#had more practice in media analysis

[royboyfanpage]

If I ever make a post that contradicts anything I've said before it's important to keep in mind that media has nuance and also I am stupid

[transmutationisms]

genq what are the actual reasons that plagiarism is bad apart from profit and prestige?

so there are two main angles i usually think of here, which ultimately converge into some related issues in public discourse and knowledge production.

firstly, plagiarism should not just be understood as a violation one individual perpetuates against another; it has a larger role in processes of epistemological violence and suppression of certain people's arguments, ideas, and labour. consider the following three examples of plagiarism that is not at all counter to current structures of knowledge production, but rather undergirds them:

in colonial expeditions and encounters from roughly the 14th century onward, a repeated and common practice among european explorer-naturalists was to rely on indigenous people's knowledge of botany, geography, natural history, and so forth, but to then go on to publish this knowledge in their own native tongues (meaning most of the indigenous people they had learned from could not access, read, or respond to such publications), with little, vague, or no attribution to their correspondents, guides, hosts, &c. (many many examples; allison bigelow's 'mining language' discusses this in 16th and 17th century american mining, with a linguistic analysis foregrounded)

throughout the renaissance and early modern period, in contexts where european women were generally not welcome to seek university education, it was nonetheless common practice for men of science to rely on their wives, sisters, and other family members not just to keep house, but also to contribute to their scientific work as research assistants, translators, fund-raisers, &c. attribution practices varied but it is very commonly the case that when (if ever) historians revisit the biographies of famous men of science, they discover women around these men who were actively contributing to their intellectual work, to an extent previously unknown or downplayed (off the top of my head, marie-anne lavoisier; emma darwin; caroline herschel; rosalie lamarck; mileva marić-einstein...)

it is standard practice today for university professors to run labs where their research assistants are grad students and postdocs; to rely on grad students, undergrads, and postdocs to contribute to book projects and papers; and so forth. again, attribution varies, but generally speaking the credit for academic work goes to the faculty member at the head of the project, maybe with a few research assistants credited secondarily, and the rest of the lab / department / project uncredited or vaguely thanked in the acknowledgments.

in all of these cases, you can see how plagiarism is perpetuated by pre-existing inequities and structures of exploitation, and in turn helps perpetuate those structures by continuing to discursively erase the existence of people made socially marginal in the process of knowledge production. so, what's at stake here is more than just the specific individuals whose work has been presented as someone else's discovery (though of course this is unjust already!); it's also the structural factors that make academic and intellectual discourse an élite, exclusive activity that most people are barred from participating in. a critique of plagiarism therefore needs to move beyond the idea that a number of wronged individuals ought to be credited for their ideas (though again, they should be) and instead turn to the structures that create positions of epistemological authority under the aegis of capitalist entities: universities, legacy as well as new media outlets, and so forth. the issue here is the positions of prestige themselves, regardless of who holds them; they are, definitionally, not instruments of justice or open discourse.

secondly, there's the effect plagiarism has on public discourse and the dissemination of knowledge. this is an issue because plagiarism by definition obscures the circulation and origin of ideas, as well as a full understanding of the labour process that produces knowledge. you can see in the above examples how the attribution of other people's ideas as your own works to turn you into a mythologised sort of lone genius figure, whose role is now to spread your brilliance unidirectionally to the masses. as a result, the vast majority of people are now doubly shut out of any public discourse or debate, except as passive recipients of articles, posts, &c. you can't trace claims easily, you don't see the vast number of people who actually contribute to any given idea, and this all works to protect the class and professional interests of the select few who do manage to attain élite intellectual status, by reinforcing and widening the created gap between expert and layperson (a distinction that, again, tracks heavily along lines of race, gender, and so forth).

so you can see how these two issues really are part of one and the same structural problem, which is knowledge production as a tool of power, and one that both follows from and reinforces existing class hierarchies. in truth, knowledge is usually a collaborative affair (who among us has ever had a truly original idea...) and attributions should be a way of both acknowledging our debts to other people, and creating transparency in our efforts to stake claims and develop ideas. but, as long as there are benefits, both economic and social, to be gained from presenting yourself as an originator of knowledge, people will continue to be incentivised to do this. plagiarism is not an exception or an aberration; it's at best a very predictable outcome of the operating logics of this 'knowledge economy', and at worst—as in the examples above—a normal part of how expert knowledge is produced, and its value protected, in a system that is by design inequitable and exclusive.

[fruitsofhell]

My other fun addition to the Hbomberguy video stuff is not just that you need to start checking everyone's sources just to make sure you aren't being duped, but to not use them as a stand in for media consumption/experiences either. Like I'm not gonna lecture you on reading sources cause I am the first one to not and that's my laziness, but like sometimes more important than checking the original analysis of something is just to... see tge thing being analyzed yourself. That's not even about misinformation or lying, sometimes people's opinions just SUCK ASS.

Like there are youtube video essayists I overall kinda respect but they have dogshit opinions on things. I used to love Jack Saint's bad faith overly critical analyses of throwaway kids films, until I realized he also saw films that in my opinion had a lot of merit, and it turned me off from him. Big Joel is cool as hell, but anytime he gives his opinion on animation save like a few points, I completely glaze over and find him annoying. The other day I watched a video essay about the "Magical Negro" trope, and the first movie sourced interested me, so I watched it and I hardly understand why they put that in, it framed the movie as something it wasn't.

Just in general, it's good practice to make sure your opinions on media are your own and experience it yourself. MY biggest takeaway from the Hbomn video wasn't to throw rocks at Somerton or start obsessively fact-checking every essayist I watch, but to make sure I have a baseline of what they talking about myself and not letting anyone throw around media examples without reckless abandon. The Celluloid Closet and Tinkerbelles and Evil Queens is on my watxh/read list now, but the first thing I did from the words he stole from Celluoid Closet was watch Rebels Without A Cause out of curiosity of this gay subtext in a 50s blockbuster. And it was a super interesting experience that has given me my own unrelated opinions. Not to discount whatever important queer reading and historical importance the film has, but I'm happy I also have more than just that cause I Watched It Myself, not someone's specific and unavoidably biased reading of it.

The video isn't about cultivating suspicion but cultivating appreciation for the skills of analytical/informative/opinion writing. So even when people aren't being lying grifters, it's just good to be your own critic and media analyst. Maybe you'll even contribute to that world yourself, or maybe you'll keep all your cool opinions in your heart and die, who cares. The point is that unlike some people, your opinions and words are your own. It's a beautiful thing to have your own creative voice.

[falseficus]

if i may play the devil's advocate for a moment -- it doesn't really bother me that most of the fan posting around disco elysium on this site is more focused on the emotional aspects of the game than the political ones. i mean, firstly, it's well-acknowledged that fanworks tend to fill the gaps of unexplored potential in the original work -- ie, envisioning darkness in lighthearted works, re-imagining dark works as lighthearted. a lot of the emotional or relational aspects of disco elysium are left ambiguous, abstract, or at the very least dependent upon player choice and interpretation. this renders them fertile ground for speculative art. by contrast, the game's political statements are, if you have the context to analyze them well, complete. there simply isn't much more to say.

beyond that, those political aspects are also leagues ahead of many other pieces of media in terms of their complexity, nuance, and real-world analysis. that's part of what makes the game so great, and i do think may fans understand that. but, to be honest, being capable of engaging with those aspects of the game (just glance at reddit, and you'll see that many fans don't even reach that level) does not mean that fans are capable of generating that level of work themselves. like, it's simply more mental work to come up with a piece of creative art/writing that expands upon the superb worldbuilding and commentary of DE than it is to write about harry and kim getting goopy nasty. people know how to do the latter because it is a commonly exercised muscle of fandom. the former is almost academic.

that doesn't mean people *shouldn't* engage with the political aspects of the game generatively/creatively. but also... like... maybe it's better this way. seriously, look at reddit, guys. the DE subreddit is full of people *attempting* to engage with the game politically, and the analysis they're putting out is hot steaming dookie. i lose brain cells every time im forced to read another take that earnestly assumes the game positions moralism as the Right and Good Choice for Revachol. on tumblr, analysis is generative, practiced through art/fanfiction... and if i had to see the type of shit i see on reddit on tumblr in the form of fanart, id kill us all.

so anyway, i dont think the fanwork hyperfocus on relationships/emotion indicates that people aren't properly understanding the political points of the game, but simply that those points are much harder for fans to process in a generative way. their underrepresentation in fanwork doesnt particularly indicate anything about the way people are actually receiving and understanding the themes of the game.

except for the people inexplicably clogging the tag with jean viquemare. they do not understand the game and will not see the light of heaven

[whatifitis]

♡ I See You - LN 4 ♡

Summary: Lando is under immense stress due to his career and he can't drag down his love with him. Will their relationship survive a horror movie?

Author's Note: This was requested and as soon as I saw it, I was excited to start it and I had so many ideas for this so I hope y'all enjoy it!

WC: 6k+ with some instagram posts

CW: poor mental health, a bit of angst, a kiss here and there, happy ending

-=+=-

479,271 likes

f1 Just one lap could’ve made all the difference for Lando’s race 😣

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User32 Lando needs to stop thinking he ‘should’ve won’ it’s starting to seem a little entitled.. The two ahead of him have 165 wins between them

User33 They completely ruined Oscar’s race

User34 the only thing he brings to McLaren and F1 is shame

User35 Geez people in the comments are so quick to say hateful things but don’t think about how their words hurt, lando is pressuring himself into doing good and yall just wanna hate on him at any chance you get

-=+=-

Liked by bestieusername and others

f1gossip sources close to the couple are saying that Lando Norris and Y/n L/n have split after just 7 months together

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User22 she was just one of the girls he’ll date for like a summer then leave when he’s bored. Can’t wait to see who the next slut is

User67 she lost color in her face since she’s been with him, glad she finally knows her worth

User54 she looked so bored recently, and i mean it’s her right since he practically love bombed her

-=+=-

“I can’t break you when I’m breaking.” - was all you heard before everything went silent. 

You and Lando had been together for about 7 months, not all of which was rainbows and daisies. 

When you first met, it was like stepping into the sun again after having spent so long in the dark. You had your fair share of heartaches before Lando. It was hard for you to give in to him at first, but after a few weeks, you gave in and you’re grateful for giving not only him, but yourself a chance. 

You knew what you were getting into when you started dating him. You knew he was a driver in F1 and that his fanbase could be quite protective of him. You also were aware of his crazy schedule with the races and meetings and training. Lando also told you about how he and his ex had to break up due to the invasion of privacy that was experienced, and how his ex simply couldn’t do it anymore, which is more than understandable. But even with every warning he gave you, you still stayed. 

These past few weeks have been chaotic though. Lando is a strong contender for the WDC this year against Max and there’s pressure and eyes all around him. You’ve watched as the media berated him for weeks and weeks, never letting up. Everyone has high expectations of him and it’s slowly destroying him, even if he can’t see it yet. 

You won’t lie, it has indeed had an impact on your guys’ relationship. Not only is distance and time difference straining you two, but the constant analysis and comments from the media have taken a toll. 

It was obvious to you that Lando would be gone for most weeks out of the year, but now, even when he is home, he’s not fully there. It’s like he’s a ghost in his own home, his own body. 

“You’re not breaking me” - you tell him. But you both know you’re lying. As much as you may love him, his distance has been something that has destroyed you. You started to wonder what you were doing wrong, how could you fix this? 

“I am, and it’s hurting me so much that I’m doing this to you when you don’t deserve all this shit. You deserve so much more. You deserve all the good things in life, like seeing your partner for more than a week, going to the grocery store without being stalked by fans, having someone who can be there for you, someone who won’t drag you down.” he says, tears streaming down his face. His hands are shaking at the thought of losing you, but he knows he loves you too much to let you down. He’s completely broken now. His heart aches and sinks every time he thinks about how you’re being treated. He doesn’t want to be the person who takes your sparkle, who makes you feel less of a person. 

“You’re not. I’m fine. We’re fine, love. I can handle it, all the shit that’s getting thrown at us. We can survive this horror movie.” you try to convince him… convince yourself, as tears are now streaming down your face as well. 

“We can’t. I’m not the way I was, I’m not the same person I was when we met.” you watch as he takes a shaky breath in, trying to compose himself, “All I ever wanted was to drive and race in Formula 1. But now that I have it, it doesn’t feel enough. As soon as I joined, so much pressure was put on me to be the best. When I started, the car was shit, so I helped make it better, and I did. I feel like all I’m doing is trying and trying to please everyone and to be who they want me to be, but it’s so hard. And this isn’t what I wanted. I just wanted to race and have fun, not drive myself to the point of destruction. I don’t want to be the machine that the team, media, and fans want me, and expect me to be. I feel like I’m giving my all to the team and to the sport but it’s not enough and it’ll never be enough. I feel like I’m stuck and I can’t get out no matter what I do. The one thing I wanted all my life, and now it’s mine. But it feels like I’m theirs.” he lets out an ironic laugh. 

You slowly walk to him, moving to hold his hands in yours. Without missing a beat, one of your hands gently lifts his chin, making his eyes connect with yours. 

“They’re feeding you to the wolves and it’s unfair. They cheer your name until the lights go out, then they throw you to the side and disregard you till the next time they need you. They’re not fair to you and it’s draining you. You have a look that I can’t recognize. You used to love this sport with all your heart but now it’s the thing that’s killing you.”

“But I need to keep going. I need to prove that I can be what they want. I need to prove that I’m not just some spoiled, ignorant kid who paid his way to this place. I need to show that I earned my right to be here and to have this seat.” he tries to explain. 

“I understand that, Lan. But we need to find a better way to handle all this. It’s clearly taking a toll on you and your health. It’s been a long year. You’re constantly watched and analyzed, with people documenting your every move to create sickening plots for their stories of you, of us. They expect so much, so you’re expected to follow, but that’s not how it’s supposed to work.” He pulls back from you, removing his hands from yours and taking steps back. You watch as he begins to pace the room, shaking his head as he speaks. 

“To know me is to hate me, and to hate what I’ve become. It’s to watch me fail over and over again, and I can’t keep doing this to you. I can’t let you hold my hand in yours anymore.” he says as he stops in front of you, trying his best to refrain from spilling more tears but it’s merely impossible. His biggest fear is coming into fruition, he’s losing you. He’s letting you go. He wanted to let you out of this mess before it was too far gone for you to come back to life. You gave him all of your best self and your endless empathy. 

“What are you saying, Lan?” you barely let out as a whisper, afraid of the answer. 

“I’m letting you go. I know I’m gonna sound like an asshole but I have to do this. All this shit is just gonna hurt you more. You can’t do this to yourself. It’s killing me to know I’m just bringing you down with me.” he practically pleads. 

“I stay because I want to, not because I feel forced to or like I have to. I do it because I love you.” your voice cracks with the last bit. 

“I’m sorry for all this. I care about you a lot and I hope everything goes well. I hope you get everything you could ever want. I’m sorry for all the mess.”

“Don’t be sorry. You are worth all of the shit. But can you please let me stay?” you beg through tears.

His lips are quivering, tear stains paint his face as he breaks himself in two. Cause truthfully, you will always hold a part of him. Through all the obstacles and shit, you stuck by him. 

“Goodbye, y/n.” is all he says before he turns his back on you, walking out the door. 

He didn’t even wait for your response, leaving as soon as he could because he knew if he stayed any longer, he wouldn’t have followed through with the breakup. 

You weren’t sure how long you stood there, in the middle of your living room. You had to watch the person you thought you would marry, walk out the door. You thought he was your forever. You shared your dreams with each other, planned out the house you two would grow old in. The house where you would have rocking chairs on the front porch where the two of you would watch the neighborhood kids run by, yelling at them to stay off the lawn. What dreams those were, dreams that would remain just that, dreams. 

For a while after the breakup, all you did was lie in bed either sleeping the days away or doom scrolling on social media. It got so bad that your roommate/best friend had to physically drag you out of bed after a week of letting you rot in it.

The first day of what your best friend liked to call “post breakup, glow up”, you guys decided to just have a self care day where you took it easy and ordered in food and did face masks while coloring in some books. 

It was fun and a nice distraction until your phone dinged. The look on your face scared your best friend so she looked over your shoulder to see who it was. Lando’s name was displayed along with a message, “Hey, how you been?”. 

Was this how exes interacted after a breakup? Typically after the breakups you’ve experienced, there was no contact. What’s Lando up to? You knew he didn’t keep in contact with any of his exes after their break ups, so why was he texting you? 

When you snap back to reality, your friend is giving you a concerned look, wanting to know what was going through your head so she could help in the best way possible. 

“Should I text him back?” You asked.

“I don’t think it’s a good idea, babe. He still hurt you towards the end of the relationship, although not intentionally, but it still fucked you up a bit. I don’t want you to lose the progress you’ve made.”

“Yeah, I understand. I won’t text him back then.” You tell her as you turn off your phone and throw it to the side, picking up your marker and starting coloring again. 

You lied. You ended up texting him back later that night once you were back in bed, ready to end the night with what hopefully would be a decent sleep. 

You and Lando exchanged a few texts, mainly just catching up and seeing how the other was. You weren’t gonna lie, it felt nice to talk to him again. But what was this gonna lead to? Hopefully getting back together, but what are the odds? 

The occasional text conversations took place over the course of a few weeks. Lando knew he shouldn’t have been texting you, but he couldn’t help himself. The weeks following the break up, he went back and forth on whether he regretted it or not. He wondered if it was the best thing to do. 

Every day, he saw you in everything he saw or did. When he goes to get coffee, he swears he can still hear you laughing at the mustache of foam that would appear on his face after his first sip of coffee. 

When he’s outside in the park for a run, he’s reminded of you when he sees the rabbits hiding in the bushes. You always used to squeal out of joy and cuteness from the rabbits, even if you’d already seen them about 20 times prior. 

Every song, every film, every color reminded him of you. He thought about you every single day, wondering what you were doing and how you were. He even went as far as stalking your Spotify profile. He knew you made playlists for everything and he would watch your listening activity to see what mood you were in. 

He wasn’t surprised when he saw you listening to Taylor Swift and Gracie Abrams for hours on end. Those two were your go to sad girls. But he was surprised when none of the songs were about how shit the guy was. All the songs you were listening to were about regretting breakups and just missing someone. 

The night he texted you for the first time since the breakup, he had been gaming with Max and a few of his other friends, trying to take his mind off things. 

He didn't know what he texted you, he just did. He didn’t even have a plan for what he wanted to say. It turned out all right in the end though. You guys had a peaceful conversation and shared a laugh or two, for which he was grateful. 

Maybe you guys could remain friends? 

-=+=-

Liked by alexandrasaintmleux, landonorris, and others

y/n_l/n i’m on my knees at the altar, baby

Asking God to wash you from my soul

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User4 he’s a waste of running mascara, you’re on to greater things 

alexandrasaintmeux the most beautiful girl in the world

User97 ummm, what’s lando doing in the likes?! Didn’t they break up…

User23 she was a fool for thinking she could be enough for him

User10 lando leave the poor girl alone, you’ve done enough damage 

-=+=-

Everytime he texted you, you came back. He’d ask to try again and you’d say yes. You’d come back to his place and spend nights there, only for him to break things off again. He keeps saying he can fix it and do better. But then he sends you on your own again. He keeps telling you how much he loves you, only to tell you he’s not good enough for you and that you should break up, again. 

For two months, the two of you went back and forth. You would break up one week then get back together the next. It felt like a game that you kept losing and you were tired of it. 

It felt like you were always taking one step forward and two steps back. Now you know, none of this is fair to you. You keep trying to give him your all, trying to be there for him when he needs it but he still doesn’t change. 

You know you’re not falling out of love for him. But you think you have to fully let him go now. Do what he did to you to protect you, but actually block him out after. Instead of stringing him along like he did to you. 

It’s a week before the Belgium GP so it’s now or never. 

You asked Lando to meet you in your shared hotel room as the Hungarian GP just ended earlier. He’d gotten P2 which is amazing. But he still wasn’t entirely happy with his performance as he thinks he could’ve done better. The team thinks he should’ve gotten P1 and that it would’ve helped gain more points for the championship. 

You would’ve preferred to pick a better time to do this, but there is no other time, at least anytime soon. But you don’t want to be stuck here forever, in this loop of false hope. 

When Lando gets back to your shared room, he finds you sitting on the edge of the bed, picking at the skin on your fingers. 

“Hey, stop doing that. It’s not good for you.” He gives you a smile as he takes off his shoes and meets you in the bed. As he sits next to you, he lands a kiss on the top of your head and then a kiss on your cheek before finally connecting your lips with his in a sweet, warm kiss. 

“You said you wanted to talk to me about something? What’s up? Everything alright?” He asks, a bit of concern laces his words. 

You take a deep breath and sit up straight, trying to gain the courage to follow through with your plan.

“I can’t do this anymore.” You say. Lando’s heart drops at your words. 

“What’d you mean?” He stutters a bit.

It takes everything in you to look him in the eye as you say “I’m breaking up with you, for good.”

“Oh.” Is all that comes out of his mouth. He’s turned his body forward, staring blankly at the wall as he processes this.

“I’m sorry, Lando. But it’s not fair to either of us. We keep stringing each other along. Hoping for something that’ll never happen. I’m tired. It feels like I’m the only one fighting for us.” 

Lando suddenly sucks in a breath of air, furrowing his eyebrows and turning his body to you before telling you “no”

“No? Lando, what do you mean no?”

“No, we’re not breaking up again.”

“You can’t just say no. I’m- I’m making this decision for the both of us. For our best interest, we have to break up.”

“No, I’m not having it. I’m not doing it. It’s you and me til the end.”

“Lando, please can we ju-“

“Nope.”

You sit there dumbfounded at what’s happening. Is he refusing a breakup like it’s a piece of fish? 

You sit there and stare at him for a hot minute before crossing your arms and asking “why?”

“Cause”, is all he says before he stands up and goes to take a shower. 

Ain’t no way. 

You’re so confused and amazed at what just happened. He really just denied a breakup. 

As Lando took his shower, you took this time to process what happened and how to go about this conversation again once he comes back. 

After about 15 minutes, Lando leaves the bathroom in fresh clothes and stands in front of you, “what’d you want for dinner?” 

“Did you disregard my breakup speech?” You stand and ask.

“Yes. Now, where’s the room service menu?” He asks as he pads around the room, genuinely looking for the room service menu. 

You bring your hands to your face and roughly rub your eyes to try and approach this correctly. 

“Lando, stop thinking about the menu for 5 seconds and look at me.”

He’s stopped dead in his tracks and looks at you innocently. 

This guy. 

His bottom lip begins to quiver and his eyes become glossed with tears. 

With a bit of rasp in his voice he tells you “We’re not breaking up. I can’t lose you again, I won’t do it. You’re the best thing I’ve ever had and pushing you away was awful. I missed your laugh, I missed your jokes, I missed your loose hairs all around the flat, I missed your snoring when I tried to sleep, I missed you. Please don’t go again.” 

Tears are streaming down his face as he begs you to stay. 

“Lando, we can’t keep doing the same shit over and over again. We break up one week then get back together the next. You tell me you’ll do better and you’ll fix things but nothing changes. You’re still under immense stress and letting people walk all over you. I don’t know how we can survive this anymore if you don’t try to change that.” 

You start to wonder if breaking up really is the best solution. You would still be sad about losing him and you would still constantly worry about him. He would still be stuck in this toxic place where everyone puts all their expectations on him. Everyone would still harass him and analyze his every move. What would breaking up really fix? 

“Please. I’m standing here trying to be honest. We’re a thousand miles away from the day that we started, and I’m still in love with you. I just wanna forget everything that’s come and gone cause I hate not being with you. The stars don’t shine as bright when you’re not here.”

Slowly, you walk up to him, reaching for the sides of his face and using your thumbs to wipe away some of his tears. He instinctively moves his hands to your hips, holding you as tight as he can, as if you’re water in his hands. You look him in the eyes and realize you love him too much to let him go. You two love each other too much to leave it like this. 

“Hey,” you say softly, “why don’t we do this? The Belgian GP is next week, right? You’ll go do that and I’ll go home for a bit. After the Belgian GP, I’ll meet you in Glastonbury, yeah? We’ll spend your break there and we’ll try and sort out whatever’s going on up here?” You ask as you gently tap the side of his head. 

All he can do is smile, grateful for you and your patience with his shit. He nods his head yes before pulling you closer and holding you tight, burying his face into your neck. 

With a deep breath, you feel Lando relax in your arms. 

“Thank you.” He whispers in your neck. He can’t believe he’s able to keep someone as special as you in his life, even with the war in his head. 

“We’ll be alright. We’re okay”, you don’t say anything else, just holding him closer, knowing it’s enough for him right now. Maybe you two could try to go back where you started. 

Lando booked a flight from Belgium to go back to his hometown almost immediately after the race. He just couldn’t bear being away from you for so long, especially after all the shit you guys have been through, especially after all the shit he put you through. 

You decided that since he’ll be landing quite late, the two of you would spend the night watching movies and eating some home cooked food. The beginning of the healing journey could start tomorrow. 

When he landed at the airport, he was greeted by you with a massive sign that said “Lando Norris - STD clinic emergency shuttle”. 

The amount of laughs that the sign got was a joy to you. Especially the laugh Lando had let out upon reading the sign. He knew you were gonna pull some shit like this, although he was surprised you didn’t wear scrubs to add to the bit. 

With a big warm hug, Lando finally felt like he could start to relax and let go, at least until the next race. 

The two of you made your way to your car, then headed back to a secluded airbnb that you had rented for the next few weeks. Although the two of you were more than welcome to stay with Lando’s family, the pair of you thought it would be best if Lando had a place with some real peace and quiet to be able to sort through his mind. 

During the drive to the airbnb, you put on a playlist that you had made for drives with Lando at the beginning of your relationship. It had been a while since you’d played it, so it was a pleasant surprise for him when he realized what playlist was playing after a few songs. 

“I forgot about this playlist. Missed it." He gives a soft smile. The one he used to have before all the chaos had been inflicted. You can tell this little break will definitely bring back at least a small piece of your Lando. 

“I did too. Found it the other day when I was clearing my playlists. I added a few more songs as well. I know we usually pick the songs for this playlist together but I thought it’d be nice. Hope you don’t mind.” you tell him, wondering if maybe he’d be upset that you messed with the playlist without him. 

“Nah. I like it. Like a bit of a surprise for me.” he says as he shrugs his shoulders. You smile as you look at him for a moment. Your boy is coming back to you, slowly but surely. 

“Oh, don’t speed here. There’s always this one fucking guy sitting in a corner, ready to give anyone and everyone a ticket.” he tells you as you turn onto a certain street. 

“You know every road in this county, don't you?” you tease, watching as he gets a bit shy. 

“Yeah, let’s just say he may or may not love to see me coming. He used to catch me speeding all the time and he gave me too many fucking tickets.” 

You just sit there and laugh at him. Of course the Formula 1 driver always gets caught speeding. 

Once you pull into the driveway for the airbnb, Lando is smiling, already getting out of the car and closing his eyes, breathing in the fresh air and taking it all in. He’s excited and grateful for this break from the races. As much as he does enjoy the actual racing, all the other factors were pushing him to his breaking point. The sun was collapsing but he didn’t realize until everything came crashing down all at once. 

He’s pulled out of his thoughts when you close the car door. He starts moving to the trunk of the car to pull out his luggage. You wait by the front of the car, watching him roll his way to you and taking your hand in his as he leads you to the door of the house. 

The second you unlocked the door and opened it, Lando ran in like a kid and immediately dropped all his belongings before flopping onto the couch. 

Yup, that’s my man. 

“You like it? Out of all the rentals available, I thought this one was the best. It’s a bit far from everything and there’s a hiking trail not far.” you tell him, walking to the kitchen to prepare dinner. 

Lando is rolling on the couch as if he were a dog trying to get into a comfortable position. His head pops over the back of the couch to look at you, “Yeah, seems quite cozy. Thanks for this, darling. I know I don’t really deserve you but I’m really grateful that you’ve given me so many chances.”

“Don’t thank me, love. I love you and I want you to be okay,” his cheeks blush at your words. It’s been a while since you’ve called him ‘love’, “Put something on the tv and lie down for a bit while I prepare dinner, yeah?” 

“You sure I can’t help you? I can peel a potato or something… okay maybe nothing as advanced as peeling a potato but I can boil noodles or something.” he chuckles a bit. 

“Gorgeous, last time you tried to boil noodles, you burnt the water. I still don’t know how you managed that.” you couldn’t contain your laugh at the memory. It was one of your first dates with Lan and he’d wanted to make you a home cooked meal. Take out ended up being delivered. 

“Yeah, alright. We’re watching Hannah Montana.” he said as he flopped his back against the couch. 

When dinner was cooked, you and Lando plated the food before moving to sit on the floor in the living area, using the coffee table to eat off. 

The two of you continued watching Hannah Montana until the episode where Blue Jeans became ill. Lan immediately changed the show to play the movie rather than the tv series.

“Lan, you do know Blue Jeans recovers at the end of the episode, right?” 

“Yeah but he still has to go through the traumatic experience of being bitten by that snake and I just can’t. We’re gonna watch the Hannah Montana movie now and slow dance to ‘Crazier', cry to ‘Butterfly Fly Away’, and dance to ‘You Can Always Find Your Way Back Home’.” he tells you sternly. He's made up his mind and nothings gonna change that. So that’s just what you do. 

When Taylor Swift appears on the screen and starts singing ‘Crazier’, Lando jumps up off the floor and leans his body towards you, holding his hand out for you to take. Once you place your hand in his, he pulls you swiftly off the floor, pulling your body close to his. You wrap your arms around his neck while his hands are secured on your waist. The two of you swing your bodies slowly and effortlessly to the melody that’s playing in the background. 

When the lyric “you lift my feet off the ground.” Lando does exactly that. He’s gripped your waist and lifted you in the air, bringing a squeal out of you as you were not expecting that. He keeps you above him as you let out a fit of giggles. Once your feet land back on the ground, you fall into Lando, trying to catch your breath. You listen to his heartbeat and hold him tight. He really is your favorite person. 

In true Lando fashion, he knows all the words to this song. As he should since he decided it was one of your songs a while ago. You watch as he sings the words to you, and you realize just how truly in love you are with the person in front of you. You would wait forever for him. He’s the closest to heaven you’ll ever be. 

Once the song ends, the two of you sit back down and continue watching the movie. You were cuddled up to Lando, wrapping yourself around his arm as he rested his head on yours, occasionally leaving soft kisses. 

The beginning chords of ‘Butterfly Fly Away’ play and Lando is already in tears. He’s already buried his head into your shoulder as he sobs about how emotional the song is. “He was always there for her. He tucked her in and turned out the light. He had to do it all alone!” 

All you could do to comfort him was hold him close to you and rub his back. You hummed along to the song, Lando loved it when you did that. You never sang in front of him, but when you did, it was like God's greatest gift to him.  

The end of the movie was near as the opening chords of ‘You’ll Always Find Your Way Back Home’. The two of you were already on your feet, ready to dance and sing along. Lando had even pushed some of the furniture out so that there was more room for dancing. 

With some crazy moves and a whole lot of jumping around, you and your love had the time of your lives. 

Lando is pointing at you when he sings the lines “‘Cause, when I’m feeling down, and I’m all alone, whoa, oh. I’ve always got a place where I can go.” singing completely off key but who cares, he’s having fun, and so are you. 

When the song comes to an end, you’re in Lando’s arms, trying to catch your breath again. But it feels impossible when everytime you look at him, he takes your breath away. The most beautiful man ever is yours? Crazy, really. 

You stay in his arms for a moment, looking into those eyes that looked like sunlight was filtering through leaves. 

“Home.” he breaks the silence, smiling down at you wholeheartedly. He cocks his head to the side before continuing, “You’re my home.” 

It took everything in you not to break down into a puddle of tears at that moment. 

Instead, you bring your lips to his, connecting them in a sweet, soft exchange. 

After putting the furniture back in place and cleaning the dishes from dinner, you lead Lando to the room you’ll be sharing during this little vacation. 

After a quick shower, Lando meets you on the bed, almost collapsing onto it due to the exhaustion he’s been in. 

There’s no need to exchange any words at this moment. You just pull Lando into you, watching as he rests his head on your chest and wraps his arm around your waist. You scratch the back of his neck, messing with his curls a bit as your other hand draws patterns on his bare back. 

After a minute, you feel Lan relax into you, watching as his breathing becomes shallow and steady. It didn’t take long for him to fall asleep and you're thankful. He truly does need sleep, especially for the talk you two will have in the morning. 

You follow suit with Lando and fall asleep soon after him. It was the best sleep you’d had in ages. 

The sun shines through the thin, cotton curtains that cover the windows. Lando’s chest is warm against your back, his arm wrapped around your torso, keeping you close to him. The steady breathing lets you know he’s still sound asleep. You check the time, reading 7:24 am. It’s still a bit early so you decide to get some breakfast prepared for when Lando wakes up. 

You slowly and quietly move out of his arms, careful not to wake him as you know he won’t stay in bed if he knows you aren’t next to him. Once you’re out of bed, you brush your teeth and 

make your way to the kitchen. 

Breakfast is kept simple, just some overnight oats with some fruit and honey. After a few minutes of washing and cutting some fruit, you watch as Lando emerges from the bedroom, sleep lacing his features. 

“I didn’t hear you leave the bed.” he frowns at you. 

“Sorry, darling. I knew you were tired and I didn’t want to wake you so soon. But your timing is perfect! I've just finished preparing breakfast.” you smile gleefully, presenting him with a beautiful bowl of fruits and oats. 

The smile on his face is enough to brighten the whole room. “Thanks, baby. Looks amazing, as always.”, he walks around the kitchen counter to kiss you. 

Once he’s sat down and begun eating, you tell him your plan for the day, or his plan. 

“I was thinking we could go on that hiking trail I told you about. Getting some fresh air and some sun could be good for you. We could also talk a bit? About everything?”

You can tell he’s a bit uncomfortable from the way he stiffens when you mention wanting to talk. He was never really one for talking about himself and the things he’s struggling with. He much prefers listening but he knows he has to let you in a bit. 

Without looking up at you, he responds, “Yeah. Sounds good.” continuing to stuff his face with his oats. 

Once you two had finished breakfast, you put on your shoes and made your way to the hiking trail. 

During the beginning of your walk, you decided it would be best to get Lando to feel comfortable before jumping into the whole discussion of him and his mental health. So you begin by asking, “So, Tarkov, how have you been doing in it?”

He looks at you with genuine surprise, wondering why the fuck you’re asking about Tarkov when he knows it’s not your type of game. But, he answers anyway, “Erm, it’s turned into more shit and giggles if anything. A lot of messing with Max and them. Oh, the other day I stabbed Max’s character in the leg cause he stabbed my foot. And then I stabbed him again but his game was glitching so he couldn’t heal. He was actively dying and couldn’t stop it so I shot his guy. Let’s just say he wasn’t exactly joyful about that. But in my defense, he would’ve died anyway. It was a mercy kill.” he laughs to himself. 

After almost 45 minutes of walking, you guys stumbled upon a nice lake that was surrounded by trees. There was a shore with some large boulders so you led Lando there for a bit of a break from walking. 

You two sat there for a moment before you broke the silence to try and talk to him. 

“You know I love you right?” you ask him, watching him look down at his hands and start to fiddle them. 

“Yeah.” he responds quietly. 

“I want you to be okay, Lan. I can see you being torn apart by everyone and everything. I don’t want to watch you fall because you don’t deserve that.” “It’s hard, being me. I know I should be happy for everything that I have. I mean, I have money, a house, so many fucking cars that I don’t need, a loving family, and the most amazing and beautiful girlfriend. But, it feels like I’m drowning in everything with racing.” - he confesses, his tone is low, matching the way his reality makes him feel so small.

You scooch closer to him, taking his hand in yours, “I know it’s been hard. And you have the right to feel the way you do. You’re the person who gets the most shit right now with the media. They’re all twisting shit to fit their narrative. But you need to keep pushing back, don’t let them walk over you anymore.” “My mind is complicated. But when you’re here, next to me, it quiets a bit. I know that when I’m with you, everything is easy, like a million things can be thrown at me, but at the end of the day, if you’re here, I’ll be okay. I know I sort of broke you, someone I love so much. It’s all me, in my head. I burned us down and I’m sorry I did that to you. I don’t wanna lose you.” “You’ll never lose me, Lan. I’ll keep your hand in mine, until we’re food for the worms to eat, til our fingers decompose. This love of ours isn’t temporary. So I’m not gonna give up on us, on you.” - your hand touches the side of his face, bringing him to meet your eyes before you continue, “I’m still yours, even when you lose your mind and try breaking up with me a million times. None of this is your fault. You’re all I want.”

Tears begin to stream down his face as he leans his forehead against yours, “I just want you to know who I am, outside of the racing and the drama. I don’t want them to see me, just you, cause you’re the only one who understands me.”

You lift his chin so he can look in your eyes again as you say, “I know who you are. You’re the best thing that’s ever been mine, and I’m never letting you go again.”

-=+=-

Liked by y/n_l/n, maxverstappen1, and others

Tagged: y/n_l/n

landonorris baby, you showed me what living is for and i dont wanna hide anymore

Thank you for everything, my love. I wouldn’t be where I am without you 🧡

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User23 now wait a min ✋ how many chapters did i miss?

User54 i told y’all they were fine! No way a couple as in love as them would ever break up

User75 alexa, play ‘that should be me’ by justin bieber 🫠 User13 omg, and the taylor lyrics 😭 she loves taylor swift and he dedicated it to her 😭😭😭😭😭

[matan4il]

Israel Has Created a New Standard for Urban Warfare. Why Will No One Admit It? | by John Spencer

The Israel Defense Forces conducted an operation at al-Shifa hospital in the Gaza Strip to root out Hamas terrorists recently, once again taking unique precautions as it entered the facility to protect the innocent; Israeli media reported that doctors accompanied the forces to help Palestinian patients if needed. They were also reported to be carrying food, water and medical supplies for the civilians inside.

None of this meant anything to Israel's critics, of course, who immediately pounced. The critics, as usual, didn't call out Hamas for using protected facilities like hospitals for its military activity. Nor did they mention the efforts of the IDF to minimize civilian casualties.

In their criticism, Israel's opponents are erasing a remarkable, historic new standard Israel has set. In my long career studying and advising on urban warfare for the U.S. military, I've never known an army to take such measures to attend to the enemy's civilian population, especially while simultaneously combating the enemy in the very same buildings. In fact, by my analysis, Israel has implemented more precautions to prevent civilian harm than any military in history—above and beyond what international law requires and more than the U.S. did in its wars in Iraq and Afghanistan.

The predominant Western theory of executing wars, called maneuver warfare, seeks to shatter an enemy morally and physically with surprising, overwhelming force and speed, striking at the political and military centers of gravity so that the enemy is destroyed or surrenders quickly. This was the case in the invasions of Panama in 1989, Afghanistan in 2001, Iraq in 2003 and the failed illegal attempt by Russia to take Ukraine in 2022. In all these cases, no warning or time was given to evacuate cities.

In many ways, Israel has had to abandon this established playbook in order to prevent civilian harm. The IDF has telegraphed almost every move ahead of time so civilians can relocate, nearly always ceding the element of surprise. This has allowed Hamas to reposition its senior leaders (and the Israeli hostages) as needed through the dense urban terrain of Gaza and the miles of underground tunnels it's built.

Hamas fighters, who unlike the IDF don't wear uniforms, have also taken the opportunity to blend into civilian populations as they evacuate. The net effect is that Hamas succeeds in its strategy of creating Palestinian suffering and images of destruction to build international pressure on Israel to stop its operations, therefore ensuring Hamas' survival.

Israel gave warning, in some cases for weeks, for civilians to evacuate the major urban areas of northern Gaza before it launched its ground campaign in the fall. The IDF reported dropping over 7 million flyers, but it also deployed technologies never used anywhere in the world, as I witness firsthand on a recent trip to Gaza and southern Israel.

Israel has made over 70,000 direct phones calls, sent over 13 million text messages and left over 15 million pre-recorded voicemails to notify civilians that they should leave combat areas, where they should go, and what route they should take. They deployed drones with speakers and dropped giant speakers by parachute that began broadcasting for civilians to leave combat areas once they hit the ground. They announced and conducted daily pauses of all operations to allow any civilians left in combat areas to evacuate.

These measures were effective. Israel was able to evacuate upwards of 85 percent of the urban areas in northern Gaza before the heaviest fighting began. This is actually consistent with my research on urban warfare history that shows that no matter the effort, about 10 percent of populations stay.

As the war raged on, Israel began giving out its military maps to civilians so they could conduct localized evacuations. This, too, has never been done in war. During my recent visit to Khan Yunis, Gaza, and the IDF civilian harm mitigation unit in southern Israel, I observed as the army began using these maps to communicate each day where the IDF would be operating so civilians in other areas would stay out of harm's way.

I saw that the IDF even tracked the population in real time down to a few-block radius using drone and satellite imagery and cell phone presence and building damage assessments to avoid hitting civilians. The New York Times reported in January that the daily civilian death toll had more than halved in the previous month and was down almost two-thirds from its peak.

Of course, the true number of Gaza civilian deaths is unknown. The current Hamas-supplied estimate of over 31,000 does not acknowledge a single combatant death (nor any deaths due to the misfiring of its own rockets or other friendly fire). The IDF estimates it has killed about 13,000 Hamas operatives, a number I believe credible partly because I believe the armed forces of a democratic American ally over a terrorist regime, but also because of the size of Hamas fighters assigned to areas that were cleared and having observed the weapons used, the state of Hamas' tunnels and other aspects of the combat.

That would mean some 18,000 civilians have died in Gaza, a ratio of roughly 1 combatant to 1.5 civilians. Given Hamas' likely inflation of the death count, the real figure could be closer to 1 to 1. Either way, the number would be historically low for modern urban warfare.

The UN, EU and other sources estimate that civilians usually account for 80 percent to 90 percent of casualties, or a 1:9 ratio, in modern war (though this does mix all types of wars). In the 2016-2017 Battle of Mosul, a battle supervised by the U.S. that used the world's most powerful airpower resources, some 10,000 civilians were killed compared to roughly 4,000 ISIS terrorists.

And yet, analysts who should know better are still engaging in condemnation of the IDF based on the level of destruction that's still occurred—destruction that is unavoidable against an enemy that embeds in a vast tunnel system under civilian sites in dense urban terrain. This effects-based condemnation or criticism is not how the laws of war work, or violations determined. These and other analysts say the destruction and civilian causalities must either stop or be avoided in an alternative form of warfare.

Ironically, the careful approach Israel has taken may have actually led to more destruction; since the IDF giving warnings and conducting evacuations help Hamas survive, it ultimately prolongs the war and, with it, its devastation.

Israel has not created a gold standard in civilian harm mitigation in war. That implies there is a standard in civilian casualties in war that is acceptable or not acceptable; that zero civilian deaths in war is remotely possible and should be the goal; that there is a set civilian-to-combatant ratio in war no matter the context or tactics of the enemy. But all available evidence shows that Israel has followed the laws of war, legal obligations, best practices in civilian harm mitigation and still found a way to reduce civilian casualties to historically low levels.

Those calling for Israel to find an alternative to inflicting civilian casualties to lower amounts (like zero) should be honest that this alternative would leave the Israeli hostages in captivity and allow Hamas to survive the war. The alternative to a nation's survival cannot be a path to extinction.

John Spencer is chair of urban warfare studies at the Modern War Institute (MWI) at West Point, codirector of MWI's Urban Warfare Project and host of the "Urban Warfare Project Podcast." He served for 25 years as an infantry soldier, which included two combat tours in Iraq. He is the author of the book "Connected Soldiers: Life, Leadership, and Social Connection in Modern War" and co-author of "Understanding Urban Warfare."

[dnphobe]

hello, analysis question. what do you think about the fact that in the slime video dan is the one whose blood is spilled first? the only wound he has is on his hand, as opposed to phil's much more severe one. does this mean anything?

okay, this is going to be based more in personal interpretation than something with references and sources because off the top of my head i can't think of situations that mirror this in horror. I will, however, be sourcing from other people's anlysis on here when it's relevant.

The first blood spilled in a piece of media heavily relating to horror or death is most often the inciting incident. However, I don't think that's relevant here. I think the inciting incident of danandphilcrafts is something that happened off screen. As is very well explained in this post by @dapg-otmebytheballs, everything that happens in these videos is a joint and agreed upon act created by a joint belief system. BUT...there's a clear pattern from all the way back in Squareflakes that Phil is the ringleader in what they're doing. He explains the crafts to Dan and the Audience, he tells him and us what to do and chides Dan if he's not doing it right. It's my personal interpretation that Phil was the original believer and the one who brought Dan in.

That makes Dan's blood something else–the blood of the innocent. The spilling of innocent blood is an inciting incident in itself. It's a point of no return. and can be tied back to its importance in rituals. Rituals (at least in media, i don't claim to speak on real practices) often ask for virgin blood. virginity = innocence. This is often interpreted as a sexual virgin, as that is how the world is most often used today, but (from what i've read) it actually refers to someone who's blood has never been used in a ritual before. Phil has already been sacrificed once, in Potato Prints, so perhaps part of the reason Dan's blood was used is because just Phil's was no longer viable to summon Him.

Back to Phil being the leader of the two of them, I believe the reason Dan gets off with a much smaller wound is, perhaps, a matter of responsibility. If Phil got him into this, then it's only right that he take the brunt of the sacrifice. Dan's sacrifice, all along, has been his innocence, not that either of them know that. By spilling innocent blood, and using it in a ritual, that virginity/innocence is lost. and it only continues to be lost even more as the ritual progresses, resulting in the biggest lost of innocence of all, killing another human being.

Dan's blood being spilled is the point of no return. With Phil back alive again after the events of Potato Prints, they could have made a fresh start. But they're devoted to eachother, and to Him. There was no hope for them, but maybe before this moment, if things had been different, there could have been.

So, in summary, my personal interpretation of the significance is this piece by Jenny Holzer

and this quote by John Darnielle:

This is why people cry at the movies: because everybody’s doomed. No one in a movie can help themselves in any way. Their fate has already staked its claim on them from the moment they appear onscreen.

[explaintome]

Dear Mouthwashing fandom, explain to me, why next to the incredible fan art, I find a fuck ton of shipping content, especially between characters where this is highly problematic? SPOILERS FOR MOUTHWASHING AHEAD CN for talk about sexual abuse, death, suicide & violence

DISCLAIMER: I do not shame the general practice of shipping at all. I am a shipper myself and I think it makes up for a lot of interesting dynamics and narratives outside the canon. Shipping is an important pillar of fandom communities and I am unable to forbid you to do it. HOWEVER, in the case of Mouthwashing I want to talk about what, in my opinion, feels tone-deaf to the themes and the canon of the game. But let me start with a short summary of the game before I get into it.

Mouthwashing is basically a visual novel that takes place on the Tulpar, the last manned cargo ship of the company Pony Express. The crew, consisting of Caption Curly, Co-Captain Jimmy, Nurse Anya, Mechanic Swansea and his intern Daisuke, is confronted with a crash against an asteroid and the consequences following it. The story is told out of order to reveal the truth bit by bit. What caused the crash, what happened and how the crew deals with the time afterward being stuck on the ship. Revealing sexual abuse, tragic backstories, the horrible side effects of late state capitalism and the neglect of people in command towards the people they are responsible for.

To boil it down we have two men who, out of societal misogyny, hurt the only woman on their crew by assaulting her or not acting as they should have in their position of responsibility. All of this would not have happened if Jimmy didn't rape Anya and impregnate her, and if Curly had disciplined Jimmy in a capacity possible on the ship and in Jimmy's position as co-pilot. To be honest, with the amount of automatization the ship has, I don't think they need Jimmy if it is not a case of emergency, but I digress. Jimmy is the perpetrator of the story, but Curly is an accomplice in putting his aim of finding a solution and compromise over punishing his subordinate as he should have.

And now to my actual point: I am a big fan of the game, the narration style and the utter tragedy of 5 people losing their lives in the isolation of space, with their company not giving a shit about them. Otherwise, they might have been rescued much earlier or at all. Or had enough cryo pots in the first place. Or a nurse with experience. Or any amount of better equipment and not the most cheap shit that somehow made it through a resemblance of regulations. There are probably no regulations.

Being a fan I, of course, looked into the hashtags on several social media sites, and between the incredible art and analysis of the game, I quickly found shipping content, and I have no idea why. I have literally no idea how that narrative speaks to you in a way of shipping characters romantically/sexually. Especially three shippings really rub me the wrong way.

ANYA/JIMMY

Are you fucking kidding me? Literally, what is wrong with you shipping a victim with their abuser? There was not one interaction between them, that suggest that there was consent or affection, that Jimmy has any sympathy for Anya. He knows what is going on, he knows that Anya is pregnant and takes no responsibility. Even worse, his idea of FIXING this was to kill everyone, at least himself, to avoid responsibility! Same goes for AUs where she kept the baby and is somehow okay and happy? I get the urge to fix it, but that is not a good fix. There is no good fix if you are pregnant due to rape.

ANYA/CURLY

A lot of argument I hear for that is that "at least Curly is her friend and was nice to her" and if that is your whole foundation of argument, I want to ask what your standards for a relationship are. Please know that you deserve more than the bare minimum. Another question in that context: Is Curly really Anya's friend? His friend was abused and instead of protecting her, he tried to reason and help her abuser! That is not the behavior of a friend! There is no "but Jimmy is his friend too!". If your friend is an abuser and that does not make you stop being their friend....why?

JIMMY/CURLY

It feels like it is a law on the internet, that two men who look at least averagely handsome will be shipped, especially if they have the tiniest of connection to each other. I am not even sure if I would call them friends in the first place. It appears that Jimmy, whatever his bad life before that job was (thanks to the developers for not giving us a backstory), he is still absolutely unsatisfied with that he has. He is jealous of Curly and his position, seeing how quickly he takes on the Captain title after the crash and only realizes far too late how hard the position actually is. Curly on the other hand feels a bit like a people pleaser to me. He probably had pity for Jimmy, took him under his wing to help him? Fix him? Whatever it is, it made him ignore Jimmy's bad side to a fatal degree. I respect the toxic yaoi but are you sure?

TLDR; I am worried about how the practice of shipping developed, from a way to extend the canon, explore queerness in cis/straight dominated media, into a compulsion of where some people can't look at any form of media or constellation of characters without immediately smashing them together like dolls. If you do this, maybe step back for a minute and ask yourself if it is appropriate. On that note, same goes in case you defend Jimmy. Why?

[emmcarstairs]

From Gloves to Fingers: The Ghoul and Lucy MacLean

Despite their mostly practical usage nowadays, gloves used to be a powerful tool in society. There were rules about how and when a person should wear them, and what messages they relayed to others. Gloves were more than a fashion accessory; they had symbolic functions. Across various sources, such as visual media, art, and literature, gloves are associated with notions about power, protection, purity, as well as sexuality.

In the following analysis, I will examine the Ghoul’s gloves in Fallout (2024) as a visual key to understanding his character, motivations, and relationship with Lucy. 

What if I told you that the first thing we see about the Ghoul, his introduction to us, is his gloved hand?

His character is shrouded in mystery, and his gloves facilitate this impression. When a character hides their hands, we assume they have secret or evil intentions. That’s why gloves have come to be associated with villains. And at first glance at this character, this assumption would not be far from the truth. But in the Ghoul’s case, it’s more complicated than that. Let’s roll back to the beginning!

As soon as we learn that the Ghoul used to be the famous Hollywood actor Cooper Howard, and the face of Vault-Tec, we start to make the connections. For instance, we know he refuses to do the thumbs-up for the photo during the birthday party. The thumbs-up, his thumbs-up in particular, is a symbol for Vault-Tec, a company he has grown to despise. So it isn’t surprising that he would try to conceal his relation to the company, figuratively and physically.

Two hundred years later, we learn about the nature of ghouls. Radiation has ravaged their skin and appearance. In this case, the gloves might serve the cosmetic purpose of hiding most of his scarred body. 

However, it all comes down to the image he presents to the world around him. His gloves, and his hat, are accessories for the costume he’s chosen to wear. He doesn’t go around by the name of Cooper Howard anymore; he has built himself a new identity, using props just like an actor would. He is recognizable by these attributes and they are a makeshift armor for the real man underneath it. I’d even argue that his gloves act as a physical and psychological shield between him and the atrocities he’d committed to survive.

Now that we’ve discussed the symbolism of him wearing gloves, it’s time to ask the important question. Do we see the Ghoul’s ungloved hands? We do. Two times. And both of them are connected to Lucy: one in her presence, one in the presence of her finger.

The first time we see the Ghoul’s ungloved hands is after the significant scene of him mercy killing Roger and feeding on him in front of Lucy. The fact that Lucy witnessed him eat, not just any food but human flesh, is extremely important. In that scene, he reveals his animalistic nature. It’s an intimate scene because he begins her initiation into the Wasteland by offering her his knife to cut off some pieces herself. In a way, he shares his meal with her. Her repulsion is clear but she relents. It’s important to keep this scene in mind.

Cut to the scene with him with no gloves. At this point, he’s shown her a part of himself. In the past, the removal of gloves was a sign of closeness, and even inferiority. He has shed his skin, literally in the form of his gloves. He has allowed himself to be vulnerable in her presence. He’s naked in a way we haven’t seen before. It’s no wonder what happens next has so many sexual undertones.

To put it plainly, in this scene we see the Ghoul relishing the taste of irradiated water while Lucy is right next to him… thirsty. It’s an interesting juxtaposition to a previous scene when Lucy politely asked for water but he denied her (with his gloves on, retaining a metaphorical barrier, an air of superiority). She then saw the pool of water but resisted drinking from it while he taunted her. Now, it seems different. He watches her with a silent challenge in his eyes, tempting. She isn’t asking him anything this time. All she sees is the water, the means to quench her thirst, and… his ungloved hand.

Personally, I find the choice to include his hand here very interesting. What happens next, even more so; Lucy succumbs to her thirst. In contrast to her hesitation and revulsion with slicing pieces off Roger for food, she eagerly drinks the irradiated water the Ghoul drank moments ago. It’s a desperate physical need, and it’s out of her own volition. If you don’t see anything sexual about this frame, I don’t know what to tell you:

It’s worth mentioning the way the Ghoul stoops to her level here which enables the iconic “Oh, I’m you, sweetie.” She’s almost his equal here, as they stare after she’s drunk the water, their hands ungloved.

Lucy, being ever the opportunist, sees his weakness and tries to run away. Her attempt is short-lived because he catches her in his lasso. And all the build-up ends in one of the most memorable scenes in the show; and for a good reason!

In their struggle, Lucy takes advantage of his exposed hand, his weakness, and bites his finger off. It’s almost like she’s turned into him: an animal tearing flesh. The gloves would have protected him against harm but he’s taken them off, he has allowed himself to be vulnerable around her. Perhaps, he underestimated her.

In a violent imitation of a lover's touch, he cuts her finger off. This is the first time they touch hands. In the past, a woman had to be wary of a man’s ungloved hand because it signified danger and the loss of her chastity.

In Lucy's case, chastity refers to her naivety about navigating the world around her. The Ghoul opened her eyes about the surrounding world, but she dared to go one step further and stole something of his, a part of him. For two centuries, he's managed to keep his ten fingers intact, a sign of his competence, and it's none other than Lucy who overpowers him this way. So he feels obliged to take a part of her to replace his missing one. It's very much an exchange of rings/vows type of situation. But I digress. 

After the finger exchange and the visual replacement of Lucy's finger, which for a second looked to me like adding a band/ring, we see the most significant scene for her character yet. She survives alone in the Super Duper Mart and despite it all, retains her principles, by saving his life. She emerges the victor, both in terms of survival and morals. But how does the exchange affect him? 

In a rare scene of self-reflection, the Ghoul watches his old human self on film. The gloves are back on and he mimics pulling the trigger, nothing unusual.

But as we watch him rub the leather of his missing finger, we know that something has shifted. Beneath the seemingly intact glove, there is a missing piece. Try as he might to conceal it, and even if it's unnoticeable to others, he’s aware of its absence. Despite the external armor, the damage is internal.

Which brings us to the second scene with his ungloved hands: the scene of him sewing Lucy’s finger on his hand.

The Ghoul is held responsible for the thrashing of the Super Duper Mart. While they question him, he asks for the needle and thread (red thread of fate, anybody?) in his bag. As he unrolls the piece of cloth, we see Lucy’s finger.

Here I want to make an important note: In the past, gloves were considered an extension of the wearer’s body; another symbolic body part. In the classic novel Little Women, Meg loses one of her gloves and it turns out that the man who is interested in her romantically – Mr. Brooke – has hidden it in his pocket. Later, characters would consider this act a declaration of his intentions toward her. The Ghoul has neatly packed away Lucy’s finger in his bag. The subtext is definitely there. 

In the first scene when he was ungloved, it was in Lucy’s active presence. In this scene, she’s not here but her presence is felt, and not only because it’s her finger he’s sewing. While he is attaching the finger, he takes the blame for what she did in the Super Duper Mart. He throws away the act for a moment, his hands are ungloved and unprotected, as he surrenders himself in her name. The intimacy of the mere image of him sewing a part of Lucy’s body on his own, literally tying the knot, deserves its own analysis.  

You could say it fits him like a glove. ;)

This is the last scene we see him without gloves in S1. But every time we see his gloved hand afterward, we are reminded that he carries Lucy’s finger. It’s a symbol of what Lucy reminded him of: his lost dignity. It’s his trigger finger, a moral compass. It led to him shooting her dad when she herself wavered, but also letting him go alive. And it’s her replaced necrotic finger which pulls the trigger when she mercy kills her mother, a lesson she learned from him. Their fates have intertwined and their fingers are the perfect representation of that. 

With the focus on hands and fingers we saw in S1, I expect this symbolic storytelling to continue and expand in S2.

[crystalizedcryolite]

While waiting for me to finally finish the next chapter..

DESIGN ANALYSIS FOR MY VIGILANTE AU >:D

As always, let's start in rainbow order! But first things first; all CG members have matching eyes, in one way or another! Red has yellow eyes, Orange has green eyes, Yellow has orange eyes, Green has blue eyes, and Blue has red eyes!! I might change things depending on how it looks, though.

Anyway, Red!!

I'll admit, I'm definitely giving him a design upgrade, but let's talk about this one.

Ah, the classic yellow bandanna. How could I leave it out? It's iconic!

His hair is definitely the wildest out of everyone's. A lot of black and grey in his design, too, which makes the yellow bits and the light-up shoes REALLY stand out.

The yellow matches his eyes and bandanna, and is reminiscent of that media trope with seeing yellow eyes peek from the darkness. The mask is, of course, to hide his face. Red didn't really seem like the guy to wear a visor like Green, or cover his entire face like Blue, so he gets that mask! Might change that, who knows.

His outfit looks thrown together with not that amount of effort. Very casual, as Green pointed out. Before Orange, he was the latest addition to the team, which can mean he can be a bit inexperienced. Wanted to convey that somehow!

Light-up shoes, oh, light-up shoes... who doesn't love them? Green certainly doesn't, but Red disagrees!

Next one!

Orange/Sketch

Now, I didn't draw their vigilante outfit yet, but I added the description of it to give an idea!

I wanted her hair to give a very anime-protagonist feel, if that made sense? Not sure if I got that right but it works for me! And hey! Freckles!

Working clothes: His pants are covered in paint to give an artist-like feel. (I should know. I paint a lot and some of my clothes did NOT survive the process.) As for the top and apron, I wanted it to feel like an actual café worker's uniform without it being a basic starbucks rip-off.

Vigilante outfit: VERY reminiscent of outfits animated characters would wear in scenes where they're doing some graffiti on the streets. That was my main inspiration behind the design.

Also in dark colors. They have to blend into the darkness and stuff!

The pouch mentioned was for practical sake; as is something I like to do when thinking of designs. And it helps with the artistic urge to draw at any time, regardless of what the situation is.

Not much to say about Orange's design, besides the fact that I wanted to give it a very protagonist-y vibe.

Yellow/Y

The second design is more or less his actual vigilante outfit, buuuut yeah!

Curly hair -despite my inability to draw it- and Yellow has been a favorite hc of mine!

His outfit is somewhat inspired by steampunk? Not exactly, but I DID have steampunk in mind while making it! The pilot's jacket was the best change yet.

Someone on a03 has told me that he looks like Alan, somehow! I'm not sure if I see it, so does anyone else see it? It would be a funny coincidence if so!

Green/Songbird

His hair is my favorite part of my Green design so I HAD to keep it! The classic headphones are there with a gamer-ish colour scheme.

VERY hip-hop and streetdance inspired! His visor is a reference to the sunglasses Orange gave him in the "More Faces" short, rather than his sunglasses in the Influencer Arc.

His clothes are a reference to the clothes I see my sister wear for her own dance training, and I love streetwear in general, so its a perfect fit! The necklace is just for show, though. Nothing practical about that, but it does look cool! Plus, it's a notion to his powers! His outfit is practical, but still shows off somehow, just like Green!

My vigilante!Green is the most experienced in the group, so I wanted him to look that way, somehow? And he definitely looks the most professional! I think!

Blue/The Witch

The second member to join the vigilante team!

I HAD to give her a hat. The witch's hat is a must. Practical? Not exactly. Cool? Yes, indeed.

The mask is my favorite part. A direct reference to the "Faces" short, AND a good way for Blue to, ahem, mask her identity (hehe a pun)

The sweater and coat combination seems strange, but it looks a little like a modern witch outfit? Trenchcoats definitely give a vigilante vibe in a way, and Yellow already had one, so Blue gets a belt and a sweater to go with it!

Blue definitely needed a bag for her potions. She can't just make them on the spot!- well, she can, but it would still be a hassle! She'd be the most practical when it comes to her clothing for vigilantism, after Yellow.

Purple/Aeolus!

Obviously, the cloak is a reference to elytra. The green hairtie, the bag and the cloak buckle is a reference to their mother, Orchid. You can see the vines on the bag strap, the flowers on the bag and buckle, and the leaf-shape on the hairtie.

There's also a lot of green on them, wink wink ;3

To hide their identity, they cover a majority of their face with the cloak hood!

It was hard to balance the colors, but I'm happy with the results! This one is simple compared to the others, but its still cool nonetheless!

Purple was meant to have ripped jeans but my drawing ability to low, so... sorry, Purple.

AAAAND THAT'S ALL! Sorry if this seemed boring or disappointing, or whatnot. I tried my best!

[hopefull-mindset]

Design Analysis: Kouyou Ozaki

Have you ever wondered why everyone has assumed Kouyou to be a courtesan or brothel owner when there has been no specification in the main series?

First, there is the fact she refers to herself using “wacchi” (わっち), a pronoun that had been used by Geisha and Oiran alike in the Edo Period. Second is that, while she doesn’t have as many layers or hair ornaments, her large Obi is still tied at the front, and wears a Uchikake over her kimono. An Uchikake by itself is not an indicator, but I would think she has it to accentuate what she’s meant to resemble.

An Oiran is a general term for a high-ranking courtesan who has taken up some traditional arts and refined in their entertainment skills, putting them above the common prostitute. The term “Oiran” (花魁) means “flower leader”. It was said to be used by Kamuro and Shinzo to refer to the older courtesans and eventually became their title. It is theorized to come from the phrase "oira no tokoro no nēsan" (おいらの所の姉さん), but there is no exact and official origin of why they’re referred to as such.

They are exclusive because of their price ranges and the highest ranking had a degree of choice in who they had in their company. They get confused with Geisha often because of their similar skill sets and when you don’t know what you’re looking for visually, but in addition, this is mostly the fault of the Occupation of Japan with many coupling both of them into what they’d call “Geesha Girls” and mistaking Geishas for prostitutes. Many even called themselves a Geisha to bring in business, but Geisha’s legally couldn’t promote sex (that didn’t stop them though sometimes if they needed the cash). They are not distinctive only because one of them can practice sex work and the other cannot. Besides my previous comments on accessories, layering, and their distinctive Obi, Oirans have more extravagant coloring and designs on their clothing.

Not to be confused with the Tayū, whom Oiran had taken after in their clothing. Tayū are not as relevant in pop culture, so do not worry about trying to tell the difference in fictional media because they’re 100% going to be an Oiran unless specified. If you would like to learn more about Tayū and not look at confusing wiki pages, I recommend reading these: Karyukai Workers and Roles, The Look of Oiran Versus Tayuu, and this nice video about a modern day Tayū.

While Shinzo are the new debuting girls late into their training, a stage before that is the Kamuro. Kamuro are young girls sold by their parents to either pay off debts or have fewer mouths to feed, and some were even born into it. On the surface, the deal of their daughter becoming someone so luxurious was desirable and made it easier for them to give her away, but not all of them got that life and had to fight for that position. Kamuro were put under the care of senior courtesans who would teach them the skills they’d need while Kamuro did their chores for them. Kamuro were also considered a social marker of how rich the courtesan was to be able to provide for these girls, but they were limited to only caring for two. It was an exploitative and abusive industry that groomed them into this life. These girls can’t leave because they’re stuck to a never-ending contract that they need to pay off in their work because of the costs of their living, so competition for the top spot wasn’t only for the idealized life promised, but to get a higher paying customer to pay off their contract to escape.

Kouyou’s backstory is heart-wrenching in this context. We don’t have details of how she ended up there or the rest of what happened, but you can’t deny the resemblance between the life of a young girl in the red light district trying to escape her conditions with a man who has promised her freedom and Kouyou wanting to live in the light outside of the Port Mafia’s unlivable darkness with someone who wanted to show her that. Along the same lines, Kyouka can be seen as a Kamuro that Kouyou has taken under her wing and wanted to leave herself. Granted, using sexual favors is manipulation 101 and she could’ve learned this anywhere, but it would make sense if she had learned this from Kouyou as a courtesan. Kamuro weren’t ignorant of what their “Older Sisters” did.

There are many differences between the life of these girls and the bloody one Kouyou had lived in the Port Mafia, and it’s not as if I’m implying she had lived the life they did as we don’t know much, but the similarities can’t be just coincidence. As for “brothel owner”, the Yakuza unsurprisingly stick their nose into the sex work business, so it wouldn’t be too hard to assume Kouyou was looking over these things.

Side comment: “Ane-san” is old-fashioned, so the only time you’ll see it be used instead of just “Ane” or “Onee-san” is in a historical context, or with the Yakuza to refer to the upper echelon female members.

(I refuse to use something not from mayoi, bones art… is ugly)

Kouyou’s crimson hair comes from her name “紅葉”, which can be translated to “Red (Autumn) Leaf”, or roughly “Crimson Blade”. It’s referred to as crimson in the light novels, but we all want to call it deep pink. Either way, both colors are deep-seated in love and she wears it all over. Her uchikake starts light at the top and deepens the lush cherry blossom pink into a bloody red where it drags at the floor with trailing bellflowers (or some type of thin petaled bellflower). Her inner kimono is pure black, except at her shoulder where only a piece of pink is left, and at the bottom are prominent red spider lilies. Their color is emphasized with a transitioning dark shade of purple.

Red spider lilies are infamous because of their connotation with death, but there’s more to it. They’re considered “hell flowers” and could lead the dead to reincarnation. Used in funerals, legends say that seeing someone you will never meet again will have these flowers bloom in your path. They’re flowers that bloom in autumn and the meanings they have are: painful memories, abandonment, passion, independence, giving up, longing, and “never to meet again”.

Kouyou is a mournful soul whose past has never left her, especially in the face of confronting Kyouka’s choice. For these flowers to appear in the inner darkness of her design is significant to how deeply his death had affected her, but also the abandonment of what she regards as her “born nature”. That man had wanted to show her light but had only contributed to the growing darkness that she wasn’t allowed to escape. She had died that day with him, and could only keep walking in the flower field of death she had created. It’s only the piece of light on her shoulder that is left of her past self.

Now, the bellflowers on her uchikake can mean: Loyalty, gratitude, faithful, unchanging, honesty, and discipline.

If the Port Mafia had once been a place of terror and misery, then Mori had changed that for her and made the Port Mafia her home. She is forever grateful for what he has done to make this life livable again and dawns this flower gracefully with light colors. She chooses to wear these light colors over her kimono because even if she resents the hypocrisy of the people who can live in the light without criticism, she still wants some semblance of that dream after her soul has been blackened to that gain. Harukawa, when designing these characters, keeps in mind what organization and type of person they are when color coding them. It’s also with the understanding of what shades will appear darker and lighter in the manga style. Harukawa says that she made sure to give Kouyou light colors and kept her eye from being dark to signify that she’s a good person.

In the manga, her outfit is slightly different from the anime’s design. Her uchikake is paler and does not have any flowers on it, and the flowers on her kimono are much more... vague, so if there are better candidates than my guesses, then be my guest and throw me a bone. From the silhouettes, I will assume that the largest visible flower is a water lily and/or lotus and the flowers growing on the branches are sakura blossoms and/or plum blossoms. It’s fitting considering she is introduced with sakura blossoms falling around her, but they could be plum blossoms too as “花魁” can refer to them in some cases.

Water lilies and Lotus flowers are very recognizable, and I’m sure most of you have seen them around. Their meaning of “purity of heart” comes from how wild water lilies will usually be white. Similarly, lotus flowers are seen as pure because they can bloom in mud without staining themselves. Other meanings water lilies are given are: Rebirth, trust, faith, and kindness. With lotus flowers, they are: Rebirth (again), “to change someone’s mind”, “eases suffering (of the heart)”, and resilience.

Ignoring the meaning of faith and trust since we had already gone over it with the bellflowers, both possible flowers emphasize her good nature and the renewal of life that Mori had blessed her with. Mori had eased the mindless suffering caused by the old boss and changed her mind about what the Port Mafia was to her. She pushed through the muddy waters of the old boss’s darkness and stood her place well in her strength.

Sakura blossoms and plum blossoms introduce two different meanings in their symbolic usage. Plum blossoms bloom in the winter cold in the signal of spring coming, showing the prosperity of life in the hardest of conditions, while sakura blossoms remind us of life’s impermanence and that its beauty can only last for so long. Plum blossoms also can mean: elegance, nobleness, patience, loyalty, hope, and renewal. If these are Sakura blossoms, then they can mean: renewal (again), violence, and hope (again).

In the context of these flowers appearing on her kimono, they mean something different than the renewal of a new era Mori had brought. The remark at the beginning of chapter 17 gives us a personal meaning for Kouyou to what sakura flowers are to her. They are the blooming hope of a girl’s wishes, but they eventually have to drop not long after growing up and facing their reality. Remaining a bud is impossible, so Kouyou, in defiance of this eventual fate of this girl, sees slashing the girl’s heart to be more merciful than the long, doomed drop they all have to face. Kouyou is a bloomed Sakura flower who has already dropped, and her change had started there, not when she bloomed. Even if a part of her had died, she still clings with no real hope.

This is the only image we have of her kimono without anything covering it. This is right at the end of the Guild Arc where they are celebrating their accomplishment. Kouyou sheds her outer bright colors because there is no room for that in this setting and trusts Chuuya and Mori enough to shed any pretenses. They’ve all dressed casually, so she would too. The leaves are meant to be red maple leaves that also show up in the flashback of Kouyou of you look carefully. As I’ve said before, these have to do with her name. The vague firework-like design that shows up are either enlarged spider lilies or chrysanthemum flowers. Assuming these are the white kind, they mean: truth, loyal love, admiration, and sincere heart. However, the yellow kind can mean “slighted love”.

She is sincere inside and out, even if some of that sincerity isn't as pretty as what it looks like from a distance. “A flower that blooms in the dark can only survive within the dark” is a sentiment she lives by after all. If it is a yellow chrysanthemum, then its meaning is what you’d expect from her lonely heart.

Bonus round

Welcome if you have read this far, this is where I stray from her main outfit and talk about outfits that only appear once. This first kimono is what she wore when staying put in the Armed Detective Agency’s capture so that Kyouka would be able to live out a dream she can’t bring herself to live out. The white kimono is covered with columbine flowers. They can mean: risk-taking, good fortune, faith, folly, hope, and specifically for white columbines, “I’m concerned for this person”. Negative/inverse meanings include: The emblem of deceived lovers, ingratitude, and faithlessness.

What this means in Kouyou’s overall situation shouldn’t be too mind-boggling. She is in this room for Kyouka’s sake and is fairly concerned about how this plan of many risks will play out, but has faith in Dazai’s abilities. She is her most stripped version of herself and works with good intentions with Dazai under this idea, so she only wears light. Kouyou though is only left to her thoughts, her own past in that room. She is glad for Kyouka, but it only leaves fear that Atsushi won't be able to live up to something he promised so she ensures that he is committed to helping her into the light and strong in a way that man wasn't able to be. 

The second one is from the chapter art with Kouyou and Mori leading Soukoku away from each other. It’s an outfit that reflects her mindset during her time with the old boss, an inverted palette from what she’s currently wearing. She hasn’t fully embraced her environment yet. Unfortunately, almost all of the flowers and plants are a bit too vague for me to point out. There is only one flower I think I recognize on her right sleeve that looks like a bird, and it is called an Egret Orchid. The only meaning of significance here is: “I think of you even in my dreams.” Some sources will say, “My thoughts will follow you into your dreams”, but I think this made more sense in this context.

This sentiment is regarding that man who had told her such an innocent lie. She not only hid her sorrowful, pure yet broken heart inside the guise of flowering darkness but weaponized this sorrow in her violence and climbed the ranks of the Port Mafia. He is a source of regret, hate, and sadness. He is her only semblance of what hope and love could resemble, and it has become a corrupted and negative thing to her in his death. Pure darkness is the only thing can trust for people like her… but she still ponders what that life will be. His influence had never left her, whether it was for better or worse. 

—

Alright um

I don’t typically do analysis like this as I don’t find clothing all that interesting to look into, but there is merit to thinking about what a character is wearing even on a surface level. It can be a show of their social rank, their job, their interests, their personalties, their culture, etc. but there isn’t always a deeper meaning to their clothing on a theming sense and I can’t find it in me to usually be interested in doing it myself. In most media, the clothing only indicates the era the characters are from and how marketable they can be.

Luckily, BSD is one of those stories that do put heavy consideration on what the characters are wearing and how their clothing changes overtime for some. Obvious examples include Harukawa’s color pallet consideration to indicate what type of person they are and what organization they are from, Dazai’s clothing swap when he leaves the Port Mafia, Chuuya’s many outfits as show of his growth in belonging to the Port Mafia, the coat passed down from Mori to Dazai to Akutagawa, and the Yin-Yang coloring of Atsushi and Akutagawa that stays consistent even in Beast where they swap.

When doing clothing analysis you’re almost expected to overanalyze and stray into your own interpretations of what certain things mean, when sometimes there isn’t any intended meaning. None of that is a bad thing though! You don’t have to rely on an author or artistic word to analyze a thing, but I tend to have a hard time with just making claims like that. So I picked this concept for Kouyou because I have my own ideas for the thought process behind her design that felt right and find it intriguing enough to share. I had actually asked a friend if I could take her from their hands since they had been planning to do their own clothing analysis, but got stuck. So thank you for letting me steal it!

I’m not a historian or whatever, but I do like sharing what I do know about certain topics! Unexpectedly, this took more out of me than I thought. I’ve written more in a shorter time, but I got stuck with having to write about one certain topic than the character entirely. I will probably never do something like this again, at least not with flower meanings. Who knew how much work it was to actually explain what they mean in context in such a big bunch?

The day I finish that Odasaku analysis is when I’ll read The Golden Demon.

[kaleen-art]

Lupin Movie Marathon Analysis #1

The Mystery of Mamo (Lupin VS. The Clone)

Lupin III: The Mystery of Mamo has been a long standing favorite Lupin movie of mine. When I originally watched it, I couldn’t stand it due to its adult content, but since then, I have not only grown to like it, but I think it’s one of my favorite pieces of Lupin media, period. However, it had been a long time since I watched the full movie by myself, so I decided to put on the Blu-ray and watch it again.

Mamo has always been a movie with a lot of complex themes I like to explore, but I noticed something new this time, as well as coming to new conclusions about previous realizations. So join me in my lengthy analysis/report on Mamo, the most insane masterpiece of a film ever made.

At face value Mamo is just a stupid silly Part 2-like romp. Released in 1978, it reflects a trend amongst Lupin media at the time to be closer to the original manga and Masaaki Osumi’s Part 1 work in tone. For this movie, they even got back a significant portion of the early Part 1 staff in order to bring back this grittier, less bubbly Lupin. His characterization here is notably close to the original manga. But where Mamo succeeds (and Part 2 fails, in my opinion) is the fact that there is depth to Lupin’s character. Unlike Part 2 which has very little stakes, we see Lupin pushed to his absolute limit as the film breaks him down as a person. In a way, the movie is a sort of character study on him. But in order to study Lupin as a person, we have to see how the people around him are affected by, and affect him. Primarily, Fujiko Mine.

Fujiko’s characterization in this movie is perfect. This movie captures something I find a majority of Lupin fails to understand. Fujiko is exactly like Lupin. She is just as calculated and manipulative as him, Lupin just has more practical skill in place of where Fujiko utilizes her beauty to get the things she wants. They don’t even listen to their partners in crime (Lupin with Jigen and Goemon, Fujiko with Mamo) as they lust after each other (while secretly planning to deceive them). They are both horrible people, and therefore are made for each other. The movie drives this point home when Lupin even says him and Fujiko are bound together and can’t be separated, to Mamo. But there’s another character Lupin is bound to.

Zenigata, as he usually does, serves as Lupin’s foil. While Mamo is the actual villain of the movie, Zenigata is always there behind Lupin. In a way, he’s kind of a parallel to Fujiko, because he’s the only other one who never leaves Lupin’s side. And as Delaney Jordan denotes in her amazing video essay on Mamo, in Lupin’s subconscious, the only people who appear are Zenigata and Fujiko. They are the only ones who truly stand to challenge him in comparison to his other partners, which is why he subconsciously holds them in such high esteem. To analogize it, Jigen and Goemon are there to catch Lupin when he falls, while Fujiko and Zenigata are the ones who pushed him off.

On the topic of Jigen and Goemon, they are also very important characters to Lupin in this movie, but in a way, they both serve the same plot purpose. They both act as a sort of conscience to Lupin, keeping him in check throughout the movie, and judging his actions. That is up until they leave (which is very unexpected, especially at the time when the movie came out. If you had been watching the weekly Part 2, it was common to hear Jigen and Goemon bitch about Fujiko, but to see them pushed so far to the limit that they abandon Lupin? It was plain unusual to see.) It’s not until they’re both away from Lupin that we get to see the true side of Lupin. One without refrain. And that’s a good thing for him, because that’s the only Lupin that could go against Mamo.

Mamo is a particularly interesting villain because he’s almost like the anti-Lupin. As one of my friends (@curleyclown) described it, Mamo is an unstoppable force to Lupin’s immovable object. While Mamo is constantly growing more and more intelligent and trying to change time itself, Lupin is a stubborn person opposed to change. And that might be Mamo’s most prevalent theme. The main cast’s refusal to change. The characters don’t grow or change as people, they don’t mature, they end the movie the exact same people they were when it started. And though Mamo tried to influence them through his actions, likely knowing Fujiko would pull Lupin, Jigen and Goemon apart, he was unsuccessful because these characters just aren’t capable of growth. Lupin even remarks this himself about Jigen when twice in the movie, once in the beginning and once near the end, he calls Jigen a unchanging classic. Even a line that seems just like a throwaway joke has depth in this film.

Another thing I love is the movie’s emphasis on Lupin’s subconscious. When Mamo enters the mind of Lupin, he’s stunned by Lupin not dreaming, but later on in the film, when Jigen is arguing with Lupin, Lupin says he had his dream stolen from him, and Jigen asks if he's referring to Fujiko. This is genius. The reason Mamo couldn’t see Lupin’s dream was because Mamo had taken it from him. This might be one of my favorite parts in the whole movie.

My favorite part about the theming in the movie though are the biblical parts. Mamo’s claim to be God isn’t just said through dialogue, the movie continually showcases this visually. Behind Mamo in this shot (see first image below paragraph) is Michelangelo’s “The Creation of Man”, which showcases God creating Adam, the first man. Many people have remarked that you can see the silhouette of a brain in the background shapes behind God (see second image below paragraph), and when Mamo reveals his true form at the end of the movie– (see third image below paragraph) Do you see what I’m getting at? It’s brilliant foreshadowing.

Furthermore, Mamo compares him and Fujiko to Adam and Eve many times which, as said in the Streamline dub, makes Lupin the snake.

Overall, The Mystery of Mamo has a really engaging plot with really good character writing and themimg. But it’s not just that I love about Mamo. The art is gorgeous, and in my opinion, is better than Cagliostro. While Cagliostro has smoother animation, Mamo’s limited animation works really well with the manga inspired artstyle, making it more distinctive, and because they saved time and money by using less character animation, they were able to put more into other aspects of the movie. The movie’s camera shots are really well done and always have a really interesting perspective to them. Additionally the meshing-together of live action materials and animation (such as the scene with Fujiko overlaid on top of a ton of breasts) is really unique, especially for its time. My final note is about the scene where Goemon chops Flinch’s head in 3 and the frame literally gets chopped. It is jaw-droppingly awesome and always impresses my friends when I show them the movie.

The music is also really good. It’s nothing too remarkable as a lot of the music is in Part 2, but its placement in the movie is very nice and I especially love some of the timed cues. The music cue in the scene where Lupin clicks on Fujiko’s nipple (that’s a sentence, alright) is hilarious to me. 

Now we get to another really long section. The voice acting. The voice acting in the Japanese version is absolutely fantastic, all the voice actors deliver a really great performance and you can just hear the psychoticness in Yasuo Yamada’s Lupin. Kou Nishimura’s Mamo is very distinctive and very fitting for the character. And of course the rest of the cast, as usual, deliver a great performance. But of course, I can’t mention Mamo and voice acting while not discussing the 4 English dubs.

Toho’s dub’s script is actually quite decent and it’s a competent dub given it was made in 1979 but the voice acting is rough and because it hasn’t been well preserved, the audio quality isn’t great. Overall, it’s a 5/10.

I adore Streamline’s dub. The script is accurate while simultaneously maintaining really good flow. The voice actors are also amazing and I love Bob Bergen’s performance as Lupin, as well as Edie Mirman’s Fujiko. They both have that perfect energy for their characters and I love their performances. Steve Bulen’s Jigen is also great, my friend (@theshmeepking) always describes him as sounding like a “weed dealer”. Ardwight Chamberlain’s Goemon and David Povall’s Zenigata are also fantastic. Overall, my favorite dub of the movie, 9/10. I just wish it maintained Lupin’s line about Fujiko being his dream. 

Manga’s dub is overall forgettable and the script is littered with out of place cursing. It’s an adult movie, sure, but it just feels tonally inappropriate in my opinion. Voice acting is decent, though I find Bill Dufris’s Lupin a little grating. Audio quality is better than Toho but still rough. Overall, I give it a Dyslexic Zenigata/10 (Zenigata actually says he’s dyslexic, I’m not kidding.)

And then we have the ever-popular Geneon dub. I don’t particularly care for the modern Tony Oliver cast, but I will say, their performances in this aren’t bad even if I don’t personally care for the voices. I find Michelle Ruff���s Fujiko a little unfitting for her depiction in Mamo though. My main problem is the script that deviates way too much from the Japanese original and adds in a ton of unfitting jokes. It’s a fine dub if you’re watching the movie as a fun “turn your brain off” romp, but personally, I don’t think it’s a good adaptation of the original Japanese version.

On that note, that’s about all my collected thoughts on The Mystery of Mamo. This is definitely one of my favorite Lupin films, and maybe just films in general. I don’t have much more to say, but overall I give it a solid 9.5/10. I'd like to give a special shoutout to Delaney Jordan, whose video essay on Mamo was a huge inspiration not only for this, but for my passion for Lupin analyses in general. I'd also like to thank @curleyclown and @eva-of-the-sea for reading my WIPs for this essay. And finally, join Cagliostro Central, the Lupin server I co-own. I usually post the WIPs in question there.

I hope you enjoyed reading this ramble-analysis! I’m doing a Lupin movie marathon, so next up is The Castle of Cagliostro! Stay tuned.

[fangsforiris]

I've recently checked out your Yui x female headcanons and I wanna know do you actually think Yui falling in love with the diaboys is just Stockholm syndrome? I know they’re just meant to be head canons but I’m pretty curious about it (but I’m pretty sure she genuinely fell in love with them)

I was waiting for this one!! Here’s an analysis on my end!!

TW FOR PEDOPHILIA, STOCKHOLM SYNDROME, DIABOLIK LOVERS TYPICAL ABUSE.

So let’s start off with who Yui is as a character.

She’s supposed to be written as a sheltered, sweet, and overall empathetic girl who follows a strict moral code, mainly influenced by her religious views (Roman Catholicism).

This is heavily implied as in Romania at the time and as of current, Roman Catholicism is the main religion practiced.

It’s canon that her interactions with men have been controlled, as seen with her father— who did neglect her, leaving her to eat meals by herself, always be home alone, and basically only rely on the nuns for some support— but even then it wasn’t enough.

Hence why she can be considered to be a ‘good housewife’ since she has that experience on knowing how to manage a household with chores and all.

Even further pushing it for her previous relations with men, we know she had friends before— a life before— the house. Men? I would assume she was cordial when needed to be, but never was allowed to heavily interact, which is why she’s so out of date with her speaking, and pop culture— as it’s revealed by Yui, herself, that she doesn’t know that much.

But of course, why is that important? It gives the key foundlings to her environment, and also aids in assessing who’s more susceptible to Stockholm syndrome, and any tactics of abuse.

Basically who is the best ‘target’ for abusers to get too.

Her father canonically has given off-hand sketchy vibes, and also has canonically shown borderline pedophilic behaviours towards his own adoptive daughter. Even going as far as to want and attempt to marry her.

(I’m not sure where that is shown again, but in some MB routes— Kou’s, Ruki’s— he [Seiji, Her adoptive father] meets Yui and assumes she’s a vampire and attempts to kill her.)

Basically, it all starts at home. It sets the ground work for what you can take and what a person is conditioned to believe, etc.

In this case, Yui is conditioned to believe that it’s at least normal for her to appropriate these behaviours, and in a sense, still talk good about the men around her because she doesn’t know any better. She doesn’t know anything other than this.

That’s why she still tries her best to talk about her father is a positive light, because, due to her good heart, wants to believe and see the best and people (a core part in her character which allows her to live and persevere all routes— especially HDB with the boys.)

So due to that, we can take the groundwork presented to us as a Player, Reader, or consumer of the games and Diabolik Lovers Media, that Yui’s relationships and viewpoints of men is formed and directly influenced by her father and what rules he set up.

A psychological fact, everyone’s core parts and associations all start at home, with our parents. That’s why many get their viewpoints of how a man should treat you, via your father figure. And so forth.

It starts with discipline, then forming views and opinions, and overall how the treatment you receive reflects directly what you are constantly engaged and exposed to in your home-life and environment.

So for Yui, we can understand the following—

A) Relations with Father figure (which impacts her views/treatment by men) is shifty, but she still speaks in good light.

B) She is used to being alone, and handling everything herself. Bottling it in as she didn’t have that many outlets other than the obvious religious standpoint.

C) Despite it all, she’s raised to be a good person and is high or quite white, on the scale of morality.

So with that being said, what is Stockholm Syndrome?

Stockholm Syndrome is a diagnosis given when:

A) Feelings of trust or affection felt in many cases of kidnapping or hostage-taking by a victim toward a captor.

B) Hostages sometimes develop a psychological bond with their captors. It is supposed to result from a rather specific set of circumstances, namely the power imbalances contained in hostage-taking, kidnapping, and abusive relationships.

That is the formal definition, given by Oxford Dictionary and Wikipedia (Cited from: King, David [2020], and Jameson, C [2010].)

Which are official reports reviewed by psychologists and psychiatrists who are heavily trained in their field.

Now, we can take it from the anime and HDB (the darkest of the games,) that Reiji implicitly states “You are not able to leave.” To which Subaru replies, “Just tell her that if she attempts to escape she’ll die.”

That in itself tells you there’s no escape. And that from that point on, Yui becomes a hostage. In a house with pre-established men who already are high level threats to Yui, and are highly dangerous.

And what is Yui? She’s afraid. Like any sane person who understands the power difference between a man and a woman— more specifically vampires. She learns this instantly, and also faces threats of bodily harm quick into her stay.

Whatever happens later on in any route, is Yui playing the saviour. She’s expected to cater to every boy, and there are heavy repercussions if she disobeys.

There’s a master post of everything in HDB that occurs when the boys attempt to kill her.

And of course, this doesn’t just start at HDB, this also extends all all games, MB, DF, LE, and just any and all games when there’s an introduction in characters or simply just any routes.

In every route there will be at least some sort of implication of abuse or undertones. As that is what Diabolik Lovers is, a dark video game series.

Point is, if it’s Diabolik Lovers, expect some sort of abuse towards the MC/Yui/Player.

With this basis and mentality in mind, it’s heavy and dark. Which is what lead many previous brides to take their own life. They couldn’t handle the constant pressure nor the abuse being presented to them that they underwent.

So where does Yui fit into all of this?

A) She’s one of the many brides and assumed to be the last bride to enter the house due to her complicated relations with her heart.

B) She is undergoing the abuse of the Sakamaki’s, Mukami’s, Tsukinami’s, and Kino.

C) She is quite literally a victim and survivor of what countless other brides have died to. The only thing keeping her alive is her heart, which also goes to make problems for her in the future.

It’s been stated, highlighted, emphasized and understood by everyone— including Yui herself, that all she is worth is her blood. A blood bag. That is it.

Of course, this is where the Adam and Eve Plan would come into play with Yui finding an Adam out of the candidates.

However, she is still in this environnement which tolerates and even thrives off of her abuse.

Which would, in some routes, condition her to become a masochist, thriving off of her own pain, just because the vampires constantly tell her, gaslight her, and condition her to believe that she likes it.

Even after Yui consistently states she doesn’t.

(This is also influenced by Cordelia’s heart, and what Cordelia is subconsciously pushing Yui too aswell, as seen in HDB, one of the scenes with Shuu as he gets jumped in the alleyway. Her thoughts— driven by Cordelia in the moment— reflect sadistic intent. Another scene where she’s pushed to enjoy her suffering, even when Yui fights against it because somewhere inside her knows it’s wrong.)

However, this isn’t to say that the boys don’t get character development. They do. Which is how we as a consumer and player can have fan favourites and like them.

But how do they get to that point? Through Yui. Using Yui as a direct catalyst to project their abusive tendencies into her, leaving her to pick up the pieces with herself, and become an unlicensed therapist to aid in their problems.

This is directly influenced by each of the Sakamaki’s mommy issues, the Mukami’s inferiority complexes and need to succeed, and for the Tsukinami’s— their need for their race to be saved.

And of course, understanding every boys’ underlying complexities of their individual traumas which make up their character as we know it.

Yui has to suffer a lot for her to get what we see it, or what is painted as, ‘love and a good ending,’ with the selected boy and route of each respective game— along with the boy chosen.

She gets here because she’s slowly conditioned to allow these abusers to take over her life, and basically become what they need in that moment.

But she does have her own personality, her own goals, motivations, and whatnot.

However it becomes overrided by the survivor mentality she’s instantly placed in when she’s constantly around these vampiric men. She’s always on her guard, and the moment she drops it, it’s used against her.

Even when she’s seemingly in a good moment with the boys, understand, that one wrong move can send her straight to death. So everything is much more calculated than it seems.

In fact— to further prove the Stockholm syndrome affect— Yui acknowledges that she’s stuck and trapped. In Shuu’s HDB route, DARK 01, she only attempts to get Shuu to go to his classes in hopes that the Sakamaki’s will be greatful to her and let her leave.

So even if she does happen to find attraction in any of the boys, and fall in love, there’s still an outlining of conditioning that gets her to that point.

This isn’t to hate on anyone that ships Yui with any of the boys, this is simply a brief analysis of the facts from a purely psychological approach!! I’d like to think if the boys got therapy and worked through their problems, perhaps then, they wouldn’t have projected their traumas onto Yui.

But thank you for the ask!! This was fun to analyze!!

[shelandsorcery]

What I've Learned About Teaching Art

I've had the privilege of teaching art in a variety of environments - from still life oil painting at the college level, to combining art with science and history in a museum setting, to guiding highschool students through creating a comics anthology. Through these very different settings, I've found a list of constants that, when I keep them in mind, help me deliver the most enjoyable and effective art education for my students. One of my core beliefs is that art is, at the heart of it all, something a student must teach themself, and that a classroom, workshop, or camp that wants to teach art is actually responsible for creating an environment and offering projects that facilitate that self-driven learning. With that on the table, here is the pantheon of truths that, if I can hold on to all of them, help me create that learning environment:

- Almost no one is inherently unable to draw. Additionally, everyone can improve at drawing. With the wealth of "traditional" media, digital tools, and thousands upon thousands of years of art history with which we can map the possibility space, it seems obvious that if someone wants to make art, then they absolutely can.  If they want to draw, then no teacher should ever, EVER tell a student that they "can't." The teacher's role is usually to take a student who already secretly believes they can't draw and help them see both the breadth of possibilities and the potential within themselves to improve whatever skills they start with. - Drawing is not always about making a beautiful image. The obsession with one kind of "good drawing" creates an artificial limit on who is allowed to draw. Sometimes being an art teacher is about expanding a student's definition of art as opposed to pushing their frustrated and dejected pencil along a path towards a narrow goal. The reality is that even within pop culture we see so many gorgeous kinds of art! Beyond that, aiming superficially as an artist for a particular surface result will almost always create lesser work than creating an understand of underlying processes and theories that helped the "good art" come into existence. - Drawing can teach new ways of seeing. Observing with the intent of drawing can transform how a person perceives the world. So much of teaching art is teaching visual literacy, the literal act of reading meaning within visual input, whether that's a still image, a film, a building or a natural landscape. When you motivate students to read visuals by providing them with new ways to understand creating visuals, you jump start their investment in visual literacy. - Drawing can help us think about things differently. Thinking can shift along with modes of seeing - what is a structural way of thought? What is a compositional way of thought? When you teach art, you must teach a student to look at things holistically and in granular elements - besides just enhancing thought processes moving between the two states, you can get much more discovery in the analytical and planning modes of appreciating and creating artwork. - Drawing from reference is as educational as reading. Learning to examine visual reference closely creates a new kind of literacy - visual literacy. Drawing from reference, especially with guided or motivated questions to be answered, can create an opportunity for modes of analysis that students don't get to otherwise use. Developing visual observation and creating a practice of looking both closely and holistically can create a layered understanding of the subject. Even students resistant to traditional still life drawing processes can find benefit in using drawing to answer self-guided questions. - Learning by making art is a valid mode of learning. Making art can be a mode of learning that both alternates between input and output and creates a sense of ownership/agency in both modes. The hands on creative process is a kind of guess and check system that can be designed carefully to allow students to make a wide variety of types of decisions, and teaches them to create goals and investigate what processes will best allow them to achieve said goals. - Competition with each other or with some imagined ideal will deflate artistic potential. An art classroom cannot have winners and losers based on "quality" of final piece. Art education will benefit more students if it is process oriented. Quality, even in straightforward skills based art education, can still be subjective, and unless it's an aggressive battle Royale for some exclusive prize, the intent of any art programming is not to find the single best but to encourage each student to improve. So don't be a dick about it. - Art is a product of restraints. Material, process, time, subject or conceptual restraints allow for a kind of focused play. Giving students free reign is in itself a huge challenge of self direction, goal setting and prioritization. Making some of those choices for them gives them a chance to focus their own learning. - Materials change the kind of engagement. Diverse materials allow for diverse engagement. Just as subject matter can affect a student's personal investment in a project, the material or method of art making can change their engagement. Changing between drawing and painting, reductive or additive sculpting, stenciling or stamping, will not only change the tactile experience of art making but will affect the modes of thought used to make creative choices. - Venue or audience transform art. Pressure to show, and to whom, can change students self imposed limitations. Defining an audience will change and add pressure to art creation. This can help students hold themselves to a higher standard, but can also frighten or overwhelm them. Audience needs can be a useful limit or influence on the direction of an art project, but audience pressure needs to be modulated to the response of each student. - Art is most interesting when it leaves the comfort zone of its creator. This can only happen in a classroom where students feel safe to take risks. Art, even when the subject matter is utterly anonymous or benign, can be a hugely risky-feeling process. Even the act of making art in a classroom environment can feel frightening; if we want students to fully engage, and to take the artistic risks that allow them to learn, we have to spend class time making the classroom into a safe space for the students. This probably needs to be it's own post so I'll leave it there for now and come back and expand upon it in detail in future. - Subject engagement transforms art. Students with something to say about their subject may push themselves farther. Caring about the subject can be a blessing or a curse for a student - deep subject investment can drive problem solving around how best to present it in the artwork, while deep subject investment can also overwhelm a student with self imposed pressure and even a large dose of imposter syndrome. Therefore it can always be useful to intersperse self selected subject matter with "boring" or at least not emotionally significant subjects, to relieve some of the pressure and allow students to instead respond to the process alone. - Ownership of a process will empower students. Whether they've designed a process, built their own materials or set their own goals, agency gives students investment. One of the most exciting things about art is that students have a lot of potential control and thus ownership - they will always be making choices, and those choices are potentially exciting because they directly affect the outcome. You can increase this sense of ownership or investment in the class by facilitating student-made materials, like sketchbooks or mark-making tools; or by facilitating student-led exercises or challenges or projects. - Demos will guide what others make and must be done carefully. Demoing can empower and at the same time overwhelm or impose limits on the viewers. Demoing must be designed to specific goals of each assignment. Eg: if you want students to use surgical techniques to explore value, or depth, or composition, whole you absolutely have to demo the technique didactically, you need to be careful not to be didactic about the results you want in relationship to the subject of exploration. Showing a wide range of potential approaches can help in classrooms where students can handle large info dumps, but often it's better to demo the technique, get them trying it out without further instruction, and then redirect then to the topic of exploration as stage 2. - Material potential can power a room. Art supplies can be motivating all on their own. Getting excited about them can make it safe for the students to get excited as well. There are many different supplies available to teach art with, and trying different ones can add a lot of excitement to the room even if your topic of instruction is narrow. Getting excited about materials can change the mood of a classroom entirely. - Criticism must engage with the student's goals or it will work against you. Setting goals, and then reflecting on them, is key to art education as so much of art is self directed. If you then ignore that setup and approach critique without listening to your students' internal direction and goals and at minimum acknowledging them, they will not find your critique constructive. This goes for young children all the way to adults - you need to be in dialogue with them. - Open discussion and open ended questions will always help. Once you've found a way to make the classroom a safe space, group discussion powered by open ended questions can open everyone's mind up to broader possibilities. One on one conversation also benefits hugely from open ended questions and encouraging students to reflect and investigate their own process and practice. - Letting students share their learning is important to help the class grow beyond your own limited experiences. Students will often still feel in competition with each other, so instituting non-competitive collaboration and sharing will be important to minimizing classroom tension. This can be demonstrated first with art games and developed into collaborative processes on more serious projects. - You can never clarify the instructions enough. Always repeat yourself, be prepared to repeat demos, have a written list of instructions and delegate helpers. Breaking projects up into stages can help with detailed instructions, but always show an overview first. Art is overwhelming and there is no process so simple everyone is automatically good at it. Accurate following of a process will often help students who are unsure of themselves prove themselves to be competent and your job as the teacher is to make sure they have everything they need to do that. - Techniques are best remembered when students use them to solve specific problems. Show how applicable to different problems a technique is during demos. Be prepared to reteach or to teach new techniques whenever students hit a wall. Encourage them to reflect over the techniques they have at hand to see if there's a new way to use one that could solve their problem. - Art is mostly learned by doing. Material literacy is gained only through material exploration. If you spend too much time talking/demoing before they get to try the materials the enthusiasm can fade. If you have a student who is frightened of doing it wrong, the most important thing is to make a safe space for them to do it wrong, because that's the only way to eventually do it right. These are all best case scenario tips - and while I've tested them all to know they work, it's still hard work to keep everything in play in every classroom. I'm hopeful that having this written list will help me, and maybe by sharing I can help others as well. Art is a privilege to teach, but I believe it is incredibly important for everyone to get to learn it, in a safe environment where the effects of an art practice can be the most beneficial. Are you teaching a creative subject? What are some techniques or core values you bring to your classroom? Read the full article

[capcavan]

🗣️ (also sorry this got long, turns out i have thoughts) so like riko is one of the weirdest fandom cases i've ever seen. i've been in fandoms where characters who commit actual war crimes and genocide are badass babes or uwu soft bois, and even spoiled mafia brats who commit terrible crimes against the heroes for daddy's attention that get love and redemption. it's so weird to see just how isolated from all that riko is to me.

i do think it's partly how aftg is written, and that's also partly because niel's pov is not at all forgiving of riko, while is entirely forgiving of people like andrew. but i also think it's because of how riko himself is written. he's one of these characters that's better on paper than he is in the book to me. because he's never presented as smart enough to fall into the magnificent bastard trope where everyone applauds how devious his plans are, but he's not outright hammy enough to just be a fun read, he doesn't even get the same stupidly dramatic flare as andrew. and while we're told he's powerful and doing dangerous stuff, he's presented on page, more often than not, as a petulant child that neil is just done with or a guy who likes to torture people who neil is also done with. neil is never actually scared of riko, or even particularly threatened by him, and i think that hurts him and makes his position in the narrative weaker. especially when nora is trying to play him as a villain and a threat in a mafia story rather than a good old fashioned rival in a sports drama. for example, his first impression on the kathy show should live up to the hype of this imposing charismatic villain who broke kevin's hand, but instead loses him temper, forgets all of his media training and lets a nobody like neil goad him into losing control of the interview, and then his payback, things like shoving neil around and seth's death, are basically brushed off because neil doesn't really care that much. it's not given the weight to be a seriously omg this guys a threat first impression. and this isn't uncommon, lots of media hamstrings their villains at the start by making sure we know the main character is too sassy for them and can humiliate them, without thinking about how weak that can make the villain seem. it feels sometimes like nora wanted riko to be this chess master villain or tragic child who's lashing out at the world, without committing to it fully to either, or was just not an experienced enough writer to have known how to write either of those things in the pov of someone who hates riko's guts, which is understandable, writing is hard and that sort of nuance takes practice, especially if you just go by the books and not the extra content, and i do wonder how differently nora would have portrayed riko if she rewrote the main trilogy now with presumably a lot more practice under her belt. in the end riko ends up in this weird grey area to me where i understand why he's not popular, given he has none of the usual obvious traits that fans like to latch onto when redeeming a villainous character, and even the ones that are there are glossed over pretty quickly because of neil's pov, and a lot of his more interesting pieces are on paper not actively presented in the book, and not everyone reads super deep, but i also don't understand the amount of hate. i have literally never seen a character in any other fandom i've been in have this much fandom wide hatred.

See I have nothing to add here because you single handedly dropped the best analysis of Riko's character in the series I had pleasure to read so far and summed up all my feelings about why and what of the fandom. If the goal was to write a character that is impactful yet easy to hate then that goal was achieved but for me it real takes away form the magnitude of feelings Riko could evoke in reader and questions he could provoke in narrative if he was given bit different presentation that woudl still align with the lore we already have.

[imitationgame77]

Murderbot and ART reading each other's mind

Murderbot claims that ART does not read its mind – that it really knows Murderbot well. But sometimes, it DOES appear as though ART is reading Murderbot’s mind. As if its inner thoughts are leaking into its private feed where ART is sitting and watching.

Here are some examples:

[Quote]

I hate it when ART is right. “I can’t do anything about that.”

You can’t alter your configuration.

I could see the skepticism through the feed. “No, I can’t. Look up the specs on SecUnits.”

SecUnits are never altered. Skepticism intensifying. (Artificial Condition, p.42).

[Comment]

How can see the skepticism through the feed, unless they know each other very well? Murderbot has observed and calibrated ART’s various responses through the hours of joint media viewing, and can now interpret subtle changes in the feed. Basically reading ART.

[Quote]

Its arms were bare, and there was no metal showing and no gun ports. This was not a SecUnit.

I was looking at a sexbot.

That is not the official designation, ART said.

The official designation is ComfortUnit but everybody knows what that means. (Artificial Condition, pp.89-90).

[Comment]

I mean, how can ART tell that Murderbot is looking at a ComfortUnit, thinking of it as a sexbot, without reading its mind?

[Quote]

Without drones, I couldn’t see what it was doing. ART had switched over to Iris’s feed, using her enviro suit camera, and the resolution at this distance wasn’t good. ART needed a field equipment upgrade. Wait, a human would look at it, right?

ART said, Look at it. It’s obvious you’re avoiding it.

Maybe I’m a nervous human who’s afraid of bots, I told ART, but I looked at it anyway. (System Collapse, p.13)

[Comment]

By the beginning of System Collapse, ART is practically always in Murderbot’s head in order to monitor its stats. Murderbot also has the constant awareness of ART’s activities, because of their practically wall-free intimacy. ART can probably hear anything Murderbot is thinking in language (human or machine language) unless Murderbot tries very hard to think privately.

In this scene, it is also sweet that Murderbot does as told by ART, because even though it hates when ART is right, it knows when ART is right (which is always).

[Quote]

(Obviously this is not actually what I’m upset about, it’s just easier to be angry about B-E Unit1’s fuckup and/or disregard for minimum client safety.)

Safer to be angry about it, ART said on our private connection. (System Collapse, p.15)

[Comment]

It really is literally reading Murderbot’s thoughts.

[Quote]

I should have paid more attention. I’d fucked that up, too.

We both fucked that up, ART-drone said. No, it doesn’t read my mind, it just knows me really well. I should have banned refreshment items containing stimulants earlier in the day. (System Collapse, p.133)

[Comment]

Even if ART isn’t reading Murderbot’s mind (which I think it is), ART’s choice of expression is also spot-on.

[Quote]

On our private channel, I asked ART-drone, Is it one of ours?

There’s a 66 percent chance, ART-drone replied. If after our first message they decided to send assistance, they could have met the second pathfinder en route and received the map coordinates that would allow them to locate our exact position.

[…]

Sometimes the thing where it’s like ART reads my mind goes both ways. I said, But you don’t think it is.

No. (System Collapse, pp.191-192).

[Comment]

Murderbot says “it’s like ART reads my mind goes both ways” – even if it is not literally reading its mind, they are so attuned to each other’s processing patterns, that by noting spikes in the feed activities, they can read each other.

For more thorough analysis of implicit communications between Murderbot and ART, I wrote this piece on AO3: