd | imdb]

Short part-animated/part-live action from Émile Cohl. Three girls invite a witch into their home hoping she will tell their fortunes. When their father comes home, he rudely kicks the witch out and she places a curse on his matches, of all things, which take on a life of their own.

——— ——— ———

Manhandled (1924)

[letterboxd | imdb]

Swanson was such a complete movie star. Contemporary critics of Swanson’s silent film work seemed to think her appeal was entirely based on her ability to wear extravagant outfits well, but she had the skill to do a little bit of everything. It was fun to see a film where Swanson gets to mix relatability, dramatic skill, comedic chops, and, of course, a chance to wear some wild getups. 

All in all, it was an enjoyable film and Swanson has good chemistry in particular with Lilyan Tashman and Frank Morgan. However, I did find the conflict between her and her boyfriend at the climax to be a little forced (it feels like he knows her better than to jump to such rude conclusions, no?)

——— ——— ———

Rich (1983)

[letterboxd | imdb | UCLA Youtube]

A student film by UCLA alum S. Torriano Berry and restored by UCLA graduate student Gabz Norte. What a cool project to have current students restore the work of former students! While Rich is very much a student film, I found it to be thoughtful and wholesome in equal measure. (I do have a soft spot for films shot in and around Watts tho!)

——— ——— ———

The Salvation Hunters (1925)

[letterboxd | imdb]

Josef von Sternberg’s first film as a director, which I also watched because of Lovers of Cinema. Very cool how Salvation Hunters plays at social commentary with the devices of typical Hollywood storytelling and story flow almost bordering on dream logic. In some ways it felt like a presage to Fellini’s work. In short, I loved it.

——— ——— ———

The Devil’s Dance / La Danse du diable (1904) 

[letterboxd | imdb]

Very short dance film about a little green devil (who might be fart powered?) and the visions he summons. Visual interest added by Velle shooting entirely from an overhead angle.

——— ——— ———

My Brother’s Wedding (1983)

[letterboxd | imdb | Kanopy (US)]

Watched this film after logging Rich on letterboxd, as another user had brought up this My Brother’s Wedding as similar to Rich. It’s always interesting when artists working the same time/place/industry will weigh in on subjects relevant to them in their own unique ways, but convergences and divergences of perspective emerge. Anywho, the neo-realist element was really well executed and I appreciated all the bits of character-based humour both as enhancement of the realism and as variation of tone. (TBH I was hooting every time the 30-year-old Pierce started wrassling with his elderly father! Like, it’s funny, but it also communicates where Pierce is at in his life and his dynamic with his parents!)

——— ——— ———

As always, if any of these films catch your eye, but you need specific trigger/content warnings, don’t hesitate to ask for them!

——— ——— ———

Monthly Round-up

I apologize for how informal/unedited these notes are for my favorite new-to-me films this month, but I’m playing catch up since I spent the beginning of the month ill! Said illness is also why my Salom�� cosplay and essay isn’t up yet! 

I spent most of the past month researching and—though it remains to be seen if it will be for better or worse—my Salomé work will probably be in two parts. The first part will likely be up in the next few days! I ended up discovering so many interesting things behind the most commonly repeated ideas about Salomé that it would be way too much for one post!

As I mentioned in the notes above, I read Lovers of Cinema this past month and it gave me quite a few ideas for posts. One of which will likely be up this month: a watchalong a la the “Film Comedy’s Eves” post from a few months back. It’s a very accessible read if you’d like to learn more about the world of avant-garde/independent/experimental cinema of the US in the first half of the 20th century! 

Now, while I spent most of my blogging time this past month falling down numerous research holes, I did manage to put some themed gif and still sets together:

Sun, Moon, and Feather (1989)

[which I talked about in last month’s round-up]

Manhandled (1924)

Losing Ground (1982)

La Danse du diable (1904)

Highlights and Shadows (1938)

Blue Blood / Sangue blu (1914)

Lot in Sodom (1933)

——— ——— ———

Well, thank you all for your patience with the Salomé cosplay getting so drawn out, and stay tuned for part one soon!

Happy viewing!

☕Appreciate my work? Buy me a coffee! ☕

[applescabs]

I was tagged by my buddy @phoenixfangs so lets goooo

Are you named after anyone? I've heard this story a buncha times so I'm pretty sure my mom got my birth name from a singer. She heard it on tv and liked it a lot, back then it wasn't a very common name in my country. My names as of now are 50/50, Tom didn't come from anyone but Teddie was 100% something I picked up from Teddie p4, hahah.

When was the last time you cried? Last Sunday when I rewatched ep 11 of Bucchigiri. especially during the part where Zabu got the absolute shit beaten out of him. Finn came home right after that and doesn't understand that one of the big points of media is to reach you emotionally, so he thought it was weird that I was crying.

Do you have kids? Nah, but I'd like to some day, if fate allows it.

Do you use sarcasm a lot? Not nearly as much as I used to, because most of my friends are autistic and don't get it most of the time, so I just end up upsetting them whenever I do use it. Being sincere is much more fun anyways.

What sports do you play? None, but I would love to swim or ice skate (or, hell, do some skiing). Neither are really possible for me atm, unfortunately (do you have any idea how expensive skiing is btw. it's crazy). When I was a kid I did gymnastics and streetdance, I also played tennis briefly as a teen, but had to quit due to a lack of people in my age group playing at that club.

What’s the first thing you notice about people? I usually take note of how someone dresses and does their hair. Ever notice how dull most people's clothes are? I like seeing styles that stand out.

What’s your eye colour? Brown, it's not a particularly dark shade, but I wouldn't call it hazel (my dad has hazel eyes though).

Scary movies or happy endings? This ones a little... vague? But I guess if I had to choose... I wouldn't. I don't care about genre or what type of emotional impact it has, as long as it's coherent and entertaining in its own right. (That doesn't mean I don't care about quality btw. I literally just. watch anything and judge it for what it is.)

Any special talents? I'm a boss at packing in groceries quickly and efficiently. Not a talent that everyone possesses, I've learned (sorry Minke <3).

Where were you born? Netherlands babeyyy ✌ North-Holland to be a bit more precise. I lived next to a dyke (not that kind) so I got the real under-sea-level experience. I still live around the area but not in my hometown anymore.

What are your hobbies? Drawing, (writing?), translation and the nuances that come with it, watching movies, tv shows, animes, cartoons, playing video games, reading books, comics and manga. (and then talking about cinematography, parallels, themes, symbolism and the likes) I also collect soda cans (+ the occasional glass bottle), candy packaging, and anime figurines + other merch.

Do you have any pets? My little baby Jody (dog) who I've had since I was 7 years old! She's about to have her sweet 16 on the 23rd (that's in 2 weeks!) she's getting blind and deaf as hell but she's still lively and sweet as ever <3 And my sweet Tiger of course, who's of undetermined age (around 8/9 the vet said) and currently living with my good friend Minke and their 2 other cats (he does not like them) and dog (he is ok with her). He's not with me rn because my mom's bf is allergic, unfortunately.

How tall are you? 1 meter 59. that single centimeter haunts me. I would've also preferred an additional 10 as well.

Favourite subject in school? Art history used to my favourite in high school, and when I was in film school for a brief period I loved film history. I just love anything pertaining to the arts and it's history that involves analysing and comparing it to other time periods, really.

Dream job? I wanna be someone's househusband and make a buncha weird art on the side. Not kidding btw. But if I had to choose a more conventional dream job... it had to be something in the creative or design industry, otherwise I'll probably die of unhappiness.

tageroonie @kuwupikaa @sunflowermews @xrd @isleofair @spunktrumpetsasara and uhhh other mutuals who feel inclined to do this 👉👈

[beardedmrbean]

Sorry, I just saw this old tweet, and it like pre women kings probably

https://x.com/copicsquiddo/status/1381723968713986048?s=46

Roots? What roots? The Dahomey intentionally made sure the ancestors were we mainly came minds were too damage. Actually I heard that Dahomey slaves had to walk around a certain tree part of their ritual.

I was thinking about a story where an African villain try that “we are brothers” thing to a black American and the black American goes

“As soon as my Yoruba ancestors walked around that tree so the Dahomey could get more guns. We lost all ties to Africa.”

And the villain eyes widen when he realize “the false Eden” trick people like him used on my community is lost steam and we are learning the truth

I wonder how in 40 years, people will be shocked how I treat African cultures and people…like human beings. And don’t have the pan Africa mentality

And I’m might have to tell them a very old comedy anime (by then) about stereotypical personifications of countries named Hetalia. And a historical fiction with scifi elements and a secret war make appreciate real life cultures more than college educated people

Of course that not the sole reason, as I was able to take to people from different parts of the world and got a close mutual that really made me realize my American identity

And the Yoruba….okay probably my depression…it’s a bit…painful at first researching their culture because realizing how you are an alien to the group most of your genome came from. I mean it’s not their fault (we decided to lionized the bastards who cause it in the first place for “girl power”)

But it’s a different culture and I must acknowledge it

You know I was asking my Mexican mutual why I don’t have the same entitlement or insufferable attitude towards Africa like many other black Americans. Of course not all are like that

But if you say you want to go back to the motherland to me. I presume you mean Alabama or Nebraska for that where my family is at

And I’m midwestern living in the Chicago area working at Amazon. These people in the entertainment industry lives in California and NYC. They can talk to direct native Africans and tribes on a silver platter

But they refuse to then or collab and continue this 10 year old bitter understanding of Africa

Tbh…I think because a lot of black Americans ADULTS think their shitty pubic education spark notes of African history. And refuse to grow up

A plenty of genuine Africans would gladly teach us about their culture and maybe people like me who want to learn what my Africans ancestors did before the chains.

But black Americans activists, yes I’m talking to YOU

Stop having TANTRUMS because Africans ain’t going to treat you why kids gloves.

Hard to show empathy to a group that knowingly get diamonds and nikes from child run mines and workshops

But cool ac collab

https://x.com/assassinscreed/status/1784613564335956281?s=46

Omg imagine telling your friends in the 90’s, a institute would use a video game to help show the visuals of 9th century Baghdad

I like to think that some people actually took the time to learn about themselves and their roots as a result of that one, just like several other bits of media.

I also like to think some of those people got a rude awakening about the history of various peoples and cultures in Africa, and I do hope they kept on learning after that instead of putting the book down and choosing ignorance.

I was thinking about a story where an African villain try that “we are brothers” thing to a black American and the black American goes “As soon as my Yoruba ancestors walked around that tree so the Dahomey could get more guns. We lost all ties to Africa.” And the villain eyes widen when he realize “the false Eden” trick people like him used on my community is lost steam and we are learning the truth

You're gonna have the hoteps awful mad with that, but then again they reject any reality that's not the false one they've created for themselves and no amount of evidence will get through their heads anyhow.

I wonder how in 40 years, people will be shocked how I treat African cultures and people…like human beings. And don’t have the pan Africa mentality

in 40 years I hope more people will have figured that all out, throwing off the victim mentality isn't gonna be super easy tho

And I’m might have to tell them a very old comedy anime (by then) about stereotypical personifications of countries named Hetalia. And a historical fiction with scifi elements and a secret war make appreciate real life cultures more than college educated people

I've heard of that one and seen stuff from it too.

Of course that not the sole reason, as I was able to take to people from different parts of the world and got a close mutual that really made me realize my American identity

American identity is complicated at times, always remember we eat borgar everything else can be secondary.

And the Yoruba….okay probably my depression…it’s a bit…painful at first researching their culture because realizing how you are an alien to the group most of your genome came from. I mean it’s not their fault (we decided to lionized the bastards who cause it in the first place for “girl power”) But it’s a different culture and I must acknowledge it

Ya I wouldn't know what to do if I went where my DNA says I'm from, one of those weird things about being American.

And I’m midwestern living in the Chicago area working at Amazon. These people in the entertainment industry lives in California and NYC. They can talk to direct native Africans and tribes on a silver platter But they refuse to then or collab and continue this 10 year old bitter understanding of Africa

I'm still waiting on the next chapter of the Captain Alex series to come out of Wakaliwood.

And yes, you'd think they'd go and actually talk to these people, problem with the American audience is they generally speaking don't know Bantu from Yoruba to Zulu ect so mushing them all together won't register to most of the audience and it's cheaper for the studio.

A plenty of genuine Africans would gladly teach us about their culture and maybe people like me who want to learn what my Africans ancestors did before the chains.

That was one of the nice things about the Disney park I worked at, they had "ambassadors" from various parts of Africa in the Africa section who's only job was to talk about where they're from, lot of South Africans since English was needed, but there were others too, Asia had that too.

But black Americans activists, yes I’m talking to YOU Stop having TANTRUMS because Africans ain’t going to treat you why kids gloves. Hard to show empathy to a group that knowingly get diamonds and nikes from child run mines and workshops

Sadly the Americanization of the globe marches on, some African countries asking for reparations, which the proper response is go talk to the people that sold you and get your money from them, which works for both us over here and them over there.

If Benin tried to claim some sort of reparations I would hope everyone would laugh in their face, they're the successor to the Dahomey empire, they owe the money not the other way around.

Oh that's cool

Omg imagine telling your friends in the 90’s, a institute would use a video game to help show the visuals of 9th century Baghdad

They do love their accuracy, gonna have to look this up go see them there Hanging Gardens of Babylon and all that good stuff.

[asianpopfan]

Just saw that on Weverse, there is already a voting poll for R U Next? Which makes extremely annoyed.

They obviously want to rely on the public’s favourites, not even showing anything worthy longer than 1:30 seconds of their skills combined. (They are 22 people and 1 minute trailer for all them together!)

What is there exactly to vote at all? This is just giving a push to those who probably have pretty and/or foreigner privilege. Yes, foreigner privilege because although they might not have advantages such as being considered a real Korean even if they lived in SK for 15 years and are ethnically SKorean, they are seen as exotic, cool if they come from the USA and as I see it a lot of kpop fans focus a lot on their idols anglophone nationality and their habits and accents. Don’t get me wrong, there will be more disadvantages more often than not, but you can’t deny that the SKorean contestant from USA might probably have a lot of “unserious” followers who will make funny compilations of her and paint her as more “mature” overall.

Are we supposed to vote for who we relate the more in terms of MBTI, favourite animal or food?

Maybe they want to have an excuse to eliminate the 12 year old contestant as people seem unhappy with her age and avoid later backlash. Maybe they want to put her at disadvantage before they even begin knowing that at least 50% won’t vote for her and hope she gets last in voting so if she ever has chances to debut, she might not due to it being harder for her???

At the end of the day the most sensed plausible explanation is that they want us to vote for who has the best aura, not in a pretty privilege type of way but in a literal tarot reading type. I don’t even believe in it but what else do they want us to vote?!?!

Because kpop is very aesthetically based so of course the essences the contestants give off is more eye catching at first impression.

I do not trust the voters who are happy with doing the poll. I never trust pre debut fans before they even show anything. Being a survival show fan ,supporter and follower of the group is different from being a fan of something that doesn’t exist and you have absolutely no conceptual idea of yet.

Will they stay if they turn out unpleasant post debut? For example ZB1 has supporters and followers (I get it!) but they have also fans who are already catching up fights with other fandoms (As seen against BoyNextDoor) , keep in mind that BND debuted about 1 month ago and ZB1 still hasn’t released their debut album/single trailer yet! We don’t know how their music will be! It’s also always the kpop fans who complain about music not being the “center” of the industry who act like that and shame others for not liking quality music, what music do you even have? NMiXX is instead the one group that shockingly disappointed the entire industry because they have have content and stunning skill demonstrations since a year before debut but their music was so…eccentric that people were harassing JYP Entertainment.

Seems like a lot of people (at least active in western social medias) have voted for the oldest contestant as a way to promote her but part of me feels like this is also wrong because I get the intention but what if she is not deserving of it??? Seriously, giving a place out of pity or as a “political” move/rebellion won’t benefit the deserving contestants. This is an important career decision, we could make or ‘not’ them. Let’s not play games in such shows. At the end of the day we don’t know about her any more than the others. Was she the one who trained with Le Sserafim? She might also have an advantage as the LSS fanbase might support her + LSS fans are at least neutral on their own members age and won’t have a single problem with her.

[xgencollege]

Exploring Animation Courses and Career Opportunities

Now a day, animation has become an integral part of various industries such as film, television, gaming, and advertising, with the growing demand for animated content, the field has emerged as a lucrative career option for creative individuals.

Benefits of Course

Animation is a creative art form that brings stories, characters, and concepts to life through motion. By combining drawings, models, or digital designs, animation creates the illusion of movement, captivating audiences across various media, including films, games, and advertisements.

X- Gen College is among the Best Animation Institute in Odisha and this college, a renowned institution, which affiliated with Utkal university of Culture, offers a range of courses.

Right now time has changed, and so has the education system and the demand of VFX, and design is increasing day by day. This is creating exciting opportunities for young, creative individuals.

Career Opportunities in Animation

It employs techniques like 2D, 3D, stop-motion, and motion graphics, each offering unique styles and effects. Animation is widely used for entertainment, education, and marketing, enabling complex ideas to be conveyed in engaging and visually appealing ways. With advancing technology and tools, animation continues to evolve, offering limitless possibilities for creative expression and storytelling in both traditional and digital spaces.

Our experienced faculty member’s guide and mentor students throughout their journey, helping them to achieve their full potential. With a strong focus on practical experience, we provide more opportunities for students to engage in hands-on projects, collaborative exercises, and industry internships.

A lot of facilities, experienced faculty, and industry connections make us a hub for aspiring animators and artists to learn, grow, and this industry offers a wide range of career opportunities, including:

- Animator

- Visual Effects Artist

- Graphic Designer

- Storyboard Artist

After completing a course from XGen College, students can expect 100% job placement assistance. The college has a strong industry network, providing students with lucrative job opportunities in this course.

Why Choose X-Gen?

X-Gen College of Visual Art is top institution in Odisha, offering Fine Art, VFX, and Film Making programs, as we provide Diploma in 3D Animation with exceptional education, nurturing talents and equipping students with skills and knowledge to excel in this industry.

We invite you to join our community of creative and talented individuals and take the first step towards a successful career in animation.

[nukenai]

So I disagree with a LOT in this post regarding things like horse racing, barrel racing, NYC carriages, etc. All of those (and other high intensity high level sports, like reining), are extremely full of horrific abuses tied in with corruption. These people just do not treat their animals well which I'm saying from experience in these industries and knowing many horses that were or current are part of them. And saying that people pointing out horrific abuses of horses are just ARA PETA supporters is really misguided, this cannot be chalked up to "just a few bad apples" or whatever. Horses in these industries are severely overbred which also leads to the "so many goddamn horses going to slaughter" issue. The AQHA is pretty bad with that.

And there is an enormous difference between horse carriages that are used for actual transportation vs ones that are just tourist attractions, the latter of which tend to have the extreme welfare issues, because they're literally just money making nonsense. I agree animal rights groups can go overboard, but I don't like people using that to ignore extremely widespread abuse that goes unremarked upon because people are just so used to seeing things like a horse attached to a carriage. I also do want to point out that just because something is a part of a culture, doesn't mean it shouldn't be examined critically. Working animals do enjoy doing their jobs, but there's a difference between an animal being worked correctly, and just doing its job despite discomfort because it literally doesn't know any better. Let's not imply things like "if the horse was unhappy, it would fight back!" or anything like that.

That said. Completely agree with the nonsense idea that only rich people have horses. People who think this obviously don't actually know anyone with horses. It's also pretty gross to think that an animal we domesticated needs to have a "purpose". There are plenty of horses who can't be ridden who people will throw out because they're "useless" when they can be a wonderful companion animal to humans and other horses. My lizards don't "do" anything but I still love them!

This kind of thing is why I've also come around on the issue with mustangs - they NEED to be managed, because they are NOT actually wild animals. We created modern horses and we put them in that situation. Horses and humans are intrinsically linked and we need to be responsible for them. Just letting "nature take its course" doesn't work when we messed it up in the first place (there was no talk of wild horses in this post but it's my Big Thing so I wanted to mention it. THAT is an issue that is so full of ARA misinformation it makes my fucking head spin. Do not believe anything Skydog Sanctuary says lol)

I was talking with someone at my barn a while ago and she told me with horror that "California banned rodeos" (couldn't confirm any validity to this lol). I told her I was glad because rodeos are shit entertainment that exploit animals and she was like. Flabbergasted? Like yeah actually if you can't fucking do it right then nobody should. Rodeos, bullfighting, knock it ALL the fuck off, I don't care how "culturally important" it is.

Aaaaaanyways I tend to have some unpopular horse opinions (I'm currently boarded at a barrel racing barn. So. Yeah) but a lot of people who are actively participating in horse industries like breeding and high intensity sport are of course gonna pretend they're fine (like people who ride with sharp spurs or use really shitty bits). But the tl;dr I guess is actually these industries have serious problems that NEED to be talked about, AND also not just rich people have horses. Source on that: me have horse but not rich thank you.

Also don't even get me started with the fucking Amish.

I understand the stereotype of rich horse people but it’s kind of gotten insane that anyone with a horse is now automatically seen as a landed gentry bourgeois so much so that people are straight up calling horses bourgeois creatures and calling for their ABOLISHMENT and even extinction like wtf is wrong with you. Don’t let the era of the automobile erase the horses history as a beast of burden for the working class and farmers. Horses belong to the proletariat just as much if not more than the role of rich person’s plaything.

[vfx-editor]

Is studying VFX worth it?

Visual effects or VFX have revolutionized the entertainment industry over the past few decades. VFX has made it possible to bring the impossible to life on the screen, from bringing dinosaurs to the big screen to creating the most realistic explosions ever seen.

It has become a critical part of the filmmaking process, and its demand is only increasing. However, for those considering studying VFX, the question remains: is it worth it?

What is VFX?

VFX is the art of creating computer-generated imagery (CGI) that enhances the visual aspects of a film, TV show, or video game. VFX can range from simple adjustments to complex and realistic simulations. For example, it can be as simple as adjusting the color of a shot, adding a background, or even removing an unwanted object from a scene. At the same time, it can be as complex as creating realistic simulations of natural disasters, creating aliens, or bringing historical events to life.

The Role of VFX in the Entertainment Industry:

VFX has become an essential part of the entertainment industry over the past few decades. It has enabled filmmakers and game developers to create stunning visual experiences that were previously impossible. It has revolutionized the way stories are told on the big screen, and it has also opened up new opportunities for artists and designers to showcase their skills.

The use of VFX is not limited to Hollywood blockbusters. It has become an integral part of TV shows, commercials, and video games. The demand for skilled VFX artists and designers is increasing, and it is expected to continue to grow in the coming years.

Studying VFX:

Studying VFX is a great way to enter the entertainment industry. There are several paths to consider, from attending a traditional college or university to attending a specialized VFX school or boot camp. However, it is essential to understand that studying VFX is not easy. It requires a lot of hard work, dedication, and passion.

Skills Required:

VFX requires a diverse skill set. It is not just about knowing how to use software like Adobe After Effects, Nuke, or Maya. It requires an understanding of film theory, lighting, color theory, and even physics. It also requires a strong foundation in traditional art skills like drawing, painting, and sculpture.

The job of a VFX artist involves working in a team, communicating with directors and producers, and understanding the story and vision behind the project. Therefore, having good communication and interpersonal skills is also important.

Types of VFX Programs:

There are different types of VFX programs available to choose from. These include:

Bachelor's Degree in VFX: A bachelor's degree program in VFX is a four-year program that provides students with a comprehensive understanding of the fundamentals of VFX. It includes courses in film theory, traditional art skills, 3D modeling, compositing, and animation.

Master's Degree in VFX: A master's degree program in VFX is a two-year program that provides students with advanced training in VFX. It includes courses in advanced compositing techniques, motion graphics, visual storytelling, and advanced 3D modeling.

Bootcamps: Bootcamps are intensive training programs that provide students with the skills required to enter the industry quickly. These programs are typically shorter than traditional degree programs, ranging from a few weeks to several months.

Online Courses: There are several online courses available that provide training in VFX. These courses are typically self-paced, and students can learn at their own pace. Online courses are a great way to learn the basics of VFX and get a feel for the industry before committing to a full-time program.

Career Opportunities:

Studying VFX can lead to a variety of career opportunities. These include

VFX Artist: A VFX artist is responsible for creating visual effects for films, TV shows, commercials, and video games. They use software like Nuke, After Effects, and Maya to create visual effects that enhance the visual aspects of the project. VFX artists are in high demand in the entertainment industry, and it is a great career option for those who are passionate about art, animation, and visual storytelling.

Compositor: A compositor is responsible for combining multiple elements of a shot, such as CGI, live-action footage, and special effects, to create a seamless final product. Compositors use software like Nuke, After Effects, and Fusion to create visual effects that are integrated with live-action footage. Compositing is a specialized field within VFX, and it requires a strong understanding of lighting, color theory, and composition.

3D Modeler: A 3D modeler is responsible for creating 3D models of characters, objects, and environments. 3D modelers use software like Maya, ZBrush, and Blender to create 3D models that are used in films, TV shows, commercials, and video games. 3D modeling is a specialized field within VFX, and it requires a strong understanding of anatomy, form, and texture.

Motion Graphics Designer: A motion graphics designer is responsible for creating animated graphics for films, TV shows, commercials, and video games. They use software like After Effects, Cinema 4D, and Maya to create animated graphics that enhance the visual aspects of the project. Motion graphics design is a specialized field within VFX, and it requires a strong understanding of typography, layout, and animation.

Is Studying VFX Worth It?

Studying VFX can be a worthwhile investment for those who are passionate about art, animation, and visual storytelling. The entertainment industry is constantly evolving, and VFX has become an essential part of the filmmaking process. The demand for skilled VFX artists and designers is increasing, and it is expected to continue to grow in the coming years.

However, studying VFX is not easy. It requires a lot of hard work, dedication, and passion. It also requires a diverse skill set, including traditional art skills, software skills, and interpersonal skills. It is essential to choose a program that is right for you, whether it is a traditional degree program, a bootcamp, or an online course.

It is also important to understand that the entertainment industry can be competitive, and getting your foot in the door can be challenging. Networking, building a strong portfolio, and gaining experience through internships and freelance work can help increase your chances of success.

Conclusion:

In conclusion, studying VFX can be a great way to enter the entertainment industry. It is an exciting and constantly evolving field that offers a variety of career opportunities. However, it requires a lot of hard work, dedication, and passion. It is essential to choose a program that is right for you and to develop a diverse skill set that includes traditional art skills, software skills, and interpersonal skills. With the right skills and experience, a career in VFX can be both rewarding and fulfilling.

[kpop]

Music Spotlight: MIYAVI

Are you ready for a special Music Spotlight guest appearance? This week, we’re featuring popular singer/songwriter, guitarist, and actor MIYAVI to celebrate the release of his anime cover album MIYAVIVERSE. Check out our full interview below!

Tell us about your recent album, and what you hope fans take away from it.

The new one is an anime song cover album. We cover anime songs like Evangelion or Naruto or Hunter, classic ones. One of the reasons why we did that was because I am Japanese, so it’s great to relearn that content, and I’m sure so many of my fans will be familiar with those anime. It’s a fun process to bring those anime tracks to MIYAVI’s world. It’s a different kind of vibe—anime songs, J-pop. But once I start playing the guitar, it’s like the original universe of the sound—and that’s why we named the album MIYAVIVERSE. It doesn’t have to be only the anime songs—it’s more like when we covered ‘Smells Like Teen Spirit’, or ‘Youth of the Nation,’ or other Japanese tracks as well. Obviously it’s MIYAVI’s sound, but it’s a fun process to do a cover.

Your 14th studio album is themed around hit anime songs—what would you consider your favorite anime of all time, and your favorite opening/ending song?

My favorite is Dragon Ball Z. I know, it’s too classic, but that’s the thing I was watching when I was young. And every anime lover is going to respect Dragon Ball Z. To be honest, it’s too hard to cover that song—we can do it, but I don’t know if it's doable to perform on stage in a cool way. So that’s why we gave that one up.

Your illustrious career spans the last 20 years and multiple mediums—what would you consider the highlight up until now? Are there any major moments of growth you can recall?

Yes, a lot. First of all, when I moved to Tokyo from Osaka when I was 17 years old. I was kind of beginning to start finding myself as an artist. And then I became a solo artist, and then, you know, I started focusing on the guitars, and people started calling me a guitarist—so what’s my name? And then, in 2008, I started going on world tours, learning English, and acted in the film Unbroken with Angelina Jolie—so of course, you know these are big moments. And then I became an ambassador for UNHCR—that’s huge.

If you could give your younger self advice on how to cope with the pressures of society, especially in the entertainment industry, what would you tell them? Would you give your kids that same advice?

First of all, keep going and polishing up your skill, what you have—you know—your talent. That’s everything in the end. Nothing else helps you. I still just keep telling myself that. You know, it’s not about the connection or relationship or, of course, personality is counted—it’s included. More than that, as an artist, what you can give to the world is everything—so just keep going. As long as you have "it".

What are your biggest passions outside of music and acting? Are there any hobbies you turn to when you need to destress?

I play games. It’s a great connection with my daughters. It’s a huge connection, and then even while I'm away from home, I can still communicate with my daughters. And then it’s great to have something you share with your family. At the same time, it consumes a lot of time. So that’s the thing—once we start playing, it’s like we keep playing because it’s fun, and we go crazy. But at the same time, time is time, and I do need to work. But that is the hard part, and it is working well for our relationship. It is also the same thing if you play soccer or basketball or sports, it’s kind of the same thing.

This year marks your 20th anniversary, and in that time, you’ve racked up an impressive list of accomplishments. Is there anything you haven’t done yet that you’ve always wanted to? And are there any opportunities you regret not taking?

Basically, there are no opportunities that I regret not taking because I take everything. I never miss opportunities, as you know. When schedule conflicts, and some things that I was not able to do, there are some of course. But, personally, I never missed any opportunities in my life—so there is no regret. But there are tons of things that I have not accomplished, and want to accomplish. We haven’t gotten any GRAMMYs. These are not everything you know, but that's a great goal to have—and I have to work harder to accomplish it.

Want more MIYAVI? Check out his new anime song cover album MIYAVIVERSE here.

[meruz]

hello! i'm a big fan of your work! i noticed youre a risd alumnus, and i just wanted to ask: as someone currently working in the animation industry, how was your experience with risd? i'm having to choose between risd and a school that's popular specifically for animation, and was wondering if you might have any info that could help.

thank you, i hope this ask isn't any bother!

ooh I actually love this question because theres SO MUCH I wish I knew about the RISD animation program ahead of time and I'd love to give people a better idea than the one I had going in LOL. disclaimer that because I went a while ago (a whole class of college students have come and gone since I've graduated!) some of this info may be outdated. also this is purely my personal experience. BUT hopefully it helps

I want to say upfront that I loved my experience at RISD. I attended from the years 2013-2017. Like all private art colleges it was way too expensive (worth noting I had a significant need-based scholarship) but I worked my ass off and I learned a lot about art and I made friends there that I wouldn't trade for the world. As far as an art school experience goes I would tentatively say it was "worth it". However, I went in as a freshman hoping to major in animation and I came out with a BFA in illustration and this is a large part of why: RISD doesn’t have a good animation program for those looking to go into commercial animation. And I don’t think this is a grand statement like I think most of my fellow alum and teachers would agree. The thing is it’s kind of intentional LOL?? And the keyword here of course is “commercial”. Culturally, RISD is kind of a fine arts school first and I wouldn’t say they’re hostile towards industry work but it’s more often treated as secondary or like something unfortunate/dirty you have to do to make money so you can focus more on your “true art”. I have a tweet about this that went semi-viral a while ago actually…

I’m not gonna say everyone at RISD thinks this but it’s pretty prevalent. I'm honestly not outside the opinion lol. You can call it integrity or pretentiousness or whatever but without going into whether this is good or bad it really orients the curriculum and priorities of the school. It’s hearsay so take it with a grain of salt but I’ve heard that on occasions where RISD has been offered opportunities or partnerships to make the school into a pipeline for big studios (like making work specifically to cater to those places and funnel students through the door right after school) they’ve always stuck to their guns and said no to preserve their independence. 

The animation program at RISD is actually called FAV (sometimes stylized as F/A/V) for Film Animation Video and is… as one would guess..a mishmash of animation, film, and experimental video. Multimedia, experimental work is highly encouraged and overall the work and structure is a lot more geared towards submitting independent short films to film and animation festivals than it is towards building a portfolio to secure industry or client work. I didn’t major in FAV but I was on the FAV thesis track for about 3 years and I’d say the amount of help I had making an animation industry portfolio from my experience with FAV classes is close to none. At least for the thesis program we were never required or even asked to do anything such as design character turnarounds, bg designs or paint, even storyboards. And to be fair a lot of that pre-prod work that fills industry portfolios is a necessity of large commercial crews that need to coordinate over disparate departments and studios, not so much for independent single-animator projects. 

But as a result, a lot of RISD students with ambitions to go into animation/video games/ entertainment industry art in general actually major in illustration. Myself included. It’s not a perfect 1:1 match and even within the department there’s conflict as to whether there should be more of a focus on traditional editorial illustration or otherwise but it’s one of the broadest majors at RISD because past sophomore year it’s 100% electives and there’s more classes oriented towards technical drawing and painting skill, concept, story, and communication for client work in a very all of which funnel rather neatly into commercial animation. It’s also a good route for exploring your options like if you’re stuck between wanting to do children’s books, TCG paintings, and comic books you can explore all those at more or less the same time. The downside to this is that in order to get what you want you really have to build your own curriculum. I definitely think it rewards the proactive.

So while nothing at RISD got me to build an animation portfolio I took a lot of classes that I think were fundamental to developing those skills. Ie I did actually take a storyboarding elective, painting classes that focused on color, illustration concepts classes that formed critical thinking and seeing, a sculpting class that trained anatomy and 3d construction skills, Barbara Meier teaches a 3D animation class at Brown that RISD students can cross-enroll at that’s pretty good? None of these are substitutes for a holistic animation curriculum but I think the education I did get was a lot broader and just as personally fulfilling. At the end of the day, I'm glad I wasn't so focused on animation that I was still able to explore illustration, comics, painting and sculpture. I led a student club that coordinated Brown and RISD students to work together and make video games every semester! I take the skills I picked up from these things into my animation career all the time.

Also the nice thing about animation jobs in the U.S. is that you don’t actually need to have animated a whole kickass industry-standard short film to be hireable. The pipeline is so compartmentalized and jobs so specialized that bg designers really just need to be good at environmental perspective and linework, and bg painters don’t even need to worry about that they can just be good at color and light. And almost no one at least in the U.S. animation industry actually needs to know how to animate LOL. Am I being reductive? Am I downing a heavy dose of copium for going to the school that I did? Who knows. Midway through my freshman year I was seriously considering transferring to a school with a better animation curriculum but I never completed those applications because I took a class during the winter semester called Science-Fiction Fantasy Illustration and midway between designing shitty aliens and my new best friends falling asleep on me during a 2001 Space Odyssey screening I was like. This isn’t so bad. Anyways, it turned out ok, we all have jobs now. 

All that aside, Providence is a beautiful little city. There’s an arts and alternative culture there that feels completely different from those in places like NYC and LA. Chris Van Allsburg the writer/illustrator of Jumanji and The Polar Express was a RISD illustration alum and he based a lot of the imagery of Santa's Village off of Providence. This drawing I did is literally a view from Benefit st that I would walk from my off-campus housing to campus everyday:

There’s a lot of stuff that goes into whether a school, or any school, is the right fit for you. Sorry for rambling but I tried to answer this quick because ik college decisions can be time sensitive. Good luck with your decision making!

[girlwiththegreenhat]

This is an open secret at this point, everybody who works in the entertainment industry can tell you the execs literally, outright say they do not want original properties anymore. With a new property you have to spend the time and money getting people invested. If you make the 34785th remake and staple some nostalgia on it for good measure, you'll make bank because there's already a dedicated group of people to market to. People will watch it if it's good, because it's a revival of something they care about. People will REALLY watch it if it's bad, because hatewatching is almost even more profitable in this day and age. It's all about getting the biggest return for the smallest financial investment, and nostalgia is MUCH more profitable than original projects. It's all corporate bullshit in the end.

So anyway, please support the originals who make it in spite of everything, and please especially support independent creators and projects!

fucking constant reboot remake reboot remake reboot remake reboot remake!!!!!!!!!! the tv has only been around for like a century you literally cannot be out of ideas already

[writingwithcolor]

I have a black character who comes from a family of politicians (Mother and Father). I'm writing a plot where he feels a certain pressure to follow in his parents footsteps, but he really wants to do something else. Are there any specific "dream careers" i should avoid for him? I was originally thinking of making him love animals to the point of wanting to be a vet, or maybe enjoying the science side of things, or maybe wanting a career in philosophy, since that's a big part of his character.

Career Choices for your Black Character

All your ideas are great. Career with animals, STEM, philosophy…any of them would be wonderful. I feel as if there isn’t a lot of representation of Black people in those mentioned careers. Pick what you think best suits your character.

When choosing a career for a Black person, there is very little to “avoid” outright in my opinion. Whether you make them an artist, chef, explorer, plumber, doctor - whatever career you think of, I can bet there’s probably not a lot of representation there.

Now, there are a couple exceptions. These careers are not off-limits, but there’s some context to understand.

Careers to choose thoughtfully 

Hospitality 

There is a trend of typecasting Black people in caregiver roles. Think nanny, housekeeper, janitor, etc. This typecast often affects Latine people and other POC as well. Such careers may also draw comparisons to servitude. 

Historically, these careers hold power dynamics - aka being “the help” for, most often, well-off white people. There were times when these were the main jobs Black people could get. 

And it was take it or leave it, if you wanted to support your family.

Takeaways

Yes, there is nuance and power dynamics to consider, but these are still valid careers for anyone. 

These jobs require an array of hard and soft skills. There’s a talent for cleaning or properly caring for children. So when portraying people in these roles, it should be given the proper respect. These aren’t easy jobs!

Some of these jobs can pay well. Of course, this may vary by region and employer. Personally, I know a couple of janitors (Midwest, USA) who do very well for themselves. 

Such roles and power-dynamics balances out even better when you have folks who can answer for themselves, can or are empowered to accept or reject jobs, and aren’t at the mercy of disrespectful clients. 

For example: 

Business owners (Perhaps someone who owes a housekeeping company, a daycare etc.)

Self-employed individuals 

Directors, leads, managers, or supervisors

Employees at companies that don’t follow “the customer is always right” like policies

Do not define characters by their jobs. Just because they serve people for work doesn’t make them subservient or that they live to serve in all areas of life. People have lives and personalities outside of their job. 

Physical labor jobs

Roles related to physical strength and labor, such as carpenters, construction, contractors, laborers, may have similar connections to servitude with the addition of aiding the Strong Black Person role, typically aimed at men in this case. 

Takeaways

The details I used to describe in hospitality roles can apply here. 

Despite any “snooty” social associations, these are in fact skilled jobs that require a lot of talent, bodily-kinesthetic and spatial intelligence. 

It’s another job type that folks can make good money in (again, may depend on location, roles, etc.). Either way, the skills that come with their work are highly admirable, sought after and needed in our societies.

Again - What you’ll want to avoid here is making someone their job. Just because they do physical labor in their jobs does not mean they’re “Strong” in every other way. People are not invisible and without emotional vulnerability.

Music and Entertainment

When people want to create a successful Black character, the first thought is often the entertainment industry. That is, creators and entertainers of all kinds. From athletes, comedians and musicians. 

This is where the line between stereotype and culture can get confusing. For many Black people, creativity and striving for excellence in these areas is inherited. There’s cultural significance to many art forms that is passed down through generations and stoked by the community. Let’s take the appreciation and talent for music as example. Songs and spirituals are historically part of the culture. It involved over time into many styles, and you’ll see the touch of Black excellence in so many music genres! So overall interest is passed on and cherished, leading many Black folks predisposed to flourish in these talents.

Takeaways

Like the other roles, It’s okay to portray Black people in these roles. Oftentimes, there’s a certain cultural / community appreciation that is fed, leading to many talented Black artists of all kinds. 

This isn’t to say everyone is musically, athletically or overall creatively gifted. So, as always, you shouldn’t equate being Black for the reason someone is gifted or meant for any role (e.g. He’s Black, so he has to be naturally good at basketball!)

I must reiterate yet again: People are not their jobs. Just because someone’s a performer doesn’t mean they lead their lives to entertain and create for others at all times. 

A note on sports

I did want to mention sports related careers, such as football and basketball players. There’s a bit of Black people are Strong / naturally athletic “Positive” typecasting that happens here. This makes athletes a go-to role for Black people, particularly men.

Avoid choosing such roles simply because you think they are the only ones that should naturally a Black man or person. While there’s plenty of athleticism there, which again, may be encouraged and fed by society, it doesn’t define a whole race or race/gender.

Overall takeaway

1) The job is not the person

When choosing a career for your Black character, the important thing is that their personality and life is not defined by the role. 

Just because you’re in a hospitality role doesn’t mean you’re subservient or submissive, no matter what you do for the job (in exchange for money, at that). And just because your job requires physical labor doesn’t mean you are invincible and emotionally strong at all times.

2) Don’t typecast your character

Do not give any role to a character of any group because “it makes the most sense because they’re Black / Chinese / Insert race here!” No one group is a monolith. So while I don’t feel there’s off-limits careers for Black characters exactly, just keep in mind that you’re choosing a career that suits the person. Not what you think should suit them because they’re Black.

It’s great to explore roles that Black people are underrepresented within, in real life and media, instead of the ones we tend to see in abundance or because they fit what we're told is the natural role for certain people.

~Mod Colette

[atiny-for-life]

Xikers Full Storyline Explained - Part 1

Masterlist

Rockstar

We're kicking off on a shot of a dark modern city only interrupted by a beam of light reaching down into the center between the clusters of skyscrapers

While we're initially focused on Minjae, we're quick to find out that more beams are popping up and they're shining right down on all 10 members spread across the city - they're the chosen ones, but chosen for what?

At the moment, all of Xikers are still in school and they seem to be attending the same one

We find Seeun alone in a class room with a tattoo on the side of his neck - "777-E-7" - throughout the course of the video, we'll see that each member has their own tattoo and they're all different - they were presumably labeled by the school for the company Namoo, so they could be easily assigned their Coordinate Ball (learn more about this here)

Going by the lyrics, we're dealing with a bunch of little rebels who don't care for school rules - they dress messily, show attitude when they so please and really just wanna have fun, and their rebellious attitude is exactly what gets them chosen by TRICKY, the powerful being which will soon give them their powers...

They also use the phrase "Ullaeli Kkollaeli" which is both "a Korean word that is used when you’re teasing or making fun of someone" (source) and the title of a song by 1Team, a now disbanded group with two former members that had participated in MIXNINE - the same survival show four of Ateez's eight members had participated in (I just thought that was interesting since Hongjoong worked on the full album as writer, composer and arranger)

Throughout the following shots, the world around them begins to change - graffiti appears and begins to move and spread, becoming animated

Note that its all kept in white and blue, just as the wisps were in Tricky House which was released prior but follows this one in terms of chronology

Going frame-by-frame, we can also catch a little easter egg as Jinsik is taking in the warped reality spreading around him: a promo for Tricky House

They sing about feeling free, having their worries disappear, being reborn and behind Seeun, the first blue and white goblin flames appear, once again heavily reminiscent of the spirit wisps we saw in Tricky House - an omen for the appearance of dokkaebi

The fire billows up from the chalkboard drawing of an eye - a shape we have seen and continue to see a lot throughout the course of this MV

And indeed, the spirits enter the scene shortly after as Xikers perform in what seems to be an abandoned warehouse

They circle them, crowding ever closer and speeding up until they've formed a full on storm

In its center, Hunter captures one of the wisps in his fist; it begins to glow - presumably, the other members did the same

This is them being chosen as the key players in TRICKY's newest game (see: The TRICKY's Secret, or for a more detailed explanation: Bonus 1 - TRICKY)

In the next verse, the lyrics shift from the present to their dreams for the future: getting attention, making it big in the music industry, feeling comfortable with being the center of attention, aiming for the stars

The spirits follow each of them individually as they move separately but the wisps shift from a more comic book style to the familiar blue fiery look as Xikers come back together and leap through the air in this gorgeous shot

As they perform in a large empty building with gray tile floors and glass walls and ceiling, another storm begins to brew and is quick to encase them fully

The lyrics shift to a darker, more vulnerable tone: "The scars I buried in my heart / And the past I hid / Can't kill me, can't stop me / Play the music louder"

Caught in the eye of the storm, they all begin to look up

Looking down at them is a blue iris, its pupil slitted like a cat's or snake's, likely belonging to Tricky who has chosen them to host these spirits as means of keeping him entertained for the foreseeable future

They've now become the key players in a planet-sized board game.

We get a close up of Hunter's eyes as the blue fire brims and overflows behind them - the spirit has become a part of him and the other members - their fates have now been sealed

[jinsei-pika-pika]

HIROMIX: SHAPING THE IDENTITY OF 90’S JAPANESE FEMALE YOUTH

A quick look into Japanese pop culture and they're everywhere. Representations of teenage women in paintings, album covers, graffiti, anime, manga, magazines, video games, commercial messages and a whole lot of cultural products.

Today, the image of the teenage student and the paraphernalia that surrounds her is synonymous with contemporary Japan, at least, the Japan that is massively known in the west.

However, when we look at these familiar and popular images of young Japanese women, we must ask ourselves if we really know the real people behind those media icons, if we really understand and are able to recognize their true identity over the one that the pop machinery built for them.

And no other was able to communicate this identity, this true identity of the Japanese youth better than the photographic work of "Hiromix", Hiromi Toshikawa.

Hiromix self-portrait from the book, Hikari (1997)

Hiromix self-portrait from the book, Girls Blue (1996)

Born in 1976, Hiromix is a Tokyo photographer who, along with Yurie Nagashima and Mika Ninagawa, is considered the main instigator of a photographic movement in which, fostered by a cultural shift, point & shoot cameras and the 'Purikura' (Print Club) culture, driven by kiosks and coin-operated photography machines, Japanese teenagers, and especially, teenage Japanese women from the early 90's, took center stage in a new visual language.

Photograph from Seventeen Girl Days (1995)

While still part of an underground movement, her breakthrough came through more traditional means, when she won the 1995 New Cosmos of Photography Award, sponsored by Canon and selected by Nobuyushi Araki, the icon of erotic photography and Japanese photo diary.

Her awarded, "Seventeen Girl Days", consisted of 50 pages of photographs from her daily life as a high school senior. Self-portraits in her underwear, objects in her room such as her television and stuffed animals, photographs of her half-eaten breakfast, blurred portraits of her friends and daily activities, images that helped to build a world of the intimately feminine, personal and unknown to a nation accustomed to overly sexualized representations of women, created, of course, by men.

Photograph from Seventeen Girl Days (1995)

In the same year, Studio Voice magazine, specialized in youth movements, but with a base of middle-aged photographers who had nothing to do with their readers, issued a volume dedicated to young photographers, trying to find a new platform.

Hiromix, then 18 years old, was one of those photographers who answered the call and her work reached a commercial milestone with the publication of volume 236, captivating an audience of youngsters, photography aficionados, critics and central figures of the medium alike like Takashi Homma. Such reception led to volume 243 of the magazine under the title "We Love Hiromix", dedicated entirely to her work, with a profile written by family, friends and Nobuyoshi Araki himself.

Excerpt from Studio Voice 243, "We Love Hiromix" (1996)

Hiromix's success and her influence on photographic culture was no coincidence. After the explosion of the economic bubble of the 80's, Japan, during the 90's, plunged into an economic crisis that shifted the focus on those who make and shape pop culture.

During the economic boom, men and the salaryman became the central figure on how entertainment and culture were consumed. The big companies that flourished during this time and the salaries they paid, helped the salaryman feed all commerce, from bars and restaurants, to art galleries and their exponents.

Consequently, women took on a secondary, traditionalist and almost ornamental role. The modeling industry and the growth of the idol phenomenon of merely "cute" idiosyncrasy, cemented how women were seen by their society.

Hiromix self-portrait, from the book Girls Blue (1996)

It is not surprising that most famous photographic expressions of that time followed this trend. Proof of that are the portraits of Nobuyushi Araki, Eikoh Hosoe and Shoji Ueda that, while being no less artistic, represented a masculine point of view.

When the economic bubble burst in the early 90's, the salaryman and his abundance stopped being the engine that drove the economy and the companies, shifted their  focus from him, to his sons and especially, his daughters, hoping to create an adolescent consumer culture while elevating them as trend makers and sexual icons.

Portrait form the book, Girls Blue (1996)

Cultural shift in place, technology played a huge part building new forms of expression for teenage women, specifically photography. In 1990 point & shoot cameras, cheap, fast and easy to carry cameras were introduced and in 1995, Atlus Amusement Co. presented their “Print Club” (known as Purikura) machines, creative photo booths that became massively popular among youngsters.

In this environment, female Japanese teenagers began developing  a unique aesthetic and artistic personality, where representations of their bodies and life belonged to themselves and not to the media.

Hiromix, with a Konica Big Mini camera and photographs processed in local kiosks, was able to condense this feeling of independence and adolescent freedom that the establishment photographers (mostly middle-aged men) couldn't access. A new movement called “Onnanoko Shashin” (Girly Photography) started to gain traction.

Excerpt from Studio Voice 243, "We Love Hiromix" (1996)

The term Onnanoko Shashin, coined in 1996 by the photography critic, Kōtarō Iizawa and compiled in his 'Shutter & Love: Girls are Dancing On in Tokyo' of the same year, tries to explain why young women began to take photographs in the privacy of their world and far from the common places where they were regularly photographed, like familiar and school year photo books.

Kōtarō Iizawa, described the changing times in which the women of the movement grew up (mostly, born in the 70s): an environment characterized by superficiality, consumption, the weakening of the sense of space and even the typical patriarchal values of Japanese culture.

Snap from the book, Hikari (1997)

When the bubble burst, the overload of pop information developed an innate aesthetic vision in young urban women, empowered by a new revaluation of femininity, against the machismo culture that were perpetrated through the 80's. Fashion, music and photography were their main artistic expressions.

When it comes to the technique of these new photographers, Kōtarō Iizawa argued that women preferred the inspiration and opportunities related to point & shoot cameras, automatic and easy to use, in contrast to male photographers, who preferred methodology and structure, related to SLR cameras. This was called “the female principle”.

Snap from the book, Hikari (1997)

Onnanoko Shashin, has been widely criticized and even rejected by its members, such as Yurie Nagashima (who was the first photographer under this trend), who argues that the term suggests that women do not have the technical skill to handle professional equipment, which was obviously not true, they decided to use point & shoot cameras because they were effective for their work and expression.

That is why in 2000 when Hiromix, Mika Ninagawa and Yurie Nagashima as 'Onnanoko Shashin' won the Kimura Ihei Award, one of the most important photography awards in Japan, Yurie Nagashima considered rejecting it, since she believed their work (was seen among the photographic medium as one more representation of "cute", but ignoring its feminist message.

In that sense, it is important to note that, while Onnanoko Shashin, is a useful term to recognize the movement and its protagonists, it doesn’t express their intentions, nor meaning.

Hiromix, did not openly challenge the patriarchal structures of her society, but was indeed feminist. Her approach tries to recover the representations of the daily life of Japanese teenage women and build a real image of their identity, far from the cute, shallow and conformist agenda of the media.

Portrait from the book, Hiromix Works (2000)

Seeing through her photos is reaching a sense of daydreaming, a special feeling of living the moment. Their protagonists escape from reality and capture a vivid memory of momentary freedom that can materialize on the most mundane and familiar object but even when capturing a memory, there’s no space for nostalgia, everything is a flash, there’s no time to separate reality from the daydream. Before you realize, the world they built has melted away.

Hiromix, did not openly challenge the patriarchal structures of her society, but was indeed feminist. Her approach tries to recover the representations of the daily life of Japanese teenage women and build a real image of their identity, far from the cute, shallow and conformist agenda of the media.

Seeing through her photos is reaching a sense of daydreaming, a special feeling of living the moment. Their protagonists escape from reality and capture a vivid memory of momentary freedom that can materialize on the most mundane and familiar object but even when capturing a memory, there’s no space for nostalgia, everything is a flash, there’s no time to separate reality from the daydream. Before you realize, the world they built has melted away.

This world does not compare with the expectations for the future nor with what Japanese society, incredibly rigid with teenagers and their expectations.

"They are not interested in contributing to the Gross Domestic Product of Japan other than paying the restaurant bills," she declared before comments from people who positioned her (in her opinion, wrongly) as a spokesperson for her generation.

Portrait from the book, Hiromix Works (2000)

Hiromix self-portrait from the book, Girls Blue (1996)

In 1996, a year after her discovery, her first photobook, “Girls Blue” was edited, which consisted of 122 pages of photographs from a selection of more than 30,000, taken since she was 17 years old, including those previously seen in “Seventeen. Girl Days ".

Snapfrom the book, Girls Blue (1996)

At first, the book and her work were not received with much sympathy among the most recalcitrant part of the photographic community, calling it "amateurish", however, the visual language of Hiromix was not meant to praise perfection but to appreciate imperfection and, like her contemporaries, even though she was perfectly capable of use specialized equipment, she preferred her Konica Big Mini and the novel disposable cameras, in a disdain for the “smokescreen” of complex photographic processes.

Snap from the book, Girls Blue (1996)

Portrait from the book, Hiromix Works (2000)

Naturally, this form of photography that removed the barriers of technique and process, prompted teenagers across Japan to explore their own style of photography, unleashing a creative wave based on the ordinary, with exponents such as Maki Miyashita who expanded the concept of teenage girls and their spaces, Kayo Ume who explored the daily life of Japanese children and Tomoko Sawada, merging identity, essence, personality and social significance with her ID400 series.

During the years leading up to the 2000s, Hiromix expanded her creative spectrum into advertising, working with clients such as alternative radio station J.Wave and Sony Music, with her portraits of electronic vanguardists, Squarepusher and Aphex Twin, and model photography with the photobook , Japanese Beauty, despite being a vocal critic of this photographic genre.

Aphex Twin and Squarepusher by Hiromix, Sony Music (1997)

Aphex Twin and Squarepusher by Hiromix, Sony Music (1997)

In addition to her photographic work, she explored music with an album, Hiromix 99 '(1999) and three EP's with Kiwa Kagata as The Clovers, and two EPs on her own, "Oh My Lover" (1996) and "Hello I Love You!" (1999). All works aesthetically and sonically related to the Shibuya-kei, retropop and mod revival movement, popularized by musicians like Flipper’s Guitar and Pizzicato Five.

In 2000, Takashi Murakami founded SUPER FLAT, the artistic movement that ended up ruling Japanese aesthetic and psyche during the first decade of the 00 '. Hiromix's work were included in SUPER FLAT's presentation exhibition at Shibuya PARCO Gallery with artists like Masafumi Sanai, Chikashi Suzuki, Aya Takano, Katsushige Nakahashi and Murakami himself, solidifying her position as part of the vanguardist artistic generation for the end of the century.

In 2000, Takashi Murakami included Hiromix work as part of the SUPER FLAT exhibition at Shibuya PARCO Gallery together with artists like Masafumi Sanai, Chikashi Suzuki, Aya Takano, Katsushige Nakahashi and Murakami himself. Being part of SUPER FLAT, the artistic movement that shaped an entire generation of Japanese artists (and still does), Hiromix, solidified her position as part of the visual language that helped build Japan’s position as an artistic epicenter during the 00’s decade.

Portrait form the book, Hiromix Works (2000)

In line with the SUPER FLAT manifesto, which explains how Japanese visual culture is not taught in art schools, where art was taught from the Western point of view, Hiromix developed a distinctly Japanese body of work, “the 2D feeling", as Murakami names it, that pop products transmit, such as manga, video games and anime.

During the 2000s, Hiromix established herself as a cult figure with eight compilation books of her work, five national exhibitions, (including one at the Tokyo Museum of Contemporary Art) meanwhile her creativity embraced new frontiers: from design, creating album covers for The Cribs, to fashion, working with global brands like KENZO, and even acting, with a cameo in Sofia Coppola's Lost in Translation.

Snap from the book, Girls Blue (1996)

Much has been said about how Hiromix's work signified the selfie culture for the 90's before social media. Although there's some kind of resemblance, her current influence is much more noticeable in young Japanese photographers who, like her, take advantage of the technological facilities to tell their own perspective of the environment that shapes them.

Young photographers such as Yoshiyuki Okuyama, Sara Masuda, Ada Yasuya, the “emoi” movement and especially, Masumi Ishida, develop a new perspective, fostered by the expansion of social media, this time not telling a story of turbulent times, but a story of stability even opportunities.

Although Japanese photographic culture and its female protagonists have existed since the invention of photography as a vehicle of expression. Hiromix and her peers brought a new point of view that broke with paradigms of how the identity of the teenage women should be understood, far from the pop icon and much closer to their own realities and most importantly, told from their own visual story.