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waywardgardenfury · 1 year ago

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i (now) use arch btw

after a few months of not posting anything here, i finally managed to get arch working with awesomewm :)

initially when i tried a few months back, it was going fine until i could no longer hear audio for some reason lol. after searching for a solution i eventually gave up and retreated back to mint for the time being. after getting my infamous itch to just nuke everything and start again, i reinstalled arch and tried once again and i gotta say, its been going REALLY well.

the first time i ever attempted an install of arch (before archinstall was a thing) i somehow forgot to install a network manager and therefore couldnt really do much else. i really enjoyed setting it all up manually, but the fact that in the end i didnt really have it working was very annoying. the next time around, archinstall was there to back me up and its made everything so much easier!!! for me its broken down the barrier of entry significantly. i simply chose the desktop setup i wanted, and it chose the relevant packages. i went with a window manager rather than a full desktop environment this time around, more specifically awesomeWM. i wanted to go with something more bare-bones and configure it from the ground up so i could learn what sort of packages go into a full de. in addition people often talk about how much more efficient they find using wms, both productivity and resource wise. i see why! my entire operating system on boot uses like <500mb of ram, which is baffling that its possible. plus, the use of shortcuts of navigating around has been great.

i ended up going with awesome as nvidia has been absolutely the biggest issue with this whole process. for some reason my graphics card just HATES wayland which eliminates some options off the bat. ive had soo many issues in the past with it, so trying to use xorg is probably my best bet going forward and luckily its still a very popular choice, no shortage of resources for me. i did have a few issues setting it up on arch, as i wasnt really familiar with how to configure it at first but getting nvidia-settings it made it much easier for me for now.

pacman was an interesting change to get used to. discovering that it didnt have some packages that i have usually was interesting, but then shortly i discovered the aur and yay. it opened me up to a wide range of new packages that werent even on some of the package managers i had tried previously, like dnf and apt. in contrast to those, i found pacman and now yay much easier and incredibly fast to use. there just becomes more and more reasons to use arch every time i open it haha.

one of the things i havent got around to choosing is a file manager. having to navigate my files entirely by terminal has helped build the muscle memory of commands i didnt know before. plus may even be faster than i found previously? i may get around to setting up some aliases if i feel like i could shorten some tasks. using cli packages in terminal over graphical packages has helped me to learn git some more as well, which im sure will be useful for me in the years to come. in regards to the terminal too, im looking into switching to zsh instead of bash which i currently dont know what the difference is between shells or what they do exactly but ill find out.

i have only been using arch consistently for a few days at this point. and awesome is still pretty ugly, so the next task for me is to spice it up a bit with some theming. i dont have much, if any, experience with lua, which apparently is the language that awesome uses to write its dotfiles (also took me a minute to learn what dotfiles actually were). the last time i used lua was probably in roblox studio at like the age of 10 or something, so its been a while. i have a few articles and videos lined up that i need to watch for an introduction, so i already have an idea of where to start. with that said however, if anyone has any advice or tips send them my way!

now the obvious question for myself after this is what project am i actually going to do next? i want to actually develop software but i find it extremely intimidating. so there are a couple options for me going forward. one of the big ideas in my mind is developing a longer form game project in godot. i have developed smaller projects in the past to get used to the engine, but i want to try my hand at doing something over the course of multiple weeks. i have poor time management skills and tend to get sidetracked with other projects but i really want something i can chip away at every day for a few hours. and i think a game could be just that! plus, it gives me a creative outlet as well. i can make the music and art for that and combine a few hobbies into one.

arch & awesome has been definitely an interesting change to get used to, but it has been so fun! learning how to do everything myself has been what i have been craving and every day i regret abandoning windows less and less. i cannot sing the praises of linux and its community enough for scratching my brain in the right places! at some point i want to make a post detailing my full journey with linux, so keep an eye or two out for that.

if anyone wants to talk with me about any of this feel free to send me a message! dms are always open :)

#arch linux #linux #linux mint #solodev #game dev #AwesomeWM #distrohopping

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emptymasks · 3 years ago

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I’ve seen a lot about your thoughts on Elisabeth and Tanz der Vampire, and they’ve been really helpful getting into those musicals! But you have a huge list of other musicals that people can get into…

So I was wondering if you had any musicals you hadn’t mentioned in a while that you really like or would like to talk about??? (preferably something from your lists that has a blue heart please?)

Oh if only you knew how long the list of European musicals really is... I however have only seen 9 (if I counted right) and I have a lot more that I still need to watch. Oh also, I only put the blue hearts on any musicals that I was providing multiple links for so people could see which version I reccoment the most highly. If a musical only had one link and didn't have a blue heart it doesn't mean I didn't like it.

I've watched: Mozart das Musical, Elisabeth das Musical, Tanz der Vampire, 3 Musketiers, Mozart L'Opéra Rock, Dracula (the Graz production), Rebecca das Musical, Roméo et Juliette and Schikaneder.

If you enjoyed those two you're likely to enjoy Rebecca! It's written by the same composer/lyricist team as Elisabeth and Mozart (and same lyricist as Tanz der Vampire - though if you're listening to any German musical, original or translated, 90% of the time the lyrics will have been done by Michael Kunze that man is everywhere). The Stuttgart production has my favourite set design of any musical! Well... Actually probably. There are so many big set pieces it's insane, way more than I've seen in some Broadway and West End musicals. You can tell so much work went into it and the visual effects that I won't spoil if you don't know the plot but if you know the plot you know what I mean by the effects at the end are so good and I didn't expect them at all and I freaked out so much the first time I watched it. Jan Ammann as Maxim in the Stuttgart production is the best Maxim. No I won't take any argument. Other actors feel a bit one-dimensional to me, but the way Maxim acts at times comes from trauma and some actors and productions seem to forget that, but Jan really goes for it and his Maxim is a lot more sympathetic and I just want to give him a hug. Pia Douwes as Mrs Danvers, if you've seen her in Elisabeth what more do I need to say, she's amazing. A musical goddess. Her Danny is a bit more wild than some, but she kills it. My favourite video, which I put the blue heart next to, has understudy Christina Patten as Ich/I, but I adore her she's my favourite. She adds some spunk to Ich in act 2 and her voice is so pretty and aaaa. I just love these three actors together in these roles.

Roméo et Juliette is another favourite of mine! It's hard to choose which one to recommend, but it has to be the original 2000/2001 production because of the sweetness and chemistry and voices of Damien Sargue and Cecilia Cara as Romeo and Juliet. They're so pretty and work together so well. The only reason I say it's hard to pick is Mercutio. I adore him, but in the original production they cut out a song they had planned for him and he doesn't really do much at all? In the 2010 revival they gave him two more songs and you care about him so much more and John Eyzen plays such a good Mercutio. So I'd recommend the original but if you want to like Mercutio more, which you should he's amazing, I'd recommend watching at least clips of John's. It's an interesting musical because all productions are non-replica and also change around the order of songs, add or take away characters, all sorts. The Hungarian production is also very popular and I'm sure it's great, I just haven't' gotten around to watching it yet.

Mozart das Musical was the first non-English language musicals I watched so I have a fondness for it, but it's not my favourite. However, I do realise I have forgotten most of the songs and the few I've gone back and listened to are better than I remember.

Dracula isn't super popular and I understand why, I don't love the plot of the Dracula/Mina romance in it, however. I do love this musical because despite how I find the plot lacking, the songs are so good! At least, I love them. And the actors are all doing a great job. And it's one of the few Dracula adaptions to keep Quincy Morris so they get bonus points for that.

Mozart L'Opéra Rock and modern French musicals... This isn't necessarily a bad thing, but they're often more like pop-rock operas now. So if you're not into musicals with that style of music it might not be for you, but I still enjoyed it even though I didn't think I would because of the style of music. Mozart and Salieri's chemistry is very good, Salieri's bisexual crisis song is iconic, actually all of Salieri's songs are iconic.

Schikaneder... eh. I didn't like it that much and I didn't really like any of the songs. There's no English subtitles, but someone sent me the entire English synopsis and I watched it with a German friend so I had double the help of understanding it. Doesn't mean others might not like it, just none of the songs stood out to me and I had no desire to listen to any of them again. It's by Steven Scharwz of Wicked fame and I love Wicked, but I didn't love this.

3 Musketiers!! God it's so underrated and not spoken about within the European musical fandom that I even forget about it and literally forgot to write about it earlier in this post. It's a Dutch musical (though did also have a German production) and it's really good!? Faces you might know are Pia Douwes as Milady de Winter, Stanley Burlseon as Cardinal Richeliu (Netherlands Der Tod in Elisabeth), Henk Poort as Athos (Netherlands Phantom and Jean Valjean). The dialgoue is funny, the songs are good, some of the set pieces have no right to exist in this tiny musical?? They made this giant boat and pelt the actors with rain just for one 5 minute song and then we never see the boat again? And while I recommend the Dutch one because Dutch musicals deserve more love and it has official English subtitles!! Official ones, not fanmade! I have the DVD and it comes with English subtitles (and Dutch and German subtitles) which is so nice. The German version is also good, good cast, Pia came back and Uwe Kroger as Richeliu and omg they rearranged the songs and the German arrangement of Nicht Aus Stein is insane and amazing and frankly iconic.

That's all of the ones I have watched. Next on my list to watch are Rudolf and Notre Dame de Paris, both of which I have listened to some songs from and already love (I've listened to way too much of Notre Dame de Paris and am so in love).

I want to start organising streams where I'll host the musical either by getting the video from Youtube or my own files and anyone who wants to join can come along and watch with us, chat with us if you want or just watch there's no pressure to chat. I thought about doing weekly streams? This would also make me finally watch some of the ones I've been meaning to for ages. But I keep wondering about time zones. I'm in the UK and would want to stream at about 11pm at the latest (11pm BST/GMT+1 as we’re in daylight savings at the moment, if the streams continue past the end of October which would be wild then I’ll make a note of the time change that would be to 11pm GMT), which I know can work for other UK and Europeans, but for any Americans would be in the afternoon. So, I wondered if doing it on a weekend would be better? Then it doesn't matter if it's in the afternoon? Maybe Saturday evenings then? It would either be Saturday evenings UK time or Friday evenings UK time. What do you guys think? If people are down then I'll make a separate post with a list of what we'll be watching each week and if anything happens to me that means I can't stream one week then everything will just get pushed back a week, but I don't see that as likely to happen. And I'll only be streaming those that have English subtitles, so don't worry about not being able to understand anything.

edit: am also open to 10pm bst if others want that, im just trying to think of what time works best for everyone so sorry if 11pm is a little late for europeans, i know 10pm could be a little early for americans. also in case it sounded like these are the only musicals i will be streaming, thats not so, ive got more than just the ones mentioned on this list!

(Tagging some people who I know are or might be interested in streams to see what you think of that plan: @sirona-art @ringwraith100 @tanz-der-trash @smilingwoland @the-weird-dane @witchgaye @ami-fidele @kisstheghouls @looking-4-happiness @ladysapphire928 @sloanedestler @tinywound @persephonaae @phoenixdewinter @uwucoffee @freshbloodandgothicism )

#european musicals #mozart das musical #3 musketiers #dracula the musical #retj #romeo et juliette #mozart l'opera rock #mozart l'opéra rock #musical theatre #musicals #broadway #musicaledit #rebecca das musical #rebecca the musical #answeredasks #non english language musicals

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intergalactic-padawan · 3 years ago

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hi! can you maybe do a cute/fluffy story of ezra surprises y/n on a date (and maybe a kiss)? I would love to see this!

Stressed out

Requested: yes!

Warnings: does being tired from work count?

A/N: ah, the random knowledge you find on the wookiepedia rabbitholes... I may have a very good understanding of cake in the galaxy ffa now. This was so nice to write, kinda different from what I usually do but I guess you'll be the judges of the final product hahaha

Pronouns of reader: she/her

To say that your morning had been disapointing was a serious understatement.

A few months ago, when rebel command offered you a position as an intelligenge analyst, you felt honoured at the opportunity to make a bigger difference and help even more with your big ideas.

Today, however, was just another frustrating attempt at getting to see some action, even after you gathered all the intel and designed the entire course of action. They always insisted on giving the mission to someone else.

-"nothing?" - Ezra asks as you step into the hall of the rebel base on Yavin IV, where you'd taken that frustration out on some innocent pillows from your bed moments before.

-"I'm seriously starting to loose hope, Ezra"

-"What did they say this time?"

-"The usual 'Thank you for the suggstion. We'll take it under advisement'."

-"That's an improvment! Last time they said 'no, and that's final'"

-"If you ask me, i think they're just trying to find different ways to let me down easily"

-"Well...at least you tried?" - he takes your hand trying to comfort you, and you sigh as he leads you two outside for some fresh air.

-"It feels like 'trying' is all i've been doing lately. What is it that Kanan said once? Do or do not-"

-"there is no try" - he finishes with a smile - "it was actually Master Yoda who said it first, i think?"

-"The point is, if even Jedi wisdom says I should be doing more than trying, there's got to be something i can do to get my hands dirty for once"

-"Jedi wisdom would also tell you to be patient, young one" - he puts on a serious face only to break out a grin afterwards, and you laugh at his efforts to try and cheer you up.

-"we're the same age, Ezra" - you say through giggles

-"Thank the Force. Or else I wouldn't be able to do this" - he spins you and brings your face closer, planting a kiss on your lips you're more than happy to reciprocate. For a moment, you let your worries escape as his company makes it a bit easier to relax.

It doesn't last long though, as you hear a robotic voice call from behind you:

-"Excuse me, commander bridger" - the droid you recognize as AP-5 looks like he would give you an eyeroll if he could - "but captain Syndulla requests your presence immediately at hangar 4. So if you are quite done with your lip-sucking we should leave at once."

You can't help but snort at what he computed a kiss as. 'Lip-sucking is one way to describe it, I guess'

-"Sorry, I have to go now"- Ezra doesn't know weither to laugh as well or scold the droid for interrupting like that - "but I'll see you at 8?"

-"what happens at 8?"

-"we go on a date. You need to relax a little, do something fun!"

You don't get a chance to reply, as he's being dragged away in a hurry by AP-5. Normally you'd object, saying you had too much work, but now it didn't seem like a bad idea; it's not like you had a mission to go to, anyway.

-"I'm not sure we're authorized to be here right now" - you whisper, but he hushes you while opening the double doors and turning on the light.

Baking.

This was his idea of a fun time.

But, if his intention was to take your mind off of work, he was certainly on the right path: you would be too worried with not getting caught by anyone at that hour (the kitchen was supposed to be closed, you see) and not burning anything you made to a crisp to even think about anything else.

-"c'mon, let's put our baking skills to the test!" - he starts going through the drawers until the supplies are finally found.

-"Ezra, you can't put to the test what you don't have"

-"Hey, speak for yourself! Chef Bridger is always ready to prepare you a delicious meal."

-"and what will chef bridger be making today, huh?"- you try, but can't stop the smile growing on your face

-"let's see, uhhh" - he skims throuhg a book until his eye lands on the dessert section -"how about... some hotcakes?"

-"hmm, lemme see" - you read rhrough the instructions when he hands you the book -"oh, so it's like a pancake. Sounds easy enough."

-"A panna cake? Those are next page, i think."

-"No, not those. Pancakes." - you smile and put the book on the counter, starting to set the ingredients aside - "it's a famous food where i come from. Though panna cakes are quite similar."

-"Huh, can't say i ever tried it. Now you'll have to make some for me" - he shoots you a sly grin and recieves paper towels on the face in return.

-"Aha, no way, mister. You're helping me" - you turn around, gesturing for him to help you with the apron.

-"Alright, since you insist," - he fumbles with it for a while, but gives you a quick smooch once he's done -"I'll stay here with you. But only if I get mine with zoochberries"

-"as you wish, sir"

-"and please, don't call me mister or sir." - he chuckes and shoves a tall chef hat, posing ridiculously for you to snort.

- "The name's Bridger. Chef Bridger"

#Chef bridger is my new favourite thing #AP-5 is learning the art of interrupting kisses from C3-PO #he walked so that threepio COULD RUN #this may be some of my best dialogue yet #panna cakes are actually a thing?? They were served at dex's diner #So are zoochberries #I did extensive research at wookiepedia #god i love star wars #ezra bridger x oc #ezra bridger fic #ezra bridger x you #ezra bridger x reader #ezra bridger x y/n #ezra bridger imagine #ezra bridger #ezra bridger x reader imagine

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dwellordream · 3 years ago

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“An examination of the economic abilities associated with women in the German, Lowland, and Italian regions of medieval Western Europe reveal that women had the capacity to obtain sizable amounts of land through marriage customs and inheritance laws, and could partake in the public economic realm through the production of textiles and the selling of goods. A medieval women’s influence extends even beyond the realm of economic power, however. A study of the politics of these three regions during the Middle Ages demonstrates that the political position of women was often influential.

The same German society that allowed women to partake in textile production and to acquire wealth and property through inheritance laws also recognized women as citizens. Citizenship in such cities as Lille, Bruges, Frankfurt, and Leiden during the fourteenth and fifteenth centuries involved a process of registration; according to the records of Bruges, Leiden, and Frankfurt specifically, independent women were often registered “because in these cities citizenship was easily acquired and was obligatory for almost all workers.”

As “co-managers and co-owners of the household and its property...[women] were inevitably full members of citizenries with households as their constituent units.” German urban women, through their citizenship, fulfilled the “the objective qualifications for governmental positions,” although paradoxically, they were still barred from obtaining such positions by the male-dominated politics of most cities.

The German poem of Ruodlieb again provides an important insight into the actual traditions that governed a woman’s place of power in noble family life. During one of its episodes, Ruodlieb is hosting a banquet at his home, and his mother is in attendance. Ruodlieb “commanded one higher chair to be placed for his mother, so that she in this way she could be seen to be mistress.”

The poem goes on to mention that “by giving honor to his mother in this way, and holding her as his liege-lady, he earned praise not only from the people, but from the almighty a crown and everlasting life in heaven.”Ruodlieb, a noble, allowed his mother to occupy a position of power at the table, and further, such an allowance endeared Ruodlieb not only to his subjects, but also to the higher power.

In the Low Countries, women were afforded a political role as participants in public political acts. Ellen E. Kittell, in her extensive article “Women, Audience, and Public Acts in Medieval Flanders,” describes the integral roles that women employed regarding the link between public performances and law-making in fourteenth century Flemish society. Flanders was unique in that it was little affected by Roman law and rather maintained “a fundamentally Germanic system of law and custom that was based more on public negotiation among groups than on the arbitrary decisions of constituted authorities.”

As Flanders’ thriving commercial and industrial economy grew around the eleventh century, Flemish communes began to utilize citizen participation by allowing a broad cross-section of their population, a cross-section that included the women of the city, to participate in political affairs. Women thus had “routine appearances in public as chief and effective agents in the variety of oral-aural transactions...were countesses and castellans... [and part of] the legal and commercial lives of most cities”.

These public audience law systems in turn allowed women to gain influential positions of power, such as Countess Jeanne in 1206 and Countess Margaret in 1280 acquiring the role of ruling over a county. Even single women were systematically afforded similar rights to perform actions in these public hearings as their married counterparts; their independent status did not disenfranchise them from participating in the existing public political arena.

As in the German and Lowland regions, the political climate of Italy during the Middle Ages provided women with definite political abilities that would not be mirrored in the centuries to come. Although the political systems of Italy differed from those of the northern European civilization, as did their economic policies, the prevalence of powerful Italian queens during the early to mid-Middle Ages demonstrates the type of political power that Italian women could indeed wield.

Joan Kelley discusses in her article the two queens Giovanna I of Naples ruling in 1343 and Giovanna II of Naples ruling in 1414. Giovanna I of Naples was designated as heir to rule over the significant kingdom of Naples, Provence, and Sicily, and Giovanna II was similarly afforded this leadership position through the death of her brother.

Besides the powerful queen figure, other feminine rulers also prevailed in medieval Italian political culture. Matilda of Tuscany, who ruled during the eleventh century, reigned as a powerful countess in this region of Italy. She played an essential role in the conflict between Pope Gregory and Emperor Henry IV. Upon being excommunicated from the church due to his defiance to the Pope, Henry IV attacked Rome and drove Gregory into exile.

It was Matilda’s armies that defended the Pope’s church both during the Pope’s lifetime and after his death. Further, Matilda persistently excluded her husband from handling her property and allowed it to remain solely under her control. As with the other women Italian rulers mentioned above, Matilda maintained a definite sense of autonomy, and had been granted a political leadership position.

There, indeed, was a place in the economic and political sectors of society in the German, Lowland, and Italian regions of medieval Europe for the female population. The feudal and family-oriented government structure allowed for women to acquire political power, and the important economic roles that women played in society further influenced their significant status in the cultures of these regions---as David Herlihy states, “women in the early Middle Ages...played a major role in the display of kin connections; they were also stations in the flow of wealth down the generations; they were supervisors, managers, producers.”

Through changes in the political, social, and economic systems of each region, women gradually began to lose much of the economic and political powers that they previously enjoyed, however. In order to demonstrate the extent to which women suffered a loss in status and influential visibility as the Middle Ages approached the opening of the Renaissance, it is prudent to again analyze the German, Lowland, and Italian regions specifically and the changes that occurred in these areas over time. By comparing the society of the later Middle Ages and early modern period to that of the earlier medieval times, the disparities that existed for women are made remarkably evident.

Women in medieval German economic culture, as mentioned above, were active in the textile industries and allowed financial power through inheritance and marriage customs. An examination of the economic actions in later German society reveals a very different feminine condition, however. One of the first aspects of women’s economic involvement that was affected was their role in the textile industry. There was a general increase in both the guild and governmental regulations imposed on women workers.

Research performed by Merry Weisner cited in Judith Brown’s article states the consolidation of guilds in sixteenth and seventeenth century Nuremburg resulted in “regulations excluding women from traditional occupations and relegated them to the margins of the world of work.” In 1421 a major conflict emerged in Cologne concerning religious female weavers and local linen weavers, resulting in a restriction of the number of looms the women could operate.

In the town of Strasbourg, the later Middle Ages saw reductions in the roles of women in the woolen industry; “women at Strasbourg as indeed in many towns were reduced to helpers and auxiliaries.” And women in sixteenth century Nurnberg “successfully protested an ordinance of 1530 [that] deprived them of the right to employ maids in their workshops...their victory was only temporary,” demonstrating the losses in female influence occurring in the later years of the Middle Ages.

Other economic changes ensued regarding a women’s place in society as well. The bridegifts and morning gifts that allowed women to procure economic power through the acquirement of property underwent a series of reductions as the Middle Ages progressed. The earlier gifts often included deeds for property, while over the course of the tenth and eleventh centuries, “fewer deeds gave the wife outright ownership, and even the usufruct was generally restricted to the use of the husband and wife jointly, not to the wife exclusively.” Eventually “daughters claim on the inheritance gradually gave way to the dowry provided by her family,” and the morning gift and bridgegift customs were changed entirely.

Also, a weakening of the feudal system in Germany also accelerated the reduction of a woman’s economic role in society, for the extensive “powers exercised by women were...largely derived from the rather irregular powers held by the great families of the age.” As the Constitutio de feudis of 1037 was passed by Konrad II, women were thereby excluded from the inheritance of fiefs, a measure which over time greatly affected their ability to obtain property and in turn an economic status in society.

To better demonstrate the assertion that women indeed did lose economic clout in the thirteenth and fourteenth centuries, it is useful to examine the laws of German communities during this time. Such regulations are available for the German town of Madgeburg for the year of 1261. One law providing information about the measures that are taken after the death of a husband states that a widow “shall have no share in his property except what he has given her in court, or has appointed for her dower...if the man has no provisions for her, her children must support her as long as she does not remarry.”

Unlike the customs described in such studies as that conducted by John Freed concerning the Archdiocese of Salzburg, married German women in later medieval society had a very tenuous grasp on property. The economic power that women could accrue through land inheritance prior the later Middle Ages is not at all mirrored in the inheritance laws described for this specific thirteenth century German town

Other evidence exists that demonstrates the economic losses women incurred during the later Middle Ages as well. The Ladies Tournament, a German tale of courtly behavior composed by an anonymous author during the thirteenth century, discusses the proprieties and traditions associated with noble marriage and family life. Although the general pretense of the story is of a community of men and a community of women conversing over matters of courtly rules rather than being an epic tale, its purpose is similar to Ruodlieb’s in that it provides insight into the traditions governing marriage in German society during that time.

In Sarah Westphal-Wihl’s analysis of the story, a marriage is described, as it is in the story of Ruodlieb; however, rather than an exchange of dowries, “the only marital assignment mentioned in the text is the dowry...there is no hint of a contribution from the groom’s side, or of any informal exchange of gifts.”

According to Westphal, the dowry emerged as a custom in Germany by 1200, and although the earlier customs of morning gifts and other gifts on the part of the husband still existed, they are not mentioned in the text of The Tournament of Ladies. This telling omission highlights a growing emphasis on the dowry of a woman, and the concurrent diminishment of a man’s gift to his bride. From the time of Ruodlieb during the eleventh century to that of the Tournament, women’s ability to acquire property and through marriage customs had been altered greatly.

The women of Germany were losing economic influence as the Middle Ages progressed, and comparable losses affected women in the Low Countries as well. Simon’s work reveals that while some “women may have occupied prominent positions in trade and in a few crafts during the thirteenth, fourteenth, and early fifteenth centuries...their numbers declined in the next decades.”

Also, like in the German regions of Europe, restrictions were increasingly placed on female industrial workers; in both Ghent and Flanders “in 1374 the wives of fullers or women of any sort were forbidden to wash any types of clothes.”

Further restrictions were also delineated concerning the economic tasks undertaken by women in beguinages: “because the beguines were able to produce goods cheaply, they found themselves drawn into disputes with the guilds and corporations who considered the beguine activities to be unfair competition.”The earlier urban culture that allowed for a high degree of female participation was doubtlessly being challenged.”

- Susan Papino, Shifting Experiences: The Changing Roles of Women in the Italian, Lowland, and German Regions of Western Europe from the Middle Ages to the Early Modern Period

#susan papino #history #high middle ages #late middle ages #renaissance #guilds #dowries

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ayo-cowbelly · 4 years ago

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Anakin Everlasting

read on ao3 here

wowww look at me, posting writing two days in a row... here’s to being productive

again, blame discord. those amazing angst-lovers keep inspiring me to write and make everyone sad.

hope you enjoy!

p.s. pretty sure it's a thing that jedi live a lot longer than average people, usually over 100 years. so that's why that's in there.

***

Anakin wandered throughout the temple. Not the Coruscant one, as you might think- no, he was on Yavin IV now. Years ago, the Jedi had decided to expand and, seeing as there was an unused temple on a lush planet, a planet that was strong in the Force- it was perfect for a new branch of the Order.

He stared out at the greenery, so different from what he had been used to. Even though he came to this place almost 100 years ago, Anakin couldn't find himself getting fully adjusted to the new environment.

Anakin was now surrounded by greens, blues, and browns, so different from the golds and tans he was used to. Those colors represented everything he loved, everything he'd lost, and that which he could not bear to see taken from him. That was why, even if it was a bit uncomfortable, Anakin had moved to Yavin IV. He has lost so much- and Anakin had never been good with loss.

Yes, time heals all wounds, and of course he'd spent time meditating with Yoda, learning how to let go; Yoda was the only one who could even begin to understand Anakin's plight. Despite that, however, he still found his heart aching when he thought of his friends, his family, and how they had left him.

Padmé had been the first to go. She lived to be 97, and Anakin never stopped loving her. As she got older, Padmé had insisted on Anakin moving on, finding a younger person who could keep up with him, now that she was too frail to even leave the apartment most days. He knew she'd be gone soon, so he promised he'd try to find someone.

It was the only promise he'd ever broken.

"I don't want you to mourn the moment you spent with me for an eternity," She had told him.

Anakin, tears in his eyes, whispered back, "You are my eternity, Angel."

That, even 1000 years later, was still true. He loved her, as many others in the galaxy had loved someone; fiercely, eternally, even if she was dead. Anakin and Padmé had a love that would always be real, be true, as long as he kept her memory alive as he traveled across the stars.

Anakin cried for days when Ahsoka died.

His first and dearest Padawan lived to be 117, and she had been feisty until the very end (only Leia had been able to keep up with Ahsoka in that regard- oh, Force, Leia-)

When she left, laying in her bed with soft condolences and gentle teases and whispers of "Don't forget me, Skyguy," Anakin had thought that would break him, as he held her now-limp hand.

Obi-Wan was worse. Obi-Wan, the oldest family member he had left, had been gone for a long time. His brother had lived to be around 124 (or maybe not, Anakin seemed to be getting worse at keeping track of time the longer his life went on). Obi-Wan had lived a long life, a happy life; and when his time came, he learned enough of the Force that he could still visit Anakin, sometimes.

Every once and awhile, the two could talk (it used to be always, back when Obi lived- but Anakin would be the only one who would get an always). But it wasn't the same. Not even close.

He'd never admit it, but Anakin cried for over a week when Obi-Wan faded away. At that time, he was sure he would shatter; If Padmé hadn't broken him, if Ahsoka hadn't, surely his older brother would.

Obi's death had to be the worst, he was positive.

He was so, so wrong.

Nothing could compare to the pure heartbreak that came with the death of his children.

Luke, who was bright like sunshine and serene like water- and Leia, who was pure fire and somehow engulfed everyone she met. They were the brightest parts of Anakin's life, both in the Force and not. They were the best parts of him and Padmé, and he loved them so incredibly much. And, being twins, Luke and Leia spent almost every moment together since their birth. Throughout their lives, it was rare to see one without the other, for nobody was as closely intertwined as they; save for Anakin and Obi-Wan.

So, when Death came for his children, Anakin had to watch as they left together (there was no other way they could go). He'd had them for an amazing 156 years, years he would forever cherish.

Now he didn't have anyone. But somehow, he was still whole. He hadn't broken then, and he hadn't broken when his later Padawans had died (death was hard for Anakin to think about. Even though he somewhat feared it, he also wanted it, if it meant he could see his dearest ones again). But Anakin knew Death would never claim him, so he made the most out of his eternal life (but it was a half-life, for what is a life without love?)

He took other Padawans, trained other students and treated them as his own. Though he knew it was a bad idea, as nobody could stay forever, they became his family. Just as Ahsoka once had, when she'd stepped out of a shuttle on Christophsis.

Anakin also found he was good at storytelling. Every night, he made his way to the Crèche and regaled the younglings with his stories. The now-legends of a beautiful queen, a wise Jedi Master, a snarky Togruta (who had become a Master in her own right), an exasperated clone captain; and later the stories of a brave young man and his fiery twin sister, the smuggler she fell in love with, and how through it all were two droids who were the best of friends.

He told the next generations about their adventures, how they found joy while fighting a war, and he told them of how they had managed to discover and overthrow the Sith. He taught them how to find the Light, find love, even when hope seems lost.

The younglings loved the stories, ate them up until Anakin had no more, so he'd retell them again. He told them to the children, to the Padawans, to the Knights, and even the Masters (even if they were old, most had grown up hearing of Anakin's adventures). His only rule for those who heard the tales? Pass them on, so the memories stay alive.

He taught them a truth he had discovered: Nobody is ever really gone, as long as you keep on telling their stories.

Anakin forever would.

He made his way to a special room he had reserved for himself in the Temple, for as Grandmaster (now that Yoda was gone, Anakin had become the Grandmaster. Yoda's death, of all people... that had hit Anakin harder than he'd thought it would. When someone who seems to be forever dies, said death is shocking) he could do such things.

When he entered, he looked around the room. He surveyed the pictures and trinkets that lay there, waiting for him.

By Padmé's picture, there was the old Japor snippet necklace- along with a small flimsi paper flower he'd once made for her, onboard a Star Destroyer while thinking of how he missed her.

Beside Obi-Wan's, there was a lightsaber that hummed. It seemed to have a mind of its own now, and the buzzing got louder as Anakin approached- or rather, his own blade did. Just as their users were connected, these lightsabers were as well. There was also a small holo of Anakin and Obi-Wan on Cato Nemoidia, just after that "business" that Obi-Wan always said "didn't count". In the picture, Padawan Anakin is grinning widely, arm slung around a very disgruntled Obi-Wan's shoulders.

Next to Ahsoka's lay her two lightsabers and the golden headdress she'd worn since she was young. Anakin remembers how he'd gently lifted it off her head at the funeral, for if he couldn't keep his sister, his beloved Padawan, then he would keep this small part of her.

Alongside Luke and Leia's (their pictures were one and the same, since they almost never did something without the other) there were their own 'sabers and two drawings the twins made when they were toddlers. If Anakin remembered correctly (as time went on, he found it harder and harder to look at such things) the pictures depicted their family- which of course included Ahsoka, Obi-Wan, Rex, R2 and 3PO.

The two droids had been shut down long ago, finally going out of use just after Padmé's death.

The room housed other pictures, which showed the rest of Anakin's Padawans- including Ahsoka, there were six in total; But even though he kept all their lightsabers, he only had trinkets for two of them.

Uchani, who had been his second Padawan about 40 years after Ahsoka died, had been a quiet but strong Zeltron. She was a calm person, but there was spunk in her that rivaled Leia's. Uchani was amazing at calming Anakin down when he was angry, the gentle waves of her Force presence dousing out the embers in his. She had become his little sister as well.

Then there was Myn. A young Tholothian, Myn was brave and outspoken, and him and Anakin fit well together. He was the sixth student Anakin had taken, and though he loved all his students, Anakin remembered Myn vividly.

In all his eternal years, Anakin had not been prepared for seeing his Padawan die young. In battle, no less.

Myn was slain by a Darksider in the catacombs of Akiva. Anakin had been too late, moments too late; after cutting down the enemy, he watched as Myn's life dwindled.

Knowing Anakin well after ten years of training, Myn had wheezed, "Don't- Don't do anything- anything reckless, Master."

Anakin refused to look at the wound on his apprentice's stomach. "Myn, we need to get you to a healer-"

"Master- Anakin-" Myn coughed, and Anakin felt the tears in his eyes overflow and run down his face.

"No, please, not you too," Anakin said, but he already knew what the outcome would be.

"It'll be okay, Anakin," Myn murmered, and then he was gone, just like all the others.

Anakin shook off the memory of his last Padawan, and he sat down in the middle of the room. Rex's helmet (Rex, who had lived to be 105 once the accelerated aging was healed, had never stopped standing up for what was right. When his body failed him, he switched to words, fighting until the end. Anakin missed his twin so much), which Anakin had kept in as good condition as possible, stared back at him as he told his family of his day.

When he finished, he felt a presence behind him, and wasn't surprised to see the faint blue glow of Obi-Wan's ghost.

"It sounds like you had a good day, Anakin."

"I did," He said back happily. "But it's not over yet. I'm about to go see the younglings- care to join me, Master?"

Obi-Wan smiled softly. "I'd be delighted, Padawan mine."

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kishimoto-did-us-dirty · 4 years ago

Text

Naruto Arts School AU

Reposting bc I love this post and bc I can lol

Character

- major

description

Naruto

-Drums

okie nobody can deny that our main boy over here is a loud soul, however, he can also carry a damn good beat that compliments his band mates’ music really well. Tbh, he sucked at music to begin with and had trouble matching rhythms and listening to his band mates when they played, however he eventually became a really good rhythm maker.

Sasuke

-Guitar (lead)

He’d be assigned to the same band as Naruto, and that’s how they met. This boy is a damn good guitarist y’all, but has attitude problems™, and used to not be able to deal with Naruto’s haphazard beat making, thus perpetuating a rivalry between the two. He constantly feels overshadowed by his elder brother Itachi, a piano major.

Sakura

- Dance

Ya girl fucking demolishes every single dance routine. Initially starting out with a focus on ballet (pre-shippuden in canon), our pink headed queen soon realized that she wasn’t getting the full experience of what it meant to dance. Her point shoes were her loves, however they hurt and nipped in places not just physical. She realized that she didn’t want to be pigeonholed into a genre of which she would be inhibited by standard, and rather to dance so as to forget technical perfection. Thus, what would partner with post-shippuden Sakura in canon, Art School AU Sakura got into hip-hop. And bitch, she goes hard. A lot of the other girls who she used to dance ballet with admire her for her absolutely BODYING her dance routines, but also for never sacrificing her femininity to dance and not taking BS for being a girl who goes so hard in a male-dominated genre. (Some people believe that hip-hop is heavy hitting and a little metaphorically “dark” so to speak, which Sakura is not. So obviously I expect a little disagreement regarding this, however if you look at people like Delaney Glazer or Kaycee Rice, that is how Sakura would dance).

Hinata

- Creative Writing

Shy and bookworm-like, Hinata can write the best poetry, romance and adventure pieces out of all the creative-writing majors. She’s especially good at writing character relationships and development, and has such a subtle sense of intelligent wit in her writing, that if you blinked you would miss it. However should you catch it, you’re sure to chuckle. Her only struggle is that she tends to drag on in important scenes, stretching them against the regular flow of the rest of her writing. Needs validation for her writing through an IV drip.

Kiba

- Drums OR Photography

Drums for obvious reasons (loud and obnoxious), although ruff boi looks good with a camera, too. Great at landscapes and street photography.

Shino

- Creative Writing OR Photography

I could definitely see Shino having fucking beautiful handwriting, and being a beast at writing anything within the sci-fi realm. I could also see him doing some journalism, and writing for the school paper. He’s very good at the logic of his sci-fi books and coming up with logical but enrapturing stories, that intermingle knowledge and mystery. He’s a very specific type of read, however, and may not appeal to all, however if you enjoy anything similar to Star Wars or Hitchhikers guide to the galaxy, then Shino is your author. If this doesn’t float your boat, though, try photography-major Shino. He can get the best angles of bugs he sees, and has an extensive portfolio with entomology-related snapshots.

Ino

- Dance

Like Sakura, she, too, began with a focus on ballet, however began to branch out into contemporary ballet a little later than Sakura. This is another reason why Sakura switched her focuses, as she and Ino had always had a fierce rivalry for dieting (ballet dancers are pressured to be as thin as possible) as well as battling for technical perfection when they were ballet focused. As the two grew, Ino focused more so on contemporary, but can certainly do some hip-hop with Sakura every now and then, just as Sakura occasionally takes a contemporary class with her. The two still have a rivalry, however, just not to the previous extent as when they were actively competing against each other. They’re more like sisters.

Shikamaru

- Guitar (bass) OR Creative Writing OR Architecture

Smart boy’s a tricky one. He would either be a bassist, a mystery and historical fiction writer, or, of his school offers it, be great at architecture. Idrk.

Choji

- ermmmmm….. maybe graphic design? Tech theatre (props)? Vocal???

Choji is hARD dwnccnpc (that’s what she said). I could see him behind a computer screen, animating and designing games/covers/posters or whatever. He could also do something in theatre, but I don’t think he would do anything up on stage. Something like props would suit him. He might do something in music, tho???? Can he sing???? Help???

UPDATE: Choji is a band kid. He plays tuba or some shit. Big boy got big lungs.

Tenten

- Dance

Always has been, and always will be a hip-hop dancer. She wanted to be like Tsunade, a legendary dancer and followed in her footsteps, taking up hip-hop. (that’s why Sakura focused on hip-hop, too, because Tsunade mentored her and taught a few of her classes, too). Tenten is fast and can keep up with any beat. Not only is she a great dancer, but she’s also athletic, and does track and field (cross country), football, and softball at another school too, since the arts schools doesn’t offer it. Overall great dancer with styl. She’s really looked up to by some of her underclassmen for her cheery, but badass style and skill.

Lee

- DANCE (hip-hop, too)

It’s sweat. It’s burn. It’s energy. It’s Lee.

Neji

- Violin

First chair violinist in his freshman year for the school’s philharmonic orchestra. He be extra like that.

Gaara

- Guitar (bass)

He had a lonely childhood with neglectful/abusive parents, and rock music really helped him with that. Emo music is emo and often made fun of, but the songs have messages and Gaara related, so self-taught himself the bass guitar to help cope, and bring him closer to the music that salvaged him.

Kankuro

-Art

Specifically sculpting. For obvious reasons.

Temari

- Acting

Girl can make you cry with some of her monologues. Total lead. Has a seriousness in her acting that makes her believable, however can falter on the less-serious roles. She may also double-major in whatever Shikamaru does. And she’s better at it than him.

Itachi

-Piano

Boy could play any etude at age 7. Performed at Carnegie Hall when he was 10. And no, he didn’t pay to play there. The hall invited him. Began composing at 9. Has perfect pitch. Owns international awards. If he’s not at school it’s because he’s traveling to play for crowds. He excels at classical and baroque, however has an ear for romantic, and enjoys playing/composing pieces either written or inspired by romantic pieces. Enjoys Schumann, Debussy, and Tchaikovsky. Hates modern classical music, though. Can only take cinematic pieces composed by people like Williams, however can’t stand Prokofiev at all. He does like modern music, though, so long as it’s outside of the orchestral/classical music realm. He likes R&B. He would have liked to do film with Shisui, particularly producing, however his parents pressure him with piano, so he helps Shisui with student films and projects outside of school (will probably pursue film after graduating, tho).

Shisui

- FILM / VIDEO PRODUCTION

Fight me on this!!! THIS BOY IS SO GOOD AT CINEMATOGRAPHY MY FILMMAKING ASS CAN’T EVEN. AS SOMEONE WHO IS IN LOVE WITH FILMOGRAPHY, TRUST ME, SHISUI HAS IT™. THE IT™. HE’S GOOD AT EVERYTHING. CINEMATOGRAPHY. DIRECTING. SCREENWRITING. GRIP-WORK. EDITING. PRODUCING. HE’S SUCH A FILM NERD TOO, AND WATCHES OLD FILMS ALL THE TIME. HE’S JUST TOO GOOD AT IT. DOES STREET PHOTOGRAPHY TOO. HE’S OVERALL A GENIUS WITH CAMERAS. Does film with Itachi outside of school and teaches him, and the two are overall geniuses at filmography. They want to start their own studio together (they do, and it becomes huge). He becomes a leading director, while Itachi becomes a producer and directs sometimes too.

Sasori, Deidara, and Sai

Guess.

Kakashi

- Saxophone

It’s the only thing that suits him and it suits him so well. Has suave.

Obito (omfg his arms y'all)

- Not to say drums or anything, but…. drums.

Narutard 2.0. But he also dabbles in other areas of music. Like, he can also play guitar and sing. He’s also pretty good at music production. Makes R&B sometimes. He wasn’t always the best musician but proved to be a late bloomer, and really harnessed his potential. Tries to be as suave as Kakashi and his saxophone. He isn’t.

Hashirama

- Vocal

OkaYYYYYY. VOCAL GOD. CAN DO RIFFS AND RUNS AND HAS PERFECT PITCH. ALSO THE SWEETEST GUY??? WAS A CHAMBER SINGER AS A FRESHMAN. EVERYONE LOVES HIM, GOOD BOY ENERGY.

Likes to belt.

Madara

- Piano

Total prodigy, but hates classical music. Once was accompanist to Hashirama for a solo vocal performance and hasn’t been left alone since.

Tobirama

- Viola or Cello

Some sort of string instrument and takes it very seriously. Probably plays cello because violas are violas and that’s lame (if you know, you know). Has almost as many awards as Itachi and Madara, but hates his usual piano accompanist, Izuna.

Izuna

- Piano

Also a piano god. The uchihas breed them. Hates being accompanist for Tobirama. They’re secretly best friends though, don’t tell anyone.

Karin

- Tech Theatre.

Idk why. Probably started out with props and made her way up to TD (technical director) in senior year.

Suigetsu

- Tech Theatre

Fucking hates theatre kids. Assistant TD. Karin hates him.

Jugo

- Visual Art

Paints landscapes and nature. Really good with oils and gouache respectively.

Yamato

- lmao Trumpet.

Met Kakashi since they both play brass, but boy he ain’t got that suave. That’s why he plays trumpet. Lmao he plays the fucking trumpet anjdwcnojdnn.

Rin

- Vocal

Sweetest voice and could also play the acoustic guitar when she sang. Died in a car accident junior year. Kakashi was at the wheel when they got hit by a drunk driver. Obito saw the whole thing.

Kurenai

- Visual Art

Can create dream like paintings that almost seem like illusions.

Asuma

- Cello / guitar

Used to play cello because of his parents, but loves to play guitar. Can sing but his voice is raspy from smoking.

Gai

Who the fuck do you think teaches dance?

Jiraiya

- Guitar (lead)

Used to major in lead guitar. Sucked at first. Probably has a couple, casual Grammy Awards (they’re actually not that hard to be awarded with, The Recording Academy award many people outside of mainstream media. My school has a few). Now teachers as head of the Band department at this school.

Tsunade

-Dance

Legendary dancer. Probably toured with a few famous people. Now teaches. Mentored Sakura, and mentored Ino but for a shorter time.

Orochimaru

- Idk, didgeridoo, or some shit

Definitely a wood wind. Flute maybe??? Teaches now but no one knows what he does. Pedophile. Has a thing for Sasuke.

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infinitelytheheartexpands · 4 years ago

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My Personal Opinions on Some French Grand Opéras

Here we go. I’ll be focusing solely on pieces in what’s widely considered the “Golden Age” of grand opéra (from 1828 to about 1870).

1828, Auber: La muette de Portici: never seen or heard so I cannot comment, but I do think it slaps that it helped start both the Belgian Revolution and the genre of grand opéra.

1829, Rossini: Guillaume Tell: I love this one. it’s one of the few grand opéras that has a happy ending and it’s fully deserved. it’s long but it all has a point-- the first act introduces us to the community spirit that drives the rest of the action; even though it’s called Guillaume Tell, it’s not just about Guillaume Tell. it’s about a whole movement coming together, with all these vividly-drawn people of different social statuses, ages, heritages, and livelihoods coming together to do good in the world in the face of oppression. also it’s Rossini so it bops start to finish. the finale is one of opera’s best. I could not have higher praise and admiration for this piece.

1831, Meyerbeer: Robert le diable: another rare case of a grand opéra with a happy ending, but it feels a bit more contrived, something I wrote about when I watched it about a year ago for the first time. it’s quite a clever ending, however, and I love that these lovely characters get a happy ending. Robert is the least interesting principal character both musically and dramatically; the musical highlights of the show are mostly Bertram and Isabelle’s big scenes. the former is also arguably grand opéra’s most exciting ballet sequence, the Act III ballet of the nuns (or as I like to call it, the Zombie Nun Ballet). it’s long but it is incredibly worth it. overall, I really do enjoy this opera although it is very much an uneven piece.

1833, Auber: Gustave III, ou le bal masqué: here’s a thing I wrote about it like 3 months ago and I stand by every word.

1835, Halévy: La juive: It’s damn near impossible to find an even remotely close to complete recording. However, what the recordings have is excellent. The score is marvelous all the way through, although for the most part I tend to prefer the ensembles to the arias (the exception, of course, being Éléazar’s 11 o’clock number). Speaking of Éléazar, he’s an extremely complicated and frankly uncomfortable character, toeing the line between being one of opera’s most complex characters, an even more complicated proto-gender-swapped-Azucena if you will, and being an unfortunate vessel of antisemitic stereotypes. This is made even more complicated because Halévy was an assimilated Jewish composer. On the whole, Rachel is the only wholly sympathetic character in the piece, although all five of the principals are lovingly scored.

1836, Meyerbeer: Les Huguenots: *holds things in because otherwise I would write an entire essay about this opera and you all know that because I have done that several times* Both a great strength and a great weakness of this piece is its sheer wide-ranging-ness, particularly in terms of mood. Unlike, say, La juive, this opera does not have one overall mood, instead steadily progressing from bright, brilliant comedy to one of the most horrifying endings in opera. Dramatically, this is great for the most part, although the sheer amount of exposition in the first two acts may take getting used to. Just as the drama gets more intense and concentrated as the opera goes on, the music gets more intense- and frankly, more often than not better- as the opera goes on. The window/misunderstood engagement business is something I still struggle to see the exact dramatic purpose of, because I think the question of religious difference would likely be enough to separate Raoul and Valentine at the beginning anyway; to me, it feels like Scribe and Deschamps were struggling to find a way to integrate Nevers into the story, as he is crucial to the opera’s lessons about love and tolerance, so they stuck in a quasi-love-triangle in order to justify his presence earlier on. (Also, for goodness sake, could you at least have given him an onstage death scene?) Anyway, in this way the story can be a bit unwieldy and uneven at first, but stay the course with this one...and even a lot of the first couple of acts are wonderful. The characters are all wonderfully written if rather episodic in many cases, but this opera is ambitious and by the end, it’ll tear your heart to shreds. It’s amazing. Uneven, yes, but amazing nonetheless, and I will defend it to the death.

1840, Donizetti: La favorite: I’m not as familiar with La favorite as with some of the others on this list (I’ve seen two different productions once each and I have a recording of it saved to my Spotify library that I listen to bits and pieces of very occasionally) but I do think it’s an excellent piece overall. LÉONOR DESERVED SO MUCH BETTER. The music is lovely all around; I know Donizetti wrote at least one other grand opéra in full and part of another, both of which I need to check out because in its own way, Donizetti’s style works wonderfully with grand opéra.

1841: Halévy, La reine de Chypre: here is a post I wrote about La reine de Chypre. basically all my thoughts remain the same except I have to add: Halévy as a whole just needs more love. there’s a few other of his operas I have waiting (a recording of Le dilettante d’Avignon that has been sitting in my Spotify for who knows how long and a film of Clari with Bartoli and Osborn I’m also sitting on) but there are so many pieces that sound fascinating but have basically ZILCH in terms of recordings.

1849, Meyerbeer: Le prophète: before I say anything else about this opera, I need to ask a burning question: WHY THE HELL IS THERE ONLY ONE GOOD VIDEO RECORDING OF THIS OPERA?!?! on the one hand, I adore the Osborn/Aldrich/Fomina production; on the other, I would also like other productions, please. anyway, I said one time in the opera Discord that while Les Huguenots will probably always be my favorite Meyerbeer opera for an array of reasons, this one is definitely Meyerbeer, Scribe, and Deschamps’ strongest work. it is both unusually dark and unusually believable for an opera of its time—and the fact that it still holds up so well is disturbing to say the least. this opera thrives on complexity in all forms and yet has probably (and paradoxically) the simplest plot to follow of the four Meyerbeer grand opéras. the score is brilliant start to finish, mixing the best of bel canto, Romanticism, and something altogether darker, stranger, and more original. definitely one of the most underrated operas ever. the aforementioned production is on YouTube with French subtitles; give it a watch here.

1855, Verdi: Les vêpres siciliennes: Vêpres is an opera I love dearly although I have yet to find a production that is completely satisfying. I think it’s because this opera is a lot deeper, a lot more complex, and a lot more troubling, frankly, than people are willing to go. also it should be performed bilingually and I am dead-set on this: the dissonance of an opera about French capture of Italian land being sung entirely in either French or Italian is always a little off at least (and also part of the reason why my brain probably adjusted to hearing this opera in either language better than, say, Don Carlos). but anyway, neither side comes off particularly well here, particularly due to the violence and sexual assault on both sides of the equation: both Montfort and Procida are heavily in the wrong, and while Verdi sympathizes with both for personal reasons (Verdian Dad in the former case, Italian Liberator in the latter), there is a lot of troubling stuff in here. nevertheless, the music bops, the story is intriguing, and I think we can all agree that Henri and Hélène both deserved better, especially considering how close they got to bliss (although I think we can also all agree that the end of Act IV twist to almost-rom-com is pretty abrupt).

1863 (full opera: 1890), Berlioz: Les Troyens: I wrote this review of Troyens after watching it in the Châtelet 2003 production in December 2019 (first time ever watching it) and I still stand by just about every word. Such a fascinating opera, great adaptation of the first few books of the Aeneid, marvelous score (of course, it’s Berlioz!)...but could there be a ballet or two fewer, Berlioz? Or at least shorten them up? And that’s coming from someone who likes ballet. But anyway, in every other respect it’s absolutely marvelous. Some people say it’s the greatest French opera ever, and while I hesitate to say that, it comes pretty damn near close.

1865, Meyerbeer: L’Africaine (Vasco de Gama): Vasco da Gama/L’Africaine is even more troubling—much more troubling—of an opera than Vêpres to me and I wrote a whole thing here as to why. I still stand by most of it, although upon reflection, I feel like the ending that drove me so crazy has virtually the exact same idea behind it as the end of Troyens/Book IV of the Aeneid: empire has consequences and those consequences hurt real people, who, though different and not among those perceived as “heroic”, are worthy of being treated as human, not being collateral damage. (I’ve written at least two essays about this for different classes, both specifically in regards to the Aeneid.) It may be time to revisit this one. The score is lovely, after all, although it didn’t stand out to me as much as others by Meyerbeer.

1867, Verdi: Don Carlos: *holds myself back from writing a 10-page essay* y’all, there is a reason that when someone asks me what my favorite opera is, I always choose this one even though I’m horrible at favorites questions. it’s Verdi, grand opéra, romantic drama (SO MUCH romantic drama and SO MUCH gay), political drama, religious/social struggle, personal struggle, social commentary, spectacle, intimacy, masterful characterization all in one. what more could you want? I first saw/heard this opera in Italian long before I did in French, so my brain is more hardwired to hearing the Italian but both are good. my motto is “Italian or French, I don’t care, but Fontainebleau has to be there.” fuck the four-act version. I mean, I will watch four-act versions but five-act versions are just superior. I’d prefer uncut performances (the first part of the garden, the Lacrimosa, the extended opening and ending), but these aren’t dealbreakers for me. it’s the perfect synthesis of Verdi and grand opéra, much less unwieldy than Vêpres (as much I love that one), both musically and dramatically.

1868, Thomas: Hamlet: Part of me wishes this was more faithful to the actual source play (why??? the??? fuck??? does??? Hamlet??? live??? although there are alternate endings), but part of me also realizes that the play is already four hours long as is and singing it plus ballet would make it WAY too fucking long. This does a pretty respectable job. The music is gorgeous, by turns almost sugary-sweet and thrillingly ominous. The Murder of Gonzago scene is an absolute masterpiece. The Mad Scene is justifiably one of opera’s best (although I’m not sure it was a good idea to have that and a frequently-cut 20-minute ballet with no relation whatsoever to the main plot to make up all of Act IV). There are a lot of bops in this one. The four principals are closely followed and still very well-drawn. Both of the stagings I have seen were excellent. An underrated opera.

1869 (grand opéra version), Gounod: Faust: Another of my absolute favorite operas. Since this existed for a decade before its transformation into the grand opéra we all know and love, I won’t comment much about its actual format and adherence to grand opéra tropes aside from saying the Walpurgisnacht ballet is one of grand opéra’s best and extremely good at giving off Vibes TM. I used to hate how the character of Faust was written and thought he was incredibly boring. Not anymore (although of course, I still hate him as a person. fuck him tbh). This opera has a reputation for being saccharine and old-fashioned and I think that’s a bunch of garbage right there. It’s about the search for eternal youth and the expectations of conforming to social values and people’s struggles with themselves when a) they “fall short” and b) when the world ostracizes them for being “different” and “out of line”. I am also firmly convinced that Marguerite is the real protagonist of Faust (like how I’m convinced that Valentine is the protagonist of Les Huguenots if there even is a singular protagonist in that opera but I digress). The music slaps. People need to stop cutting whole scenes out of this. I’m still undecided on the order of the church and square scenes of Act IV. Marguerite and Siébel just need everything good in this world.

Anyway, those are my two cents! I tried to keep these pretty short, so if y’all want any follow-ups, let me know!

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letteredlettered · 4 years ago

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hi! ive been following your writing for a few years now and i drop by periodically to check if you have anything new posted, and im really surprised that you seem to be enjoying the untamed? im curious what you think about the show - its story and characters, the acting, the production, etc. idk if you know, but the untamed is the most successful example of a current trend in chinese entertainment, where popular online novels centered around a gay romance is adapted into a 'safe' drama.

continued:

due to the many explicit and implicit restrictions imposed on creative media in china, many crucial plot points have to be changed (often badly) or removed, including the nature of the relationship between the main characters. the untamed is considered the most loyal adaptation so far, but like all other works in the genre, it received criticism for weak acting and queerbaiting. that's why im really curious about what you think of the show as it is, as itself, free from its context.

if you're interested, you could also check out guardian! it features much better performance and chemistry by the leads imo, but the story was heavily botched bc the original incorporates and reinvents a lot of classic chinese folklore beautifully and stuff like that is considered disrespectful and not-pc. i think it's really sad how so many great pieces of writing with complex world-building and plotlines are simplified into... idek what to call them, but just, less than what they are.

im sorry this turned into a rant. as a mainland chinese person with oh so many frustrations about our current society, it's hard to comprehensively describe my feelings about the untamed's popularity. it's the first mainland chinese show/movie to gain this much organic interest abroad so i should be glad? but, but. anyway, yes, im sorry.

There’s no need to apologize for ranting, but I admit to some confusion as to whether you want your question addressed or the rant. Because I’m me and tend to be thorough, I’ll address everything, in reverse order.

First of all, I’m sorry that this show is sad to you. I’m sorry that the popularity of it is difficult. I’m also deeply sympathetic to your frustrations about your society, as I too am deeply frustrated by my own.

Secondly, yes, I’m aware of the context of The Untamed. I’m aware that the book it’s based on is a BL novel, and that, in order to align with Chinese politics, overt queerness was erased from the adaptation. I’m aware of the censure laws of gay media in China. I’m also aware that some aspects of necromancy and morality were adjusted to make the show more palatable for general audiences, but I’m fuzzier on those details. Lastly, I’m aware that the popularity of the show calls attention to certain things, such as fanfic, and that attention results in more censorship,

The fact of this erasure and this censure provokes a lot of questions: by consuming this product, which contains erasure and censure, do we engage in the erasure and censure? By posting gifs and writing fanfic and talking about this product, do we increase its popularity, thereby encouraging additional erasure and censure? By increasing the popularity of this product, do we diminish the popularity of the original gay morally gray canon, thereby decreasing representation? Do we discourage other authors in China from writing explicitly gay morally gray material? In short, are we allowed to enjoy this media?

I don’t know the answer to these questions. However, I do know that boycott is a very effective tool when it can inflict economic pain on the producer, or when it can exert pressure on an entity to change. That said, I feel like a lot of the calls to boycott certain media these days are a lot like telling people to stop driving their cars to stop climate change: it’s suggesting that individuals can solve the problem, which presupposes individuals are the problem, and therefore fails to address the scope of the problem, or present the possibility of a real solution. Not watching The Untamed isn’t going to change laws about portrayals of homosexuality onscreen in China, partly because the laws in China are a much bigger problem.

The other part of it is that The Untamed is coded queer, so if you run a successful boycott against it, you end up with . . . less queer TV. I know a whole lot less about China than I do about the Hays Code, but if you had told gay people during the Golden Age of Hollywood that they couldn’t enjoy movies that were coded queer because they weren’t explicitly queer, they’d have said you were crazy. In fact, many people will tell you that media that was coded queer was a big reason we got more explicit queer stuff later. And as I’m sure you’re aware, the US is still fighting that battle . . . partly because it wants to sell movies to China.

So then there’s a question about whether me, an American in the US, liking something coded queer from China but not explicitly queer--does that encourage Chinese censorship? Should I only support texts that are explicitly queer? But the answer is the same--it’s not addressing the scope of the problem, and by supporting texts that are coded queer, you could be paving the way in the future for something brighter.

But you weren’t talking about boycott! You were talking about your discomfort with the popularity with this show, which I accept. I understand feeling uncomfortable. I can only hope it makes you a bit more comfortable to know that plenty of fans are deeply aware of the context and do wrestle with the question of what liking this show means in the context of a society that would never allow aspects of the original to be portrayed onscreen.

Thirdly, I’m not against trying Guardian at some point, but by comparing the acting and chemistry of the leads to The Untamed, I feel like you prove our tastes are very different in these regards. I love the acting of the leads in The Untamed; I found their chemistry off the charts. It’s okay you don’t feel the same.

Lastly, you asked my opinion of The Untamed: its story and characters, the acting, the production, sans context of the canon upon which its based and censorship laws in China.

a. I love the overall story, but the plot has deep plot holes. Quite a few segments do not actually make sense to me, because the plot is so haywire. However, I’ve never cared that much about plot, except when it gets in the way of characters and themes, and for the most part, this plot serves its characters and themes, except when the parts they leave out are so confusing that I cannot follow the story. As for the story, it feels like it’s built for me, because ultimately it’s about moral decisions and how to make them; it’s about guilt and paying for mistakes; it’s about learning, changing your mind, and remaking yourself. Really, I’m not sure there are many stories I love more--except they killed my favorite character, and I almost quit. So, that certainly put a damper on things.

b. I love the characters most of all, although the villains are really two-dimensional. However, large parts of the plot are not Hero vs Villain, they’re Hero vs Society, and then some Hero vs Himself in a way that suggests the Hero is no longer a hero. I could talk about the characters forever, but suffice it to say I think they’re really strong. Also, the relationships are really exquisite, particularly when it comes to family dynamics. Unfortunately, they killed my favorite character off. Also unfortunately, there are six women in this show, only two of them are main characters, and every single one of them dies. It disgusts me.

c. I think the two leads are exceptional, in particular Xiao Zhan . . . when he’s not being too broad, which he is quite a bit. However, I do wonder how much of this is direction and production style, because in many instances, he’s quite subtle, and the choices he makes are astounding. Then there are times where it’s like they needed more footage, or wanted to drive home a point, and he turns on the extra, and it’s awful. It could just be him, but I actually feel it’s the case with most of the actors, which does make me think it’s a directing issue. Meng Ziyi never really has that problem though, because she is the most perfect of all. But then take He Peng, who I actually thought could be incredible, but every scene was just SO BROAD that I began to feel sorry for the poor dude having to act that part. But there is nothing to be said for Wang Zhuo Cheng, who really is just terrible, which is sad, because it’s a great part.

d. Production-wise, it’s really hit and miss. So much of the locations are truly beautiful. A lot of the costumes are too, unless the shot is too close. I actually don’t mind the wigs; I love the long hair. The CGI is terrible. And then while a lot of the shots are beautiful, some of them are awkward, and the pacing is really difficult, imo. It really seems like they wanted to drag it out, and there are so, so many scenes where I’m sort of embarrassed that we’re in the same scene or that we’re still looking at someone’s face, or that everyone is just standing there waiting for the shot to finally end.

I will say that film is a language that does differ from culture to culture. It could be that both the broadness of the acting and the awkwardness of the editing are my cultural lens based on American and a lot of western film. When I watched older Hollywood films, the acting is a lot more broad and maybe a little less “true” feeling, but I understand that it’s not the case everyone in the past was a bad actor. It was just a different style, so I’m not sure I’m equipped with the cultural knowledge of Chinese acting, cinematography, and editing to be able to really judge the value of these things.

I do know how I feel, which is that the editing is the biggest hurdle for me while watching the show. However, I feel that the beauty of it makes up for a lot, and the strength of the characters and themes really carries it.

I hope I addressed your points adequately, and I wish you well.

#Anonymous #the untamed #china

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morwensteelsheen · 4 years ago

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WIP wednesday thoughts:

willow cabin is utterly fucked because i changed my intended ~moral~ halfway through and now im stuck trying to integrate this shitty political intrigue plot into what should’ve been a more interesting story about éowyn adapting to life in gondor. hugely fucking annoyed by it and just totally unsure how to proceed. i could significantly increase the chapter count, but im worried that because the initial framing device was this bandits shit that closing out that plot and then still going for ages afterwards would be really shitty? i honestly don’t know, it’s so difficult. really i just need someone to read my outline and tell me if im being a dumb twat about it lol

meanwhile I know exactly where I want to go with AFTA but for some unaccountable reason im stressed that my ass is gonna get roasted for the direction i want to take it in. it’s all based in both tolkien’s personal politics and (some) historical precedent, but im worried people are gonna see it as a marysue-ification? but also im hoping to do sthg of a sequel to afta to practice the political intrigue writing so i don’t make the same mistakes i did in wc, and to do that it would require this specific set up in AFTA. im gonna put my AFTA thing under the cut so don’t click read more unless you’re gucci with potential AFTA spoilers!!

this royal affair au is definitely gonna get published at some point but im trying to decide if i want to do ~tasteful~ smut that drives a longer narrative or if im really just gonna do a whole 3,000 word build up to some run of the mill, old fashioned PWP lmao

okay so i have spent a Lot of time thinking about what impact i think éowyn and faramir would have on each other in a pre-ring war setting, and the honest to god conclusion ive come to is that they would somewhat inadvertently egg on each other’s (wildly divergent) idealism.

faramir’s an idealist politically in ways that, as Big D rightly points out, are not super productive in a wartime scenario. but so far as im concerned, the war doesn’t feel as warlike until they have to blow the bridge at osgiliath. until that point, there’s not really anything to say that faramir’s whole throwback optimism isn’t a perfectly justifiable position to have.

but what that idealism is and how it manifests are two really important considerations. the crux of his idealistic politics is that he looks at númenor and sees something valuable in it, and looks at gondor and sees a lot that he thinks is fucked up. outside of articulating a general angst towards the glory hunting, it’s not like he’s spending time talking about his specific policy prescriptions. however, we do know a few things that can guide us to a more coherent reconstruction of his politics:

he’s pretty rigidly hierarchical (when it’s convenient for him). as seen in: him basically telling sam to fuck off and stay in his lane in WOTW, and in how and when he chooses to refer to his father as ‘father’ vs ‘my lord’ or ‘lord of the city’ in the aftermath of the osgiliath retreat and then before he gets his ass sent back there. i don’t want to go into too much detail here but if i go with this i’ll definitely justify it more thoroughly in the footnotes.

so we’ve got faramir’s emphasis on hierarchy and his occasional (when convenient) belief that the upper echelons of a hierarchy are there because they’re intellectually and/or morally better. or, maybe to remove the causation from that instance, because they are in those upper echelons, they have an obligation to be more morally/intellectually upstanding, and the people in the structure below them have an obligation to show deference. unless you’re faramir and you’re dealing with denethor in which case that all goes out the window. classic.

we know there is some sort of nascent pseudo-democratic tradition of popular sovereignty in gondor. we know this because faramir asks the masses at aragorn’s coronation if they’ll accept him as king. faramir is a lot of things, but he is certainly not a progressive political radical, and i cannot imagine any situation in which he cooked up that rigmarole himself. that then implies to me that it’s building on some sort of political/cultural expectation in gondor. so: some sort of relationship to popular legitimacy. the people of gondor are subjects, but perhaps not as totally passive and unconsidered in the power structure as we might assume given the comparability to feudal europe/asia.

given those two things, i want to use AFTA to argue:

that faramir, in looking to assign blame for the faults he sees in gondor, would not directly assign blame to the lower classes, but rather to the aristocracy, because he will have seen them as failing in their moral obligations to the people they rule over. this is not to say that he isn’t fucked off about The People™ valorising war, but i think he’d take the position that they couldn’t possibly be expected to form those values and opinions of their own volition, and the fault lies in their rules. faramir: not gramscian.

faramir lacks any power that is non-military, and even that is of questionable worth because the rangers seem to be fairly distinct to the general structure of the army, and are not exactly a huge force.

faramir lacking any political power isn’t necessarily a huge concern for him (as in, he’s not actively trying to change that), because he knows he’s not going to lead a moral revolution and isn’t interested in taking up the responsibilities having political capital would engender because he’s stuck dealing with this war, that he fucking hates btw has he mentioned that he hates it?

however, given that he is apparently eminently versed in lore and scholarship, he is probably keenly aware that there is this incipient notion of popular legitimacy somewhere in gondor’s culture. it’s not, for most of his life, knowledge that actually does anything for him, but it is there.

éowyn, meanwhile, doesn’t really have many strong political convictions (yet). not because she’s a dumbass or whatever, but because she looks at court politics as kind of a farce, and doesn’t believe that power legitimately emanates from anywhere that isn’t a Big Fucking Army. and why, strictly speaking, would she not think that? the event that brought about the creation of her kingdom was not careful, soft spoken negotiation, it was her ancestors being in the right place at the right time with a Big Fucking Army.

and the internal politics of the Riddermark actually seem to be fairly stable, all things considered. i sincerely doubt that Théoden or Théodred are having to negotiate complex politicking in the way Denethor and Boromir are. so where, then, would éowyn see that kind of political behaviour outside gondor? with gríma.

éowyn, then, will see the immediate contrast between gríma (backroom dealer, manipulator extraordinaire) and théoden (owner of Big Fucking Army). and gríma goes and fucking wins that fight. that forces éowyn to confront the fact that, jesus christ, maybe there are different types of power.

at the same time, she’s going to be in minas tirith and needing to cover for théoden letting his shit get wrecked. not just because she’s prideful, which of course she is, but because if denethor/gondor think that théoden is too weak to hold up his end of the bargain, why would they ever go help the Mark? éowyn, seeing that théoden’s f-f-fucked, knows that there’s a very very good chance the Mark will need help.

against her feelings about courtly politics, she starts to accept that she’s going to need to do something to get power in gondor. not anything substantial, it’s not like she’s trying to overthrow anybody, but enough that when push comes to shove she can force denethor to help out the Mark (if he doesn’t do so willingly).

but, as ive sort of already shown in AFTA, she’s a bit of a dogshit diplomat. good for a little big-brawny-enforcer stuff, but not exactly brimming with cultural sensitivity. by the time she realises théoden + the Mark are fucked, she’ll have burnt quite a few bridges with the gondorrim nobles, and it’s not like she’s the sort of person to go running cap-in-hand begging for mercy.

so: she has to look elsewhere. and wow! a chance for faramir to do his favourite thing — talk about his opinions! and by god, his weird idealistic politics are… actually kind of helpful? because he’s like, look, you’re never gonna be a diplomat, but there are other ways of consolidating power. and one of those ways is by appealing to The People™. so why not work that angle?

and actually, we know that this is a viable route for éowyn because hama, in arguing for her to take up the mantle of théoden’s heir when théoden and éomer fuck off to helm’s deep, basically says that The People™ love her and would have willingly chosen her to lead them.

we also know, based on faramir’s middle men speech, that the people of gondor and the mark have grown alike in nature. not totally unreasonable to then think that the people of gondor would take to her like the people of the mark did.

éowyn, then, in various ways begins to try to win over the people of minas tirith. i need to do a little more research on this bc what ive got on the practicalities of that so far are a bit, uhhh, sketchy, but the least jargony way to describe this is to point to when natalie dormer’s character in GOT gets out of the carriage to go hug and kiss some babies. (marc bloch, eat your heart out)

this would later segue into a potential sequel where, while trying to secure the way for aragorn’s coronation, éowyn actually plays an interesting role because she’s fallen into this incidental Diana, People’s Princess™ role and so is better positioned than almost anyone to go advocate on his behalf. wow! cool! éowyn getting to be politically useful in more ways than just getting hitched!

so yeah. that’s how i am thinking it might play out. this would obviously have a rolling impact on the remainder of AFTA and how certain (🔥) events pan out later, but i think that building up part has to begin pretty much now, narratively. also this lets me get in a reference to “and then her heart changed, or else at last she understood it” and have it not be almost entirely about wanting to shag faramir, but actually about her gradual evolution from valorising war above all else to being like, hmm, maybe there are other ways of being powerful. which i think still largely captures the “no longer I will vie with the great riders” stuff, but more subtly and without feeling quite so… deferential, I guess? Like it’s not that she’s swapping one form of power (violence) for nothing (gardening?? healing?? tolkien accidental articulation of necropolitics??) but swapping violence for a different type of more sustainable power.

yeah. that’s the take, basically. who fucking knows.

#e writes

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frogmentarii · 4 years ago

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QUESTIONS FOR OC CREATORS

Haaaa ok so I am doing this cause i saw @fallout-lou-begas steal it from @tarberrymentats and they both looked like they were havin hella fun so i am commandeering this for my own purposes. So lucky for yall its Emi time (art by the dearest @yesjejunus because yall need to see more of her work)

A) Why are you excited about this character?

Because she's an older woman (57) that breaks a lot of moulds and I love to see it. Aside from just enjoying older characters, Emi isn't a sweet old lady and she isn't here to try and mother anyone. Her drives are entirely her own and while she prioratizes herself and her sister before anyone else, its not always due to complete selfishness and just due to growing up in the wastes (I try to keep her character true to a fend for yourself setting as possible). I think Ill go into detail in another question with this, but I went through a lot of concepts and personalities for Emi before settling on someone who was seasoned and very much a product of the wastes. I think after seeing a lot of other couriers I finally figured out what I wanted to do differently, and that sort of helped guide her to become what she is today.

B) What inspired you to create them?

I think my last line there sort of short answers this. I wanted someone different from the other couriers I saw, and wanted to make one that was distinct or even juxtaposed against some tropes. She's a woman in her late 50s that doesnt try and play mom/granny to the companions, she very much has no stake in what happens to the Mojave, she doesnt care about Benny or that he shot her in the head (such is life in the Mojave, but she did have a job to complete so ripperoni him), and a lot of her motivations are selfish or exist to benefit her sister. She doesnt act 'old' in the fact that she isn't a wise caring soul or a grumpy old man, but rather her age is shown through her experience, and this also shapes her personality. She's never had to formally 'grow up' so she can come off as immature and irritating for her own entertainment, but she doesn't have youthful ignorance for how the world works. She knows how to be responsible but she doesnt have to act like it outwardly, even with her Tragic Caregiver Backstory.

C) Did you have trouble figuring out where they fit in their own story?

To a large degree in the beginning, yes, and to specific degrees now, also yes. Writing in general isnt my strong point though I did know what I wanted for her. The main image is there but the details are funky, and Ive been slowly hammering those out as I work along with her and Camila's stories. There's been some huge changes along the way that help push both of them towards an ending I like and that fits them, and even if it takes forever and I never actually write a fic, I'll be happy when she finally feels completed in New Vegas.

Aside from that, she kind of fits in anywhere in regards to AUs. My friend @yesjejunus and I have probably like 40000 fucking aus for our OCs and all of them feel just as organic and their canon stories.

D) Have they always had the same physical appearance, or have you had to edit how they look?

So I know I have an 'original concept Emilia' art on here where she looked like Laura Croft and had aviators but that wasnt even her first concept. I had originally wanted to make a petite southern belle type from Louisiana who used a shot gun and had a mean streak, but as I kept playing with concepts Emi really started to lean other places. Another huge change was her personality. Even when her concept got settled as a sniper from Mexico, she was suppose to be an early 30s caravan guard who was way too sure of herself. While there are reminents of that concept still in her, she has a lot more experience in the wastes and in think-on-your-feet situations to back up her attitude. Another thing she required was dropping her "take me seriously" personality with more goofy "i do what i want cause why not" traits.

E) Are they someone you would get along with? Would they get along with you?

Emi can get along with anyone at a surface level, for a small while, if it will benefit her or she wants to pass time. She really doesn't have interest in folks who arent interesting or beneficial in some way. Since I don't really offer her much, and am a bit of a wet bag, she might yank my chain for her own funsies or she'd have no interest.

And while I did indeed give Emi my go with the flow attitude, I think I wouldn't be able to keep up with her. Emi is very fast paced and doesnt necessarily have regard for those she decides to pick up as drinking buddies for the night. Def dont trust her with my life, and knowing the shit she gets into I'd def want to steer clear of it....like a trainwreck its much better to watch her from a safe distance, lol.

F) What do you feel when you think of your OC (pride, excitement, frustration, etc)?

A lot of affection from a meta standpoint? I've worked with Emi and Cam a lot since creating them, and they've def come a long way since their original concepts. I wouldn't say their story is quite where I want it yet, but I am quite happy with it overall.

That, and Ive met so many awesome writers along the way with Emi. Not all of my friends have posted fic but the amount of world building and having our characters interact and talking OCs ive done with them has placed both Emi and their OCs in a special place for me. Sure her having her own story is fun but I much more prefer the bonds Ive created with people over OCs and I think thats a bit more of a cherished component to character creation for me.

G) What trait of theirs bothers you the most?

Literally? That she likes to be irritating if she feels she can get away with it (or even if she cant). Actually? That she has a very "I shelter you and feed you therefore I make the rules, period." stance on how she takes care of her charge. She lets a lot of shit slide with Camila but things get very Rapunzel-esque at times.

H) What trait do you admire most?

How sure of herself she is. Even if its to a fault, she trusts herself and her judgements. That sort of confidence is something I strive to have haha.

To a lesser degree, and more of a meta point I wanted to make with her, just...her appearance I suppose? To me she's attractive, but she also has a lot of traits that aren't conventionally attractive and that's played a lot into how Ive wanted her to be. Again she's 57 years old. She has age to her body, her skin wrinkles and droops, her tits sag, she has the body of someone who uses chems, and yet despite her age and breaking of beauty standards ive made it a point to show that she is desired or thought of as attractive in non fetish specific circumstances. She herself, while aro, also still has an active sex drive and I really wanted this to be a backseat part of her character, as I feel like fandom in general shafts older women in this department (this also goes for a lot of her non 'old lady' traits I give her too). She still has sexual needs and is still very much sexually active, and she is still found to be a regular sort of attractive and is desired by those she gets involved with.

J) Did you have to manipulate or exclude canon factors to allow them to create their character?

Yes? Ish, to a degree. I didnt have to but I wanted to. I also did a lot of headcanoning with post Mexico for her early life which, afaik is free real estate for lore/nothing super detailed has been given in canon.

Given that she and Camila both shape their stories as individuals, I did have to split up some canon elements to follow two seperate characters, but other than that I really just had to make sure Emilia's story wasnt "boring" in the fact that she again, has no real stake in what happens to Vegas/the Mojave.

I) Do you prefer to keep them in their canon universe?

Cackles in 'which au will I obsess with today'

For the most part yes, however I love placing her in new things or different stories. She may be 'my courier' but really shes just the frog granny that goes into whatever au I am feeling at the time.

#courier six #emilia #emi #emilia vazquez #fnv

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jubans · 5 years ago

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title: pinky promise pairing: chigasaki itaru/fem!reader rating: g (general) premise: promises were made to be kept, but damn did itaru have a sharp memory.

Back when you were still a kid, you had a peculiar friend.

Your fathers were best buddies in college and your mothers got along just as swimmingly as well. Whenever either couple would go out of town, the other would follow suit—both parties bringing along their young kids so they could bond with one another.

Itaru was a quiet boy. The first time you met him, he was like a hermit that couldn't be coaxed out of his shell. Eventually, you gave up on trying to get him to play house with you; retreating to the living room with a gaming console in hand. You've been wanting a Gameboy for a while now, and your father did love spoiling his little girl. While you were in the middle of catching your first Pokémon, however, you noticed that Itaru was watching you play over your shoulder, interest sparkling in his pretty eyes.

"Itaru-kun, do you play Pokémon?" you wondered, hoping he'd finally open up to you.

The young boy nodded timidly. "My Gameboy is in my backpack..."

And that's how you started growing closer than you'd initially expected. You challenged him in Pokémon battles every chance you got, but Itaru defeated you every single time. Something about IVs and EVs, he said. But you didn't really care about those. You just wanted the pretty looking Pokémon on your team.

In your usual outings with his family, Itaru would often play off-handed pranks on you—putting weird bugs he found behind your dress, spitting watermelon seeds at you, and even pushing you into a shallow part of a lake. But despite his outlandish behavior, you didn't cry about it like most girls your age would when a boy was being mean to them. You returned his mischief sevenfold in your own way, and that only made your parents think what a lively duo the both of you were.

But like most childhood friendships, it didn't last as long as you'd liked.

With your father having gotten an opportunity to work in America, that meant you had to move residences. The news was hard to take in at first. You grew up in Japan. All your friends were here! And what will happen to Itaru when you were no longer there to keep him in check? But, you've always been more understanding than most children. You accepted it faster than your parents had anticipated.

One day, you decided to tell your him about your sudden moving-away with a proposition that would ensure he wouldn't step out of line while you weren't around.

"We're going to get married someday, right Taruchi?"

Itaru blinked at you in nonplus, surprised by the strange nickname. "Taru...chi?"

"Itaru Chigasaki!" You giggled, clapping your hands together in unhinged glee. "It's my nickname for you, so no one else is allowed to call you that, 'kay?"

He spared you a small smile. Even at a young age, he already looked breathtaking. Eyes of carnelian and hair spun from almonds and vanilla—there was no reason for you not to crush on the boy who lived the next door over.

But then, he did something you've never seen anyone else do with you before. He held out his hand, holding up only his pinky, as he gazed at you expectantly. You craned your head to the side, not knowing how to react. Itaru laughed softly before taking your small hands in his own, manipulating your right hand's fingers so that you were doing the same gesture he was.

"We'll pinky promise on it," he said, entwining his stubby finger with yours. "It's a promise that we can never ever break. No matter what."

"You promise to marry me when I get back?" you asked, curling your own pinky as well.

He snickered. "I'd hate to be stuck with an old hag like you, but if you insist..."

"Hmph!" you simpered, folding your arms across your chest as you turned away from him. "I'm only eight, Taruchi!"

"You'll be eight-y when you return," he retaliated.

You spent the afternoon trying to beat Itaru in another Pokémon battle, but he came out victorious as usual. Just before you could start up another match, however, his mother told the two of you that they'll be attending an event hosted by the company she works for, and that you could come back and play tomorrow again.

"See you soon, old hag," Itaru imparted, waving a hand goodbye as you stuck out your tongue to blow a raspberry at him.

Stupid Taruchi. Why do I even like you?

"Mom, was it really necessary for me to fly back to Japan for this?" you groaned into your cellphone, asking the question for the hundredth time.

Your mother merely tutted at you from the other end of the line. "You know how much your father loved the MANKAI Company, sweetie. We even flew here a week early so he could take a peek at the final rehearsals."

"Yes, I know that part of the story," you sighed as you slowly unpacked your things from the single duffel you brought. "But why do I have to tag along? I had to find a substitute for all my classes this week, and I think the head professor will give me a piece of her mind when I get back to California."

"I'll have your father talk to her, then." The sound of her laughter was jeering in your ears. Why your mother had always been so carefree was a mystery to you. "Unwind a little, sweetie! I think you're going to want to see one of the new Spring Troupe's actors."

"What?" Your tone came out exasperated, but at the same time, your eyes were trained on the ample view of Veludo Way from your hotel room.

Your father used to be one of the members of the original Spring Troupe back when you were still a kid. Though he was one of the most academically proficient professors you knew today, he always had an unbridled passion for theatric arts. But with how swamped he's become with his work at the university you both teach in, him flying to Japan to watch amateurs stage a production was the last thing you think he would do.

Lost in thought, you didn't realize that your mother had been telling you something over the phone.

"Anyways, if you want to see him, I got us tickets for the closing night this Saturday." Your mother sounded disappointed for some reason. "The earlier showing dates sold out by the time we bought them."

You didn't even bother finding out who this so-called actor she was pertaining to, your mind too preoccupied with the lesson plans you forgot to leave to your substitute. With an exasperated groan, you pulled out your laptop from your luggage, booting it up. You loved your mother too much to point out that she could have just told you to fly over here at a later date so you could minimize your absences.

"Sure, Mom," you relented. "Do you want to grab some dinner later?"

"No way."

Eyes of carnelian. Hair spun from almonds and vanilla.

"No. Way." You had to physically look away from the stage to contemplate for a moment. Was that... Was that who you thought it was?

From your right, your father spared you a sideways glance, confusion painting his features. "Hm? Something the matter?"

It's him. The boy with the pretty eyes and the smile that masked his mischief. Itaru. Taruchi.

"I-It's nothing, Dad," you reassured, forcing yourself to train your eyes on the scene playing before you. "I just remembered I haven't started formatting my midterm exam yet."

"Oh, don't fret about work here," he chuckled, gaze trained fondly on the stage. "Plays are where the actors give it their all to put a smile on people's faces. I've always wanted to see you up on stage, but what kind of father would I be if I imposed something you didn't want?"

His words made you relax back into your seat, watching as Itaru's character, Tybalt, conversed with one of the leads on-stage. He delivered his lines so naturally, like the character was moulded to fit him in particular. He looked so...different now, too. Itaru had lost the fat in his cheeks—angular cheekbones taking its place instead. His voice was set into a much deeper tone, given that he was probably in his mid-twenties, just like yourself. Who knew a gamer shut-in like himself would pursue theater, of all things?

"It's nice to see good old Chigasaki's son up there, though." Your father smiled. "That kid was almost like a son to me."

The scenes breezed past before your eyes, each one leaving you at the edge of your seat. Their twist on Romeo and Juliet was comical, to say the least. But each time Itaru stepped under the spotlights, you noticed the strain in his movements. Whenever he had to walk to the opposite side of the stage, his steps came off a bit wobbly. This was a critical scene where Romeo and Tybalt were going to duel to the death, too.

When you spared your father a wary look, the set in his brow told you that there was definitely something up.

"Boy's got a sprain," he concluded. "Goodness. He should've known better than to perform with that dead weight dragging him around."

You frowned. "Then Taruchi, I mean, Itaru should—"

"Tybalt, stop! The battle's over!"

Romeo's little ad-lib caught the attention of the audience, no one daring to draw a breath to see how things played out.

"Lower your blade!" he shouted, voice carrying the emotion in his eyes.

Even Itaru was taken aback by Romeo's resolve. His mouth twitched into a smirk that reminded you of the days he would show you the stag beetles he's caught over the summer to freak you out. You haven't even said two words to him fifteen years later, but somehow, you knew that he hadn't changed. Not one bit.

"(Surname)-san, hello!"

A woman that seemed right about your age greeted your father with a shake of hands once the two of you arrived backstage. Your mother had insisted that she would wait for the two of you at the parking lot as you gave your congratulations to the actors. So here you were, standing awkwardly behind your father as he animatedly conversed with the said woman, who seemed to be the director of the show.

"Kid, as much as I'd like to tell you about your dad, it isn't my place to tell," your father chuckled.

She sighed. "Ah, that's what Yuzo-san told me, too..."

"Say, this is quite out of the blue, but my daughter here wants to have a word with one of your actors. Itaru, to be precise."

Wait, what?

"Oh, sure!" The director nodded, twisting the knob to the dressing room behind her before you could even protest. "Itaru-san, someone wants to talk to you!"

"Oho? Itaru-san has stans?"

"Fans. But you're not too far off, huh, Citron?"

"Wah! Itaru-san is so popular!"

"Tch. As long as it's not her, I won't complain..."

The sound of cheerful laughter hit your ears, and the next thing you knew, he emerged from the doorway—still in costume without a single hair out of place. Itaru grew up to look like one of the princes in the fairytales your mother used to read to you, and it grated on your nerves more than it should. How could the kid with the most rotten attitude you've seen be blessed with a growth spurt like this?!

Too busy wallowing in your own frustration, it took you a moment to register the utter shock on Itaru's face once his vibrant eyes landed on your father. But when his gaze shifted to you, his lips parted in muted surprise before spreading into a disbelieving smile.

"So you finally thought about coming back, huh, old hag?"

Before you could even think, you seized the collar of his costume with your fist, familiar irritation festering in your chest faster than you could blink. "It's the first time we meet in fifteen years and that's your opening line?"

Itaru hollered loudly at your aggression, but the gesture didn't even faze him one bit. Maybe it was because he stood about a few inches taller than you now. Nonetheless, he held your hands in his own—holy shit they were smooth—before prying off your hard grip on his clothes.

"Ah, Izumi!" your father called out to the director. "I want to discuss something about the MANKAI Company and how I might be able to pitch in. Itaru-kun, you can keep her occupied for the time being, right?"

"What? Dad, don't leave me with hi—"

"She's in my care," Itaru spoke over you, a gloved hand going up to ruffle your hair.

As you watched your father and the director disappear right down the corridor, you gulped when you felt Itaru's piercing gaze on you. Turning around, you saw that his lips were still affixed with a condescending smirk, like he had some dirt on you that you didn't know about. Slowly, you backed away from him, but the hallway was cramped and you ended up with you in between the wall and the man in front of you.

"So," he began before he braced his palms on either side of the wall, trapping you in place. How could someone who had the regal air of a prince look at you like a wolf in sheep's clothing?

You felt your heart racing hummingbird-fast in your chest, breath hitching when he leaned in to ask:

"When's the wedding?"

#a3!#a3 #act! addict! actors!#act addict actors #a3 headcanons #a3 fanfiction #chigasaki itaru #itaru #itaru chigasaki #itaru x reader #a3 x reader #fluff #itaru fic

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swordoforion · 4 years ago

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The Orion Manifest - a Declaration of the Tenets, Mission, and Formal Structure of Orion

Respice ad futurum, respice ad astra. This is the motto of Orion – look to the future and look to the stars. For millennia, humanity has looked up at the stars and wondered what lies beyond, what secrets could be contained beyond such unimaginable heights and distances. Though we have caught glimpses, the vast realm of the cosmos continues to be a mystery, with all of human history only scratching the surface. It stands to reason, then, that in our future, we should and will seek to venture outwards into the unknown, to know the unknowable, the reach the unreachable, to do the undoable.

But though we look to the future and to the stars, they act as only a goal, and our path ahead cannot distract too much from where we lie now. We live in an era of crisis – sea, land, and sky burn as people shed their blood fighting the wrong enemy. The world, wracked by constant war, races toward it once more, as those with power march forward unceasingly to grab more of it. We face threats of extinction from all around us, and though the power to save the world is well in the hands of the people, they do not know that they have it, they do not know how to wield it.

Our mission is one of necessity – to ensure the survival and prosperity of our charge, that being the whole of humanity, we must first ensure that they can survive long enough to make it off this planet and flourish. To do that, we need to ensure that the environmental habitat of Earth is sustainable and will preserve – thus the first Tenet of our mission is Environmentalism.

The damage to the environment has been spurred largely in part by our unceasing and unstable growth – the Industrial Revolution of the 19th century set our worldwide society on a course that has bred such a hunger of its drivers for power that everything – people, species, and eventually the precious few resources of our home planet – is only temporarily capable of sating such an appetite. Following principles that emerged alongside the genesis of capitalism, our second Tenet is Socialism, the transfer from greed-based industry to need-based democracy.

To get to the stars, we need to preserve the environment. To preserve the environment, we need to regulate our industry and secure the rights of the people. But to do this most truly and effectively, it cannot be done in merely one part of the world. To isolate this change would fail to make enough of a dent in our problems and would abandon the rest of humanity to the same fate we seek escape from. Thus, if we are to make a change, it must be universal, and the last Tenet, following suit, is World Federalism, the establishment of a representative world government.

The establishment of a world federation will allow the universal regulation necessary to implement socialist economic structures, allowing us to slow our growth to a sustainable level and put resources towards the revitalization of Earth. With these needs met, we can move forward as a species, at peace and not raising our weapons at each other’s throats but raising our eyes to our final destination – the cosmos. And so, it is with this document that Orion is established – an organization devoted to the establishment of eco-socialist federalism, and to the mission of prosperity and survival of all humankind.

Article I: The Tenets.

Section I: Environmentalism.

The interest of both protecting pre-existing natural resources and species as well as fostering new habitats and growth, to ensure the continued existence and flourishment of Earth’s ecology. Our numbers are growing as a species while our resources shrink, and while there are ways to preserve and help the environment recover, we are not employing them in the interest of economy. However, if we reach a point of environmental decay at which the ability of Earth to sustain human life is threatened, we face a universal and uncompromising threat – extinction. Preventing this climate crisis will take potentially centuries of action, which means that the sooner, the better to make a stand.

To accomplish this goal, we need to lower our output – decreasing emissions as much as possible and slowing production from what will grow the economy to what we need, which will slow the rate of human population, until a time comes at which the world population can sustainably increase at the exponential rate it has kept thus far. Not an end to modern comforts, not a retreat into the Dark Ages – but a matter of prioritizing what we need in our lives, on both personal levels and large-scale, economic levels.

While this is done primarily to ensure that the human population of Earth can survive the oncoming crisis, the preservation of other species and the beauty of nature is both an obligation and a reward. Despite the fragility of other species, continued biodiversity allows us to observe many different types of evolved life, and with that broad spectrum available for our observation, we can discover much more about life itself than if we were to isolate the ecological population of Earth to a selective pool of species.

Section II: Socialism.

While a broad term, socialism in reference to the interests of Orion is defined as a system of economic organization in which the resources used for production of goods and services are made publicly accessible, and businesses are ran democratically by the workers. Unregulated privatization of capitalist economies has resulted in a growing inequality of both power and wealth, which threatens both the ability of citizens to have their basic needs met through economy, as well as the balance of democracy, as the affluent gain more power and representation in elected democratic governments.

The goal of socialism is to focus more on equality than the ability to reach heights of power – instead of the few having exponentially greater than the many, all would be able to live comfortably and have minimal contribution to labor, and be granted freedom through unbiased democratic government. With the people producing goods and services motivated by their own need and not by a unceasing need for profit, not only would a market be more catering to the interest of the common citizen, but would not produce overwhelming surplus that contributes to environmental destruction through rapid resource usage.

Of note is that socialism is not just a matter of political and economic change – it also seeks a change in social order and views, as capitalism relies largely on self-interest and competitive pursuit, concepts which have become engrained in modern culture, at the expense of care for community, for the plights of others who are less successful. Those in power seek only more, and everyone else tries to take what they can, breeding mistrust and greed rather than camaraderie. To establish a more equal and just social order would require an end to the mechanisms, social and economic, that make most see the world as ‘eat or be eaten’.

Section III: World Federalism.

In the face of threats that care not of borders or political history, we must also realize the limits of dividing ourselves off from each other. International relations are long and storied, carrying much weight in the culture of respective nations, but to be bitter and mistrusting of our neighboring countries will only worsen the situation, as we try to keep a fragile peace while also fixing the world. Simply put, the resources needed to compete with other nations are wasted, when a single, cooperative nation could much more easily manage international crises as listed above.

Federalism implies a nation consisting of multiple smaller regional governments, which allows for a balance between sovereignty and uniquity and peaceful coordination. The integration of the nations of the world into a federal nation would mean that limiting systems such as military reconnaissance and deterrence, international trade strategy, and intense border security would lose relevance and importance, allowing far more necessary concerns to take center stage. The need to be the most powerful nation would subside when there is only one entity to be concerned with – economy will be focused on what is best for all people, military will protect every citizen of the world, and government services will be applicable to everyone.

One of the most important elements of such a federation is the vital inclusion of democracy – allowing every region to have a say in the affairs of world government, just as smaller federal governments include representation from their constituent states. A world government that simply commanded the people of Earth would simply create another elitist order on top of capitalist monopolization; the people and individual regions must have a say in what happens to them, and regional governments should keep a degree of authority to better manage their own affairs.

Section IV: Eco-socialist Federalism.

The combination of the above tenets into a single theory, eco-socialist federalism advocates for the creation of a federation of socialist states with expressly engrained policy to preserve and replenish the environment of Earth through universal economic regulation and investment in sustainability until a point at which technology and global ecosystems develop enough to allow for rapid growth in consumption and production.

The socialist federation could continue to manage past this threshold, and environmental policy would remain to ensure that we would not repeat our past mistakes, but the end goal would be to develop the capability for manned interplanetary travel, such that we could create sustainable colonies on other planets to increase our influx of natural resources and habitable space for human population.

Once sustainable human colonies are established on other planets, and the technology of reaching the colonies is efficiently produced, the problem of ensuring the survival of humanity will be dealt with; in that regard, Orion’s goal will transfer mainly to exploration and expansion; the never-ending goal of learning what is out there.

However, with the creation of a socialist federation, there must also be from its inceptions safeguards on fundamental human rights, which are listed below, and must be ensured to achieve the completion of the second goal – the prosperity of humanity. If only a ruling class is to benefit from this change, we have become little better than our forebearers.

Section V: Fundamental human rights.

Important among the principles of an eco-socialist federation is the universal and enforced protection of human rights – equality and freedom are two virtues that must be upheld in any moral society. The fundamental human rights are as follows:

- No matter the circumstance of one’s birth, the color of their skin, their physical ability, their sexual orientation, their gender identity, their religious affiliation, the culture they belong to, or the value of what they own, all human beings are deserving by birth of the same, unalienable rights, and shall not be discriminated against for any of the reasons above.

- Everyone has the right to life and liberty, and as such, either welfare or employment should provide for the basic essential needs (food, water, shelter), as well as proper medical care.

- All should have the right, when charged with a violation of federation or regional laws, to a fair and public trial to determine either guilt or innocence before a jury of peers. Here, they will be assumed innocent until their guilt is proven.

- All citizens shall have the freedom to move within both their own region and into any other region of the federation without persecution or inhibition.

- All citizens, granted they consent and are of legal age, shall have the right to engage in a relationship and be entitled to marriage, recognizable by the state.

- Everyone shall have the freedom of speech and expression, which includes the ability to assemble, speak, write, and/or practice as long as it is publicly safe to do so.

- Everyone shall have the ability to run for public office and participate in democratically elected, representative government, or work democratically in organizations in a market for the acquisition of resources, via the form of goods and services.

- Everyone who, in working, produces goods and services through their labor, earns and is deserving of the value of their labor.

- Every citizen shall have the right to free and equitable public education, with necessary skills and information instituted universally within the federation’s public education system.

- Everyone shall have the right to rest – labor is required only as long as is necessary for those able-bodied to provide it, and any time beyond necessity is up to the discretion of the citizen. Maximum working hours and days on shift shall be limited to humane numbers.

- No citizens will be subject to intrusion or arrest without just cause, and all citizens, regardless of the defined categories, are subject to equal protection and review under the law.

Article II: The Mission.

Section I: To establish the organization.

The establishment and growth of Orion and its branches is necessary first to ensure that Orion exists to seek and bring about this change in the first place. If by any means, Orion is destroyed or somehow disbanded, the next in line for the Operational Manual should use the instructions contained within to reorganized Orion, at least until the other steps of the Mission are completed.

Section II: To spread awareness.

Through both the Sword of Orion, data supplemented by Museion, and in-person movements by Liberius, the first goal once the organization is established is to bring progressive and eco-socialist federalist ideas to the attention of the public, as well as raise support for organizations and movements of interest.

Section III: To connect with allies.

One of the most essential functions of the Sword of Orion will be to find other organizations with cooperative goals, and to build a network to coordinate efforts towards large-scale change, using the resources and reach of allied groups to reach a common goal.

Section IV: To move founder nations towards federation.

The goal of social change is to move key nations towards a political position where their governments would be supportive of the formation of a world federation. While the ideal result would be to have all the nations of the world agree to such an idea upon first suggestion, a few powerful founding members could get the ball rolling, and would prove much easier a task to concentrate effort around.

Section V: To complete world federation.

Over time, once a world federal government is established, other nations could be approached and persuaded to join as members. Of note is that the current power system within a given nation is irrelevant – a government is not its people, and should the structure of a nation change, the decision to be a member could as well.

This Manifest is written to be of universal use so long as the Mission is incomplete, which means that the hierarchy and international organization at the time of writing are always subject to change. Given that Orion has a vested interest in ensuring environmental security and protection of human rights post haste, the pressure of democratic or even revolutionary change is not off limits, so long as the means by which change is acquired is moral, and in the interest of the citizens.

Section VI: To create environmental and economic regulation.

The requirement for states of an eco-socialist federation will abide by the principles of human rights stated in Article II, Section V, as well as to have a minimum level of regulation in their own economies to ensure that output of emissions and use of nonrenewable resources is kept at acceptable levels and that businesses within their markets are registered. A registered business will follow certain guidelines in terms of workers’ rights and representation and will not be allowed to monopolize privately.

Section VII: Develop means of interplanetary travel.

Government research into space travel and technological development will continue and be given adequate funding to pursue the goal of cost and production efficient manned space travel, in addition to sustainable and eco-friendly technologies for public use. The end goal is to be capable of carrying humans to other livable planets, as well as establishing further stations for observation and management in our solar system.

Section VIII: Reach sustainable growth.

The goal of any society is to grow – to grow the population, economic output, technological advancement, and knowledge. Currently, our global society has grown rapidly and will continue to grow on its current rate, but it has done so unsustainably, and puts us at risk. The goal of a stable and rational global society would then be to become coordinated and advanced enough that this pattern of growth can resume without burning our resources at a rate we cannot keep up. By this point in the Mission, society will be self-sufficient with no sign of long-term instability and will be moving to other planets to provide an extra layer of security. Once Section VIII is met, Orion’s function will be relegated to management and exploration.

Article III: The Structure of Orion.

Section I: Sword of Orion.

The Sword of Orion is the first, largest, and most essential branch of Orion – the public face and the means by which alliances are forged and information is spread. The functions of the Sword of Orion are writing, activism, and communication, which means publication of resources and operation of social media to provide news and information on why we need change, supporting action that makes positions clear to public representatives, and assisting and connecting different organizations already in the fight.

The Sword of Orion will be the only branch of Orion to have a multi-chapter structure – wherever available, local chapters composed of in-person or regional online members working to communicate with the people, politicians, and organizations in their area. While there are universal messages that can reach people from all over the world, the advantage of having additional, regional based campaigns is the familiarity and uniquity of regional culture and politics. The problems of one area may require special attention, attention that only people of that area know to give.

Above all chapters, however, is the Sword of Orion’s presence as an online organization. All chapter leaders and members can communicate with each other and coordinate more general writing projects, larger gatherings, and communications with national and international organizations. This online hub allows for an easier form of membership and participation, representation for members without a local chapter, and organization-wide coordination.

The Sword of Orion, in its communication to both the public and with other large-scale movements, is the main arm of diplomacy and democracy, as well as the central structure of Orion itself.

Section II: Liberius.

The second branch of Orion, Liberius is more of an ancillary corps within the greater structure of the Sword of Orion – instead of having it’s own chapters, Liberius members are specialized members of Sword chapters. Where the Sword of Orion focuses on writing and communication, Liberius is a branch of action – activism, volunteering, campaigning, aid drives, and protests are where they will work. Any in-person events that the Sword organizes or assists with, Liberius agents will help head and coordinate, and they will represent Orion at more general, impromptu events like marches and picketing.

As the nature of Liberius involves much more rigorous, hands-on work, Liberius agents will receive more training and preparation for events, consisting of skills like communication, first-aid, and self defense, to both aid and protect people in the case of violence or accident. Liberius Leadership will be responsible for this sort of training, as well as what type of events and work there will be a focus on.

Each branch of the Sword, at full capacity, will have one or more associated Liberius agents, ready for local work and chapter assistance. Liberius, while having separate channels for planning and training, will also communicate organization-wide through online hubs. To become an agent of Liberius first requires membership in the Sword; after which, one can volunteer and apply to do activist work.

Section III: Museion.

The third branch of Orion, Museion, as per its namesake institution of research and study, will be a primarily information and research-based sect of Orion focused on keeping track of environmental status, technological developments, and political trends. Separate from the overall combined structure of the Sword and Liberius, Museion will consist of a singular chapter/organization that functions as a think tank; doing studies of its own and working with other organizations and institutions to provide information to both the Sword and the general public on relevant matters.

The function of Museion is more evident in the later sections of the Mission – scientific research into eco-friendly technological developments for everyday life and economic growth as well as innovation of space travel to allow for interplanetary travel will rapidly become one of the top priorities once the political matters are out of the way. However, not only can Museion provide statistics and news to backup the publications of the Sword of Orion, but starting early on matters of innovation will prove an investment that pays off when the tech we need is started in advance.

Like Liberius, one must be a member of the Sword of Orion before volunteering for Museion, but the partnerships and communications of Museion can be separate from the Sword of Orion, due to being more scientific rather than political in nature. At full capacity, there will be in-person Museion facilities, but online research and organization is always an option.

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katachell · 4 years ago

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portal 2 project???

portal 2 has an AMAZING narrative. AMAZING. but if you want to rewatch the story... you cant. your two options are to watch let’s plays and randomly skip around to hopefully hear all the dialogue, or to read the quotes on the wiki... which are seperated by character, not scene, and dont give environmental details. this makes it impossible for people who dont want to put in a massive amount of time in to experience the story of the game in one definitive place. so, i propose:

THE PORTAL 2 PROJECT

the end product of this project would be a video, posted to YouTube, that has all of the relevant scenes and dialogue in order. it would play out like a movie, so people who haven't or don't want to play the game can still enjoy and understand the story in its entirety. it would use screen recordings of the game, so you can see whats happening and hear it.

what would be included in the video:

-any moment where there is dialogue (exceptions listed below)

-plot relevant details: for some examples, getting the portal gun, finding a rattman den, introducing a new puzzle element, when cave says that portals can be placed on the moon. (this is to better help people who aren't familiar with the franchise understand what the things they're seeing on the screen are.) (most of these would be short clips: for example, when hard light bridges are introduced, the clip would show chell walking up to it and standing on it, and then the video would move on.)

-major scenes, obviously. an example is when chell falls into the pit or unlocks old aperture.

-small, funny details. (without lingering for too long.) it wouldn’t be portal 2 if you dont show the little details! examples include the borealis dock, the elevator room screens, or when wheatly is monologuing and you can go back and he’ll keep monologuing (”you’re at my mercy! wait- come back! (chell goes back) FOOL! you’re at my mercy, and i dont have any!”

-exploring the enviroment: for example, the screen recorder would stop to look at the awards in old aperture, zoom in on chell’s name for the potato experiment, listen to the optional/hidden cave experiment dialogue, as well as look at old posters and signs that tell you about the dangers of old ap. just so the audience is grounded.

-ive touched on this in other bullet points, but not everyone has the time or willpower to look for the little hidden things in the game. this would make sure that you get a very full, portal 2 experience.

what would NOT be included:

-puzzle solving. some chambers take a few minutes to solve, and there is no dialogue. this interrupts the story. unless the puzzle solving is relevant to the plot, like quickly introducing new mechanics to the audience, it wont be included.

-unimportant dialogue. for example, in the neurotoxin generator area, whealtly will ramble for - i think i lasted 4 or 5 minutes before i left - a while, just trying to convince the neurotoxin generator to shut itself off or something. while entertaining, it takes away from the focus of the project.

an example of the formatting:

i imagine the format to look something like this: (im using chapter 1 as an example)

-full, uncut opening with the wheately escape. the cameraman waits at the door before opening it so you get his full dialogue. ~5 minutes

-chell goes into her old relaxation vault, listens to the announcer, puts a button on the pressure pad, then enters the elevator. this introduces the button/cube mechanic. (this scene comes directly after the last, with no cuts). since there is announcer dialogue and new mechanics, this stays relatively uncut. ~1 minute

-chell exits elevator, hears funny announcer dialogue. the camera looks at the room for 5 seconds so the audience understands the setting for the scene, as well as the act. ~15-20 seconds

-chell presses a button to open a portal. this is the first time a portal is seen. she walks through the portal. this introduces the core mechanic of the game. (~30 seconds) (once the mechanic has been used once or twice, the rest of the puzzle is cut)

that would be the basic format. for things like multiple uneventful test chambers in a row, it would show slow fading shots of the test chamber number so you understand that time is passing. this would be intercut with shots of the setting.

HOW CAN I GET HELP / THIS PROJECT STARTED??

getting all of this footage is too much for one person. editing it... is too much for one person. ALL OF THE FOOTAGE HAS TO COME FROM PEOPLE WORKING ON THIS PROJECT. IT CANT COME FROM OTHER PEOPLES YOUTUBE VIDEOS. For this project, I’ll need people to record the footage, people to help edit the footage, and 1-3 people who know the story well and are willing to go over the game’s plot and determine what scenes and details we need, so the records know what to record and what to focus on.

Do you want to help capture footage? if so, youll need:

-access to the PC version of the game with LOW LAG gameplay

-a screen recorder program. it CANNOT have a watermark on the finished product. needs to be high resolution footage.

-(the recordings will NOT feature your voice or a face cam.)

-(you do not need mods and please leave the portal gun with its base texture)

-(id be comfortable with each screen recorder person to cover around 1-2 chapters... so maybe 4-5 people, unless i can find more. youd be following some directions on what to record. you do not need to edit, just get the footage.)

Can’t do that? Can you EDIT video footage? you’ll need:

-a video editor. high quality. i dont know the editing industry, i dont know what software exists.

-MUST be able to export it without a watermark and in high quality.

-(each editor will be responsible for a chapter or chapters. then render your final product. one editor will put all of the finished chapters together. this means you can use different software from the other editors, and will have a good amount of control over your assigned part. i dont have a number for how many editors there will be. id like more than one.)

Can’t do that? What about choosing the important scenes and details and acting as a sort of ‘writer’ for the plot? You’ll need:

-a good knowlege of the game and its history and fun facts. if youre obsessed with this game and franchise... yeah same. but as long as youre interested and know it well, thats fine

-be able to browse the wiki

-time to review the game by watching lets plays or playing it yourself

-be able to choose the right details and communicate that to the screen recorders and editors. remember my example about chapter one earlier? youd have to lay it out in a similarly comprehensive way.

-take constructive criticism

-must be older than 14 for this. youve gotta make a lot of decisions in this role. ive seen some really creative and talented high schoolers, so thats where im drawing the age line.

-(im hoping for 1-4 of these people, including myself.)

IF YOU’RE INTERESTED IN HELPING, SEND ME A DM. IF YOU’RE CHOSEN TO WORK ON THE PROJECT, I’LL SET UP A DISCORD FOR THOSE INVOLVED. IF THIS GETS SOME SORT OF MASS SUPPORT, I’LL SET UP A DISCORD FOR ANYONE INTERESTED IN UPDATES.

The purpose of this project is to make it so you can relive the portal 2 plot without having to replay the full game. Other methods do not exist. No one video shows the plot in order with ‘filler’ removed. Voice lines exist in text form, but do not capture the visual aspect of the game, or give context, and are not a full experience. This story is a masterpiece and deserves to be edited so it is comprehensive and all in one place. No one will claim credit for owning portal 2 or writing the story - the video is showing gameplay, and just so happens to be the relevant gameplay. However, screen capture, editing, and direction credits will be given to everyone who participates. This project will allow you to introduce friends and family to the game without sending them a video where only 5 minutes out of the 1 hour video is relevant. I have wanted this project for a while, but I’ve realized that I can’t do it alone. Even if you can’t help directly, please spread the word and reblog.

#portal #Portal 2 #wheatley #Chell #glados #cave johnson

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fmdjoosungarchive · 3 years ago

Text

restructuring task 1

+5 tracker points

1. assuming your muse has changed in some way, be it internally or as a result of a change of the external factors around them, how is your muse different? these can be as small as an opinion on a song they hadn’t released previously or as big as a major change in their background.

wc: 365

idk if i’ve said this on dash yet, but i’m treating new famed more or less like an au. in sung’s au, the defining change is that he was let go from gold star when he had his injury as a trainee. it was always my headcanon that they truly were close to cutting him loose anyway, so this is just the other side of that. he had his injury, got plastic surgery to try to appease them into keeping him, and they still let him go. when he went home his parents said alright u tried that now join the fam business n sung freaked bc he realized he doesnt want that for himself so he went to do smth he also hated, and joined the military. while there he still worked on his dance and vocals whenever he had a moment to do so, so that when he was discharged and started auditioning again, he wasn’t so rusty

he is a year younger in this world, just bc of quantum’s age range, not for any other reason. makes him a little less of a cradle robber in his relationship lol which, another change is that daisuke wouldn’t have been his first kiss, just first everything else

quantum is very different from old element and new element, but it’s very in line with what i liked about quicksilver (& has models from that) and he’s a leader! this is an idea ive toyed with a lot over the last three years tbh. at first i didn’t think sung suited a leader position, but he came to show me he’s just a different kind of leader. i liken him to jinki often in this regard. rather than lassoing members in, he supports them being however they are, and takes an intimate/emotional path to gaining their trust and leading them. and while he wasn’t suited for the full business life, what he learned from his father’s teachings helps him in dealing with the company as the group’s representative there (& he loves a good powerpoint presentation)

other timeline stuff for big events in his life are likely to shift but i’m not sure on specifics yet

2. what does your muse think of their company and their group?

wc: 260

as the child of a businessman, he’s never under the illusion that as a company entity, their first priority is their wellbeing. he knows that they are products, and that they’re treated as such. it’s a bit heavier with dimensions than gold star, since gold star makes a more active effort to pretend they care. however, once having accepted that, sung thinks himself and dimensions work well together. he does feel that for a company, they allow himself and his members to be a part of the creative process, as says their motto. he feels much more encouraged to write songs and choreograph under dimensions than he did under gold star, where it felt like he was constantly on his knees begging for the company to take him seriously

as for quantum, sung really loves what they’re about. he’s not a big fan of all (or most) of their songs, though he’s more loving towards a song written by another member even if it’s the same sound he dislikes, but he absolutely loves being focused on performance and concepts. his creative mind works very much on the basis of story and emotion that comes with it, and he feels like quantum’s concepts sometimes to often lean into his tastes. he’s always been a dancer first and foremost (god am i so glad to have his main dancer title back i MISSED u) so focusing on performance is v much up his alley, and his preferred style of dance is through storytelling. he feels the heart of dance is in that

3. is your muse on their first contract or their second? if they’ve renewed, what were their feelings around that at the time and what were their hopes for their second contract? if they haven’t renewed, what are their current thoughts on the end of their eventual first contract?

wc: 281

quantum’s on their first contract still, up for renewal in 2024. at the current moment, he would like to re-sign. however, unlike my others, his re-signing depends more heavily on the other members. if they were unhappy and wanted to leave, sung would want to follow suit, not because he can’t make his own decisions, but because if the reason the members want to leave is because of the company, not quantum, he’d want to try to help quantum continue to live. if that means all of the members leaving in order to rebrand under another company, so be it. he’d like to avoid lineup changes however he can, and ideally would like to be an idol for as long as possible

he himself feels alright about his treatment. he feels creatively stimulated, and appreciated for talents further than his face. if he were to try to negotiate different terms at their contract renewal, part of it would likely be wanting to give members a higher share of profits, especially on releases they’re creatively involved in. sung personally has no use for excessive money, but not all of his members have his background, and he feels more than just the money, it’s what’s fair. he’d also prefer to allow for more creative freedom. as a 7/8 year group by then, he’d think they should be allowed to take the reigns more heavily. and on his personal side of things, he would want dimensions to be more mindful of his schedule. sung enjoys working, but he’s only one person, who doesn’t want to be overworked. these are all just his current thoughts, though, and will probably change before contract renewal comes up

4. what are your muse’s goals and motivations?

wc: 294

his motivations to be ‘successful’ and/or achieve his goals are his family, namely being someone his nephew and niece can be proud of, and someone his parents can feel was worth letting go of. he feels closer to the latter than he did in old famed. his members motivate him to be a good leader, his desire to grow as a creator motivates him to write and choreograph

specific goals could be bigger like his desire for more public recognition. while quantum has a lot more recognition both in korea and abroad than element or quicksilver, sung wants the best for his group. he’d be happy if they stayed where they are with their loyal fandom, but he still aims for more

sung also wants to get better at standing up for himself. he’s best at standing up for others, because he can slap on a bit of bravado in order to help them out, but when it comes to himself, especially with his parents, he’s pretty awful at it

he’d also like to create more for quantum, and others. i/he have a goal for him to write a whole album for someone, so if anyone reads this far and could want sung writing for their muse, hit me up!

he’d like to get married and have children one day. that’s always been a dream of his, and while he knows his career doesn’t allow for that soon, it’s still on his docket

he wants to spend more time with his family, especially his nephew and niece. they’re so new to the world and learning everything, and sung wants to be a part of that. he doesnt want his part in their early lives to be ‘i don’t really remember seeing him back then’

5. what is one conflict, internal or external, that your muse is currently dealing with, has recently dealt with, or will need to deal with in the future?

wc: 291

at some point, this bitch is gonna have to admit he’s a homiesexual. in his previous version, it was a lot easier for him to ‘i pretend i do not see it’ when it came to that. sung’s very ignorant when it comes to the queer community in korea, so he’s not even really aware of terms beyond gay, maybe trans. but, terms aside, he always thought he was someone who liked women, and daisuke and a couple of others were just outliers. they were the Special ones outside of his jurisdiction that were just too good for him to not notice. aka he believed he was bi. and now, he still does, but i have less faith he’ll be able to hold that up until he dies like i did before, because he’s actually dated at least one woman before in this world. considering the plot has yet to be picked up, i don’t know the specifics, but i do think it’s harder to run away from when the way he treated a relationship with a woman and a relationship with a man were lightyears away from one another. it’s still possible for him to run away from the truth of the situation, but it’s also very possible that one day, his thoughts on it will shake, and everything will click into place (messily,, probably the messiest clicking ever) it would be a difficult thing for him to come to terms with, though i think it’s better for him in the longterm to truly know who he is, and why he acts the way he does, why he feels the way he does about women vs men. it’s also nice just to not live a lie, even if only privately

6. if your muse has established career claims, what are their thoughts on their career so far? if they do not, how do they feel about not having individual activities yet? what would they like to do in the future, if anything? if they don’t have ambitions for individual activities, explain why.

wc: 523

sung has a pretty filled history of individual activities. most are points claims with a focus on modelling, his radio, and music, though he’s dipped into pretty much ever facet of idoldom, some with more success than others. his ecp expenditures flesh that out a little more, and add a bit more realism, and/or make sense of the group changes. he had a one year modelling contract with the north face, and while official claims aren’t possible, i was inspired by a couple of things rowoon did with them. there was more of a push on an eco-friendly side of things, and there was a bit of dancing. playing into his group position with dancing i feel is fitting, but the eco friendly part i also feel could round out his image more as a good, kind boy who also can be sexy, whereas before, his earlier modelling claims focused a lot more on the sexy aspect, because it fit element and his trajectory there better. here, it makes him more dual sided from the beginning. north face is also just a nice, strong brand that i think is fitting for a pretty boi. i set it a bit after a year out from debut because i feel like that’s the most realistic, especially for a group like quantum that grew audience with each comeback

part of that first year being focusing only on the group ties into his creative claims as well! his first creative claim was with the bside love, lalala on the eternity ep. the nicest part of creative claims being unattached to positions is that all of sung’s claims are the songs in the discography most Him. so love lalala is very jazzy and smooth, and would have served as his first introduction to songwriting, as well as what made him interested in songwriting. then he was a choreographer on error, which is heavily story based, and about the members being a unit, and making beautiful pictures together. i hope to snag intro long journey and outro long journey from the beginning and end of the ateez sector, because they’re beautiful compositions that fit sung’s style, but also having him on both makes him feel like he’s a part of the concept’s creation in an intimate way, which fits with dms. then there’s aurora, which sung partially composed and partially choreographed. the choreography has contemporary flair to it, and the song is a flowing sound that matches that. then there’s partial production on sunrise, which i just love the robotic ass experimental production there, and comp for with u, which i believe ties back into sung’s rediscovering his love of piano. choreo for valkyrie is most similar to error in it’s pretty pictures way, and also has a bit of complex footwork, especially as its point dance, which is also p sung to want to include. and finally, some comp on stand by, which is like a mix of the appeal of aurora and with u methinks? listening to all of his written songs together i feel like really makes a picture of sung’s songwriting so i love that

#famedrstask1 #and the last q was me trying to keep it brief....... lol

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