#like it seems like the real issue is some folks are incredibly thin skinned and take mild criticism as a personal attack

[dragongirlbunny]

tbh i did not give 2 shits abt f*nnster until people started crawling out of the woodwork with long ass rants about how trans women should shut up and be happy he's getting positive attention and so now i dislike him out of spite

[pcgamepure09]

Extraordinary and Bad in Gaming

Gaming is most likely the best diversion and even livelihoods in the world. People wreck around for amusement just or learning while others record accounts about the games. In this article, I will focus in extra on gaming itself and less the side of how to make gaming accounts. Gamers come in each exceptional age, genders, religions, regions and shapes. The establishments of people who are gamers make gaming extensively more fun.

Establishments of gamers can have an effect in the sort of games that people play. There are a wide scope of blends for different arrangements relating to the sort of games and kind of gamers. You really need to look at the game's site to get every one of the proper information prior to buying PC Game Pure .

There are various online stages where you can buy games from like Steam or Humble Bundle. Those districts will give you the portrayal, accounts by the association, pictures, customer and non-customer marks, reviews, site, association and their social account(s). Realize the game's site likely will not show you all that you require to know. As a base, a gaming association will show a short endeavor to make it happen depiction, restricted amount of pictures (5, most ideal situation, several accounts by them and their social records. The most they will give is an illuminating portrayal, their social records, customer studies and accounts by them.

We should make a dive straightforwardly into what is viewed as negative with respect to gaming. The greater part of the cynical things about games come from the certifiable people on those games, the kind of games and the sorts of games for some unsuitable person. A game can be bad quality yet it's not by and large the circumstance where the real game is horrendous. It might be where it was some unsuitable kind of game for some inadmissible person. This is where the classes come in. Perhaps a game has a bit of mercilessness. That doesn't make it horrendous; it basically makes it some inadmissible kind of game for a seven year old. Of course maybe you bought a conundrum game for a person who loves movement type games. So the movement loving individual won't see the value in it, yet that doesn't make the conundrum game terrible!

The sorts of games are ceaseless from bareness, meds and alcohol, detestability, wagering with money to say the very least. These different sorts aren't ideal for youth gamers similarly as misguided for people who could do without seeing such things.

Gaming has incredible and awful sides really like the wide range of various things. The key is the means by which extraordinary and dreadful are those sides. For example, a couple of games have an awful side with players that like to fight a ton. This is typical in games. Appreciate for a huge load of gamers this is surely not a big deal; in any case, for youth who are new to the game or regardless, gaming in general this can be disillusioning. There are times when you need to avoid the awful sides all together. There are times when the incredible balances the awful. Accepting this happens and there are no issues with the real game; the awful side is just that one insignificant fly in your room which is no big deal. Alert: If the horrendous balances the incomparable, I would unequivocally recommend avoiding that game.

Another viewpoint that people will disturb a game architect or creator about is depiction. Should I say, a shortfall of depiction which isn't confined to race, body type and message in the game. Accepting you can change your individual, clearly you will not dislike depiction. There is an issue in specific games where they don't address strong and sharp females, minority females and folks, immense, little, tall, and short females and folks. Notice how I didn't put "folks" after female for strong? That is because folks in games are ALWAYS tended to as strong and insightful.

In games that show a male strong and quick, he will generally likely be white, tall, unstable, superstar looking and buff. You will inconsistently see him be a minority, short, stout, not buff, quirky looking, while at this point being strong and sharp. You see this even LESS for females. A couple of females in games are also white, tall, feeble and strong while showing skin like no tomorrow. You simply see THESE females in MMORPG games (Massively Multiplayer online Role Playing Game) be that as it may. RPG games are planned for lala lands where you for the most part fight people and monsters. Clearly the females' subtleties will be strong anyway they won't look strong.

In many games, when they add an individual for you to play they for the most part add a white male first, then a white female, then a dim male, and a short time later a dim female. They don't even really add people who are mixes of races or in the center. With respect to the dull characters they simply add one shade of "dim" or "African American" and not many out of each odd person of shading on earth is that shade.

In games, the vast majority of the characters are for each situation unstable and tall. You don't really see characters that are short and feeble, tall and tubby, short and stout, etc There are a numerous people who aren't unstable and who aren't tall.

Then at long last, there is the mental message that goes with the sexual direction, race, and body type. What do I mean by the mental message? A couple of games send a roundabout message in regards to that character being strong and sharp or something else. While for various games it will in general be a mental message either purposefully or not. For example, in the game you play and you see a minority female who is short, full, nerdy looking and her ascribes are to be a dolt, guiltless, and moronic. It could send a mental message to you that people that seem like her are actually similar to her. They're not sharp, they aren't thin, and are not tall. They did incapably in school, et cetera So you start thinking those things subject to not simply seeing this in that game over and over, anyway when it happens in various games also.

The most really terrible part is NONE of these things are legitimate. Without a doubt, certain people aren't shaky, tall, and maybe not unreasonably splendid; but instead not EVERYONE is like this! You do have short stout minorities who are shrewd as anyone might imagine! You have a wide scope of mixes of people who ARE astute! Clearly, this heap of things about sexual direction, race, body type, and messages aren't just in gaming; they're in films, TV shows, advancements, etc Intriguing that a piece of the producers who make the games, movies, TV shows, advancements, etc, are minorities themselves and they make up the quantity of occupants in the earth. (Search "all out people by race 2016" and click the underlying three associations if you don't confide in me.)

Fast disclaimer: I AM NOT BASHING ANYONE! Without a doubt, I was hollering that. This section of the article is referencing to you what I know, read, hear and experience in gaming.

If you don't believe me go gander at the current TV shows, movies, commercials, and games. A show to look at for extraordinary depiction is Milo Murphy's Law. Two games to look at as a wellspring of viewpoint for extraordinary depiction are OverWatch and Atlas Reactor. By and by in these fields it has improved for depiction unequivocally sex, race and as of late starting body type (expressly in a particular request). A couple of games even add robots and creatures as playable characters to do whatever it takes not to have issues with depiction. This kills the issue of customers requiring an individual to address their genuine or supported sexual direction, race, or body type since now there is an individual most customers can yield to. In light of everything, it's impractical to fulfill everyone.

OK, since I ranted and moved the awful stuff; we ought to get into the incredible bits of gaming! You have gamers as energetic as three years old and as old as 90+! Despite your age, race, sex, religion, culture, or region gaming can be valuable for anyone. Gaming can not solely be fun, yet productive and enlightening.

A benefit with gaming is it can help youth with having more confidence in themselves and be all the more cordial. If they play an online multiplayer game and talk with various players all through the planet, this can help then with becoming familiar with bantering with others other than family and they procure trust in what they're saying. They can go from a smart individual to a social fan! It can happen fast or progressively. Whether or not it's everything except a game anyway a spot for gamers, trained professionals, style originators, vehicle darling, etc to talk; it will regardless help them with being all the more well disposed. Recollect in any case, creating to someone and thereafter voice visiting to someone are two novel experiences. Youth can be incredibly amicable when creating yet especially meek when voice visiting.

[10138512]

Symbolism and Coding Devices in Disney Villains: Disney’s Use of Colour, Visual Appearance, and Queer Coding

At the heart of all Disney films is a general principle of a good versus evil. This dichotomy is, of course, explained and developed throughout the movie with dialogue and plot, typically with the antagonist directly impeding the progress of the protagonist’s journey in some way. However, Disney also employs many more subliminal techniques in their films to strengthen the audience’s awareness of the antagonist’s villainy. When developing characters, writers must flesh out designs and personality traits for every individual, essentially coding how these characters will look, walk, and talk in the film. While many choices made in this stage of development can seem trivial, there is often deeper meaning to be found in them. The characters’ colour, design, settings, and representations can be deliberately controlled to empower desired meanings and evoke certain psychological responses and attitudes towards characters, adding to their complexity (Artz, 2003). For one, likely the most noticeable use of symbolism in Disney movies is their expressive use of colour. Disney typically applies very different colour palettes to their heroes and heroines compared to their villains. The light and bright tints of Disney’s protagonists are juxtaposed by the dark and muted shades of their villains. As discussed by van Dam (2014), “evil counterparts tend to dress darkly with shock value”, creating a noticeable distinction between the two (p. 35). Likewise, the visual form of characters also contributes to furthering the differentiation between protagonist and antagonist. The features of Disney’s heroes are drawn in curves, smooth, rounded, and flattering; oppositely, the villains’ features are more jagged, extreme, and menacing (Artz, 2003). The last mode in which Disney distinguishes their heroes from villains is much more underlying than these first two. A trope that is commonly used by Disney, specifically for their villains, is the use of queer coding. To give context, this essentially means that while the villainous characters are not explicitly deemed queer, they are given traits that would typically be associated with the opposite gender or queer folk. By giving antagonists inverted gender behaviour, they are quickly but subtly distinguished as separate from the commonly very heteronormative protagonists and deemed villainous (Coca, 2013). As exemplars of these methods used by Disney, I will be discussing The Lion King, Aladdin, and The Little Mermaid. As shown in these movies, by utilizing colour, visual appearance, and queer coding as indirect methods of differentiation that extend past the narrative itself, Disney is able to quickly develop, strengthen, and sustain a sense of difference and otherness for their antagonists.

In The Lion King, Simba, along with his father Mufasa in the early scenes of the film, acts as the protagonist of the story, with Simba’s uncle Scar serving the role of antagonist. Mufasa and Simba are both brightly drawn, strong, and smoothly curved; meanwhile, Scar is drawn much more darkly, frail, and angular (Artz, 2003). In fact, Scar’s colouring is starkly different to any of the other lions in the film. With a much darker body and black mane, his colouring serves to contrast him from the others. Moreover, his piercing light green eyes and even his darker teeth add to his ominous vibe. Scar’s visual design is also much different than Simba and Mufasa’s. Scar is shown to have much sharper, more pointed claws and teeth than the other lions, and his claws are exposed more often as well. While Simba, Mufasa, and other lions in the film have very full, flowing manes, and appear generally well-groomed, Scar appears much more unkempt: his facial hair is scruffy and his mane is much less fantastic. On top of this, he is depicted to be much more frail, slender, and physically weaker compared to the other lions. Scar’s physical weakness is but one trait of his that also serves to queer code him. Paired with his thin build are his comparably more delicate voice and gait, as well as a vast amount of dialogue that serves to exemplify his difference. Many of Scar’s lines are littered with sass, and some even subtly feminize him directly, such as when he sarcastically announces that he’ll “practice his curtsy” rather than his bow for Simba, his future king (Hahn, 1994). Also, when referring to Scar, Zazu mentions that “[there is] one in every family”, a line that is often said about queer people (Hahn, 1994; Ourri, 2017). The summation of all these qualities reveals Scar as a character very separate from the others, and evidence of all these traits can be seen in the following clip from the film.

(Hahn, 1994).

Similar to Scar, Jafar acts as the antagonist in Aladdin, with princess Jasmine and the titular character of Aladdin serving as protagonists. In the narrative, Jafar is described as “a dark man…with a dark purpose”, and is drawn darkly with extreme angles (Clements & Musker, 1992; Artz, 2003). Again, the difference in colour is blatant: Aladdin and Jasmine don predominantly light blues and neutrals, while Jafar is cloaked in dark reds and black. Also, Jafar’s teeth are a darker shade than his heroic counterparts, much the same as Scar. In Aladdin, the colour red plays a crucial role, as scenes involving Jafar and his villainy are doused in red hues. Further, Jasmine is dressed in a red version of her main outfit when enslaved by Jafar, strengthening the relationship between the colour and its representation of evil. Visual appearance continues to differentiate good and evil, becoming even more noticeable in this film. While Jasmine and Aladdin’s clothes are very loose and flowy, Jafar’s attire is much sleeker. His garment’s shoulders and the toes of his shoes curl sharply upwards, and the feather often present on his headdress is shaped much like a sword. The design of Jafar’s long dress-like robe and flowing cape is also rather effeminate, and he has a very thin build, implying physical weakness. Further feminizing Jafar is his penchant for sarcasm and the eyeliner and eyeshadow visible on his face. By subtly differentiating Jafar from Aladdin and the other male characters with makeup and costume, he is increasingly associated with femaleness (Putnam, 2013). Andreas Deja, the openly gay supervising animator for Jafar, has even gone so far as to admit that Jafar was conceived as a gay man in order to give him his theatrical quality and elegance, strengthening the idea that Jafar was queer coded (Ourri, 2017; Griffin, 2000). All these qualities, both visual and personality-based, assigned to Jafar’s character can be seen in the following clip from the movie, and serve to distinguish Jafar as different from the protagonists.

(Clements & Musker, 1992).

To show that female antagonists exhibit the same villainous tropes used to differentiate from the heroes, Ursula from The Little Mermaid serves as a brilliant example. In a sea of light flesh-toned mermaids with bright, colourful tails, Ursula’s light purple skin tone is completely nonhuman, with deep purple and black tentacles. Regarding her shape, while other female characters are demure and petite, Ursula is a large character, both literally and figuratively. Her tentacles also differ her from the rest of the humanoid characters in the sea, who appear as mermaids and mermen. While these other sea-dwelling characters have long locks of hair that flow gracefully through the water, Ursula’s short, coiffed hair makes her even more noticeably unalike the others. Having been based on the real-life drag queen Divine, many of her features bear an uncanny resemblance to the late icon: her overwhelming size, extremely exaggerated eyebrows and makeup, bright red lips, sharp painted nails, and her monstrous toothy grin (Putnam, 2013).

(Galella, 1978).

In addition to her appearance, her often overtly sexualized performance and deepened voice are reminiscent of a drag queen on stage (Putnam, 2013). Her remarkable likeness to Divine also makes an incredibly compelling argument that Ursula was queer coded. A myriad of Ursula’s personality traits can also be attributed to being a result of queer coding, even separately from her visual similarity to Divine. Talking in her deep, husky voice, Ursula often exudes much more sexual and mature mannerisms that counter Ariel’s delicately feminine and gentle persona. A great example of Ursula’s character being deliberately separate from Ariel and the others comes from her performance of the fan-favourite song, “Poor Unfortunate Souls”, where the discussed qualities of Ursula culminate in a high camp number clearly inspired by Divine.

(Musker & Ashman, 1989).

In each of these three films, it can be seen that Disney utilizes many techniques aside from plot and dialogue in order to create an immediate and lasting distinction between their heroes and villains. Disney’s use of colour, visual appearance, and queer coding on their villains can be noted in many other of their films as well: Maleficent from Sleeping Beauty has a distinctly dark colour palette and sinister form, while Hades from Hercules and Governor Ratcliffe from Pocahontas both carry clear traits of queer coding. While Disney’s use of colour and visual appearance can be written off as merely aesthetic choices, their interesting use of queer coding can begin to raise some questions. If Disney were using queer coding on all types of characters, this would be of little issue; however, Disney’s nearly exclusive use of queer coding towards villains could pose problematic. Despite how subtle these representations may be, it is worth considering how the repeated correlation between queerness and villainy will be interpreted by audiences. Especially when one considers that Disney has only begun showing very miniscule representations of LGBT characters rather recently, with the intended audiences of these films being quite young, is it detrimental to show children numerous examples of queerness being associated with villainy?

References

Artz, L. (2003). Animating hierarchy: Disney and the globalization of capitalism. Global Media Journal, 1(1), no page listing. 

Clements, R. (Producer/Director), & Musker, J. (Producer/Director). (1992). Aladdin [Motion picture]. United States: Buena Vista Pictures.

Coca, A. (2013). A reflection on the development of gender construction in ‘classic’ Disney films. Amsterdam Social Science, 3(1), 7-20.

Galella, R. (Photographer). (1978, June 12). Divine 6702657 [digital image]. Retrieved from https://www.gettyimages.ca/license/77800917

Griffin, S. (2000). Tinker belles and evil queens: The Walt Disney Company from the inside out. NYU Press.

Hahn, D. (Producer), Allers, R. (Director), & Minkoff, R. (Director). (1994). The Lion King [Motion picture]. United States: Buena Vista Pictures.

Musker, J. (Producer/Director), Ashman, H. (Producer), & Clements, R. (Director). (1989). The Little Mermaid [Motion picture]. United States: Buena Vista Pictures.

Ourri, A. (2017). The construction of evil: The evolution of Disney villains from the Golden to the Revival era. Retrieved from https://s3.amazonaws.com/academia.edu.documents/53698897/Report_8.pdf?AWSAccessKeyId=AKIAIWOWYYGZ2Y53UL3A&Expires=1520640626&Signature=7c0cUEdJO%2FoRb%2F2nvBScs0tndzc%3D&response-content-disposition=inline%3B%20filename%3DThe_Construction_Of_Evil_-The_Evolution.pdf

Putnam, A. (2013). Mean ladies: Transgendered villains in Disney films. In J. Cheu (Ed.), Diversity in Disney Films: Critical Essays on Race, Ethnicity, Gender, Sexuality and Disability (147-). Jefferson, North Carolina, and London: McFarland & Company, Inc., Publishers.

van Dam, B. (2014). Disney’s fashionable girls: Signs and symbols in the costume dress of Disney’s female characters. (Dissertation). Retrieved from http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-105532