#like this thing people are doing is literally preserving culture

[pennyserenade]

i became a movie lover all on my own and i say that not to flex but to stress the importance of the arts and the accessibility of them. i figured out how to find movies online for free at a very young age and it took me so far. i’ve seen a million movies i would’ve never seen had i not acquired that skill, and it’s shaped my worldview incredibly. i think more critically. i understand how important storytelling is. but most of all, i’ve simply got to experience the love and passion and care people have put into these movies. i’ve learned how to be creative through them. it is so so so so important to make art accessible to people !!!

[birdantlers]

A heartfelt and grievously expanded-upon update to this—please, please read the whole thing if you can. reblogs much appreciated.

(DISCLAIMER, for all who are saying reasons like abusive parents/legal stuff/toxic ex/triggering memories/page got deleted/job/stalkers/bullying/[[insert any other shitty life thing]], This is not concerning that—personal safety & health ALWAYS comes first, and is worth more than any media ever could be. This is my biggest reason for defending that autonomy. I would be a hypocrite to say I hadn’t deleted triggering posts of mine or ones that got me in trouble with my family.)

it genuinely makes me sad and kinda upset when someone purges all their old art off the internet like. barring harmful content what if someone liked that. What if someone would have. And now nobody will ever know and it's just gone. even people's old invader zim askblogs or whatever getting deleted feels like a micro alexandria to me and that's just something I made up. I wasn't even thinking of a specific one it just stresses me out. Is this the autism I don't get why nobody else seems to freak internally abt it like I do. I see artists whose blogs I've never even looked at go like "man so glad I deleted all my old stuff it's so clean" or saying they throw out art from when they were kids I'm like. how are you not hurling. How is that not distressing that is literally your tree rings why would you do that. I want to see what's out there. people want to see it I promise someone out there likes it

...don't they??? Does everyone get quietly irrationally upset by this as me, or is this just hyperfixation/autism/some amalgam of the two. I'm not a hoarder or obsessive compulsive or anything like that so i wonder..

Anyways. reblog if you had a favorite amateur youtube animator in your childhood whose channel got nuked without a trace one day that you still think about.

I wanted to attach this video because it condenses my point very well. A TLDR of sorts. Please watch the whole thing, it genuinely changed the entire way I think about art as a concept.

(2nd vid is "Subjectivity in Art")

“The moment your art touches an audience, the ownership shifts in an irreversible way. [They're] not having an art experience with you and your intentions. They're having an art experience with the art object.

“You can't just burn your past; it's not even your past to burn anymore. It's other people's history as well. Whether or not you like it, that art is already bonded to somebody's soul, and if you rip the art away, you're ripping a bit of the soul that has adhesive contact to it.”

The digital age makes it very easy to distance or detach yourself from the impact your work has—be it art, fanfic, videos, even memes. Online content is as important to people now as any other media, if not more. But it's also by far the easiest, fastest, and most effective form of it to erase from public access. Media so unbelievably important to people and in general. Yes, you—with the 2010s purple sparkle dog speedpaint. I still think about that speedpaint all the time, because it was the first time i learned that you could draw on a computer, and I thought it was cool as hell. I still do.

I do wish there was a stronger culture of preservation and consideration for this, because every time I see people talk about snuffing their stuff because it doesn't personally resonate with them anymore, I just think ...what about all the people it did?

I've seen lots of people saying "get over it, it doesn't even matter," but it fucking does. It does matter. Even if I didn’t make it, even if I don’t have to deal with being the one who made it, even if I'm naturally inclined to be distressed by it—It still matters. And there’s nothing you could ever say to suddenly make it not matter, because there’s nothing you could ever say to make it not matter to me.

Don't devalue the act of creation. Don't dismiss something you made. It's out there, in people's thoughts and hearts and souls, and that is real. Even if you don't know it. Especially if you don't know it. Especially in a world where physical media is being snuffed out, the internet is constantly dying without any physical remains to recover, social isolation is rampant, and simply because independently produced content online is still media.

Fanfiction can hold equal or greater significance to someone as a book, but you can’t unpublish a book. Authors don’t have a button that can vaporize every copy of their work across all time, but fanfiction authors do. I’m not counting people who download fics either—when you buy a book, that transaction is over. But online, you have the power of unending transaction that can be terminated instantly at your will. The process of publishing fanfic vs. publishing a book may be different, but people’s connection to the art is the same intensity.

So yeah. I do get depressed about the Internet being a constant Alexandria, but the times I get the most depressed is when I click someone's page and see that all their work is gone because they're ‘curating a new aesthetic’ for their page or some shit. Or weeding out all the "ugly" art. Or just went on whatever the hell 'thrill deleting' is, because they just get a kick out of it.

Fuck it—yeah! It upsets me! I’m not wrong to say that. I’m saying it!

Under the cut, because it got long as shit! Also don’t worry the ending is way sappier and more ‘beauty of human nature’ vibe so it’s not all doom and gloom lol

What if that was someone's favorite art of that character. What if someone read that 'cringe oneshot' on the worst day of their life. What if that Warriors meme vid is still burned into a college student’s mind despite being gone for 10 years. What if it's actually not just you and the ones and zeros you rent out to the world—secure in knowing the original will always be on your computer for you to do whatever you want with it.

I really, deeply wish there was more of a general awareness of this, because even though social media can be used like a diary, that’s functionally the opposite of what it is. It’s social media. When you post, it’s no longer in a vacuum, even though you can’t see the real humans that content touches—often deeply.

Media is history. You shouldn’t burn that history just because you personally believe it isn’t worth saving.

Because it’s no longer just your personal opinion. It’s no longer just your personal work. it’s. history. Memory of media is not a suitable replacement for the media itself. If it was, we wouldn’t save anything at all. Nostalgia is an agent of that. The definition of nostalgia is grief for moments of the past that are inaccessible, and the biggest balm for that pain is accessing a physical reminder of those moments. That opinion of yours is no longer personal. It’s weighed against uncountable people across all time that your thing is ALSO personal to. People who would, and will mourn its absence.

How many times have you joined an older fandom only to discover that some of its most popular works are gone? How many times have you routed through random blogs looking for scraps people hopefully reblogged? how many times have you used Wayback machine desperately praying that a fan fiction or a YouTube video will be there? How many times do you look up crunchy old vines or YouTube videos or anime AMV‘s? How many times do you remember old fanfic.net sex that impacted you in middle school, only to shake your head and go ‘probably no point even looking.’

i mourn the absence. No, people can’t and shouldn’t have their agency over what they post revoked, but they should be conscious of that weight. If you’re reading this and getting extremely annoyed, and you’re not in the pink text above,,,, good.

I honestly do hope it gets under your skin. I hope it sits with you. I hope you feel it every time you hit that button, and whether or not you do hit that button—if you hesitate, if you remember this, even spitefully, I’ve done my job. I am howling into the void. And I may not want an answer, but I do want my anguish to be heard and remembered. Because it isn’t me just being melodramatic.

I know I sound that way writing so much, but if my favorite writing YouTuber can drop trow this week and go, "yeah, sorry, all my video essays from less than a year ago that you listen to in the car all the time? I'm "rebranding" my content so i deleted them. besides, my personal views don't really agree align with the analyses i did, or the techniques i taught in them anyway. Sorry if some of the literal tens of thousands of you used them, but I don't want to feel shackled to having youtuber "classics" tied to me”

….then i guess I'm just going to have to sound dramatic! That fucking sucks! Hours of work and knowledge gone! This was a new channel too. It’s very likely there’s no archive of any kind, because who would think someone who worked hard enough to write, record, and edit hour-long videos, would just turn around and nuke it all? I definitely didn’t see it coming, but I did just start a new screenwriting class a few weeks ago, so I’ll tell you at least one person is REALLY missing those fucking videos right now. Because a lot of them were about specifically screenwriting, which I know jack shit about. and that specific person’s pace, editing, and style of breaking down information was the best suited style I found that I could focus on and absorb. There’s no replacement for that. No alternative for his individual perspective. his jokes. his opinions.

No, they may not resonate with him now, but in this decision, he’s put up a big middle finger to everyone who might have. And he has like 100k subscribers! Those are confirmed supporters! Imagine how many silent and untethered observers are feeling this loss right now. Imagine how many will not have it in the future.

If he never posted them at all, we wouldn’t know we had it. It wouldn’t be a loss. But we did. We did have it. Until he decided that no, we didn’t, because he just happens to be the one out of millions of individuals holding the button to burn it in a hundredth of a second.

His personal work, the attachment I had to it, and the ways that it helped me are now just ripped away. I am one person out of millions, literal MILLIONS of people who saw and liked this content before it vanished. The soul has been ripped, the access severed, and by CJ’s (and my) definition, the art is functionally dead. Not for the YouTuber or anyone else lucky enough to save a link or download, but everyone else. From this point until the end of time, even if people even two weeks from now don’t know it. Even if someone who stumbles upon his channel today, doesn’t know it.

We only mourn the concept of Alexandria because we had some kind of scope for what was inside. Yes, maybe you got self-conscious and deleted your 12 year old deviant art account. Do you know who else is doing that?? THOUSANDS AND THOUSANDS of other twenty somethings who ALSO feel self-conscious about their old socials. Art. Fanfic. One direction fan videos. anything.

Suddenly, an unquantifiable amount of information from your age group—an entire age group in 2012, is. gone. And we will NEVER know what’s been erased from that history. We will NEVER know what could have been significant to us ten years from now. Twenty years from now. A hundred years. A thousand.

You could have deleted a fanfic that would have been someone else’s new go-to panic attack distraction tomorrow. You could have deleted a video someone used to laugh at with their friend who died yesterday. When you delete something, you risk tearing a hole in unknowable personal histories.

The Internet isn’t just a big library of Alexandria. It’s a library containing libraries. And those libraries have their own libraries in those libraries have their own as well. libraries inside libraries, inside libraries, ad infinitum. To conceive the amount of destroyed history on the Internet is crushing.

And I just can’t help but I ask myself how in gods name people can choose to contribute to that, instead of reposting everything to trash heap alts titled “hall of shame” or some shit.

You can offload to alts. Put up disclaimers. Make password locked blogs, or dropboxes, or anonymous imgur dumps. Anonymous reuploads. Orphan fics. Make a playlist or linktree of unlisted videos. Cut off the watermarks. Delete all references to it on your main. Make a dedicated unlisted playlist. make a google drive. Make new portfolio sites. Delete any questions you get about it. Change pen names. Pretend it never existed.

Give a heads up.

Something.

But don’t. kill. the media.

The knowledge that our stuff is going to forever be tied to us is a cross we have to bear, but the responsibility that comes with putting it out there in the first place, can’t be ignored.

Anyway. I'm not trying to start conflict. This is not a bash on anyone, nor a call for witch hunts. Or anon hate, or blocks and unfollows or anything of that nature. I'm not wishing ramifications or hate of any kind on anyone who does wants to do any of this.

I'm also not guilt tripping— I am not saying that you should feel bad. I AM saying why it makes me feel bad. That’s not guilting, it’s a dialogue. One I personally feel is long overdue.

It's me yelling into the void: please consider the real people on the other side of the screen before you hit that button. Realize and know that whatever you're about to erase from history could be the most important thing in the world to someone.

Art is an experience. It's why we revisit it. If art and history simply lived in the matter and code of media, we would only need to look at it once. We wouldn’t put things in museums. We wouldn’t build libraries. We wouldn’t look up vine compilations.

If you're able, consider (and I do mean consider, this is not a call to action) not destroying that. And don’t shrug it off as some pretentious asshole venting on Tumblr. You only need to look in the notes and tags to see that it isn’t just me. it’s never just me, or you, or the pixels.

And even if you do shrug it off, then at least recognize that what you make matters. Whatever you think about it, if it’s out there, that's not your discretion anymore. If a tree falls in the woods and even one person is around to see it, it fucking mattered. Because it happened. Don’t mulch your tree rings if you don’t have to. Because if enough people do it, a whole forest is gone. Media is history, no matter whether you think it’s worth putting in a museum, or only has 30 notes.

Thousands of years ago, a child named onfim doodled on his homework. They’re crude, and everyone has the wrong amount of fingers, and they’re also priceless archaeological artifacts recognizable throughout the world.

the only thing separating Onfim’s doodles and your MS paint Pokémon doodles is time. The only thing separating your old MS paint Pokémon doodles from being a priceless artifacts, thousands of years in the future is time. Your creations are already priceless artifacts. No matter what you do, don't ever, ever deny that. It isn’t blowing up your own ass, it’s artistic and anthropological fact.

The mundane and the supposedly unworthy are often the first things lost to time, and that’s why they’re so precious. That’s why artists who were before their time are scorned first only to be celebrated later. Do you think they knew that was going to happen?? What if they nuked it? Many probably did! But now that’s happening exponentially and instantaneously everywhere, WITHOUT the artist having to destroy their only copy—which makes it way easier and more dismissable.

Sometimes, If you’re revolutionary enough, people will make an effort to preserve your work, but recognized and thoroughly recorded work is rare compared to unrecognized and thoroughly recorded work.

Sometimes something is beloved enough that it would be impossible for it not to go down in history, but even then it isnt a guarantee, and it’s rare. But if van Gogh burned all of his paintings in a fit of despair before his death, we would have no van Gogh. Because he wasn’t respected as an artist in his time, but that wasn’t what defined the worth of his art. The people after him did, because his art was still there for them.

If you rip the art away, you're ripping a bit of the soul that has adhesive contact to it. If you belittle your art, you belittle the very real relationships and emotions and revisitations people have with the media. You defy the inherent worth and weight of a creation. you created. That's effort. It's passion. No matter how flippant or unskilled or worthless you think it is, it matters. Because at the end of the day, you could have chosen to make nothing at all, and you didn't.

•

Muting notifs

[bamsara]

what are your most favorite tropes? :3c

IM SO GLAD YOU ASKED:

Near death experiences

Emotional revelations due to said near death experiences

Enemies to Friends to Lovers

Mutual Pining but they believe its unrequieted

"you're my worst enemy but you're so important to me"

Drunk chapter where at least One fist fight happens

Bridal carry after someone gets injured

Slow Burn...of course

"i got you this gift because it benefits me and im not telling you how" (the benefit is seeing the other person enjoy the gift)

Force Alliances or Temporary Truces

"I don't like killing but I'll do it for you"

"I prefer to kill my problems but I won't, for you."

Or: "This person has no idea how many people I've killed in order to protect or provide for them and I'm going to keep it that way."

Mean or Villian Character is actaully a really good Sibling/Parent/Child,ect and has someone they care about

Or better, Villian character adopts child AND is a good parent

Everyone knows the pairing likes each other except for the pairing

Temporary (or non-temp)Amnesia

"I learn your favorite things because I plan to use them against you one day" (proceeds to not do that) (proceeds to get them food or items that persons likes just because they like them)

Breaking and Entering. Literally.

Person A is in love, Person B says they're not but they're 10x times worse actaully

Slip-of-the-tongue/Accidental confessions. Doesn't have to be love confessions but just "whoops i was not supposed to say that"

Biting as a love language

One is feral and bloodthirsty but is put in the position of 'protecting an idiot' because the other is also feral and has no self-preservation. Both characters must be badass, just equally stupid

Kiss on the head/cheek while the other person is sleeping

Bloodstained kiss

Heat-of-battle confession about something

Protagonist refusing to become villian or repeat villian mistakes, not in a 'owo i cant do that its bad' and more like 'fuck you you dont get to see what you wanted to make of me'

Signifier of 'this is my friend/family/lover'. Could anything between a ring, a jacket over someone's shoudlers or scent marking, anything

"if im immortal, then you gotta be too or we both dyin"

Knight x Their Charge

Human x Non-Human

Sunshine x Grump

Character that looks sooooo cute. Oh he's a little fucked up actaully

"ahhaha he's such a freak haha. i need him carnally."

They are mortal enemies. They are also best friends.

Hostage / Rescued trope plus Hostage / Doesn't get to rescue because the hostage killed everyone already

Plot info that's missing that's vital to the story and it's revealed that One of the pairing or someone in the group knew the info the entire time

"I said mean things to you because I hate you, so why am I feeling guilty now"

There was only One Bed

Really competent and scary character is really GOOD at a harmless and charming small hobby completely uncharacteristic to their public persona

Nightmares. And then sleeping in the same bed because of nightmares

Cultural differences / Language Barrier

Character gets so surprised flustered they trip over something or break something and it topples and it starts a chain reaction like a cartoon

There are more but these are some of which I can remember off the top of my head. I've written many of these myself in several of my stories and will continue to do so until the end of time, esp my faves

[ambermotta]

Offerings: What's, How's, When's, and Why's

Below are some of the most common questions regarding offerings!

Disclaimer: Long post. This is based on my experience and research. I don't claim to know the absolute truth.

---------------------------------------------------

TL,DR: A lot of things about offerings are flexible, subjective, and depend on culture, personal beliefs, and mundane constraints. While there are general considerations and guidelines, you will always have to do deeper research in order for the offerings to fit what you are doing and what is within your reach.

-------------------------------------

Why make Offerings?

There are many ways to see offerings and it can vary depending on personal beliefs and religion. Some of the most common reasons people make them:

Energy exchange: you give something to receive something. This can be seen as payment, fair trade or as a way to keep balance.

Thanksgiving: you give offerings as a way of giving thanks

Honoring: you give offerings as a way to pay respect

All of the above

When to make Offerings?

It is advisable to make offerings whenever you are doing spiritual work with any kind of spirit. You can make the offering before, during or after your work.

You can also make offerings a standalone thing for praising, honoring or thanksgiving spiritual beings.

What happens to the offerings? "Why do spiritual beings need food"?

Spiritual beings also use energy. Just as you use energy to do any activity, spirits also use energy for their own purposes. When you make an offering you are offering them energy, just as when you eat you are fueling your organic needs.

If you are asking a spirit to help you they may even use the energy from your offerings to fuel the magic needed for what you asked.

They don't need energy to live like we do (they don't die), but we all use energy in some way for some purpose. When you give proper offerings, aligned with the energy you need and the type of work, you can make your magickal workings stronger and develop deeper bonds with the spirits.

The spirits are not going to literally eat food you give them, but you may notice changes in "how it feels/looks like" that are subtle.

For example, when I was a child my parents pointed out that when flowers (such as a rose) are used in strong, successful magical workings they dry after a while but the petals don't fall. It tends to preserve its original aspect.

Of course, it's not an exact science, but you may observe some weird things.

How long should I leave offerings out?

Depends. Some rituals and traditions may ask you to leave them for a few days, some are to be consumed during or after the ritual. If not specified you may leave them for a day or dispose of them the next morning. Non-organic offerings may stay at the altar indefinitely or for long periods of time before being dispatched.

How to dispose of offerings?

This varies with culture and religious beliefs, so look for what was traditionally considered respectful. However, it's also important to take into account your reality, and if you are in doubt you can try to ask the spirits themselves what is the ideal way of disposing of them.

Some cultures bury their offerings. For example, in hellenic paganism it is (traditionally) believed offerings to chthonic deities should be buried and never eaten.

Some cultures don't mind you eating and/or drinking the offerings yourself after the rite is done. In Kemeticism (again, traditionally) eating offerings is preferred as to not waste food. If you are under financial constraints and cannot afford to throw away food this can be a good way of giving offerings while also avoiding waste. Of course this only applies to edible offerings, eaten right after you are done with your ritual. Please don't ingest anything that could be spoiled, illegal (such as underage alcohol consumption) or toxic.

Leaving it in a clean space in nature. This can be controversial and/or illegal depending on where you live and what you are disposing of, so make sure to get that checked out. In some cultures it is traditional to dispose of offerings even if they contain non-organic matter, but I advocate for only disposing in nature organic, non-toxic offerings. Times have changed, nowadays we must be more responsible of what we throw in nature and the effects it can cause.

An alternative to disposing in nature is to dispose of it on garden plants, if you have them, or re-use what would be wasted in some way. This can be an option for smaller offerings and folks with location restraints.

Dispose of them in the garbage. This can be controversial but I don't see it as an issue. If someone has something that makes the other options impossible or a big hassle, should they just not give offerings? I personally don't think so. Anyone is welcome to disagree, but respect the reality of other folks.

Non-organic, devotional offerings may also be kept in your house or garden in a dedicated/sacred space.

Offerings can also be burned. Always be careful handling fire, be aware of accidents and make sure to do research about what you are burning since some things can release toxic chemicals when burned.

Side note on eating offerings: Some spiritual beings like to share food and drink with you as a way of bonding and celebration. In some cultures, it is traditional to share in food and drink for specific rituals. It also may not always be appropriate to eat food on certain occasions.

What to offer?

The most traditional offerings are that of food and I personally like these the most. However, offerings are not restrained to that! You can even give them a more devotional meaning by, for example, offering an action, a song, art (poems, pictures, dance, etc), incense, a candle, water, or your time and energy.

Some offerings are pretty generalist and work for a lot of stuff, such as water, candles, bread, flowers and fruits. You can use these when you are short on supplies or when you are not entirely sure what you should offer.

But ideally you will want to offer something whose energy aligns with your purpose and the spiritual being you are working with. For example, you could offer lilies or white roses if you are doing work associated with peacefulness, but if you want passion you might want to pick red roses and cinnamon instead.

There will be times where you will have to improvise. You don't have to go without giving an offering just because you don't have exactly what you wanted to use. Yes it's better to have everything aligned, but sometimes you may feel the urge to do an offering at an inopportune time and you'll need to be flexible. This is why it's always good to have some generalist ingredients laying around.

How to make offerings?

Again, this can vary with culture and religion. You will have to find out what is the best way for your culture and beliefs.

But if you are unsure, here is a general setup:

Gather your offerings and everything you'll need for what you're doing.

Ideally cleanse and protect yourself and the environment you're in. If you have a space dedicated for offerings it's even better.

Remember you can give offerings before, during or after spiritual workings. Know at which point of the process you'll make the offering before you get started.

When you are ready to make your offering, start by saying a prayer and/or saying a few words. Try to tune in with the energy you are making the offering for. Here you can declare why you are making this offering and what you want (if applicable). Remember offerings have many uses, so here you can give praise, express your thanks and/or petition something to the forces you are making the offering for.

After making the offering you can meditate and try to tune in with spirits and what they feel. You can try talking to them. You can also carry on with whatever you planned to do.

Finish your ritual in a way you see fit and thank the spiritual beings involved.

-------------------------------------

Final considerations!

Please, PLEASE make sure what you are offering and disposing of is LEGAL to acquire and dispose of.

Be conscious about the environment .

There needs to be a balance between honoring tradition and your reality living in the modern era.

To give offerings is to give energy. Make sure you are "feeding" the right spiritual beings, and not just being exploited for energy. Protections first, offerings later.

Be mindful of any potential accidents, especially concerning fire, children and pets. Be careful with potentially toxic offerings accessible to children, pets and wildlife.

Thank you for reading and best of luck in your practice ♡

[mymarifae]

every time someone says "an should have been vbs's leader" or "saki should have been leo/need's leader" i want to . slam my head through concrete. oh you missed the point so bad

1. the "leader" thing is kind of really fucking insignificant outside of where each group's story begins and promo materials. it doesn't mean one character is the "main character" of the group. project sekai doesn't HAVE a main character in the first place it's not that kind of story. each individual character is equally important to not only their group's story but the over-arching story of the whole game

2. leo/need's story begins with ichika because she is ultimately the one that brings them all back together. not saki. it is ichika's determination and frankly stubbornness that gets through to shiho and honami. like, saki was literally ready to give up on reconnecting with honami! (out of love and respect for her choices but like) if she was the focus leo/need would have been honami-less!! but ichika refuses to let it go. much like she refused to let go of their friendships throughout all of middle school.

when the story begins, we see ichika burnt out and hopeless. but that's only after years of trying and trying and trying and trying again to reconnect with shiho and later honami. this fandom does not understand ichika's character well . she's not meek and she doesn't back down easily she's not some like... fumbling "girlflop" she's incredibly driven and strong-willed. she lost some of that due to depression and isolation but as of leo/need's most recent arc ender she has pretty much regained her fiery spirit. she's leo/need's lead singer and MC for a reason

3. vivid bad squad's story opens with kohane because she's the only one who hasn't grown up/partially grown up on vivid street. if an or akito had been the "leader" we would have lost the magic of getting to know vivid street and its people and unique culture. it's all average every day life for them, but kohane is experiencing it all for the first time. it's only through her eyes that the audience can understand just how very special vivid street is

4. one more thing: you could say that the "leaders" represent the themes of each group and the general direction of their story arcs. vivid bad squad, among several other things, is all about improvement and growth and overcoming challenges and creating something new and finding a place to call home within a community. who better to represent that but the socially anxious newbie who never felt like she belongs anywhere and would never do anything with her life?

leo/need is about love and the ability to endure all hardships and preserve that love . it's about having a heart big enough to hope for the impossible and the willpower to make it reality. ichika, in all her hard-headed stubborn painfully persistent glory, is perfect for that.

similarly, mafuyu isn't nightcord's leader because nightcord is ultimately about healing. hope. finding a way to make life worth living again. these aren't paths he would have chosen on his own. he gave up on himself a long time ago. as did ena and mizuki, in their own ways. the best person to represent hope is the one who refuses to give up on anyone and stubbornly believes she can save them all

wonderlands x showtime is about moving forward to a brighter future and not letting the past keep you shackled in place. it's also about having lofty dreams and the selfishness to pursue those dreams. both of these things are why emu Isn't wxs's leader; she lacks that selfishness (i'm not using this word in a negative sense btw; i think being selfish can be a good thing. and sometimes being selfless is a bad one) tsukasa (and rui) has, and she often clings to the past.

and as far as more more jump and all their own themes of hope and never giving up go, of course their leader has to be minori. she brought three disillusioned, jaded ex-idols hope and reignited their passion! she's the walking embodiment of hope itself

[intheshadowsbehindyou]

Heyyy love you’re work! I strive to be a good writer like yourself one day! I was thinking how would the mercs react to a goth person like myself:) it’s okay if you don’t wanna do this! Have a love day!

I think to sum it up, all of them are completely clueless and stupid but could care less.

The TF2 Mercs reacting to a reader who is goth

WARNING: stupid idiots

Scout:

- Huh… A little interested occasionally, looking up and down you while he thinks you’re not looking. Not really much of a reaction other than the typical awkward glances people give goths to admire them for a spilt second.

- Has no fucking clue what kind of style that is. It isn’t his preference for sure but it looks good on you and that’s all that matters. Bullies you for something completely unrelated to the fact you’re goth probably.

- “Hey! Nice fuckin’ shirt chucklehead! Where’d you get that one? Grandma’s couch?” He says when he sees you in a somewhat ‘conforming’ outfit for once. He’s gotten so used to you wearing your usual, that he doesn’t hesitate to pick on you for not being edgy enough. It’s a pride issue for him. Normally Scout would wear stuff shamelessly and the fact you aren’t yourself right now is giving him vibes that you might have grown insecure in some way. He genuinely thinks this’ll help you. Backwards elementary school logic.

- He can’t show appreciation without being a massive fucking dickhead. It’s a certified scout L moment. At least his heart is in the right place I guess?

————————————————————————-

Solider:

- Ingeniously freaks the fuck out because he thinks you’re one of Merasmus’ weird ghost apparitions. Nearly grabs you and beats the shit out of you in fear because he owes that wizard around $200 after a grenade-down-the-toilet incident and he doesn’t want to pay. Engineer and Pyro have to pull him off you. I am literally so sorry.

- “MOTHER OF JUDAH, PRIVATE! YOU LOOK LIKE A MORTUARY ASSISTANT BATHED IN BLEACH!” He announces. You have no idea if that was a compliment or not. It’s hard to tell. Soldier then quickly assumes you’re a weird offshoot of the hippie culture and you’re here to sell him weed. Aaahh there it is. Blissful stupid ignorance.

- After promptly explaining what you are, he nods slowly. Slapping you on the back heartily. “ALRIGHT PRIVATE! You’re clear. Didn’t know there was such thing as a goth.. Hippies sure are getting creative.” Idiot. Complete moron. Still thinks you’re a weird looking hippie. Just one who won’t sell him weed nor harbor the evil tendencies of one. What are these evil tendencies he speaks of? He can’t answer you.

——————————————————————-

Demoman:

- Ignores you completely. You’re just another person to him with their own preferences in attire. This guy still gets stares in the supermarket for being a massive black dude. He knows what it’s like to stand out, explosively. Get it?

- Well.. At first he ignores you. But if you insist on wearing your style on the battlefield he’ll be a little impressed to say the least. Demoman likes confidence. He whistles to get your attention from the backlines and raises a drink to you. “Keep at it! Show ‘em with your damned fangs! Maul those wee willy fucks straight to the—“ He gets hit by a train mid taunt. You stare blankly at the sight. Deadass no clue how to respond. You’re in awe at his lack of self preservation for one thing.

- Demoman is in the kitchen that night drinking god knows what brand of alcohol this time. He sees you and goes “AAAYY! There’s that crazy son of a betch wit’ the victorian thing goin on. Cheers to you.” He compliments. It’s not a heckle. It’s genuine admiration for your shamelessness. Being weird in that way is the easiest way to get on his good side.

——————————————————————-

Engineer:

- No response. Much like Demoman’s lack of response. Looks at you for maybe two seconds then looks away to avert any suspicions he’s trying to be rude. Calls you stupid nicknames like ‘ghost getter’ and “Weirdest display of caltholicsm he’s ever seen.’ …. Wait a second that last one wasn’t a nickname.

- You’ll rarely get any comments about the matter to him. He’s too busy with other stuff to make fun of something so particular. Especially something that doesn’t concern him. (Not to say he doesn’t love insulting people’s looks from time to time. But you’re a teammate! You’re on his side!) If you have a counterpart on the enemy team then by god he won’t hold back on the roasts. Everybody gets fuckin’ spat upon regardless of who they are. He makes fun of everybody equally.

- Asks you if his creations are nifty. For some reason he mistakes you with Steampunk full on old dad style because he’s “heard about ‘em darn tootin kids and their crazy fashion in the newspapers.” And thinks he’s somehow relating to you. That you have a common interest. You have to suppress your laugh here. Same energy as pokey-man. Cornflake’s confused but he has the spirit. The whole culture explained to him is when he starts fucking assuming you’re catholic by the way.

———————————————————-

Heavy:

- Concerned at first. “Who in your family is died..?” He asks after awkward silence on the bench. He has his eyebrow raised in intrigue. “Was it murder? Heavy will crush them for you.” He offers. He had good experiences with you beforehand so he has no reason not to offer such things. Heavy mistakes your attire for mourning attire.

- You sheepishly explain to this old dude why you were sporting full on black. Expecting a weird or strong response back. To your surprise he just shrugs and looks away again with a gruff “Hm.”

- He then looks at you again after a few more minutes and sluggishly asks you a barrage of typical old man questions when they don’t understand something dark and gritty. “So do you live in a big haunted mansion?” “Do you have some pet bats? Do you like scary music?” “What do you do as a hobby when you’re this?” And other things in broken english. Each answer seems to get through to him and make him either nod or shrug. He’s very cooperative and trying to understand. Seems to not like the idea of himself sporting such things and feels the need to mention that to you for some reason. Give this guy a makeover and he’ll begrudgingly cooperate.

——————————————————————

Pyro:

- Pyro gasps childishly when he sees you. Each little spot of black or dark hue on you is showing up the direct opposite in their point of view. You have rainbow hair, rainbow everything. They think you’re a candy princess/prince/monarch that’s come on a white stallion. They’re giddy with excitement and jump up and down. Clapping their hands.

- You’re throughly confused. But you figured it was because Pyro had never seen someone wear something like this before. “It’s goth, Pyro. You like it?” You ask. Pyro glomps you. Straight up fucking hug tackles you and spins you around like an unfortunate house cat who’s just been spotted in the street by a stranger.

- You’ve become the rainbow unicorn candy ruler of all imagination and happiness and you don’t know how or why but you accept your fate. Pyro has made you a throne out of candy wrappers and you feel guilty often if you don’t use it. You got to admit a lot of unnecessary work went into that thing. Same with the crown he provided you. (It’s an actual crown made of diamonds and you don’t wanna know where they got it.)

—————————————————————————

Sniper:

- You swear you just saw a shocked blush crawl across his face. But he looked away before you could take a good look behind those sunglasses of his. Sniper’s unironically attracted to the aesthetic on other people and he secretly thinks it’s a fine piece of art but isn’t willing to admit it. He always had a thing for edginess and overall darkness. Sniper listens pretty frequently to early rock on his camper’s radio and doesn’t shy away from the occasional greaser jacket.

- “Nice look, mate..” He says on one of his good days. He plays off as indifferent and nonchalant but you can tell he’s hiding his slight interest in being your friend. Every little attempt to ignore you reeks of ‘come get me.’ Sniper’s social ineptitude is just sad at this point. Eventually you just shake your head and smile lovingly and accept his stupid efforts. Your suspicions are eventually proven correct when he accepts a drink with you.

- Hyperfixates on you like you’re some sort of fucking anime character. Can’t get the way you express yourself out of his head. You’re the most colorful thing in this godforsaken desert and that says a lot because you wear black.

—————————————————————————

Medic:

- No. No. no. Anything but him. ANYTHING BUT HIM. DEAR GOD PLEASE!!

- Prepare to get bombarded by a tsunami of questions that extend into two hours. Medic cannot control his curiosity and at one point asks you multiple times if you’re a demon or something because of how excited he is. The others rarely see him act like a puppy this much. His evil autism is activated. Turn tail and run. He’s sort of bouncing on his heels. It kinda reminds you of Pyro.

- “Oohohohoho! What an extraordinary specimen! Your oddities will surely aid in my understanding of how psychology works! Here! Sign this paper that says you acknowledge any drugs I pump into you aren’t supported by the FDA!” He hands you a clipboard and bounces again wildly. His happiness is rather contagious and you blindly sign it because you’re too focused on his child like energy and how adorable it is. He’s like a teenage girl who’s seen her fucking idol for the first time. “You see our aesthetics and personal preferences for color appear quite differently from person to person and depending on how you grew up—!” He goes on a psychology rant.

—————————————————————————-

Spy:

- He’s judging you. It’s as clear as day. He’s walking around you and examining your attire with his hands behind his back. As if you were some prized show breed who was being accessed for the finals. He lifts an arm up, tsks when he sees the seams in your clothing and disappointedly glares at you. Then just straight up walks away. By far one of the weirdest responses you’ve ever gotten. But then again should you be surprised? Spy is a drama queen and all you needed to do was take one good look at him to know that.

- Next thing you know, you have an entire box full to the brim of more gothic clothes off to the side of your bed when you wake up the next day. There wasn’t any letter nor indication of who it was. Which rather indirectly told you who it was. All the clothing was super, super expensive and straight up unreachable in some way. You find it especially alarming how it’s basically an entire box of things you personally expressed wanting to the other guys but couldn’t obtain due to the price. You swore Spy wasn’t there during that time.

- Ugh.. Of course. It’s all clear to you now. He hated the state of your current clothing and to save his poor snobbish eyes he bought you an entire wardrobe of it, he even bothered making outfits folded nearly together and they made sense. Which made you hate him more.

[yomogi-mogi-mochi]

Unnecessarily Convoluted Analysis of TWST Dorm Architecture

Putting that Art History degree to use 💪 I am getting my Masters in art history, so I am like semi qualified?? to do this. Tried my best with some of the dorms since some don't have an explicit cultural/architectural parallel irl. And obviously lots of liberties taken since I'm sure the people at Disney were not going for historical accuracy

Masterlist here

Much of this analysis can from my Spolia fic (Malleus x Light Fae MC)

Diasmonia: Early Gothic

Gothic- but early gothic. It's got a few flying buttresses, indicative of technology in later gothic movements- but in combination to the lower ceilings (lower than later gothic), fewer levels (celestory, triforium, doric columns, and shorter windows makes me think it's early gothic (more towards Norman architecture/Sens Cathedral), because it's a lot simpler and less technologically developed than high gothic (larger windows, rose windows, higher and pointier style, flying buttresses, more decorative stuff like Corinthian columns and stained glass). Still, I think the Fae would be been more concerned with its structural integrity against the waves of time- therefore gargoyles become a very prominent symbol in protecting this eternity and preservation of architecture since it basically prevents rain/weather from eating away at the building.

There's some interesting symbolism with Malleus' fixation with gargoyles, but I'm sure you can make that connection on your own based on what's out in Chapter 7 and how he reacts to both Lilia's and MC'S impending goodbyes.

Gothic was actually a term used by the French to demean the style, since it was seen as more 'savage' and 'lower' than classical architecture- which is symmetrical, solid, and values very literal and realistic (albeit idealized) characterization. Gothic architecture in contrast is a lot more airy, focuses on light and windows, and values more allegorical representations, which is why it resonated so well with the religious ruler and monarchies because they were able to not-so-subtly point to their influence and power in every single way without it being in your face all the time.

Because of this very stank contrast, it was labeled as "gothic" because people were criticizing it to be "savage" and "unkept". The goths were painted this way because they were mainly responsible for Rome's downfall, leading to the dark ages. Regardless of the French ruthlessly roasting the goths, this type of design flourished after the dark ages because technology was beginning to be advanced once more, and materials were more readily available.

My theory would be that the fae began to first develop this architecture because they had the advantage of magic, but then the humans were influenced by it- which leads them to high gothic (Noble Bell College), as well as Baroque and Rococo architecture (like the Pomefiore dorm). The Fae kept their style of early gothic since they didn't really see a point in changing much- maybe just more decorative gargoyles called grotesque as a symbol of the Fae's gratitude in their protection against time.

Also the hallways have what are almost like ribbed vaults which was one of the primary and first symbols of gothic architecture because they allowed more weight to be distributed to the vaults, and therefore allow for bigger windows.

Another distict characteristics in gothic architecture are clearly defined elevations.

Traditionally, they will have the celestial at the top, then gallery, then the main arcade (especially as we get into the later gothic periods and buildings get even taller and taller). Of course Disney isn't completely accurate with these things, but it seems that they're sort of going for that vibe, as many things end up being as our contemporary notions of historical design often creates a vague iconography of things that is often a copy of a copy of a copy of the original medium.

However I do think the intention to mimic the original design is still there overall, and combined with many of the other elements such as the prevalence of pointed arches that are a symbol of gothic architecture, and the sheer number of windows that were allowed originally due to the technological advances of the gothic era (and of course Malleus' own obsession with gargoyles), I think it would make sense to categorize this is like "gothic adjacent".

If I were to redesign the diasmonia dorm however, I would definitely begin by fixing the exterior- but I think they were referencing Malificent's tower in the Disney movie than any sort of historical accuracy lol. You win some, you lose some.

Pomefiore: Rococo with a touch of Art Noveau

Very obviously modeled after French Rococo architecture- the illustration of the hallways of Pomefiore dorm are almost exactly like the Palace of Versailles

It is definitely a toned down version- but pretty spot on, right? When I first saw the Pomefiore dorm I immediately Googled a picture of the Palace of Versailles cause I knew I saw it somewhere. Autistic spidey senses at it again.

Honestly wish they went more all out with the chandeliers, and had painted ceilings on the dorm colors- but I feel like they got the general vibes right. It feels closer to Romanesque with its simplicity but it still holds an aura of decadence and frivolity that I like. Very rich, extravagant like it's members (maybe not so much Epel lol)

Elements of Art noveau in the furniture (the peacock chair) and the embroidery of the uniforms.

Also, the peacock chair sort of reminds me of James McNeill Whistler's Peacock Room. He was an American impressionist that was sort of the forefront of art nouveau, since impressionism was one of the mainstream movements that really began the explosion of Japanese inspired design that is also used in Art Nouveau aesthetic.

(Vil would definitely have this room if he could)

The carpet in the room reminds me of William Morris' designs, and just art nouveau in general.

As far as I can tell, the exterior is based on a variety of German castle styles from 13th century Romanesque styles, to 18th century Neo-Gothic styles. Which is coincidentally what a lot of the castles on Disneyland are based off of.

Everything is very florial, Corinthian, and extravagant. I love it. It's very baroque, I dig it.

Scarabia

Please don't come for me I'm not as well versed in Non-Asian and Non-Western architecture except for religious architecture in Turkey and Jerusalem so I'm gonna try my best with this one

So I think it mixes a lot of the icons we think of in association to Arabic architecture like domes, pointed/ogee (rounded, then pointed)/multifoil (multiple curves) arches, and ornate floral designs that derive from the use of calligraphy in Islamic structures (as iconography, or pictures depicting the faces and bodies of religious figures were not allowed).

And I think all those tiny buildings resemble Minarets, or tall towers built adjacent to mosques where the muezzin can issue the call to prayer. But the artists were probably like "hm. Not enough. How do we make it more arabic??" And of course the contemporary orientalist perspectives that dominate the artistic realm made they go "quick just add a bunch of domes"

I think Kalim's room and the lounge in particular best shows the general "airiness" that parallels Islamic acthicture (ie the Sheikh Zayed Grand Mosque on UAE)

Open air courtyards are also a characteristic element of Islam architecture, which you can see with the areal view of the dorm, and also makes sense with Kalim's unique magic.

Jali window designs (the intricate gold metal covers on the arches) are also popular on Islamic architecture

The Haga Sophia in particular has been described to have a dome "suspended by the heavens", as the section connecting the building and the dome is made entirely of arches that allows the sunlight from the heavens to pour inside the building. Though the haga Sophia is a very special case, as it was occupied by varying religions with different architectural styles at certain periods- I think it's also a good representation of our contemporary prototype of Arabian architecture that makes up the final design of the dorm.

Ignihyde: Classical Greek

Looks like it's modeled after the Parthenon, which was built during the Classical period on Greece where Athens was flourishing as a center of mathematics, technology, and architecture. These are sentiments which becomes reflected in the Renaissance afterwards, such as symmetry and a very systemic way of approaching things. I think it fits perfectly with this dorm, since they're the "tech geeks" of NRC

It's got your pediment, your doric columns (would have preferred ionic columns but whatever Disney), your arcades. Pretty straight forward unlike the actual movie it's based off of lol (Hercules has so so many mythological inconsistencies. Like why are you talking about Achilles in the movie??? Trojan was hasn't even happened babe stop manifesting that shit)

I think the symmetry and order of Classical Greek design goes well with the overall futuristic look Ignihyde and the Island of Woe are going for. Pretty clever, Disney.

Heartslabyul: Tudor Revival Style

Though Alice in Wonderland is set in the later 19th century, I think the Tudorian Revival style than began in the beginning of the 20th century just shortly later fits best.

Turdorian revival style is characterized through half timbering, which is like the timber panels you see on the surface of the building; oriel windows (windows that jut out); mock battlements; and courtyards.

The Tudorian revival style also takes elements from Elizabethan era architecture and perpendicular gothic architecture, hence the long gallery and the tudorian four point arch)

The glass panes in the lounge leaves me to believe it's sort of like a glass house where part of the house is sort of like a greenhouse. This is characteristic of Victorian glasshouses that rose with the availability of timber, paint, and brick and the popularity of botany in the Victorian era propelled by botanical imports from British colonies. Architecrs like Joseph Paxton were also known for his opus magnum- the Crystal Palace, which held the Great Exhibition of 1851 (kind of like a world expo with the theme of industry and art) also popularize the movement- and was a significant sign of wealth, as glass and window taxes were especially high. But in the later century when iron and steel frame construction was advanced, people could be built out of iron and window panes, so they could be assembled easily, and also afforded by middle class citizens.

So it's basically a mix of Elizabethan and Victorian revival styles (tudorian and gothic), which is in theme with the Victorian period the original media is set in, albeit taking inspiration from styles little later in the period.

Savanaclaw:

Again- I am blind when it comes to Non-Asian/Non-Western architecture- but this one was kinda confusing cause it really doesn't have any architectural cohesivity??? Like it's just got a general "jungle vibe" which I'm not surprised at because Disney is infamous for glossing over non-white cultures and kind of just simplifying them into a "general vibe" which wow yikes my guy

Kind of reminds me of Mese Verde, which are structures made directly within a cliffside, or the Great Mosque of Djenné and the African Heritage house in Kenya which have very smoothed, natural designs that blend into the environment

What I could gather from my research and my juicy autistic brain, savannas are regularly subjected to wild fires- so a lot of the heavy, rocky architecture and interior style makes sense, opposed to one made of wood (which are mostly in the inside of the structure, besides the roof which I imagine is less likely to catch on fire). Much of the building seems also to be directly carved within natural rock formations- a very functional use of the resources around you- very savannaclaw!

The textiles in each of the dorm members' rooms resemble Kente fabric, a style of hand weaving from Ghana, originally reserved for royalty but now commonly worn for ceremonial occasions and such. Also unlike other African textiles styles, it's strictly a male practice. I think it would make sense for Sunset Savanna, a place where women are highly respected and perhaps take on more political and military positions- leaving largely men to the practice of textile making (both are honorable acts- not comparing the two). There aren't distinguished aesthetic styles of textiles that differentiate each weaving from another- rather, it is divided by technique and region- so this is not like a definite connection, just thought it was interesting to includle

Textiles seem to occupy the only decorative role in the entire dorm- so perhaps there is significant cultural significance? Maybe there is a certain region that's known for their practices? Or is weaving a symbol of adulthood or growth and therefore is why they're hung up in each of the dorm member's rooms with the exception of Ruggie, who may not have had the socioeconomic privilege of making one? Or does the practice vary across species? Much to speculate 🤔

Octavinelle: Art Deco and Art Nouveau

Saved this one for last because oh boy I don't even know where to start with this. Obviously the design is very creative and I love it, but there's a lot less historical elements I can use to analyze the style, kind of like the Savanah claw exterior.

But it leans towards the art deco style, which is most fitting for the business dorm I think.

Elements of Art deco like geometric aspects of design, thematic and aesthetic consistency, and decorative/geometric windows are seen throughout the dorm interior and exterior

But I think the art nouveau elements are also there too, with the cheeky sea-themed elements that use natural shapes and icons into the architecture, design, and surfaces of the dorm.

Otherwise, not much else to say about this dorm 🤷 it's not really based in anything historical but there are bits and pieces of art nouveau and art deco in there, but I definitely wish they would lean more into the art deco elements since I think it would go well with the general themes of the dorm values.

So uh, yeah. Told you it would be convoluted.

Feel free to add and or correct!

[autolenaphilia]

The average tumblr queer hates fascism and terfs, and they should, but because they have zero understanding of what those ideologies actually is, they end up repeating such ideology anyway.

They have zero understanding that it is the transmisogynist bioessentialism that makes radfemism so poisonous. So they call trans women mentioning the words "misogyny" and "patriarchy" a terf, while their use of "afab/amab" reveal that they haven't unlearned any bioessentialism and transmisogyny. I've written about this at length before.

And this intellectually lazy acceptance of reactionary thinking goes far beyond that.

Criticize the institutions of religion and the family on this supposed queer communist site, and you'll get massive cries of protest from these queer leftists. And in content if not form they are basically indistinguishable from fascist rhetoric about how "queer leftists who read too many jewish writers (like Marx and Hirschfeld) are trying to eradicate the vital institutions of tradition, religion, family and community with their soulless materialist globohomo." (Note that the link is to a critical glossary of the alt-right on rationalwiki, so there are slurs galore)

And yes, that is what i'm doing, and I'm very proud of it. Abolishing religion and the family, and all of their sanctified traditions is a very important part of the communist project. The main Jewish writer who convinced me of this is Marx, read him.

"The abolition of religion as the illusory happiness of the people is the demand for their real happiness." Literally read The Communist Manifesto, which openly calls for the abolition of the family. A lot of suppose leftists repeat what the manifesto calls "The bourgeois clap-trap about the family and education, about the hallowed co-relation of parents and child"

It's especially ironic to hear such things from self-described queers, as if family, religion and tradition aren't the most common tools used to oppress queer people.

A lot of reactionary garbage with a superficial anti-capitalist veneer has gotten into the left, which is not new. The just mentioned manifesto spends a whole chapter criticizing reactionary forms of socialism. I have myself used Marx's still valid analysis as my basis to criticize reactionary anti-capitalism.

There has been so much nationalist garbage absorbed by the left at this point that fascist thinking crop up all the time in the left. This is because planting the roots of 19th century romantic nationalism tends to bear the same fruit. And tumblr leftism is the most intellectually lazy kind of leftism.

Like your average pseudo-leftist position on nations is basically ethnopluralism, a neofascist ideology originating in the European "New right" that is trying to sell the old wine of blood-and-soil nationalism in new bottles for a postcolonial world. It's creator Henning Eichberg spent decades trying to sell his Völkisch ideology to the left. With some success, it seems like. Like the neofascist in ethnopluralist clothing position that "every culture has the right to preserve their own culture and tradition from the onslaught of global capitalist culture" is something that you'll see all the time regurgitated by supposed leftists. The one 19th century european/western concept that is seen as universally applicable is nationalism. It's bleak.

I can't even say the far-left cliché of "read theory", because a lot of theory is garbage. Not all of it though. This list comes from my libertarian marxist/"councilist" biases but Nationalism and Socialism by Paul Mattick is good, as is "Third-worldism and Socialism" an excerpt from an early 70s pamphlet by the British organization Solidarity, and the 1989 essay The Universality of Marx by Loren Goldner.

[end-otw-racism]

End OTW Racism Link Round-Up: Week 1!

We are now in week two of our action demanding that OTW live up to its commitments to address racist harassment & abuse, which ends May 31st! There was a lot of great discussion during the first week, so we wanted to post a round-up of some of the longer-form discussion/analysis that people have been sharing (we're going with posts on Tumblr, Dreamwidth, and other sites, as well as Twitter threads that are longer than three tweets). These are posts that we think would be helpful to consider as fandom engages in the necessary conversations about these issues.

If we've missed something you've written, we'll be doing another round-up of week two, so it's not too late! You can either submit it on tumblr, tweet at us, or email us at endotwracism [at] gmail [dot] com. We do reserve the right to only share posts that are in line with the intent of the campaign and that we believe are adding to the conversation.

Tumblr

beatrice-otter: Why AO3 needs to be accountable for reducing fandom racism in its internal culture and the archive [link]

pretty-weird-ideas: End OTW Racism and the “Fed” Accusations [link]

aretethegreattelleroftales: You don’t understand what EndOTWRacism is asking for here, and because you clearly do not understand it, you should have known better than to speak on it. [link]

vex-verlain: In response to the reactions I’ve seen to #EndOTWRacism [link]

unrealromance: I don’t really understand how people don’t know the difference between ‘whoops I’ve fallen into a racist trope’ and 'I am literally writing hate speech that is unveiled, mask off’. [link]

pretty-weird-ideas: Codification of a Living Document as a solution to Harassment on OTW [link]

indifferentvincent: RE: End OTW Racism Derailment [link]

elumish: In light of some of the backlash to the End OTW Racism protest, and particularly the concern that an anti-harassment policy would lead to abuse of reporting mechanisms or censorship of unpopular authors/ships… [link]

seepunkrun: How to Find and Attend OTW Board Meetings [link]

indifferentvincent: The people who use the excuse of saying ao3 is an ‘archive’ and so 'must preserve’ the most vile, intentionally racist fics just sound like the most privileged motherfuckers on the planet to me. [link]

spacebeyonce & pretty-weird-ideas: wow this is such a normal and rational thing to say about having a diversity consultant to help ao3 fix their bullshit. [link]

indifferentvincent: I have to assume this is in regards to my promotion of the end-otw-racism call to action, because I don’t know what else it could be referencing. [link]

princeescaluswords: Writing Doesn’t Happen in a Void [link]

mousieta: There is a place, a magic place, a giant, ever growing park filled with sandboxes of every color and shape imaginable. [link]

Twitter

spacebeyonceart: alright so I want to talk about this post I made two years ago now that the #EndOTWRacism ball is finally rolling. [link]

generalfrings: This shit makes me so goddamn angry, yall. [link]

eruthosish: One of the calls of #EndOTWRacism is to improve the AO3's Terms of Service and how the AO3 deals with fanworks that are part of an offsite harassment campaign, so I wanted to share a story about the only time I have ever reported offsite harassment and had Abuse agree with me. [link]

buttonthemdown: They've proven they can move quickly *when they want to*, but the fact the OTW hasn't made an official statement acknowledging their lack of action and pledging to do better sends a signal they don't care about their POC fans. [link] 

Clonehub7567 Seeing the reactionary dismissals of #EndOTWRacism from white fans who pretend to care about racism is reminding me of the backlash i/we got for #UnwhitewashTBB. [link]

hydrochaeris3: ppl who are worried that not participating in the call to action will get them labeled racist..... first of all once again yall are showing that you care more about what others might label you than putting forth tangible effort into caring for a community [link]

m_sketchyart: If you think that #EndOTWRacism is censoring your escapism, here’s a thought to chew on: why is being anti-racist a threat to your escapism? Is true escapism not also leaving racism, antiBlackness, fatphobia, abeism, misogyny, etc out of your escapism? /rh  [link]

lunedraws: Have you wanted to walk the walk and not just talk the talk, re: racism, in one or more of your fandom spaces? This is a concise and timely line of actions we can take. [link]

aliasmarionette: One thing I see a lot in #EndOTWRacism comments which are in favour of the status quo is assumptions about who we mean by fandom, and about the user base of the Archive. [link]

SapphicScholar: New profile photo while participating in the important fan-led campaign to demand that OTW make good on the promises it has already made to address issues it has already acknowledged as problems in the archive—that is, instances of extreme racist harassment and abuse [link]

Fansplaining: Since the endotwracism campaign has begun, we wanted to highlight the timeline they've put together about the OTW's communications re: hiring a diversity consultant since their initial statement of commitment in the summer of 2020. [link]

gwenpendrcgon: ive seen so much backlash over #EndOTWRacism which shouldnt surprise me (also majority of this comes from tumblr is also to be expected) but most if not all backlash received by this event is done is such bad faith and complete wilful ignorance [link]

fiercynonym: so op of the #EndOTWRacism post on reddit dm-ed me and the situation is even more fucked up than i originally knew???  [link]

kitschlet: seeing a lot of people confused about what the OTW can do to address racism [link]

generalfrings: poor AO3 maintaining a 'absurdly heavy site'. all that text! [link]

RukminiPande: Fan scholars should be paying attn to #EndOTWracism. [link]

Saathi1013: The thing to notice about all the assertions that people know who's behind EOTWR is like... Okay, there are a few things, actually [link]

buttonthemdown: If you think that victims of racism need to "develop a thicker skin" you're a fucking racist [link]

mousieta: if i could have people understand one thing abt #endotwracism right now is that This issue matters not because racism makes you feel bad, or uncomfy, or squicky but because racism is actively harming Real Living Breathing Fans right now. [link]

fiercynonym: okay so…you know how OTW has been saying, when asked at meetings, that they have a budget surplus of about USD $1 million? well…manogirl & i did some digging, and it might actually be more than TWO AND A HALF MILLION USD. [link]

runpunkrun: Speaking of OTW Board meetings, if you're interested in attending, here's what you need to know [link] 

Dreamwidth

satsuma: A Chronic Habit of Avoiding Responsibility? #EndOTWRacism [link]

bcgphoenix: I have a lot of feelings about OTW and End OTW Racism as a book conservator/general preservation person, most of which verge into tl;dr territory. [link]

killabeez: Looking at past archive policies [link]

nyctanthes: End OTW Racism (Fannish Fifty #47) [link]

chestnut_pod: Be more democratic, be more autocratic, OTW [link]

Other sites

Lady’s Weblog: End Racism in the OTW [link]

The Rec Center: #384 Final Thoughts [link]

Stitch’s Media Mix: I’m Supporting #EndOTWRacism [link]

[audible-smiles]

pet peeve time

it's ghoulish that we turn making fun of unusual baby names into some kind of sport. why is this the one area of culture where pedantic, hypercritical conservatism is fine and cool? there used to be an epidemic of so-called comedians in the US making fun of black names (because they thought black people were stupid!) and then when blatant racism became a faux pas in certain circles of white society they were all just like "we meant women are stupid, actually, as well as all white people in different social classes than us" and so far we've all gone "oh, that's fine!" and passed around memes of pregnant women naming their kids "Arson" or "Kayleieiigh" or whatever the fuck is supposed to be funny at the time.

I just looked at the top ten baby names in the US by binary gender and guess what, most of them date back to at least the 14th century if not much further, because again, naming conventions are astonishingly conservative. the exceptions? "Lily", because flower names for girls weren't popularized until the 1800s, and possibly "Mia" and "Aiden", which are, respectively, a diminutive version of a much older name, and an anglicized spelling of a much older name. your cousin who named their kid something weird is not necessarily indicative of a widespread societal collapse that must by guarded against by those wise preservers of our culture, internet trolls.

you are not being oppressed because somewhere a baby has a name that's spelled weird or sounds weird. in fact, that baby's name affects you in no way whatsoever, and fixating on it is deranged, "fall of civilization" behavior that makes you sound like you spent the 90s forwarding chain e-mails about ghetto kids named Oranjello and Lemonjello, because you're a tool. that's my hot take today!

adults can in fact change their names if they hate them. kids who dislike their names often end up going by nicknames. it is not child abuse to give your kid an unusual name! sometimes kids hate their traditional names, even, because names are super personal. sometimes kids are trans! The Public Universal Friend was born in 1752, you literally cannot stop people given traditional names from renaming themselves something weirder as an adult, and you still have to treat them with respect if they choose to do so!

naming a kid a nearly unpronounceable string of characters may in fact be the only remotely cool thing Elon Musk has ever done in his life, but it was almost certainly Grimes' idea

[stuckinapril]

don’t know if you’ve already shared (or if you wouldn’t like to) but i’d love to hear about your resolutions and goals for this year!

Hi so sorry for how late this is!! I have quite a few!

Ins —

Being more decisive. Trusting myself w calling the shots. Just making a decision and sticking w it.

Financial literacy

More reading. Just more.

Attacking things I’m uncomfortable with instead of shying away from them.

More silence. I don’t need to have my earphones in all the time

More time w family!!! I need to put in as much effort to connect w them as I do w my friends

Green tea every night

More pictures. I have a serious problem of just not being incentivized to take any

More scientific literature for fun!!

Piggybacking off that point—making it instinctive to apply things I study to real life situations. This is a niche one but it just helps me process stuff faster and I just think it’s a super dope learning technique

Pushing myself harder. It’s just not my preference to be mediocre.

Nourishing myself w my own affirmations. Cutting out my need for other people’s validation

Educational documentaries

Making more of an effort to connect w my Arab heritage

Being my natural self. It’s okay if I’m not bubbly all the time. Sometimes I just want to chill

Whole foods

Less phone time (I say this every year but like I want 2024 to be the year I’m truly disconnected/using my phone in a healthy way)

Body oils!

More tennis dates w friends!

10k steps a day

Sticking religiously to my hour by hour schedule

Keeping promises to myself as ardently as I keep promises to others

Being more bold w fashion!!

Hitting the gym 5 days a week

Reading more literature in Arabic and French

Learning how to cook. I cannot live off Siggi’s for the rest of my life lol

Exploring more music genres

Learning the piano!!

No longer feeling guilty for withholding information. Privacy is not a bad thing.

Getting more and more independent!!

Becoming the friend I want to be. Other people need to show up as well, but I can’t hold people up to standards I myself can’t reach.

Outs —

Centralizing luxury brands. Thinking that price equates to quality. The fact of the matter is quality equates to quality. Price is irrelevant.

Relying on snap judgment responses to situations. I need to learn to wait at least 15 minutes. I can be impulsive asf

Jumpiness. Nervous energy. I just want to be more calm and controlled in how I carry myself. I want to exude self-assuredness

Checking my phone first thing in the morning!!

Drinking less than 3 liters of water a day

Being available all the fucking time. If someone has an issue w me for being busy, maybe they’re not someone I want in my life in the first place.

Being too forgiving. Not immediately allowing someone back into my life doesn’t make me a bitch. Immediately running to fix things w someone doesn’t make me selfless. Being the bigger person in situations where I was nowhere near in the wrong doesn’t make me mature. It’s just symptomatic of a lack of boundaries.

Consuming dumb shit in the name of “keeping up w pop culture.” I don’t care about celebrity controversy #7282727. I don’t care about celebrity selfie #827226. It doesn’t elevate my life in any way. I legit just don’t care. And this goes for real life gossip w friends too

Taking too long to text back!! A day is fine, but sometimes I take longer and I think that’s a shitty trait to have. I can absolutely afford to respond to people faster.

Too much chocolate!! I’m a sweet tooth but I must preserve my skin/overall health

Motivation over discipline. I need to be attuned to discipline always.

Control freak antics. I can’t control people. It’s not my responsibility. They’ll act how they act. All I can do is control my reaction to it

Rumination/unhealthy venting. When I’m done w something, I’m done w something.

Overcompensating for other people’s shortcomings. It’s not my responsibility to coddle others. It’s okay if something is too much for me.

Having no boundaries w others. People aren’t entitled to private information. It doesn’t make me deceptive to withhold things—it just makes me selective. People need to earn private details about me.

Curating things I like. I simply like what I like. It’s not that deep.

[batrogers]

Civilized Or Not

So there’s some common Zelda fanon I wanna talk about, relating to civilization tropes I think some of y’all haven’t really thought about in detail before, and that’s Hyrule (Zelda 1 &2 Link), Wild (BOTW mostly), and Ravio (LbW).

I’m using the Linked Universe names, because that’s where most of it comes up, because these things happen most often where you can contrast the boys with each other. This is often done, quick and dirty, by people assigning “roles” to each without much thought. Ravio’s unfortunately tends to be extremely pervasive outside LU spaces, too.

But, in brief, there is a trend for people to craft these characters in a framework of innocent vs savagery vs trickery that can have some really unfortunate implications I’m not sure many are even aware of. Hopefully I can explain better where these ideas come from, why they’re so easy and appealing, and why we should try to avoid repeating them for more than just the sake of “easy” but also to stop repeating some really nasty historical tropes.

I would start from what’s probably the simplest one to address: the tendency towards a “feral” personification of Wild. This tends to come from two places: Wild’s amnesia, and the collapse of society around him and his lost place in it.

Now, brain damage is complicated. You can lose a range of things to any given injury because of the way information is encoded differently and in different places. You can lose memory and/or skills and/or coordination and/or balance, etc, because it all depends on what got damaged. But in-game a lot of stuff suggests that Link retains things like speech, reading/writing, coordination, and martial skills. None of the people who knew Link prior to his injury suggest he seems changed in any way not attributed to stress and anxiety...

And, more importantly, real people suffer memory loss just like that in the real world. Treating him like he’s become “feral” due to memory loss is cruel to actual people living with brain damage today, and if you go there you should have a good reason for it.

Social collapse is a wide-spread theme in basically every Zelda game. The threat that the Big Bad poses is almost always the destruction of society as it exists: Malladus literally vanishes the infrastructure of New Hyrule in Spirit Tracks; the Twilight turns people into spirits living lives they don’t realize are questionably real in Twilight Princess; Veran freezes the passage of time to force people to work forever in Oracle of Ages. King Daphnes and Ganondorf under the sea vie over the fate of the world above in Wind Waker: keep what’s been made, or start all over again?

In modern culture, people tell a lot of stories about the fragility of civilization and what happens in its absence. You get the range from Lord of the Flies, in which children wrecked on an island attempt (and fail) to recreate civilization on their own, Kipling’s “The Jungle Book” in which Mowgli is treated as reckless and innocent, and a much more obscure piece from the 18th century “Paul et Virginie” (and likely many more I don’t know offhand.) Essentially all of them play with the question of how do people become civilized, and what happens when they do? In Lord of the Flies, the children were civilized and failed to maintain it; in the Jungle Book, the boy wasn’t civilized and innocently interacts with it. In Paul et Virginie, the children were (relatively) uncivilized on the (French colonized) Mauritius, raised by their mothers but when the girl was sent away, she becomes civilized and dies tragically to preserve it.

The two Links most removed from civilization are Hyrule and Wild. Wild “lost” civilization, losing both his memories of it and the structure of it. Making him feral, without manners, and without a place to belong is that kind of Lord of the Flies savagery mixed with Mowgli’s innocent playfulness: there isn’t a structure to adhere to, so he’s a savage. Whereas Hyrule is more like the Paul eg Virginie side: innocent of civilization, he remains pure and sweet and kind, unable to conceive of big concepts like evil or money or so on. Neither position permits them to interact with the civilization that is right there in front of them! Wild can buy a house; he has people who know and care for him. He has social connections and social rights. The world exists, but the fandom does not seem to want him to interact with it in favour of remaining “wild.” In Zelda 2 – a game explicitly set within a decade of Zelda 1 – there are whole towns with trade and a castle and massive structures with on-going life in them... but very few fans seem to ever reach into that story or relate it back to the first. Hyrule, the character, does not exist within Hyrule, the country.

Strangely, Wind Waker does not fall prey to this, I think because the structures are presented as fait accompli: Link wakes up with his grandmother and his sister, he has a defined home, and a society in which you spend the entire game forced to engage with. Zelda 1 & 2 were not sophisticated enough to waste resources on going as in depth in social terms (although such interactions absolutely exist in Zelda 2!) and BOTW leaves such interactions as optional: you can survive the game with minimal social contact... but it’s a choice to play with it that way, not the default. The ways in which this edges onto the noble savage trope, in which “uncivilized” tribes are either innocent or brutish (rather than complex social systems in their own right) is fairly obvious.

There is one other character in Zelda who gets treated to the question of whether he is an innocent, free of civilization and all its rigour... or something else. Ravio, coming from the devastated world of Lorule, can often wind up slotted into the scared, innocent child trope and unfortunately that’s the better position people frequently take. The worse one evokes the Merchant of Venice: the deceitful, Jewish merchant who values money over people’s lives.

Lorule (and Nintedo’s approach towards their humanoid Zelda villains in general) is near-eastern-coded in many ways, down to the fact that Yuga’s outfit is the spitting image of Ottoman dress. Yuga being a depraved bisexual (a common historical trope about Muslim men towards Christian men and boys), and Hilda being deceitful and conspiring against everyone she was once allied to are a backdrop to the ways in which Ravio is a greedy coward. He’s not an evil character in the game; the mechanic of penalizing death without being too severe is interesting and works well! But that doesn’t take away the stereotype, just like it’s not okay Nabooru is pretty explicitly predatory towards child Link in Ocarina of Time, too.

Arab and Jewish stereotypes often converge, because both people's originate from the same region, and both are hostile "Others" to Christian Europe and Nintendo doesn’t have a great track record of their near-Eastern coding in Zelda. It crosses the whole gamut from harem and amazon tropes with the Gerudo to breath-takingly anti-semitic or anti-black (Ganondorf being green, eg. non-human, in various incarnations), all packaged neatly in the ideal of medieval fantasy Europe. The scale would be impressive if it wasn’t so damn awful, but we can at least stop repeating it in our fanworks.

Wild doesn’t have to be feral to be a playful little shit; Hyrule doesn’t have to be pure and innocent to be kind. Ravio doesn’t need to be innocent or scheming, and he shouldn’t place money over Link’s well-being (If you chose to respawn at home, he is consistently only ever concerned for Link! Once you buy the items outright, he promises he'll still be there to take care of you.)

Do better. It’s more interesting that way, and I want to see that variety grow!

[If any of y'all would like me to dig up better sources on any point, I can do so but I didn't want to bog this post down further. I have largely left the anti-arab stuff alone because it's not the biggest issue with Ravio's fanon presence, which is the focus here.]

[elbiotipo]

If you're from Argentina, you've probably heard about the Iberá wetlands, and you know the tourist pitch: a vast expanse of natural wonders in the middle of Corrientes, full of beautiful lapachos, cute carpinchos and yacarés, and now home to the fastest-growing wild yaguareté population, all with the unique Guaraní influenced culture of rural Corrientes.

Now, things aren't as shiny as they look, since the creation and management of the new national park is still a point of contention in many ways, but you will be suprised that this kind of thinking about the Iberá is very, very recent. Most people considered it an obstacle to progress, a big bunch of swamp in the middle of what could be a very productive ranching province. In a geography book from the 1910s (unfortunately I lost the screencap) it says something like "the biggest obstacle for the development of the province is this swamp, and it should be drained"

This took me to the other side of the world, to the Netherlands. They're known for land reclamation, from literally building their country from the sea. Especially when we're facing rising sea levels because of climate change, the Dutch seem like miracle workers, a look into our future. You will find no shortage of praise about how with some windmills and dams, the Dutch took land "from the sea", and turned it into quaint little polders, making a tiny country in Europe a food exporter and don't they look so nice? But when you look about it, you can barely find anything about what came before those polders. You have to dig and dig to find any mentions of not "sea", but of complex tidal marshes and wetlands, things I've learned are ecologically diverse and protected in many places, but you won't find people talking about that at all when talking about the Netherlands. It's all just polders now. What came before was useless swamp, or a sea to be triumphantly conquered. It's like they were erased from history

The use of that language reminded me of the failed vision of draining Iberá... and the triumphing vision in the Netherlands, and many other places. Maybe those wonderful places, those unique wetlands, would have been a footnote, you wouldn't find anything unless you were a bored ecologist who looked, and not even then. Now, far it be from me to accuse the medieval Dutch, who wanted to have more space to farm, of ecocide. And don't think this is going to be a rant against European ecological imperialism either, as the most anthropized places you can find are actually in China and India. But it does get me thinking.

I work with the concept of landscape, and landscape managing. (Not landscaping, those guys get better paid than me) The concept of landscape is somewhat similar to the concept of ecosystem you know from basic biology, but besides biotic and abiotic factors, you also have to involve cultural factors, that is, humans. There is not a single area of "pristine" untouched nature in the world, that is a myth. Humans have managed these landscapes for as long as they have lived in them. The Amazon, what many people think about when they think about "unspoilt" nature, has a high proportion of domesticated plants growing on it, which were and are still used by the people who live on it, and there once were great civilizations thriving on it. Forests and gardens leave their mark, so much that we can use them to find abandoned settlements. From hunter-gatherers tending and preserving the species vital to their survival in the tundra to engineers in Hong-Kong creating new islands for airports, every human culture has managed their natural resources, creating a landscape.

And this means these landscapes we enjoy are not natural creations. They are affected by natural enviroments; biomes do exist, species have a natural distribution. But they are created and managed by humans. Humans who decide what is valuable to them and what is not. The Dutch, seemingly, found the tidal marshes useless, and they created a new landscape, which changed the history of their nation forever. We here in modern Argentina changed our perception of Iberá, decided to take another approach, and now we made it a cherished part of our heritage, which will also speak about us in the future.

Ultimately, what is a useless swamp to be drained or a beautiful expanse of nature to be cherished depends in our culture, in us humans. We are the ones who manage and change ecosystems based in our economics, our culture, our society. This will become increasingly important, as climate change and ecological degradation becomes harsher and undeniable. We will have to decide what nature is worth to us. Think about what is it worth to you.

[kevin-the-bruyne]

I really had to read with my own two eyes multiple times since this post had multiple people add on to it, bringing it back to my dash again and again, that the drama from Tharn and Phaya's past life did not feel dramatic at all. And somehow that detracts from taking the drama of the present as seriously as the show is taking it. This story is based on Thai folklore? The Naga and Garuda are eternal enemies. The love between a Naga and a Garuda is an insult to the literal cosmic order. Chalothon who was only trying to preserve the natural order has been wronged by their love. The natural order is also referenced several times but especially when the priest was like keep Phaya and Chalothon away from each other, they're destined to be enemies. Not meeting the show halfway to accepting this as part of your lens as an audience is frankly...an interesting choice to make. The next bit is pure conjecture on account of me not being Thai but I'm trying to relate to what The Sign is likely trying to do from my own understanding of Asian folklore and the way we use those stories to build new stories. What is there to get out of this show other than the big fuck you to 'natural order' of things that must be because of the way that they are. Why can't a Naga and Garuda be in love? This must be a concept that people explore under the general lens of forbidden love in Thailand (pure conjecture but also like I don't know how it can't be true). We all have our poorly explained versions of Forbidden Love gone bad; Romeo and Juliet, Ram Leela, Devdas would be some heterosexual stories of Forbidden Love that kind of hand waves around the forbidden part a little bit that I'm familiar with. Devdas (the story I'm most familiar with of the one's stated) and its myriad adaptations is a story about the absolute ways we hold on to class even as it brings about our own downfall.

It's a great pick for a queer adaptation because the reasons why the lovers couldn't be together was so made up and really came down to ONE person (Devdas' mother) who just couldn't let go of class even though everyone else was literally begging for the two to just be together because let me tell you none of you have met a poor little meow meow on the scale of Devdas.

The Sign is bringing the forbidden love between a Naga and Garuda as a parallel of the forbidden love between two men. Homosexuality outside of the legal sphere really does come down to an ideological difference as to what is natural vs not. Homosexuality goes against a natural order of reproduction. And this is true. Two men cannot reproduce, two women cannot reproduce with each other.

The challenge isn't to prove that they can, it's to prove that reproduction isn't the centerpoint of human life, that we have transcended the need for our life to be dictated by this 'natural' order because on principal our societies just aren't built along the paradigm of 'survival of the fittest' where the benchmark of species fitness is its ability to reproduce.

Thai shows including things that have come out of Idol Factory (that produces The Sign) are often socially engaged with LGBT rights within Thailand. Now that gay marriage is legal or on its way to be, I assume a move in the direction of bringing same sex relationships up to the same societal respect as straight relationships would be a natural direction that future screenwriters will go.

The Sign is trying very hard to take the question of homosexuality right to the heart of Thai culture and tradition and talk about it from that lens [this is less conjecture and more paraphrasing what Saint has said about the show in interviews] And I know that you all are capable of meeting a story halfway in respecting its desire to set up the stakes through references of allegorical story telling since y'all have been doing it with Last Twilight and Le Petit Prince. So I don't know even know why I had to make this post but: tl;dr: The stakes of the love between Tharn and Phaya and the forbidden nature of it is set before you even see much of the show just from the fact that Tharn is a Naga and Phaya is a Garuda and as a member of the audience you have to accept that the love between Naga and Garuda is a deviant form of love in Thai culture.

[lunareiitic]

Ahead of 2.2 tonight, I'm thinking about prisoners.

2.1 Spoilers ahead: be warned.

It was pointed out to me earlier today that when Sparkle references "two mutes" to Aventurine, that she could be referring to several people. The other mute initially appears to be Robin, since she's dead and a singer who can no longer sing. But, on reflection, Sunday has been muted just as much. In Concerto For Two, she notes with bitterness that she feels that "their" dream hasn't been realized, perhaps implying that her dream was always to share the stage with Sunday as equals.

Aventurine is a prisoner in many respects: this is simple and easy to understand. One of his Eidolon's is literally called "Prisoner's Dilemma". Penacony used to be a prison complex, and it still is, after a fashion. As I often say "if you wish to escape, but cannot, it is a prison. If you cannot escape but do not wish to do so, it is a fortress." Sunday, who seems so preoccupied with the past: he keeps a framed Concerto For Two light cone in his office, he's the first to call out Gallagher's trait amalgamation of every person he's ever loved, he's the nominal head of the Oak Family: Penacony's administrative branch. He wants to preserve the life he's built up for himself and his sister, and now is suffocating under the bureaucracy he so longed to control. Now, with the one thing he was so desperate to keep lost, he isn't even allowed the space to publicly grieve. Muted, not unlike a jazz trumpet. Firefly, trapped in her own body, slowly but surely losing herself. It's clear that the SAM armor might be some kind of stopgap measure (or perhaps its her unique condition that allows her to pilot it), but her confession in 2.0 didn't seem to be lies. She gains nothing by lying about that. Penacony is a paradise for someone like her, whose reality is so bleak. There's a reason she doesn't play her hand as early as she could: and part of that is probably plot reasons, but part of that feels... sentimental. She didn't want to tarnish the Trailblazer's memory of her: preferable to die and be replaced than to betray them. That's very natural, isn't it? That desire to prolong something sweet, even though it's impossible. And then there's Robin: prisoner in ways that reflect the three we've already met. Her trailer makes key note of this: the celebrity, the sexualization, the objectification, the derealization that comes with being such a pivotal cultural icon. If she feels that Sunday doesn't share her dreams, it's clear that he doesn't realize this: look and see his arm shining her halo in the opening of her trailer. Her very own brother, her closest guardian, being the architect of her torment. He's rather mythologized her, hasn't he? Even to her only family, Robin is a legendary figure, a perfect angel that cannot do wrong, on whom all of Penacony rests. It's interesting how once she starts fantasizing, all of the people in her mindscape become puppets or shadows: people about as real to her as she is to the masses. Sunday isn't there at all: nobody is. How much has happened since he joined the Oak Family and she (assumedly) joined the Iris Family?

A popular theory: what if Robin isn't dead? What if she faked her own death, as Firefly did? She clearly couldn't escape on her own, with her fame and importance to the Family's public image. Gallagher doesn't give Sunday an answer about why he used Death on Robin. What if she felt it was better for him to think her dead, than to think of her as a traitor?

[hedgehog-moss]

i absolutely loved your recent explanation of french to english and english to french translations! sometimes, i read a book translated into english and you can just tell with the way sentences are traslated that they were written in another language first e.g. 'praising the portentous architecture of the sky with trite formulas' from elena ferrante's book (trans from italian).

not diminishing native english writers but that sentence stood out to me as like "oh okay, i dont know if a native english writer would have written that but, from my understanding of italian, that's been directly translated", it was very interesting if you understand what i'm trying to say. thank you.

You my friend are a sourceist ! :) As we call people who enjoy “feeling” another language right underneath the surface of a translation.

There’s a whole rivalry between translators who favour “sourcières” vs. “ciblistes” translations (as we say in French). Literally it’s sourceist vs. targetist, but English prefers verbs so I think you’d call it foreignising vs. domesticating translations. Basically it’s whether you prioritise the source language (preserving as much of its specificities as possible, even if it means “foreignising” your own language a little, writing in a way that will feel a bit unnatural to your reader) or prioritise the target language (“domesticating” the original text to make it more familiar to your reader, like when American publishing houses re-publish British books and change “Mum” to “Mom”). It’s often simplified as, are you more loyal to the author you’re translating, or to the reader you’re translating for. Most translators will say you need to find the right balance between the two extremes (but most translators are secretly targetists) (that’s my impression anyway.)

Both methods can lead to awful translations when you go too far in one direction—I remember making a post a couple of years ago about a translated book I was reading that was set in Kazakhstan, in which a character (who was supposed to be speaking Kazakh in the context of the story) said “We can’t invite every Tom, Dick and Harry.” That’s domestication gone too far—it was so jarring and nonsensical in a setting where all the characters had names like Kazangap and Sabitzhan!

But foreignising can also go too far—it’s difficult to do it well because you need to make sure the foreign phrases, concepts or connotations you preserve don’t clash with your own language’s concepts or connotations (or writing style preferences). It happens infuriatingly often in French books translated from US English that the translator keeps the word “college” to mean “university”. I don’t know why this stupid mistake is so common, they’ve got to be doing it on purpose, do they think it makes the book feel more American? But it just confuses the reader because collège in France is middle school. The word already exists!!! and it brings to mind 11-14 year-old kids so it’s really jarring and takes you out of the story when you need to remember every time that the “collège” students here are older teenagers. There are times when calquing foreign words or phrases in your translation is a bold, interesting choice—but not when it removes something (meaning, clarity, connotations) from your language.

It does work when it adds something—novelty or poetry or a connotation that tells you something about another culture without clashing with your own. Like in your example, if you calque an interesting turn of phrase that feels natural in one language and less so in another (but more poetic, intriguing, etc), then your language gains something. I like when translators do this with terms of endearment, like preserving “my little lizard” or w/e instead of replacing it with kitten or your cultural equivalent—if I’m reading a book set in another culture, I’m delighted to learn what silly things people in that culture call their kids or SOs. But it doesn’t work if it removes something from your language—for example if a character in a French novel calls a boy a term of endearment that’s masculine in French but feminine in Spanish, better change it to something else so you don’t confuse the Spanish reader / make them wonder if the boy is being teased or what—you’re asking them to remove meaning / connotations from their language to replace them with something else and the clash just takes you out of the story.

So it’s always a balancing act between your love and respect for the original language / culture / author’s writing style, and your duty to the reader, who needs something familiar enough to be intelligible and pleasant to read. (But at a certain point domesticating your translation too much suggests a lack of respect for your reader’s ability to handle unfamiliar concepts and their curiosity about other cultures.)

I remember reading an article by a translator of, I think, Uyghur, who wanted to keep the phrase “like a third-day moon” to describe a finely curved eyebrow. That's a foreignising translation if your culture isn’t familiar with the lunar calendar and the typical reader is clueless about what the moon looks like on the third day of the lunar month—but if they can guess from context that it’s a delicate eyebrow, it’s not the jarring sort of foreignising that takes you out of the story because you can’t figure out the connotation or it makes no sense in your language; it’s the kind that makes you go “oh, interesting phrasing” and might teach you something (but in a subtle way!) about the kind of culture that would use it. It’s one of the joys of reading translated literature, to discover details of another culture almost without noticing, without having them explained to you in so many words. You’re just absorbing them by osmosis by being immersed in a story in which the translator managed to preserve the right kind & the right amount of surprising little turns of phrase.