#does the apostrophe matter

[caiabresebun]

i found a world where i was happy. at least... a version of me was.

[barrel-head]

☆ see u space cowboy!! ☆

[revenancy]

the 'writing/imagining stuff in your head' thing is SO REAL like I can't picture anything up there? it is like the void in my mind <3

I really struggle with visual descriptions sometimes because when I'm writing, there is no visual! i really have to practice and focus on when i do write purely descriptions and often forget to write them altogether or their placement feels unnatural

glad to see someone else talk about a similar thing!

honestly it's something i don't see discussed very often, and it's the kind of thing where i feel almost -- not like i'm actually being stigmatized but like there's a very real possibility that people will judge me incapable in some way for not being able to "see" vivid things inside my head, like that somehow determines my worth as a writer which is honestly just an absolutely wild thing to type with my own two hands

and i'm not completely aphantasic, either -- i still have rough visuals in my dreams, and i can almost picture things, but it really doesn't matter how vivid the description is: for the most part, words evoke emotions and sounds and feelings, but while i can jumble together a rough idea of something based on a description, it doesn't come naturally.

but that doesn't mean i (or you or anyone else who struggles with this sort of thing) can't write well -- it just means that we get the fun (/s) of having to go back and intentionally add visual descriptions (and toss them at people who don't have aphantasia like "hey can you tell me if you can visualize something from this--")

anyway all this to say that i am ALSO in the "oops! no visuals" camp where i have to sit down and go "alright what does this person/place/thing look like and how is that important in any way to my point of view character"

[bmpmp3]

(little bit of silence at the beginning because it wouldnt let me upload otherwise RIP) quick plug-and-play this-mix-is-ass-session-terminated type shoujo-a cover but (said in a hushed voice filled with wonderment and awe) soyogi........................................

(ust by Taketonbo)

[techno-rat]

i loeve writing . unfortunately I also hate writing

[margonaughts]

#gonna ramble in the tags #I understand why peeps ask for system variety #there are lots of systems that tell specific kinds of stories well #but the reverse is true too #5e does a *specific thing* very well #without spoiling the story #I want to simply say | *chose* 5e for this thing it does #not because it's the biggest or the easiest for the table or whatever other lazy reasons folks want to ascribe #the mechanics are a part of the story being told #that's always been true #it's still true here #DnD is the legacy of a certain kind of gaming #which came from the veneration of a certain kind of cultural lens #critiques of DnD and the stories told inside that system center on how the mechanics center those cultural perspectives #knowing that there's a wide world of systems to pick from #I just hope y'all trust that there's a point to this choice #and if you watch and think I'm trying to say something #you're probably right #and if you think I still could have made a different choice in the end #lemme know #| love being introduced to new systems

Tags by @quiddie

For those asking: It's 5e because Aabria is tired of playing nice and wants to kill some stoats

Hope this helps 😊

[valeriehalla]

actual writing advice

1. Use the passive voice.

What? What are you talking about, “don’t use the passive voice”? Are you feeling okay? Who told you that? Come on, let’s you and me go to their house and beat them with golf clubs. It’s just grammar. English is full of grammar: you should go ahead and use all of it whenever you want, on account of English is the language you’re writing in.

2. Use adverbs.

Now hang on. What are you even saying to me? Don’t use adverbs? My guy, that is an entire part of speech. That’s, like—that’s gotta be at least 20% of the dictionary. I don’t know who told you not to use adverbs, but you should definitely throw them into the Columbia river.

3. There’s no such thing as “filler”.

Buddy, “filler” is what we called the episodes of Dragon Ball Z where Goku wasn’t blasting Frieza because the anime was in production before Akira Toriyama had written the part where Goku blasts Frieza. Outside of this extremely specific context, “filler” does not exist. Just because a scene wouldn’t make it into the Wikipedia synopsis of your story’s plot doesn’t mean it isn’t important to your story. This is why “plot” and “story” are different words!

4. okay, now that I’ve snared you in my trap—and I know you don’t want to hear this—but orthography actually does kind of matter

First of all, a lot of what you think of as “grammar” is actually orthography. Should I put a comma here? How do I spell this word in this context? These are questions of orthography (which is a fancy Greek word meaning “correct-writing”). In fact, most of the “grammar questions” you’ll see posted online pertain to orthography; this number probably doubles in spaces for writers specifically.

If you’re a native speaker of English, your grammar is probably flawless and unremarkable for the purposes of writing prose. Instead, orthography refers to the set rules governing spelling, punctuation, and whitespace. There are a few things you should know about orthography:

English has no single orthography. You already know spelling and punctuation differ from country to country, but did you know it can even differ from publisher to publisher? Some newspapers will set parenthetical statements apart with em dashes—like this, with no spaces—while others will use slightly shorter dashes – like this, with spaces – to name just one example.

Orthography is boring, and nobody cares about it or knows what it is. For most readers, orthography is “invisible”. Readers pay attention to the words on a page, not the paper itself; in much the same way, readers pay attention to the meaning of a text and not the orthography, which exists only to convey that meaning.

That doesn’t mean it’s not important. Actually, that means it’s of the utmost importance. Because orthography can only be invisible if it meets the reader’s expectations.

You need to learn how to format dialogue into paragraphs. You need to learn when to end a quote with a comma versus a period. You need to learn how to use apostrophes, colons and semicolons. You need to learn these things not so you can win meaningless brownie points from your English teacher for having “Good Grammar”, but so that your prose looks like other prose the reader has consumed.

If you printed a novel on purple paper, you’d have the reader wondering: why purple? Then they’d be focusing on the paper and not the words on it. And you probably don’t want that! So it goes with orthography: whenever you deviate from standard practices, you force the reader to work out in their head whether that deviation was intentional or a mistake. Too much of that can destroy the flow of reading and prevent the reader from getting immersed.

You may chafe at this idea. You may think these “rules” are confusing and arbitrary. You’re correct to think that. They’re made the fuck up! What matters is that they were made the fuck up collaboratively, by thousands of writers over hundreds of years. Whether you like it or not, you are part of that collaboration: you’re not the first person to write prose, and you can’t expect yours to be the first prose your readers have ever read.

That doesn’t mean “never break the rules”, mind you. Once you’ve gotten comfortable with English orthography, then you are free to break it as you please. Knowing what’s expected gives you the power to do unexpected things on purpose. And that’s the really cool shit.

5. You’re allowed to say the boobs were big if the story is about how big the boobs were

Nobody is saying this. Only I am brave enough to say it.

Well, bye!

[pearlean]

arcadia - a gshade preset

after much tweaking, i give you another preset! - a blend of mango's feel and gleam's vibrant hues, arcadia brings a dynamic, comic atmosphere, breathing life to both cas and gameplay

more previews here

download + info under cut ↘

download: patreon (free)

disclaimer:

- incompatible with edge smoothing as it conflicts with some effects

- if the preset looks off -> check the repository for missing fx - here is arcadia's fx list & order (order does matter!)

notes:

- untoggled effects = not recommended gameplay

- this preset uses vyxated's clear ui shaders; i highly recommend downloading it for gameplay use

- avoid using bright cas backgrounds, as 'bloom' can overly enhance the glow - adjust/toggle to mitigate

toggle keys:

depth haze: 7

magic bloom: numpad 7

quint bloom: numpad 8

chromatic aberration: numpad 5

relight: numpad 6

adof + cinematic dof: semicolon ;

comic: apostrophe '

halftone + posterize: O

kuwahara: F12

mxaos: L

tracking rays: forward slash /

clear ui: numpad decimal .

tou:

feel free to use it as you please - please do not steal/claim this as yours, place it behind any paywall, or use it as a base.

[personnage-neutre]

"Tintin, quel âge as-tu ?"

Today marks 96 years of The Adventures of Tintin, and readers have spent at least the last 78 of those years asking the same question: "How old is Tintin?"

The series is infamously coy about giving a definite answer, as was its creator, but I argue in the first part of this post that 1) there was indeed a specific intended age range for Tintin and 2) it is very much possible, using evidence from many different sources including the albums themselves, Tintin magazine, other BDs of the time, and interviews with Hergé, to say exactly what that age range was. Let me be very clear: I'm specifically making an argument about how old Hergé saw him as and how old Hergé wanted him to be seen as.

The second part is less concrete; it presents how a few scholars have interpreted the ambiguity of Tintin's age, plus some of my own thoughts about it that build on their claims. That part is less trying to find an answer to the age question and more trying to explain why his age is so much in question.

This is a long post.

I. Intent

Official sources

When asked about Tintin's age in a 1960 interview for Cinq colonnes à la une, Hergé judged that "il doit rester aux environs de quinze ans" ("he must still be around 15 years old," 0:33-0:44).

In 1962, he gave a very similar response on the Canadian program Premier Plan: "Une quinzaine d'années ? Quinze ans, seize ans, je ne sais pas, moi" ("About 15? 15, 16, I don't know"). "Donc c'est l'adolescent" ("So he's a teenager"), pursues the interviewer, and Hergé answers with a firm yes.

Nearly ten years later, in 1970, he added some nuance: "What age do I give him? I don't know... 17? In my mind, he was about 14 or 15 when I created him, a Boy Scout, and he practically hasn't budged. Let's say that he's picked up three or four years in forty years... All right, let's take the average: 15 plus 4, 19." (translation mine)

In 1979, his interviewer on Apostrophes preempted him on the age question, saying that "c'est un reporter de quinze ans" ("he's a 15-year-old reporter"). Hergé agreed: "C'est ça, à peu près" ("That's right, more or less").

Today, the official Tintin website run by Moulinsart declares him to be "Seize, dix-sept ans (dix-huit tout au plus !)," that is, "16, 17 years old (18 at most!)."

Responses to reader questions in the Journal Tintin

Early in the Journal Tintin's run, between 1946 and 1954, readers who wrote in with questions had a chance to see the responses to their letters published in the magazine each week. Supposedly it would be Tintin himself who was answering - questions addressed to him would be answered in first person, which probably only increased the urge to ask about personal details. So there were naturally many questions about his age, which provoked a range of responses.

Who was actually answering the letters? It's hard to say. But seeing as the responses were being published in the official Tintin Magazine as the voice of Tintin himself, Hergé would surely have been at least consulted on questions concerning his character, especially as the team running the magazine was still very small when it was regularly publishing responses.

The most common response was to dodge the question entirely. The stock phrases were "Qu'importe mon âge ?" and "Tintin n'a pas d'âge !" ("What does my age matter?" "Tintin has no age!").

In a small number of cases they related Tintin's age to that of his readers; an 11 1/2 year old was told that Tintin can be "l'âge que tu souhaites : entre dix et vingt ans !" ("whatever age you want: between 10 and 20!", 1953), and for a couple others, where the age of the writer wasn't listed, Tintin's age is "un peu plus que le tien" ("a little older than you," 1951) or "un peu moins que le double du tien" ("a little less than twice your age," 1950). The target audience of the Journal Tintin - as it was for the Petit Vingtième, and for comics magazines of the time generally - was 8-15 year olds.

The only definite answer that appeared with regularity put Tintin's age between 15 and 20:

(TIntin nos. 19, May 8, 1947; 26, June 26, 1947; 6, February 5, 1948; 2, January 12, 1950; 9, February 27, 1947. The second and third examples also have Tintin declare that "I've travelled so much that I no longer remember where I was born," a fine example of the de-Belgicanization he underwent after the early years.)

("As I've already told several of my friends, I'm older than 15 but younger than 20." (1947) "My age? Let's say 15… or a little older." (1947) "My age? Between 15 and 20 years old." (1948) "Tintin? He has no age! Seeing him move about, he seems to be about 15." (1950) "I'm not yet 20 but I'm older than 15." (1947))

Real-life incarnations of Tintin

When the end of Soviets was celebrated with "Tintin" arriving at the Gare du Nord in Brussels, the role was played by 15-year-old Lucien Pepermans. When the event was repeated for the end of Congo, two years later, Pepermans was replaced by Henri Dendoncker, age 14. About thirty years after that, Jean-Pierre Talbot was declared Tintin's spitting image at 16 ("Same age, same silhouette, same face, same hair," reads the announcement of his casting in the Journal Tintin). He was 20 at most when Blue Oranges (released 1964) was filmed. Hergé told Numa Sadoul that he unconsciously based Tintin in Soviets on his younger brother Paul, who was 16 when it started. Additionally, Palle Huld, often cited as an inspiration for Tintin, completed a tour of the world in 44 days in 1928 at age 15 (and in plus-fours).

(Lucien Pepermans, Henri Dendoncker, Jean-Pierre Talbot, Palle Huld)

In the play Tintin et le mystère du diamant bleu (1941), which Hergé was very involved in the writing and production of, the role of Tintin was played by Mlle. Jeanne Rubens, a woman - a common theater trick for portraying young boys. He was played by a woman again in Radio Luxembourg's 1950s audio adaptations: Claude Vincent, "qui interprétait à merveille les rôles d’enfants et d’adolescents" ("who played children's and adolescents' roles wonderfully"), was the voice of Tintin. Sadly those broadcasts appear to be lost, but she can still be heard in the likely similar role of Alix.

(Shared on forum-tintinophile.com, "Tintin aux Indes, ou le mystère du diamant bleu." Certainly the only adaptation that got his height difference with the Thompsons right.)

In 1959, the Journal Tintin invited readers who thought they looked like Tintin to send in their pictures; five candidates for "Tintin's lookalike" were chosen by the magazine and presented to the readers for them to vote on. The winner was a 15-year-old, and while the ages of the other contestants aren't listed, they appear to be the same age or younger.

(Tintin nos. 25, June 24, 1959 & 31, August 5, 1959)

Comparisons with contemporary characters

Mainstream BD in the first half of the 20th century was not particularly inventive, especially as it was contending with its relative youth as a medium, a focus on the children's market, and, especially after WWII, heavy scrutiny from both religious and secular moral watchdogs. In the specific case of the Journal Tintin, Hergé's iron-fisted artistic direction in the early years led to a high level of artistic homogeneity across the magazine, while restrictions on the types of stories that could be told (from both the threat of censors and expectations about reader interests) limited variety in plots, characters, and settings.

All that is to say that a lot of what was being published alongside Tintin in the 40s and 50s looked more or less like Tintin, and even was likely directly modeled on it, which makes it useful for comparison. The protagonists of the time can be generally divided by age into children, the "15-20" range, young men, and middle-aged men. Each category is visually distinct (comics are a visual medium!) and each results in a slightly different kind of story with different character dynamics.

Here's Tintin with a couple of the teenage protagonists that appeared alongside him in his magazine:

(L'Affaire Tournesol (1956), p. 51; La Griffe Noire, Tintin no. 6, February 5, 1958; Les Deux Visages de Kid Ordinn, Tintin no. 1, January 2, 1957)

Hergé's no. 2 collaborator Jacques Martin created Alix (center, 1948), a Roman Gaul confirmed to be 16 in the original albums. Chick Bill (right, 1955), who in looks and narrative role is effectively just Tintin as a cowboy, is identified (by none other than Franquin) with the 15-20 age range. Some shared visual markers of their youth are a short and slight build, rounded shoulders, a round head, and a soft jawline. While all very independent, they are all three semi-accompanied by a much older man and a child sidekick.

Now, here are some examples of characters from the next age range up:

L'énigmatique Monsieur Barelli, Tintin no. 44, November 2, 1950; L'ouragan de feu, Tintin (Kuifje) no. 37, September 15, 1960; Défi à Ric Hochet, Tintin (Kuifje) no. 8, February 25, 1964)

Hergé's no. 1 collaborator Bob de Moor had a humor-adventure series using the same style as Hergé, but his character, stage actor Georges Barelli (left, 1950), is a grown man. Martin's second series was required by publishers to somehow be a modern AU of Alix, but Alix's counterpart, reporter in the same way that Tintin is a reporter Guy Lefranc (center, 1952), is clearly older than him. So-called reporter, really amateur detective Ric Hochet (yes, that's his name, right, 1955) is kind of an odd case; he started out a child, then looked basically exactly like Chick Bill (they were both drawn by the same artist, Tibet), then finally settled into his final form as a young man in his mid-twenties - a 1969 album places him at age 26. All three own their own cars (admittedly a moot point for Alix and Chick), and, compared to their teenage counterparts, they're much more likely to have friends and colleagues their own age instead of being supervised by someone older.

It should be clear from these six pictures that Tintin was not drawn in a way meant to make readers think he was an adult. And besides, there's really no reason to believe that Hergé, who once declared that "my primary objective is to be legible. The rest follows," would have chosen to give his main and titular character an appearance that was somehow deceptive. I'm prepared to say with confidence that Tintin looks young because he's supposed to be seen as young.

Textual evidence

For this section, I first look at a few ways that the albums actively present Tintin as a non-adult character. However, most of what follows is about showing that what happens in the albums does not contradict the argument that Tintin is intended to be a teenager. The Adventures of Tintin may be deceptively timeless, but not only is the series nearly a century old, it also was written during a time of extremely rapid and intense social, cultural, and technological change. Consequently, I want to make sure that I'm not judging the past with the attitudes of the present; in order to put the series in its proper context, I try to identify viewpoints and conventions expressed in texts created at the same time (and, when possible, by the same author) to see if a teenaged Tintin fits in with them.

In looking over how other characters refer to him across the albums, one sees that Tintin's most distinctive feature to those around him is his youth. This is, I think, more visible in the original French, where other characters address or describe him with a whole array of words commonly used for children: jeune homme, (jeune) garçon, gamin, galopin, blanc-bec, enfant de choeur, fiston, freluquet, moussaillon, (mon) petit (used as a noun), and morveux, not to mention many, many instances of characters appending "jeune" or "petit" to another word ("reporter," for instance). In English, he's variously (a) young man, (young) boy, kid, boyo, whippersnapper, wonderboy, lad, brat, puppy, young fellow-me-lad, and cabin-boy, along with liberal use of the corresponding adjectives "young" and "little." (I've collected specific panel examples for reference in another post.)

As @professorcalculusstanaccount has pointed out, there's no question of Tintin being called up for the draft as Haddock is in Black Gold; that album also contains the only example of Tintin's competency being questioned because of his age, on page 7: "So you're the new radio officer... You look a bit young to me..." (There's one similar remark, in America, after Tintin is injured in a car accident on page 6: "The poor kid..." "He looks so young...") Him not being called to war is particularly striking because Belgium historically required young men to do compulsory military service at age 18 or 19, after which they would be enrolled in the reserve army (p. 274). Thanks to a hard-to-translate joke in the original French for Emerald (below), we know that military service exists in Tintin's world and that the Thompsons have done theirs; Hergé did his at age 19, and then was called up from the reserves in 1939, interrupting the magazine publication of, precisely, Black Gold. Given his longtime anti-war stance and the peace sign sticker he wears in Picaros, though, one can easily imagine Tintin becoming a conscientious objector after it was legalized in 1964 - but by 1964, most of the series was already over.

(Les Bijoux de la Castafiore, p. 37)

He also doesn't dress like an adult: the plus-fours look very childish after the 1930s, as @illegally-blind-and-deaf pointed out. He also never wears a proper hat, only a flat cap in a few early adventures, and from Temple on (that is, after 1948) he runs around in his shirt and sweater with no tie or jacket. Some of that can be put down to the importance Hergé placed on his characters being maximally recognizable, but it certainly doesn't make Tintin look any older - look at a few of Hergé's crowd scenes and compare how the background characters are dressed.

Next, he doesn't seem to ever need to shave. In fact, in the original French for Black Island, Tintin remarks that the bad guys have gotten away "à mon nez et à ma barbe," an expression equivalent in English to "right under my nose" but literally "at my nose and at my beard," to which Snowy incredulously responds "Your beard? What beard?"

(L'Île Noire, p. 29)

It's true that nearly everyone who meets Tintin, including his adult friends, addresses him respectfully with the formal pronoun "vous" instead of with the informal "tu," as you typically would for someone much younger than you. However, Pierre Assouline attributes this to a dislike of over-familiarity on Hergé's part, citing him as saying that "Le tutoiement est la fausse monnaie de l'amitié" ("Using 'tu' is the counterfeit money of friendship").

(There are a few moments where Haddock slips and uses tu with Tintin, but I won't go into them here. Suffice to say that the majority of them are indeed moments where he's treating Tintin more as a child.)

Much has been made of Tintin's nonchalance about drinking alcohol as proof of adulthood, but evidence from other BDs indicates that this perception is a result of a shift away from historically looser attitudes towards drinking. Early comics for children frequently carried moralizing messages, but there's no marked moralizing present around youths drinking like there is around them smoking.

Compare, for example, the difference in tone between these two Quick & Flupke pages, where the kids are sternly warned off from tobacco...

(Originally published in Le Petit Vingtième nos. 4, January 28, 1932 & 43, October 24, 1935)

...Versus this gag, where Flupke's own relatives getting him drunk on New Year's over his protests is played entirely for humor.

(Le Petit Vingtième no. 1, January 3, 1935. "Tu es un homme et tu dois boire!")

There was even a follow-up comic at the same time the year after, in which Flupke imagines the alcohol he'll be plied with on January 1st and attempts to move to the North Pole to avoid it.

If a kid as young as Flupke is being given alcohol, then Tintin really doesn't have to be much older to be drinking as well. In fact, one might even note an echo between Flupke's reluctance to drink here and Tintin's in Picaros, when he's pressured to take a swig of whisky by Arumbaya custom (p. 34). On the other hand, since Quick and Flupke are so young, the ban on smoking is stronger for them. Tintin is old enough to occasionally be offered a cigarette, but still young enough that he always must refuse: Hergé was adamant that Tintin remain a good model because of the children who identified with him, while Haddock smoking his pipe, for example, never raised the same issue.

Beyond that, for a non-Hergé example and a later one (from 1960), here's child tennis prodigy Jari, hero of an eponymous strip in the Journal Tintin. He's just bicycled from Belgium to the Netherlands and wants a refreshment, so he goes to a drink stand and orders a beer - and no one bats an eye. Similarly, the only alcohol that Tintin orders casually, in a cafe or pub, is beer (Golden Claws p. 2, Black Island p. 41).

(Jari et le Plan Z, Tintin (Kuifje) no. 40, October 6, 1960)

At the same time, this relaxed attitude has limits. Tintin won't share a friendly drink with Haddock, for example when returning to Marlinspike after an excursion (though Haddock pours two glasses anyway in Affair (p. 3)). Calculus scolds Haddock severely when he thinks that Haddock has given Tintin champagne at breakfast in Tibet (p. 4: "Vous avez bien tort de lui faire boire du champagne de grand matin, à ce garçon !…"). Later in that same album, Haddock drunkenly warns Tintin against alcohol, telling him it's "very bad for young people like you!" (p. 38).

Next, while Tintin is undeniably capable of driving a car, there's actually no indication outside of the earliest stories that he can legally drive. (A quick Google search also tells me that Belgium has historically been notoriously lax on road safety.) At no point after the first four albums - that is, after Hergé became interested in telling a story that makes logical sense, a development typically placed at Blue Lotus - does Tintin drive a car that was acquired legally, not commandeered or outright stolen. (In Soviets and Congo he buys a car; in Cigars he drives the two Rajaijah victims to the asylum, though I doubt anyone was worried about him getting pulled over in the jungle.) On the few occasions where there isn't an emergency, it's always Haddock who drives; see for example Crystal Balls or the few pages of Thérmozéro. When Tintin finally gets a vehicle of his own, in Picaros, it's... a motorbike, which one can get a license for at a younger age than for a car. And in Alph-Art, where the motorbike plays a much larger role, Haddock still drives Tintin into town (p. 25) - and then gets left in the car while Tintin investigates!

Hergé also apparently didn't think flying a plane was particularly difficult. In Jo et Zette, one of his other series, Hergé has little Jo be able to fly his father's "Stratonef" and even land it from a glide, despite only ever hearing his father talk about how to fly it. Over the course of the two-part story (Le Testament de M. Pump and Destination New-York), Jo manages multiple successful flights - more than Tintin ever does! - despite unambiguously being a child.

(Destination New-York, p. 41)

And as with the cars, every plane Tintin ever flies is stolen, so whether he has a legal license or not really doesn't matter.

The same goes for his guns. In all but the first albums and Ear where, surprised in his flat, he really does pull a revolver out of nowhere, Tintin's guns are explicitly either given to him or taken from a disarmed enemy. The series doesn't make a point of him owning and carrying his own gun - just the opposite. And while it seems to us now that Tintin has a lot of firearm use for a children's comic, proficiency with guns was honestly a genre expectation for all adventure heroes of the time (just don't put a gun on your cover). For example, Chang, who from his introduction on acts like a second Tintin, wields a pistol at the end of Lotus and is even implied to be the one who makes the shot that breaks Didi's sword despite appearing even younger than Tintin. (See also the previous section of this post; Chick Bill is carrying a gun in the picture I included.) What's more, the gunplay in Tintin is actually a step down from its predecessor Totor, where Hergé's titular Boy Scout kills a man with a rifle shot to the face.

In short, Tintin is able to do a lot of things he shouldn't legally be able to do by simply not doing them legally.

The fact that Tintin lives alone isn't necessarily a mark of maturity either. It's hardly uncommon for a young adventure protagonist to be unusually unsupervised; it's effectively a demand of the genre. Hergé learned why that is from experience when he created Jo et Zette for the editor of the French, ultra-Catholic children's magazine Coeurs Vaillants, who had raised concerns about how unrealistic Tintin was. In Hergé's own (translated) words:

(From Entretiens avec Hergé, reproduced & translated in The Comics Journal no. 250, p. 191)

Parents are a nuisance, one that Hergé was only too happy to dispense with in Tintin's case. And besides, Tintin isn't completely alone forever; with the introduction of the Marlinspike "family," not to mention Marlinspike Hall itself, during the war, he at least ends up with a home and some adult supervision, however dubious it may be at times.

As for his schooling, according to a report on the Belgian education system from 1932, education was only compulsory there (not to mention free) from ages 6 to 14. That same report records that in 1928, the number of students in the higher level of secondary education - corresponding to high school in American terms - was only 1% of the number of students enrolled in compulsory primary school. Even adjusting for the fact that primary education enrolls children for twice as long, the percentage is still a paltry 2.6%. And then the number of students in university that same year was only about three-quarters of the number of students in secondary education.

What that means is that at the time when Tintin was getting started, only very, very few people stayed in school beyond age 14. Hergé himself was one of those few, but to many of his readers in the early years, the idea that Tintin was already working at age 14 or 15 would have been not just reasonable but recognizable - especially as he has no apparent family to support him. (Not that Tintin isn't knowledgeable: judging from the number of books in his apartment, we can presume that he's quite the autodidact.) Of course public education was broadened after WWII, but by then the character was already firmly established.

As for how Tintin is already a reporter, well, Hergé freely admitted that he gave him the job just because that's what he thought was cool at the time. "Of course it was a pretext," he said on British radio in 1977. (The announcer for that interview describes Tintin as "a 16-year-old Belgian boy with a strange lick of hair, a pair of plus-fours, and a terrier." In it Hergé, questioned about the outsize success of his series, responds that for him "he [Tintin] keeps to be a little boy. Only that.") The tone of the series would be very different if Tintin were just an office clerk or a paperboy, after all - and besides, all but the youngest readers of Le Petit Vingtième would have understood that it's not a real newspaper, just a little children's magazine, so the idea of it having its own official reporter was not to be taken fully seriously.

It's important to remember that our current cultural idea of the teenager as a separate, unique stage between childhood and adulthood was largely a post-WWII American innovation - in fact, the word "teenager" only entered popular use in the 1940s. By contrast, fully half of the Adventures of Tintin (up to the first 2/3 of Crystal Balls) were written either before or during WWII. Hergé himself, born in 1907, began submitting illustrations to a magazine (Le Boy-Scout) at 14, was hired at the Vingtième Siècle at 18, created Totor and did his military service, reaching the rank of sergeant, at 19, and before turning 22 had been given full responsibility for creating and running the Petit Vingtième, gotten engaged to his first wife, Germaine Kieckens, and created Tintin. Being young looked different then.

To close this section I'll also note that, as far as I can tell, positioning Tintin as a teenager never seemed to pose much of a problem to anyone reading the series while it was actively running. Anecdotally, nearly every published source I've read takes for granted that he's an adolescent, and an exception like writer of multiple books on Tintin Renaud Nattiez saying on the air in 2016 that he thinks Tintin is at least 22 (~03:30-03:50) seems to be a uniquely 21st-century development.

TL;DR: Everything I can find indicates that Tintin was always intended to be around 15, and never older than 20, years old.

II. Interpretation

Finally, it's important to not overstate Hergé's commitment to realism. At the end of the day, Tintin can do whatever the story needs him to be able to do, because he's the protagonist of a very straightforward adventure serial. He's always been aspirational, even for Hergé himself: "Tintin is me the way I'd like to be: heroic, flawless." And yet Tintin, victim of its own success, has always been held to a higher standard of realism than its fellow comics, not to mention a higher level of scrutiny in general. Even if, as I've tried to demonstrate, Tintin's feats aren't entirely out of the range of possibility (or at least the norm for comics characters) for his time period, I'm not arguing that he's supposed to be a perfectly accurate representation of the average boy of any point in the mid-20th century. I also don't deny that he typically does act like an adult. So the guiding question here is: How can this dual nature of Tintin's - his adolescent status and adult aspects - be interpreted?

Jean-Marie Apostolidès writes that as "il unifie dans sa personne deux aspects opposés de l’existence, l’enfance et l’âge adulte" ("he brings together in his person two opposing aspects of existence, childhood and adulthood"), Tintin represents "un mythe réconciliatoire" ("a reconciliatory myth") of which the "fonction implicite est de ressouder entre deux générations une confiance brisée" ("implicit function is to mend a broken trust between two generations"). He names this type of child-adult character the "surenfant" ("superchild"), and argues that it is specific to the 20th century and the cultural shock of WWI.

For Pol Vandromme, who wrote the first book of analysis on Tintin (or on any BD), Tintin is simply a perfected version of the teenage boy, one that other teenage boys can aspire to. First, he cites as conventional wisdom that Tintin is around 15, and concludes that "c'est dans tous les cas un adolescent" ("in any case he's a teenager"). While Vandromme accepts that Tintin is presented as a teenager, he also points out that Tintin doesn't represent the experience of being a teenager; Tintin "ne présente [...] que les apparences de l'adolescence" ("only displays the appearance of adolescence") because he's so self-assured and stable, traits antithetical to "l'époque de la métamorphose" ("the time of metamorphosis") that is adolescence.

And yet "il [Tintin] demure malgré tout suffisamment proche pour que les garçons se disent qu'ils auront un jour la chance de lui ressembler, d'imiter son style de vie. [...] Ce que Tintin propose à ces garçons de quinze ans, c'est la figure achevée de leur âge. Il les venge de leurs insuffisances" ("he [Tintin] remains all the same close [i.e. similar] enough that these boys tell themselves that one day they'll have the chance to be like him, to imitate his way of life. [...] What Tintin offers to these 15-year-old boys is the perfected version of their age [group]. He makes up for their shortcomings"). Consequently, having put themselves in Tintin's place, these boys "ont l'illusion d'être déjà de la tribu des jeunes gens qui ont découvert dans leur sac de voyage les clefs qui ouvrent les portes de la fable du monde" ("have the illusion of already being part of the clan of young people who have discovered in their travel bag the keys that open the doors of the world's fable"). In plainer language, being able to identify with Tintin as an apparent peer lets teens imagine themselves as being more capable and powerful than their age allows in reality, an attractive illusion.

I'll add that the static quality of Tintin as a character that Vandromme identifies is dictated by the form of the series. When presented with a teenage protagonist in a work, the novelistic expectation is that what follows will be some kind of bildungsroman, where the events of the story will push the protagonist to change and mature into adulthood. However, I believe that it's a mistake to approach The Adventures of Tintin as a novel when it is fundamentally a serial - even late in his career, when he didn't need to do prepublication anymore, Hergé's approach to plot was still oriented around the page-a-week format. Serial characters, as a rule, change very little. Tintin gets compared to Sherlock Holmes more than once in the series, and it's also true on a meta level: Holmes has a few minor moments of character development, but he largely remains exactly the same over the course of Conan Doyle's stories, which were likewise published in a magazine. In a true serial, the status quo is god, because the main aim of the serial is to perpetuate itself - theoretically forever. And so Watson always finds a reason to return to Baker Street, and Tintin never gets old enough to think of settling down and getting a real job.

Like Holmes, Tintin does change and grow somewhat as a character over the course of the series, but also like Holmes, that growth is not a planned arc with an endpoint, as you would expect in a novel. Instead, it's just a result of Hergé himself maturing and changing. In his contribution to L'archipel Tintin, Benoît Peeters notes that "Grande est la tentation, pour beaucoup, de lire la série comme une totalité, un monument où tout signifierait" ("The temptation is great, for many, to read the series as a totality, a monument where everything has meaning"). And yet he declares that "si accomplies soient-elles... Les Aventures de Tintin se sont élaborées en l'absence de tout grand dessein" ("however polished they may be... The Adventures of Tintin were created in the absence of any grand design"), citing the testimonies of both Hergé and those who knew him at the beginning of the series. Hergé never really had a plan for Tintin as a character; he really did just put him in situations over and over again for a little more than fifty years. However, now that the series is only read in album format and serial publishing is less common, the "temptation" Peeters describes is even stronger. This mismatch in narrative expectations may be part of why modern readers might struggle to view Tintin as a teenaged character.

There's one more element to Tintin's strangeness: the world of the series was built around Tintin himself to facilitate his adventures. Vandromme recalls the fact, so obvious that it's easily forgetten, that "Tintin étant ce qu'il est et ne pouvant être un autre, infléchit l'intrigue d'une certaine manière. [...] Remplacez Tintin par le père Fenouillard et il vous faudra modifier l'album de fond en comble. Dans un roman les personnages déterminent les événements avant d'être déterminés par eux" (Tintin, being who he is and unable to be anyone else, influences the story in a certain way. [...] Replace Tintin with the father of the Fenouillards [character from a 19th-century comic about the misadventures of a French family abroad, n.b.] and you'll have to change the album from top to bottom. In a novel, the characters define the events before the events define them"). This point is especially relevant to Tintin given that the series' beginning was, to put it mildly, haphazard. Starting from Soviets, where Tintin is alone with his dog in a bizarre world where he can sneeze down a sewer grate, cut down a tree with a pocketknife, or fistfight a bear - whatever it takes to keep the plot moving - set a precedent for the character: that Tintin, and nobody else, will always triumph over whatever enemy or obstacle he is faced with.

Because it's founded on Tintin himself, there are no real adults in the Adventures, and in fact there can't be any. Preserving Tintin's Soviets-era boy hero status as the world of the series became steadily larger and more realistic created a kind of 'competency warp' where Tintin, along with his young "doubles," Chang and Zorrino, is effectively always the most capable, the master of the situation, while those closest to him who are much older (the Thompsons, Haddock, Calculus...) tend to act rather childishly. I think it's telling that the 1946 introduction of Blake & Mortimer is often hailed in terms like these: that "pour la première fois, les héros n'étaient pas des enfants, mais des adultes responsables dont la psychologie était en parfaite harmonie avec leurs fonctions" ("for the first time, the heroes were not children, but responsible adults whose psychology was in perfect harmony with their roles," emphasis mine). All the major adult characters in Tintin had been introduced at that point, but apparently none of them qualified as "responsible" or properly suited for their positions.

Apostolidès similarly notes a deforming effect: "Tintin est un adolescent qui, sans jamais entrer dans l’âge adulte, rajeunit le monde en se confrontant à lui. Au lieu que le personnage se soumette passivement au monde adulte, s’intègre dans une histoire, vieillisse et meure, c’est l’univers extérieur qui se fige dans le temps au contact du héros" ("Tintin is an adolescent who, without ever entering adulthood, makes the world younger by confronting it. Instead of the character submitting himself passively to the adult world, fitting in to a history, getting older and dying, it's the outside world that freezes in time at the hero's touch"). Not only does Tintin resist adulthood himself, he also protects others from its effects.

There are characters who escape the warp, but they must stay on the very edges of Tintin's orbit. One example is the efficient and no-nonsense Mr. Baxter from the Moon books. He has a real job: he's director of the atomic center, and every time we see him he's actually doing it. He also remains disengaged from the antics of the Marlinspike crew, often exasperated and confused by them. They don't belong in his serious space program, and he doesn't belong in their funny adventure series - hence the clash. Another (and very different) example is Jolyon Wagg. I wish I could remember where I read it, but I once saw it pointed out that Tintin and Wagg almost completely ignore each other; their only direct interaction in the whole series is saying hello to each other exactly once (Emerald p. 17). The unidentified author's point was that Wagg inhabits a world so intensely banal, so different from Tintin's - one with community organizations, salesman jobs, an old mother, an Uncle Anatole, a wife and (a lot of) children - that the two can't even come into contact. Wagg may be almost preternaturally obnoxious, but he's also a genuinely ordinary man in a way that the major characters really aren't.

Tintin must remain the sole and main driver of action, because if he isn't, the series would have to change fundamentally. That means no other character can threaten his role by being more competent and responsible than him - and so the adults become ridiculous and/or irrelevant, and Chang and Zorrino are only allowed to act for one album each. And yet Hergé created Tintin as a teenager, and suggested that a Tintin who progressed past teenagerhood would also grow out of adventure: "Il est difficile, pour un personnage comme ça, à le faire vieillir. Parce que s'il vieillit, il va avoir vingt ans, il va avoir vingt-deux ans, il va rencontrer une jolie fille, il va se marier, il va avoir des enfants..." ("It's hard to make a character like that get older. Because if he gets older, he'll be 20, he'll be 22, he'll meet a pretty girl, he'll get married, he'll have children..."). Tintin passing into adulthood, 'real' adulthood, symbolized here by settling down and starting a family, would make the series just as unsustainable as demoting him to a more technically age-appropriate role would; both sides of the tension between Tintin's youth and his maturity are required to make him a proper adventure hero for children.

And so he remained, as he remains today, the world's most competent teenager.

[writingwithfolklore]

Punctuation Rules

Punctuation is like the very last thing I actively think about when writing something (what's the point of fixing the punctuation of a sentence you'll end up taking out or editing anyway?) but it is still an important step!

Having proper punctuation increases your credibility and the overall quality of your work. Also, it’s doubly important in professional work, emails, and resumes. With that, let’s get into it!

Commas

We use them all the time. We get them wrong all the time. There are six rules for where you can use commas:

Use to separate items in a list or series:

The book was long, tedious, and painful.

The comma after tedious is called the Oxford’s comma. Feel free to debate if you need it in the reblogs, but you won’t get in trouble professionally if you use it or leave it out (in most cases.) It always comes before ‘and’ in a list to prevent confusion of the items:

I ran into my mother, my best friend and a scientist. (1 person?)

Is very different from

I ran into my mother, my best friend, and a scientist. (3 people)

2. Use to separate independent clauses, with a coordinating conjunction.

An independent clause is just a sentence that makes sense on its own.

A coordinating conjunction is: and, but, or so.

Miley had a ton of work to do, so she set her alarm early.

3. Use after an introductory statement.

Introductory statements begin with many different words, but typically: Before, after, when, while, as soon as, etc.

Before her first class, Stacy looked up her prof on Rate Your Teacher.

Main point about this, “Before her first class” is not an independent clause, it needs a second part.

4. Use to surround info in a sentence

This info is not essential to the sense-making of the sentence, but it should be relevant.

Parents, no matter how skilled, cannot function at 100% all the time.

5. Addresses and Dates

6. And with direct quotes

Important for essay writing.

Casey said, “I hate this house!”

Colons:

Introduce a list after a complete sentence:

I have three favourite foods: spaghetti, chowder, and garlic bread.

2. Use after ‘the following’ or ‘as follows’

Please provide the following information: your date of birth, full name, and address.

3. Don't use with sentence fragments

A sentence fragment is an unfinished sentence (that doesn’t make sense on its own).

My favourite foods are: spaghetti, chowder, and garlic bread.

This is wrong because, “My favourite foods are.” Isn’t an independent clause.

4. Introduce an explanation

My parents ask one thing of me: that I try my hardest.

5. Introduce a quotation

Mom always quoted the bible: “The truth will set you free.”

6. And times (12:00)

Semi-Colon:

Not super common, but makes you look good if you can use it properly.

Separate two related independent clauses

I never drink Starbucks; it tastes burnt.

2. Similar, but with conjunctions: however, moreover, therefore, nevertheless, etc.

I don’t like Starbucks; however, it does the job.

Agatha didn’t witness anything; nevertheless, she was called in to court.

3. Use to avoid misreading in a series

The invited guests are the club leader; the treasurer; the new member, Jason Tanner; and Wanda Johnson, the investor.

Semicolons clarify the separation between the four people. Had it been, “The club leader, the treasurer, The new member, Jason Tanner…” it would seem that the new member and Jason Tanner are two different people.

Apostrophes – Possessive

‘s shows possession of a singular noun

The girl’s parents were quite rich.

2. S’ shows possession of a plural noun

The students’ books were all over the place. (there are multiple students who have books)

3. ‘s to singular words ending in s, and nouns that are plural

My boss’s office My children’s toys

Apostrophes – Contractions

Use to combine two words (they are, he is, there is, etc.)

It is -> It’s a beautiful park They are -> They’re really good friends You are -> you’re good at this and so on.

[literaryvein-reblogs]

more commonly confused words

this time, with examples

affect vs. effect

Usually affect is a verb meaning "to influence," and effect is a noun meaning "result." But effect occasionally is used as a verb meaning "to bring about."

Example: Social activities may affect your grades, but the effect should be small!

than vs. then

Than is used to indicate a difference between two things and is usually used in the phrases “more than” or “less than.” Then indicates a sequence of events or items.

Example: The data indicates that Americans work more hours than Europeans.

Example: Add the butter then the sugar to make the cookie dough.

farther vs. further

Farther refers to additional distance, and further refers to additional time, amount, or other abstract matters.

Example: You may be further from an "A" than you think, so when you study, go no farther than the best place to concentrate.

loose vs. lose

Loose means that something is not firmly in place or could be removed easily. Lose means to no longer have something or to have misplaced it.

Example: This bracelet is loose on my wrist; I hope I don't lose it again.

its vs. it’s

Its is the possessive of “it,” and unlike other possessives, does not use an apostrophe. It’s is the contraction of “it is” or “it has” and is never used to mark the possessive. 

Example: It’s been many decades since the college changed its graduation requirements.

less vs. fewer

Less refers to bulk amounts and uncountable items, or nouns that can’t be quantified by just putting a number in front of them. Fewer refers to countable items, or nouns that can be quantified just using a number.

Example: After inventory, there are fewer guavas and less flour than we ordered.

entitled vs. titled

Entitled means to have a right to do or have something. Titled refers to the name or label of something.

Example: I feel entitled to own this book, because it is titled “Dimitri” and that’s my name also.

between vs. among

Between is used when two things are concerned (the word comes from "by twain" in Middle English), while among is used when more than two things are concerned.

Example: Between you and me, these mistakes are common among all of us.

feel vs. think

In common usage, feel means to sense, to be emotionally affected by something, or to have a general or thorough conviction. Think means to use reason or to examine with the intellect.

Example: I think that you can write better than you have, though I feel encouraged by the improvements in your writing.

which vs. that

Use that in restricting (limiting) clauses: "The rocking chair that creaks is on the porch." In this sentence, one rocking chair is singled out from several – the one that creaks.

Use which in nonrestrictive (in effect, parenthetic) clauses: "The rocking chair, which creaks, is on the porch." In this sentence, the fact that the rocking chair creaks is tossed in; it is not added for the purpose of identifying the one chair out of several. 

Important Note: Use who for people, in both restrictive and nonrestrictive clauses.

A technique that can improve your writing is proofreading, which can show you unintentional errors.

since vs. because

Since is often used to mean because: "Since you ask, I'll tell you." Its primary meaning, however, relates to time: "I've been waiting since noon." Most people now accept since in place of because; however, when since is ambiguous and may also refer to time ("Since he joined the navy, she found another boyfriend"), it is better to say because or after, depending on which you mean.

Example: Because you are intelligent and careful, your writing has improved since the beginning of this course.

commonly confused words part 1 ⚜ Writing Resources PDFs

[arecaceae175]

Hello! I noticed that some of your fics on Ao3 are tagged "Screen Reader Friendly," and I wondered what makes a fic screen reader friendly. Is it just about formatting, or does content matter too?

Hi, thank you so much for asking this question!!! Disclaimer I am not visually impaired so all of this information I have learned by seeing blind or visually impaired people talk about this issue.

It’s primarily formatting! I’ll list everything I do to try to make my fics accessible here.

Line breaks!!! Use the ao3 line break code instead of adding a bunch of symbols. This is the biggest thing I had to change once I realized my fics were not screen reader friendly.

HOWEVER some screen readers won’t pick up on the horizontal line, either. Another good option is to use a short series of symbols, for example: “~~” or “- - -“

Basically, just don’t use more than three symbols in a row. I used to use “~~~/\~~~” with a delta symbol in the middle to look like the triforce, but a screen reader would see that and say “asterisk asterisk asterisk delta asterisk asterisk asterisk” which is pretty annoying lol

Most screen readers don’t differentiate between regular text and bold/italics. It’s fine to have those in your story, but if the bold/italics significantly changes the plot or the implications of a sentence then it is not screen reader friendly

Screen readers can’t describe a line break that is just an empty space. For example, in one of my fics I have a character reading a note, and I have an extra ‘return button’ space before and after the note to make the note distinct from the rest of the text. To make that fic more screen reader friendly, instead of just an empty space, I wrote “[Line Break]”. That way, a screen reader can say “line break”, and readers still recognize it as a line break

If you have any sort of chat fic (AND this goes for hashtags on tumblr too!) with screen names, be sure to distinguish the separate words in the screen name. You can do this with by capitalizing the first letter of each word like this “ScreenNameHere” or with dashes in between each word “screen-name-here”. That helps screen readers and also people with things like dyslexia who have trouble distinguishing words if they aren’t capitalized or separated in some way.

Screen readers can read image emojis like this smiley face 😁 because they have embedded alt text, but they can’t read text emojis as an emoji, like this one “:D”. If you use any of those in your fic, add a description like this: “ :D [Image description: text emoji of a smiley face with a big, open mouthed smile. End description].”

Also, this one doesn’t have to do with a screen reader, but if you have an image embedded in your story, keep these things in mind:

Be sure to describe the image so anyone who is blind or visually impaired can still experience the image. I don’t think it’s possible to add alt text to the actual image, so I usually put this below the image: “[Image ID: description of the image. Note the important details, but be as concise as you can. /End ID]”. Including the image description instead of some sort of alt text is good for DeafBlind people who can’t see the image well enough but don’t use a screen reader.

Some blind or visually impaired people don’t use a screen reader and instead zoom in on the text. If an image is embedded in the story, be sure it is sized correctly. If it isn’t, it can make scrolling sideways to read zoomed in text more difficult because it makes the webpage much wider than the text itself.

Not all my fics have the screen reader friendly tag because 1. There might be a few I haven’t updated yet, and 2. I didn’t include the tag on fics that have weird formatting or are accent heavy. For example, in Kinship I wrote Twilight’s dialogue to represent his strong accent, and those kinds of things with apostrophes and half-words don’t come through well with a screen reader.

I personally don’t think it’s good practice to include a ton of apostrophes or shortened words to distinguish an accent. Even for people not using screen readers, it’s hard to read. For me, if I see a fic with things like that, I won’t read it. Maybe try having a few words that the character’s accent comes through on, or write something about their heavy accent outside of the dialogue.

The “Screen Reader Friendly” tag isn’t an officially recognized AO3 tag yet, but the more people who use it, the sooner it will be!

Those are all the things I can think of right now. If anyone has any other tips to add, please do so!!

[janmisali]

the official jan Misali styleguide

so uh I decided to compile together a bunch of rules that I've come up with over the years for myself for how I write videos. this is not comprehensive and is unlikely to be genuinely useful to anyone (very few of these are things I'd consider to be "good advice" for anyone else who wants to make videos, they're mostly just how I personally do things), but here we go anyway!

text

text should be typeset in Noto Serif by default, using other fonts for their specific aesthetic effects on a case by case basis, always presented in contrast with Noto Serif

text should be white, on a black background, with keywords highlighted in teal (#008472)

text should use justified margins, unless this looks bad or is too hard to do with the specific program being used

the pronoun "I" should always be capitalized

proper names should usually be capitalized, but may be left in lowercase to convey a less formal tone when appropriate

the name "jan Misali" should be written with a lowercase "jan" and a capitalized "Misali", following toki pona capitalization conventions (and in general, all toki pona text should follow toki pona capitalization conventions, only capitalizing proper names)

brand names with irregular capitalization such as "YouTube" should always be in lowercase ("youtube") as a sign of disrespect

words may be capitalized for Emphasis, but this should be avoided sentence-initially

avoid capitalization for any other purpose (such as sentence capitalization or all caps) unless this is done to imitate a specific style meant to contrast with the default Misalian style

in addition to the aforementioned teal-coloring and capitalization, words may also be marked as emphasized using italics

these three styles of emphasis should be used for different purposes: teal for keywords (emphasis primarily to aid in reading), italics for spoken stress ("normal emphasis"), and capitalization for the Other Kind (meant to get the reader to slow down and pay attention to the Specific Wording of the emphasized section, but without drawing immediate visual attention to it in the way teal text does)

punctuation should only be used when it is strictly necessary for the text to be parsed or when it conveys meaningful information about how the text would be read out loud (the apostrophe does not count as punctuation for the purpose of this recommendation; it is included as part of the spelling of words it appears in)

the word "amateur" should be spelled "amature" without explanation

numbers should be written out in full as words, unless they're being used for alphanumeric codes, entries in a numbered list, years, or a video about math

text should be written word for word as it would be pronounced out loud, including filler words ("um"s and "like"s) and contractions, following the manner of speech outlined in the next section

narration

everything should be written in a formal but conversational tone, with hesitations, filler words, and stutters carefully inserted to make it sound less "written", as though the narration is one continuous unscripted infodump

however, nothing should ever genuinely be unscripted. everything should be phrased very carefully to convey information precisely and efficiently in a way that is easy to understand

there should be some sort of attempt to pronounce non-english words authentically, especially with proper names (unless there exists a common-enough anglicized pronunciation that you can be confident is more likely to be understood)

nothing should be written in a way that assumes that the audience knows less about the subject matter of the video than the narrator, except in very rare cases where this assumption is appropriate (such as when using an explicitly educational style, or when the subject is so niche that acting as though everyone already knows about it would be actively detrimental). information should always be presented as though it's a recap of common knowledge ("right?"), something that the narrator only learned relatively recently ("apparently"), or something that the narrator is unsure of ("I think")

jokes should never get "in the way" of the actual video. they should serve a purpose just like everything else. (the key question to keep in mind here is "if someone doesn't find this funny, what could they take away from it instead?". the answer should be something like "it would just be information presented in an unusual way" or "it would just be an awkward transition between two unrelated topics" or something. if the answer is "nothing, it would just be a joke they're not getting" then it had better be a really funny joke to justify its existence.)

calls to action should be avoided. the video should respect its audience members to make decisions for themselves, and only directly tell them what to do in exceptional circumstances

[kirexa]

I THINK!!! THEY COULD BE FRIENDS!!!! THEY HAVE A PETTY RIVALRY AND THEY GET INTO FIGHTS ALL THE TIME BUT THEY COULD BE KINDDA FRIENDS!!! BUT NOOOOOOO

ITS NOT EVEN THE LEON THING WITH SAYAKA,, like if she was on Tumblr I woulda blocked her. LOKE she just annoyed the hell outta me from the get go. She made a bad first impression and consistently annoyed me

ABD I WAS SO ANGRY AT THE FIRSTTRIAL I PICKED A FAVORITE ONLY TO LEARN HHE WAS FUCKING DOOMED. THE ONE I HATED TRIED TO KILL HIM AND HE FOUGHT BACK!!! IK HE DIDNT HAVE TO KILL HER BUT HELL HE WANTED OUT THATS OKAY!! (I am very heated abt them. /nm at u ofc tho)

THAT’S COMPLETELY FAIR THIS GAME MAKES ME SO MADE IDOL GIRL AND BASEBALL BOY SHOULD BE PLAYING MARIO KART AND HANGING OUT NOT TRYNA MURDER EACH OTHER FOR THE SAKE OF THEIR BASIC SURVIVIAL D:

[looseduke]

okay insane thought about names and the feelings i have about them as a transgender blended family kid. it requires a leap of logic where the fantasy high parent couples remain dating and get married or otherwise legally bind themselves together but follow me on this for a moment. also i don’t know or care if this follows canon im just deciding it does

gilear took sandra lynn’s last name

could not afford to change it after the divorce

gilear is just one of those ppl who really likes having the same last name as his life partners, doesn’t have to be his name, he just thinks it’s nice

(sandra lynn liked her name and though she has Many Issues and might have changed her name in an attempt at normalcy gilear’s name was definitely something outlandishly stupid and he suggested it first anyway so it worked out)

do u see where im going with this

gilear seacaster.

fabian is furious but this ain’t about him

something so funny about taking your (way funnier if they don’t even get married) girlfriend’s dead husband’s last name

he keeps faeth as a middle name bc it’s still a connection to fig that he values and wants to keep

anyway. jawbone hears about all of this. absolutely loves it. thinks it’s awesome

jawbone o’shaughnessy-faeth!

yes with the apostrophe and the hyphen. yes every time.

he likes the connection to gilear and fig as much as he does the one to sandra lynn <3

when consulted fig was SUPER enthusiastic about another dad. gilear was like sigh. that might as well happen. im already being dunked upon by my mean stepson. go ahead.

okay the grand finale. the reason i even made this fucking post

adaine kills her dad, gets adopted, and starts to wonder if she should change her name

adaine makes amends with her sister, and starts to wonder if she should keep it

jawbone lets her know right away that he’ll support her decision no matter what, but it takes a long time for her to decide

it takes watching gilear and fabian bicker over their shared last name, watching fig get sappy over gilear holding onto the name faeth, watching fig and jawbone get sappy over THEIR shared last name, watching sandra lynn hide a smile whenever it comes up, watching, watching, watching

watching her sister learn and grow and love her unconditionally

she makes her decision, and when her dad brings her home from the fantasy dmv, there’s a new name on her ID

adaine abernant-o’shaughnessy-faeth. yes all three names. yes with the apostrophe. yes with the hyphens. every time

it’s for her dad, yes, for the man who gave her a home, who helped her find her strength, who is always her safe space, but it’s for more then that too

it’s for her sister, who for better or worse is in all of her earliest memories. who never underestimated her. who’s trying, every day

it’s for her sister, who called her awesome on the first day of school. who’s always there for her. who wears her heart on her sleeve and teaches adaine it’s okay to be emotional. who’s her best friend

it’s for the man who took her in when he had next to nothing to offer, who shared his extra garlic knots and vending machine snacks, who hosted his daughters strange friends night after night without question or complaint

and it’s for the elven woman sitting across from her at the dinner table, who understands her greatest fear better then anyone else and has built a life for herself despite her mistakes. who protected her on their quest. who opened her house for about 6 teenagers to live there permanently and anywhere between 3 and 10 more to hang out as much as they want

adaine abernant-o’shaughnessy-faeth, the people’s oracle <3

[vampire-apostrophe]

I should be going to bed…

I’m gonna talk about the Snow White dresses in way too much detail instead.

Firstly I want to touch briefly on fashion history but not how you’d think. This is an adaptation of an animated film in the 30s. No matter what the design of the dress was they would have to make it the most bare bones version possible simply because the work of consistently having detail would be extreme. The design they chose is iconic and also clearly inspired by the time. They want her to look young and sweet and wear a nice dress. They weren’t trying to make a historically accurate dress. From what I can gather the film was vaguely 16th century which makes sense but the adaptors didn’t want to make accurate 16th century clothes in their magical vaguely historical film… makes sense.

(here is the original dress)

here is a mid 1500s dress for reference

there’s some relation but it’s not accurate and didn’t need to be.

One this that I really noticed throughout the film in my rewatches is that Snow White is clearly wearing petticoats that you see when she moves. That’s the reason her skirt has so much motion, there’s nothing for it to cling to. It was also quite common for the time. (This is something we don’t really see nowadays which honestly is a shame because they came be really helpful) Besides that we can also see puffed sleeves and a bodice. I would assume it is either laced in the back or laced closed in the front like a kirtle often is.

Now for the adaptation.

Well.. They are clearly trying to remake snow whites dress.

There are some clear changes like longer sleeves and hems and different lacing in the bodice which aren’t horrible choices (no idea why you would make the waistline flat though especially with the lacing).. Still there’s two important aspects that I feel led to the dress kind of failing

A) Proper use of layering. This outfit looks like a single dress she put on and not a slip, petticoat, skirt, top like most outfits were. It looks like it’s all sewn together and maybe someone less interested wouldn’t notice or have the words to say why that’s wrong but it’s doesn’t make logical sense.

B) The use of fabric isn’t great. The dress is clearly made with what looks to be layers of tulle. It does have movement and some shape but its a very modern fabric and using different material would have gotten you much better overall effect.

Instead of looking like clothing that someone would wear in a fantasy setting it looks like a costume.

Now Apostrophe, you might ask, Why do you care so much about this….

Putting aside my love for fashion and its history. Putting aside my belief that when making art you should strive to always do well and that children deserve well made movies and art…

The reason I’m so mad is because I’ve seen it be done well.

this is Natalia Osipova in the ballet Giselle

(Gifs were made by ksennie I believe. I will double check)

I don’t think that this dress made with Snow White in mind but this proof to me that the costume could have been translated to live action. This was done by someone with an understanding of fabric and structure and it is beautiful. It moves perfectly and her movement is completely unimpeded by it…. They understood how to use fabrics and layers.

Just because it’s an adaptation doesn’t mean you can phone it in.

I honestly just feel bad for the actress and the people watching who won’t get to see something beautiful like this.