#culture sector

[soapdispensersalesman]

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[inquisitor-apologist]

All the problems in the Mandalorian could’ve been solved if Sabine had kept the Darksaber

[ofcowardiceandkings]

i get it guys but did you REALLY have to spray Stonehenge orange to protest fossil fuels ...

[museeeuuuum]

Yes, I WILL get weird about the new job having the same scanner I used almost everyday at Point Ellice House!!

[pon-farr-night]

ME WHEN I WANT TO POST ABOUT MY STAR TREK OCS BUT I'M SCARED, SPOOKED EVEN, THAT IT WILL BE CRINGE AND THE MASSES WILL HATE THEM!!!

[tothechaos]

big name donors to the arts love nothing more than sitting right in the front row with their arms crossed and frowning the entire performance

[hemaris]

soooooo annoying how a year ago i was like hahaaaa leaving the legal sector FOREVER & now i'm like being a public prosecutor would pay really well though 🥺🥺🥺

[cypric-rat-hyperfixation]

this blog is absolutely batshit. imagine you get into in rats all the sudden so you convert a blank side blog into a space to hyperfixe and it just fucking takes off ? you don't even own rats you never have but you just fucking rise to one of the most popular rat blogs on the website inexplicably????

[gothicprep]

everything I know about what harvard students think I’ve learned against my will

[inariedwards]

What is cultural heritage? Where does it come from and what does it do for a society?

First, there is the actual heritage – the objects, statues, memorials, buildings, and a wide variety of cultural products, customs, and traditions. These elements are not inherently heritage; they have been made so. In a process of selection, these objects – not a wide variety of other ones – were chosen to carry a specific meaning for our society.

Secondly, there is a narrative dimension – the multitudes of ways we talk about this heritage, the names we give to it, the stories we tell. This, too, is about selecting whose stories we tell as part of our shared heritage. When approached from the colonial context, deciding who gets to have a voice becomes even more important.

Finally, there is what I call the cultural archive. This archive is not a physical place. It is the manifestation of the values, stereotypes, and sentiments that societies hold. It is also where the intangible heritage of colonialism lives on. The cultural archive includes the learned behaviours we repeat without realising their harmful nature. Our cultural heritage – the selected collection of objects, traditions, and customs that we have learned to cherish and the stories we repeat in association with them – is a crucial way the coloniality of this archive is reproduced and kept alive.

Johanna Turunen: European cultural heritage and the politics of decolonisation (link)

[despair-tea]

"should fighting games remove motion inputs" has always been the wrong way of looking at things. Should there be different input styles? of course! diversity for the genre is a good thing... and there HAVE been games without motion inputs for a long time.

But you look at a game like SSBM (an insanely popular, well-selling game that's still played today*), and it turns out that that game is way hard to play at any competent level for reasons that have nothing at all to do with inputting a quarter-circle.

Even if the special moves are easy to perform, there are going to be techniques that are difficult. Even basic things like "dash into up-tilt" (you have to turn around and make sure you don't get dash attack or up-smash, both of which will get you whiff punished) or "shorthop into back air" (you jump a little and hit back + A. or back-C. but actually hitting a moving player with it is another thing entirely! and whoops, you accidentally did a full jump so silly) are barriers from controlling your character the way you want. Meanwhile more traditional fighting games like DNF Duel or Pocket Rumble get passed up by exactly the audience that says they want simpler-to-input fight games.

Ultimately, I don't think the ease of use alone will make for a lively game that "casual audiences" will get more invested in (and if they get more invested, they're not casual anymore, right?).

That said, I think games like DNF, MBTL, and SF6 are extremely fun to play with Baby Beginner** players. The rules are more clear, they can use more of the tools immediately, and it's easier to see how they can have fun the next time.

This part is the most critical, to me. It doesn't matter if they're hardcore or casual - the moment a player decides to give up on your game forever is the moment they stop growing and their part of the game stops growing. 'Coz fight games are living things. They only live while we play them; simply acknowledging their existence without getting your hands dirty and playing the game does nothing for the game itself.

Personally, I want every game to thrive. That's why I play everyone's game. If I want other people to indulge me and help keep my games alive, then I need to pitch in and help bring their game to life, even if it's just a little bit. Are you playing your game in the corner of your locals and no one wants to challenge you? I'll fight you. Hit me up any time.

I'll accept any challenge, especially the ones I'd lose. All is for the sake of the culture!

*: nintendo may have deleted SSBM from the culture so sorry if no one's playing melee tomorrow **: a player who has just gotten their hands on the game or who has never put any serious effort in. maybe they "just want to mash buttons" or maybe they're picking up a game seriously for the first time ever and have just started their journey. at any rate, an important part of the community. not to be mocked.

[parelmoer]

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[mekatrio]

damn what a coincidence i was literally just researching lolicon phenomenon this week and now theres a kpop controversy abt it

[ofpolitics]

i swear, every time i go into satine's tag, looking for neat things to reblog, i'm disappointed and lose faith in fanon a little bit more.

[kad-dala]

Gaanla ca'nara adol mar'eyce gaa'tayl at solus aalar am.