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chahnniesroom · 5 months ago

Text

some loves

pairing: bang chan x female reader

summary: some loves are too hard to bear. years after being trainees together, chan still thinks of you all the time. he has no idea that a collaboration would lead him back to you.

word count: 6.9k

tags/warnings: reader is an independent singer/songwriter, hurt/comfort, angst, mentions of past injuries, a little bit of jealousy, i am still in denial that chan doesn't do lives anymore, hongjoong from ateez is in this fic

read it on ao3 | masterlist

a/n: once again, sorry for the long time between posts. disclaimer that i do not know much about how the music/idol industry works and i did not really do much research. also i'm not an atiny so sorry if my portrayal of hongjoong is not realistic at all. also also i did a lot of the writing on a new tablet doing handwriting with a stylus to text so please forgive any typos or weird formatting! i didn't have a chance to edit much so i may have missed some things.

Chan’s in his studio when he gets the call. At first, he doesn’t even realise his phone is ringing. It’s 2am on a weekday and he’s been working away for a few hours so the rest of the world has just about faded into the background.

He’s both surprised and intrigued when he looks at the caller ID and sees Hongjoong’s name. Chan would consider Hongjoong to be a friend, but they’re not particularly close and he can’t think of a reason that would warrant this late night call.

“Hey hyung,” Hongjoong greets him briefly before getting straight to the point. “What’s your schedule like in the next few months?”

“It’s actually not too bad,” Chan replies after a moment of thought. “We’re just finalising all the music for the next album so it’ll be a bit of time before we get busy with recording and filming for the comeback. What’s up?”

“You don’t have the answer now and I don’t want you to feel any pressure at all, but would you be interested in doing a collab together?”

“A collab?” Chan repeats. “Like, ATEEZ and Stray Kids?”

“We could,” Hongjoong says reluctantly. “But actually, if you’re up for it then I was thinking more like just you and me. I have a couple tracks that we could work off of and I’ve roped in someone to help me with recording, engineering, and production.”

“Who?” Chan asks, interest piqued.

“Not sure if you’ve heard of them, they go by the name HALLA.”

Chan recognises the name instantly. When Chan had first stumbled upon HALLA one late night scrolling and listening to different independent artists, they seemed relatively unknown. However, a little research revealed that they had KOMCA credits on a number of songs for idol groups, some of which had become widely popular. Their personal work was a variety of genres and a majority of the tracks didn’t have vocals, but the ones that did had clever or thoughtful lyrics. There were a couple of different voices featured in the original songs, both of which were smooth and melodic. HALLA has a style that Chan thinks would complement Stray Kids and he’s considered reaching out to them a few times, but was always held back by something.

There was little about HALLA posted on the internet and while Chan definitely appreciates their privacy, he’s curious to meet the person behind all the songs that he enjoyed. There’s just something familiar about all their music that he can’t quite place, something that he wants more of.

“I’m in,” Chan agrees.

“You can take some time to think about it, talk to JYPE to see what their thoughts are too.”

“No need, I’m interested and I know I can convince management to support this.”

“Well that was easy,” Hongjoong says and Chan can basically hear him grinning through the phone. “And for my own pride, I’m going to pretend that you said yes the second I suggested the collab instead of when I mentioned HALLA-ssi.” Chan instantly flushes and is glad that Hongjoong can’t see him over the phone.

“It wasn’t-” Chan begins to protest.

“It’s okay,” Hongjoong interrupts. “I’m also pretty thrilled to get to work with them, so I understand. Didn’t realise you were familiar with their work, but I guess a hidden gem like them can’t stay hidden for long. I’ll send some files over to you and we can organise a time to work.”

—

Chan finds it easy to work with Hongjoong and they make quick progress on the song, writing lyrics and creating a guide within a couple of weeks. Before he knows it, they’ve scheduled a time for Chan to visit KQ Entertainment to record vocals. Hongjoong knows that Chan is keen to be involved in the production and arrangement of the song too, so they also have a couple sessions booked for that, although Hongjoong teases him relentlessly about just wanting to work with HALLA. The worst part is that Chan can’t even deny it.

Hongjoong meets him at the entrance of KQ Entertainment and quickly takes him through security.

“HALLA-ssi is already in the studio,” Hongjoong explains as they wait for the elevator to arrive. “I was getting input on a track that’s been killing me for the past few days.”

“Did they help?” Chan asks, a little surprised that HALLA is involved in more than just this collaboration. He still hasn't had a chance to connect with them other than quick introductions through text a couple of days ago and he's just as excited to meet them as initially.

“Yeah!” Hongjoong grins, eyes curving into little crescents. “HALLA-ssi is amazing. She only had listen to it a couple times before she came up with suggestions on a few different ways to fix the part that I hated. I left her to finish cleaning the song up and then it’s basically ready for review.”

“How did you start working with HALLA-ssi? I’ve been meaning to try to connect with her.”

“It was actually a friend that suggested working with her. For someone who isn’t signed with a label- which I don’t know how nobody has signed her yet- she’s surprisingly well connected within the industry. I’m sure that KQ would be more than happy to have her work with us, but when I hinted at that, she didn’t seem interested.”

“Really?” Although KQ Entertainment is still one of the smaller companies in the industry, most unsigned artists would still jump at the chance to work there since they have a good reputation, especially due to ATEEZ’s popularity.

“I haven’t poked too much, it’s not really my business. I thought I might as well try. I just know that she’s amazing at her job and I’m grateful that I get to work with her at all.”

They turn the corner to the hallway that leads to the recording studio. The door is ajar and Hongjoong opens it, waving his arm forward to allow Chan to walk through first, before following closely behind.

HALLA’s sitting at the desk and the second Chan sees her face, he stops in his tracks.

“Y/n,” Chan breathes.

You look up, startled, and your eyes connect for a split second before Hongjoong crashes into Chan, sending them both tumbling to the ground.

“Hyung,” Hongjoong complains, unaware of Chan’s inner turmoil. “Why’d you stop?”

Chan lets out an apologetic wheeze from where he’s now trapped under Hongjoong, before resting his forehead against the ground. He needs a second to recover.

It feels like a punch to the gut to see you in front of the recording studio’s computer, fiddling with a track. You look different, but somehow it feels like Chan has been transported right back to his trainee days and all that time that the two of you had spent side by side.

It has been years since Chan last saw you. He had found out that you had left JYPE just months after Stray Kids officially debuted, but all efforts to track you down had been futile. You had changed your number and broken contact with all the other trainees. He had asked around a little bit, but everyone he talked to had been unusually cagey about the subject.

Suddenly, everything makes more sense, especially the little that he knows about HALLA.

As trainees, Chan’s favourite moments had been when you had regaled him with stories of growing up on Jeju Island. The two of you had connected early on through your shared love of the ocean. You had promised him that if he ever went to visit in his free time, you would take him on the best trails up to the Hallasan, the shield volcano, and show him incredible views from the highest point on the island. Occasionally, your parents would send you care packages and the two of you would open them hidden away in one of the vocal practice rooms, the sweet citrus of hallabong exploding in your mouths.

You had always spoken about Jeju Island so fondly, of course you would find a way to indirectly pay homage through the stage name that you chose.

“Oppa,” your voice rings out in the silence of the room. Now, Chan knows why the female voice on some of HALLA’s songs had always seemed hauntingly familiar. “Are you okay?”

“I’m fine,” both Chan and Hongjoong say at the same time, then make eye contact with identical confused expressions.

“Hongjoong-ssi, you didn’t mention that the person you wanted to feature on the track was Channie-oppa,” you say, making it clear who you were addressing your concern to earlier.

“It was supposed to be a surprise!” Hongjoong gets up slowly, dusting off his clothes and scratching at the back of his head, still looking bewildered. “I had no idea that you two knew each other, hyung mentioned he hadn’t worked with you before.”

Chan stays quiet, not sure how much you’re willing to share. Hongjoong must not know about your time with JYPE if he can’t piece together how the two of you could have met.

“Oh- I used to- We trained together back in the day,” you explain sheepishly. “I was with JYPE for a little while and all the trainees knew who Channie-oppa was. That was a long time ago though, I didn’t use the name HALLA back then.”

The five years that you trained at JYPE are more than a little while, but Chan forces himself to bite his tongue at your deliberate understatement. You don’t elaborate further and while it’s obvious that Hongjoong isn’t satisfied with your answer, he’s willing to drop the topic for now. You look relieved when he switches the subject to the song.

The three of you finish recording quickly. It shouldn’t be a surprise, the work so far with Hongjoong has been smooth so adding you to the mix has just made things easier, but Chan knows he’s a perfectionist and it often takes him an almost embarrassing number of takes before he’s satisfied. The only delay comes when Hongjoong decides he wants you to sing some of the backing vocals and resorts to actually getting on his knees and begging. Chan doesn’t go so far, but he can’t help but agree that your voice blends with the song perfectly. Of course, he also just wants to hear you sing.

You relent when Chan quietly voices his agreement and it really shouldn't make Chan feel as smug as it does.

It’s not even early enough for dinner when things are wrapped up. Chan is usually eager to finish a schedule early, but he’s reluctant to leave, taking his time packing up his belongings.

Finally, he doesn’t have a reason to stay any longer so he musters up the courage to ask.

“Do you guys want to go grab some coffee or something to eat?”

You and Hongjoong make eye contact before turning to look at Chan guiltily. His stomach churns for some reason.

“I’m sorry,” you wince. “I actually promised to help Hongjoong-ssi with an ATEEZ song and we need to go over the edits that I made before his meeting with the company later today.”

“Oh,” Chan replies, feeling a little relieved. “Right, no yeah I get it. Hongjoong actually mentioned that earlier, but I forgot. My bad.”

You offer an apologetic smile before turning to the computer, opening up a file.

“I’ll see you guys next time, then,” Chan says, starting to back out of the room.

“Of course! Thank you for your hard work and good job today!” you say brightly. Looking distracted, Hongjoong mumbles an agreement and waves goodbye. Unlike you, he’s not staring at the computer monitor though. Instead, his focus is solely on you. Even from his side profile, Chan can tell that he’s enamoured.

Honestly, Chan can’t really blame him, you look comfortable and confident, swallowed up in an oversized hoodie as you start explaining the alterations that you made to the track. Your voice is calm, but warm and you’re careful to start off by complimenting the work that Hongjoong had done previously.

Chan leaves, resolutely ignoring the twisted feeling that’s back with a vengeance and any thoughts of what the cause might be.

—

Chan can’t sleep. His thoughts are all about you, what you’ve been doing the past few years, what happened to you at JYPE that made you leave, and mostly trying to remember how and why your relationship with him slowly fell apart.

That’s the hardest part. In the darkest time of his life, when Chan had been discouraged and disheartened, you had joined JYPE with a brightness and enthusiasm that gave Chan the motivation to continue being a trainee. He had adored you. He still does.

In those last few months before the survival show had been filmed, Chan’s relationship with you had gone from being everything to nothing. It happened in the blink of an eye, and Chan had never understood what caused you to withdraw so quickly and thoroughly. The two of you had gone from spending almost all of your free time together to you avoiding him at the company, pretending not to hear when he called out your name or tried to get your attention.

The regret of letting you slip away has always eaten away at him, but now more than ever.

Of course, at the time it hadn’t felt so simple. The survival show was Chan’s first serious chance to debut, and not just that, but the weight of having eight other people’s careers depending on his leadership took a toll on all his other relationships. Your absence in his life still hurt, but Chan had lots of practice losing people. He had coped in the way that worked best in the past, throwing himself headlong into producing, training, anything to keep himself from wallowing in his feelings.

Chan doesn’t have any schedules for today, but he still heads to the company. He knows this isn’t the healthiest way to deal with things, but he doesn’t know anything else.

When he arrives, Chan just barely manages to catch a glimpse of a few familiar faces. He calls out before he can think better of it, jogging slightly to catch up. Sana, Momo, and Mina watch curiously as he approaches. He knows that Twice also aren’t in a busy period of the year, so he doesn’t feel guilty delaying them.

“Sorry to bother you all. Sana-noona, I was just wondering if we could chat?”

Sana makes brief eye contact with the rest of the girls before agreeing and waving them to go ahead of her. She follows behind Chan as he leads them into his studio, clearly interested in determining the reason behind this atypical meet up.

“What’s up, Channie?” she asks once the door is closed behind them.

Chan tries to think of the best way to start, not wanting to just outright ask, but not knowing how to subtly steer the conversation into the right direction. Finally, he abandons trying to be casual and just blurts out, “Do you remember Y/n?”

“Of course I do,” Sana says, sounding amused at the sudden mention of you. “You both had reputations for being veteran trainees. I mean, other than Jihyo.”

“I was always surprised that she never debuted,” Chan admits. “I just thought it would happen eventually and I was so shocked to find out that she had left. I didn’t- I don’t understand why she gave up on something she wanted so badly.”

“Give up?” Sana asks, sounding like she’s offended on your behalf. “Why would you say it like that?”

“What do you mean? It was like she was there one day and gone the next, I just assumed that she had enough and quit. Nobody seemed to know anything about it. I never found out why and it’s been kind of killing me.”

“You didn’t hear what happened?”

“What- something happened? To her?” Chan swallows hard, suddenly feeling unwell.

“It- I thought that you of all people would know-”

“What’s that supposed to mean?”

“Nothing, but- you never talked to her about it? You knew her better than any of us.”

“Noona, I didn’t know that she was gone until months later. She obviously didn’t want to talk about it to me, I never reached out at first. When I finally did, her number had been changed. What was I supposed to do?”

“I- It’s better if you were to hear it from her. I don’t know the full story and you know how things can be distorted through gossip. And you especially must know how dangerous that can be.”

“What are you talking about?”

“You really have no clue? The two of you were inseparable…”

“Please,” Chan pleads.

“You know how it is in the industry, you were so close, of course there were rumours…”

It suddenly clicks.

“But we were just friends! And the dating ban-”

“Chan, you know nobody actually sticks to those, right?”

“But really, we were never-”

“I believe you,” Sana says, carefully. “But you know that to management that it doesn’t really matter whether or not anything was actually going on. To them it’s all about the optics. A perceived relationship is just as dangerous as an actual one.”

“Management…” Chan repeats, his mind racing. “They never mentioned anything to me though.”

“You never found it suspicious? You two are extremely close and out of the blue she suddenly stops talking to you, then right after the two of you stop hanging out, you’re chosen for the survival show? Someone must have talked to her at some point. Maybe not management, but for sure someone.”

“You think that’s why it took so long for me to debut?” Chan asks, even though he already knows the answer.

“It was a liability,” Sana explains. “To have a dating scandal so early on? Neither of your careers would survive. It’s painful and a terrible part of the industry but it’s true.”

“And.. Why she left, you know about that too?” Chan pleads.

“I think I’ve said too much already. I know that it’s hard, but some things are really personal.” She pauses for a moment. “What brought this on, anyway? You haven’t mentioned Y/nnie in years.”

“I can’t say much, but I- I saw her today, got to talk to her, found out what she’s been up to.” Sana gasps. Chan continues. “It was so weird to see her after so long. In the back of my mind, I had always wondered, but…”

“I’m glad that you two got to reconnect,” Sana says gently. “The two of you cared about each other a lot, that much was obvious. Talk to her, I think at the very least you’ll be able to find peace about what happened.”

“Noona-” Chan reaches out and pulls Sana into a tight hug. “Thank you for telling me. I appreciate it.”

“Of course. I’m sorry that it took so long for you to find out.”

—

A few days later, Hongjoong schedules another session to work on the song. Leading up to it, Chan is both looking forward to it and nervous, not sure what to expect. Although he still really wants to know what happened to you all those years ago, he’s scared about what he might learn and any part he might have had in it.

After a sleepless night, he ends up arriving almost 15 minutes early. This time, Hongjoong isn’t waiting at the building’s entrance. Instead he had let him know a few days before that Chan could just sign himself in and had sent him the name and location of the studio that was booked. When Chan reaches it, he can make out conversation from inside.

“HALLA,” Hongjoong can be heard through the studio doors, which aren’t fully shut. His tone is petulant and much more casual than it was previously. Chan wonders how much time the two of you have spent together between then and now and he almost misses the next thing that Hongjoong says. “You never told me that you were a trainee before.”

That stops Chan in his tracks, interested in how you’ll respond.

“It was a long time ago.” Your voice is faint. You’re still nice, but Chan can tell that your voice is stiffer than usual. “It doesn’t really matter now.”

This time, Hongjoong doesn’t let it go.

“What happened?” he prods.

“Just drop it,” you warn him. “It’s the past, forget I told you in the first place. Nothing ever came of it anyway.”

“Y/n-” Hongjoong changes tactics, the nagging tone replaced with a quieter, more serious one. You sigh.

“It didn’t work out. Obviously. I’m just not idol material.”

“Oh come on, I don’t believe that for a second. Your producing is good enough that I know for sure you’ve been getting offers to work with more companies than just KQ. When you direct during recording, you can hit every note without any warm up or practice. And I’ve heard your original songs, you must have been considered for both the position of lead rapper and lead singer as a trainee because there’s no way that anybody would let your talent go to waste.” Hongjoong is breathing hard by the end of his rant and Chan can see that this is something that has been bothering him for a while.

“It’s okay, Hongjoong-oppa.” Your voice is gentle, like you’re trying to comfort him. “I’m happy with what I have right now. Really. I’m grateful for all the freedom I have. Getting to work on any project I want and experiment with my music without having to deal with the bureaucracy and politics of the industry? Having that independence is precious to me. I wanted to be an idol for a long long time. But even though that specific plan I had didn’t work out, it doesn’t mean I’m not happy with what I’m doing.”

Hongjoong stays quiet for a while.

“Do you think that if you had the opportunity to debut as an idol now, you would?” he finally asks.

“Oppa, it’s not possible. I can’t dance, I’m too old-” you protest.

“No no, just hypothetically. Like if someone walked into the room and handed you a contract and said that if you signed it in an hour then you’d be able to debut.”

“I- I don’t know.”

“What’s your gut feeling?”

“I think I left that dream behind, I don’t know if I want to go down that path again. I don’t think I have it in me.”

“I’m sorry,” Hongjoong says after another pause. “I shouldn’t have questioned you so much, you shouldn’t have to justify your decisions to me.”

“No, it’s fine. It seems strange, right? For me to be an artist in Seoul and not want to get signed, it's only natural for you to be curious. But I learned a lot when I was a trainee and I learned even more after that and I can say with certainty that this is what I want.”

Chan takes that opportunity to knock on the studio door and push it open.

“Hey, hope I’m not interrupting,” he says, as if he wasn’t just eavesdropping on their conversation and purposely chose when to cut in. “Sorry, I’m a little bit late.”

“Hey, no problem man,” Hongjoong says. “We haven’t had a chance to do anything yet, so you’re right on time.”

“Good to see you,” you chime in. “I think this should be pretty quick so let’s get started!”

As you predicted, it doesn’t take long before a majority of the song is finished. Normally, Chan would be keen to stay involved until the very last detail is finalised, but he trusts you and at the end of this day, it’s Hongjoong’s song so he’s happy to give him the final say.

At the end of the session, Chan once again uses the opportunity to try to catch you alone. The two of you are side by side, packing your bags and Chan asks if you have any plans for the rest of the day. You confirm that you're available and Chan is about to suggest that the two of you take the time to catch up when Hongjoong interrupts.

“Oh, Y/n-ah,” he says. “I was actually hoping to get your input on something and I didn’t have a chance to ask you earlier. Can you please stick around for a bit? Sorry, hyung.”

Hongjoong sounds so sincere that Chan almost doesn’t feel annoyed that he’s stealing all of your time and attention. Almost, because at the end of the day, Chan’s only human. Even though he knows he has no right to feel possessive over you, he can’t stop the petty jealousy that bubbles up inside of him. At this point, there’s no denying the emotion.

Just like the previous session, he leaves alone, heading directly to the studio. Hours later, his breath catches when he checks his phone and sees that you’ve texted him.

[Received - 8:04pm]

Channie-oppa~

[Received - 8:04pm]

This is Y/nnie

[Received - 8:05pm]

Sorry about earlier, I have a contract with KQ Entertainment and work comes first :/

[Received - 8:09pm]

But I’m free now! You still interested in catching up?

Chan stares at the messages until it feels like they’re burned into his retinas. Logically, he knew that you had his number, the two of you were in a group chat that Hongjoong had set up, but this was your first time messaging him privately. The first time you had reached out in years. A precious opportunity that he never thought that he would have. He doesn’t want to mess this up.

He’s also shocked to see you texting so casually. Although the two of you have been comfortable in person, he wasn’t sure that it would translate to one-on-one conversation.

[Sent - 8:10pm]

Hey Y/n!

[Sent - 8:11pm]

No worries at all, I understand. I’m the same way too

[Sent - 8:13pm]

I still wanna meet up… but I’m all the way back in Gangdong-gu 😅 It’d be a bit of a trek for you if you're still at KQ

[Received - 8:13pm]

Gangdong-gu?

[Received - 8:14pm]

Ohh JYPE

[Received - 8:14pm]

My bad, forgot that you guys moved

[Sent - 8:15pm]

Yeahhh

[Sent - 8:15pm]

Headed straight back to the company after we were done, sorry

[Received - 8:18pm]

Well… If you’re willing to wait then I don’t mind. KQ is close to a metro station anyway

[Sent - 8:18pm]

Wait, really?

[Sent - 8:18pm]

No no no, don’t take the subway

[Sent - 8:18pm]

I’ll send a driver. They’re gonna pick you up in 20 min

[Received - 8:19pm]

Wowow

[Received - 8:19pm]

Private driver?

[Received - 8:20pm]

You’re a real superstar now haha

[Sent - 8:21pm]

alsfjshkafs noooooooo

[Sent - 8:21pm]

It’s just faster

[Sent - 8:21pm]

and safer

[Received - 8:22pm]

I’m not complaining

[Received - 8:22pm]

but I’m going to get your autograph when I see you

[Received - 8:23pm]

If I sell it then I can probably afford my own private driver 🤭

[Sent - 8:24pm]

Knew it

[Sent - 8:25pm]

You’re just using me for my fame

[Received - 8:26pm]

Ah you got me this time

[Received - 8:26pm]

*Your fame, your talent, and your good looks

[Received - 8:27pm]

Even tho you were the one that said you wanted to meet up

[Received - 8:27pm]

Hmmm maybe you’re the one using me?

Chan listens to his phone as it continues to vibrate from where it’s lodged in between two of the couch cushions after he threw it across to the opposite side of the room. His face is buried in his hands and flaming red. He feels both giddy and terribly embarrassed.

Chan’s no stranger to flirting, he’s experienced his fair share being on either side through interactions with the members and with Stay, but he forgot how flustered he was being on the receiving end of your teasing. The part he never understood is that your playful tone always gave way to sincerity. Even when the two of you would joke around, he could always tell that you meant every comment that you made about Chan being talented or attractive and that flattered him almost as much as it baffled him.

[Received - 8:32pm]

?? Speechless that I caught on?

[Received - 8:36pm]

I think your driver has arrived… Otherwise I’m being kidnapped

[Received - 8:40pm]

Don’t think I would survive a horror film… I got into the car with no questions asked

[Received - 8:42pm]

It was nice knowing you I guess

When he realises how much time has passed, Chan grabs his phone and runs down to the back entrance of the company. Luckily you haven’t arrived yet and he takes the time to reply to your messages.

[Sent - 8:53pm]

Sorry, lost track of time

[Sent - 8:53pm]

They’ll drop you off at the back door, I’ll meet you there so you don’t have to get signed in or anything

[Received - 8:54pm]

Don’t think you’re getting away with ignoring my other texts

[Received - 8:55pm]

But thanks

[Received - 8:55pm]

Is this back door, the famous one that only allows in authorised people?

[Received - 8:55pm]

I’m honoured

Chan rolls his eyes at your cheesy reference and is in the middle of typing up a response when he sees the car pull up. You step out cautiously, then brighten when you see where Chan’s propping up the door.

“Hey,” Chan greets you. “Glad that you made it safely.”

“Thanks for the ride,” you say, looking around curiously as Chan leads you to an elevator that takes you to the rest of the building. “So this is the new and improved JYP Entertainment. I’d say that it looks the same as before, but I never got the chance to come in.”

“Yeah,” Chan says, rubbing a hand against the back of his neck as he walks. “I mean it’s pretty nice, but at the end of the day a practice room is a practice room and that’s where we spend most of our time.”

“Hmm I think we might have to agree to disagree on that one. You have your own studio don’t you?”

“Ah, kind of. It’s technically a shared one, but practically I’m the only one that uses it unless we’re out of the country for a long time,” Chan confirms.

“Seems a lot better than what we used to have! Do you remember when we used to cram ourselves into that tiny room that barely even fit two chairs and a table?”

“I almost forgot about that, it was so terrible! In the summer it would get so hot that we’d keep the door open-”

“And then someone would come yell at us because we’d be playing music too loud-”

“I remember begging management to install a portable air conditioner on multiple occasions, but they always refused.”

“Of course! Even if they weren’t so stingy, there weren’t any windows leading outside in there, how could they install it?”

“Is that why? I always thought they just wanted us to suffer.”

“That too,” you giggle for a moment, before your smile fades. “But they weren’t totally unreasonable. Management has a different perspective than us, sometimes they know better than us because of their understanding of the industry. They can see things that we don’t.”

It’s clear that you’re no longer talking about air conditioning anymore. A lump seems to have formed in Chan’s throat when he recalls his conversation with Sana. Luckily, the two of you have just arrived and Chan forces himself to smile.

“We’re here,” he says, opening the door and motioning for you to enter ahead of him. “Welcome to Channie’s Room!”

“It’s cute!” you say as you step in. “Very… neat. It’s actually more spacious than it looks.”

“Oh,” Chan says, faltering in his steps for a second. “You- you’ve seen my studio?”

“In case you didn’t realise, you go live every week from said studio. I think at this point everyone in the K-pop industry and every K-pop fan has seen it,” you tease.

“Right, yeah. I didn’t- I wasn’t sure how much you kept up with that kind of stuff,” Chan stammers.

“K-pop or do you mean specifically Stray Kids?” you ask, tilting your head slightly.

“Either I guess," Chan shrugs.

"I will admit that it took me a while to get back into it," you say slowly. "I wasn't... in the best mindset after I left." Chan stays quiet, sensing that you're not quite finished. "I know that I disappeared and I am sorry for not reaching out. I wanted to, but I also didn't know how. I know that I hurt you. That it was cruel to avoid you, not reply to your messages, ignore your calls. I had my reasons why, but it doesn't excuse the pain that I caused, and I'm sorry for that too."

“I think,” Chan swallows hard. “I think that the most difficult part was that for the longest time, I didn’t know why. I didn’t know what I did wrong. I asked Sana about it finally, after I saw you again. And I just felt so stupid to realise that it was obvious to everyone except me."

“I’m sorry,” you say again. “I wanted to tell you, of course I wanted to. But I also knew you. If I had told you that us being together was preventing your debut-”

“I wouldn’t have cared,” Chan finishes your sentence for you, starting to understand. “I would have done anything to keep you by my side.”

"Even if it meant throwing away your career," you say softly. "I couldn't let you do that to yourself. You worked so hard, how could I live with being the reason that you were stuck in the training rooms? You belong on stage, making music.”

"The part that I still don’t get though is why you left? You should have been able to debut as well, I know it."

“Ah,” you say wistfully. You look around and grab onto the pillow that’s on the couch beside you, fidgeting with it as you figure out what to say next. “You know, I actually was supposed to debut.”

“What? How come I never heard about it?” Chan feels a pang in his chest. All these years ago, the two of you had promised that the other would be the first person that they would tell if they ever found out that they had the chance to debut. It seemed that neither of them had kept their promise.

“It was supposed to be a secret project. JYP wanted to see how successful a surprise debut announcement would be. You should have seen the NDAs that they made us sign.” You shake your head, letting out a huff of air. “It turned out to be a good decision because it meant they could cancel it without anyone knowing that we existed in the first place.”

"Who was in the group?" Chan asks.

"There were five of us. I think you know all of them, Sumin, Ryujin, Sojin, and Hyowon," you list. You're right, Chan is either familiar with or has heard of all the girls that you mention. It doesn't make sense though, the group was filled with talented individuals and Chan can't think of any reason strong enough to lead to disbandment. Even more baffling is that of the five of you, only Ryujin ended up staying at the company long enough to join the lineup for another group.

"And they just cancelled it out of nowhere?"

“No... It was- I know that for any idol, preparing for debut is tough, but I think that in some ways, it’s especially brutal for the girl groups," you say instead. Chan doesn't question you further, knowing that you must have a point that you're trying to make.

“How so?” Chan has an idea, he’s seen what the female trainees went through, the differences in how they were evaluated and criticised. But he wants to hear it from you, wants to understand what you’ve been through.

“The visual aspect feels like it’s more heavily emphasised than our talent or skills. We were measured for our music video outfits the second they finalised the concept. It was really early on, but at the time I thought it was so exciting and fun that I didn’t question it. I think that all of us were so thrilled by the thought of debuting that we didn't think anything of it. We did our final fittings for it a few weeks before filming and they had made them all a size too small, everything was just a little bit too tight. They didn’t outright say it, but it was implied that they weren’t going to alter them. It was a choice to lose weight or our chance to debut was gone. We were devastated and angry and eventually just resigned. If that's what it took then I would do it. We dieted like crazy for the time leading up to filming,” you laugh, but it's in disbelief, the sound is hollow.

Paired with what you’re saying, it makes Chan want to burn the whole world down. He doesn't say anything, not sure if he can even open his mouth without letting his rage escape, something that you don't deserve.

“We were practising, like always," you continue. "There was a tricky step that needed to be fixed by the next day when we’d be recording, a flip that we hadn't quite mastered. I was the smallest one on the team, so I was the one being flipped. It must have been like 3 or 4 in the morning, we were all tired, hungry, and nervous about filming. Honestly, I don't quite remember what happened, it was all a blur. There was just this feeling that something went wrong and then pain."

You roll up the pants on your left leg and show off the skin there. Chan has to hold back a gasp at the sight. Even though it’s long healed, the scarring is extensive and obvious. Chan can't imagine how much it must have hurt.

“I broke my ankle in two places and sprained my wrist. I couldn't believe it, five years of my life just gone in an instant. It took months before I could walk and even longer before I could dance again. Even now, I can't dance anywhere close to the way that I used to," you say with a watery smile. “Sojinnie had a concussion from the fall and Suminnie dislocated her shoulder, I must have knocked into them or fallen onto them or something. What could we do? Three out of the five of us were out of commission, there was no time and no budget for a group that hadn’t even debuted to find replacements or re-record and re-film everything. I woke up after surgery and they told me that they were sorry, but my contract with the company was over. That someone had helped me pack up all my things in the dorm. I went back to Jeju-do as soon as I was released from the hospital.”

"I- I'm sorry that I didn't know," Chan says, clearing his throat roughly when his voice breaks partway through the sentence. " I wish that I could have been there, to help or comfort you. I should have-"

"Oppa," you respond gently. "It's okay. I didn't tell anybody what happened and the company also kept things quiet. I'm glad you didn't find out at the time. You had other, more important things to focus on, I didn't want to distract you from that."

"You're not a distraction," Chan says incredulously. "You're important to me, I would have dropped everything to be with you in such a difficult time."

"And that's exactly why I couldn't tell you. You've always been too good to me, Channie-oppa," you sniffle. "Look at you now! I'm so always proud when I think of how far you've come."

Chan lifts a trembling hand and carefully cups your face, using his thumb to wipe away a tear that has started making its way down your cheek. He hears your breathing hitch, but you don't object to his touch. If anything, you melt into it.

Chan takes the opportunity to wrap his arms around you, bringing you close. The gesture breaks the dam of tears that you must have been holding back. Chan rocks the two of you back and forth gently, just letting you cry and trying to surreptitiously wipe away his own tears. It takes a few minutes before you calm, taking huge shuddering breaths that break Chan's heart almost as much as your sobs had.

"I'm sorry," you say with a voice thick with emotion.

"Hey, no," Chan reassures you. "There's no need to apologise. Are you feeling better now?"

You nod slowly, head still pressed against Chan's chest.

"I think- I think I just missed you. I always thought it would get easier, not having you in my life, but it never did."

At your words, Chan can't help his arms from tightening, squeezing you close.

"I finally found you again," he says. "And this time, I promise that I won't ever let you go."

read it on ao3 | masterlist

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theelvishfiddler · 5 months ago

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AN ARTIST'S GUIDE TO HANDS

No, sorry it's actually not an artist's guide to drawing hands. Those are just warmup studies (which I'll talk about in this post.)

This is a guide to Your Hands and how to take care of them when making art.

No one ever sits down and teaches artists how to take care of their hands. They didn’t even teach me this while I was in art college. This is just what I've learned myself through years of pain and scouring the internet for advice.

This is going to be a long one and geared towards illustrative traditional/digital/pen/pencil artists specifically, but artists of other mediums and crafts should take care of their hands too! Well, we all should take care of our bodies in general, but this is about hands.

(advice is below the read more)

First off I'm not a professional or anyone with actual medical advice. I'm just some guy with chronic hand pain who makes art. This advice is free for you to use or discard.

WARMUPS!

Ever sit down in the morning to draw and wonder why your art is so stiff and looks so much worse than what you were drawing last night? It's because you didn't warm up!

You know how for physical sports they all warmup and do stretches before getting into the actual sport. To prevent injuries and all that? Yeah, it's good to do that for art too.

One way to warmup is to just draw lines. Try to keep them as straight as you can. Going up and down and diagonal. Draw squares. Big squares. Small squares. Circles! You are warming up, keep it loose and relaxed! Basically just scribble away.

(examples. I usually keep going until there is no paper white left. This can double as practice for drawing straight lines without a ruler, which is a great skill to have when freehand city drawing.)

Before hopping right into drawing people you can try doing some quick gesture drawings. Line of Action has timed sessions with a large variety of clothed or nude models. I usually do the 30 min class as it has a nice balance of short and long timed poses. The point isn't to draw nice art, but to warm up. Try to get the basic form down, not the details. I find that doing a full class session can really help my drawings feel more loose and grounded in reality for the rest of the day.

Some examples I found in my folders. I suggest looking into what a line of action (not the site) is and giving it a try with some of the studies!

COOLDOWNS!

For sports it's to return your body back to your everyday baseline after a workout.

Example; you are working on a big project! A masterpiece! It's detailed and cool! You have been focusing on this for hours and drawing so intensely. But you need to stop working for the day.

A cooldown is for winding down out of the go go go mindset. Put away the big project and do a couple small doodles and sketches. You are relaxing your hand and letting it stretch out. Keep the sketches loose. Let the art happen slowly. Don't polish anything, that can happen another day. Just ease yourself out of drawing.

...

Cool! Now we get into the meat of this thing.

HAND PAIN

How to avoid it and how to manage it if you already have it.

I love you artists and creatives, I am begging you to please take care of your most important creative tools. I really don't want this to sound like scare tactics like "oooh you better do this or blah blah!" Nope. I just had to learn all this the hard way and I'm extremely passionate about it.

Take this advice or don’t ╮(ﾟ～ﾟ;)╭ I can't tell you what to do, I'm not your dad

Adjustments and Small Solutions

If you are feeling physical discomfort while drawing there are many different solutions to try! Here are some suggestions that may or may not work for you.

Hold your pencil more loosely. Stop gripping that thang so tightly!!! Relax that hand! They make these… squishy pen grip things... I think they are called Adaptive Pencil Grips or Adaptive Writing/Drawing Aids? They stop your hand from being all cramped up by making your drawing tool wider. It's going to take a bit of time to adjust to drawing with it, but it's worth it for those who hold pencils too tightly.

Don't press as heavily. For traditional art, if you find yourself pressing really hard to get darker lines try moving to a softer pencil. Most standard pencils are HB, the B pencils have softer graphite. Experiment until you find the right one for you. For Digital, adjust your pressure settings so you don't have to press as hard to get thicker lines. You should not be pressing so hard all the time, it wears out both your hand and your tablet! It takes a bit of time to adapt to pencil or pressure changes. Try doing some unimportant sketches, they don't have to be good. You are just training your hand and mind to adjust using less pressure.

Draw with your arm and not your wrist! It's small repetitive motions that cause the most strain. You probably hear this one a lot, what does it even mean? It means moving your arm with the motions of your line, and trying not to make too many tiny movements with your just your fingers or wrist. This one is hard! It takes time and conscious thought to change the habit. Tips? Work bigger. Zoom in more. Use bigger sheets of paper.

(Motions exaggerated for a clearer example)

Change the angle of your drawing surface. They make angled tablet holders, angled desks, angled desktop raisers. Experiment, find and angle that is comfortable and the one that causes the least pain. (It's also good to make sure you don't have to hold your head at an uncomfortable angle when drawing. Staring straight down or hunching over a paper flat on the table can cause pain!)

Compression Glove? Wrist brace/tensioners? Some folks use them and I've been thinking of getting one for years now. I can't give advice on this one, because I don't have experience with it. Look into it if you want!

Managing Pain

First things first.

IF YOUR HANDS START TO HURT WHILE YOU ARE DRAWING. STOP! Put the pencil/pen/paintbrush/whatever down. The art will still be there for you to continue tomorrow.

I know from experience that it's extremely hard to pull away when you are hyper focused on an art piece. It's hard to remember all sorts of basic needs like food or bathroom when hyper focused. But you Need to stop when you feel that pain. (Preferably even before the pain…)

Take Breaks! Let your hands rest when you can. Just like a machine, if you don't schedule maintenance, the machine will schedule maintenance for you. Often that means having to wait a few days for it to return to functional. Best to take a day off from heavy usage or take an occasional 30 min break throughout the day to let your hands rest.

Stretching is important! Full body stretches are good; your arms, shoulders, neck, and spine are all connected, but I'm specifically talking about HAND and wrist stretching. There are a lot of stretches and massages for carpal tunnel and arthritis out there. I find they work for hand pain in general. Move into and out of each stretch slowly. Do not push a stretch if it hurts!! Be gentle!!

I am not a qualified professional and I will not be giving out specific stretches (that is beyond my personal comfort level). There are other artists out there who have made helpful stretching info-graphics which are cool, but I will not be because i don't want to be responsible for someone accidentally hurting themself. Ask your doctor for stretches & advice or look some up on your own.

Don't feel bad about forgetting to stretch frequently! Of course it is good to do it regularly and frequently, but I would be a hypocrite if I said that I remember to stretch daily. Setting timers for stop and stretch sessions can work for some people, but also doing stretches whenever you remember is fine! If you are sitting on the toilet you can idly do some hand stretches. On the bus? Laying in bed? At the beach? Do a couple stretches! Even just once a week is better than… nonce a week.

Using Cold or Heat to treat pain. If you really overdid it, put your hands in some cold water or wrap a cloth around an ice pack and apply it to your hand. Cold works best for me, but warmth works for others. This is just pain reduction and reducing inflammation from overuse! This is not a permanent solution.

If your hand hurts a lot! Frequently! Talk to your doctor? Idk mine has never given real advice. Just gently poked my hand and told me there isn't much to be done about it :/ but there are really good doctors out there who will care and give helpful advice!

Again. IF IT HURTS TO CONTINUE DRAWING. STOP DRAWING! This is not a "no pain no gain" type situation. Drawing so much that you hurt yourself isn't noble, it's just… limiting yourself. You only get one set of hands. These things are very handy to have.

Other Advice

Things I couldn't figure out how to fit into the earlier sections.

Your other hand can't handle the strain! Lets say you hurt your drawing hand... the other hand is right there free to use for art. Right? Wrong. Your other hand can't keep up with the demand, it hasn't been trained to the same extent as your dominant hand, it does not have the built up muscle. If you want to use that hand for drawing you are going to have to use it s l o w l y and train it bit by bit over a long period of time. When I tore a tendon in my right hand I decided to just keep drawing with my left and I got Really Good at it. It only took like two months before my left hand hurt too much to move. Then I had 0 functioning hands to pull up my pants. Not fun!!

People who draw on phones. That is extremely impressive! I'm amazed by the things people can create on such a small space. But phone artists are the ones I see most frequently mentioning hand pain. please please please make sure you are taking breaks. Would a stylus work instead of using a finger?

Outside of Drawing. Sometimes it's things outside of drawing that are causing the pain. For me there are multiple sources, but I also have tiny baby hands. Holding a phone too long causes pain. The handheld mode for my Switch causes A Lot of pain. The way my hand rests while typing on my laptop hurts! Playing tense videogames for too long hurts! Find the source of your pain and make some changes. The same things will apply to most; take regular breaks, do some stretches, and find soft things to prop up or rest your arms on.

Change your Artstyle. This one is more of a last resort. You might have to change your art style if you are getting sharp pains every time you draw. I loved drawing tight clean lines and many small fancy details, but drawing like that left me in so much pain at the end of the day. In 2023 I had to take the better part of year off from illustrations just to learn how to sketch and draw more loosely. I had to learn how to be gentle. To stop gripping my pencil so tightly. Learn! Adapt! You might discover a new style that you love even more!

A lot of this stuff gets more complicated in a work setting where you have to draw fast and long in order to get paid. Things like reducing your workload can help, but that can be... financially rough. But outside of that, it’s ok to be a slow artist. Going full steam and hurting yourself is not worth it.

Aaaaaanyway, thats all folks. Today's rant brought to you by me! The guy with chronic hand pain who always forgets to stretch! The guy who got frustrated with a sketch yesterday and decided to push to keep drawing for just one more hour! The guy who woke up this morning and had to spend 2 hours massaging and stretching their hands. The guy who probably shouldn't have typed all of this out because ooww ow ouch

If your hands do hurt, it's going to be ok! You don't need to be a speed demon who draws all the time. It's ok to take your time and take frequent breaks. You are going to do great things! Just be gentle with yourself...

#art advice #carpal tunnel #hand pain #last tips!#don't punch people... use your elbows or smthn. your hands are too precious to wreck punching a jerk #if you are an artist and enjoy longboarding wear wrist guards. lifesaver fr #i hope this thing is readable. it's long and my eyes are tired #also i am an artist not a writer... forgive my grammar

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marzipanandminutiae · 4 months ago

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"EUROPEANS ATE GROUND-UP EGYPTIAN MUMMIES!!!! ALL THE TIME!!!"

sounds much more dramatic than

"Europeans sometimes consumed ground-up Egyptian mummies, or fluid found inside the chest cavities of mummies, or a type of tree resin that became associated with mummies because it kind of looked like the bitumen used in the embalming process, or the dried and ground flesh of very specific European dead- most likely a bit of all of the above at various times in various places. but it's hard to say what the proportion of each was- and at least one early Middle Eastern physician, Abd al-Latif al-Baghdadi from modern-day Iran, also advised the use of the Body Cavity Liquid variety hundreds of years before the first documented use of mummy by Europeans. so it was a medicinal thing in the areas from whence the mummies came, too. unsurprising seeing as a lot of cultures- including Europeans -have done Corpse Medicine with their own people for centuries. there was also been pushback against the medicinal use of mummies in Europe since at least the 16th century; it remains unclear how popular the notion was at any given time. so the answer to Is This A Good Symbol For The Effects of European Colonialism In Egypt remains a resounding 'ehhh...?'"

"because the whole idea is, is it not, that Europeans were literally consuming the dead bodies of a non-European people who would have had no reason to sell their dead without a European market. and that's kind of true! there was a market that created a demand! but they were also already putting the bodies to these uses closer to home before Europeans started, because this whole thing began with both Arab and European doctors misinterpreting other Arab doctors who were talking about the medicinal qualities of tree resin. so really it's not as simple a situation as we might like to believe."

"and Mummy Brown paint is like this whole other situation where it was supposed to be made from ground-up mummies but often wasn't because Cost-Cutting, and a lot of artists didn't really like it anyway, and others used it thinking the name only referred to the color, and one time Edward Burne-Jones attempted an Egyptian funeral for a tube of Mummy Brown paint because he was so horrified with the origins, so while that's a more straightforward as an Oh Shit Violent Colonialism situation, people merrily waltzing into shops and buying one tube of Dead Egyptian Person, please, my good man! wasn't quite as widespread as one might now think"

"for me, the more compelling image of Europe Fucking Egypt Over is that of a white archaeologist peering curiously into a pit where Egyptian people are working tirelessly to excavate a tomb, their names to be lost to history in favor of whatever rich white person they toiled for. even that image is not without complicating factors- I, imagining it, am a white woman who cannot ask those Egyptian men what they think and feel about all their role in all this -but to me it seems more reliable than the VERY complex and often misinterpreted history of the mummy trade, even as I understand it after like an hour of research"

"on the OTHER HAND, does it even matter if people in the Middle East were already doing mummy medicine, when Europeans increased demand? does it even matter if Europeans felt bad or at least grossed out about Mummy Brown paint or if it wasn't ~always~ real mummies? maybe it doesn't! maybe my instincts as a history worker to say It's More Complicated are clouding my judgment on the nature of colonialism! or maybe they aren't! or maybe different people will think I'm right or think I'm full of shit and that's just the nature of doing public history on The Tungles!"

"anyway I have COVID and should probably go to bed now"

"this article and the Wiki page for Mummia are very well-sourced"

#long post #history #mummies

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starleska · 2 years ago

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i think ‘Big’ Jack Horner is Disney, and here’s why

many of us have had the pleasure of seeing the incredible Puss in Boots: The Last Wish by now, and were blown away by its clever writing, enchanting animation and emotional character arcs. yet there is one character who booted the trend of having a reason for his behaviour, and outright refused to experience any growth whatsoever.

let’s talk about ‘Big’ Jack Horner, and why i think he’s supposed to represent Disney:

‘Big’ Jack Horner isn’t just an antagonist in The Last Wish - he’s a villain. a self-obsessed, exploitative, murderous, petty, cruel bastard of a man whose awful behaviour isn’t just motivated by personal slights or childhood trauma: he sincerely enjoys hurting other people. whether it’s cheating his goons (’The Serpent Sisters’) out of a fair payment for their services or being excited about shooting a puppy in the face, there’s no denying that Jack delights in causing others pain and suffering. but what does he have to do with Disney?

let’s answer that question with another question: do you think that Jack, when placed next to the other antagonists - Goldi, The Three Bears, even Death - sticks out like a sore, plum-coloured thumb?

of course he does! but why? well, let’s look at Jack on a surface level. Jack is a monolith of a human being. not only is he physically huge and intimidating, he is the inheritor of an enormous pastry fortune and operates in the manner of a mob boss, with countless resources and a whole variety of powerful magical items at his disposal. indeed, Jack employs a crack team of bakers/assassins called ‘The Baker’s Dozen’ to carry out many of his tasks. although Jack does harm others himself, it is because of these resources - including the people who work for him - that he is able to bypass many of the obstacles faced by our protagonists in an honest and character-developing way (e.g., the Pocket Full O’Posies in The Dark Forest). Jack doesn’t need to have a character arc the way the other characters do, because he is so wealthy and owns so much.

but Jack’s reason for owning so much and being obsessed with magic and magical items isn’t through intellectual curiosity, or a traumatic backstory where he needed to learn how to wield magic. do you know what Jack’s covert motivation for owning all of the magic in the world is?

it’s money.

when we get the flashback of Jack’s childhood, dancing for the entertainment of an audience using his nursery rhyme, we see him becoming jealous of Pinocchio - and we see Gepetto in the back, absolutely raking in the cash. if we consider this flashback as that crucial moment within which Jack decided to become what he is today - and the presence of our off-brand Jiminy Cricket inclines us to think so - then we can understand that Jack decided that from that moment forward, he would own all of the magic.

let’s go back to The Baker’s Dozen for a moment. this team of highly-competent, multidisciplinary artisans do everything for Jack, whether it’s baking the pies which make him rich, or laying down their lives at his service. we aren’t given an in-universe reason for why they do this. yes, Jack is feared, but he is still the subject of mockery due to his humble beginnings as a nursery rhyme character. it certainly isn’t due to being treated or paid well. however, if we view the Baker’s Dozen as a metaphor for overworked, exploited artists whose views are routinely dismissed by the money-hungry, powerful corporation who owns their craft...things start to add up, don’t they? considering historic allegations of worker abuse at the hands of Disney, having Jack Horner literally step on their spines and encourage them to flex takes on a whole different meaning.

it doesn’t end there. do you recognise the items that Jack pulls out of his Mary Poppins bag when his Baker’s Dozen are being destroyed by the Pocket Full O’Posies - the items that he calls ‘the big guns’? it’s the broomstick from Fantasia, the spinning wheel from Sleeping Beauty, the size snacks from Alice in Wonderland, and a knock-off Jiminy Cricket from Pinocchio - all references to some of Disney’s earliest and most famous films.

still don’t believe me? well, let’s recap more of the items Jack has in his repertoire:

a hook-hand (referencing Captain Hook in Peter Pan)

a trident (referencing King Triton in The Little Mermaid)

poison apple bombs (referencing The Evil Queen in Snow White)

a glass slipper (again referencing Cinderella)

remember what happens when the knock-off Jiminy Cricket (interesting that there are so many Pinocchio references specifically, huh?) is horrified that Jack is losing so many men? Jack says he isn’t worried about losing the manpower, because he has a bottomless bag full of magical weapons. Jack literally gets his power off of the backs of his workers. sounds a lot like a big company justifying worker layoffs and exploitation because they have so many properties and are too big to fail, doesn’t it?

hell, Jack doesn’t even know what half of these items do! when he’s using the unicorn horns as ammo, he is surprised that they cause people to explode in a shower of confetti. viewing Jack through this lens, it’s difficult not to think about enormous corporations gobbling up properties and churning out content with little to no regard for their artists (looking back at The Baker’s Dozen - some of whom do perish in the fight with the unicorn horns) or what the properties are about. we haven’t even touched on Jack coveting the Wishing Star, a recurring motif in countless Disney movies as representing magic, dreams, and boundless creativity.

now, i hear you saying, ‘but Star! why would DreamWorks bother writing their bad guy as a metaphor for Disney?’ believe it or not, this isn’t the first time that DreamWorks have done this. in case you didn’t know, Lord Farquaad is a caricature of Michael Eisner, former chairman and CEO of The Walt Disney Company. the production of Shrek was actually quite troubled; animators who were perceived as having failed on other projects were ‘Shreked’, or sent to work on Shrek, instead of working on other (presumed to be more lucrative) films. of course, DreamWorks was co-founded by previous Disney CEO Jeffrey Katzenberg, hence the animosity towards Disney and its works evident in the Shrek franchise. this is what formed the story of Shrek: an ugly, crude outsider character taking on the clean-cut moralising of a dictator hell-bent on a so-called ‘perfect’ world, all created against the creative backdrop of a painful separation from Disney and a great deal of pent-up rage.

the irreverent, crass and sometimes adult humour of Shrek was a middle finger to Disney’s high-censorship control on animation. this is why Lord Farquaad (which you may have noticed sounds a bit like ‘Fuckwad’) is so obsessed with Duloc being ‘perfect’, and why he couldn’t stand the freedom of the fairy tale creatures who are the heroes of the first Shrek movie.

in fact, this kind of meta-commentary permeates the Shrek franchise:

The Fairy Godmother from Shrek 2, despite being a fairy tale creature herself, is highly prejudiced against characters who break out of their perceived social norms: i.e., Shrek marrying Princess Fiona and getting his Happily Ever After. she is an expansion of the control left over by Lord Farquaad, and rich because of her monopolisation of fairy tale creatures and their stories.

Prince Charming in Shrek the Third fails miserably to capitalise on these themes, but we’ll get back to him!

Rumpelstiltskin from Shrek Forever After tackles the gluttony of franchise reboots, and how soulless and rooted in corporate greed attempts to reboot often are. whilst not necessarily Disney-specific, Shrek Forever After follows the box office bomb that was Shrek the Third: a movie which noticeably fails to write a compelling narrative approaching any of the themes of the previous two films. the writers learned from their mistakes and wrote a movie which satirised their own selling-out of the franchise, becoming hollow and unnecessary and ‘perfect’ - the very thing they were making fun of in the earlier Shrek films.

there is one more area i’d like to touch on: Jack Horner’s source material. we know that Little Jack Horner is quite obscure: an 18th-century English nursery rhyme involving a boy who pulls a plum out of a pie with his thumb, and congratulates himself for his fortitude. but did you know that from its earliest conception, Little Jack Horner was associated with foolishness and dishonesty?

it’s true: the simple yet inexplicable nature of the poem was lambasted for being infantile, and quickly became the subject of revision, moralisation, and even political satire. it is no mistake that to ‘be under one’s thumb’ (as many of the characters in The Last Wish are to Jack, both literally and figuratively) means to be under one’s decisive control. the choice of Jack Horner for the villain of The Last Wish is a clever one, because we could easily have ended up with a sympathetic Jack, whose ostracisation as ‘not even a fairy tale’ may have led to a justifiable motive, even for his specific brand of cruelty. but instead, the writers of The Last Wish have gone one step further; they’ve transformed a source affiliated with idiocy and deception into a metaphor for a global multimedia conglomerate...all while portraying him as simultaneously terrifying, powerful, and ridiculous.

it has been over a decade since Shrek Forever After was released, and Disney has changed dramatically in that time. a global giant, Disney now owns more enormous money-making properties than ever thought possible, and consistently capitalises on nostalgia for its early properties to make more money and accumulate power. since breaking out of its exclusive licensing agreement with Disney in 2016, DreamWorks has had no official connection to Disney, making the ground for mockery and satirisation of the company which spawned the studio all the more fertile. ‘Big’ Jack Horner is not just a glamorous return to form for the dreadful, unapologetically evil villain which Disney has eschewed in modern times - he’s a hulking, egocentric monster whose avarice rivals that only of the corporation he’s inspired by.

and those are my thoughts on ‘Big’ Jack Horner! of course this is by no means the definitive interpretation - we should all just have fun with the movie and come up with whatever theories we like 🥰💖 i’d love to hear your thoughts on him and The Last Wish in general - he’s definitely one of my favourite bad guys to be released in the past few years!

thanks so much for reading, and have yourselves a wonderful day 🥰

#big jack horner #jack horner #puss in boots: the last wish #puss in boots #shrek #disney #puss in boots: the last wish spoilers #starleskatalks

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cacodaemonia · 4 months ago

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I've had this in my drafts for months, and I just saw a post complaining about fan artists (while having the nerve to start out with, "I love fan artists so much but...") who draw characters this way or don't draw them that way, so I figured it was about time to share this.

You know that unwritten rule in fandom that says you shouldn't demand that fic writers cater to your tastes? "Don't like, don't read"? Here's a reminder that the same goes for fanart.

Sometimes, I see complaints that fan artists don't draw character A exactly how they look in canon/in a particular slice of canon/according to someone's specific headcanons. Sometimes, I see complaints that character A is being depicted, say, without enough body hair, or with the wrong body type, or as a different age than they appear in canon.

If you find yourself getting upset with fan artists over things like this, I hope you'll take a moment to:

mind your own business

consider how fucking hard art is

I think a lot of people who haven't spent time in the art trenches have absolutely no clue how difficult it can be to draw a human, period—let alone human features you haven't already practiced a million times.

This can be especially true for artists who don't have a lot of drawing experience. When I was a kid, I mostly drew women, so learning to draw more typically masculine features was a challenge, and it took me many years to even get okay at it. It takes a lot of practice to figure out how to draw a variety of facial structures, body types, hair styles, ages, etc.

For a example, I have never known an artist who doesn't think drawing children is a bitch and a half, and wrinkle placement can mean the difference between drawing something that looks like an elderly human versus a shriveled apple.

Simply drawing body hair can be very time consuming. You also have to understand hair growth patterns and direction and take into account if the person's body hair is very curly or more straight, etc. If I just want to do a really quick sketch, maybe I don't feel like spending 10-20 minutes adding body hair. Maybe some people don't like body hair so they don't want to draw it. Maybe some people have carpal tunnel syndrome or medial epicondylitis and the extremely repetitive motion of adding body hair to characters is physically painful. You don't know. And it's not your place to tell them they're wrong.

Fanart, just like fanfiction, is about drawing the things we like—NOT catering to what other people want or think we should be making.

So feel free to talk about how much you love it when fan artists draw characters in ways you like! But don't be a jerk by demanding people draw what you want, and don't put down those who don't cater to you. You can have all the personal preferences you want in fanart, but it's rude and entitled to force those preferences on others fans or act like you're a better person because of your tastes in the appearances of fictional characters.

#NEWS FLASH: ART IS HARD #please stop making it even harder for people who just want to have fun drawing their blorbos #if you want to see a character portrayed a certain way then you're welcome to try and draw them like that #art stuff #fanart #fan art #there needs to be a ''don't like don't read'' for fanart #don't like? keep scrolling #idk #dldr #fandom wank #fandom

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fumifooms · 10 months ago

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On beastkin tattoos and drawn/written magic

Tried figuring stuff out because I was making a tattooed beastkin oc. Take it or leave it, just a bunch of observations and theorizing. There is a focus on how the tattoos look but I also try to figure out the underlying principles of how they work.

Table of contents:

observations & important details

Stuff that beastkin tattoos look like

Theories

Non-beastkin tattoos

I called the components lines and dents in the pic above, but it’d be more accurate to call them characters I think, or even symbols. At the time I wasn’t sure if it was a specific "alphabet" used for these tattoos and if they represented anything more than lines to the people using it so I called them like dents in a line or teeth in a toothwheels or inner layers in locks, but since I made the connection to magic circles I think they do. It’s the same structure as with magic circles, lines connecting characters and favoring circle structures. All magic iirc comes from calling upon spirits, so it’s interesting to wonder what written magic does exactly, if it communicates with the spirits or simply compels them.

Observations & important details

The picture at the start summarizes my observations and the recurring patterns, but I’ll also do a rundown and add more. The fundamental structure of the tattoos seem to be lines forming big simple patterns, and then small characters that sprout from a side of those lines. Although, not all lines have characters/dents, and some characters have two lines one on both sides like on Lycion’s forearms. On Lycion’s legs, there are also lines with two rows of characters on either sides, so yeah the line & dents are the fundamental structure but it’s flexible on how it’s put into practice.

Oh yeah, also notable that when doing less intricate doodles like on her blog or Daydream Hours, she often omits details so we can’t be sure on the smaller drawings wether there are dents/characters on some lines or not, we have to assume if they’re implied or if there aren’t any. For example on Lycion’s reference all the lines on his forearms have dents, but if you look at the other beastkins it’s honestly debatable wether there are dents on the lines around their forearms and lower legs, also see Otta’s tattoos on her reference…

One of the more important and puzzling details is that beastkin tattoos look very different depending on the soul type, from werebear to wererat etc etc. BUT we also see with Lycion and that random werewolf, that there is room for difference even within the tattoos for the same soul type… Of course, if we don’t assume that those differences aren’t because the type of canine soul are different, since Lycion does mention he doesn’t know which canine type his was so there’s room for variety there apparently. But I doubt that’d change much within the same genus and whatnot, but still, then we have the question… Weretigers’ tattoos look like tiger stripes, and werebears have lines that seem to emphasize a bear’s chest fur? Those two types have a lot of wavy lines that make them look rather different from werewolf and wererat tattoos. Different soul types certainly seem to require different tattoos, but to what degree is the choice of how and where the lines are placed artistic, and to what degree is it efficient if not necessary? What’s the logic of where they need to be, going from one soul type to the next? The weretiger and werebear one seem to have fitting patterns for their animal, but werewolf and wererat have much more artifical patterns.

One of the recurring patterns with similar placements are all the lines forming circles around wrists, forearms, lower legs and ankles… Positions do seem to be important especially with the recurring placings. Maybe the lines are in the places that are expected to change the most: legs and ankles & wrists with new inhuman different joints, strong muscled shoulders for tigers, strong core for bears, etc. A tiger’s eye, with all the tattoos around them…? More lines = an easier stronger more efficient transformation? With the differences in tattoos for same soul types I don’t know how much precision in the pattern themselves are important tbh, though I imagine the characters/dents are the crux of the magic and precision there is the most important. Feet and hands tend to be untouched though, Lycion is the exception to this with tattoos on his hands and fingers. Circles seem overall important imo, lines are almost always curved, or go straight around a limb to reach its other end and form circles that way, werewolf torso tattoos, etc etc.

In Lycion’s ref the tattoo ink is a brownish red, but we don’t see if that’s the norm- is what I would have said before the new Daydream Hour came out with some tattooed elves portraits where they’re a vivid red. Fleki’s tattoos are covered in her main colored reference(and in the mangas all tattoos are black ofc including Lycion’s, while on her blog and Daydream Hours the color is inconsistent and often black too), Otta’s are black though they also seem at least partly non-magical? The snake/rope pattern doesn’t look consistent with magical tattoos in general imo. Pictures of these tattoos are compiled at the end of the post btw.

It’s also important to remember, because of the pic below, we can never truly be sure of what’s necessary for the tattoo to work and what’s just artificial flourish, though with Lycion I feel like it’s implied that there’s nothing in his tattoos trying to hide in the meaning. It’s also interesting to note that magical tattoos can have random patterns added without it interfering with the tattoo’s purpose. Is it the placement that make them harmless, or that they mean nothing in tattoo magic so it’s like an extra useless line of code that doesn’t get processed? Or is it that once your tattoo is done the meaning of it is sealed, and even if you were to fully cover it up in a solid black square of ink it wouldn’t do a thing? No clue, but it’s all very curious.

Other stuff they look like

A buddy pointed out that one of the recurring patterns looks a lot like DNA strands. Maybe the "dents" signify the different base pairs?? Probably verifiably untrue since that’d mean there would only be a few different type of dents, and also if they’re doing DNA sequencing that would be crazy, but doesn’t that just make you wonder… 👀 Tattoos are like a conduit for magic (mana? Which is also a sort of life force) so I do rlly like the idea that beastkin tattoos specialize in and target the DNA in the some way.

We never see the tattoos from up super close, but especially with Lycion’s the "dents"/characters remind me of norse runes a bit. Mostly because of the structure of straight lines and the simplicity of each character as far as I can tell. Runes being used in magic isn’t a new concept so I wouldn’t be surprised if Kui intentionally incorporated them into art/writing-based magic. Culturally it doesn’t fit well in with the elves as much, but a few of them do have old norse names. (And magic tattoos seem to be a very elven thing)

And another buddy also pointed out that with the characters being connected with a line it was reminiscent of the devanagari script. The elves have a good amount of indian coding, with names and some characters having bindis etc etc, so if intentional it’d be quite an interesting detail.

(Source for second one. I couldn’t find handwritten examples where there’s a clear line between characters much)

Oh- and if we continue the train of thought of indian coding, are reminiscent of henna! The brownish red color is especially on point.

Lastly and very much least, drawing lines that separate and denote body parts always remind me of the guidelines for butchers that people often point to and even draw on the animal when cutting. Since this is the cooking manga I wanted to put this in.

Oh yeah! I should mention that some of the tattoos, especially with the wererats and the lines going down the torsos, also remind me of dissection/vivisection scars/lines.

Theories

Magical tattoos are like a conduit for magic, is what is said. In case of beastkin tattoos, that makes me think it’s not that the tattoos are what keeps the extra soul bound to the body but that they’re what allows the human to freely shift between human and beastkin form, unlike Izutsumi who can’t because she doesn’t have tattoos. So thus the souls are merged with or without the tattoos, but the tattoos help control and reign back the extra soul and its influence both on the body and on the mind. Sort of like a seal. The soul is bound by and not bound in the tattoos. Filtering the animal soul out and not in. Close but not exactly the same theory is that the tattoos are what keep the souls separate, and if there weren’t tattoos the souls would just mix. So then the tattoos are less about control and more about separation itself.

But it depends a lot on the angle you look at it with. Like while some think the soul is within the tattoo, I think the soul is within the body but the tattoos help ‘circuit’ and control it. My friend is convinced that it’s the first and theorizes a lot around that, but I plan to mostly talk about my own take here bc I don’t find the arguments compelling personally. (Do prove me wrong if you can /gen)

We know from Lycion explaining the different beastkins that what animal you can merge with is dependent on size and stature, the build of the body, but the line where a body becomes incompatible with an animal is rather blurry. Nimble bodies become werewolves and beefier ones become werebears, and the only prospect for halflings are rats. We do also know that Izutsumi and assumedly a panther bonded just fine. Obviously, a rat and a halfling still aren’t anywhere the same size, so again the line or hard limit is blurry. My take is that this is because the bodies have to shift between human and beastkin, the transformation has to not strain the body too much. If you try to transform a square into a circle, the muscles and skeleton might really struggle to adapt if not even just mess up. Lycion talks about the physical (and mental strains) in the pics below. Beastkins that don’t have tattoos and are permanently fused like Izutsumi might have more of a wriggle room since they don’t have to transform to and back regularly? But yeah if the animal and human bodies aren’t compatible enough maybe the body would collapse, or just be incredibly painful, who knows. It’s a bit terrifying to imagine what the failed soul bindings and shiftings must have been like when developing all this know how of the magic and what does and doesn’t work. Besides height, general size and body type, the amount of fat of a person might matter, like maybe for werebears. Healing and resurrection magic does take fat away from the body so maybe transformations would be a necessary cost on top of the mana? Or just be needed to form muscles, fur, etc? But yes from the examples we saw I feel like maybe werebears need fat, weretigers need musculature, wererats need to be on the nimble side, and then werewolves have loose requirements? More like ideals than requirements, I really doubt a fat wererat is impossible for example.

My main theory is that the tattoos are more about the transformation than binding the soul to the body, right. For example places that have a lot of tattoos and lines circling around limbs are ankles and lower legs, which with animal leg structures would get changed a lot during the transformation, bones and all. So the artistic parts are more about the tattoo artist’s will and about what parts of the animals are important or require more change while shifting, rather than it being a depiction of the soul’s essence or something like that. As support I think the pictures below referring to the physical strain of being a beastkin are relevant.

With this sort of tattoo magic, it’s a gut reaction to think that maybe there’s a special magical ink used. I doubt it, I feel like if the type of ink was a big component of how the magic works Kui would have mentioned it. There are some tattoos that are black like Otta’s iirc, but all the others are generally red so that could be support to that theory. The patterns evidently do matter a lot, so I don’t think it’s implausible that the patterns on their own are enough to fulfill their purpose. There’s also how "[the tattoos] are like a conduit", so I don’t think the tattoos cost or give mana but rather they, well, conduit the mana that’s in the body to be as efficient as possible or to fulfill certain specific tasks, like transforming, / lifting the wall between you and the animal soul bound to you.

Sigh how the hell does tattoo magic even work. "The tattoos are like a circuit" SURE but the symbols have to still mean something right… But then how does adding random patterns to camouflage the tattoos come into play without affecting the meaning, and if there’s an artistic or varying aspect to it and tattoos differ from one individual to the other for the same purpose then maybe it just isn’t a strict magic at all? I do find it fun that we don’t really know the underlying principles of the magic so it’s hard to even know how it activates and whatnot. Going back to tattoos being able to have extra patterns tattooed on top of it without it affecting the performance of the tattoo... But yes I do lean towards the explanation that as long as the extra patterns don’t mean anything they don’t interfere. But like if you just drew a line over the character/symbols/dents would it register that and stop working, or no? The limits are all so blurry… Here’s to hoping the world guide book 2 has info on it!! Readying myself to either get full face slapped or to have "I told you so" bragging rights.

Theoretically, it should be possible to bind two human souls together, or a monster soul. Izutsumi and Lycion’s souls are called feline and canid monsters iirc, but that’s like calling a panther a monster, I wonder if an actual monster from a dungeon’s soul would be more unstable to bind and to shift into… Monsters can leave dungeons, but I wonder about The Demon’s influence on them, like how he’s able to manipulate at will Kensuke, maybe it’s as long as a monster is in a dungeon? That could potentially be sooo bad for the monster beastkin. Wild speculation though, and I imagine being a human-human beastkin would be super extra mega taboo, I wonder if it’s ever even been tried according to elven records. This is the section that was important for my dunmeshi oc lol, evidently I think tattoo magic is very interesting so I want to explore the limits of it with ocs, a tattoo artist trying more and more ambitious projects and soul like a lovecraftian protagonist learning about what should be left unknown, and a dude who really wants to be More Than Human and divine almost with identity issues that decides to take on like 6 different souls. If you’re interested here’s the dude, still a huge wip tho.

I think it’s important to remember that tattoos are used for different magic and effects too, not limited to beastkins.

Edit 10/2/‘24 oh hey a leak, neat

Other non-beastkin tattoos

I know that I didn’t point out every detail and difference ever, like in that magical tattoos extra with the halfbody person those assumedly aren’t beastkin tattoos even if I included it in the main pic, and how the bust in that same picture has a line of characters around the neck without any line connecting them much like in the pictures below.

Which speaking of this is a good place to talk about different cultures having different systems or characters for magic? The torso of that guy in the upper right corner for example has very different patterns than what I’d have expected with the beastkin tattoo examples. And of course, Izutsumi’s tattoo…

Izutsumi’s tattoos support that the characters/symbols are the most meaningful and important part. Also goes against the assumption that the elven written magic system is because the symbols communicate with the spirits better, since well, they seem to understand japanese just fine. Maizuru’s written magic is said to be akin to gnomic magic, and she reminds me of irl onmyodo a lot. Like many other types of magic, different regions, people and cultures find different ways to practice their version of it.

Meanwhile this unnamed canary’s tattoos follow the rules I’d laid out

And here with Otta, what I said earlier about her tattoo being ink and her tattoos not really seeming magical imo, maybe except the ones around her forearms? Hm I’ve always misread them as sort of a snake randomly curling around her arms but they’re still geometric after all, who knows.

#Dungeon meshi #meta #Analysis #theories #dungeon meshi worldbuilding #This is it for the tags ig. Pretty dry and quick for once #will edit in new stuff as I go if I find or brainstorm more #Compilation #If u have stuff to add on pls do. Can’t promise a response though #delicious in dungeon

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jesncin · 11 months ago

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The Potential of Asian Lois Lane. Pt 1: Girl Taking Over and American Alien, a comparative analysis

Lois Lane has had many iterations over the years. But specifically in the last decade, Lois has been reimagined as an Asian American woman in both the comics and recently in the animated show My Adventures with Superman.

I believe making Lois Asian is a very inspired choice for the Superman mythos! I would like to take a moment to analyze these versions of Lois from an Asian perspective, seeing what works, what doesn't, and what I'd like to see more of. We'll start with the comics first, as MAWS is going to need its own post.

Usual disclaimers: I'm just one Asian perspective, I do not and never will claim to cover every Asian person's opinion on a thing ever. We're not a monolith, we come from a variety of backgrounds and experiences. I'm simply a fan who enjoys media analysis and believes it's valuable to have my perspective in this topic. Secondly, this discussion covers the comic run American Alien, which is written by Max Landis. He's an ultra creep and while I think the comic is worth a read for what it is, I leave it up to you whether you'd like to buy the comic. You can always arg-arg-ahoy otherwise.

I'd like to start with Girl Taking Over: A Lois Lane Story written by Sarah Kuhn with art by Arielle Jovellanos. This is a self contained YA graphic novel about a young Japanese American Lois dealing with the ups and downs of breaking into journalism as a career in National City. When her dream internship at Catco gets a corporate take over, Lois seizes an opportunity to write an exposé on a shady art director. But when her story is turned down, Lois does some out of the box things to get the story of marginalized performers shared with the world.

Girl Taking Over is a fantastic story and I happily recommend it to anyone looking for how an Asian American Lois could be reimagined (with fabulous art by Arielle! The fashion especially is on-point). This story isn't just a diverse coat of paint on a Lois Lane story, being Asian informs Lois' experiences and choices. Both she and her frenemy roommate Miki, are ambitious Asian women yet have hidden insecurities where they still made themselves small to their respective white male bosses. They played into model minority in different ways, and it's only by working together that they're able to foster a community for their stories to be told.

Lois and Miki don't just "have a diverse friend group", that friend group is actively being taken advantage of and suppressed by white gatekeepers. By extension, Lois' friends from work find solidarity in each other. Lois looks up to Cat Grant, a Filipina-American journalist, because seeing Cat succeed made Lois feel like her dream as a journalist is possible. I love how Lois' mom (a character so rarely expanded on in DC canon) acts as a voice of comfort for Lois in the story. All these characters feel holistic and whole, going through their own unique struggles.

It's clear from interviews with both the writer and artist that they care for the history of Lois, and saw an opportunity to reimagine her in a way that aligns with her character but also revitalizes her for new readers of color who aren't used to seeing themselves reflected in media. It's taking Lois' ambition and fearlessness and channeling them into the need to be a model minority, and the insecurities that can come from the desire to succeed constantly. It's taking a character historically frustrated by sexism and disrespected by her male peers- including Clark Kent (who got better treatment than her as a man), and expanding her to be a Lois that has to deal with both sexism and racism in the workplace. It's humanizing Lois' excellence into something painfully specific and relatable for many Asian women.

The only thing I feel I want from this version of Lois is... honestly more of her! I want to see what Japanese Lois does when she moves to Metropolis and works at the Daily Planet. I want to see how her experiences in National City informs her adulthood. Girl Taking Over sets up an incredible groundwork for stories to be told in the Superman mythos. How would Lois react to Superman, a fellow immigrant? Would Superman see himself in Lois? Since she's someone who, in the American context, is perceived as the perpetual foreigner? What would their relationship be like? Out of all the Asian Lois' in media we have so far, this Asian Lois' story has the most rich potential in my opinion.

Up next, we have American Alien written by Max Landis. This 7 issue series swaps artists for each issue, as a means of reflecting different milestones in Clark's life. I will be focusing on issues #4, 5, and 7 since those have the most prominent Lois appearances. With that, I'd like to celebrate the artists for those issues: Jae Lee (issue 4), Francis Manapul (issue 5), and Jock (issue 7). All these artists did a fantastic job, their art styles are energetic and fun to look at. Lee and Manapul are both Asian artists (Korean and Filipino respectively) and I love how they draw Lois- who looks undeniably Asian in their art styles.

American Alien is a modern take on the Superman tale. It expands Clark's story to be connected to Batman, Green Lanterns, Green Arrow, and more. We see Clark grow from his days in Smallville to a city boy in Metropolis, coming into his own as Superman. It's a bold and pretty divisive take with some standout story moments. From what I know, this is likely the first time Lois has been reimagined as Asian- and continues to influence Superman media like MAWS (the producer specifically calls out this comic as inspiration).

In issue #4, Clark moves in to his Metropolis apartment and talks on the phone to his mom about "some bigshot guy named Louis Lane". The reader, likely familiar with the Superman mythos, knows Clark is coming in with biases and a preconceived notion of who he considers a promising student reporter. Once we meet Lois Lane however, the comic turns the reader's expectations on their head:

Lois Lane is an Asian American woman (it's not specified what her exact ethnicity is)! This is a fun moment where the comic metatextually challenged the reader's own biases, showing it's not just Clark who had a different idea of who Lois Lane could be.

Lois' introductory panel is my personal favorite part of her characterization in American Alien. Lois proudly stands as a wall of text behind her recounts how she was considered as a winner for the Daily Planet's Charlton Memorial Laureate Program. When asked why she deserves a place on the program, Lois snaps back that the very question itself is loaded. She's listed her credentials and looks professional- so she's either already been rejected and is just being made to "at least had my say" or she's been accepted and is "meant to garnish my success with eloquent affirmation" to which Lois refuses to do either.

This is a great defiant introduction to Lois, showcasing how jaded she is with the way the world perceives her- but is very confident in her self worth as a journalist. By the end of the issue she reaches out to Clark to combine their exclusive interviews into one story to make a big impression on the news. Her words inspire Clark to seize an opportunity to make a big change in the world as Superman.

Afterwards, the comic plays the classic Superman and Lois dynamic straight. Lois is initially suspicious of Superman, but eventually comes around and is inspired to hope through him. There's a great back and forth between the two where Lois' words initially inspire Clark to be Superman, then Clark assures Lois that Superman is probably just a good guy, and when Clark loses hope from a bad day of heroism, Lois gives him hope again. In the end, Lois realizes her love for Clark Kent over Superman and they share a passionate ending kiss.

Overall American Alien nails the Clark and Lois dynamic and understands their relationship. I consider this Asian Lois "just okay". I like that we get to see an adult jaded Asian Lois meet Clark Kent and Superman, and see them get together. Similarly to Girl Taking Over, I'd like to see how this Lois and Clark would play out. My only issue with American Alien's Lois is a sense of missed opportunities.

The writing overall leaves room for plausible deniability over Lois' Asian identity. The artists (particularly Lee and Manapul) are doing the heavy lifting delivering Asian Lois. If she was drawn as a white woman, none of the writing would need adjustment. Sure her introductory panel implies that people judge her based on her appearance- but that could be just sexism instead of the intersectional experience of Asian Lois going through racism and sexism. Clark did assume she was a man after all- it's never specified if he assumed she was a white man. The only thing you'd lose is the metatextual shock value of Lois Being Asian This Time. That's really what this Lois boils down to, initial shock value with no specific writing to follow through. Her marginalization and identity is written broadly enough that it could be attributed to general sexism and womanhood. It's not specific to being an Asian American woman.

However, because of its broadness, there's room for Lois' Asian identity to be built on in the world of American Alien. The story centers Clark's experiences, but I can easily imagine a continuation of the story expanding on Lois'. The basic groundwork is there. I think it's telling that in a comic called American Alien, we get a more diverse Superman cast system. Jimmy Olsen is Black, Lois Lane is Asian- when Clark moves to the city it feels expansive compared to Smallville. It's a world that feels ready to tackle themes of racism if it was ever to continue (and probably in the hands of a writer with that kind of life experience!). In the end, there's room for this Asian Lois to be something special. Clark isn't the only American Alien in American Alien, if you catch my drift.

You can see how Girl Taking Over has a huge piece of what American Alien is missing. The characters aren't just diverse for shock value, they're not an aesthetic change over historically white characters. They have a story to tell that is inseparable from their identities. Whereas in American Alien, the art is doing the heavy lifting with the reimagined diverse characters- Girl Taking Over has both the writing and art carry the representation. Lois can't be changed into being white in Girl Taking Over.

Both of these stories have potential- but if I had the choice to pick which story should continue, it would easily be Girl Taking Over. This graphic novel works for what it is: it makes sense that this is a younger and idealistic Lois that hasn't met Clark or Superman yet. It's a YA book and Lois can absolutely carry a story on her own. What I want as an Asian fan, is for the potential of Asian Lois Lane to be seen through to the point it's considered the definitive version. As of right now, Girl Taking Over is a fun twist on the Lois Lane story. Not something that is seen as inseparable from the Superman mythos. However! If those themes of marginalization and immigrant identity are tapped into for both Superman and Lois Lane? I feel that has the potential to radically strengthen the overall themes of Superman. It's certainly been touched on before.

(TW/CW: racial slur mention in below image)

Superman Smashes the Klan by Gene Yang with art by Gurihiru is a retelling of the Clan of the Fiery Cross arc in the classic radio show The Adventures of Superman where Superman faces off with the Klan who had been terrorizing a Chinese American family. The graphic novel adapts the story to center the Chinese American characters, and makes it a point to show that Superman relates to them. If that dynamic was applied to Asian Lois, that feels like a definitive love story waiting to happen.

The classic two person love triangle with Clark and Lois is that Lois loves Superman and is indifferent to Clark Kent. She thinks Superman is this ideal macho man and Clark is a cowardly fumbling guy at work who rivals her. What happens when you take that dynamic and made it so Lois identified with Superman- the more othering identity? How complicated would that make Clark Kent feel? How would he navigate that when his marginalization isn't always visible? That's a whole new depth to the love triangle we're not used to seeing. I feel so far, none of these versions of Lois have touched upon this potential dynamic. The perpetual foreigner, Lois Lane and the ultimate alien foreigner that is Superman. The jaded city girl meets the alien farm boy who gives her hope. They inspire each other to be more of themselves in a world not ready to accept either of them.

Up next, we'll be discussing My Adventures with Superman's Korean Lois Lane in pt 2. It's well. You can probably guess how I feel about it from what I wrote here but welp. We'll talk about it.

#ramblings #media criticism #lois lane #once again please be nice!!#i have many many feelings about asian lois lane so i may as well write it down and share it with you #jesncin talks maws #(a little bit anyway! like a precursor)#jesncin dc meta

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empiropediazine · 9 months ago

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Contributor Applications!

It's finally here! :D

If you've been waiting to apply to the zine, consider the waiting done! We have prepared a google form for you to apply with, but don't worry about privacy! We won't be able to see your emails or any other information you don't specifically share with us.

Link to the applications

Just a few notes before you apply: This zine will require you to be over the age of 15 in order to apply. Applications open today, Sunday the 11th (at midnight GMT) , and will close three weeks from now, on March 3rd (at 11:59 GMT). Please fill in the form carefully, but if you make a mistake you can just send in a new form!

If this is your first time hearing about our zine, or you just want to know a bit more about the zine, we will put some extra info under "Read more"

What's all this then?

Empiropedia is a zine focused on Season 1 of Empires SMP and its worldbuilding. The zine will be structured, as the name suggests, a bit like an encyclopedia! It will be an in-universe collection of historical records from the various empires and it will feature both writing and illustrations. The zne will also be completely free!

What can I expect if I get in?

If you get into the zine you will be assigned one (or potentially more, depending on what you answered in the form) empire and category to work on. This zine allows for a big variety of styles and techniques to be applied for both writers and artists, so if you've been looking to experiment a bit this might be the place for you!

Where do I find more info regarding the categories?

We have made three different posts with all the explanations for every category that's been included in the zine:

Writing caregories

Portraiture and architecture

Clothing, creature, and prop design

Can I apply if I don't have drawn/written anything Empires-related before?

Feel free to apply, but without at least one Empires SMP related piece there's a lower chance you will get into the zine.

Can I apply if I've never watched Empires SMP?

As previously stated, this zine focuses heavily on worldbuilding, so it requires at least basic knowledge of the lore of whatever empire you apply to. If you think that you possess said knowledge even without having watched any of the POVs feel free to apply, but we will most likely be favouring people who did watch the series.

#empires s1 #empires season 1 #empires smp #empiresblr #empires season one #empires smp s1 #empiropedia #empiropedia zine #participant applications

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sterekweek-2024 · 3 months ago

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Sterek Week 2024 FAQs

Event Information

About the page:

Sterek Week is a celebration of our beloved pairing Stiles Stilinski and Derek Hale. It’s a week long event with daily themes meant to inspire fans to create and share their works!

The admins:

This year’s Sterek Week is brought to you by @boymeetswerewolf , @kcfriedchicken, and @halinski

How it works:

Every day has a theme. Works must be inspired by or related to the theme. All kinds of works are accepted (fanart, fanfiction, edits, graphics, playlists, moodboards, headcanons/plotbunnies whatever you can think of!)

It just has to be Sterek 😊

All works should use the corresponding day tags so we can find them. Post on the day of theme, with the correct tag, and it will be reblogged to Sterek Week '24.

We accept late entries, so if you are running behind still post it! We continue to check the previous tags throughout the week.

Sterek Week Timeline

August 25th: The Sterek Week admins finalize this years themes

September 1st: We share the themes with you!

September 1st - October 17th: The Sterek Week admins are hard at work on the tags, art, and daily posts for Sterek Week '24

October 18th: We share the daily tags and Sterek Week '24 tag with all of you

October 25th - October 31st: STEREK WEEK TAKES PLACE

Frequently Asked Questions

Is there a word limit or format for written pieces?

Nope! We accept all lengths of works and all different kinds of works, be it drabbles, ficlets, poems, one-shots, whatever you’re comfortable with!

What about artworks, or other mediums/playlists/moodboards/edits? Are there any formats/limitations?

We just want you to be creative! As long as it’s sterek in some way and fits within parameters of the themes and guidelines, create away and tag us!

What about NSFW works?

NSFW works are accepted, we just require them to be tagged accordingly and of course, they need to be posted according to Tumblr’s guidelines, as well as any other hosting site’s.

Can I talk about my work(s)?

Yes! As long as you don’t share it before the corresponding day.

How many works can I submit?

As many as you want! We’re ecstatic about every piece!

I’m not sure my work really fits a theme./It’s not necessarily perfect/as good as others. Can I still post it?

Please do! It’s the variety that does the trick. The sheer quantity of works in the fandom is what has made and kept us so strong! Just create!

Are AI works accepted?

Based on comments and requests from last years Sterek Week, AI works will not be accepted this year. Now that being said, there are only three of us and we are only human, sometimes we don't realize something is AI. We ask that no AI works are submitted, but if we find out later that they are, we will be removing them from the blog.

We ask that if you think something is AI, you politely message us and we can look into it. Please no hounding the artists directly as we have seen a lot of false accusations in the past. We can only count on people being upfront and honest and the fandom coming together as one.

Got anymore questions/doubts/troubles?

Send us an ask! We’re all in this together 😊

We’re super excited to see what everyone creates!

-Kiley (kcfriedchicken)

#sterekweek2024 #sterek #eternalsterek #faq

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random-potat · 2 months ago

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and they were roommates - kjs. - pt. 6

part 6. mission: don't burn the house down (wc. 459)

Walking into your shared room with Haneul and Siyoon, you take in the whole experience. The room was minimal, with large windows bringing in the natural light. There were three beds evenly spaced out with a small walk-in closet toward the left.

“Ok! So who wants which bed?” Haneul asks.

You shrug your shoulders. “Doesn’t matter to me; I just can’t wait to sleep.”

“Oh my gosh, same,” Siyoon exclaims.

“Rock, paper, scissors?”

“Let’s go!”

After unpacking your clothes and makeup into the closet, the three of you guys sit on the ground in order to get to know one another.

“Let’s start with the basics,” Siyoon suggested. “Things like birthdays, or like favourite artists.”

As you nod along, Siyoon speaks, “I’ll go first! My birthday is February 16th, and I really like IU and Lisa from Blackpink.”

Haneul goes next. “I was born on May 25, and I’m a very big fan of Olivia Rodrigo.”

Being the last one, you think about who your favourite artists are. “My birthday is ___, and I really enjoy SEVENTEEN, and my mom listened to a lot of 70’s/80’s music when I was growing up, so I really admire ABBA and Queen.

Just as the conversations get more comfortable with jokes being made, a bell can be heard coming from the living room.

The three of you all lock eyes. “Guess we have to go outside,” you state.

Going out of the room, you see the three guys coming out of their room at the same time. Heading towards the living room, you can see what looks like a letter on the coffee table.

With the six of you guys sitting on the sofas, Youngjae reaches out for the letter and reads it aloud.

“Welcome to the first official mission of We Became Roommates! Every new home needs to hold a housewarming party, and a housewarming party is not the same with some food. This week’s mission is to come together as a group and make a homemade meal. You guys will be separating into two groups of three by picking sticks that have a colour and heading to the grocery store to get ingredients. The red team will be in charge of the main course, and the blue team will be in charge of the desserts. Happy cooking, and welcome to the new home!”

You nervously make eye contact with Youngjae, knowing that cooking is not yours or his forte. Baking and cooking are definitely two different things in your head.

Picking out your sticks, you end up in the main course meal team, with Ni-ki and Jongseob.

“Soo,” you start, “does anyone know how to cook?”

Crickets.

“Ok, let’s just try not to burn the house down,” you murmur.

a/n: let's hope they don't burn the food :) also i think u can easily lose a 6ft man at a grocery store but i digress 😌 also dont mind the typo that was on the 4th pic 😀 im actually a lil 🤏 bit behind at doing the drafts for this smau but it's ok 💪 gotta challenge my time management skills (ᴗ_ ᴗ。)╭ i have like a bunch of the storyline planned out just need to actually do the social media part of it and do all those pictures ദ്ദി (ᵒ̴̶̷᷄﹏ᵒ̴̶̷᷅)

synopsis: With long-time K-pop fans asking for another season of the infamous variety show We Got Married, MBC brings it back with a spin-off, We Became Roommates. As a way to bring K-pop fans together, the first season involves six idols born in 2005. With seeing each other every day, doing missions for every episode, making memories, and fans watching and shipping, blossoming friendships and a bubbling romance can't be helped. pairing: idol!jongseob x fem idol!reader genre: idol au, crack, fluff, humour, coworkers to friends to lovers

previous ✉︎ next ✉︎ masterlist

likes and reblogs are appreciated ⋆˙⟡♡

taglist; open 📌: @yoizhrs @sunoostripletriple @seobluv @sirenla @chuuswifereal @rkivegirlsblog @tkooooop @forever-atiny @i03jae @bludzk1llzyuzu @downmainstreet @astro-doll-the-star @rinaforstars @ssweetreveries @finnbbl @keropiimp3 ~ (send an ask or comment if you'd like to be added to the taglist ദ്ദി(｡•̀ ,<)~✩‧₊)

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mookymilksims · 3 months ago

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ULTIMATE REALISTIC Sims 3 Roleplay Guide | Transform Your Slice of Life Gameplay! | Part 1

youtube

What is up my little MooMoo's, welcome back to my channel! If you are new, thanks for dropping by.

So I promised you all a slice-of-life roleplay guide, and here it is! This might be the single most important guide for my ultra-realism roleplaying series in The Sims 3. Traditional roleplaying in this game is a bit tricky, so you’ve got to get creative. With mods, you can maximize your roleplaying efforts with little to no labor.

And whenever you look up how to roleplay in the sims 3, you'll find yourself quickly being redirected to challenges, except when you come across my input.

I have so much planned to show and teach you all in this guide. We’ve got a lot of ground to cover, but I promise to make it simple and effortless. This guide is easy enough for beginners who’ve never roleplayed before, yet packed with fresh ideas and twists for veteran roleplayers.

I want you to think of roleplaying as a Sims 3 challenge, but not as strict or difficult. Everything I show you in this video are just suggestions, meant to inspire you and ignite your creativity. I want to excite you into playing this game differently and unlock the true potential of The Sims 3.

Unfortunately because there is so much ground to cover I am going to have to break this guide up into several parts.

There are in total 10 sections of this guide I want to be able to teach you, in today's guide we are going to be focusing on section 1: Basic Roleplaying: and things you need to understand about the game.

So, let's break down exactly what we're going to cover today:

Basic Roleplaying - Things you need to understand about the game.

Curating Your Sim's World - Setting the stage before you play them.

Personality Templates - Creating Sims you care about.

Style and Taste Bud Palettes - Refining your character's personality.

Hobbies and Routines - Enhancing your Sim's day-to-day lifestyle.

Vacations and Traveling - Adding excitement and variety.

Socializing Roleplay - Making your Sims’ interactions meaningful.

Mods for Day-to-Day Gameplay - Essential mods for realism.

Challenges and How to Transform Them - Keeping things interesting.

Storylines and Easy Ways to Put Them Together - Creating compelling narratives.

I care about your time, so we’re going to steamroll through all of these sections and videos together! Let’s dive right in and get started!

Basic Roleplaying

Remember when I said earlier that you need to have the right perspective to roleplay in this game? Most of you have been roleplaying to some extent even if you think you haven't.

Challenges are basically stricter roleplaying incentives. They give you a set of rules to follow in-game, where doing the opposite wouldn't make sense.

And this is the crux of roleplaying, essentially. It's about understanding the person you are playing as and what they would realistically do. It’s not just about completing goals, but about making choices that reflect your Sim’s personality, desires, and circumstances.

So, what exactly is roleplaying? At its core, roleplaying is acting out the life of a character you create. You’re not just controlling them like a puppet; you’re thinking and making decisions as if you are that character. It’s about stepping into their shoes and seeing the world through their eyes.

For example, if your Sim is an artist, you might decide that they spend their mornings painting in the park, meeting other creative Sims, and visiting art galleries for inspiration. On the other hand, if your Sim is a fitness enthusiast, they might start their day with a jog, followed by a healthy meal, and then head to the gym.

Roleplaying is about adding layers to your Sim's story. It's not just about what they do, but why they do it. Every decision should reflect their personality and circumstances. If your Sim is shy, they might struggle with social interactions, but if they’re outgoing, they’ll thrive at parties and gatherings.

This perspective transforms the game from a series of tasks into a rich, immersive experience. You're not just playing The Sims; you're living a story. And the best part? It’s your story, crafted by your imagination and choices.

What actions do you find yourself doing more than anything else in the game? What action is it that you focus on the most?

Skills. Jobs. School. And motive maintenance. These are the actions you find yourself doing the most in your gameplay instead of creating memories and developing your story.

What if I told you that skills, jobs, high school, and elementary school are actually not as important in the game as you think? There is nothing in the game that requires you to master a skill. So why are you maxing out their skills?

You don't always have to become the leader of the free world, especially if it's not even a lifetime wish for your Sim. The only thing you need to pass school is to not have a consistent F. Your children and teens were going to graduate regardless.

There are hundreds of mods dedicated to rebalancing The Sims 3 motive decay that would allow you more time in your day playing as your Sim instead of just feeding them.

When you change the way you think The Sims 3 was meant to be played, you begin to see just how much fun you could really be having in this game. I'm only saying this as the kid who stressed out about getting a B in-game, not getting that promotion by the end of the day, and freaking out every time my Sim's hunger bar got halfway full.

We should be having fun, relaxed, and enjoying our Sims' actual lives. Once you remove this stress from the equation, you're left with a bunch of freed-up open time in your Sims' day. And now, you have to fill it with creative roleplaying scenarios.

But don't worry, I've already got you covered on that in sections 5-10.

LifeSpans

If you already watched my lifespan and relativity guide, then you already saw me extensively go over this entire system. I realized very quickly how important a Sim's lifespan was to my roleplay. If the lifespan is too short, I don't have enough time in-game to care about my Sims, develop their stories, and complete pivotal moments in their character development. I used to turn their aging off, but in doing so, I missed out on the natural progressions of not just my active household but also everyone else.

A well-balanced lifespan is crucial for meaningful roleplay because it allows you to:

Build Deep Connections: With a longer lifespan, you have the time to truly get to know your Sims, form deep bonds, and invest in their personal stories. You'll witness them grow, change, and evolve over time, making their journeys feel more significant.

Develop Complex Storylines: Longer lifespans give you the freedom to create intricate story arcs. You can explore your Sims' lives in great detail, from their childhood dreams to their golden years, ensuring that no pivotal moment is rushed.

Experience Generational Play: Watching multiple generations of Sims grow up, interact, and leave their marks on the family legacy is one of the most rewarding aspects of the game. It brings a sense of continuity and history to your Sims' world.

Allow for Realistic Progression: A longer lifespan lets your Sims achieve their goals at a more natural pace. So that if the roleplay allows it, they can climb the career ladder, master skills, and pursue hobbies without the pressure of an imminent aging up.

Thank goodness I learned how to curate a mods list and create my own mods that addressed all of these issues. And thank goodness I shared it with all of you, so you don't have to do anything but install them and jump into the game.

Remember, a well-thought-out lifespan not only enhances your roleplaying experience but also enriches the entire game world, making every Sim's life story more impactful and memorable.

Questionnaires

Questionnaires are a great way to delve into the mind of your character, understand them inside and out, and effectively roleplay them in-game.

Think of this section as breathing life into your Sims' lungs. I personally find this portion to be fun while also gaining incredible insight into how my Sims think, act, and feel in-game.

This practice gives me so much confidence when roleplaying them. Without it, I find myself improvising without as much confidence, making certain interactions more awkward for me. I have to rewrite the interaction in my head, out of the game, to rectify it, when I could've just used this practice and character breakdown beforehand.

Why Use Questionnaires?

Character Depth: Questionnaires help you create multifaceted characters with rich backstories, motivations, and unique personalities. This depth makes your Sims feel more real and relatable.

Consistency in Roleplay: By understanding your Sims' traits, goals, and quirks, you can ensure consistent behavior and decision-making throughout their lives. This consistency enhances the realism and immersion of your gameplay.

Enhanced Storytelling: Detailed character profiles allow you to craft more compelling and believable stories. You'll have a clear sense of your Sims' desires and conflicts, making their journeys more engaging.

Improved Interaction: With a solid understanding of your Sims, you'll navigate social interactions more naturally. Knowing their preferences and relationships helps you respond authentically in various scenarios.

Reduced Improvisation Stress: Having a well-thought-out character profile minimizes the need for on-the-spot improvisation. You'll feel more prepared and confident, leading to smoother and more enjoyable gameplay.

How to Use the Questionnaires

Now, you don't always have to answer every question. You should aim to answer just enough questions in just enough categories to confidently roleplay your character in improv gameplay scenarios. Use the link below to the character question generator and begin breaking down your character. This practice not only enhances your roleplaying experience but also brings your Sims to life in ways you never imagined.

Remember, only answer enough questions where you get to know your sim inside and out. To enhance this further, consider their fashion style, and mini backstories behind their favorite food and color. Write this down somewhere where you keep a back up of your save file, so you can always reference it in the future if you get stuck on what they would do in a roleplay scenarios.

Link to Character Question Generator!

Conclusion

So here is where I feel is a good time to end the video, since I've given all of you a lot to think about. Let's quickly recap what we've covered so far:

Basic Roleplaying: We explored how to shift your perspective on gameplay, understanding that roleplaying involves making choices that align with your Sims' personalities and realistic behaviors.

LifeSpans: We discussed the importance of adjusting your Sims' lifespans to allow for more meaningful story development and character progression. I shared my mods and settings to make this process seamless.

Questionnaires: We delved into the practice of using questionnaires to breathe life into your Sims. This helps you understand your characters deeply, ensuring consistent and engaging roleplay.

Make sure to subscribe and hit that notification bell to become a part of the Milky Way Squad on your way out, so that you can be notified and come back for Part 2!

Thank you for watching and see you in the next video!

#sims3 #ts3 #the sims 3 #sims 3 roleplay ideas #sims 3 roleplay #sims 3 roleplay guide #sims 3 guide #sims 3 tutorials #tutorial #tutorials #resources #Youtube

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shelandsorcery · 11 months ago

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What I've Learned About Teaching Art

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

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

#art education #classroom #teaching #classic shel thoughts

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