#animation principles term one

[mihotose]

unfortunately i can never truly get on with my mother's husband due to a terrible disease called Leftist Infighting

[zeitztun]

ik this is known but no successful settler colony has reached relative "internal stability" without genocide. north america is the first example of this that comes to mind: during the early years all up to the 19th cent., wars and attacks between native americans and settlers were frequent. and yes, while the settler armies were more well armed and more powerful, the native americans were a great force against the european invasions and did cause casualties among white populations, "including civillians", and halted expansion and development for many of the colonies.

this was met in 2 ways:

federal programs sponsored by the colonial states (violent deculturation, seperation from families through residential & boarding schools, expulsion from ancestral lands and destruction of the indigenous identity)

and unofficial, "individual" settler and enlistee actions of massacres upon indigenous populations. these events obviously were never prosecuted because they worked in tandem with the colonial powers, supported and encouraged by them.

the extermination of the american indigenous people wasn't just a facet of american success but the foundation of it. if they weren't subject to the genocide, the wealth and vast land in north america wouldn't have reached the white populations and the continent would be unrecognizable today, with canada and the united states not slightly as globally influencial as they are today. imagine a usa reliant on tourism.

and ik this is all elementary level information, but israel mirrors this entire process in eery similarity, with ancient, ancestral lands seized from palestenians exploited and destroyed for capital gains following violent expulsions (the nakba created israel). palestinians remaining within the israeli border endure lynchings and attacks by settlers as well as repression and persecution under federal law. israel was founded on the same colonialist principles that america and other european settler colonies (algeria, mozambique, kenya) were: their survival just depended on how far they would go to destroy the indigenous population.

what im dreading is that israel is on course to go further and proceed with that destruction. we are currently is a uniquely horrifying moment: 2,600 dead palestenians and 6,000 in hospitals with 0 supplies and 0 power - and the ground assault following the impossible evacuations is looming. the massacres about to sweep palestinian lands with the gifting of the ten thousand rifles to settlers. the unprovoked, unwarned and constant airstrikes. the monolithic, hysteric nature of mainstream western media. the army's sentiment of hunting animals. the global unrepentant backing. the repeated promise of complete victory.

what would complete victory mean? you cannot quell palestenian resistance without exterminating palestine. the palestenian people are a tortured people, hungry, radicalized simply from their day to day life: not one gazan hasn't watched corpses being pulled from the rubble, not one gazan doesn't have murdered family, not one gazan doesn't have something to mourn. their friends and family disappear or lose limbs on the daily now, building on grief from the previous 7 decades deep destruction. the homesickness is constant. the sounds of explosions is never far. of course there would be resistance movements, of course there would be revenge attacks, of course it will be bloody, because no humans in the world could silently endure these conditions. if hamas was entirely destroyed tomorrow, the next generation of palestinian youths would simply form another. for a complete, permanent victory, you would need to raze palestine.

this is why i balk at people hoping for coexistence. coexistence goes against the very founding strategy of israel. it goes against every principle and long term plan israel has for itself. israelis themselves do not want coexistence, they want gaza flattened and the west bank annexed, they want palestine destroyed and the palestenian people extinct. any sympathy with israel is a transgression on humanity.

[literaryvein-reblogs]

Writing Notes: Magic Systems

Magic - change wrought through unnatural means

Most fantasy can be placed along a spectrum where there are 3 main points: soft magic at one end, hard magic at the other, and a middle ground between the two.

Soft Magic

Magic that is not well-defined for the reader.

Generally, we don’t understand where the magic comes from, who can use it, or what its limitations are.

Readers can see this type of magic being used.

But they can never anticipate when magic will be used in the plot because they can’t begin to guess how it works.

You can’t break a rule if the rules don’t exist!

Most stories that feature this system will have the magic users be secondary characters, allowing them to avoid explaining exactly how the magic works.

It’s also argued that without knowing everything about the magic, it tends to hold more wonder and excitement for readers.

Hard Magic

Has very rigid boundaries.

Readers know where the magic comes from, how it’s used, who uses it, and what its boundaries and limitations are.

We know the limitations of the characters and can understand why they can’t simply magic themselves out of any particular challenge.

Stories with hard magic systems do not need to avoid the main character being a magic-wielder, as they have the capacity to explain to the reader what is going on.

A lot of writers this system because it gives them very explicit guidelines to follow in their plot and creates some more satisfying pay-offs for readers.

The Middle Ground

The meeting point between the soft and hard systems.

We might understand a bit about the way the magic works, but not all our questions are answered.

While most of the content adheres to rules, these rules aren’t fully explored.

This system relies on the reader’s suspension of disbelief.

The main character can be a magic-wielder or not, and it’s up to the writer to determine when magic will be used in terms of plot.

How to Choose a System

You can and should use these guiding principles to build your magic system. Remember that you don’t have to choose one or the other. Your system can draw from aspects of both. Just stay aware of the weaknesses of the path you choose, and ensure you utilize its strengths.

Use a hard magic system if:

You are going to use magic to solve problems

Your audience is accustomed to the tropes of hard magic

You are okay with jumping through hoops to expand your system

Your magic doesn’t convey a theme

Use a soft magic system if:

You want to convey a theme through magic

You want to create a sense of wonder

You want the ability to expand easily

You want to be accessible to a broader audience

Your magic won’t regularly be used to solve problems

Branches of Magic

Like most writing processes, there isn’t really a correct place to begin designing a magic system. A common, and efficient, place to start, however, is by choosing what type of magic system(s) you wish to employ, such as:

Nature-based magic: water, earth, fire, air, and everything in between

Divination magic: see beyond sight and peer through time and space

Conjuring magic: move objects through space over any distance

Psychic magic: master the world of the mind

Life and death magic: tap into the very forces of life, death, and un-death with this surprisingly versatile collection

Animal- or creature-exclusive magic: some creatures just do it better

Magitech systems: the blurring lines of sorcery and science give magic a next-gen, high-tech flair

Eclectic magic: it doesn’t have to be “real” magic to have a real effect

Uncommon magic systems: the unsung heroes of fantasy magic

AALC Method

How to create your own magic system using the AALC (Appearance, Abilities, Limits & Cost) Method

Appearance

What the magic looks like

Makes the world feel more exotic

Can cause problems for characters but cannot solve them

Usually tied to a character arc

Abilities

What the magic does

Points calculated based on magical effect, range, number of people affected, and duration

Characters have a finite amount of fuel (mana) to use abilities

More powerful abilities require more fuel

The fuel does not have to be overt for the audience to understand

If points not overt, cannot solve conflicts unless a cost system is added

Limits

Unlimited uses of magical abilities

Abilities stratified in codified levels defined by their limits

The more the levels' abilities and limits are known by the audience, the more they can be used to solve conflicts

Focused on clever uses of abilities against stronger foes

Cost system can be added to enhance dramatic moments

Cost

Costs must be greater than or equal to abilities to make them dramatically satisfying

Costs can include time, exhaustion, materials, sanity, morality, etc.

Adds dilemma to magic by forcing characters to make choices

The greater the character's sacrifice, the more audience satisfaction at conflict resolution

Each system builds on the previous ones, so that Cost Systems use all four, while Point Systems only care about Abilities and Appearance.

Multiple systems can exist within the same story, and systems can harden over the course of the story.

The Force, for instance, has been a Soft, Point, Level, and Cost System depending on who wrote it at the time.

SOFT SYSTEMS (Appearance Only)

Window Dressing - magic for secondary characters; can instigate conflict but cannot solve it; e.g., Gandalf

Soft Villain - No explanation or upper limits needed; makes villains more powerful to make heroes greater underdogs; e.g., The Emperor

Chosen One - Unknown power keeps hero safe throughout story; can be considered plot armor unless earned through character arc

Sort Hero Incomplete - Curse or positive ability the character cannot control; hero still learning limits of ability at story's end; powers and arc continued in next adventure

Soft Hero Complete - Hero embraces ability to complete arc and solve main conflict; magic must become harder in subsequent adventures

POINT SYSTEMS (Appearance + Abilities)

Points Opaque - Non-explicit reservoir of energy fuels powers; cannot solve main problems without cost option because characters finding hidden energy reserve feels like deus ex machina

Points Hard - Both abiliites and points system must be explicit like in video games; becomes about resource management; easy to understand but takes sense of wonder out of magic

LEVEL SYSTEMS (Appearance + Abilities + Limits)

Soft Level Static - Unchanging power without upper limits; cannot solve conflicts because feels repetitive; power must be used cleverly; e.g., Wolverine's healing factor

Soft Level Advancing - Increased powers or new powers with unknown limits; cannot solve conflicts unless tied to a character arc like Soft Hero Complete, at which point "unlocks" new abilities

Hard Level Static - Unchanging abilities with clear-cut limits; can solve conflicts so long as setup is properly seeded, usually resulting in sacrifice; e.g., Genie

Hard Level Advancing - Well-established abilities with limits; can solve conflicts based upon clever uses of abilities, usually against stronger foes; e.g., Airbender

COST SYSTEMS (Appearance + Abilities + Limits + Cost)

Static Cost - Well-established cost remains consistent for each use of ability; can solve conflicts since based on personal sacrifice

Cost Fluctuating - Costs change based upon dramatic need; costs must be greater than or equal to ability; possible costs include lost time, money, sanity, health, memory, life, morality, etc.

Sources: 1 2 3 4 5 6 ⚜ Writing Notes & References Writing Notes: Magic System ⚜ Fictional Items; Poisons ⚜ Fantasy

[taking-thyme]

🌅 Lucifer Deity Guide 🌅

Note: This is inspired by both my own experiences with Lucifer and the information I read on @scarletarosa's blog and her devotional guide to him. Please go read that one too!!

The divine rebel, Lucifer is the light of truth and divine wisdom; an ancient light which shines through the darkness, representing illumination. He is the driving force of innovation, liberation and transformation. According to Scarletarosa, who actively works with Lucifer and was told this by him, he was the first-born god of the Universe created by the supreme deity, the Source. He is so incredibly ancient and beautiful. Lilith was created to be his counterpart, the Queen of Heaven. However, Jehovah took the throne of heaven from Lucifer and cast him and his followers into hell. Most of them lost their connection to heaven and their energy became dark and intense. Jehovah claimed the throne of heaven and set himself up as the one true god, manipulating humans into betraying their original deities. Thus, Lucifer became the King of Hell and has been scorned by Christians for millenia. 

God of: Illumination, Light, Darkness, Change, Rebirth, Challenges, Innovation, Logic, Truth, Knowledge, Wisdom, Strategy, Persuasion, Revolution, Luxury, Pleasure, Freedom, The Arts and The Morning Star (“Morning Star” is another name for the planet Venus)

Symbols: Sigil of Lucifer, The Morning Star, Violins and Fiddles (instruments traditionally associated with him)

Plants and Trees: Rose, Belladonna, Mulberry, Patchouli, Myrrh, Min, Tobacco, Marigold, Lilies, Hyacinth, Sage

Crystals: Amethyst, Black Obsidian, Onyx, Garnet, Selenite, Rose Quartz

Animals: Black Animals in general, Dragons, Snakes, Owls, Eagles, Ravens, Crows, Rams, Foxes, Pigs,  Bats, Rats, Moths, Swans

Incense: Rose, Frankincense, Patchouli, Myrrh

Colors: Black, Red, Silver, Emerald Green, Gold

Tarot: The Devil

Planets: The Morning Star, Venus

Day: Monday and Friday

Consort: Lilith

Children: Naema, Aetherea and many others

How was he traditionally worshipped?

There is not much to say about how Lucifer was historically worshiped seeing as he wasn’t worshiped at all for a large chunk of human history. He seems to have been worked with in some capacity according to the Gesta Treverorum, written in 1231, which is where we first see the term Luciferian being used to refer to his worship. This was by a woman named Lucardis for a religious circle, who was said to lament to Lucifer in private and prayed to him. However, the term Luciferians was later applied to basically any groups Christians didn’t like and wanted to fight, as one might expect. However, the modern Luciferian movement also sheds light on how Lucifer is worshiped. For Luciferians, enlightenment is the ultimate goal. Their basic principles highlight truth, freedom of will and fulfilling one’s ultimate potential, and encourage the same in all of us. Traditional dogma is shunned because Luciferians believe that humans do not need deities or the threat of eternal punishment to know what is good and the right thing to do. All ideas are to be tested before being accepted, and even then one should remain critical because knowledge is fluid and ever-changing. Regardless of whether Luciferians view Lucifer as a deity or an archetype, he is a representation of ultimate illumination and exploration in the name of personal growth. 

Epithets

Phanes

The Morning Star

Light-bringer

The First-born

Prince of Darkness

Son of Morning

The Glory of Morning

Lord of the Lunar Sphere

The First Light

Offerings

Red Wine, Whiskey (especially Jack Daniels), Champagne, Pomegranate Juice, Black Tea (especially earl grey), Chocolate (especially dark chocolate), Cooked Goat Meat, Venison, Apples, Pomegranates, Honey, Good Quality Cigars, Tobacco, Daggers and Swords, Silver Rings, Emeralds and Emerald Jewelry, Goat Horns, Black Feathers, Seductive Colognes, Red Roses, Dead Roses, Crow Skulls, Bone Dice, Devotional Poetry and Artwork, Classical Music (especially violin)

Devotional Acts

Acts of self-improvement, spiritual awakening and evolution, knowledge-seeking and dedication to spirituality ; Shadow Work ; Working to overcome your ego to become wiser ; Defending those in need ; Working to better yourself without being too self critical ; Fighting against tyranny and bigotry whenever you encounter it

Altar Decorations

Black or Red Candles, Snake and Dragon Figurines, His sigil, Roses, Fancy Chess Boards and Playing Cards, Silver Jewlery and ornaments, Black feathers, Goat horns

Appearance

For me Lucifer usually appears as a tall light-skinned man with long fiery red hair (so red it looks like it’s been dyed), a sophisticated face with a killer jawline, passionate eyes and dressed in a fancy black suit. From all my experiences with him and what I’ve heard from other followers, it seems Lucifer and most demons dress in full suits and tuxedos. 

Personality

Lucifer is nothing if not charming. He’s a protector first and foremost - one that always works to help you better yourself, but a protector nonetheless. He feels like a protective older brother taking care of you while your parents are away. He is a very complex entity, deeply wise and eloquent. He is more serious than one might expect for a demon given their popular depictions in our culture as chaotic forces of evil, but Lucifer is full of courage and love. I often feel him with me even when I’m not doing things related to him. He is proud of his follower’s accomplishments and congratulates them on a job well done, though he also reminds them that the job is never truly over. Growth is constant. Lucifer is the epitome of growth, blunt and gentle at the same time, telling you what you need to do and giving you space to figure out how to do it. 

Lucifer values resilience, the pursuit of self-betterment, intellectualism, courage, open-mindedness and responsibility in individuals and wants to see his followers develop these qualities. He is constantly rooting for you to reach your full potential. He won’t hold your hand the entire way, but he will help you take steps in the right direction. Lucifer, like all deities, is different for everyone and will adjust his approach depending on your needs.

^ The Sigil of Lucifer

[covid-safer-hotties]

Nasal COVID-19 vaccine halts transmission - Published July 31, 2024

Study in hamsters indicates vaccines targeting nose, mouth may be key to controlling spread of respiratory infections

A nasal COVID-19 vaccine blocks transmission of the virus, according to an animal study by researchers at Washington University School of Medicine in St. Louis. The findings suggest that vaccines delivered directly to the nose or mouth could play a critical role in containing the spread of respiratory infections.

The lightning-fast development of COVID-19 vaccines just months after the virus appeared was a triumph of modern science and saved millions of lives. But for all the good they did in reducing illnesses and deaths, the shots were unable to end the pandemic because of one notable weakness: They couldn’t stop the spread of the virus.

A new study by researchers at Washington University School of Medicine in St. Louis indicates that next-generation vaccines that target the virus’s points of entry — the nose and mouth — may be able to do what traditional shots cannot: contain the spread of respiratory infections and prevent transmission. Using a nasal COVID-19 vaccine based on Washington University technology, approved for use in India and licensed to Ocugen for further development in the U.S., the researchers showed that vaccinated hamsters that developed infections did not pass the virus on to others, breaking the cycle of transmission. In contrast, an approved COVID-19 vaccine that is injected failed to prevent the spread of the virus.

The findings, published July 31 in Science Advances, provide further evidence that so-called mucosal vaccines sprayed into the nose or dropped into the mouth may be the key to controlling respiratory infections such as influenza and COVID-19 that continue to circulate and cause significant illness and death.

“To prevent transmission, you need to keep the amount of virus in the upper airways low,” said senior author Jacco Boon, PhD, a professor of medicine, of molecular microbiology and of pathology & immunology. “The less virus that is there to begin with, the less likely you are to infect someone else if you cough or sneeze or even just breathe on them. This study shows that mucosal vaccines are superior to injected vaccines in terms of limiting viral replication in the upper airways and preventing spread to the next individual. In an epidemic or pandemic situation, this is the kind of vaccine you’re going to want.”

Developing vaccines that can control virus levels in the nose has proven challenging. Viruses such as influenza virus, SARS-CoV-2 (the virus that causes COVID-19) and respiratory syncytial virus (RSV) multiply rapidly in the nose and spread from person to person within a few days of initial exposure. Traditional injectable vaccines generate immune responses that can take a week to build to full strength and are much less potent in the nose than in the bloodstream, leaving the nose relatively unprotected against a fast-multiplying, fast-spreading virus.

In principle, a vaccine sprayed or dropped directly into the nose or mouth could limit viral reproduction and thereby reduce transmission by eliciting an immune response right where it’s needed most. But gathering evidence that mucosal vaccines actually do reduce transmission has proven tricky. Animal models of transmission are not well-established, and tracking person-to-person transmission is fiendishly complicated, given the number and variety of encounters a typical person has on any given day.

For this study, Boon and colleagues developed and validated a model for community transmission using hamsters and then used it to assess the effect of mucosal vaccination on the spread of SARS-CoV-2. (Unlike mice, hamsters are naturally susceptible to infection with SARS-CoV-2, making them the ideal laboratory animals for a transmission study.)

The researchers immunized groups of hamsters with laboratory versions of approved COVID-19 vaccines: the nasal iNCOVACC used in India or the injected Pfizer vaccine. For comparison, some hamsters were not immunized. After giving the vaccinated hamsters a few weeks for their immune responses to fully mature, the researchers infected other hamsters with SARS-CoV-2 and then placed the immunized hamsters with the infected hamsters for eight hours. This first step of the experiment mimics the experience of vaccinated people who are exposed to a person with COVID-19.

After spending eight hours rubbing shoulders with infected hamsters, most of the vaccinated animals became infected. Virus was found in the noses and lungs of 12 of 14 (86%) hamsters that had received the nasal vaccine, and 15 of 16 (94%) hamsters that had received the injected vaccine. Importantly, while most animals in both groups were infected, they weren’t infected to the same degree. Hamsters that had been nasally immunized had virus levels in the airways 100 to 100,000 times lower than those that had received the shot or had not been vaccinated. The study did not assess the animals’ health, but previous studies have shown that both vaccines reduce the likelihood of severe illness and death from COVID-19.

The second step of the experiment yielded even more striking results. The researchers took vaccinated hamsters that subsequently developed infections and placed them with healthy vaccinated and unvaccinated hamsters for eight hours to model transmission of virus from a vaccinated person to others.

None of the hamsters that were exposed to nasally vaccinated hamsters became infected, regardless of whether the recipient hamster had been vaccinated or not. In contrast, roughly half of the hamsters that were exposed to hamsters vaccinated by injection became infected — again, regardless of the recipient’s immunization status. In other words, vaccination through the nose — but not by injection — broke the cycle of transmission.

These data, Boon said, could be important as the world prepares for the possibility that avian influenza, currently causing an outbreak in dairy cows, might adapt to humans and trigger a flu epidemic. An injectable vaccine for avian influenza already exists, and a team of researchers at Washington University is working toward a nasal vaccine for avian influenza. That team includes Boon and co-author Michael S. Diamond, MD, PhD, the Herbert S. Gasser Professor of Medicine and one of the inventors of the nasal vaccine technology used in this paper.

“Mucosal vaccines are the future of vaccines for respiratory infections,” Boon said. “Historically, developing such vaccines has been challenging. There’s still so much we don’t know about the kind of immune response we need and how to elicit it. I think we’re going to see a lot of very exciting research in the next few years that could lead to big improvements in vaccines for respiratory infections.”

Study linked in the first link!

[n1su1218]

6B4T

Lately there has been talk about 4B and so I wanted to bring up 6B4T which grew from the South Korean 4B movement, and specially the 6B4T movement as it is practiced by our Chinese sisters. Before that however differences between the both are as followed:

4B

No sex with men

No giving birth

No dating men

No marriage with men

6B4T

Includes the original commandments of 4B and adds the following:

Don’t buy products from misogynistic brands

Support single women/women that have chosen to be celibate

Reject the corset (rejecting toxic beauty standards)

Reject idol culture (as in male-worship and idolization of entertainment figures this ALSO includes rejecting idol culture for female kpop idols/entertainers)

Reject otaku culture (rejecting misogynistic anime culture)

Reject religion

(**You may see 6B4T referred to as 10bt to avoid censorship as CN social media sites are heavily monitored by government censors, even outside of CN social media CN sisters will still refer to it as 10bt because 6b + 4t = 10bt)

Now that there's a basic understanding... I wanted to talk about some of the differences that the CN 6B4T movement has compared to what I usually encounter in English speaking radfem circles. Please note that this is my own experience and as with any political movement there can a myriad of women that agree and disagree (except on the 6B4T principles as a whole, those are rock solid for them haha.)

I was first aware of this movement around 2020 and have been following women on twitter/x since then that follow these beliefs. All of this has been gathered from tweets by 6B4T users on twitter/x + interactions with them. I am not a CN speaker and have used translation apps to piece together details on the 6B4T movement and have cross referenced this with some of the writings I can find in English about this and the conversations that I have had with some of the 10bt sisters that were willing to interact with me.

I do not feel comfortable just singling out specific accounts for people to look up on twitter but anyone that wants to do their own research can search the keywords on twitter 6B4T or 10bt and go under the "People" filter to populate accounts of CN women that have 6B4T and/or 10bt in their bio.

One thing that I want to talk about right away - the term donkey. It will come up quite often when you search 10bt accounts and is used to describe women that are perpetuating patriarchy because they "carry the patriarchy without protest and allow themselves to be exploited." (This includes married women.) 10bt sisters DO NOT have an emphasis on educating women that perpetuate patriarchy. You can find sayings such as:

"Feminism is like being given a weapon to support yourself with, do not use it to commit suicide by having a complex of saving donkeys" 

“Don't do donkey work for donkeys".

“Don’t get derailed by women support women, leave the donkeys alone.”

Which leads me to the next point - 10bt sisters are for empowering women independently. There is obvious acknowledgement of bonds and relationships between women but the general feeling is more to focus on the individual self, connections are based solely on shared interests and can be let go of as needed. (I have also seen discussions of letting go of romantic ties not just for straight sisters but for lesbian sisters as well.) Sentiments such as "focusing on oneself is a foundation for a happy life" "All thoughts and ideologies cannot be separated from down to earth efforts and dedication" are plenty. Really a focus away from "altruistic" causes so to speak

And on that note: anti veganism. 10bt sisters in general are adamant that 6B4T principles should only include tackling patriarchy and not have other causes added to it. Anti veganism sentiment also seems to stem from certain aspects in CN culture of serving smaller portions to young girls and discouraging them to eat meat as opposed to men. The focus on improving one's self from before also shows up here: "Women need strength to overthrow patriarchy, only then should we focus on improving the lives of animals."

Some 10bt sisters are also very open about criticism and believe women that openly identify with the 10bt movement should be prepared to have their posts critiqued, and while some will debate this... one of the things that is absolutely non negotiable is that actions MUST back up words. There’s lots of debates that go on in the 10bt movement but the bare minimum is that if you follow 6B4T then you must follow its core beliefs otherwise what are you here for? There is a huge disdain for those that say they belong to this movement but don’t follow its beliefs.

With that being said, how do the 10bt sisters feel about 4B taking off in the states? Well…

 “4B grew into 6B4T and they only dared to do half of the movement? It’s disappointing.”

“At this point in time, it is crazy to deliberately go back and start from 4B. You have someone’s shoulder to stand on but you won’t take it.”

“4B: No marriage, no giving birth , no sex, no dating. Doesn't that mean they are still serving as donkeys: supporting idols and otaku, believing in religion, using pornographic content, and consuming misogynistic brands... It really makes one recognize by a glance what stupid things they are still doing.”

“I don't understand how this kind of castration of the feminist movement came about.”

Is some of the general consensus on twitter/x.

Two more things I will add here before I wrap this up:

I have seen a post in English about other principles to follow such as 5B, 7B or 8B. I am not aware of what these principles are and could not find a CN source to confirm this so if 5B, 7B and 8B do exist, I do not believe it originated from the CN movement. 

There is also the concept of icing men out aka if a man comments on your social media posts immediately delete the comment EVEN if it is a comment in agreement. For this while I also could not find a specific CN source for the 10bt sisters, it feels like it is just natural to not interact with men. I have yet to see debates on whether someone can be part of 10bt and still have a boyfriend, husband, etc since the answer will always be a resounding NO. (And on this note… if you are curious about attitudes towards male family members.. rejection of filial piety is something that is very agreed upon. I would recommend first learning what filial piety entails in CN culture as whole if there is curiosity about this.)

I will wrap this up with one of my favorite concepts I have encountered from our 10bt sisters:

“When one woman keeps house*: five women are trapped: herself, daughter, mother, sister-in-law, and female coworkers”

[*keeps house meaning  - “when one woman marries…”] 

If there are sisters out here who are involved with this or have more info to add please feel free to do so! Also would love to get in touch with any that know more on the CN 10bt movement.  

[alexanderwales]

I finished rewatching Death Note. I always forget how short anime is, with episodes that aren't much more than 20 minutes when you skip the intro/outro.

I hadn't remembered how much of a sniveling wreck LIght was at the end of the show. There's something about the ending that makes it feel like it was written and directed by a different person, not that Light wasn't always a little weird and pathetic, and not that the show didn't consistently go out of its way to let us know what a piece of shit he was (particularly his absolute lack of loyalty or empathy to anyone, even aside from the megalomania). But he takes the loss like a loser, snot dripping from his nose, voice cracking, begging, and it's so pathetic that I almost felt a little sorry for him.

I've always found the Death Note to be a very interesting prompt, one of those hooks that's so good I'd want to watch it even if it was bad. But in writing something like Death Note, the author has to make decisions about what to show and what not to show, and also make decisions about how they're going to portray the public at large.

There are two big things that stand out for me.

One is that we never get someone arguing against Kira. We get people who are actively trying to hunt him down, but they're mostly not stopping to say "this is why what he's doing is wrong" except a few lines about how he has a childish sense of justice, which is never expounded upon. Kira, on the other hand, we hear a lot from, not just the megalomaniac stuff, but the notion that criminals must be punished, that this is what people desire in their hearts. I get the strong sense that L does not actually care and just views this as an interesting puzzle for him to solve, but for everyone else it's largely left as an exercise to the viewer, and even then, there are moments when some of our task force members come dangerously close to endorsement.

To the extent the show has an answer, it's that (to quote Kanye West) no one man should have all that power, or that Kira has crossed a lot of lines, but no one argues in favor of rehabilitation or clemency or just fundamental humanity. Kira seems to largely be killing prisoners, who have already been sentenced, and are wards of the state, and he says "this is what people want deep down, they will give you the politically correct answer but they actually want the criminal class to be obliterate", which ... there's no character who actually voices any opposition to through the whole series. And I find that weird, because yes, the show has its own answers in terms of how it plays out, but in a show filled with people possessed of immense conviction, most of the people in opposition to Kira are just intellectuals who don't actually give a shit about the ideological question.

(The one big moment when it comes to a head, IMO, is when Soichiro Yagami refuses to write Mello's name entirely because of his principled objection to killing someone. I thought this was great, and I wish the show had more of it.)

The other big thing is that we don't really get a viewpoint of the criminals, with a few exceptions. One is the is Yotsuba group, who are killing people with the Death Note, and the second is the (somehow still functional) mafia that Mello hangs out with. There's also one other scene somewhere after L's death where we see a criminal begging with the police not to have his name written down, and that's about it.

The naive view here is that the show really does believe in Criminals as being a part The Other, a different sort of human being who walk among us. The criminal class are described as rotten and evil, they're shown as grotesque and with exaggerated features or bestial characteristics, and they're generally leering and impulsive. There is no consideration of their humanity.

There's a more nuanced take here, which is that we have a criminal as one of our main cast, Light Yagami, along with everyone else who takes on the Kira mantle. So what is the show saying about criminality through how it portrays them? And here ... I don't know. I kind of don't think that it views them as criminals in the same way? When we look at the ways that Light kills, I genuinely do think that the show thinks that this is different from the way that a capital-C Criminals kill. It's reactionary rather than criminal in and of itself, a response to the injustices of the world rather than being in the same class as those injustices. Light is narratively exempted, and Misa is to. Which isn't to say that I think the show thinks highly of Light, it clearly doesn't, especially in its ending, but I almost think that in the end it Others him too (and also has Teru Mikami drawn in particularly 'evil' style, like a creepy deviant gremlin).

So I enjoyed the rewatch, but there are things that sit a little oddly with me as far as the central themes go. There's probably some discourse I should read that's come out since I first watched it in ... 2010 or whenever, but I think I'll give that a skip.

[jealousmartini]

💌 She's an overachiever. "Pressure"? What pressure? ⋆₊˚⊹🔖

«───────── « ⋅ʚ♡ɞ⋅ » ────────»

My second year of college is coming in hot guys. And I'm talking the 3rd of September, in TWO WEEKS TIME HOT.

But you already know your girl has BEEN locked in with her subliminals for the next term, cus I've had a whole thing going on since my first term to my second yk. so come a little closer so I can show yall what my game is on

p.s.a!! I am an animation and games art student, so most to all of my work is research and art based. And when I say most of my work is research based, I mean there is an ungodly amount of writing that is expected from the students and it's not even just the amount it's WHAT you write about that gets you the grade and how well your art conveys your ideas.

Also "Ex." = Example

╰┈➤ " My average college day experience as an art student/loass babe " click here!

«───────── « ⋅ʚ♡ɞ⋅ » ────────»

"What? Like it's hard?" At the top of her class, always ontop of her work, never slacking off, always locking in.

   ── .✦  ┆  𖤐  ┆  ␥ 

|| Perfect focus, super attentive, always pays attention and makes notes. I am never afraid to ask for help or advice and I always receive the answers I need to understand the work; no room for confusion here.

|| Very strong, clear memory, perfect photographic memory.

|| Studies so much, it's my hobby, never underestimates myself or downplays my work, has always prioritised my work and has always understood the importance of doing work at home. Studying has never been a struggle for me because I don't struggle with discipline. I actually find so much fun and enjoyment doing homework. I always feel so productive and proud of myself whilst managing my time and looking at the amount I have done afterwards. Especially with the amount of validation and points I earn from teachers. It is always so satisfying seeing my high grades after a complete project. It's like a treat.

|| Creative genius, always brainstorms with words or loose sketches; not a single idea goes to waste. Research enthusiast, I could never shy away from making a thorough, detailed, and well planned out analysis, moodboard or mindmap. And multiple of them at that. I always know EXACTLY what to write and never wastes precious time and space yapping.

|| The life of an art student is exciting, fulfilling, flourishing, inspiring and strict. In the healthy way of course. My parents and teachers are always understanding of my burnouts and art block which are very rare thank god; and it's a good thing I have my closest friends to comfort me through my work. They are always so supportive, encouraging and honest with me as I am with them. We always travel together to the college (when I don't feel like being alone) and we always travel back home together. I mean we are our own personal friend circle so of course we buy snacks for each other and meet up for lunch; it's not even like we need to worry about price since we have more than enough on us. College is 100 times better when my best friends are with me, everything feels so comfortable with them

|| Perfect, cunty, and ideal artstyles. Always chooses the ones most appropriate for a certain design, and never forgets how to convey a certain look. I know, understand and draw human, animal, vehicle, clothing anatomy and terminology, enviromental composition, colour theory and terminology, the 12 principles of animation, the 7 fundamentals of art (Line, pattern, colour, texture, tone, shape and form), and the fundamentals of character design like the back of my hand

|| I know how to layout a design page appropriately, I always know how to theme and colour co-ordinate. Written placement and art placement are always perfect to the T and nothing looks off. All together, I show off my own unique style of work and impress my teachers of classmates

Ex. Subliminals in my art student playlist

"Over achiever", "Desired art skills", "Desired (college) life"

«───────── « ⋅ʚ♡ɞ⋅ » ────────»

"Ugh she is always doing the most with her work😒-" And she always looks good doing it. She's got the looks and the discipline; she's got it all

   ── .✦  ┆  𖤐  ┆  ␥ 

|| Gorgeous, curly, and ideal (3B to 3C) hair. My hair never gets greasy, dry, breakage, damage, frizz, dandruff, or split ends. My curls are always moisturised, soft, bouncy, and defined. I never experience a bad hair day, and my hair is super easy to manage. Detangling my hair is a breeze, and styling my hair is even easier; every style looks exactly the way I want it and never loses the volume or shape throughout the day.

|| Ideal, fit, slim thick pear. Short shoulders, small ribcage, medium-sized chest, 20 inch waist, wide hips and slight dip, long legs, fat ass but not too fat, chubby but fit thighs, slimmer defined calves and small feet. The perfect pear. And every outfit looks exactly the way I want; I never look awkward but I always look put together and stylish.

|| Craziest face card. Ms. Face economy infact. I have a round heart shaped face with dark brown bambi eyes and long fluttery lashes, a medium straight nose bridge, plump pink "keyhole" lips, and the clearest, softest brown skin ever... Yet I still put make up on- yes I do because it's fun and I like it, so it's always awesome knowing I can do my make up flawlessly and nail my looks perfectly

Ex. Subliminals in my ideal appearance playlist

"3C hair type", "Pear body", "Desired face", "brown caramel skin"

∘₊ ✧───────────────────✧₊∘

I'll probably add smore later :3 k bye

[eatmangoesnekkid]

What I know from quietly mentoring women over the years is that most women do not need to eat less. We need to eat more, especially more protein, which stimulates our metabolism to become more active. Eating more protein is not necessarily about mindlessly eating and killing more and more animals, these sentient beings who clearly do not want to be eaten by us. It does mean finding more creative ways to get more protein in our meals by centering eating more things that do not have a central nervous system like eggs, plants, fruit, soaked nuts and seeds, and oysters, or reusing bones from homemade bone broth over and over and over again but not just absentmindedly buying more meat from anywhere and everyone. While vegetarian sources of protein are ok like well-soaked, well-cooked kidney beans yet not as dense and bio-available as animal sources especially as we get older (and our digestive systems get older ), we do have to be mindful and thoughtful around our eating habits that can cause us to reap more negative forms of karma. Karmic cycles follow those who don’t close out chapters of their lives properly and live recklessly with no honor, principles, or values. I would love to see more collective care and deep soul ritual around how we relate to and consume animals. In another life, I would be a homesteader and live with intention, prayer, playfulness, and ritual around my farm animals and their rites of passage.

And when there was a sacrifice that needed to be made, I would be the one to do it all as a daughter of Oshun and Artemis, while adorned in the most beautiful elegant cowrie shells and form-fitting, colorful fabric wrapped into a little dress and I would make the ethical kill with love, respect, and precision. Oftentimes this is a missing key code with women—to face and come to terms with death and our need to give death to what is no longer serving, like a long term friendship that no longer feels solid and truthful or a farm animal who constantly attacks and creates fights that injure other animals on the farm. Both scenarios are one in the same frequencies. —India Ame’ye

[why-animals-do-the-thing]

Happy National Zookeeper Week!

I’ll admit, I’m feeling a little spicy about it this year (well, every year) because zoos use the celebration for lots of positive facility PR, yet staff don’t often get the support and respect that is claimed in those posts.

So I want to share this great article written by a zoo industry consulting group last year looking at the reality of what happens when a workforce ends up conflicted between their passion (zoos and animals) and pragmatism (paying rent, existing in a capitalist society). They assessed AZA compensation rates by region against things such as a living wage and rental rates in the area. (All text formatting within quotes, such as bold and italics, is original to the article text.)

I cannot give the Canopy Group enough support for the way they framed this research:

“By observing the economics of keeper compensation, it’s no secret that keepers land on the lower end of the wage spectrum. Like all other wages and salaries, the market value of keeper compensation is driven by several economic factors – including the size of the labor pool, the rigor and danger of the work, the technical ability required, and the educational requirements. However, there is one factor that artificially lowers the market value of keeper compensation more than any other: passion.

In this article, we’ll take a look at why passion lowers the market value of animal care worker wages. More importantly, we’ll consider many factors that have emerged in recent years that are making people reevaluate the value of following their passion – a trend contributing to The Great Resignation, especially as it applies to zoos, aquariums, and similar organizations. (…)

The argument here is passion versus pragmatism: the unknown versus the sure thing. It is a decision all zookeepers and animal care technicians have made. Working with animals is immensely rewarding, but this passion is also very popular. This, historically, has meant that the keeper candidate pool is very large. Therefore, if the wage is livable and working conditions are reasonable, the pool should remain large. In a very real sense, a passion for animals drives down the market value of keeper compensation. Anyone who has been through an Economics 101 course will recognize this as a fundamental market principle: supply vs. demand.

However, many zoos and aquariums are having a more difficult time filling positions than normal and have started to see higher turnover rates in recent years. This begs the question – is the current keeper wage too low?”

Their findings?

Here’s their graph of “the median wage of keepers from organizations in different AZA-defined regions” from an AZA survey done in 2021. (Median is the type of average that looks at the middle of a data set’s range).

The median wage for AZA keepers in the South/Southeast was just over $15/hr at the low end, and the median wage for AZA keepers in the Far West / PNW was a little under $26/hr. That’s pretty dang low everywhere, especially when you factor in the increased cost of living in places like the West Coast. Also consider that looking at the median wage doesn’t mean this reflects just entry-level compensation - this data indicates the the compensation middle for all keeper positions, including people who have built their careers as keepers in those places long-term.

Then, they compared those wages to the “living wage” in each region - which they defined as “a calculation of what it takes to live in a particular area, without any other income. A living wage calculation takes into consideration how many earners are in a household, how many children are being supported, etc. The living wage includes the costs of all the basic items a household needs to be self-sufficient.”

“If you receive a wage for a job that is below the living wage, then you are essentially taking a negative net income. This is unsustainable for the long term, and essentially defines where wages start to exploit passion.”

Here’s a figure they provided using the MIT Living Wage Calculator showing the average living wage for each of the AZA regions. The chart on the left shows the living wage for a single person with no kids; the second, for two parents with two incomes and one child to support.

“By comparing the two graphs [to the earlier graph of the AZA median compensation rates], we find that median wages in the Southeast/South and Southwest regions are lower than the living wage for each household configuration in those regions. In other words, if you are a single person household or part of a two-income household raising 1 child in the South, a starting keeper salary will likely leave you with a negative net income. While many people work at this level, it increases the risk of accumulating debt, lowers a person’s ability to afford a home, set a much later retirement age, and can lead to many other negative, long-term effects.”

Big yikes, right?

Next, they looked at living wage vs. compensation for single parents.

“The single-parent living wage exceeds the average keeper wage in all AZA regions. In fact, the living wage required as a single parent is double the average AZA keeper wage in some regions.”

And then they did housing, specifically, being able to purchase a home.

“In many places, even a two-income household at an average keeper salary would not purchase a mid-level home. This means that keepers have to wait far longer than their peers to purchase a home. While paying rent in the meantime, this rent will account for a larger portion of their income than their peers. All in, these effects can set hopeful homeowners back years or decades.”

Canopy’s conclusion was something anyone involved in the field knew was coming.

“Companies like Chipotle, McDonalds, Best Buy, FedEx, Home Depot, Publix, and Walmart are all offering similar starting wages near starting keeper wages – plus many fringe benefits (like tuition reimbursement) and ample advancement opportunities. Many potential keepers in younger generations are putting their passion on the shelf so they can meet basic standard-of-living concerns.

To attract and retain quality candidates, an organization must consider the journey each new employee would have to make over their career. If the journey is fraught with massive debt, decreased disposable income, and limited career opportunities, then you are limiting your potential candidate pool to the small group of people who have decided that following their passion is worth significant lifelong financial hardship. There are many potential candidates out there willing to sacrifice and arm and leg for animals and conservation, but they wouldn’t dare jeopardize the financial future of their dependents and families.”

This is something I’ve heard about for years, and seen first hand. The low average wage at zoological facilities has been damaging their ability to hire and retain skilled staff for as long as I’ve been involved in the industry. I know so many zookeepers who still have roommates into their 30’s, or work multiple jobs, just to be able to make ends meet.

There’s a mythology about zookeeping jobs, a narrative that seeps into the field and actively exploits people’s passion for the job: it tells people that they’re so lucky to be able to work with these rare and cool animals; that they’re greedy and ungrateful when they ask for more compensation because they’re privileged to get to have the job at all. It says that most people would give anything to have these opportunities, so current zookeepers are interchangable and easily replaceable. Ask for too much? Push for a living wage? There’s always someone willing to take your spot. Not all facilities perpetuate this mentality - some places do treat their staff well without intentionally manipulating them to stay them in unsustainable jobs, and there can be legitimate financial reasons that limit staff compensation (mostly at smaller facilities, afaik) - but it’s a reality in the field.

For a long time, this type of mentality towards staff was sustainable. There really were always more people wanting to work in the field. But now, after three years of pandemic stressors and inflation, it’s starting to be a problem. A lot of staff left during the last few years, and facilities are having a really hard time hiring people and retaining them for any duration. I think a large part of that is low compensation rates. People are prioritizing long-term financial stability and recognizing when their passion is being exploited.

When I first started on tumblr back in 2011, there was a whole group of us within the United States who were baby zookeepers or volunteering as industry hopefuls. We all became friends, and I’ve stayed in touch with, or at least aware of, most of them as their careers progressed. Of the 10-15 or so people in that cohort? I can think of three who are still employed in the zoo industry. Everyone else has moved on into other fields - often with great grief over the loss - because of the extreme emotional labor, the physical exhaustion, and the lack of appropriate compensation.

But I guess that annual pizza party, being featured on social media, and maybe getting additional snacks all week makes up for it all?

[wewerebornsextuplets]

idk how but you draw in the Oso-san style so good i need to know your secret please

HAHA thank you very much!! im glad you think so :D unfortunately im not very good at explaining how i work, but ill try my best to show what i mean!!

once again this is long as hell. you know the drill at this point

to be honest, half the battle i fight with drawing in the osmt style is just. Looking at it. the ososan art style actually fluctuates pretty wildly depending on what you're looking for, whether that be the mobile games (for instance, tabimatsu and hesowars look nothing alike in terms of style despite both being the same source material), official art and merch, or even the seasons of the show itself!

using ichi as my example here since i draw him the most, but its pretty easy to play spot the difference with the varying styles. even within a specific season you can do this across episodes, especially with season 1!

when i draw, i tend to be a bit sacrilege and use references across different media; usually ill use the show [especially season 2, if only because its a bit more "uniform"] as reference for the actual features and colors/poses/etc, but i like to use hesowars to reference proportions, since they seem to be most consistent there.

SOMETHING IMPORTANT TO NOTE: theres a WEALTH of fanartists that have styles that are INCREDIBLY similar to the show, so be careful to check your sources! these artists deserve credit for their hard work, which they often don't get since their work is reposted under the guise of being official art.

once you've pinned down the exact style you'd like to emulate, and the character you're looking to draw, its really just a matter of finding references, which is pretty easy! you can scrub through different episodes for good angles/shots, or if you're going for one of the game styles the AU wiki has most of the games catalogued to my knowledge. if you're looking to draw an oc, use characters you think they would look similar to in the show. if you really wanna waste your time, though, you can always scrub through crowd scenes in the show to see if any background characters might look like what you're going for; the season 3 episode Mt. Takao comes to mind, there were a lot of cute mob characters there.

using keiko as my example here, you can see that i pulled her features from multiple different characters to get her to look right in the style. with ocs, its important to reference a number of different characters, since the likelihood of a background character being a 1:1 for your little guy is unfortunately pretty low. there WILL, however, be a lot of characters that look KIND of like them. the key is to figure out what parts go where!

to this point, most prominent ososan women have very similar stock anime girl faces with very minor differences, so if youre looking to make a cute girl oc, most of the womens' faces can be used somewhat interchangeably. if you want your cute girl oc to have a more unique face, though, the movie gave us some women with more unique faces in the form of the NEETs' old classmates! theres also no harm in referencing male characters faces in this regard. #butchswag #kiruminikuya

BUT. going back to the assumption that you're drawing a canon character, today I'll be drawing oso for my example

when you're first getting a feel for the style, tracing some of your references can actually be a really great way to acclimate yourself to the characters proportions and features. think of like when you were a kid, and would trace over pictures of pokemon or cartoon characters so you could draw them better. its basically the same principle! this was especially helpful for me when it came to eyes; they vary the most wildly of any other trait that characters have in ososan, so going over the different shapes to get a feel for each of them was very important.

when you trace, though, I recommend doing so a bit more loosely, sort of like if you're doing a photo study for anatomy; block out the basic shapes and do small markers for different features (i.e small lines to denote where the eyes start and and, distance from nose to mouth, things like that), and from there draw the rest on your own.

after long enough you'll get a feel for the basic placement of where everything should go! the eyes and nose are undoubtedly the hardest when it comes to the sextuplets, since they shift around a LOT between games/seasons/etc. so don't feel bad if you have a hard time with that, since there isnt really a "right" answer with how frequently it changes. i still fuck it up all the time myself!

as for some basic tips, heres some stuff i try to keep in mind when drawing them that just helps the finished product look a bit nicer!

when drawing the hair + fringe line, its important to swoop it downwards a little bit; the flat across look Can work, but if you're not careful you risk showing the tops of their eyes, which is um. ew! ick! nast!

when a matsu is facing forward, their hair will usually tend towards one direction to keep the silhouette. in most screenshots i saw, the bowl cut points left! that said, dont be afraid to point rightwards if its better for your specific drawing!

and lastly: USE THE LIQUIFY TOOL. LIBERALLY. i am not joking when i say this has saved my ass so many times, its hard to get the placement right on the facial features and even harder to get everything to LOOK good, so if its available to you i HIGHLY suggest just squishing everything around with a liquify tool until it looks right. you can always go back and correct the blurry lines. its really a life saver

BUT YEAH! i dont know if this was very helpful but i hope you're at least able to gain something from it :-))

[gluzzo]

Brennan Lee Mulligan during the fireside chat for The Wizard, The Witch, and The Wild One - Episode 9

[Image ID:

Screenshots of excerpts from the transcript of the Worlds Beyond Number podcast’s fireside chat on The Wizard, The Witch, and The Wild One - Episode 9.

Brennan Lee Mulligan: And, to me, that describes so many heartbreaking situations, where something deep and true does come, like- the number one belief I have, in terms of like, whatever my secular morality is— is that there's a weird attitude in some parts of our culture, that like, impulses are sinful, and morality is like a structure?

Aabria Iyengar: YES!

Brennan Lee Mulligan: And that bullshit. Moral impulses are incredibly real. Nobody needs to explain what's wrong with-think of the first age you are, where someone's mean to another kid, or an animal, and something in you goes, "Wrong!!" And that's primal.

[…]

Brennan Lee Mulligan: And like it's-it's brutal! It's very Imperial. It's like this oppressive weight, from a very smart opponent, who is convincing themselves. Like, the reason the arguments have that urgency, is that Suvi is also self-indoctrinating, and it's part of that thing that comes back up. And I think the big, sinister part of, of….. The idea of principle. Like, what, in principle, is different from a demon being bound in a circle of salt, and what you saw happening to Naram out under the derrick. This is-I don't have time to explain this in this talk back. I have issues with the philosophic concept of principle, point blank.

[…]

Brennan Lee Mulligan: Yes. And I think that the idea of principle, from-especially to a wizard, who is all about organization, taxonomy, patterns, and systems-principle is this idea that, maybe is built on sand, right?

Aabria lyengar: Yeah.

Brennan Lee Mulligan: When we think about "what are your principles," we use it as a synonym for being a good person. "Are you principled?" But the idea of principle being like, maxims, axioms, "What are some rules that I can ALWAYS follow?" And speaking of them, like, if you go back to Aristotle's Golden Mean, maybe living by principles produces bizarre, immoral edge cases.

[…]

Brennan Lee Mulligan: So it's this idea of, like-but it's unexamined by Suvi in that moment, and the reason it's unexamined, is because I think it's one of the main tools of the indoctrination of the Empire. What have you already accepted? Right? I see this in ethical discourse all the time, which is why whataboutism is so powerful, in modern philosophical discourse, is people go like, "Okay. You've made a moral point. You've made a call to action. You've said, 'we need to do something to make the world better.' So what I'm going to do is find some other moral failing of yours, hold it up in front of you and say, 'but you did this bad thing like this,' or this other situation occurred that was similar to this, where you did not act. So wouldn't you in fact, be a hypocrite by acting or not acting in a similar way this time?'''

Brennan Lee Mulligan: Which sounds, when you see it in the world, like sound moral reasoning, and it's garbage.

Taylor Moore: [Laughs]

Brennan Lee Mulligan: Because it's basically saying, like, "Instead of helping, why don't you be consistent?" And it's like-

[…]

Brennan Lee Mulligan: It's like stupid. What the fuck is the point of consistency? Like principle as a measurement of consistency, and the Fox's whole deal would be like, "Yeah, yesterday I did something bad and today I'm going to do something good because I want to." That's all.

Erika Ishii: Yeah.

Brennan Lee Mulligan: And someone would be like, "You're a hypocrite." And he'd be like, "Okay! I'm gonna get some fish slurry."

End ID.]

[clearancecreedwatersurvival]

The spectrum of sports anime runs from Near Realism to Firmly Removed From Reality.

On one end of this spectrum we have Haikyuu!! which wins over every other sports anime in terms of actually being about the sport. Every part of Haikyuu!! is either playing a match or preparing for a match and almost all of their abilities and plays are firmly rooted in reality. Is it perhaps slightly unrealistic that this one short guy can jump That High??? Maybe, but he IS a shounen battle protagonist (haikyuu follows the shounen battle format perfectly Do Not At Me about this I am Right. The battles are matches. Obviously.) and therefore Hinata being Just That Good and Kageyama being Just That Good is necessary for genre reasons.

On the opposite end of the spectrum is something like Birdie Wing, the lesbian golf mafia anime, which I have not seen yet (yet!!! It is on the docket!) but I did watch this video essay about it and I think Geoff Mother’s Basement Thew would agree with my assessment. Which is to say that it’s absolutely batshit off the wall wild and has very little in common with the actual sport of golf. Which is great for me personally, because fuck golf.

Somewhere in between these two extremes lies Sk8 the Infinity which at first seems to maybe have some solid grounding in actual skateboarding and snowboarding technique and jumps even if it is unrealistic that they manage to be mostly fine after high speed crashes with no protective gear, and then fucking Adam shows up and drags the genre towards absurdity until it culminates in a psychic skateboarding battle to the death.

In our universe entering a flow state is something that anyone who is really comfortable with an activity can do, where you are basically embodying the mindfulness principle of One Mind, perfectly aware of everything related to your task and able to act without thinking about it first, in what’s basically a moving meditative state.

In the sk8 universe entering a flow state means getting mentally sucked through a prismatic vortex into a hypnotic paralysis which can be induced by one crazed matador roleplayer pulling you into basically a vampire thrall and can only be broken with the power of love friendship.

[grison-in-space]

it's been really interesting seeing your posts about harm reduction as a social policy, because I did vaguely know it was used on a macro level, but all of my personal interaction with the term has always been on a micro level, like therapists suggesting less risky forms of self-harm; that's an interesting and probably frustrating case of linguistic drift

Almost certainly! I don't think I've encountered it without the collectivist aspect very much, but then I'm usually running into it either in the context of activism or in the context of public health (or public policy). It's typically a philosophy I associate with collective practices and initiatives, not with individual choices, which might come down to a few different idiosyncrasies:

I like infectious disease, public health, and public policy a lot and have occasionally flirted with the idea of hauling my career in that direction a few different times in the past. I've never actually done it, but I still read in the field occasionally. So I'm used to thinking about problems from a lens of "with the resources available, what way is best to minimize bad outcomes and maximize good ones?"

I actually did train as a population geneticist and evolutionary biology before finding myself dragged into neuroscience and decision-making, and I still naturally think at the population level rather than at the individual level. I got really into phenotypic plasticity for a while, which is the field where you try to understand how and why, say, a juvenile organism who can develop into two different forms chooses which one to grow into. That amplified that tendency: you can think of a single decision as a unique moment in time, but you study decision making by aggregating hundreds or thousands of tiny decisions made by tens of animals over many trials. So: populations again. Really, you could sum both of those up with "I happen to be a scientist who spends a lot of time thinking about complex population level behaviors."

As an activist*, I associate arguments based on harm reduction with arguments based on expediency and efficacy: given X resources, what can we do as a community to achieve Y outcome? Implied in that argument is the understanding that Y is not going to happen unless my co-activists and I gear up and donate time and expertise (even if it's just knowing Microsoft Excel and being willing to be awkward in public) to make it happen. Even if Y is something like "how do we reduce the odds that kids in our community commit suicide?" It's the sort of thing that you say to recruit other people to help you do more of an activity that is important.

Harm reduction also ties very deeply in my head to the disability justice principle of the right to accommodation in pursuit of access. They're both philosophies that I would use to guide my choice of actions or my moral assessment of a situation, but I'm not sure I would characterize either as primarily a structure to motivate personal moral judgements, see what I mean? Both are political ideologies as much as anything else, and they exist beyond me.

I love that it's an aspect of the concept that you hadn't encountered before, though, and I really do encourage you to dig into it as a topic! I find it interesting and useful to learn about other people's political and activist successes and failures, and I think crucially I love the element of evidence based examination I see in harm reduction approaches to complex problems. It's very easy to get hung up on proxies for desirable or undesirable behaviors and try to inflate those proxies without referencing the actual deeper goal that inspired looking at proxies in the first place. If a behavior is risky and therefore undesirable, and so we find a way to make the behavior less risky, you get a lot of pushback from people who stopped at "the behavior is undesirable" and are now outraged that you are making that behavior "easier". Harm reduction exists as a philosophy to make it easier to identify that kind of mistake, so that we return our analysis to our true values (people don't get hurt) rather than our proxy values (people don't do risky behaviors that could hurt them).

*explaining things on the internet is not a primary form of activism unless I am making an effort to modulate my tone, presentation, and communication with a specific goal in mind: if I'm in Teacher Mode, if you will. Right now, I am not in Teacher Mode, I am fucking around with my vape in my back yard and engaging in a reasonably satisfying autistic lecture to the Internet, which is where I get to bring out the fun profanity. You can tell because a few hours ago I addressed someone as "fuckstick," which is not the kind of thing that is generally effective when I am wearing my activism hat. I am way more friendly in activism mode. (This is because I learned how to do activist work in the context of asexuality awareness, which means that I have been asked in almost every imaginable kind of awkward situation about my masturbation habits in environments, and at that point you get really, really good at performing friendly accessibility.)

[undercat-overdog]

Ok, I said in this post that I wanted to talk about POV and what different characters would use for their species; I've been thinking about it for a while, because it's important to me to portray Elves as thinking of themselves as the default and I like having them think of mortals as different, as a way of worldbuilding and establishing POV. It's the same basic principle as why I think the War of the Elves and Sauron is a Númenórean name, not an Elvish one.

In brief: man and woman can and should be used to refer to Elves when writing from an elven POV.

I think about markedness a lot when I think about writing generally, and one of the concepts is that there are things that are unmarked, the standard, the default, the normal, the unexceptional. To an elf, the default species is elf, not human or dwarf or ent. I want to write from that POV - to an elf, humans are different, even alien. They're other. Elves are us, humans are them.

I, meanwhile, am writing in English, and man and woman are common words, the most "unmarked" words for the concepts; they're standard (e.g., woman sounds more normal than female human). Something like elf woman or female elf is more marked. Why would an elf use a more marked term to refer to their own race? Using she-elf or whatever for Elves but woman for humans uses more marked words (more uncommon, more specific, etc) for elves than it does for humans - but for elves, it should be the opposite! Elves are unmarked! Elves are default! Humans are different. If an elf is talking about someone, the default assumption would be that the someone is an elf, so if they're not an elf, it would be specified.

So when writing from the POV of an elven character, I would use woman for a female elf and mortal woman for a female human (if necessary to disambiguate). Man, meanwhile, means "Human" when it's capitalized and male when it's not. (Now, if I were writing from a human or dwarven pov, I would use elven woman, if necessary to specify that she's an elf.)

But, you say, what about using Elvish words? Well, first of all, I hate it. We're not writing in Quenya. English is great, and so are the other human languages people use to write fanfic. But that is a subjective matter of taste and you may disagree! Nothing wrong with that, de gustibus, etc.

More objectively, nér and nis are not words specific to Elves; nér means all males, so using it for specifically elf men and not human and dwarven men is incorrect (to quote Elfdict, "Nér can be used regardless of species and so is equally applicable to male Elves, Men, or Dwarves, but is unlikely to be used of male animals, for which the word [ᴹQ.] hanu is more applicable."") (Sindarin is a little more complicated, given the more complex out-of-universe changes, but it too has race-neutral terms for man and woman.)

Lastly, Tolkien himself uses man and woman to refer to non-human species. He calls Galadriel and Finduilas women, and Aredhel is "taller than a woman's wont." Earendil is a man (though he is not a Man) and Curufin is a horseman and there are lots and lots of kinsmen and kinswomen. Hobbits meanwhile, in Appendix F, have "women" and "man-children" (Tolkien is talking about how Hobbits name babies, thus the children part, but I like to think he's getting one more dig in at Pippin).

[bobbinfire]

Transformers One - Animation Student Analysis

(Aka why TFHypeGuy is right and you need to make this a #TFWeekend)

Disclaimer: This is a Review by an animation student based on the first viewing alone. I will not be giving the same quality of analysis of a film like a seasoned animation professional. However, I still have tons of knowledge by the years I have spent personally studying animated films and the new information learned through my academics. If you are still here, with that out of the way let’s begin.

(As requested by @serotoninisheldinkiwis)

((Spoilers below- quick non spoiler version here))

Transformers one is the peak example of what a brand such as the transformers franchise could accomplish when fans and talented artists work together to make a piece of art. The phrase of “could accomplish” is even over written as they “have accomplished” this. Both seasoned and newly furnished transformers fans seem to concur this as a fact.

All animation fans (you could even get the same from any of my fellow animation classmates) agree the Spider-Man Into/Across the Spider-verse movies are the best amongst the vast pool of the animated film medium. Rise of the Teenage Mutant Ninja Turtles: The Movie (2022) was my favorite animated film, for both story and animation. But when compared to the artistry that is the Spider-verse, I knew that it still couldn’t compare in terms of mastery. No matter how much a film has your love, you are more likely than not to agree with the concept that Spider-verse saga is the best. And I used to agree. That was until the night of Friday September 20, when Transformers One single handily took the scepter of victory and waved it high for the awaiting crowds to see. The controversy I may get from this will probably be immense, but the statement I am willing to scream from the rooftops is that Transformers One has officially surpassed Spider-Verse movies as the top animated film. 

But what actually makes an animated film the “best” when compared to the variety of competitors flooding the market on a bi-monthly basis? What makes this film so better when it could be just the current hyper fixation coded bias of a long time transformers kid who just got handed a shiny new toy to play with and will eventually forget about once the next film releases. Well my friends…and random people of the internet, here is an analysis made by an animation student (me *cough *cough) that breaks down the answer to that question. 

Animation

As with any quality animated film, the animation itself will make or break a film as it is the core part of the film. Transformers One’s animation was handled by the company Industrial Lights and Magic. While not a large competitor in terms of feature film animation, they have produced films that have pushed past known boundaries of both animation and story as seen in their few animated feature films: Rango (2011), Strange Magic (2015), and Ultraman Rising (2024). Their work in the industry is primarily known in reference to their special effects work with Jurassic Park (1993) and Star Wars (1977). ILM’s animation in Transformers One manages to bring to life a world many have tried to do before, but not as elegantly or dare I say brilliant as this. The animation itself seems to stay on a constant frame rate, the beauty of special movements or actions being more defined by hard cuts or continuously moving shots. Each movement has purpose even ones that seem more throw away because it adds to the personality of the characters/environment. Specialty/new techniques are not as important for this film, which is perfectly okay considering they managed to hit each one of the 12 principles of animation when it counted most. An animation coming from a special effects studio in general is very good because they tend to pay major attention to any animation related to special effects, even if it’s just for a cartoon. Details can range from giant Quintesson ship slowly descending to the tiny sparks cause from a hit to a metal face. The animation in general is smooth as well as robotic only when it needs to be.

Environments

There have been a variety of environments in both animated and live action films that have help suck the audience into the story. When an animated pulls it off successfully it is even more noteworthy worthy. However, one must note the limited use of environments when it comes to how much we see past the establishing shots. Most times the best of environmental shots are primarily used to help set up a location or scene, then the rest of that is limited to a small corner (more often than not for budgetary reasons). Transformers One leans into the almost constant use of environments, not only for location, but for story as well. There is a variety of scenes that are carried through meticulously crafted sets and allow for you to not only finally get to know the world of Cybertron, but we travel through the environments almost fully as we progress the story alongside the characters. Minor details play a large role in the environment. Between the polished textures, the detailed individual blades of alien vegetation, the different background characters, and the hidden easter eggs within the framework of the designs themselves allow for a new thing for you eyes to feast upon with each viewing.

Textures

The use of textures in both environment and character design is on another level when compared to other 3D animated films. Speaking from experience the process of applying basic textures to a 3D model already requires hours of hard work, dedication, and patience that you will be very low on by the end of the whole ordeal. So when you analyze the detail and complexity of the work the team at ILM brought to the table it is truly extraordinary, even more so when you realize the time it would take to fight the UV layout and unwrap the mesh of a complicated figure like a cybertronian, especially one that has to transform. If you are confused on my alien language look up basic uv layout and texturing tutorial for maya on YouTube and generate a heart attack for yourself. Good luck sleeping tonight. Transformers one works itself down to the individual grains in the sand, the cracks in the ground, the glitter speckled plating on Elita-One’s head; even the length and deepness of scratches in armor can be measured. The effort put forth creates an effect of feeling you can touch the textures just by looking at them. Of course textures can only go so far without the correct use of the next subject. 

Lighting

When used to its fullest extent lighting not only lights the cast and their environment but it helps extend storytelling capabilities. Things such as mood, emotions, atmosphere, movement and location are brought out through simple artificial particles. The darkness of the mines contrast with the bright fantasy lighting of Iacon, which in its own way contrast the calm natural lighting of the surface. The carefully crafted textures of a surface could not be fully realized without the full use of directed light bouncing off it. During the final sequence of fights the change of D-16 to Megatron is not only conveyed through the change in the lighted color of his eyes but the waves of light flowing from them as he battles his way through opponents. The trail of light allows our eyes to not only follow Megaton’s movements but his descent into his dark path, with his blood red rage clouding his vision and being all that he can see.

And finally the most important point to cover with any animated film besides animation:

Story

Recently Dreamworks employee Rick  Rickdel gave a lecture on my campus. Out of all he talked about one of my major takeaways was when he said: “a story only connects with the felt needs of your audience”. Transformers fans have been wanting a movie like Transformers One for a long time. Even the smallest fans wanted to know what happens between Optimus and Megatron. And that’s the true beauty of this movie. We already know basically what happened between them, we know the overall story. Going into the theater we already knew how it was going to officially end and based on the lore we knew how it was going to start even. So the most important thing for Transformers One was how they connected the two and carried out the main part of the story. And what they did not only managed to meet expectations, but surprised us multiple points along the way. Voice actors poured their souls into these characters, leaving behind their celebrity personalities and bringing the characters to life. Each character themselves that had a relatively good chunk of screen time had a role in the story and were not just throw away side characters. With each one it’s set up for an almost domino like effect for the plot. Bee is not just a goofy side character, he assists in the journey, helps them get to new locations, and even provides relief from the typical dark undertones. Darkwing is a side character that ends through one quick mean spirited action kicks off the rising action at break neck speed. The quintessions show briefly, but provide enough of a threat without overstepping the plot’s boundaries that it is okay they are not there for long, but there may be a chance they can come again. Sentinel is at first glance a stereotypical egocentric villain, but take away his power and status and he will crumble in your hands (quite literally). He is not designed to be redeemable, but he is also not evil just for the sake of being evil. He has goals, he has factors that push him to evil things, but he very clearly has gone far enough that he no longer cares. His overall actions that are not super specifically targeted end up affecting what were originally minor threats to the point it results in his demise. And because of how his character was designed we rejoice even if actual justice wasn’t delivered. For a film have good storytelling it needs to have two factors: the story (the lore and information the audience receives in order to understand the film’s world) and plot (the events that play out in the films timeframe). The movie uses both of these to their proper extent allowing people like my friend was never watched any Transformers media before to watch it with understanding and enjoy it. It plays out what we expect of transformers media while taking on its own persona. What I find most enjoyable about the movies plot is the fact it is similar to a slow burn romance, but in reverse. We take this strongly built brotherly bond that can be shaken, yet once the match gets struck we can do nothing but watch as all these ties melt to heartache before our very eyes. And the audience’s vision eats it up without blinking once. We watch as D-16 goes to catch Orion, only to slowly realize he can’t undo what he’s done to the point of of diluting his mind to making it Orion’s’ on fault. We watch orions spark break through the emotions in his eyes as he begs D-16 not to…but it’s not about not dropping him, it’s about not becoming what he has watched him slowly come into to the point a flip is switch and D-16 is gone. @sephirose explained the summary of this movie best:

“D-16 reached out and caught Orion.

Megatron dropped him.

Orion Pax held onto D-16.

Optimus Prime let him go.”

Even the soundtrack tells a story. “The Fall” it only plays an emotional heartstrings of former Transformers Prime fans, but encapsulates “the actual physical fall of Orion and the metaphorical one of D-16 as he kills Sentinel” (@firebunnylover). Even if the end of the film is just a quick hit of Megatron being banished and forming the Deceptioncons while Orion ascends and becomes robot Jesus, it is what we were expecting. 

And that is the culmination of these factors. It manages to astound and amaze, but in the end it was a Transformers movie meant to be satisfactory. It is satisfying to the transformers soul, and in turn we should do our part like TFOneGuy says and give it the appreciation it deserves.

Anyways, sorry this took so long (I say to the single person who asked for this) to get out but in order to be able to give an in-depth animation student analysis I have to do well in my animation classes.