#but who are valuable parts of our community and are working to make this world a better place to be LGBT nonetheless

[chemsitryforthegirls]

Mini rant on living a "good" queer life

I don't relate to the advice every queer podcast/influencer/media seems to be pushing these days of "cut off your family, move to LA, you don't owe anything to anyone, destroy any societal structure to fit your narrative."

It is self-absorbed, unsustainable, and an excuse to hurt whoever you please in pursuit of "living your truth". I hate that young queer people who are just coming into their identity are vehemently discouraged from finding ways to live contently within the systems they are a part of. It's fine to want the kind of life that looks nice on a Christmas card and it doesn't make you a "bad queer" to want that.

Don't let the loudest of our community tell you that choosing to live a life that is "ordinary" or fulfills society's expectations doesn't make the world better for the next generation or isn't proudly and boldly queer. Who made me realize I could be a lesbian? Who convinced my family and friends it wasn't the end of the world? It was the women who looked like everyone else, who held ordinary jobs, who had a families and houses with a white picket fences and lived the lives I spent my whole life dreaming while also loving another woman. We don't make our communities better or more accepting by abandoning them. It is radical queer activism to stay put as well.

It takes a long time to build communities, relationships, and families that weather the test of time. You are not perfect either. You are guaranteed to put your foot in your mouth, find yourself on the wrong side of a conflict, or mistreat the people you care about over the course of your lifetime. If you surround yourself with people who cut off anyone who missteps then don't be surprised when you fall from grace and find yourself very much alone.

[dailyrothko]

No, the Popularity of Abstract Art is Not the Result of a CIA PsyOp

If you are unlucky enough to move around the internet these days and talk about art, you’ll find that many “First commenters” will hit you with what they see as some hard truth about your taste in art. Comments usually start with how modern art is “money laundering” always comically misunderstanding what that means. What they are saying is that, of course, rich people use investments as tax shelters and things like expensive antiques and art appraised at high prices to increase their net worth. Oh my god, I’ve been red-pilled. The rich getting richer? I have never heard of such a thing.

What is conveniently left out of this type of comment is that the same valuation and financial shenanigans occur with baseball cards, wine, vacation homes, guitars, and dozens of other things. It does indeed happen with art, but even the kind that the most conservative internet curator can appreciate. After all, Rembrandts are worth money too, you just don’t see many because he’s not making any more of them. The only appropriate response to these people who are, almost inevitably themselves, the worst artists you have ever seen, is silence. It would cruel to ask about their own art because there’s a danger they might actually enjoy such a truly novel experience.

When you are done shaking your head that you just subjected yourself to an argument about the venality of poor artists plotting to make their work valuable after they died, you can certainly then enjoy the accompanying felicity of the revelation they have saved to knock you off your feet: “Abstract art is a CIA PsyOp”

Here one must get ready either to type a lot or to simply say “Except factually” and go along your merry, abstract-art-loving way. But what are the facts? Unsurprisingly with things involving US government covert operations, the facts are not so clear.

Like everything on the internet, you are unlikely to find factual roots to the arguments about government conspiracies and modern art. The mere idea of it is enough to bring blossom for the “I’m not a sheep” crowd, some of whom believe that a gold toilet owning former president is a morally good, honest hard-working man of the people.

The roots of this contention come from a 1973 article in Artforum magazine, where art critic Max Kozloff wrote about post-war American painting in the context of the Cold War, centering around Irving Sandler’s book, The Triumph of American Painting (1970). Kozloff takes on more than just abstract expressionism in his article but condemns the “Self-congratulatory mood”of Sandler’s book and goes on to suggest the rise of abstract expressionism was a “Benevolent form of propaganda”. Kozoloff treads a difficult line here, asserting that abstraction was genuinely important to American art but that its luminaries, “have acquired their present blue-chip status partly through elements in their work that affirm our most recognizable norms and mores.”

While there were rumblings of agreements around Kozloff’s article of broad concerns, it did not give birth to an actual conspiracy theory at the time. The real public apprehension of this idea seems to mostly come from articles written by historian Frances Stonor Saunders in support of her book, “The Cultural Cold War: The CIA and the World of Arts and Letters” (New York, New Press, 2000). (I have not read this 525 page book, only excerpts).

The gist of Ms. Saunders argument is a tantalizing, but mostly unsupported, labyrinthine maze of back door funding and novelistic cloak and dagger deals. According to Saunders, the Congress for Cultural Freedom (CCF), an anti-communist cultural organization founded in 1950, was behind the promotion of Abstract art as part of their effort to be opinion makers in the war against communism. In 1966 it was revealed that the CCF was funded by the CIA. Saunders says that the CCF financed a litany of art exhibitions including “The New American Painting” which toured Europe in the late 1950s. Some of this is true, but it’s difficult, if not impossible, to know the specifics.

Noted expert in abstract-expressionism, David Anfam said CIA presence was real. It was “a well-documented fact” that the CIA co-opted Abstract Expressionism in their propaganda war against Russia. “Even The New American Painting [exhibition] had some CIA funding behind it,” he says. But the reasons for this are not quite what the abstract art detractors might be looking for. After all, the CCF also funded the travel expenses for the Boston Symphony Orchestra and promoted Fodor’s travel guides. More than trying to pull the wool over anyone’s eyes, it was meant to showcase the freedom artists in the US. enjoyed. Or as Anfam goes on to say, “It’s a very shrewd and cynical strategy, because it showed that you could do whatever you liked in America.”

For what it’s worth, Saunders’s book was eviscerated in the Summer 2000 issue of Art Forum at the time of its publication. Robert Simon wrote:

“Saunders draws extensively on primary and secondary sources, focusing on the convoluted money trail as it twists through dummy corporations, front men, anonymous donors, and phony fund-raising events aimed at filling the CCF’s coffers. She makes lengthy forays into such topics as McCarthyism, the formation and operation of the CIA, the propaganda work of the Hollywood film industry, and New York cultural politics—from Partisan Review to MoMA to Abstract Expressionism. Yet what seems strangely absent from Saunders’s panoramic history, as if it were a minor detail or something too obvious to require discussion, is the cultural object itself: The complex specifics of the texts, exhibitions, intellectual gatherings, paintings, and performances of the culture war are largely left out of the story.”

Another problem with the book seems to be that Saunders is an historian but not an art historian. For me, I sensed an overtone of superiority in the tale she’s spinning and most assuredly from those that repeat its conclusion. The thinly veiled message of some is that if it were “Real art” it would not have had be part of this government subterfuge. The reality is very different. For one thing, most of us know it is simply not true that you can make people devoted to a type of art for 100 years that they would sensibly hate otherwise. Another issue is that it’s quite obvious none of the artists actually knew about any government interference if there was any. Pollock, Rothko, Gottlieb and Newmann were all either communists or anarchists. Hardly the group one would recruit the help the US government free the world of communism. Additionally, this narrow cold war timeline ignores a huge amount of abstract art that Jackson Pollock haters also revile and consider part of the same hijacking of high (Frankly, Greek, Roman, or Renaissance) culture. If you look at the highly abstract signature work of Piet Mondrian and observe the dates they were painted, you’ll see 1908, 1914, 1916. This is some of the art denigrated as a CIA PsyOP, 35 years before the CIA even thought about it. Modern art didn’t come from nowhere as many would have you believe to discredit its rise. There was Surrealism, Dada, Bauhaus, Russian futurism and a host of other movements that fueled it.

Generally, people like to argue. On the internet, “I don’t like this” is a weak statement that always must be replaced by “This is garbage” or my favorite, “This is fake.”

It’s hardly surprising that the more conservative factions of our society look for any government involvement in our lives to explain why things are not exactly as they wish them to be, given the (highly ironic) conservative government-blaming that blew up after Reagan. In addition, modern fascists have always had a love affair with the classical fantasy of Greece and Rome. Both Mussolini and Hitler used Greece and Rome as “Distant models” to address their uncertain national identity. The Nazis confiscated more than 5,000 works in German museums, presenting 650 of them in the Entartete Kunst (Degenerate Art, 1937) show to demonstrate the perverted nature of modern art. It featured artists including Marc Chagall, Max Ernst, Wassily Kandinsky, and Paul Klee, among others. The fear of art was real. It was the fear of ideas.

To a lot of people on the internet just the mentioning a “CIA program” is enough to get the cogs turning, but as with many things, the reality of CIA programs and government plots is often less than evidence of well planned coup.

The CIA reportedly spent 20 millions dollars on Operation Acoustic Kitty which intended to use cats to spy on the Kremlin and Soviet embassies. Microphones were planted on cats and plans were set in motion to get the cats to surreptitiously record important conversations. However, the CIA soon discovered that they were cats and not agreeable to any kind of regulation of their behavior.

As part of Operation Mongoose the CIA planned to undermine Castro's public image by putting thallium salts in his shoes, which would cause his beard to fall out, while he was on a trip outside Cuba. He was expected to leave his shoes outside his hotel room to be polished, at which point the salts would be administered. The plan was abandoned because Castro canceled the trip.

Regardless of your feelings on this subject or how much you believe abstract art benefited from government dollars, Saunders herself quotes in her book a CIA officer apparently involved in these “Long leash” influence operations. He says, “We wanted to unite all the people who were writers, who were musicians, who were artists, to demonstrate that the West and the United States was devoted to freedom of expression and to intellectual achievement, without any rigid barriers as to what you must write, and what you must say, and what you must do.” Hardly the Illuminati plot we were promised.

In 2016, Irving Sandler, author of the book that started Kozloff tirading in 1973, told Alastair Sooke of The Daily Telegraph, “There was absolutely no involvement of any government agency. I haven’t seen a single fact that indicates there was this kind of collusion. Surely, by now, something – anything – would have emerged. And isn’t it interesting that the federal government at the time considered Abstract Expressionism a Communist plot to undermine American society?”

This blog post contains information and quotes sourced from The Piper Played to Us All: Orchestrating the Cultural Cold War in the USA, Europe, and Latin America, Russell H. Bartley International Journal of Politics, Culture, and Society, Vol. 14, No. 3 (Spring, 2001), pp. 571-619 (49 pages) https://www.bbc.com/culture/article/20161004-was-modern-art-a-weapon-of-the-cia https://brill.com/view/journals/fasc/8/2/article-p127_127.xml?language=en https://www.guggenheim-bilbao.eus/en/learn/schools/teachers-guides/the-dark-side-of-classicism https://www.artforum.com/features/american-painting-during-the-cold-war-212902/ https://www.independent.co.uk/news/world/modern-art-was-cia-weapon-1578808.html https://www.artforum.com/columns/frances-stonor-saunders-162391/ https://www.artforum.com/features/abstract-expressionism-weapon-of-the-cold-war-214234/ Mark Rothko and the Development of American Modernism 1938-1948 Jonathan Harris, Oxford Art Journal, Vol. 11, No. 1 (1988), pp. 40-50 (11 pages)

[sirfrogsworth]

Help Save the FrogFamily Home

This community I’ve built has been so incredibly generous to me over the years. Part of me feels I don’t deserve to ask for another thing. But I am facing desperation and I don’t know what else to do.

I’ve had a rough couple of years. First, my beloved corgi, Otis, passed away. Then my mom’s health took a turn. I had to take care of her all on my own. And eventually, COVID took her from me. Then my dad’s body began to fail him. I had to be his full-time caretaker. I had to watch his body and mind slowly deteriorate until he finally passed away in March.

I wish I could just take some time to mourn my parents and heal my soul…

But life decided against that.

We tried to make plans so that I would be taken care of after my father’s death. That I would be able to stay in our family home for as long as I desired. But those plans are falling apart at the moment.

Lawyers and probate and debt collectors, oh my.

There is a chance we can get everything sorted, but all indicators show that it could take a while before that happens. Possibly a long while. And my disability payments aren’t even enough to cover the mortgage–much less all the other bills and expenses.

I need to buy time.

Literally.

I need to extend my financial runway long enough to get things sorted. The longer that runway, the better the chances are I can figure all of this out.

I need time to sell all of my parents’ valuable belongings. I need time to fix up our very large separated garage so I can rent it out as a workshop or storage. I need time to fix up the house so it is suitable for a roommate. And I need time to work with social security so I can possibly find financial independence for life.

Unfortunately, without that time, I could face homelessness. I’m sure I could find a place to stay for a while, but I would lose the only home I’ve ever known. The home my mom and dad spent a lifetime fixing up and perfecting. The place in this world I feel most safe and comfortable.

I’ve already lost so much recently. I’m not sure I could bear losing my home as well.

If I lost my home I’d probably have to live on couches for up to two years until government housing was available. And then I’d have to spend the rest of my days in a small single room apartment. I know there are people who would feel lucky to have that, but I’d really prefer to stay in my house if possible. And I don’t think anyone would blame me for wanting that. Especially when all I need to make that happen is a little time.

So I am asking all of you to help buy me some time.

Every $1200 equals another month I have to sort things out. I honestly don’t know how much time I need. I would hope 3 to 6 months would be enough. But the wheels of bureaucracy can move frustratingly slow. So the more time I have, the better the chances are I can save my home and secure my livelihood.

Thank you so much for reading this.

Check out the GoFundMe page here.

[five-one-two-station]

Everybody should have their own fun, and this isn't trying to harsh anybody's buzz, but I find the impulse to make your own cutesy/badass Replika oc doing funny or heroic or badass things a little odd. Like, that character you designed as a super badass soldier, or well-armed and armored steely eyed cop type... who would they have been built to fight or police exactly? Remember who all those guns and weapons were intended for use on?

I know we're all sick of discourse over who "gets" the game, and I'm by no means scolding anybody for something that harmless, but what's interesting to me is the sense that designing overtly "cool" Replika personas and OCs, complete with the propaganda poster style imagery, feels a little...

I mean, bluntly, it's like the in-world propaganda worked, unironically, on some level, for many people. Kolibris aren't scary, they're whimsical and fun! Storches aren't notably cruel enforcers and chain gang drivers, they're Protektors! Falke isn't a camp commandant, she's a beautiful angel!

The Replikas aren't cool and heroic figures in the reality of the game. They're the carefully crafted organs of a system of control so dreadful it could do what it did to Elster and Ariane. They're victims to that system themselves too, sure - and humanising them is a nuanced and valuable observation of how totalitarian regimes maintain themselves - but that doesn't negate the fact they're also the ones who operate, enforce and perpetuate it, a big part of what the game knows and communicates about such societies. It's notable that the game makes it clear few, if any, of the Replikas actually buy into the Nation as an ideal at all - they enforce it no less pitilessly anyway, incapable or unsafe to imagine anything else.

Their affectations, pasttimes, trinkets, and even affections for each other, all serve to draw a stark contrast to how callously they regard the gestalts they keep suppressed. Their disposability is something they're conscious and fearful of themselves, but fail to recognise as a commonality with the people they brutalise every day, their business as usual. The only grief, tragedy or suffering they acknowledge is their own - they have no regard for any such things in the humans they have... well, dehumanised.

But S-23 Sierpinski was such a hellhole for most of its denizens under "normal" conditions that the nightmare it becomes is arguably an improvement; if only because there are fewer people left now to suffer it. There's a dark poetry here - because the place's banal cruelty is "off camera" to us, it's very naturally less real to us than the grief of the crying Eule. It's only natural, too, to forget how grim the Replikas' purposes are when you don't have to see anyone endure the brunt of it.

And isn't that the very same effect a state like the Nation is seeking in the first place, by disappearing people away to such dark little corners to have it done? In our world, no less than that one.

That works like a kind of propaganda too, not being able to see it - a propaganda of hidden things, as powerful as any poster. A space that's been intentionally left blank.

Kolibris are literal thought police; they intrude on people's very minds, interrogating them to death as a matter of course, with hardly a care either way. The various Protektor classes are functionally concentration camp guards and slave drivers. Falke and Adler are overseeing what amounts to a gulag, one so unimaginably awful Ariane preferred to spend years of her life alone in space to the prospect of being sent there, and inevitably worked to death, far underground.

I think there's a reason we never see one of those posters for LSTRs in game. How could we be asked to forgive our own if we ever did?

[funishment-time]

🔵 Kodaka BlueSky Q&As: Misc DR & Multiple Characters

⚠️ DISCLAIMER: Please be advised! Translations of all Japanese answers derive from a combination of Google Translate and my manager's three-quarters-remembered Japanese. We've tried our best to work out what he's saying, but there will be mistakes here and there. Do not take this as gospel!

To avoid spreading too much misinfo, where we're completely boggled about an answer, we've decided not to even make an attempt. We'll still list the post, but mark it accordingly.

➡️ AN IMPORTANT NOTE FROM KODAKA BEFORE READING:

First of all, the questions answered here are not official. Everything that is official is what is said within the work. In contrast, this is simply what Kodaka, the creator, thinks, and it is not the correct answer. Use this as a starting point to enjoy the depth of each character, or to say, "That's not right!" and enjoy it with your own interpretation. I think of this as a way of communicating with the characters who live in fiction. This is important, so please spread the word.

💕 FEBRUARY 2024:

Q: Out of all the characters that have appeared so far, who is your favorite visually?

A: As a fan, Haruko from FLCL. Among my own creations...hmmm, Monokubs lol and Enoshima.

/////

Q: Sorry if this has already been said! I saw a tweet saying that Fukawa Toko's novel "Before the Scent of the Sea Disappears" was made into a short film by Kodaka Kazutaka! Is there anywhere I can see it?

A: I don't have it..! I have the data on my PC, but…lol

/////

Q: Are you interested in making games in the world of Ultimate Talent Development Plan? I would like to see all the characters together. (Sorry my Japanese is not very good. I am using a translator.)

A: It's too early to tell. I'll continue to make more and more characters.

/////

Q: I love Ultra Despair Girls, but it's sad that so few people are playing it 😢 Are there plans for a port or remake for the Switch?

A: It's an absolute masterpiece! I'm proud to say that it has the heaviest storyline I've ever written, and the friendship at the end will have you in tears. And it's also pretty fun to take down all the Monokumas in one fell swoop. The controls are a bit rough in some areas, so I'd like to tweak them and re-release it. But maybe that last possibility is impossible in today's world...

/////

Q: What is your favorite chapter in the Danganronpa series?

A: Hmm, Chapters 1 and 6 of 1, and Chapters 5 and 6 of 2. Maybe Chapters 1, 5 and 6 of 3.

/////

Q: I love Danganronpa Zero, and I'd like to ask if there were any particular things that you were thinking about when you were writing it.

A: At the time, it was my first novel in about five years, and although I said "I'll do it" lightly, I wasn't good at writing the narrative, and after pushing myself into scrapping it many times, I finally managed to get it done by writing the narrative from the protagonist's point of view.

/////

Q: I got hooked on the Danganronpa series when I was in elementary school and am now a working adult!! Danganronpa is my favorite work of all time! Of course I played Rain Code too!! I love how Shinigami-chan grows and becomes more human as the story progresses! I wonder if a sequel to Danganronpa is really possible...? I'm also waiting for a sequel to Rain Code I'll keep waiting until I die! I love you!

A: From elementary school to working adult…! Thanks to Danganronpa, you've become a fine adult! Neither sequel is impossible. I'd like to expand more, get results from other new works, and make myself more valuable, and do it when it's best for me.

/////

Q: Are there any characters that have a secret backstory in any of the Danganronpa works?

A: For the most part, there are still stories that we haven't talked about.

/////

Q: This may be a question that can't be answered (it may have been asked already), but in the bad ending of Danganronpa, Togami holds a portrait of Fukawa, and there is a child of Togami? Will the truth about that ever come to light?!

A: With the loss of Kirigiri, and the decision to live together within the school, everyone had a change of heart and decided to join hands. Fukawa stopped belittling herself, and Togami stopped being arrogant, and the two started dating, but the next day Fukawa died in an accident. She died after choking on a dumpling, and Togami was confused, believing it was a curse from Celes. As Asahina comforted the depressed boy, things just sort of happened and Togami's child was born. Asahina loves children, and decided that this was her mission and she would give birth to everyone's children. And since that was all there was to do in the boring school life, everyone did it a lot. After that, she gave birth to more than 10 children, and the school flourished.

NOTE: This is the worst thing I have ever read.

/////

Q: I can't help but wonder about the night that Asahina, Hagakure, Togami, and Fukawa spent in the gym in Chapter 5 of Danganronpa. What were they doing that night?

A: I think they were standing in the dark gymnasium, each at one of the four corners, going around tapping the shoulder of the next person in the corner...

/////

Q: The "motivation video" that appeared in V3 featured someone important to each character, but it wasn't revealed who was in the motivation video for the characters in the main story. Did you have a set idea in mind of "this character is this person", Mr. Kodaka? Some characters talk about family or special people in Free Time scenarios, but there are also some characters who don't talk about such things, so I'm curious.

A: I had it set at the time, but I've forgotten about it...

NOTE: ugh

/////

Q: What's your favorite romantic pairing in danganronpa?

A: Monomi and Monokuma.

/////

Q: I love the scene in Chapter 6 of the original Danganronpa where the mastermind and the scissors girl (I will not reveal her name for now) meet and politely greet each other. Mr. Kodaka, are there any funny or gag scenes from the Danganronpa series or Rain Code that you like?

A: There are heaps of gag scenes and funny scenes, but when I first saw Monokuma and Monomi's comedy routine in 2 with their lines incorporated, I felt something otherworldly that I'd never heard before. We record out of order, so after incorporating it with the game, I was surprised at how otherworldly it was.

/////

Q: I would like you to publish profiles of Danganronpa Zero characters! Please do so!

A: Let's ask Spikechun! Spikechun reserves all rights! Let's all protest and demand that these profiles be made public!

/////

Q: In the summary of the materials for Danganronpa 1, there was a detailed description of the non-killers' punishments, but I wonder if those will ever be made into a movie...? I've been dying to see it 🥲

A: It's not exactly a good idea to capture people dying on film…

/////

Q: Who is the most popular character in Danganronpa? I would be happy if you could tell me one male and one female!

A: My personal opinion is... For guys, it's Shinguji. There are girls who are attracted to weird guys like that. For girls, it's Iruma. There are boys who are attracted to weird girls like that.

NOTE: I believe this is IRL, not in-universe, as Kodaka later answers who has the most friends in-universe, and it's not Miu or Kork.

🍀 MARCH 2024:

Q: Excuse me for asking a question! Who is the strongest drinker among Munakata, Yukizome, and Sakakura? 🥹

A: It's probably Yukizome.

/////

Q: Among the BGM used in the original, 2, and V3, is there any that you particularly like, Mr. Kodaka? I absolutely love New World Order from the original, DANGANRONPA SUPER MIX from 2, and V3 Discussion - SCRUM - from V3!

A: The punishment music was created first, and it created a Danganronpa atmosphere, or rather a playful yet serious atmosphere, so it has a deeply cryptic vibe.

/////

Q: I bought Danganronpa again on Steam and had my ex-girlfriend play the whole series, and she got hooked. This may be mentioned in other media, but are there any characters who weren't meant to die but ended up dying?

A: While I was writing, some roles were switched, but I don't think there were many changes to the plot. I think it was Nidai and Kuzuryu who switched roles...

NOTE: His memory is correct. Beta designs show a Fuyuhiko-like character who was meant to the the team manager, and a mafia guy who was a big Nekomaru-ish dude.

/////

Q: In the Danganronpa series, you get underwear when your bond with a character reaches its maximum, but whose underwear do you like the most, Kodaka?

A: Personally, I'm not interested in underwear. They're dirty.

/////

Q: I know you didn't write or supervise Danganronpa S at all, Kodaka, but have you played it since its release? And if you did, were there any event conversations that you particularly liked?

A: [From @/genoskissors: "エアプ is slang meaning he knows about the games content, but has not played it himself." Thank you for the correction!]

/////

Q: [A longer question, found here, that comes down to: "i'm curious how your writing with your world evolved in ways you may not have had planed..."]

A: The scenario changes a lot when I write it. It is live. Try writing it, move the characters around, and it keeps changing. Because the characters are alive.

/////

Q: Yamada and Celes seem to have been quite close during their school days, but how did they end up like that?

A: "I've gotten better at making royal milk tea."

NOTE: This is probably Hifumi talking.

🥬 APRIL 2024:

Q: Will you ever make a V3 animation? That could be so cool I’d love to see it so much.

A: That is a matter for Spike Chunsoft to decide.

/////

Q: Who is the character with the most friends in each of the Danganronpa games: the original, 2, and V3?

A: I guess Yamada, Koizumi, and Angie. I'm not sure if I can call Angie a friend, though.

/////

Q: Chabashira Tenko and I have the same birthday and blood type, so I'd like to know how a character's birthday and blood type are decided. I'm currently studying Japanese.

A: It's decided by fate.

/////

Q: Tired of answering questions about Danganronpa?

A: I'm not bored. I love Danganronpa. However, I may forget some things, so I don't want to answer carelessly.

🌺 MAY 2024:

Q: I think Harukawa-chan had romantic feelings for Momota-kun, but did Momota-kun see Harukawa-chan as a romantic interest? Or did he just see her as one of his "students," like Saihara-kun?

A: "I didn't realize it at the time, so I wasn't even conscious of it. If I had realized it sooner, things might have been different..."

NOTE: This is probably Kaito talking.

☀️ JUNE 2024:

Q: I feel like there weren't any characters in the original Danganronpa who were definitely able to cook, so who was cooking at breakfast and the like? I'd also like to know if there were any characters who could cook in the original!

A: I think they basically just used pre-cooked food, but I think Fujisaki and Yamada seem like they can cook.

/////

Q: How did you decide the seating order for the class trial?

A: Intentionally in random order so as not to create any patterns.

/////

Q: Are there any characters in 1, 2, and V3 who are not virgins? Sorry for the really vulgar question.

A: A rough estimate is a quarter.

/////

Q: Is it decided how old the characters in works such as Danganronpa and Raincode are? If so, how old are they?

A: Of course, Danganronpa is mostly in their teens. Raincode has a wide range, but even Yakou is in his 30s.

NOTE: This is kind-of hilarious, because I'm pretty sure it's canonically stated Yakou is actually in his late 20s...in something that Kodaka himself wrote. I'll have to go find evidence.

/////

Q: I'd like to know the recommended menu items at Hanamura Diner!

A: Fresh tonkatsu.

NOTE: Tonkatsu is a fried pork cutlet.

/////

Q: Were the Love Hotel scenes also supervised by Kodaka-san? When Ouma says that he doesn't care what Saihara does to him, is that what he says to make it possible for him to have anyone in that space under his control?

A: I did supervise it. But I left that to people who are good at that sort of thing and refrained from interfering too much, and I still refrain from doing so now.

/////

Q: Is there any trick to Tanaka Gundham's chuunibyou dialogue? I'm curious to know how you think of the unique expressions used by Saionji Hiyoko and Iruma Miu.

A: The insults come out super easily, but Tanaka's lines were thought out thoroughly, based on the light novels I've read, so it's exhausting.

NOTE: A "chuunibyou" is a kid, generally 12-13, who believes they have secret powers or a grand backstory. Gundham's a bit old to be a chuuni by Kodaka's own admission in the DR2 artbook, but that was apparently part of the charm (and why it was so difficult to write him). It's spiritual Naruto running.

🎇 JULY 2024:

Q: I'd like to know what underwear your favorite Danganronpa character wears, Kodaka-san.

A: Monomi's panties. Diapers.

NOTE: This is how rumors get started, Kaz...

/////

Q: Do Rain Code and Danganronpa take place in the same world? Do any of your games and works have a shared universe with another? Or are they all separate? 🤔 💭 I'm asking because I just had a dream about Rain Code today!

A: I won't make a clear statement. I am not sure what will happen in the future. Anyway, please spread the Rain Code around the world.

/////

Q: If Hope's Peak Academy had regular exams, who would have the best overall grades?

A: It would have to be Togami. Kirigiri has clear strengths and weaknesses and doesn't seem like she'd be good at things like art. However, when it comes to multiple choice questions, Komaeda who relies on luck is the strongest, Ouma steals the answers in advance, and Ki-Bo tries hard and is average, but is bad at calculations.

🌭 AUG 2024:

Q: when i played danganronpa there were times where i wondered about how some characters got along with their family, have you written/thought anything about a character's family background that isn't mentioned in the video games?even if it's something small i feel like it would be interesting to read

A: I think, but the fact that I did not put it in writing means that I left it to the player's imagination.

/////

Q: If Sonia and Fubuki met, who would take the initiative in the conversation?

A: Even though they don't match up at all, they seem like they'd get along really well.

NOTE: Fubuki from Rain Code.

/////

Q: When all the Danganronpa characters are gathered together, who do you think has the most aura?

A: It must be Ogami. I think everyone would look at her first.

/////

Q: Thank you so much for making "Danganronpa"!! 😊💓💓 Many fans have a special feeling for the relationship between Komaeda Nagito and Hinata Hajime. Is there a possibility that the two will become lovers in the future?

A: I have no plans to create anything that takes place after Danganronpa 3.

🍁 SEPT 2024:

Q: Are there many undiscovered super-high school level talents outside of Japan?

A: You could make a Danganronpa World War. 150 students are locked in a school, about 10 incidents occur at the same time, class trials are held here and there, and punishments are handed out one after another.

/////

Q: Are you afraid of bugs, Soda? I'd like to know who among two people can stand bugs and who doesn't like them!

A: Soda is not good with insects that suddenly appear, fly, or move suddenly. Sonia is fine with insects.

/////

Q: I would like to know Ouma's first words and reaction upon seeing an armed Keebo-kun!

A: “This isn’t like you!”

[smolerthanthediagram]

Just saw a post about how studies path is different for everyone and it reminded me of how I loved the Good Will Hunting reference in Community and how it shows some interesting anti ellitist views about career choices and social class

Im adding a link of the scene in question for context but for those who can't watch it, in s1 ep24 there are some math students struggling to resolve a puzzle on a green board. Then they are gone and Troy approaches, takes a chalk, stares at the board, ans just goes away with the chalk lol, before stopping at the water machine to drink, but sees it's not working, so he then proceeds to repair it like he has been doing this his whole life. Then he leaves and two plumbers, who saw the scene, come to talk to him, too late.

First the gag is really funny, like textbook setup payoff joke, but with a double payoff because the first one is that Troy is not good at logic so it shouldnt be a surprise he doesn't resolve the puzzle. But because we all know good will hunting we are still expecting it. But this would have been unsatisfying/unfinished if Troy would have resolved nothing at all, and so instead he repairs the pipes of the water machine, and this is how we get to see his actual gift : repairing stuff.

Troy in this gag is a mirror of Will : just like him, he is in a life path that can't make him discover and exploit his true potential ; like him his speciality is almost a gift, something he has intuitively, and that he is always good at, and can get him to prestigious places (Troy later learns he is the chosen one to plumbing school AND AC repair school, and even becomes the Messiah of the latter and saves someone's life and restores justice with his gift - s3 ep 22). But on the surface, Troy has an opposite path from will : while Will starts as a janitor and ends up as a student, Troy does the opposite: he starts as a student and becomes a worker of manual labour, something that, in our world, is seen as less valuable, and a downgrade from his former status. But not in Greendale. Here the ac repair school is like this masonic organisation that controls Greendale's budget and by doing so holds the actual power, because they are the only ones who can actually guarantee their students a job at the end of their cursus.

And while it sounds crazy, it is not far from the truth. Speaking for myself, I tried (and failed) a master degree in human sciences only to find out I wouldn't have been sure to find a job with it anyways because long studies are not valuable anymore, whereas almost all the people I know who did short studies and more manual labor are in a more stable situation than me. I also have ADHD, and I'm almost sure Troy has as well which explains in part the struggling in this capitalist élitiste system. While classes give Troy a hard time to focus or study, repairing is something Troy is actually good at, and the series explains it by making a parallel with air conditioning and people, because "the true repairman will repair men" (s3 ep 22). Troy seems to actually use his high emotional intelligence (yet again something seen as less valuable than logic etc) to repair stuff because he know how things and people work. It doesn't matter if he doesn't have extended knowledge about everything because he is best at focusing on what's just before him and between his hands. This way community shows another look on manual labor and it's actual value, because let's not forget that without it the whole society litteraly falls appart.

PS : just a reminder that I know that choosing a job is very often not motivated by gift or passion because capitalism and so the ones in power need poor people who have nothing to lose to do the physical, hurting labor while the rich get to choose. This post was just taking about these jobs are seen as inferior because they are mostly done by people with low education, but that doesn't mean these jobs don't require actual skills and knowledge, on the contrary. Just wanted to clarify a bit

[youmakethelight]

On the issue of the 'Daryl Dixon' spin-off title

Everything about the making of the 'Daryl Dixon' spin-off reflects so much of what is wrong with society, and the issue of the title neatly encompasses much of it.

The title sends a LOUD message that Carol is beneath Daryl in value. Although Carol has been a flagship character for the same length of time as Daryl, and although Melissa McBride's acting talent is more critically acclaimed than Norman Reedus', her character is still marginalised. What does that tell you about how women's work is compensated in comparison to men's?

I've only been in this fandom for 2 months, so it isn't hard for me to remember what it was like to be general audience for this show. Seeing Carol treated this way confirms a prejudice echoed across much of society that women are side characters for men. Most of the audience won't be giving the title much of a second thought; they'll take it at face value. Thus, that message that women are inferior to men will spread insidiously. None of us are immune to it. It seeps into our expectations, our attitudes, and our behaviours.

The title is just the tip of the iceberg of issues with this show. Nonetheless, it is a clear indication of exactly how problematic and widespread the misogyny and inequality are over there. Tolerating this part - the misogyny that we can see - allows them to get away with worse that we can't.

I commented on an amc twitter post that I don't want to watch the spin-off when the title doesn't elevate both the female and male characters equally, and I received a reply from a stranger who criticised this decision, stating that it's 'just a title'. Nothing about it is just a title. Deliberate choices were made. A title reflects the content. And this title indicates that Carol is merely a supporting character in Daryl's story, instead of a main character of equal, uplifted value, in her own right. Is that the content we want to see? Is that the content we want other women, or even men, to observe? If not, then we shouldn't tolerate a title that communicates that.

Do we want Melissa McBride to be paid less than her male co-star? And do we want her to receive the message from her place of work that she's second to him and undeserving of having her name recognised as much as his? Those are things we're tolerating when we tolerate a title that explicitly excludes her.

None of this is or should be the responsibility of the audience. The accountability lies entirely with the leadership at AMC. Nonetheless, we do hold power, and how we use that power is valuable. We can exercise power with our voices, our wallets, and what we choose to engage with.

Personally, I will not give public praise to any part of this show that doesn't make distinct effort to support and uplift the women working on it. All the while that I'm not seeing a male leader on the show use his power and privilege to be a feminist ally, I'm not going to give him any of my praise. And all the while that I see the title continue to disrespect Carol, Melissa McBride, and women as a whole, I'm not going to give the show my money or my views.

It is a wound to my self-esteem, as a woman in the world, every single time I see that title. I don't have to tolerate it, and neither do you.

[figs-and-cigs]

Saw a post recently that said if you're not a good communicator you shouldn't be in a poly relationship. My first thought was, "right communication is an absolute MUST!" But thinking about it some more, I think there needs to be more nuance to the idea. What makes good communication? And who's to say who should and shouldn't do polyamory?

I'm an easily overwhelmed, agoraphobic, introvert - and at times communication IS hard. I often seek alone time with very little interaction with the outside world.

I had a girlfriend who HATED texting and wanted lots of in person face to face time. That relationship slowly unravelled and disappeared - without communication. I'm a texter and couldn't fit my schedule or find the spoons to spend more time with her - and she never texted.

I had to explain to a new person I'm dating that I'm not good at asking a lot of questions - which can look like a lack of interest and a failure in gathering information for a good match. The reality is I figure others will tell me what they want me to know over time as they get comfortable, and if it's important it'll come up. Meanwhile, I'm an open book. I communicate with lengthy paragraphs and stories to paint a picture of my world. Which often gets others to share similarly - through text, and more importantly get to know me on a deep level. In person I'm spastic mess, I get emotional about everything and excitement or frustration can jumble words into an incoherent rant.

When I'm upset, I cry... And trying to help someone see my point of view doesn't work well between frustrated sobs I can't control. With my husband we make an effort to take a pause with intense discussions and let me write/text it out. And while he can be a stoic type during emotional discussions - giving him time to process is important. But my anxious attachment will precieve it as if I'm doing all the communication and he's got nothing!

I also unintentionally go into circles and rants as I process which can be overwhelming to the other party. I've been in relationships where we'd talk and talk and talk and talk until we'd exhaust each other and that talking might turn into yelling or unhealthy silent treatments. Neither of us could understand each other or find common ground.

To prevent this with my husband we set timers. 5/5/10. We each get 5 minutes to share our thoughts, and then we'll have 10 minutes to collaborate on a solution - or to bond or support each other.

I have a FWB who I rarely hear from. Maybe every few months when he's in town and able to set a date to meet. He's not the talkative type unless we're alone in a room together - and I realized I'm ok with this. I don't need constant contact to enjoy my time with him.

I think a huge part of healthy relationships is meeting people where they're at and accepting each other exactly as we are. The good, the bad, the messy, and perfectly whole. And it's beautiful and wonderful! But it's also complicated and hard. Not every relationship is going to last. But the experiences together are valuable nonetheless.

When our communication styles and skills are different, what do we do!? Ironically, we communicate about it, and even a "bad communicator" can find work arounds. I think it comes down to boundaries and trying to understand each other. And if it doesn't work out between both of you - it doesn't mean we can't find someone else who it can't work with.

And while we can find total acceptance of each other one would hope each of us is working on personal progress and improvements in areas that we struggle.

Just like there's no one right perfect way to be poly, I don't think there's only one right perfect way to communicate. We each need to find what works best for us and our individual relationships. And it's going to vary and be different almost every single time.

The end.

[theramseyloft]

What’s your opinion on pigeon racing and flying? Do you think it benefits the health or tractability of a breed or could it ever be done in modest ways without the large aspects of neglect?

Ooh, this is a tough one.

Racing, in particular, is not exclusively for entertainment.

Just like riding horses or running sled dogs isn't.

The races that earn the biggest pot, for example? Supply breeding stock to the parts of the world that still exist where they are depended upon as messengers, and having them or not is still a matter of life and death.

Hell, if anything ever happened to our current means of electronic communication, Racing Homers are very literally the best possible alternative to fall back on, historically tried and tested.

And because their ability to navigate is central to meeting that need, training tosses and actual races are genuine necessities that cannot be replaced by any other means.

So I can't, in good conscience, say that the breed or practice should die out.

That said, GPS trackers are much smaller, cheaper to make, and easier to come by, though I don't know what kind of power they would need to transmit in real time, or if the addition of that would make it too heavy to carry.

If a GPS capable of real time transmission could be made small and light enough for a racing homer to carry without effecting their flight speed, I would love to see them used in tosses and races so that races could be monitored and birds who stop flying either very suddenly during the day or longer than it takes to wait out a night can be recovered.

A volunteer team of spectators would be ideal for that.

I can see some potential down sides to this, like people tracking the birds specifically to take pot shots at them, or trying to find a way to intercept and steal some, but a healthy racing homer's base speed is 60mph, with some sprinting lines clocked at up to 100.

And unless they physically can't, they do not stop until they get back!

The average person isn't going to be able to trap or catch that bird unless something is seriously wrong.

And having the on-the-move flight data in real time would be valuable to racers both for the data itself and as a means to draw spectators.

There isn't an aviary on the planet big enough for the length of sustained flight from which the musculature of the Performing breeds has developed, but we have ways to artificially enhance the immune system: Vaccines.

Natural immune systems develop over generations of survival.

Pathogens adapt to their host by becoming less lethal over time.

No host? No spread. Pathogen population dies out, and that strain becomes a dead end.

Hosts adapt to their pathogens over time by developing more and more aggressive immune responses with each exposure.

Vaccines work by presenting the immune system with the means to identify a pathogen without the damage to the host that would usually happen while the body is trying to organize the response to take it out.

We have vaccines for Paramyxovirus and Paratyphoid. There is an inoculation for Pox.

It would be amazing to have a full vaccine for Pox, not to mention Adenovirus, Circovirus, avian flu, and ornithosis, or if it were possible to vaccinate against protozoa like coccidia and trich.

Honestly, the improvement of medicine is a matter of time and funds.

In the mean time, all we can do is our best to selectively breed hosts with strong immune responses to the pathogens we don't have vaccines for yet.

[silenzahra]

Hello everyone. I'm back ^^

I'm honestly not so sure about how to approach this post. I just wanted to let you all know that, well... I'm here. I'm not 100% fine, but I'm doing better. I've taken this week off to rest and focus on myself, and it's done wonders. I've been going out as much as possible, not only to go to work but also to spend a good time walking my doggies and playing with them, and I've also been watching some shows and trying to slowly get back to reading and gaming.

Regarding my previous post, there's really not much I can do except learn to live with it. I know it's gonna be a long and hard process, but I have to look after myself and my mental health, and it really warms my heart to know you're all there for me. I checked Tumblr yesterday before going to bed and felt so touched to find all your comments and advice. Again, you made me feel so supported and loved. I just can't thank you enough for being there for me. @itsavee4117 @megamagimugi @roscolate @keakruiser @stripetkattelalala54

@peaches2217 @bberetd @ask-rosalina-and-her-family @c-lavanda, thank you so much for all your love and support on my previous post, for taking the time not only to read but also comment to make me feel better. I'm really so sorry that I worried you, but truly, knowing that you're all there for me really means the world to me and makes me feel so warm inside. You've all given me precious advice that I'm definitely taking and showered me in love with your kind and sweet words. I hope you know how amazing you all are and how lucky the people around you are to have you 💖

Also, @multicolour-ink, I'd like to especially thank you for the valuable advice you gave me. Last night, after reading your comments, I searched and called a free helpline in my country and, again, it's done wonders. It was simply amazing to have someone there who listened to me and never judged my emotions, and then offered some advice on what to do to handle my situation. It was such a relief to, you know, actually talk to someone and feel supported also in real life. Thank you so so much, truly 🫂

And of course, @vulpixfairy1985, my dear friend... How can I even start to thank you. You immediately reached out through Instagram and have been there every single day, sharing your wisdom and offering your advice, and you even made me feel joy again after two days of only feeling bad things. It's thanks to you that I've been able to feel happiness and excitement again, to reignite my spark of joy that I thought I'd lost, and I know no matter what I do, I can never thank you enough. You truly are a gem, my dear friend, and I thank life every day that I met you and our wonderful friends. I know I've said this before, but this community is truly the best, warmest, healthiest one I've ever been in. And I feel so lucky to be a part of it.

I'll still take things easy. I'll take my time to check all my tags and PMs, and I'll probably be active only on evenings (Spain's time). Thank God, I can enjoy again the things I love, so I hope to see all your content eventually. Only that, well, I'll be slow. I wanna keep focusing on myself and taking those walks with my dogs. And this Friday I have a concert and I finally, FINALLY, feel excited about it. It's my favorite band, after all. I was worried I wouldn't get to enjoy it due to my mental state, but I'm actually so eager!

So yes, guess I can say I'm back, even if I won't be as active ^^ I know I have yet to finish checking the doc, and I'm extremely sorry that I'm taking forever, but of course, I appreciate all the effort you made to help me build up this new blog. As well as, of course, your support on the three posts I've fixed/redone so far. Hopefully soon I can get back to it and fix the rest of my old content.

But we'll see. Right now I'm just happy I can be back with you. I hope you've all been doing fine, dear friends ^^ I love you all so much 💖

Also, if you wanna see the little fella who's been with me this entire week, just click below to meet my beloved Baloo ^^

(Now I look a bit different btw, I went to the hairdresser yesterday, but I'll show my new hair another time.)

[goldenlinixx]

future!harry / dad!harry x taylorrussell

The trophies are not the most valuable thing in my life, my love xx

"mummy mummy mummy what are those trophies in daddy's room?" taylor is in the middle of preparing lunch when the loud footsteps and completely excited voice of her almost four-year-old daughter light up the house styles. no sooner has tay turned round to look at her little girl than the exact same green eyes as her husband's are looking at her. "my angel, what are you doing in daddy's working place?" "i was looking for rooti" "oh my angel, you know that root has her place here in the living room. that's where she’s lying: look". there lies the little family dog, who has now reached old age, asleep in her basket, completely unaware that her „sister" is excitedly running around the house looking for her. tay lovingly strokes the curls from her daughter's face. taylor loves to answer the questions from her little one. it was only a matter of time before she discovered the "trophies", as she affectionately calls them.

„the „trophies" is the most valuable thing your dad owns. it's a so-called grammy, my little sunshine." "a grammy?" "yes exactly, a grammy … daddy and i told you that he makes a lot of people in the world happy with his songs, right? and you know my love... a grammy is the most valuable thing a music artist like daddy can ever get in his life and career." "so daddy is a superstar?" "yes my little peanut, you could say that ... daddy is a superstar" taylor can't help but smile and place a loving kiss on her little daughter's hairline. they have just finished their intimate moment when they hear the front door slam shut. "i think daddy's back from his jog" as soon as taylor has finished her sentence, the little one is already walking quickly towards the front door. "daddyyy you're a superstar" harry can just about put his airpods down on the cupboard before his three-year-old daughter jumps into his arms. "hello my little darling." this really is the best thing for harry. he has never wanted anything more than to be almost run over by his own little daughter after a strenuous run. "now tell me again peach ... what am i? a superstar?"

harry's little daughter hugs him close. "yes, i was looking for rooti and then i looked in your room and then i saw your trophies and mummy told me that they are grammys." in the meantime, taylor has also found her way to her two favourite people. first and foremost, of course, to say hello to her husband. this morning they hadn't seen each other because he had left early for his long sunday run. she only caught a loving kiss on her sleep while she was still half asleep.

"our little angel was very excited. i told her that her daddy makes a lot of people in the world happy with his music and got his grammys for it." smiling, harry can't help but go up to his beloved taylor and pull her tightly into a hug and a long, deep kiss. of course, he holds their daughter tightly in his other arm. "oh so that's how it is. a hello to you too my darling" "hi babe" the intimate kiss between the two is quickly interrupted by their sweet little daughter. "and mummy told me that it is the most valuable thing you own" harry carefully sets his daughter down on the floor. that he can communicate with her at the same level, he squats down lovingly next to her.

"mummy's not quite right. you know, my love, the trophies, the grammys, are not the most valuable thing in my life that i own. musically speaking, yes, but in a personal way, you are the most valuable thing in my life. you, your mum and your sister in mummy's belly. you know, my peach ..music was the most important part of my life for a long time and it still is to some extent. but when i met your mummy, love took centre stage and i wanted other things in life. i wanted you, for example ... but now i mainly write music or songs because i'm happy. and i'm happy because i have you. you are the most important and therefore the most valuable thing in my life. so love you to the moon and back." in support of his loving explanation, harry gives his little daughter a loving kiss on the head, who then presses herself very close to her dad.

"you said that so beautifully, h. we love you so much too" in support of her statement, taylor can't help but caress her baby bump, which has grown quite a bit in the meantime. harry notices this too and immediately puts his hand on his wife's bump as well.

in that moment he realises once again that his music will never make him as happy as his own little family does. his success can never reach the value that being a dad does. he will be forever grateful that he spent that one month in los angeles and met taylor, the love of his life.

harry and taylor can't wait to show their daughter all the photos and videos taken at the grammy awards that night as a bedtime story. harry has wished for nothing more in life than to be able to show his own children these photos one day. that moment has now arrived and he could never be happier.

—————————————————————-

i really love harry and taylor so much and can't help but write down my thoughts and sweet imaginations that keep buzzing around in my head.

i hope you enjoyed it!

xx Celine

[trans-axolotl]

Notes on the Radical Model of Disability

I'm seeing a lot of discussion today about different models of disability, and wanted to share my recent reading notes on the radical model of disability, which for me has been a super helpful model for understanding how disability works.

"The radical model defines disability as a social construction used as an oppressive tool to penalize and stigmatize those of us who deviate from the (arbitrary) norm. Disabled people are not problems; we are diverse and offer important understandings of the world that should be celebrated rather than marginalized."

Source: AJ Withers, Disability Politics and Theory. "Looking Back But Moving Forward: The Radical Model of Disability"

Key Points:

The radical disability model was developed by many disability justice activists (including Sins Invalid and the 10 principles of Disability Justice), and was inspired by many different models, including the social model. Withers points out that there are a lot of valuable parts of the social model, but also lots of limitations.

The radical disability model is not the same thing as the social model of disability. It rejects the strict social model separation between "impairment" and "disability." Traditionally, in the strictest versions of the social model, people use "impairment" to describe someone's individual limitations--generally considered the "biological" part of disability. People often use things like chronic pain and hallucinations as examples of "impairment." In the strict social model, disability is described as oppression added on top of the "impairments" people are living with. People usually describe things like inaccessible buildings and strict social norms as examples of the disabling impact of society. Withers points out how sometimes, the social models ideas about the separation of impairment and disability can leave many disabled people feeling excluded and like their experiences aren't represented. This article by Lydia X. Z. Brown talks a little bit more about those topics--using the terms "essentialism" to describe the impairment view and "constructivism" to describe the social view.

Instead, the radical disability model argues that you cannot easily separate impairment and disability, and points out that both "impairment" and disability are always socially contextual. Disability must be analyzed in context to the society we are currently in, both so that we can understand the experience of oppression and so that we can understand the impact it has on our bodies and minds. For example, someone living with chronic pain will still have chronic pain no matter what society they live in. But things like whether they can sit while they work, whether they have to work at all, if they can afford assistive technology, if there is easy access to pain medications, etc, all affect their body and lived experience of pain in a very real way. Ending capitalism would not suddenly take away all the pain they are experiencing, or make them not disabled. But it might change their ability to cope with pain, what treatments are available to them, and what their bodily experience of pain is like. Similarly, someone's experience with hallucinations can be dramatically shaped by the context they are in, whether they are incarcerated, if their community reacts with fear, whether they have stable housing, and more. The radical model of disability looks at how the different contexts we live in can affect our very real experiences of disability. Instead of the medical model, that only looks at disability as a biological, individual problem that can only be fixed through medicine, or the strict social model, which focuses on changing society as the only solution for disability, the radical disability model looks at how different societal contexts change both our biological and social experiences. It acknowledges that disability is a very real experience in our bodies and minds, but looks at how the social environments we live in shape all parts of "impairment" and disability.

Intersectionality is a key concept for the radical disability model. Withers points out how disability studies often ignores intersectionality and only focuses on disability. "Disability politics often re-establish whiteness, maleness, straightness and richness as the centre when challenging the marginality of disability. Similarly, when disability studies writers discuss other oppressions, they often do so as distinct phenomena in which different marginalities are compared (Vernon, 1996b; Bell, 2010). When oppressions are discussed in an intersectional road it is commonly treated like a country road: two, and only two, separate paths meet at a well-signed, easy-to-understand location. Intersectionality is a multi-lane highway with numerous roads meeting, crossing and merging in chaotic and complicated ways. There are all different kinds of roads involved: paved and gravel roads, roads with shoulders and those without and roads with low speed limits, high speed limits and even no speed limits. There is no map. The most important feature of these intersections, though, is that they look very depending on your location." (Withers pg 100.)

The radical model of disability is inherently political. The radical model of disability looks at who gets labeled as disabled, how definitions of disability change, and how oppressors set up systems that punish disabled citizens. Oppressors set up systems of control, violence, and incarceration that target disabled people, and shift the definitions of disability based on social and economic changes. Withers shares examples of this, talking about the eugenics movement in the United States as an explicitly white supremacist movement that defined "disability" in a way that targeted racialized people, how homosexuality was added and then taken out of the DSM, and many other examples of the way certain people are labeled as "deviant" and impacted by ableism. Disability becomes weaponized by oppressors as a tool of marginalization, and affects many different marginalized groups. This interview of Talila A. Lewis is a really great article that explains more about a broader definition of ableism, and expands on a lot of the topics mentioned here.

Disabled is not a fixed, one-size-fits-all, never changing identity. However, it is an important personal and political identity for many people, because our experiences of disability are real and impact our bodies, minds, and social experiences in many ways. Withers argues that in disabled community, we need to have room to celebrate and have pride in our disabled identity, as well as being able to recognize the pain, distress, and challenges that being disabled can cause us.

Within the radical model of disability, we should work collectively to build access and actively fight to tear down the systematic barriers that prevent a lot of disabled people from participating in our communities. Withers argues that we need to think beyond just changing architecture (although that's important too!) and understand the way things like colonialism and capitalism are also access barriers. Going back to the first point about disability in context, Withers explains that we must also think of access in context--there is no one "universal" way to make some accessible, and we need to be able to adapt our understanding of access based on the political and relational context we are in.

TL;DR: The radical model of disability is similar to the social model of disability, but instead of viewing disability as being only caused by society, it looks at how our real experiences of disability are always shaped by whatever social context we live in. It acknowledges that our disabilities are embodied experiences that wouldn't just suddenly go away if we fixed all of society's ableism. The radical model of disability is a political model that analyzes how definitions of disability shift based on how oppressors use systems of power to marginalize different groups of people. It offers us a framework where we can feel real pride in our disabilities, but still acknowledge the challenges they cause. It points out the importance of organizing politically to dismantle all kinds of access barriers, including things not traditionally thought of as access issues, like colonialism, capitalism, and other forms of oppression. Here's a link to another great summary by Nim Ralph.

other reading recommendations for understanding the radical disability model: “Radical Disability Politics Roundtable.” by Lydia X. Z. Brown, Loree Erickson, Rachel da Silva Gorman, Talila A. Lewis, Lateef McLeod, and Mia Mingus, edited by AJ Withers and Liat Ben-Moshe.

"Work in the Intersections: A Black Feminist Disability Framework.” by Moya Bailey and Izetta Autumn Mobley

"Introduction: Imagined Futures" from Feminist, Queer, Crip by Alison Kafer.

[thedrowsydoormouse]

Ok I don't know if I'm sleep deprived or if this actually makes sense but bear with me because I think I've figured out the backstory for Finetime! Spoilers for Dot and Bubble below the cut.

Ok so what do we KNOW about Finetime?

It's on a different planet than the Home World

It is literally in a bubble that is cut off from the outside world

Everyone there is between the ages of 17-27

It's filled with all the rich (racist) kids who could afford to go there

They "work" for two hours each day

The weather is controlled by a satelite

The home world was also overrun by the slugs

So what can we hypothesize from that information? (Side note, anything you are about to read that is racist, classist, or both are not my actual words but what I would assume someone from that society would think or say. I do not hold those beliefs and I do not wish to associate with anyone who does.)

The grown ups back on the Home World (an already racist, classist society) had already started to drive their Dots insane and they knew their days were numbered. So they gathered up a bunch of their "least valuable" (to them) citizens to Boldy Go and find a new planet that won't immediately kill them and build a new settlement, not really caring how many of them make it back, if any, because again, racist and classist.

While the new settlement is being discovered and built, the people back on the Home World got to work planning. They knew there would only be so many spots available in the new community (think like lifeboats on the Titanic) so the easiest way they could think to secure those spots is to have people pay for them and they needed to make sure every person going could fend for themself (more or less) and was within reproductive age, thus the 17-27 year age limit. But that creates a problem. If your entire population is made up of a bunch of rich 20 somethings who have no marketable skills, how will society continue to function? So they automate everything with computer programs and AI to handle the nitty gritty and the 2 hours of "work" are basically games that keep the AI running smoothly. Then construction of Finetime is complete, the "undesirables" leave the bubble and move out into the jungle (I'm assuming. We never really find out what happened to the people who built everything because the only person we meet who would know is Ricky and well ...........), the bubble is sterilized because poor people cooties, and the stage is set for our "adventure".

So off they go, a rocket full of Rich White kids who, if they were told they were going to be the last of their kind, they either weren't paying attention or didn't care. They assume it's going to be a long holiday and once they turn 27 they'll all head back to the Home World and back to Mummy and Daddy. So they continue on, business as usual. They play their little games for two hours every day to maintain the status quo then spend the rest of their time living like rich kids on vacation. All the while their Dots are plotting to wipe out all of them the same way they started (and eventually finished) back on the Home World because nothing has fundamentally changed. The problem is the computers that run everything need above a certain population to continue functioning normally, so the first few slug victims (#allhailthegloriousslugs) didn't really make that much of a difference. But as more and more of them get eaten, the computers start to struggle to keep up and things start to go a bit haywire, like the weather satellites having issues (I know that was a real world issue and not meant to be part of the plot but it works so well in my backstory theory that I'm going with it).

TLDR: a bunch of rich, racist assholes did what rich, racist assholes do and basically destroyed their planet, used a bunch of working class people and people of color to find and build a new society on a new planet, sent their obnoxious, self absorbed trust fund babies to go live in that society, and the the completely expected thing happens when the problems continue in the new community because nothing about the society itself fundamentally changed. Any of the people who managed to escape Finetime who also manage to not drown when the boat their on inevitably runs aground (because they can't even walk without arrows, no way in hell they'll know how to drive a boat) are either going to starve to death or have to contend with countless wild animals and potentially even the people who built the bubble city in the first place. Not a single person on that boat will live longer than a week.

[drdemonprince]

What's your take on the solidarity camps of students in countries where the colleges are state funded?

I recently got into contact with my local SfP group, which is planning a camp atm, with the goal of getting our college to stop an exchange program with an Israeli university heavily involved in weapon development. But they havent even made that demands to our college. I know the college would refuse those, but I am nontheless worried they are hurrying into building an encampment for the sake of having one. Not the actual focus behind the camps. The main goal of the camp would be to exist in solidarity to others and since our city is small I doubt anyone will hear about it.

Of course I am helping elsewhere to the best of my abilities, but I worry we will put valuable resources into it and ultimately achieve nothing.

Making the camp for the sake of having one is a laudable goal. it is a wonderful thing whenever the people seize the land to return it to public use, and build interdependent networks where food, housing, books, lessons, community, etc are all shared.

Nearly every campus encampment is formed with the understanding that university administration will not agree to demands. The building of encampments is a start of a much larger movement to seize control over the universities -- control that has been systematically taken away from the students and faculty that shape it over the course of the last several decades.

Think about it for a second. How absurd is it that the students whos debt pays for these institutions and the professors whose research, teaching, and publishing shape the intellectual life of these institutions have NO say in what the university does or how it spends the money that they are both responsible for?

what value does an administrator introduce to that equation? why are they even there? why have the number of administrators grown every year while the number of tenure-track and full-time professorships shrinks? why have student representatives been booted off the Board of Trustees in favor of people who do not teach, research, study, or contribute to any of the actual meaningful work of a university in the first place?

Getting campuses to fully stand with Palestine and divest from genocide (and divest from the Israeli apartheid state) is a tall order, because violent colonial Zionism is baked into how these institutions now work. A university today is more of a real estate and investment holding business than it is an institution of knowledge -- and so massive corporations, the military, and settler colonial states and their lackeys have more control over them than the students and professors do. We're an afterthought.

When students form encampments on campus and refuse to budge or even to negotiate with administration, they do so knowing that a far more dramatic upending of the existing power structure is in order. And forming a large, vocal, physically present, interdependent community is a crucial step to having the power and social bonds necessary to take control of our universities back.

Everything is connected. Universities are invested in Israel for the exact same reasons they no longer offer job security to professors and exploit underpaid part-timers for the majority of their teaching labor, closing out entire generations of marginalized scholars from research and publishing or institutional leadership. I know these trends are less stark outside the United States, but they are happening worldwide, and ours is a strong example of what's coming for the rest of the world. So it is GREAT to see students outside the US standing in solidarity with us and seeing that all our struggles are connected.

(To read more about the rise of administrative positions in academia and the loss of influence students and professors have, check out the book The Professor is In by Karen Kelskey).

[neoliberalbrainrot]

sensitivity readers and the privatization of morality

neoliberal politicians are typified by wanting to privatize everything. because neoliberal ideology aims to bring every aspect of being human into the realm of the market, morality is increasingly privatized. sensitivity readers are an example of morality being privatized in two ways: one, by the reader commodifying their marginalized identity to sell their ability to make sure a work isn't problematic and two, by the author involving a financial transaction in the evaluation of their morality. i don't think finding people to advise on topics related to marginalized identities is a bad thing at all, but i caution against doing so without recognizing the underlying neoliberal logic and trying to imagine ways to build a world where this problem can be solved without a privatization mindset.

first, what is a sensitivity reader? this is a person of one or more marginalized groups who offers to read over written content produced by writers to check that it does not have any problems in depicting that marginalized group. for example, an author who has no idea what it's like to use a wheelchair as part of daily life, but wants to include a character who uses one, can find a sensitivity reader who has the same experience and can look over the manuscript for inaccuracies and unintentionally offensive errors, etc. sensitivity readers are used even by major publishers, but can also be found in small writing communities.

i don't think this is a bad solution to the immediate problem facing authors and other producers of written content who want assurance that their depiction of a marginalized group is respectful and accurate. these types of advisors have been around before the modern era of social justice activism—plenty of movies have hired cultural advisors for example. what i think is odd, and a glimpse of neoliberal logic infiltrating a left milieu, is the uncritical acceptance and promotion of this type of transaction.

i always like to consider: how would i like this problem to be solved in my future utopia? first, no one would feel obligated to commodify their ability to edit a work from the perspective of their identity. that by itself is incredibly neoliberal logic. but also, both parties could approach it less like the advisor was presenting a moral hoop for them to jump through, and more like they are an expert providing information regarding a major topic featured in the work. it might be a painful or emotional or personal topic, but the priority would not be the author's moral purity but the sensitivity and accuracy of the depiction (if the primary intent is to make sure members of that marginalized group can engage with the work and feel respected, the work itself rather than the author's moral purity should be the priority).

in a better world, this could be one of many conversations that helps people understand each other without the shadow of a financial transaction hanging over it. instead, we have commodified this thread of human connection into something that can be transacted. even the name "sensitivity reader" instead of "cultural consultant" or "research advisor" indicates that some kind of moral evaluation is happening and that the relationship is between the reader and the text and not the two people.

again, given the world we currently live in, i don't blame people for going this route. being a sensitivity reader might be a valuable extra chunk of income for some and hiring a sensitivity reader might lessen the anxiety of authors participating in communities that are less forgiving than one might hope. in practice it is not really that different from hiring any other subject expert to ensure accuracy. but i do think it's important to recognize areas of human experience which are being brought into the realm of the market without our noticing, and this is one. one of the biggest dangers of neoliberalism is not just policies we can read about in the news, but the insidious change of mindset it inculcates in subjects. if we just accept that hiring a sensitivity reader is a thing without examining why, it closes off our ability to recognize what's, well, neoliberal, about it and imagine a better way to solve problems.

PS: if you find my writing interesting or educational, please reblog! like artists, writers depend on reblogs to make sure new audiences see their work. thanks for reading!

[befuddledcinnamonroll]

Themes in Pit Babe (or why the racing omegaverse show is deeper than you think) - Part 2

Part 1 here. Let's keep this thought train rolling.

Part 2: Self-Worth & Relationships

To start, a few notes about self-worth.

We're all deeply familiar with the common refrains around finding your own sense of self-worth without relying on others. Think of the whole RuPaul "If you can't love yourself, how in the hell you gonna love somebody else?" kind of thing.

Which on the surface is a fine message, and absolutely it is a good thing to put time into self-reflection and finding value in your inherent self.

But of course this is real life, and as lovely as it would be to be able to catchphrase ourselves to that perfect place, it is much more nuanced than that.

For one, many of us who have fairly solid senses of self-worth (and I do include myself in that category) will still have days where we wake up and feel like a completely horrible unlovable mess of a person. This is called being a human. It's normal to have ebbs and flows, and peaks and valleys. We're on a journey, y'all, and when it comes to growth and self-actualization, no one makes it all the way to the end.

For two, humans are social creatures, and we cannot help but be influenced by who is around us in our lives. You can have the strongest sense of self-worth in the world, but you end up surrounded by people who treat you like shit all the time - it's gonna have an impact.

And, of course, we have to also acknowledge the impact of being part of marginalized communities, and how insecurities around worthiness can become very internalized by the constant reinforcement of bias and oppression.

All of that to say, who is in your life can be deeply important when it comes to self-worth. You shouldn't be seeking a relationship with someone just to feel like you matter, but the person/people you are around should absolutely make you feel like you do.

Ok, let's get back to Pit Babe!

Pete/Way/Kenta

Ha, no, I don't actually think we'll get a throuple here, but I do find the dynamics really interesting. Both Way & Kenta are characters I would identify as having some of the poorest self-worth in the show, to the extent that they have long been incapable of making their own decisions, and primarily follow orders from Tony.

Way seems to do it more out of despair that Tony's will cannot be defied, while Kenta is heart-breakingly still in a place of needing Tony's approval.

And then we have Pete. Who apparently has a bit of a sad pathetic man addiction. But like I said before, the key to Pete is empathy. He knows their pain.

I'm going to write more later about the critical role Pete plays in the show's theme around self-determination, but for now, I just want to point out how vital he is in showing up for both Way & Kenta, and telling them they matter, and the choices they make matter too.

They've done shitty things, and other characters are rightfully furious and distrustful of them. Pete is the one who said, "you still have value as a human being, don't let Tony define you". He knows what it's like to walk out of your abuser's house and determine a new way to find value and purpose. He's key to Way leaving his place of grief and despair and working to rebuild a path to Babe's trust again. And when Kenta gains the confidence to defy Tony next episode (it's being foreshadowed pretty hard), it'll be because of Pete as well.

Sometimes when we cannot see the value in ourselves, it can mean the world for someone to take our hand and speak it out loud for us.

Alan/Jeff

Ah, my sweet, sweet secondary couple. I love these two. Jeff may have a special ability that is considered valuable, but it's also made him feel utterly unlovable. And then he meets this man, who loves taking underdogs under his wing and giving them chances. And this man is being so kind and so sweet. And even when he learns the truth, learns that loving someone like Jeff comes with more than the usual hardship and challenges, he doesn't hesitate for a single second.

This is part of why I think the age gap works so well here, because this kind of optimism in someone younger might come across as naive. But Alan is not naive. He's experienced, and he knows that someone like Jeff is not going to cross his path ever again. He is going to love Jeff unconditionally, and we can already see the inner shine coming out for our poor vision-addled boy.

Everyone has their flaws, and dark sides. But we are still worthy of loving.

Sonic/North

You thought I wasn't going to give a section to our delightful, one-brain-celled, won't-admit-they-are-a-couple couple?

These boys may be uncomplicated, but their existence as a unit is a big part of what makes them such lovely examples of self-worth. Not all of us are lucky enough to find that person who fits with us like a puzzle piece, but these two have. They may vastly underestimate their importance to each other (see Sonic's face when North jumps in to take hits for him), but the consistency they have in their relationship, and the care they show for each other, gives them such a solid ground for being their authentic little idiot selves.

Never underestimate the value of having a person who you can be your authentic silly weird self with.

Charlie/Babe

And of course, we have the beating heart of our show. Though on the surface he comes across as too-cool-for-school, Babe so deeply needs to feel loved. He is achingly desperate for it.

It's all well and good to tell Babe that he should love himself. That he should feel fine and worthy as he is. But his external success is not enough. He needs intimacy, and trust, and someone to baby the hell out of him. To make him feel like he's worth loving.

But between his own fears, founded by his father's abandonment and his childhood in a cold and neglectful house, and Way's constant reinforcement that he couldn't trust anyone, he was trapped.

And then Charlie shows up. A man who sees no value in himself, but sees the world in Babe. Can you imagine what that experience was like for Babe? To be in a world of ice and have a being of warmth & comfort come and wrap him up in his arms?

As for Charlie, he's doesn't seem to be in a place yet where he truly understands how much he has become Babe's world. But I expect he will get there. He's tenacious and committed. He just needs to realize that others see the value in him that he sees in them.

Self-worth doesn't mean acting strong all the time. We deserve sweetness & softness and having someone we can be a scared babygirl around.

The X-Hunter Crew

Oh, no way am I just talking about romantic relationships here. I love romance, don't get me wrong, but there's plenty of folks who can live quite well and happily without romantic relationships. Romance is put on a pedestal in our society, but it really shouldn't be. Platonic relationships, on the other hand, are incredibly vital, and I wish they were given more status in our world.

And this is what makes the entire crew so important. It's not just about the individuals, or the couples - it's about all of them, as a unit. Call them a team, call them a family, whatever you like.

Because Babe may need someone like Charlie in his life, but he definitely needs the X-Hunter crew. I firmly believe the care he has been given by Alan (and even Way to an extent, when he was in supportive friend mode) is what made him even able to take those first steps with Charlie.

And the family remains critical after he thinks Charlie is dead - the care and love the team give him is vital to him being able to continue functioning. Alan, North, & Sonic give him physical touch and comfort, make sure he's eating, and literally pick him up off the floor when he can't go on.

Just like Sonic & North give each other a stable place to stand, this is what the entire X-Hunter family is able to do for each other. Despite an unfortunate tendency to miss when Jeff gets kidnapped, overall, they look out for each other. Everyone has their place, and knows they're important to the team.

Self-worth is never going to be just about the individual, or the group, but the interweaving of the two. Strong self-worth can help us feel more connected to others, but our connections to others can make us feel more worthy.

A couple of additional thoughts:

Dean let his insecurity override his sense of inherent self-worth. Alan wants to help Dean do better, to push him to grow and develop. And yes, you can debate the sense of putting Charlie into the race, Alan is definitely not perfect. But also denying someone an opportunity is not inherently bad, or a sign of lack of love or trust. Challenge is where growth happens, and people who genuinely want the best for us understand this.

Instead of turning to his family and being vulnerable about how deeply hurt he was, Dean turned away. He let his insecurity and narrow focus on self-worth through racing achievement override everything else. He didn't remotely consider what anyone else might be feeling. He didn't think about what his actions would cost the family long-term. At any point, prior to attempted murder, if he had come to Alan, there would have been compassion. But he pushed it to the point where there was no turning back.

Contrast that with Kim, who knows he has value regardless of whether he wins races, or how he gets treated by his racing crew. He has enough self-worth to not making everything in his life about himself. Which is why he was able to fit in instantly with the X-Hunter team. He's willing to come in, find his place in their little family puzzle, and commit to being there for everyone else just as much as they will be there for him (once we've all moved past their well-intentioned, but failed rescue attempt).

Relationships are essential, but can't magically fix us - we still have to put in the work.