#and yes europe has an incredibly diverse culture

[revoevokukil]

Is the reason why it’s commonly repeated in the Witcher fandom that the Witcher is based on Slavic mythology and not European Mythology in general ( a lot particularly from the British isles) is that when it came out in the 90s it was marketed that way due to the cultural Zeitgeist at the time in Poland

Or is it just something that became a thing after the games came out and it was just people in the English speaking world saying “oh it’s from Poland it must be based on their mythology” and Polish fans are fully aware that it has just as much of not more references to the Arthurian legend than it does to Slavic culture

Hey, anon!

I just reblogged something in relation to this, so you might want to check it out (and the several reblogs).

I think if we want to trace the creative influences from the fantasy genre, then it makes no sense to employ umbrella terms with The Witcher. It's Polish fantasy a Polish author with all the particular sensitivities of a Pole wrote. Does the history of CEE inform the writing? Yes, absolutely. Do the cultural attitudes, linguistic peculiarities, and humour? Of course.

Slavic, though? And, moreover, Slavic alone? Well that's a bit preposterous, because Slavic does not designate something "specific" in the first place. I'm a particularist, I'm sorry. And while I am not even a Slav, I can relate to the outlook and "voice" of the characters in The Witcher instantly, because we live in the same neighbourhood. (The neighbourhood has very different corners with equally shitty beaches, you don't usually understand what your neighbour is trying to say to you, and body language can go overbroad just as frequently as overt familiarity is not appreciated.)

Slavic or Celtic or Indo-European or what have you are umbrella terms. They are totalising and their nature overlooks the cultural diversity that the terms draw upon: Celtic, for example, should be divided into insular and continental branches, and the insular Celtic groups, again, could be linguistically divided into Brythonic (Cymraeg/Welsh, Kernewek/Cornish, & Breton) and Gaelic (Gàidhlig/Scottish, Gaeilge/Irish, & Gaelg/Manx). Ditto for Slavic, starting from the East, West, South divide and going more intricate from there.

The lore changes the closer you get with your looking glass. These are not unified categories, even if they are used to generate broad solidarity for good or bad purposes, or to simplify and refer to some broadly received meme (but, for example, your quintessentially Slavic Baba Yaga likely derives from contact with Finno-Ugric and Siberian peoples with their stilt-hut building style, tucked away in the middle of forests, so tell me more about how a legend can "belong" to one people alone).

I guess what we should ask is when and why does it matter who lays claim to these things, and why Slavic? Why not Polish in particular and pan-European in general? I guess it depends on who you are and what you want to do with your statement. Yes, it's that banal.

Because intellectually, when sniffing out the history of its ideas and the flavour of them, The Witcher is incredibly diverse. The author has also been very open about it, referring in detail to a vast amount of literature he has come in contact with in fantasy canon. Generally, that includes authors from Western Europe and Northern America (but his literary influences do not stop with those alone of course) and the thing about, for example, Northern American fantasy is that it has a penchance to romanticize the British Isles (followed close behind by Germanic and Greco-Roman world). It is not without reason that Sapkowski considered Arthuriana the bedrock of Western fantasy - it really was one of the first "medieval fantasies" that was being written and re-written throughout medieval Western Europe already at the time. The PR that memefied the entire enterprise of Arthur and his Brythonic roots has been chugging away for a VERY long time, cross-fertilized by lore from all over the place. But its roots stretch back to the Isles. Because that's where history related to him took place - at the forgotten outpost of the crumbling Roman Empire, which had been colonized before the Romans and would be colonized again after the Romans (and would eventually go on to colonize peoples far and further away from the European peninsula).

The thing is, Arthuriana is like a gateway into the myths of the people among whom he was likely born, and the actual bedrock of various Celtic mythological traditions is much more varied and has a wholly different vibe than the most popular French monks' agendas with Arthur. You could similarly consider Geralt's and Ciri's story a gateway into the folklore and history of the peoples among whom they were brought to life and among whom they first proved popular and "homely"; a signpost leading you into finding out more about the part of the world that birthed them. But CEE, to my knowledge, does not have a fantasy genre tradition with that strong of a PR that would derive from a semi-political legend stretching back a good thousand years, acting as a kind of unifying fairy tale for the various people among whom its figurehead proved popular and drew its tale from. Scratch the figurehead; there just isn't one particular tale as such that would have risen into prominence above all others.

And to split the hair even further, Geralt and Ciri are not semi-historical. Not semi-mythical either, even though Sapkowski tries to lift them into that status by the end of the Pentalogy. They are already composites or subversions of broader fantasy traditions, which have mostly been heavily Western European-centric. The Witcher, however, takes this Western European tradition, traces the roots of its underbelly, and gives its own interpretation. While keeping in spirit intact the lived experience, mentality, and speech of its characters, which are - if you like - the most Slavic features of the tale.

It popularises a lens the like of which there was little of in the Fantasy genre at the time.

(and yes, the games' PR - as a market-oriented enterprise - obviously would try to find the broadest possible common denominator that is still specific enough to ring as novel and sexy in the world-wide market and proud back at home)

[bonesandthebees]

hi bee :) semi-new anon here just hoping that you’ve been doing okay <3 i wanted to say that i absolutely adore your writing, and will happily read it, no matter what fandom it is you’re writing for, or if you’re just writing original works /gen!! your writing has always inspired me heavily hehe, it’s wonderful.

also, on the topic of original works, do you have any good novel recommendations? i’ve recently gotten back into reading and have been super into fiction, but i’m down for any sort of recs. one of my favourites at the moment is good omens :)

here’s your daily message to go have some water or tea and take care of yourself !! 🌷

hello hello!! I'm doing pretty alright now, feeling a lot better than I was this past week :) and that's so sweet of you to say, it's so reassuring knowing I have so many of you guys willing to read my silly stories no matter which fandom they're about (or even if they're original)

and yes I do have some recs!

I made a post about two months ago now talking about books I'd read that I really enjoyed so there'll be some crossover here but also some new ones I've read since then

one of my new favorite novels is The Priory of the Orange Tree by Samantha Shannon. it's a heavy fantasy story following 4 different intertwining POVs. the fantasy world itself is made up of several different countries all inspired by various real world cultures that's not just limited to western europe which is incredibly refreshing. the world itself is incredibly fleshed out and interesting, the characters are all very diverse and have so much depth, and there's also a very beautiful sapphic romance <3 I'm reading the prequel to priory right now and I'm also loving it so far

another book I really enjoyed is actually a duology—The Radiant Emperor series by Shelley Parker-Chan. the first book in the series is She Who Became the Sun which I really enjoyed, however the sequel book He Who Drowned the World is the one that absolutely blew me away. just letting you know in case you're not comfortable with it, both books contain sex and some graphic violence. the story is set in 14th century China when it was ruled by the Mongols, and it's an incredibly well done queer retelling/fictionalization of the rise of Zhu Yuanzhang, the Emperor who ushered in the Ming dynasty. the text engages with so many themes of the expectations of masculinity and femininity and how they restrict people, and really dives into gender expression and how it can be wielded in different ways. again the first one was really enjoyable, but the second one was on a whole other level and I'm still reeling over how good it was and how much it emotionally hurt me.

ok and then last one for now

This is How You Lose the Time War by Amal El-Mohtar and Max Gladstone - I know we all heard about this one thanks to the iconic bigolas dickolas wolfwood on twitter but also they were so right about this book. it's gorgeously written. the book itself is mostly written as letters exchanged between two women who are time traveling agents on opposing sides of a war for who controls the timelines. it's a beautiful love story, it's sci fi but with a heavy bend towards spec fic which I personally really like, the world concepts are incredibly fascinating, and it plays around with time travel in a very intriguing way. it's a very short book so it's an easy one to burn through. I checked this one out from my library but I'm highkey tempted to go to a bookstore and actually buy a physical copy for myself just because there were so many gorgeous lines I want to highlight

hope this helps!! my taste in books is usually: sci fi/fantasy/spec fic with sapphic women so hopefully that's something you enjoy as well lmao

[anoelleart]

Author Ask Tag

Kindly tagged by @mysticstarlightduck 💕

1. What is the main lesson of your story (e.g. kindness, diversity, anti-war), and why did you choose it?

Ultimately The Protolith is story about liberation from gender and imperialist norms. I write more about this in my posts about representation in Fantasy settings. The main character Charlotte combats the patriarchal expectations on her when she's in love with men, even well-meaning ones. She explores her identity as a person of color and how colonization impacted her late mother. It's very fun to explore these themes in science fiction fantasy because you can be incredibly literal. I don't want to spoil my WIP and also I have fully explored these themes yet, so I'll stop here.

2. What did you use as inspiration for your worldbuilding (like real-life cultures, animals, famous media, websites, etc.)?

Honestly, anytime I see something neat, I throw it into my world. It's so easy to fall into making a gas lamp fantasy look like some iteration of Victorian England. I attempted to make the main setting (Lorenzia) a combination of French and Mediterranean culture, flora, food, etc. We have olive trees, lamb is commonly eaten, formal titles are derivatives of Monsieur, Mademoiselle, Madame (but I abbreviate them as M, Mme, and Mde which is not technically correct). The sexually free culture is reminiscent of 1800s France and the oppressive church that of Europe in the same century.

I even have a mountain valley that's based on a rock formation I studied in California; it's rainbow because of the different oxidation states of iron. In contrast, the country where our main character Charlotte's mom is from is loosely based on Nigeria. It's a fun coincidence that the names I've found for these characters are based on Igbo names - which is the tribe from which I'm descendent (yes, I did a 23&Me).

Some of the worldbuilding is done out of convenience. For example, the initial romance arc needs a reason why our love interests Charlotte and Byron can't be together. In every version of this story, he's been a soldier of some kind. It came to me late at night that making him a priest with a vow of celibacy would be the perfect plot device to keep my characters apart. Thus, the militant oppressive Church was born. Eventually, this Church became a thinly veiled statement on religious imperialism, but that's just a happy side effect.

Additionally, I wanted a world where wars are still waged with swords, but has technology such as gas light, running water, the beginning of electricity, steam engines, etc. I decided that in this setting, gun are exceptionally hard to make because due to the atmospheric composition, explosives are more violent and harder to contain.

Finally, I've really wanted to pull science fiction elements into this story, which is where I came up with the World Wound; a crater formed from an ancient meteorite which has never been explored by man.

In summary, I crafted my world based on places I've been (through travel or as a scientist) and for plot convenience.

3. What is your MC trying to achieve, and what are you, the writer, trying to achieve with them? Do you want to inspire others, teach forgiveness, and help readers grow as a person?

Look at answer #1

4. How many chapters is your story going to have?

50 😅 help me

5. Is it fanfiction or original content? Where do you plan to post it?

Original! I've started posting a few chapters here (only the first scene before I redirect readers to Google Drive). I'm not sure how many chapters I'll post here or what I plan to do after my first draft.

6. When and why did you start writing?

I've always been writing! My twin and I used to have a binder of pictures books we wrong in elementary school. We joined Wattpad at the beginning of high school, but both of us moved on from there by the time we were 18. My twin continued on as a fantastic short story writer and future novelist. I stopped writing for a really long time. I started writing seriously last December. I'd flown home to help my mom after she had surgery, and when I wasn't with her I didn't really have much to do. Honestly, it was the most free time I'd had since finishing undergrad four years ago.

7. Do you have any words of engagement for fellow writers of Writeblr? What other writers on Tumblr do you follow?

I just got here so what I say doesn't mean much. Writing something bad is better than writing nothing at all? Cliched advice.

Tagging: @asablehart, @broodparasitism, @carrotblr, @anyablackwood, @authoralexharvey

[inspectorseb]

I think this European election is providing a very important lesson for ALL non Americans, this is coming from a non American. The U.S, especially in recent years but also for their entire history, has always been a running ‘joke’ for everyone else. And especially since the rise of the far right and the Trump/MAGA movement in America, everyone has scoffed and been like ‘oh my god how stupid are they? That could never be us.’ And that in itself is a very problematic mindset. Because it has given a lot of people a sort of superiority complex, and in turn makes them very ignorant to the rise of fascism in their own country. Especially in Europe it also comes the issue of how American centrism in media has altered people’s ability to perceive the danger and rise of the far-right if it doesn’t look just like MAGA republicans. And because obviously American culture is very different than European cultures, it isn’t going to look the exact same. And I will even say that this has also become an issue in Canada in recent years, so it’s not necessarily isolated to Europe.

Similarly to the idea of a superiority complex, although in this case it can really be chalked up to racism like a lot of things, we have seen the rise of fascism in recent years in South America but no one has given a fuck. Political fluctuation is (unfortunately) incredibly normal. It happens every 10-15 years. HOWEVER we are currently seeing the most extreme shift in almost 100 years, and I feel like I don’t need to tell you what was happening back then. South Americans have been begging for attention over the terrible things happening with fascist governments and trying to preach the danger but no one cared. And let’s be honest, it really comes down to the fact that a lot of white people think of Latinx people as lesser than, including the white supremacy mindset that poc are ‘less civilized’ so it’s no wonder their government is ‘in shambles’ and that will never be us because we’re so modern and accepting. But guess what? That’s not how it works.

When I was writing this I saw a tiktok of someone giving commentary on the French election and one of the comments was “what there are maga republicans in France?” and while not literally the answer is YES THEY’RE EVERYWHERE. I don’t know the nationality or anything of the person who commented that, but this is a message of the importance of people being sufficiently educated about political behaviour internationally. A lot of people are trapped in the mindset that what their country and people do only has an impact within their country. And that’s obviously far from the truth, especially nowadays with the extreme technology and communication we have and its power of influence.

I think the other important important view on society and our role is something that has been brought up in recent time. And that’s the fact that everyone always looks back at things like wars and genocide, the one I’d say is the most brought up is ww2/the holocaust, and say “I don’t know how everyone just let this stuff happen”. But that’s EXACTLY what you’re doing now. There is not only a dangerous political shift happening before your eyes but even more so you are ignoring the genocides/conflicts in places like Palestine, Sudan, and Congo. And here’s the thing, genocide and fascist political strategy have existed for a long time and they absolutely have not changed. So you’re looking at people creating an exact copy of the same historical conflicts you claim to know so much about, and doing nothing, not even acknowledging that it’s happening. So many people are so focused on saying how much better we are than the past, that they aren’t analyzing current situations as much as they have the past. Because while we have obviously evolved very much as a society and have become much more diverse/accepting etc, saying how much better we are than people of the past/our ancestors is really a hollow statement when you’re oblivious to things actually going on.

Unfortunately once these decisions are made they’re made, so there’s no going back for a few years. I just pray that things like this will influence other countries to actually pay attention to the danger happening to society and stop it before it gets a hand on actual power. Also please just vote no matter what. I know that like 95% of the time all the main candidates in an election suck, but if you actually care about the world not going in this direction PLEASE vote for the least bad option.

[makwandis]

could you explain why you think gil is old prussia please? and maybe how that translates into his personality and stuff not really being entirely culturally germanic? I so deeply want to settle on something but havent arrived at a conclusion. Im curious about your take :) Thank you!!!!

yes totally! so i have...many many reasons

the first reason that really made me go with this idea is that i do not like the idea of giving like. "nation status" or legitimacy to uhhh insanely violent colonizing religious orders that happen to violently acquire land. like... it just doesn't make sense and i think is quite sinister? the teutonic order wasn't a culture, it wasn't an ethnicity, it wasn't a country. it was a military order that managed to dispossess people from their land and only existed on that land for a fairly brief period of time. it was an incredibly diverse order actually, in that their forces were varied and came from across europe. i also think- okay, we give one extremist militant religious group who dispossesses people from their land a nation, what then? do the groups that are similar to that that exist in recent times then get one too? i find that pretty fucky not gonna lie. it just doesnt add up, and if it does add up it means a lot of fucked up things haha. i just ask that people apply that logic to other violent religious groups....

i should note here i do nooooot give a fuck what himaruya says or anything about canon at all. who cares! not me haha

now a lot of people usually go with the idea of gil is born as the teutonic order and he kills old prussia and the teutonic order takes over. like. sure. however it's not historically accurate. the old prussians, while they suffered a genocide, were not all killed off by the teutonic order. they in fact made up a bulk of the teutonic's military force after the prussian rebellions in the late 1200s. this is a very complex aspect of the order and it's relations with prussians and other baltic groups who also fought with the order. this, and the fact that the old prussians themselves lived on. the language did not officially die out until the 1700s due to a series of plagues that ravaged east prussia, and while a lot of people did flee the territory many remained and were just exploited peasantry- while the prussian nobles converted and took up positions within the order. there were speared "barbarian" units of old prussians within the order! this and the order itself due to such a heavy baltic influence in fact was criticized and almost condemned a few times there due to pagan influence rising in their ranks (there were reports that the order began soothsaying, doing animal sacrifices before battle and even cremating their dead- all sins in the eyes of the christians). so, the teutonic order didnt just kill all the old prussians in one day. it was a lengthy assimilation process that was more or less complete loooong after the teutonic order no longer existed in prussia. and even despite the death of the old prussian language, old prussian culture heavily influenced the culture of east prussia- the dialect itself continued to have many words from old prussian.

i'm indigenous, so for me i think this whole killing off of whole nations thing in the process of colonialism to be a pretty problematic way of addressing colonialism in this universe.... my tribe has a similar story to the old prussians, many of our nobility ended up joining with colonial powers while the peasants remained peasants labouring under colonial powers. if someone were to depict this as spain or another spaniard having murdered off my tribe and then becoming mexico or something, i think that would be insaaaanely fucked. it was 500 years give or take a few of german occupation and settlement in prussia before the language officially died out- and its been over 500 years since 1492 and indigenous people are very very much still around. tribes exist without even having their language anymore, or just barely. one thing, i think old prussian culture lived on still and maybe even to this day- just quietly. under colonial occupation, colonized people usually keep their culture very very quiet haha. i'd add another few generations on to the point where the culture is officially said to have died out, but that's just me lol. so, i just don't think its an accurate nor necessary way of depicting that history and totally glosses over the complexities of the region and gives credence to unsavoury ideas regarding the relationship between colonizing powers and colonized people, i think

SO what about gil!

well in the way i see it. he would have had to adapt to german culture. this wouldn't have even happened really during the time of the teutonic order, considering how many old prussians were in their ranks towards the end there especially. i think it definitely would have been a horrific, traumatic process for him, but over time i imagine the order would have relaxed a little with him- if they were practicing pagan practices, why would they be punishing him for it in the end there? i think the way hes treated varies from grandmaster to grandmaster lol. some were willing to work with pagans, others were completely against it. depends greatly. so, i think his prussian culture would be a very large influence on him. i dont think he'd have had reason to leave east prussia/original prussian territories for a long time either. in my universe, i have him as being pretty fucking old (around 2000), and he's an adult actually by the time of the teutonic order (i don't age him down because like, why would he be little? the heyday of the prussians began long before the order arrived in their territory.). so he remembers a lot, and continues to spend a lot of time in his original territory. i think he ends up going down to berlin to join the hohenzollerns in the mid to late 17th century, when brandenburg prussia begins the process of becoming a kingdom and actually like doing stuff lol. so then by 1701, he's in berlin, but he's very east prussian. he's very baltic i think! so it's really only.... 300, 350 years that he has been in berlin? as opposed to a 500 year period of teutonic existence and then if he has lived before (as i think he has), however long he has been alive before then. so, i think he'd remember a lot and his original culture would have a big presence in his life and the way he is

thus, while i think he can adapt to germans and the way they are, balts to my understanding are certainly not germans. east prussians were a mix of those cultures. i am not european, so i could be totally wrong about that, but i think for the sake of an immortal non human dude i can also kinda do what i want a little haha. he adapts to germans but is he ever really a german? does he consider himself that? maybe publicly, so people don't bug him about things (like my point about colonized people keep their true cultures pretty quiet), but i think its really a matter of:

you can take the man out of the baltics but you can't take the baltics out of the man.

hope that explained, i'm open to any questions haha i have MANY THOUGHTS!!! i love researching pre christian baltic culture, its super interesting, and i HIGHLY reccomend the book the northern crusades by eric christiansen, i learnt a lot from it.

also want to say, if you go with the teutonic order is gil's origin story thing, there's no shame. this is just a silly fandom. you don't have to go in depth as exploring it as me, i am just insane. this is how it's fun for me, do what is fun for you. but i think we should also remember, these are real stories, and the way we depict things can reflect our current world a lot. sensitivity is still useful i think. but. its just a dumb fuckin anime we are all taking ideas from and changing as they want. have fun kids lol

[pricklypear1997]

Second post about AUs:

Is it just me or did the author of Shadow and Bone, just pick a completely random real world location to adapt her story from? It’s supposed to take place in some alternate version of Russia, but there’s hardly anything Russian about it other than the ethnic descriptions for the characters, but only in the books… there’s some vague political and cultural parallels but it’s so bad that the author didn’t even bother to research something so simple such as Slavic naming conventions… it should be Alina Starkova NOT Starkov. Barely any of the show characters are even Eastern European. I know there’s a Bulgarian actor, but literally everyone else is British, American, and just incredibly racially diverse for no reason at all. I don’t even remember if this school or military training program that Alina and co are in is an international school/organization or whatever, but it literally makes no sense that there’s barely any real Russian or Slavic representation at all, and that it looks more like an urban American population than that of any Eastern European nation. I get the six of crow aren’t tied to any one specific country, so I’m not talking about that. Just the fact that it’s really sad and makes me angry that east euros get really bad and inaccurate representation or we’re just seen as criminals and mafia, nothing more. We should do more to represent ourselves in media and not rely on some ignorant American media company to “represent” us, but regardless, it still pisses me off. Like why even pick countries like ours if the majority of westerners do not even give a rat’s ass about us or deliberately hate us and spread anti Slavic nonsense.

People like what they like, but it just makes me sad that Hollywood has all this money and shit, but they don’t even bother to do proper research about a culture, and on top of that make pointless diversity hires and call it representation while also completely misrepresenting the people that this series is supposed to show in the first place. Hollywood isn’t the only thing at fault here too. Ignorant people like the author who just don’t do any research. I’m so so tired of it. We’re not asking you to try to represent us, literally not a soul is asking the west to represent us but if you do it, have the decency to do it in a respectful manner…

At least with ASOIAF, Martin stayed grounded to what he understands of history. Yes, I genuinely believe the north could be seen as Eastern European, combined with some Celtic ( Scottish) inspirations, but Martin leaves it generally open for the viewer to understand that Westeros is based off of Europe in a more generic but still incredibly relatable way without offending any ethnic group from Europe. Dorne could be seen as Spanish specifically during the Arab invasions, but it’s honestly its own thing, the characters don’t even have Spanish or Arab names. Their clothes aren’t really even described as typical to Spanish or North African cultures. They just have vague surface level similarities, unlike the world of shadow and bone which seems to rely too much on the REAL Russia as a inspiration while at the same time just being incredibly inaccurate which sounds ridiculous and ironic but it’s true. Shadow and bone is nothing but a failed attempt of an alternate reality.

[grantgoddard]

Baby, we were bored to death : 2000 : FM radio station market, Toronto

Why does Toronto have such insipid and boring radio? Our city is vibrant, artistic, culturally diverse and entertaining, so why is none of that reflected in our uninspired radio stations? Travelling in Europe and North America as a radio consultant, I listen to a lot of radio and it is tragic to concede that my own city has some of the most boring radio stations known to mankind.

Opportunities to change this sad state of radio in our city are everywhere, but have too often been ignored. When Shaw Communications purchased 'Energy 108' a couple of years ago, it could have reinvented the station as a cultural focus for Toronto's young people. Instead, Shaw fired 'Energy's most knowledgeable DJ's, introduced Sarah McLachlan songs once an hour (in a dance music format?) and changed the name to … 'Energy 107.9'. Wow! How many minutes did it take the marketing department to devise a strategy that unambitious?

Rogers Media's purchase of 'KISS 92' last year was a complete no-brainer. Can you name any other city of similar size in North America that has had no Top Forty radio station for a period of even a few months? And yet Toronto suffered this malaise for several years. Even if Rogers had hired a helium-voiced bimbo DJ to front a Top Forty format, it still could have captured a huge audience hungry for what used to be called 'pop music'. And that is exactly what they did. 'KISS's ratings are noteworthy, not just for the hordes of spotty grade nine students who naturally gravitate towards Backstreet Boys soundalikes and terrible Canadian techno. But the station's substantial audience over the age of twenty is a sad reflection of the lack of any other remotely exciting music station in Toronto. For those of us past our teen years, 'KISS 92' at least makes you feel good to be alive, compared with other FM music stations that treat listeners like senile geriatrics with one foot already in the grave.

One would hope that 'KISS 92's runaway success might encourage its competitors to try and become a little more imaginative in their programs. The signs so far are not particularly encouraging. 'EZ Rock 97' revamped its daytime line-up last week to introduce even more soporific DJ's and has changed its slogan from 'My Music At Work' to 'Soft Rock Favourites'. Station owner Telemedia appointed a new Program Director drafted from its Calgary operation to oversee these changes. Yes, Calgary – that hotbed of radical, imaginative radio formats! 'EZ Rock' looks certain to retain its nickname of 'Radio Slumberland' in our household.

Milestone Radio, scheduled to launch next year, has an incredible opportunity to turn its black music format into an exciting, inclusive station that could electrify the city. After all, black culture has never been so predominant, nor so imitated, in mainstream music and arts. With imagination, Milestone could be a very successful radio version of 'City TV'. Whether its owners can grasp that challenge, let alone succeed with it, depends upon the station's ability to overcome three obstacles. Milestone's programming plans are the obvious product of committee debate, with too many worthy (but commercially disastrous) ideas generated by individuals who have particular axes to grind. Its recent effort to recruit a Program Director in the US rings alarm bells that Milestone is creating a cookie-cutter US-style urban music station that would reflect nothing of Toronto (listen to 'WBLK' for days on end and you will learn absolutely nothing about Buffalo, but everything about 'strong songs'). And lastly, the spectre of minority shareholder Standard Broadcasting might be waiting quietly in the shadows for Milestone's ambitious plans to fail in the first year, so that it can take control and resurrect the station as a smooth-jazz format, fitting perfectly alongside its mind-numbing 'MIX 99'.

As for 'Edge 102' and 'Q-107', their owners should have been bold enough to extinguish these dinosaur formats years ago. There is so much exciting new music in the world, but you will certainly never hear any of it played on these two stations. The malaise is so bad that Toronto radio critic Marc Weisblott felt obliged to apologise in a recent column (radiodigest.com) for spending so much time listening to New York City radio via the internet. No need to apologise, Marc. Our only ray of hope is that one fine morning, some bold senior executive in Shaw/Corus, Standard, CHUM or Rogers might suddenly understand that radio which is stimulating and challenging can also be a commercial success. I would prescribe that executive a quick radio listening visit to any major city in the world to understand the potential. Otherwise, Toronto radio is condemned to be a mere revenue-generating asset designed to send us all to permanent sleep with yet another Celine Dion or Bryan Adams song.

[Submitted to Toronto weekly what’s on paper, unpublished]

[thxnews]

Discover the UK: From Majestic Castles to Breathtaking Landscapes

  A Unique Holiday Experience in the UK

There is something for every visitor to the UK. For people interested in the past, you can step back in time and immerse yourself in the captivating history of England, Scotland, Ireland, and Wales as you explore its incredible historical attractions. From majestic castles, grand stately homes, Stone Henge, and charming ancient villages, this country is a treasure trove of heritage waiting to be discovered. Embark on a journey that will transport you through centuries of fascinating stories, architectural marvels, and cultural wonders. Enter the realm of towering castles that proudly stand as testaments to the UK's turbulent past. From Edinburgh Castle perched high on a volcanic rock, offering panoramic views over Scotland's capital city, to Windsor Castle where British royalty has resided for over 900 years, these fortresses evoke a sense of awe and curiosity. Wander through their imposing halls, climb spiral staircases that have witnessed countless historic events, and imagine what life was like within their formidable walls. The UK also offers an abundance of exciting city breaks, breathtaking landscapes, nature and coastal trails, mountain climbing, or seaside resort holidays.  

Trafalgar Square, London, UK. Photo by John Weiss. Flickr.  

Why Choose the UK for Your holiday?

Is the UK such a great place to visit? Yes, you can explore captivating cities, breathtaking scenery, rich history, and exceptional birdwatching opportunities in this diverse and enchanting country. From vibrant metropolises to idyllic countryside, the United Kingdom offers an array of experiences that will satisfy travelers of all ages. Uncover the allure of cities like London, Edinburgh, and Bath. Delve into their buzzing energy as you immerse yourself in world-class museums, famous landmarks, and thriving cultural scenes. - Wander through London's charming streets to witness the grandeur of Buckingham Palace or explore Edinburgh's medieval castle perched atop a volcanic rock. - In Bath, marvel at ancient Roman baths before strolling through its streets to see elegant Georgian architecture. - For those seeking nature's beauty, the UK boasts stunning landscapes like the Lake District or the Highlands of Scotland that will leave you breathless. The Isle of Skye is one of my personal favorites as it allows the chance to get up close with nature.  

English Gardens waterfall. Photo by Jose C Dimas. Flickr.  

Scenic Beauty: Discovering the Natural Wonders

The United Kingdom is a treasure trove of breathtaking landscapes and natural wonders, from majestic mountains to winding rivers and tranquil lakes. With its diverse geography and stunning scenery, this small island nation offers an array of unforgettable experiences for nature enthusiasts. Whether you're a seasoned hiker or simply seeking a peaceful retreat, you will not be disappointed exploring the UK's scenic beauty.  

A moody morning at Llyn Ogwen, Snowdonia. Photo by Neil Mark Thomas. Unsplash.  

Outdoor UK Holidays

One of the country's most appealing features is its magnificent mountains. From the towering peaks of Snowdonia in Wales to the rugged beauty of Scotland's Highlands, there is something awe-inspiring about standing atop these majestic summits. Embarking on a hiking expedition through these mountain ranges allows you to witness jaw-dropping vistas and immerse yourself in nature's grandeur. From rugged coastlines to rolling hills, and from ancient forests to pristine lakes, there is no shortage of natural wonders waiting to be discovered on an outdoor holiday in the UK. Whether you are seeking a peaceful retreat or an adrenaline-fueled adventure, the UK has something for everyone. For those who prefer a more tranquil escape, the UK boasts some of the most picturesque countryside in Europe. Take a leisurely hike along scenic trails in the Lake District or immerse yourself in wildflower meadows in Cornwall. With its vast network of national parks and protected areas, nature enthusiasts can relish birdwatching, wildlife spotting, or simply enjoying a picnic surrounded by stunning vistas.  

That's haggis there. Photo by Richard Child. Flickr.  

Culinary Delights: Indulging in traditional British cuisine

From the iconic fish and chips to the mouth-watering roast beef, traditional British cuisine is a delightful journey for your taste buds. Step into any local pub or restaurant, and you'll find yourself immersed in a world of hearty dishes that have stood the test of time. The classic combination of golden-battered fish served with crispy chips - perfectly seasoned and doused with malt vinegar - is a treat that will transport you straight to the bustling streets of London. But it's not just fish and chips that make British cuisine shine; there's also the tantalizing roast beef, cooked to perfection with its succulent flavors oozing through every slice. British cuisine is a delightful amalgamation of flavors that will leave your taste buds craving for more. From the afternoon teas with freshly made scones, jam, and clotted cream to the locally made fudge and ice cream there is much to tempt you in the UK.   Scotlands Haggis First up on our culinary adventure is the infamous haggis. Don't let its unusual composition discourage you! This dish made from sheep's offal mixed with suet, oatmeal, and spices is a true delight. The mixture is then stuffed into a sheep's stomach and simmered to perfection. With its rich, earthy flavors, haggis pairs perfectly with mashed neeps (turnips) and tatties (potatoes), creating an unforgettable Scottish experience on your plate.   British Vegetarian Options When it comes to vegetarian foods, one may not immediately think of traditional British cuisine. However, Britain has a rich culinary heritage that includes an array of delightful vegetarian dishes. From the hearty and comforting Yorkshire pudding to the classic Cornish pasty, British cuisine offers a surprising variety of options for those who prefer plant-based meals. One staple of British food culture is the Sunday roast, typically consisting of roasted meat served with vegetables and gravy. But fear not, vegetarians! There are numerous alternatives that can be just as satisfying. For instance, a nut roast made from a flavorful blend of roasted nuts, herbs, and breadcrumbs is often served as the centerpiece for a vegetarian Sunday lunch.  

Viktor Wynd curiosity museum in London. Photo by Richard C. Flickr.  

Unique Experiences: Engaging in quirky and offbeat activities.

Are you tired of the usual touristy activities? If you're looking for something truly unique and offbeat, then get ready to embark on a journey filled with quirky experiences that will leave you amazed. From eccentric museums to unusual festivals, the UK offers a plethora of opportunities for those seeking adventure beyond the ordinary. Step into the weird and wonderful world of British eccentricity by visiting some of the country's most unconventional museums. Explore The Viktor Wynd Museum of Curiosities in London, where you'll find an eclectic collection of bizarre artifacts ranging from shrunken heads to ancient Egyptian mummified falcons. Or why not head to The Dog Collar Museum in Leeds Castle, Kent, which houses over 100 rare and historical dog collars? These peculiar museums offer a glimpse into a different side of history that is sure to captivate your imagination. Are you looking for a thrill-filled adventure that goes beyond the ordinary? Look no further than the UK. If you are looking for a thrill-filled adventure, why not encounter ghosts in historic castles or explore the eerie depths of the London Dungeon where there are plenty of opportunities for adrenalin-filled adventures? You can step into the paranormal realm as you embark on ghost tours across the country. Discover spine-tingling tales of hauntings and spectral sightings as you visit ancient ruins and stately manors said to be inhabited by restless spirits. Explore Edinburgh Castle, known for its haunted chambers and mysterious apparitions, or venture into Wales' Plas Teg, a Jacobean mansion renowned for its ghostly inhabitants. These hair-raising adventures are not only thrilling but also provide an intriguing glimpse into the history and folklore of these hauntingly beautiful destinations.  

Brighton Pier in East Sussex. Photo by Pavlina Jane. Flickr.  

Coastal Escapes: Relaxing by the stunning British coastlines

When it comes to breathtaking natural beauty, few places can rival the stunning British coastlines. From the rugged cliffs of Cornwall to the tranquil shores of Norfolk, these coastal escapes offer a perfect retreat for those seeking relaxation and tranquility. However, these coastal havens offer more than just pristine beaches for sunbathing. In addition, these coastal havens host a diverse array of fascinating birdlife, invite exploration of hidden caves, and offer enchanting encounters with marine animals.  

Great Cave. Lands End. Cornwall. Photo by Daniel. Flickr.  

Exploring the Great Cave at Land's End

The Great Cave at Land's End is a remarkable geological feature that captures the imagination with its sheer remoteness and impressive size. Tucked away in the southwestern tip of Cornwall, England, this expansive cave beckons adventurers and nature enthusiasts alike.   A Remote and Enchanting Location As you venture toward Land's End, the feeling of isolation becomes palpable, with rugged cliffs and roaring waves serving as a constant reminder of nature's raw power. It is in this awe-inspiring setting that the Great Cave reveals itself, a hidden gem waiting to be explored. The sheer size of the cave is awe-inspiring, with its cavernous chambers and vast underground network. Its dimensions seem almost unfathomable, stretching deep into the cliffs and offering a sense of wonder and mystery to those who dare to venture inside.   The Allure of Seclusion The remoteness of the cave adds to its allure, as it feels like a world of its own, far removed from the hustle and bustle of daily life. This seclusion only enhances the sense of adventure and discovery, making the exploration of the Great Cave a truly unique experience. Once inside, the immensity of the cave becomes apparent. Light filters through cracks in the rocky ceiling, casting an ethereal glow on the walls. Stalactites hang like ancient chandeliers, forming intricate formations that have taken centuries to develop.   A Glimpse into Geological History The Great Cave at Land's End serves as a reminder of the Earth's geological history and the forces that have shaped our planet. Its remote location and impressive size make it a destination that sparks the imagination and invites exploration. For those who are willing to step into the unknown, this remarkable cave promises an unforgettable journey into the depths of Cornwall's natural wonders.  

A colony of puffins. Photo by Joxean Koret. Flickr.  

Wildlife

Bird Watching Bird enthusiasts will find the British coastline to be a veritable paradise for bird watching. The diverse range of habitats along the coast, from expansive mudflats and marshes to towering cliffs and sandy dunes, create a haven for a wide variety of avian species. The coastal areas serve as ideal breeding grounds and rich feeding spots, attracting a remarkable array of birds. Mudflats and marshes, with their nutrient-rich mud and abundant vegetation, offer an enticing habitat for wading birds. Here, graceful species such as curlews, oystercatchers, and redshanks can be observed delicately probing the mud in search of invertebrates. These coastal wetlands are also frequented by elegant herons and egrets, their long legs and striking plumage adding to the scenic beauty of the surroundings.   Seabirds The towering cliffs along the British coastline provide nesting sites for seabird colonies, offering a dramatic spectacle. Breeding colonies of seabirds, including razorbills, guillemots, and puffins, can be spotted perched on the sheer rock faces, their comings and goings accompanied by a cacophony of calls. These cliffs provide a unique opportunity to witness the thrilling aerial displays of these seabirds as they dive into the water to catch fish. Sandy dunes, with their delicate grasses and resilient vegetation, create a different habitat for birdlife. Singing skylarks can be heard ascending high into the sky, their melodies filling the air. Along the dune systems, you may encounter rare and elusive species such as the stonechat and the dartford warbler, adding an element of excitement to your bird watching experience. Whether you're an avid bird watcher or a casual observer, the British coastline offers a rich tapestry of avian life. Exploring the diverse habitats and carefully observing the behaviors and colors of the coastal birds will undoubtedly leave you with a deep appreciation for the beauty and diversity of the avian world.  

Red Squirrel on tree bark. Photo by Hedera Baltica. Flickr.   Scottish Red Squirrels Scotland provides a unique opportunity to witness the captivating beauty of red squirrels in their natural habitat. With their russet fur and distinctive ear tufts, these charming creatures are a delight to behold. Scotland, particularly the Highlands region, offers the best chance to spot these elusive animals. The ancient Caledonian forests of Scotland serve as the perfect backdrop for encountering red squirrels. These forests are rich in diverse flora and fauna, providing a haven for these delightful creatures to thrive. Explore the tranquil woodland trails, keeping a keen eye and a quiet demeanor to increase your chances of spotting these agile acrobats. The Highlands, including the Cairngorms National Park and the Isle of Arran, are renowned for their abundance of coniferous forests and serene woodland settings, making them an ideal habitat for red squirrels. Visit during the early morning or late afternoon when these active squirrels are most likely to be seen. Find a comfortable spot, perhaps near a feeding station, and patiently wait for their playful antics to unfold. Observing red squirrels in Scotland offers a memorable experience, allowing a close connection with the country's rich natural heritage. It provides beautiful photographic opportunities and serves as a reminder of the importance of conserving these enchanting creatures and their fragile ecosystems. So, venture into the woodlands of Scotland and immerse yourself in the enchanting world of red squirrels for an unforgettable wildlife encounter.   Fishing on the Norfolk Broads The most popular pastime in the UK is fishing so you will find no shortage of tackle shops and local knowledge. Freshwater fishing enthusiasts will find the Norfolk Broads in England to be a haven for their favorite pastime. This unique network of rivers, lakes, and waterways offers a diverse range of fishing opportunities amidst stunning natural beauty. Here are five of the most popular fishing locations and beauty spots in the Norfolk Broads: - Hickling Broad: With its extensive open waters and picturesque surroundings, Hickling Broad is a favorite among anglers. This serene location is known for its bream, roach, pike, and perch fishing, offering plenty of excitement for both beginners and experienced anglers alike. - Barton Broad: Nestled within the Norfolk Broads National Park, Barton Broad boasts tranquil waters and abundant wildlife. Anglers can enjoy fishing for tench, bream, pike, and eels while taking in the breathtaking scenery and observing the rich birdlife that calls this area home. - Wroxham Broad: Located near the popular village of Wroxham, this broad is easily accessible and offers excellent fishing opportunities. Anglers can target species such as roach, bream, pike, and perch. The scenic beauty of Wroxham Broad adds to the overall charm of the fishing experience. - Horsey Mere: Known for its scenic splendor, Horsey Mere is a picturesque beauty spot that attracts anglers seeking a tranquil fishing experience. The shallow waters of the mere are home to a variety of fish species, including roach, rudd, and pike. Anglers can enjoy fishing from the banks or explore the area by boat. - Ranworth Broad: Situated within the heart of the Norfolk Broads, Ranworth Broad offers a combination of excellent fishing and breathtaking vistas. This popular spot provides opportunities to catch species such as perch, bream, pike, and roach. Anglers can also enjoy the panoramic views from the top of Ranworth Church tower, which overlooks the broad and surrounding countryside. Read the full article

[itisiyourlocalidiot]

i'm feeling so incredibly european rn. just woke up after watching eurovision yesterday. now i'm watching motogp while drinking an iced coffee for breakfast. the sun is shining. i'm gonna have gazpacho for lunch. life is good.

[revenge-of-the-shit]

Writing Chinese characters set within Western worlds

If you don’t want to read it on tumblr, go check this out on medium or go follow me on instagram at @annessarose_writes!

Alright. You know what. I’ve seen plenty of stereotypes in fiction (and in social media) that are so incredibly pervasive I’ve seen many Chinese people within the western world internalize it themselves. So here’s a rough guide on writing Chinese characters in an English-speaking Western setting, written by me, a Chinese Canadian woman.

If you’re here to say something racist fuck off. Otherwise, welcome! This is not a comprehensive guide by any means. This is merely a brief overview based on my own experiences. My experience (as someone in North America) will differ from someone living in, say, Europe or South America. I’m not representative of every Chinese person because everyone’s experience is unique. So here were are.

1. Our names

Chinese names are usually written as follows: [family name] [name]. Let’s take a Canadian historical figure as an example: 黃寬先. In Chinese, it’s pronounced “Wong Foon Sien.” On Canadian documents — which are written [First name] [Last name], he’d be called “Foon Sien Wong.” He went by “Foon Sien” for most of his life. That’s his full “first name.” Nobody would call him Foon because that’s just half of his name (unless given permission). It’d be like meeting a stranger called Alex and calling them “Al” right off the bat. Sure, they could go by Al, but you don’t know that.

For those of us living in the Western world, some of us have both a Chinese name and an English name. In these cases, our Chinese name becomes our middle name in English (e.g. a character could be called John Heen-Gwong Lee).

For some people who immigrated to the Western world but were born in China, their legal name would be their Chinese name. Some choose to keep that name. Some choose an English name as their “preferred” name but keep their Chinese name on legal documents. It varies.

2. Parents & Stereotypes

There’s two stereotypes which are so pervasive I see it being used over and over in jokes even within Chinese (and, to a larger extent, asian) communities:

The [abusive] tiger mom and the meek/absent dad

Both parents are unreasonably strict/abusive and they suck

I have yet to see any fiction stories with Chinese parents where they’re depicted as kind/loving/supportive/understanding (if you have recommendations — please do send them my way). Not all Chinese parents are tiger parents. Chinese parents — like all parents — are human. Good god. YES, they’re human! YES, they have flaws! YES, they are influenced by the culture they grew up in!

That isn’t to say there aren’t parents like those tropes. There are. I know this because I grew up in a predominantly Chinese community where I had many a friend’s parent who was like this. Parents who compare their kids to the best kid in class. Parents who force kids into private lessons and competitions that the kid despises because the parents think it’s for the best. Parents who have literally called their kid a disappointment because they didn’t get 100%.

But please, also consider: there’s parents who support their child’s goals and who listen. Not all parents force their kid into the stereotypical trifecta of lawyer/doctor/engineer — I know of a good number who support their child in choosing the path they want. There’s parents who make mistakes and learn and try their best to support their child. So please, for the love of god, if you write a Chinese character, don’t reduce their parents to stereotypes.

3. Language & Learning

When I first read The Son of Neptune by Rick Riordan, I was so excited to see a Chinese Canadian character in Frank Zhang. Finally, there was someone like me. Finally, there was representation in well-known western media.

While I do appreciate that RR added in Frank Zhang, it’s pretty obvious that he didn’t really know how to write a Chinese Canadian character. One of the most glaring examples: in The Son of Neptune, Frank reveals he can’t really read Chinese. In like, the next book (I think — it’s been a while since I read it), Frank is suddenly able to read Chinese because he “learned” it in two week’s time.

Nope. Nuh-uh. Learning Chinese is a pain, let me tell you. There’s thousands of different characters and it is something you need to devote a lot of time to learning (especially if you’re progressed past the best childhood years for learning a language). So if you’re writing about a Chinese character living in the western world, here’s what you need to know:

A character who was born and raised in the western world does not necessarily know how to read/write in Chinese.

If they were raised by their own family, the character would very likely know how to speak their own dialect. They’d be able to understand the language used in movies/TV and they sound like a native speaker, but they may not know how to use language outside of certain contexts (the term for this is heritage speaker).

They probably went to Chinese school. They probably hated it. Chinese school is usually universally hated and does not teach you jack shit other than a hatred for the place and a vague memory of learning how to read the language without actually retaining knowledge of what you learned.

Most of my friends who know how to read/write in Chinese learned from tutors, parents, or were born in China.

There’s two main types of written Chinese: Traditional (used by Cantonese speakers) and Simplified (used by Mandarin speakers).

There are MANY other dialects (which I don’t know much about). The most common ones are Mandarin (usually spoken by people from the mainland), then Cantonese (usually spoken by people from Hong Kong).

4. Fitting into the community

Usually, the story is one of two things: they’re the only Asian kid in the entire school, or they grew up in a predominantly East Asian community. Things to consider for both of these when you’re writing:

Growing up the only Asian kid

They’re “that Asian kid.” They’re different. They walk into a class and feel weird and out of place.

They bring food from home (usually ethnic cuisine) to school. Other classmates stare at it, make fun of it, demand what that strange food is.

“Where are you from?” “Here.” “No, like, where are you really from?”

“Your name is funny.”

People literally never getting the character’s name right.

And that horrible, horrible feeling: wishing that they were white so they could avoid all of this.

Growing up in a predominantly East Asian community

It’s not uncommon for Chinese cuisine to mix with other east Asian cuisines. For special occasions (or just for a casual night out), your character could very well go out to get some sushi, or go for some KBBQ, or get some Vietnamese noodles.

Screaming “AIYAA” at/with their friends unironically if they’re annoyed (I’ve done this a lot with Cantonese friends. Less so with Mandarin friends).

Slipping into Chinese for like, two words, during a mostly-English conversation to talk about food or some other topic that can’t be adequately conveyed in English.

Reading books by white authors and learning about white history and growing up thinking white names, white books, and white history is the norm and standard even though the community is surrounded by East Asian people.

When the character leaves this community, there’s a brief culture shock when they realize how sheltered they’ve been.

Things in common for both of these:

The character has grown up on ethnic cuisine. Yes, Chinese people do eat rice with many of our meals. Yes, boba (bubble) tea is extremely popular. No, rice isn’t the only thing we eat. No, not all Chinese people love boba (though as a Chinese person I admit this sounds sacrilegious to say…)

The character likely grew up watching film/TVthat originates from East Asia. It’s not uncommon to watch Studio Ghibli films. It’s not uncommon to watch Japanese or Korean shows with canto/mando dub (examples: Ultraman, Kamen Rider). If you want to see a classic Chinese film from Hong Kong that’s fucking hilarious, watch Kung Fu Hustle.

The character has felt or been told that they’re “too westernized to be Chinese, but too Chinese to fit into the western world.” They’re torn between the two.

5. General portrayal

It’s quite simple, really. We’re human. We’re regular people. We have regular hobbies like all people do. We’re good at some subjects and bad at others. We have likes and dislikes like all people do. So here’s a list of stereotypes you can avoid.

STEREOTYPES TO AVOID BECAUSE WE’RE REGULAR HUMANS AND WE DON’T FIT INTO A SINGLE COOKIE CUTTER SHAPE, DAMMIT.

The character is a maths whiz and perfect at all things STEM.

The character is a straight-A+ gifted/IB/AP student.

The character is the next coming of Mozart and is amazing at piano/violin.

The character’s free time is spent only studying.

The character is insanely good at martial arts.

The character is either meek and submissive or an explosive, dangerous force.

I’m not going to mention the other stereotypes. You know, those ones. The really obvious ones that make fun of and demonize (sometimes through multiple untruths) how we look and how we live our lives. You should know.

Of course, there are people who fit into one or more of these. That’s not the point. The point is: molding all Chinese characters to these stereotypes (which white media tends to do) is harmful and reductionist. We’re more than stereotypes.

—

6. Conclusion

We need more diversity in portrayal of Chinese characters. Reducing us into one-dimensional caricatures has done nothing but harm us — look at what’s happening now. This guide is by no means comprehensive, but I hope it has helped you by providing a quick overview.

If you want to accurately portray Chinese characters, do your research. Read Chinese fiction. Watch Chinese films/TV. Initiate a conversation with the community. Portray us accurately. Quit turning us into caricatures.

[guardians-of-iselda]

On Classics

Yesterday, I saw a video about fanfiction, and like anything to do with fandom, it's already become controversial. However, there was one specific argument parroted by people that really made me think and I realized I have quite a lot to say on the subject.

To simplify, the argument is as follows: Fanfiction is oftentimes BETTER than classical literature, because fanfiction is free, accessible and diverse, while classical literature is dense, boring and bad. 

There were 3 specific variations of this argument:

Uncritically stating that classical literature boring and bad because it’s inaccessible to modern readers.

 Classical literature is inaccessible to most people, because without access to higher education, those people don’t have the tools to understand and enjoy it.

Fanfiction is an accessible medium of storytelling and it allows its writers and readers to see themselves in fiction which for most people who are not white, male and specifically Western (European/North American) isn’t true. 

All of these are bad arguments and I disagree with them strongly. Let’s start with nb. 3 first.  

What is and isn’t considered part of the Western Canon is subject to change based on who you talk to. Where I’m from, which is Macedonia, most academics include Russian and South American literature, but exclude most Canadian and American literature (most. We still get to suffer Mark Twain). So the argument that only white European men are in the literary canon is absurd if you live anywhere that isn’t specifically the USA, Canada and the UK. 

Even in Europe, the argument that Europeans can read a classic and see themselves in those works is bullshit, and simply shows that whoever thinks this knows nothing about Europe. 

There are no works by Macedonian authors in the canon, nor by any author from the Balkans or even any Southern Slavic country. Russia and the Czech Republic are the closest and even still, depending on who you talk to, they might not be included in the “Western” canon either. If South-east Europe does exist, it’s simply a backdrop for someone else’s story. 

If I had to ask for representation in classical literature I would be able to find none, and I am indeed white and European. 

That doesn’t mean I, or anyone else can’t see themselves in the characters of these works. You can absolutely relate to people who have nothing to do with your lived experience; in fact, that is a good thing. 

One of the best arguments to promote reading diversely is to seek out works that enrich your life by bringing you new perspectives and showing you how different and yet how similar you are to someone who lives on the other side of the world or in a completely different time. Reading diversely promotes empathy, makes you a kinder, worldlier person, broadens your vocabulary and your capacity to understand different cultures, experiences and concepts. 

It makes you a better rounded person. 

Now, this isn’t to say that you should only seek to read outside your cultural experience. It is not my place to tell someone who isn’t white and cis to just suck it up and force themselves to find relatable things in someone who is. People deserve to see themselves in fiction, especially people whose identities have historically been pushed out of literature. Queer people, immigrants, people of colour, native people, working class people, disabled people, we all deserve stories that speak to our unique experience and we all deserve to read stories about someone else’s unique experience. 

But like I said, classical literature is a finicky concept. There are authors of many marginalizations in the canon and you could conceivably find someone of your cultural and racial background if you just look a little. 

And while yes, people do read for comfort and for pleasure, and happy stories about marginalized identities are incredibly important, especially because queer and racial pain has historically been the only way to get published, not everyone writes or reads for the warm fuzzies. 

It’s ridiculous to demand that all art conform to this notion or to claim that only art that is uplifting or gentle is accessible. Art is meant to make you feel and process all kinds of emotions and experiences negative and positive. Maybe reading about the horrors of slavery or the Holocaust or the Aegean Exodus make you feel uncomfortable and sad, but sometimes you should feel uncomfortable and sad. That’s how you grow and learn as a human. 

This goes doubly for people who are not marginalized and have the luxury of never having to learn any of these things first hand and their only access to these specific emotions is through media.  

Being an adult means understanding that the world is complicated. Why should the art only present a black and white kindergarten level morality? People are flawed, complex, layered, sometimes outright bad. Fiction should be allowed to represent all these facets of the human experience, and the classics often do. Yes, this type of literature can be challenging, but you should demand more from your stories other than “good cowboy, bad cowboy”.

Classical literature can be dense and can be boring. But not only is this NOT true for the vast majority of works in the literary canon, the notion that the ONLY way general audiences can understand it is if they’ have a lit degree is ludicrous. 

To start, classical literature incorporates everything from Gilgamesh, and the Bible to The Great Gatsby and Beloved. It’s a selection of works that covers the entirety of written language and in cases like the Iliad, before it. It incorporates works from different times, different countries, in different languages and in varying stages of the development of said languages. 

Are there works like Don Quixote which are dense and impenetrable for a modern reader especially a modern Spanish reader? Of course; it’s a novel written when Spanish didn’t exist as a codified language. But does an average reader need a dictionary to understand Pride and Prejudice or the Great Gatsby? No, absolutely not, which is why in many schools, both of those works are read and taught in freshman year of high school!

Yes, most people would probably need footnotes or a guide to read Shakespeare. But do you need to understand every word, every pun in Romeo and Juliet to understand Romeo and Juliet? No, you don’t and claiming that you do, does come off as privileged. 

Most modern literature is published in English. Even the works that aren’t, to have any chance of selling globally, have to be translated into English. For countries like Macedonia who aren’t huge book markets this means that if I want to read a book that hasn’t been translated into Macedonian, I HAVE to read it in English. Most people here don’t speak or read the language well enough to know every word. And yet somehow my parents, friends and complete strangers I see in bookstores manage to do it. So why can’t you even make an attempt?

My primary school was a public Macedonian school where everything we read was in Macedonian. I had to read Heart by Edmondo DeAmicis and The Old Man and the Sea in fifth grade, Huckleberry Finn in seventh and Oliver Twist and the Call of the Wild in eight grade. My entire class of 37 people did. 

And guess what? We could all understand the books even though none of us had any context for Victorian England or Pre-unification Italy and we were reading translations of books published several centuries ago. I didn’t love all of these books, but to this day I love Heart and Call of the Wild and I read those books in a translation on top of them being classics written in 1886 and 1903 respectively. 

Of course like most of my peers I preferred books that were written by Macedonia and Serbian authors, who weren’t translated and spoke about teenagers like me who shared mine or similar cultural experiences. But most if not all of us still managed to not just read but understand these classics and this is elementary school. This was between the ages of 11 and 14. 

I went to a private English speaking high school, and the first book I had to read in freshman year was The Picture of Dorian Gray. It was the first book I had to read in English, in an academic setting and it was published in 1890. Did some things go over my head by virtue of English not being my first language? Yes. But did that somehow prevent me from liking and understanding the novel? Of course not! 

I understand people who complain about badly translated classics: a bad translation of a work that’s already written in a dialect or a specific type of a language can genuinely destroy the experience. But most people on this app and on Tik Tok and Youtube speak English as their first language. You almost never have to struggle through a translation. 

The argument is bad. You don’t need higher education to understand, read or like classical literature. For some classics you don’t even need to put in any more work than just simply reading a modern, recently published book. Most people are perfectly capable of understanding and enjoying the classics, just like any other type of work. 

If for some reason you’ve convinced yourself or been convinced that you can’t, I encourage you to try and read some classics. I can even compile a list of classics I’ve read that I think would be good starting points for a modern reader. But simply claiming that reading classics is an issue of accessibility?

No. It’s a bad argument, and it does nothing but discourage people from trying.

[jocia92]

(Google translated)

Dan Stevens, who grew up in Wales and south-east England, spent his summer holidays at the National Youth Theater at the age of 15, and he was drawn to the stage while studying English in Cambridge. Since his big breakthrough as Matthew Crawley in the hit series “Downton Abbey”, he has also repeatedly appeared in films such as “Inside Wikileaks - The Fifth Force”, “At Night in the Museum: The Secret Tomb” or “Beauty and the Beast” . Most recently, Stevens played the Russian Schnösel singer Lemtov in the Oscar-nominated comedy “Eurovision Song Contest: The Story of Fire Saga” from Netflix. At the beginning of June, the German film “Ich bin dein Mensch” by Maria Schrader celebrated at the Summer Berlinale Premiere, which starts on 1.7. comes to German cinemas regularly. Stevens plays the role of a love robot in it. Unlike on the screen, however, the 38-year-old prefers to speak English in the zoom-conducted interview. He chose a brick wall with a lion motif as the digital background. No allusion to the song “Lion of Love” from “Eurovision Song Contest”, but a photo of the famous Ishtar Gate in Berlin’s Pergamon Museum, where “I am your human” was filmed last summer.

Mr. Stevens, in your new film “I am your human” you play a humanoid robot that is entirely geared towards fulfilling the romantic needs of a skeptical scientist. You yourself recently described the film as “delightfully German”. How did you mean that?

I wanted to say that here pretty big questions - such as what actually makes a person or how much perfection love can take - are negotiated in a very light-footed, elegant and sometimes humorous way. In my experience that is a very German quality. At least I have often seen with many of my German colleagues and friends that they are very good at not discussing difficult issues exclusively deadly serious and melancholy.

Where does your personal connection to Germany and the German language come from?

My parents had friends who lived in Bielefeld and we used to visit them in North Rhine-Westphalia during the school holidays. Traveled from England by car! That’s how I learned a little German as a child, and later I learned it as a subject at school. I even did a short internship there through our friends in Bielefeld. I really love the language. Funnily enough, I was later able to use my knowledge of German professionally, because my first film was “Hilde”, in which I was next to Heike Makatsch played the British actor and director David Cameron, who was married to Hildegard Knef. After that, I always hoped that there might be another chance to speak German in front of the camera, because playing in a foreign language is an exciting challenge. When the chance arose to shoot “I am your person”, I could hardly believe my luck.

Did you know the director Maria Schrader who gave you this chance?

Funnily enough, when the script for the film landed on my table, I had just watched the Netflix series “Unorthodox”, which she directed. I had also watched a few episodes of “Deutschland 89”. In general, I knew that she was a great German actress, not least because friends who knew their way around the German theater scene often raved about her. Working with her was a joy now. Her understanding of actors is quite instinctive and brilliant. I have seldom seen someone who can help an actor who is having difficulties with a scene with such simple means.

The fact that you had already seen “Unorthodox” shows, of course, how quickly “I am your person” must have been implemented in the past year …

Oh yes, that was really quick. In March I was still in New York and was about to premiere a new play on Broadway. But then the pandemic came, everything was canceled and I flew back to my family in Los Angeles. A few weeks later, Maria and I met each other via Zoom - and shortly afterwards I was sitting outside in a café in the Berlin June sun for the first time in months to discuss the upcoming shoot with her. That was pretty surreal because I hadn’t actually left the house since March.

Is it correct that you oriented yourself to Cary Grant and Jimmy Stewart to portray the romantically programmed robot Tom?

In any case, these were role models that Maria and I spoke about. When you think of the game between the two of them, you always see an enormous clarity and directness. Cary Grant, for example, was always quite funny, especially in his romantic roles, but also flawless in an almost artificial way from today’s perspective. I found that very suitable for a robot. Apart from the fact that the ideas that Tom and his algorithm have of romance and love are certainly also shaped by the classic romantic comedies from Hollywood. Oh, the woman is sad, so I’ll bring her flowers! Such automatisms from the stories from back then were very appropriate for Tom now.

Keyword role models: Who shaped you in your career as an actor?

There were of course many. Jimmy Stewart was certainly something of a role model. My mom and I watched a lot of his films when I was little and I was always impressed by the kind of sweet tragedy that went into all of his roles. But maybe Robin Williams’ work influenced me even more. I always found the incredible variety of his films remarkable. He could make his audience laugh hysterically like no other, but also move them to tears in other roles. I always wanted to emulate this range.

In fact, the range of your roles is enormous and ranges from the Disney blockbuster “Beauty and the Beast” to a comic adaptation in series format such as “Legion” to bulky independent films such as “Her Smell” or the horror thriller “The Rental “, Which we just released on DVD. Is there a method behind this diversity?

Not in principle. I like variety, but I’m not just looking for roles that are as different as possible from one another. Rather, there are always similar factors that I use to select my projects. Sometimes there is a certain director that I really want to work with. Or the role itself is irresistible because it presents me with acting challenges. And sometimes a script is just fantastically written and I am interested in the topics it is about. With “I am your person” it was definitely the latter, especially since the timing was just right. In 2020 there were so many societal questions that ultimately touched the core of human existence. Such a script, which deals with something very similar in a light-footed way, was just fitting.

A few years ago you said in a questionnaire from the British Guardians that your greatest weakness was not being able to make up your mind. So every time you are offered a role, do you ponder whether you should accept?

No, no, when a script appeals to me, it actually does it very quickly. It’s such a gut feeling. If I’m unsure and skeptical, that’s a good indicator that this is not the right thing for me. That with the difficulty in making decisions related rather to something else. For example, it takes me forever to order in a restaurant because I can never decide what on the menu appeals to me the most.

You became famous with the role of Matthew Crawley in the series "Downton Abbey”. Did you immediately suspect at the time that something big was going on?

At first we were all pretty clueless. There are really many British history series, and we were one of them. When the first season aired in the US and was a huge success there, it was pretty unexpected. I never expected the impact the series would have on my career.

Barely ten years later, are you still being asked about the role?

Oh yes, regularly. Probably nothing will change about that either. I got out after three seasons!

In the meantime, however, the flamboyant Russian singer Alexander Lemtov from “Eurovision Song Contest: The Story of Fire Saga” should also be a character with whom you will be immediately associated, right?

Right, it has been mentioned more and more recently when people recognize me on the street. This charming, silly film obviously had a nerve with the audience last year in the middle of the corona pandemic. Especially since the real Eurovision Song Contest had been canceled.

The film was the number one topic of conversation on the Internet for a while - and Lemtov GIFs and memes were everywhere. Did you follow that?

It was really hard to avoid it. I wasn’t looking specifically for what people were posting. But of course my friends passed a lot on to me, and there were already some very funny Lemtov things. But he’s also a figure made for GIFs.

Another question every British actor under 40 has to put up with these days: Would you like to become the next James Bond?

Oh, of course, everyone gets to hear this question again and again who meets certain criteria. But it is completely hypothetical. Although a few years ago I read in an audio book by Ian Fleming’s “Casino Royale”.

You mentioned earlier that you and your family have lived in the United States for a long time. How big is your homesickness?

I actually feel very comfortable in Los Angeles. But every now and then I miss the sidewalk culture of European cities. People on foot, street cafes, things like that. Last year the longing for it was particularly great, although it was of course clear to me that there was a state of emergency in Europe too. In any case, I found myself reading books that were set in Europe and made me homesick. Which is why the unexpected trip to Berlin was really a boon.

You are also an avid cricketer. That’s certainly difficult in Los Angeles, isn’t it?

There are quite a few cricket clubs here. The only problem is that the few people who do the sport here are so good at it that I have problems keeping up. That’s why I always lose sight of the matter here a little. Even as a pure TV viewer, it is not easy to stay on the ball, because of course there is no cricket broadcast here at prime time. But as soon as I’m home in England in the summer, I really want to play again!

[masqueradingmoon]

hey a while back you said you had a lot of thoughts on how non-jewish white arthurian fans can better be allies to jewish ppl. with the post i just reblogged i thought it was important to also discuss antisemitism in both medieval literature and the use of arthurian narratives in the present day. this is an invitation to say everything you want about a) antisemitism & arthuriana, and b) how white culturally christian fans can create a better environment for jewish fans!!

oh thank you for bringing this up! I think in general I do a lot of thinking about these things what with how d&d plays into the medieval aesthetic as well, and so I think up similar alleys when i think about like, how to make that more accommodating as well. Obviously it’s not 1:1 but... call it listing my credentials before I go on a big rant about making minority groups welcome in fan spaces for media that is also largely dominated by fans who are bigoted. 

Anyway, I’m going to skip the history lesson for this post, if you need to learn about the treatment of jewish people in medieval times you can look it up. I think it’s pretty clear that these stories at their core, if not every text that gets commonly talked about, are not welcoming to jewish people. Or... anyone who isn’t christian. It was the dominant religion in Europe for pretty much all of the texts we read, and in its origins, arthurian lit revolves around the ideals of chivalry, yes, but also the ideals of spreading christianity, and a lot of christian symbolism. So far that hasn’t been anything I saw discussed before or after King Artus was circulating in our little corner of the fandom, only within that little pocket, which isn’t a call out, necessarily, more a heads up. I think one of the most insidious things about antisemitism is that more than other forms of bigotry it feeds on not being noticed and acknowledged, especially when it crops up in media. One of the most important things to do is call it out and acknowledge it, which is uncomfortable, but there is a lot of uncomfortable stuff in these texts that i’ve seen handled pretty well so far. 

It is really hard to take back the medieval aesthetic from white supremacists, which I feel like is true of a lot of things, ancient roman aesthetics for example. It gets co-opted and warped over time, so the characters become less and less what they originally were, which wasn’t even always great, and slowly morph into beautiful, white paragons intended to carry out the white, christian way of life and morals. We forget sometimes to take these things in context, because as fun as it is for Priamus to join the knights for Gay Reasons, in the actual story, that plot point is... incredibly iffy. And because of that I think it’s important to think about who is writing what we’re reading, and who is writing the analysis that we’re reading, and how does that affect how they see the characters and stories and explain them to other people? It isn’t that you can’t separate arthurian literature from white supremacists and anti-semitism, but it takes an active effort and curation of what you’re reading and what you’re posting about it. 

And lastly, regarding making jews feel welcome in your spaces, that depends entirely on the content that you’re putting out. There are a few red flags that I could call out in other fandoms that I haven’t seen here yet, but as a general list of things to avoid, of which i may or may not have seen specific things: drawing certain human characters with inhuman features such as greenish skin, sharp teeth, pointed ears and noses, and matted or frizzy hair (multiple at once, not individually), writing characters with these features or antisemitic traits, doing this to villains in particular. I only say this up front instead of starting with the “diversity, diversity!” point because “diversity” for jews often means being written as jewish through a clearly goyishe lens, where there is a defined set of personality traits and appearance for what a jew can be. That said, diversity diversity! Include jews in your reincarnation aus, make your heroes jewish in your fanfic, clear away the heavy christian symbolism and make room for other religious and cultural imagery and themes (respectfully). You can always look up any of this stuff if you’re unclear. And honestly, I’m one of the lucky minorities who doesn’t so much mind fielding questions about how best to include us (though like, about complicated things, not what is considered kosher) so... I’m willing to answer questions if people need to reach out and get help with the specifics of some of the stuff that I only mentioned briefly in this post.  Okay, that about covers it for now, I hope all this helps field some conversation, because the fandom has been sorely missing it. And to my lovely followers who have no idea what’s going on but are interested, I’ll be reblogging the post mentioned in the ask. It has a lot more detailed information and analysis on this subject from a more general lens, so it’s worth a read as well if you’re going through the trouble of reading this whole post. 

[ahsnewsupdates]

Exclusive Interview with Xander Smith: ‘AHS’ Concept Artist!

Xander Smith, the über skilled and talented concept artist who worked on four seasons of American Horror Story (Hotel, Roanoke, Cult, Apocalypse), was generous enough to answer some of our burning questions about the designs that he created for the show!

Throughout this interview, we will attach images of Xander’s work that pertain to the questions asked. You can check out his full, expansive portfolio by clicking here. 

Thank you so much for agreeing to this interview! How did your involvement with American Horror Story begin? Were you a fan of the show beforehand?

Thanks, it's one of my favorite projects to have been a part of, so happy to talk about AHS!

I've loved the genre of horror my whole life, to me it's the one genre that you can push all emotions to their limits, and explore the human experience on a much deeper level than other genres. I think this accounts for some of the greatest stories being so horrific in nature: because it's innately human. This also accounts for the genre having the most lame movies too, haha, because it prompts storytellers to try to push boundaries, and oftentimes there's no reason to push a boundary if there's nothing substantive behind it. I think with American Horror Story though, that's not the case. It's deep, it's intricate, and it's very culturally significant.

I had seen the first season on television, and I remember thinking beforehand, 'this is going to be lame, you can't go as deep with TV as you can with an R rated film...' man was I wrong. It pushed boundaries and asked dark, human questions, all while staying relevant and mysterious. I never once thought that they were holding back due to it being on television.

As for the beginnings of my involvement with the franchise, that actually starts with my parent's love of genre films. When I was a kid they would take me to conventions, like Comic-Con, to learn more about film making and meet the cast and crews of various films. That's where my love of design came from. When I was in college, my Dad met Heather Langenkamp at a horror convention, and told her about my pursuit of concept art when I was going to school in Los Angeles. Heather was really kind, and said that when I graduate, I should send her my portfolio; her and her husband, David Anderson, own the legendary special FX studio, AFX. When I graduated in 2014 I did exactly that, they loved my work, and they hired me to work on American Horror Story: Hotel which would come out later that year. Since then, they've hired me to work on the next 3 seasons, I've also been hired by 20th Century Fox on 2 seasons, and by legendary Costume Designer Lou Eyrich for 2 seasons. I'm very fortunate and always have a blast working with the diverse teams that bring AHS to life.

Starting with American Horror Story: Hotel, you were part of the design process for the Addiction Demon [see above]. Can you talk about that? It was such an obscene being, but at the same time so true to form for the show.

Ah yes, the lovely Addiction Demon. That's one hell of a design to have worked on, ha.

I read that part of the script with David Anderson at AFX Studio, as they would be building the prosthetics, and the infamous 'drilldo'. He looked at me and just, 'alright, do your thing, make it horrific.' And that's what I did. I've seen people in the throes of addiction, and actually lost a good friend in my teen years to drug addiction, so when designing the Demon, I wanted it to be really visceral, painful to even look at. In the script, the Demon rapes a character, and as horrific of a concept as that is, I knew that it's one of those concepts that fits with AHS; pushing the limits, but for a good reason. That's exactly what addiction is: you think it's going to be like great consensual sex when it starts, but quickly the Addiction Demon materializes and it has its way with you whether you like it or not. Truly disgusting, but that's what I thought the design should encompass. So I sketched about 20 different versions, and 1 of those versions stuck, and we decided to take that one further. I sculpted the final design in Zbrush, and that's the concept that Ryan Murphy picked. The brilliant team at AFX brought it to life, and that's the demon you see in the show.

You also produced fantastic concept artwork for Lady Gaga’s character’s chain mail glove [see above], alongside costume designer Lou Eyrich and designer Michael Schmidt. How did that design develop? Was it fun designing for Gaga?

Thanks! Yes that might actually be my favorite piece I worked on. Lou Eyrich and Michael Schmidt were awesome, I think we came up with an iconic piece that's uniquely elegant and fit for a horror queen. It was very motivating knowing that it would be worn by Gaga, so as I was translating Michael's sketch, I wanted to maintain a balance of stylishness and darkness, something that both Lady Gaga and American Horror Story is known for. It was incredible to see it in the posters. Definitely a highlight for me.

Moving on to American Horror Story: Roanoke, you produced terrifyingly good concept art for another one of the show’s iconic villains, the Piggyman entity [see above]. Since that same figure was also featured in the first season, did you look back for inspiration?

Great question, because for Piggyman I was back at AFX Studio, working on the design with David Anderson, and we certainly had a lot of the same inspiration and ideas on how to do the design justice for such a horrific piece. There was a lot of shocking content surrounding him, like pig fetuses and butchery, and we just went all out on letting the character bathe in so much debauchery. It was also really fascinating to be designing while their FX team was sculpting the prosthetics (the production schedule was very intense), and I got to see sculptor Glen Eisner working on the pig head and stomach pieces in clay, only a few days after I had worked on the concept art. Incredible process.

On the same season you collaborated quite closely with the makeup department to design concept art for some of the season’s makeup looks, including illustrations for Kathy Bates’ and Finn Wittrock’s characters [see above]. Wittrock played incestuous hillbilly Jether Polk and the final product was quite frightening. How did that process go?

Also a really fun process, I got to meet some of the actors as they came in for face castings, while I was deforming their faces in the concept art- I almost felt guilty! We pulled a lot of inspiration from medical journals relating to birth defects, and we stayed pretty close to reality, as we saw fit for the Roanoke season. I was also busy terrorizing Kathy Bates image while designing what the character's demise would look like. Since there are a lot of complicated practical effects involved in the gory scenes, we spent time illustrating what the wounds would look like ahead of time. By the end of it, I had like 2 full pages of various gory ways Kathy Bates could meet her end that we presented to production, and they chose one of the most horrific ways that fit with the script (of course). Hopefully Kathy is used to it after so many years as a horror icon!

Arguably your most prolific designs for the show were for season seven, Cult. You produced some stunning concept art for the clown masks and general appearance [see above], some of which weren’t seen in the show but absolutely should’ve been. They look slightly ‘mechanical’. What was Ryan Murphy’s pitch there?

Completely agree, I really love the final designs. Unfortunately, for as much art as I did for this season, none of my designs fit the script well enough, I just couldn't hit the mark, and so my work did not make it to production. It happens, and that's why there are many artists on a project! I appreciate you saying they should have been in the show though! I think I focussed too much on the clown/mask angle, and less on the political/cultish angle, which is where the magic of that script was. In true American Horror Story form, it is a cultural commentary on the times, and I feel I was not paying as much attention as I could have. That being said though, I had a blast working with the crew at AFX Studio again, and we worked on a lot of pieces that at least helped move production forward. Sometimes it's useful to see a design that's not quite right, just to move the production in the right direction.

The last season you worked on was of course the crossover season, Apocalypse, for which you designed the Outpost Three hazmat suits [see above]. The plague doctor influences in those designs was a stroke of genius. How was it blending dystopia with 17th century Europe? Also, were you aware that Apocalypse was the crossover season when you started work on it?

I think I got my mojo back on this season, since not only were my illustrations on those hazmat suits finalized for the script, but I was also able to do some of the 3D modeling for the Plague Doctor masks that were 3D printed and worn by the cast as props in the show. That was a really rewarding experience, and I was working under Lou Eyrich again who is the genius behind the blend of dystopia and 17th Century Europe that characterizes Apocalypse. We did probably about 50 different sketches of those suits, and explored such a wide variety of directions and blends of dated technologies, medieval influences, hazmat suits, and gas masks. When we had a solid direction, I did a tighter illustration of a generic suit that could be worn by any one of those characters (one of the keys to the design was that they could be worn by several different body types, as per the script), and then did a final piece that showed Kathy Bates wearing the mask. I'm really pleased to have come up with the idea of the 'plastic plague doctor' design, and thrilled to see it on screen.

I wasn't aware that it was the crossover season either, I wasn't given that part of the script, but that let me watch the revelation in real time with the rest of the world!

Lastly, would you like to design for American Horror Story again in the future? What is your “dream theme” that you’d like the show to explore?

Absolutely I would love to return some day and help flesh out some new designs. Some of the later seasons have been less concept-heavy, but I've also had to pass on the work as I've been involved in other projects, and of course have been busy helping found my current company, Aliza Technologies.

But you never know what the future holds!

As for a 'dream theme', that's such a good question because I feel there are so many interesting directions the show could take. They've built such a rich world where stories can take place across a range of time periods and genres, and that's a real gift to horror fans. One of the elements I really love about AHS is that when it delves into the supernatural, it does it in a really measured way. I've always found ghost stories to be a little bland and heavy-handed, but since AHS is so nuanced in its supernatural material, especially in season 1, I think it would be really interesting to see them go the heavy handed way, lead the audience down a super super-natural route for half a season, and then absolutely pull the rig from underneath them halfway through, and have a natural explanation for all the 'supernatural' elements. It would be a complete mind-f**k, like 'wait, there were no ghosts at all??' and have that realization be even more horrifying. I'm no writer, but I think a concept like that could be really interesting... Also set the mystery across several different generations so that the supernatural explanation is more appropriate for an older generation, and is busted open by the modern take. Image what the flashback reveals could look like, and imagine the types of 'ghosts' I could illustrate...

Thanks for the questions, now I'm off to do some script-writing myself...

(Also, special mention to Eryn Krueger Mekash and Mike Mekash who designed the makeup looks!)

Xander’s links:

Official Website: https://www.xandersmithdesign.com/

ArtStation: https://www.artstation.com/xandersmith

Behance: https://www.behance.net/XanderSmithDesign

Instagram: https://www.instagram.com/xandersmith_design/

[geniusjoereviews-blog]

A Review of Call of Duty: Modern Warfare 2

Major Spoiler Free!! (In case anyone cares)

           Now, I usually would take a more linear approach when it comes to playing through video games, but unfortunately, I wasn’t able to get my hands on a copy of COD 4 in time. All thanks to the one, the only, Gamestop. During that wait, my desire to jump into this long-fabled game overtook me, and I eventually caved to just grabbing my Xbox controller and starting the damn thing.

           Being semi-aware of the cultural relevance of this game gave me a tad bit of bias, but I believe I was able to surpass that since I have done a decent enough job of dodging spoilers.

           The intro starts with you in base camp, running you through a tutorial via the use of a military drill. All the controls are fluid and easy to learn, especially if FPS games are your bread and butter.

           The plot follows the mysterious and dangerous terrorist Makarov, as he tries to execute his plans of taking over both Europe and the West for Russia. I mean this is pretty cliche and samey in current terms and frankly in 2009 too. Although this can kind of come off as your traditional bad guy good guy shooter, I’d make the argument that Makarov is more or less a vehicle for the plot rather than a centerpiece. Yes, while he certainly has intense moments and intimidating behavior, the things that happen around him tend to pull you in more than just the character of Makarov himself. Unlike a character like Vaas (Far Cry 3), who’s personality and arc is the focus of the plot, in MW2, the environments that are created by Makarov’s schemes seem to be the more significant focus of the narrative.

           These environments are where Call of Duty: Modern Warfare 2 shines. From the intense chase down in the Favela to the exhilarating snow levels, the player is pushed through arenas that are unique, new, and well designed for their age. It kept me hooked.  For example, whenever I was about to log off, I’d sit through the following cut-scenes just to see where I’d be fighting next.

           While being a little bit dated, the gun-play is smooth, understandable, and stimulating. Outside of the shotguns, each firearm is very distinct and memorable. I specifically note this because, by the end of the game, I felt as though I had learned to use each of the guns in specific scenarios that would play to their strengths. My only argument against the shotguns in-game is that they tend to show their age much like the enemy AI.

           Enemy AI can easily be chalked up to either insanely fast or incredibly slow. Sometimes they’ll get stuck and become easy targets, but other times they’ll spin around in an instant and fill you with lead. This led to some confusion during my play-through as it would become frustrating when my well-timed strategy would be entirely shot down by an enemy with the reflexes of Robocop. Despite all the crap I’m giving the AI, I do have to admit that the game is nearly 11 years old, and my experience was no worse than if I was playing a non-AAA shooter.

           Ok, now its time to touch on the diversity issue. Knowing this was Call of Duty, I didn’t go in expecting the most inclusive game in the world, but I must say I’m a tad disappointed even for a game from 2009. There were so many golden opportunities to shine a light on different points of view from a world’s scale during the significant events in the game. For example, (Minor Spoiler!!!) during one of the missions in the middle of the game, you are tasked with getting your team to take over a Russian oil tanker that has been commandeered by Makarov’s forces. Here would be an excellent opportunity to bring in either Japanese or South Korean special forces to help the cause and add more depth to the conflict at hand. Unfortunately, though, the battle stays to being the Anglo-West versus Russia and loses out on some great opportunities to make the world and the game feel deeper. Even the token diversity characters have little to no meaning. Sgt. Ramirez, you play as for half the game, yet I can’t remember a single thing about him outside of his name being Ramirez. Hell, I don’t even think he had any voice lines. Once again, it’s just a blown opportunity, and I hope to see an improvement in the later titles.

           The first act may be bold, but the latter half of the game is truly the icing on the cake. By using twists and turns in the plot, Sledgehammer weaves one of the most stunning endings to a call of duty of game I’ve ever seen. The conspiracies of deception and truth run deep within the world, and it all culminates in a rapid-fire and bloody conclusion. While this game can periodically show its age and rust (lol), it is a fantastic roller coaster that you never want to get off.

[utilitycaster]

theorphanmaker replied to your post “Accents of Exandria”

ah yes the plentiful langues of "eastern European" and "Russian" love those categories

I’m not sure if this was meant jokingly or sarcastically but it’s a good opportunity either way to talk a little bit about the challenges of describing and figuring out accents that I ran into here. They’re in part due to the limits to my knowledge and experience, in part due to the incredible diversity of accents in the real world even within the same language, region, or city, in part due to the limitations of even a talented voice actor, and in part due to the fact that Exandria doesn’t have a Britain, or Russia, or Europe so we’re using accents that exist in our world to describe accents in a completely different and fictional universe.

(obligatory disclaimer that I’m a hobbyist, not an accent actor nor a linguist, and if you have specific and actionable constructive advice I welcome it).

Before I start, those specific, verbatim categories of “eastern European” and “Russian” were picked in part because of the notes Matt tweeted out here. Also Russian is a language? So to address what might be going on here...

Eastern European isn’t a language - this is true. The words we use to describe accents are not always a perfect one-to-one match with languages. If you asked most people to tell you what accent Percy had, for example, they’d probably say “British”, which is true. British isn’t a language. Neither is Texan (Fjord’s put-upon accent).

Eastern Europe is indeed a tricky definition and the exact makeup of eastern Europe is itself a subject of debate but it’s also an accent actors would see on call sheets; people from that region of the world have different accents but on the whole there are some shared traits among said accents. I've seen a lot of discussion on where exactly Jester’s accent is from and honestly, I couldn’t tell you (nor could most people, because it is probably something of a compound accent that doesn’t match up exactly with any specific country or language) - but it sounds eastern European in its traits (the ‘ih’ sound when stressed becomes more of an ‘ee’ sound, her ‘r’ sounds tend to be fronted, the ‘a’ in Traveler sounds closer to an ‘eh’ sound, and so on). These are qualities her accent shares with Kree, who Matt noted had an eastern European accent, even though they don’t have identical accents. For the most part, everyone has a few individual accent quirks anyway (referred to as idiolect).

(sidebar - while I don’t think it’s a perfect match the accent I’ve heard that sounds closest to Jester’s is Romanian. Jester doesn’t have final obstruent devoicing - listen to how the ‘d’ in “Fjord” is pronounced as a ‘d’ when she says it, vs how Caleb says it almost as a ‘t’ - and neither does Romanian, but many languages spoken in that region do devoice final obstruents. I also think the coastal nature of Nicodranas evokes southeastern Europe - I remember someone drawing comparisons between Nicodranas and Dubrovnik (I don’t have enough familiarity with Croatian speakers; I did a quick search and some dialects have this feature and some don’t so if anyone reading this can speak to Jester’s accent being Croatian with some level of knowledge, let me know!)

Anyhow: using a regional descriptor of accents even when many different languages are spoken therein (eg: an Indian accent)- or using regional descriptors of accents even when they’re within the same country and people with that native accent speak the same native langage (eg: a Texas accent and a Boston accent) is pretty normal. People from the same geographic area can have different native accents based on socioeconomic/cultural factors: to use the TV show The Wire as an example, most of the characters are supposed to be natives of Baltimore, but the working class white accent is not the same as the African-American accent.

Another possible point here was that Russia is (at least partially) in Eastern Europe: this is also true. We can refer to accents very specifically (eg, “Percy has a Moderate Received Pronunciation English accent”) or very generally (eg, “Percy has a British accent”). If I had to speculate re: Matt’s notes, it might be that he wanted to clearly distinguish Kree’s accent (eastern European) from Oremid Hass’s accent (Russian). As mentioned above each language has some distinct features within the accent. Because Russian was specifically used as a descriptor I broke it out from the larger Eastern European accent group.

I’m not sure if an implied point here was that Russia is a language spoken across a huge country with a multitude of regional accents in which case this falls under the same case of, for example, Texan accents not being the same in every single part of Texas. Houston isn’t going to sound like El Paso.

Next: actors have limitations! We’ve seen this with Taliesin specifically trying to develop his Irish accent work. Sometimes it’s a learning process, but also sometimes people pick a collection of traits often seen in a broad accent category but that are unlikely to be seen within the same accent of an individual: for example, using non-Rhotic (not pronouncing all the ‘r’ sounds after vowels) pronunciation found in many London accents with the vowel sounds of a West Country British accent, which is Rhotic. It’s not a realistic accent you’d be likely to find in the real world, but it is a consistent speech pattern with internal logic. This is why a lot of dialogue coaches recommend that people listen to a single speaker and imitate them if they’re trying to get familiar with a specific accent. However, because this is Exandria, not Earth, if you mix and match your accent patterns and come up with something new, that’s okay! Jester’s accent might not fit an Earth category other than “kind of eastern European sounding” because again, Jester isn’t from the Ukraine or Romania or Belarus, she’s from Nicodranas.

Exandria is further complicated because in D&D, every player character is at least bilingual, many are multilingual, and while everyone’s speaking in Common most of the time it’s up to the player whether they learned Common or their racial/regional language first. Matt usually plays it so that most dwarves, for example, speak with a Scottish accent whether they’re in Trostenwald, Uthodurn, or Kraghammer - it’s at least heavily implied this is the dwarvish accent, rather than a regional accent (though if you were to think about it, in Uthodurn and Kraghammer, cities with large dwarvish populations, this might become part of the native regional accent). Jester’s accent might be because she’s from Nicodranas (or it’s the accent of wherever Marion’s from originally) but it could also be how they’re depicting infernal, and she spoke that as a first language but Zahra and Molly didn’t - or maybe Zahra lost her infernal accent later on in life, or who knows? I’m a fan of embracing the vagueness here since Exandrian accents will never be a one-to-one match with the real world, but at the same time I had a lot of fun looking for patterns among those accents as they’re a cool part of world-building and tropes.