#subvert capitalism

[auntieashleydark]

So, is the electrical charge transferable via bodily fluids?

This website is elite. This website is the blueprint, it's the pinnacle. There is no website like it. I lwill never leave this website

[writingwithcolor]

Diversity Win: Is "Crazy Rich" POC Representation Necessarily Empowering?

sodapopsculptor asked:

I’m writing a story with two sets of protagonists: A trio with a Black girl, a Latino, and a Vietnamese-American boy who all come from middle-upper class to ridiculously rich families, and a pair of white working-middle class sisters. They’re all heroes of this story. I’ve seen way too many rich white people and poor poc people in fiction, and I’m kinda getting sick of it, but I’m worried that by having the poc kids be rich and the white girls not so much, I’ll be reinforcing the idea that poc somehow rule the world. The only time the rich kids use their status as leverage is when the Asian threatens to sic his cop dad on a bully (race unstated but I imagined him as white) picking on a freshman, and during the Black girl’s birthday party, when she pays the biggest jock there fifty bucks (And later says offhandedly that it was just what she had in her pocket) to chase off a creep hitting on her.

OP, have you ever seen the “diversity win!” meme before?

I understand that your motivation for these narrative choices is to give POC a chance, if you will, to be the rich characters. But it is evident from this ask that you have not asked yourself what this entails. I want to ask you to critically examine the race and class intersections you’re creating here, as well as these kids’ roles in oppressive systems.

You explain that these rich POC are heroes and only have righteous reasons for leveraging their power.

But is your Black girl character aware of the potential disciplinary and/or legal consequences her jock accomplice might face while she has the resources to keep her hands clean? Are you?

Is your Asian character aware of how much of an abuse of power it is to “sic” a cop on someone, and the sheer amount of harm a criminal record or incarceration does to a juvenile with behavior issues? Are you?

So you want to put POC in positions of power for #representation.

Does it resonate with the group you’re representing?

Do you research and portray the unique ways race, ethnicity, class, and majority vs. minority status come together?

Or are you putting these characters in oppressive hegemonic roles for the sake of a power fantasy, on behalf of a group you're not even in?

To your question, you're not reinforcing the idea that "POC rule the world" because such a generalized belief does not exist. Instead, you're reinforcing:

The idea that society has “winners” and “losers.”

The idea that the problem with disproportionately powerful people is the lack of “equal opportunity” as opposed to the power imbalance to begin with.

The idea that those in oppressive positions of power need only have the right intentions to justify their use of it.

To be clear: that is not to say that you can't have jerk aristocrat billionaire millionaire crazy rich POC. Evil or mean rich characters are fun! I have some myself! You can even have rich characters who are gentle-hearted and well-intentioned, but you have to know the ways in which they’re privileged and decide how aware of that your characters are. That’s no problem.

But if you think that wealthy and powerful POC would have the same values and priorities as their poorer counterparts, you’re deluding yourself. There’s a reason why the quote “power corrupts” exists. There’s a reason why no matter where you look on the globe, there are historical dictators and tyrants.

If you want bratty rich POC who lack regard for the consequences of their actions, because you want bratty rich characters, great! If you want them because it would be uplifting or empowering representation? You’re doing it for the wrong reason.

~ Rina

I fully agree with Rina, and truly want to emphasize the last paragraph.

If you want bratty rich POC who lack regard for the consequences of their actions, because you want bratty rich characters, great! If you want them because it would be uplifting or empowering representation? You’re doing it for the wrong reason.

I don't think you need to aim to subvert or purposely make all the BIPOC rich and powerful and the white people poor and suffering. Add diversity and include upper class rich and class privileged BIPOC, sure thing! And you can avoid your fears of intentional subversion message by including rich and powerful white characters as well, even if they're not the focus of your story. Just their existence helps. You could also include middle-class characters of Color as well.

More reading: Black in upper-class society

~Mod Colette

[totallynotokguys]

If Wild Card was a Real Boy: Snails

Imagine Grian has gathered his friends again and he's told them their going back to the basics: three lives, red hostile, and boogie man. But this time with nerfed enchantments and new bioms/mobs from updated Minecraft. And his friends are like, "Yeah, sure. It's a life series. We're down."

But it's a lie!

The first session progresses like normal, people gather supplies and teams are beginning to be formed - then right near the end.

3. 2. 1...

Creepy sound and a flash of some symbol.

What?

The lifers are confused. Was that supposed to be the boogieman curse activating? Why did it show up so late? Did Grian forget to activate it until now?

Some look around. Nothing happens. They continue on, if a little more uneasy now.

A few lifers spot them immediately.

The snails are back!

There was never a boogie curse, it was a snail curse all along!

It's panic, fear, pandemonium, chaos in a box!

Maybe the lifers discover that episode, maybe they don't until the next, but these snails are different.

They aren't killing their people.

They are cute as ever, making silly noises and following along like true stockers, but they don't hurt you. They don't fly. And they aren't fast.

Sure they are a little annoying, if you drop a block near them they shloop it up. If your build is between you and them they just demolish it. If you build a tower up they cry pitifully while circling your tower like sad lil puppies. If you swim too long they accidently drown and take you with them.

The murder snail is now an annoying pet you have to take care of.

Which, is kinda cute. Lifers learn to get along with the thing they once feared and snail pranks ensue. (locking yourself in another person's base so your snail will chew holes all over it. Lagging peoples supplies into your snails mouth. Discovering a trap under your base because the trappers snail gave them away.)

Cute snail moments happen too (snail race the second, Scar turning his snail into a Star Wars fan, Impulse figuring out how to use his snail mechanics to make a cool farm, BDubs trying to get his snail to sleep on his bed, Grian being yelled at by the whole server to get down because he made another sky net but forgot to make a way for his snail and now is crying bloodied murder for the whole server to hear)

And then session 3 happens. It's all normal, it's progressing how the lifers expect just with snails... until a snail kills their lifer.

Did I say there was no boogie curse?

I lied. There still is, it just affects the snails instead of of the lifers.

So now, every session the lifers are once again living in fear. Is their snail the boogie this session? How many snails will become boogies in one session? When will the curse strike? They don't know.

Of course there are ways to tell. Someone realizes their snail isn't eating everything they drop anymore and moments later they just barely dodge a snail strike. Boogie snails only have taste for their flesh. Someone pillars up high and finds their snail can now propeller up to them. Boogie snails can fly. Someone tries to drown another snail but it survived, only to wiggle and attack its lifer a moment later. Boogie snails don't drown.

Boogie snails also don't remain boogie forever. There's a time limit, and if they don't kill their lifer in that time (time ranges from 15 minutes to half an hour) then they go back to normal.

Lifers learn to adjust, they learn the tricks or they die but it's fun, it's harrowing, it keeps them on their toes.

And then someone turns red and their snail becomes red named too. The red snail still chases after its lifer, but doesn't eat them. It eats anyone else that gets too close. The red name now has an attack dog. A very slow one but still affective if the red life uses it right.

Red snails are like boogie snails. They only eat people and they cannot drown. Unlike boogie they cannot fly and they never stop hunting.

When their lifer dies... they travel to the lifers last resting place and remain there for the rest of the season.

[bonefall]

...Something's kinda hitting me, guys. I think something just clicked.

So we all know that BB!DOTC is the arc I'm not staying faithful to, right? A lot of characters are getting total overhauls? I'd actually been dancing pretty heavily around the pro-colonialism themes in the original text, simply because I don't really feel comfortable handling them (same with certain sexual themes, it's not great for my mental health to force myself to engage with certain elements that are triggering)

So I'd made it so there was Park Cats (Wind Coalition and River Kingdom) who arrived relatively recently, and Tribe Cats (Sky's Clan, Shadow's Clan) who nestle into an unclaimed spot in the forest. All groups roughly equal in power until Thunder's Clan which was existing in defiance.

But Clanmew isn't JUST comprised of Parkmew and Tribemew-- there's a third contributor. Old Townmew, which mixes with Parkmew and forms Middle Townmew, mixing again with Clanmew to create Modern Townmew.

Since I'm now really thinking about the colonialism themes, especially in my re-read where it starts reaching its narrative conclusion in Books 5 and 6... I think I need to add that 3rd cultural group. I need to make them a player. I think I'm doing a serious disservice by only having the Park Cats, Tribe Cats, and then saying all others mostly lived in the town.

I'm gonna do a BB!Brokenstar with Slash. Previously I'd just cut him completely-- but I think I should, instead, walk him back from being "Pure Evil" like he is in-canon and make him into a real character.

One Eye's a god drawn to the festering stink and rot of the First Battle; Slash is a mortal, leading a group like any other in the Forest Territories.

I think I'm also going to significantly bump up the time the Park Cats have been in this territory. Slash and his cats have been fighting them for years, and until the Mountain Cat influx, were basically spread through most of the Forest.

[arlathen]

i made my little family tree and it ends in the character i want to be insane about, my LDB, but actually i can't stop thinking about her dad. man who followed every order and did everything right and is still losing everything. still married but soooo divorced. elf dilf. he's perfect for me.

[notasapleasure]

mm doll movie bad actually. :/

[ivygorgon]

Ad blocking in Melbourne

[gaast]

Clip-on ties are abominations, affronts against any god imaginable, but at least they're an ethos.

[tits-n-trix]

The uh, the Palestinian donation post with poll-bait about which squid game looks the most fun. We're.... huh.....

[morallysuperiorlips]

10 Ways to Ensure Your Villain's Evil Monologuing Dialogue is as Unsettling as Possible!

1.) Make sure you're mixing body language with the words themselves: You can have your villain saying the most twisted shit, but if they're just standing there like a cardboard cutout, their words probably aren't going to hit as hard. Have them touch your protag. Have them toy with a weapon as if they're going to use it. Have them pace. Have them put together the blood ritual they're ranting about. Keep them moving.

2.) Have them use personal knowledge as a tool: Does your villain have some deep dark dirt on your protag? Don't let that all go in one swoop. Let them hint at it in drops before they open the dam. Maybe they use that knowledge as a bargaining tool to get an upper hand, or use it to send the trapped protag into a frenzy because they love to watch them scream.

3.) When it comes to threats, certainty is key: A threat is a threat, but there's nothing like a threat being spoken as if the villain knows it's going to happen. Whether your villain has already caught your protag, or is in the process of doing so, everything they say they want to see happen to your protag needs to come with absolute certainty. Almost as if it's a certain warning, and not just something they’re saying to be scary.

4.) Contradictions are your friend: Nothing indicates a warped villainous mind more than some juicy contradictions. Your villain might be talking about how they're going to flay your protag's hide after catching them in their dungeon, only to throw in a subtle "but, you're probably safer here with me." Find ways to toss in twisted contradictions that also underline the crazy shit they might be saying.

5.) Mess with syntax: Unsettling dialogue calls for unsettling structure. Incomplete sentences, unforeseen pauses, longwinded explanations broken up by more unforeseen pauses. Whatever it is, keep the rhythm offbeat. Don't give your reader a chance to be able to tell what's coming.

6.) Expectations? Subvert those: Your protag and even your readers might be suspecting one thing from your villain, so throw them a curveball and hit them with the complete opposite. Perhaps you've reached a point in your story where it seems like the villain might kill your protag on sight. But no, have your villain mention exactly why they aren't going to do that, and why they want to wait it out.

7.) Mix quiet confidence and loud assertion: Some might say that the silent seether is scarier, while others might agree that the sudden explosive type takes the bigger unsettling prize. In my opinion, you can really capitalize on the eeriness of villain dialogue by tapping into both. A villain that speaks on with refined confidence before very suddenly exploding, without much warning, can really power up the dread behind their words.

8.) Sometimes, ambiguity is better than being straightforward: Whether it's obvious that your villain has a lot of tricks up their sleeves--or not--leaving things to the imaginations of your protag, and subsequently, your readers is great for building dread. You can use dialogue to make it clear that they're up to something, but never make them fully disclose what that is. They might show it instead of tell it, or it might just never happen. Either way, it'll likely have everyone looking over their shoulders.

9.) There might be times where silence says everything: You might be worried about penning the correct verbiage for your villain's big evil speech, but sometimes, silence speaks wonders. When used correctly, a long pause, or a bout of silence after your protag has said their piece can build a sense of uneasiness more than them actually speaking would have.

10.) Find ways for your villain to mirror the hero: A monologuing villain is better when they're throwing your hero's values and beliefs back in their face. A hero that believes in mercy? Well, have your villain talk about how they'll make them beg for it. A hero that believes in the greater good? Have your villain talk about their idea of a greater good.

As always, GO WRITE SOMETHING TODAY! <3

[supernovatx]

Obviously “America is Great Again” is a fantastic critique of capitalism and American propaganda, which would be enough to make it an incredible scene on its own. It’s a great song and a great demonstration of the show’s themes, and it’s really well done.

But there’s a tragic layer to that song that really elevates it for me, and that’s because it’s specifically MacNamara singing it.

MacNamara first is introduced to seem like a stereotypical patriotic army guy in the scene where he knocks Paul out. However, he then subverts that in the next scene where we learn his true morals, namely that he believes in love and humanity as his higher purpose and he will put that above the orders of his country if they conflict. He chooses to let Paul live because of that, and when Paul asks if he can save Emma, MacNamara gives him his gun and tells him to go. We learn, as does Paul, that despite his appearance and general vibes, he is a genuinely good person who wants to help and is willing to put his moral code above his patriotism.

But when he gets apotheosized, he becomes the complete opposite. Suddenly his loyalty is to his country only, and his own moral code is erased in service of that, which causes contradictions between the lyrics of AIGA and his thoughts in the scene with Paul. “You can’t run because our borders are closed” when he was helping Paul escape in a helicopter as a human; “Americans should fit a mold” when he didn’t at all fit the “douchey army patriot” mold he was presented with; “There’s only room for right and wrong” when he clearly is able to choose between his own morality and his orders, indicating a more complex outlook instead of a binary. He becomes the stereotype he was subverting, and in doing so he becomes someone that the real MacNamara would have hated. That’s the tragedy of that song, and of the whole show really, is that the people who become part of the hive mind lose their true selves and are only able to act in their stereotypical roles, even if that’s nothing like how they actually were as humans.

There’s also something to be said here about how the us war machine and capitalism corrupts people and makes them into something they would never have been otherwise through a forced loss of personhood but I can’t figure out how to phrase that so

[familyabolisher]

I've walked past the Barbie branded selfie booth, sat through the reel of old commercials that precede the previews, and watched Margot Robbie learn to cry, and I’m still not sure what “doing the thing and subverting the thing,” which Greta Gerwig claimed as the achievement of Barbie in a recent New York Times Magazine profile, could possibly mean. This was the second Gerwig profile the magazine has run. I wrote the first one, in 2017, which in hindsight appears like a warning shot in a publicity campaign that has cemented Gerwig’s reputation as so charming and pure of heart that any choice (we used to call them compromises) she makes is justified, a priori, by her innocence. This is a strange position for an adult to occupy, especially when the two-hour piece of branded content she is currently promoting hinges on a character who discovers that her own innocence is the false product of a fallen world. But—spoiler alert!—the point of Barbie’s “hero’s journey” is less to reconcile Barbie to death than to reconcile the viewer to culture in the age of IP.

“Doing the thing and subverting the thing”: I haven’t finished working out the details, but I think the rough translation would be Getting rich and not feeling feel bad about it. (Or, for the viewer: Having a good time and not feeling bad about it.) One must labor under a rather reduced sense of the word “subvert” to be impressed with poking loving fun at product misfires such as Midge (the pregnant Barbie), Tanner (the dog who poops), and the Ken with the earring, especially given that the value of all these collectors’ items has, presumably, not decreased since the film opened. Barbie may feature a sassy tween sternly informing Robbie’s Stereotypical Barbie that the tiny-waisted top-heavy billion-dollar business she represents has made girls “feel bad” about themselves, but if anyone uttered the word “anorexia,” I missed it. (There was a reason Todd Haynes told the story of Karen Carpenter’s life and death with Barbies, and it wasn’t because an uncanny piece of molded plastic has the magical power to resolve the contradictions of girlhood and global capitalism.) There’s a bit about Robbie going back into a box in the Mattel boardroom, but Barbies aren’t made in an executive suite; they come from factories in China. On the one hand, it’s weird for a film about a real-world commodity to unfold wholly in the realm of ideas and feelings, but then again, that’s pretty much the definition of branding. Mattel doesn’t care if we buy Barbie dolls—they’re happy to put the word “Barbie” on sunglasses and T-shirts, or license clips from the movie for an ad for Google. OK, here’s my review: When Gerwig first visited Mattel HQ in October 2019, the company’s stock was trading at less than twelve dollars a share. Today the price is $21.40. 

Christine Smallwood, Who Was Barbie?

[dragoneyes613]

"A Jew passed in front of Hadrian [ the second-century Roman emperor] and greeted him. The king asked, "Who are you?" He answered, "I am a Jew." Hadrian exclaimed, "How dare a Jew pass in front of Hadrian and greet him?" and ordered, "Off with his head!" Another Jew passed and, seeing what happened to the first man, did not greet him. Hadrian asked, "Who are you?" He answered, "A Jew." He exclaimed, "How dare a Jew pass in front of Hadrian without giving a greeting?" and again ordered, "Off with his head!" His senators said, "We cannot understand your actions. He who greeted you was put to death, and he who did not greet you was put to death!" Hadrian replied, "Do you dare to advise me how I am to deal with those I hate?"

- Lamentations Rabbah 3:9 commenting on verse 3:58

Hadrian acknowledged what most antisemites deny: Their hatred of Jews is unassuageable by any Jewish behavior. Thus, antisemites who fault Jews for "pushing in where they are not wanted" presumably would find no fault with those Jews who ghettoize themselves and remain within their own community. Yet studies have shown that the very antisemites who despise Jews for their "incursions" into the majority culture also are apt to denounce them for "clannishly sticking together."

Antisemites frequently reach for the argument that sounds most plausible. Thus, Jew-haters in the former Soviet Union long focused on Jews as capitalists who were subverting communism, while American antisemites accused Jews of being communists and subverting capitalism.

It is useless to try to reason with these disciples of Hadrian. As the nineteenth-century German historian Theodore Momsen noted: "You are mistaken if you believe that anything at all can be achieved by reason. In years past I thought so myself and kept protesting against the monstrous infamy that is antisemitism. But it is uselss, completely useless" (cited in Deborah Lipstadt, Denying the Holocaust, page 1)."

- Jewish Wisdom, Rabbi Joseph Telushkin, pages 463-464

[bonefall]

bones. bones they made moonpaw a schizophrenia and plurality stereotype. bones. bones help us

OH NO IS THAT WHY THERE'S 16 MESSAGES

I TURNED MY BACK FOR 5 MINUTES GREAT GOOGLY FUCKELING MOOGELY

I still have to finish reading Star (you have to forgive me for being a capital G Gamer who's been uber distracted) to gather together my final fair assessment, so I can start putting down the fragments for BB!ASC. But I WILL tell you this;

The whole Moonpaw Discourse from a couple of months ago really opened my eyes to just how pervasive intersexism and plurality stereotyping is, even in this space.

Not all of it is malice-- like many other cultural biases, people often just pick up negative stereotypes passively and don't realize they reflect poorly on real people. "Scary evil head voice" is one of them. Yes, intrusive thoughts exist (they are something I deal with), but it's about the snap, subconscious association between "voice in head" and "mental torment."

As the case and point; Look at how FAST the fandom conversation changed when the team first teased it. What was a fantastical, equal parts sincere love and horror exploration of shipping a cat with a magic pool morphed. Overnight, The Voice was an abusive thing, an expression of a dead baby who wanted to live, or a reincarnated monster, or another evil Ashfur-esque posession spirit.

Something bad, malicious, unwanted. By contrast, the voice of the moonpool was mostly portrayed as a supernatural yet good thing. Genuinely asking her for help.

(Part of me also ponders the religious angle of it. "Voices in my head" that come from God are generally much more socially acceptable than "Voices in my head" that come from the self. Regardless,)

So, as always, I Don't Rewrite Arcs Until They Are Done (I DRAU TAD, if you will), BUT... I know for certain that I will want to subvert this.

If Canon!Moonpaw must be a system, and we're all ready to buckle up and bunker down through how the Erins handle this one, then for BB!Moonpaw I'll try to do the same. But for my portrayal, I want to write her relationship with her headmate to be generally positive. Or at least more complicated and multifaceted.

One idea in particular I like is the thought that she absorbed a twin... but writing it as a chance the twin GETS to live, NOT a life denied. Death would have claimed them if they didn't become part of her. So, they love her-- of course they do. They're two souls with one heart.

The specifics will have to come with time. I need to see how her plurality impacts the plot, the overall story being told, plus wait to assess the criticisms that real systems and fusion chimeras in our fandom will have. But I can say with certainty that I would like to attempt my redux with the sad truth in mind that headmates in media are almost never approached as non-malicious. I'd like to do what I can to make a difference.

[intervex]

Can I get a flag for crip? Like crip theory crip. In a pan-disability sense. I don't have any particular iconography in mind, only that it shouldn't give a vibe that this is exclusive to physical disabilities. If you can link it in some way to the Mad & Deaf pride flags that'd be nice.

Thank you!

Crip Pride Flag

This is a flag for crips and those who feel represented by/part of crip theory, crip pride, and/or general cripness. [SVG version on WC]

Crip is a term that is open to people with ALL disabilities (physical or otherwise) and also to groups who share the crip mindset. (Note different spelling from cripple.)

For folks who like details: I'm gonna explain what crip is for those who may be new to the term! Then I'll talk about the flag design how the different stripes represent different models of disability. 💜

What is even is crip?

Like how "queer" is to LGBT+, "crip" is to disabled. It's an umbrella term, a way of seeing the world. Activist reclamation of "crip" goes back to the 1970s, with disabled performance artists popularizing the term in the 1990s.

Crip theory began in the early 2000s by building on queer theory. Expanding on your [QCI's] recent post, its characteristics are:

Understanding disability as socially constructed.

Fuck capitalism: the social construction of disability as we understand it was a result of the development of capitalism.

Fuck eugenics: Ableism and racism have been entwined for hundreds of years and cannot be understood in isolation.

Fuck colonialism: which is itself debilitating. Violence disables people, and Global South activists have been clear it's important to talk about how war, landmines, etc are disabling.

Disabled people are creative. Where queer-ing refers to a way of being critical of categories, cripping tends to focus on subverting ideas of ability. Disabled people ARE the original makers/hackers.

Disabled people are experts: we know shit. It is *us* who should be the epistemic authorities on disability, *not* physicians.

Crip as a term is open to anybody experiencing the violence of eugenic thought, regardless of identification as "disabled".

Fat studies scholars have been locating themselves as within crip theory since day one. Similarly, reading Cripping Intersex by Orr has made clear to me that intersex has always been crip.

Again, drawing a parallel to queer & LGBT: kink and polyamory may not be LGBT but they are Queer. 🌈

Flag details

The design is based on @capricorn-0mnikorn's Disability Pride Flag. In line with newer meanings for the Disability Pride flag, the stripes represent different models of disability associated with crip theory:

Purple represents the social construction of disability and the influence of queer theory. #82609b is from the Mad Pride flag.

Red represents postcolonial understandings of disability such as debility. Understanding that which chronic illnesses receive care and research is *political*. The choice of #CF7280 is a nod to the AIDS flag. I took the red from the disability pride flag and shifted the hue (but not chroma & lightness) to that of the AIDS flag.

Yellow represents the affirmative and identity models of disability. The opposite of the tragedy model. Many disabilities can actually be beneficial! The choice of #f4db75 is a nod to the intersex flag.

White represents how crip pride and crip theory are pan-disability. It stands for models of disabilities not otherwise represented here. The #E8E8E8 white is also a nod to the neurodiversity flag.

Blue represents the social model of disability, the intellectual progenitor of the social construction model (and crip theory in turn). The choice of #83bfe5 is a nod to the Deaf flag.

Green represents eco-crip theory, the eco-social model of disability, and other crip engagements with environmentalism. The choice of #48af75 is a nod to the nonhuman flag. Because being a cyborg (alterhuman) is a proud tradition of crip theory.

The repetition of purple serves to show crip pride & theory exist within a social construction framework. Also it widens the amount of the flag which is stripes, reflecting how crip includes groups not consistently understood as disabled (e.g. fat, intersex).

As with the disability pride flag, the dark grey (#595959) represents the lives lost to ableism and our collective grief.

Tagging @radiomogai @mad-pride @liom-archive for archival. And I wanna acknowledge @scifimagpie for giving me feedback on dozens of prototypes. 💛

Finally: I release this flag design as public domain! 💜