#that now every other post trying to evoke something mimics it.

[geneticcatalyst]

fascinated by the increase i'm perceiving in text posts with one single word misspelled. this is obviously analogous to the spirit line in weaving. an artistic choice. the wabi sabi of posting.

[popurikat]

Newtmas essay when?

Finally getting to this, thanks for waiting, I needed to go over a few bookmarks. (Warning, this post contains spoilers from the MAZE RUNNER book and FEVER CODE book, so if you haven’t read either or yet and want the jist of my analysis; just know that in general the fandom interpreting Newt as gay before it was revealed on a twitter post was not just a random headcanon and that Thomas in general is portrayed to have very strong unconditional love for Newt throughout the series; and it shows. To the point that even the director for the movie has stated that Newt and Thomas have a strong bond and portrays that in the movies. I will also preface that I am NOT adding personal opinion anywhere here, these are just backings from quotes and how they are thus meant to be taken/read as. My words are taken as a reader who is currently reading Scorch Trials has yet to fully read Death Cure or Crank Palace.) Anways, without further ado at 3AM today, I’ll try my best to explain how even though Dashner tries his best to make Thomas have other, female love interests; he creates a not so subtle gay subtext for Tommy boy here when in the context of interacting with Newt throughout the lore. Apologies beforehand for any grammar mistakes along the way.

To commence, I am going to start with FEVER CODE, as its supposed to act as the story’s preface to the actual events that play out later. Newt and Thomas upon meeting each other describe their presence as “familiar” and or as a “long lost friend” and they genuinely hit it off from the start to the point that Newt is okay with having Thomas see him cry over the fact that he and his sister are separated since he is doomed to be WCKD’s control analysis as he’s the only one lacking immunity from the flare itself. Once Newt is done being emotionally vulnerable we get our first instance of his personal nickname for Thomas: “That’s the way things are Tommy,’ he said his voice not quite steady. ‘The world outside’s gone to hell. Why should we expect any different here? [...] He said it as if they’d been friends for years” (ch. 14).   An interesting note here is that Thomas doesn’t bother to correct him or stifle the moment by feeling that all this information was too much, he genuinely wanted to hear Newt out and is fine with seeing this side of him; if not slightly taken aback by how natural it is that they can converse about such aspects of their lives. In fact, Newt makes such an impact on Thomas that Thomas ends up that same night dreaming of him: “Throughout his shortened night, he dreamed of Newt and Sonya. Of Newt and Lizzy“(Ch. 14). The thing with Thomas though is that the idea of comfort and connection is very foreign to him as he’s been basically isolated all his life with only the adults like Ava to talk to and the one exception being Teresa as his only kid companion. So Thomas didn’t even think he could make others like him for being himself unless they were vital to the overall production of WCKD. Seeing this portion right before the end of chapter 14: “Alby, Minho, Newt, Teresa. Thomas had friends.” shows that Thomas really had to deep dive to see how he deals with personal connections and why he was excited about the notion of friendship. He could’ve been happy with just Teresa, but only fully cemented her bond to him as “friend” when his circle grew and these kids he got to hang with taught him he can be himself, a concept he didn’t realize was possible when all his life was dictated on what he was supposed to learn or do. It becomes especially clear just how controlled his life is with the aspect of sentiment when later on Teresa’s mental communication evokes physcial pain and fear in Thomas. I’ll get back to that later as its more of a small tid bit of Thomas’ view on his forced love interest, Teresa. And yes, I say forced because multiple sentences with Thomas have him even wish he could cease all communication with her. Moving on, let’s talk about mimicking for a second. As humans, we mimic as a behavioral response to become closer to the person we care about. It’s the reason why yawning or laughter is contagious and or why we copy the posture of the person we converse with face to face. Thomas is seen to do this the most with Newt’s quirks. I’ll give the example in chapter 15: “Newt has been promising them that he was saving something special, and he did that annoying zipped-lipped sign every time [...] the little light in his eyes showed he enjoyed every second of their torture” versus Thomas: “Thomas did Newt’s zipped-lipped gesture, and that got him a sharp poke in the ribs”. So, we know enough that Thomas’ mannerisms are developing as a sign that he wants to be closer to Newt and to continue this sense of playfulness they both enjoy from the other. This is the start of their budding bond and a clear indication that they hold each other at greater fondness than the rest through this unconscious copying. Through this copying, they also pick up on emotional cues the other lets up on. Newt is especially good at noticing small things like when Thomas is anxious or overthinking: “He was just shocked that with all their exploring, the others hadn’t already discovered it on their own. And there were supposed to be TWO mazes. How had Newt and his friends not stumbled upon either one of them? ‘Tommy?’ Thomas realized Newt was staring straight at him, eyebrows raised. ‘Sorry,’ he said embarrassed, ‘wandered off for a second there what did you say?’ Newt shook his head in admonishment. ‘Try to keep up, Tommy Are you ready to see the grat outdoors?” (ch. 15). Also in chapter 23: “Tommy?’ It was Newt, breaking him out of his thoughts. ‘I can see your wheels spinnin’ up there.’ He tapped the side of his head”. This furthers Newts perceptiveness on his friend and Thomas’ ability to pick out when he is being looked after. And they bounce off each other really well in that aspect. To the point that Newt can crack a joke he knows will land right on Thomas’ sense of humor: “Newt waggled his fingers in front of Thomas’ face [...] A laugh exploded out of Thomas’ mouth that sent a spray everywhere. ‘Sorry’ he said, wiping his lips on his sleeve” (ch.15). It’s enjoyable to know that at least at a surface level, they have fun together and can cheer the other up if needed or know when to ground the other to reality. It is also through these instances that as a reader I pick up that Thomas’ nervous ticks perhaps allude to an anxiety disorder he has; of which Newt is aware of and never puts Thomas down on for exhibiting. He in fact understands it and deals with it accordingly as he himself has a similar circumstance. SO, what does all this paying attention lead to? Thomas’ devotion to protect Newt. Yeah, thats right I said devotion. Thomas’ actions are influenced by his developed instinct to protect Newt at all costs. Here is the biggest example that comes to mind: “What in the world happened to Newt? -- Less then two hours later, Thomas had spliced together a series of camera clips [...] Thomas turned off the feed. He couldn’t take it anymore...Newt, Newt, Newt, Thomas thought, feeling as if the very air around him were turning black.”(ch.52). Essentially, Thomas seeing Newt plummet to his near death by falling from the maze wall as a result of Newt’s ongoing depressive state, this is the moment that makes Thomas realize WICKD isn’t as good as they seem and that he is going into the maze to save Newt. Its admirable how much self sacrifice Thomas does for someone he cares so much about, to the point that their name is like a mantra. Thats a sensible area of passion and fighting spirit for someone who is “just a friend”.    Oh and, the feeling of fondness is mutual mind you if I haven’t been clear. After experiencing the horrors of cranks for the first time, realizing Newt was not immune, and watching Newt until they entered the pits it has been months since they last interacted; this is their first reunion: “What’s up Tommy?’ Newt exclaimed, his face filled with genuine happiness at the pleasant surprise that’s been sprung on him. Thomas couldn’t remember exactly how long it’d been since he’d seen Newt. ‘You look bloody fantastic for three in the morning” (ch. 23). I need to preface this that Newt DOES NOT mean that sarcastically and that out of all the people in the room (Minho, Chuck and Teresa are there in this scene), Thomas only reacts this way specifically toward seeing Newt is okay and back.   The characters are also not afraid of being physically close. “Well, look who the bloody copper dragged in,’ Newt said, pulling Thomas into a big hug” (ch.31), “They shook hands, and then the two of them set off...” (ch. 31), and my favorite: “Thomas jumped at the sound, then stumbled. Newt tripped over him, and then they were both laughing, legs and arms tangled in a pile on the ground”(ch.32). I don’t think this far in the novel, Thomas has been AS (emphasis on as) comfortable with touch  with anyone else other than Newt. And thats a big step forward on the aspect of trust in a relationship, being able to be comfortable with the presence of another person enough to be as intimate with them as shown here.  And all this, is just fever code itself. Mind you this is not the MEAT of the novels as it came out later. But even without it, lets look at Thomas in Maze now, I’ll try to keep this segment a lot more brief. Here’s Thomas looking respectively at boys his age: “A tall kid with blond hair and a square jaw...a thick, heavy muscled Asian kid folded his arms as he studied Thomas, his tight shirtsleeves rolled up to show off his biceps [...] Newt was taller than Alby too, but looked to be a year or so younger, His hair was blond and cut long, cascading over his T-shirt. Veins stuck out of his muscled arms”(ch. 2). Thomas’ initial reaction to being surrounded by boys is to deeply analyze their rugged good looks and heavily emphasize their best physical traits. When reading this the first time, my mind immediately thought this boy at the very least is supposed to be portrayed as bi, especially when later down the line Teresa gets a similar descriptor: “...despite her paleness, she was really pretty...silky hair, flawless skin, perfect lips, long legs.” So right off the bat, we know that be it boy or girl, Thomas emphasizes how attractive someone looks in his eyes when he truly does have a sense of attraction to them. Case closed. Within the same chapter we get Thomas also immediately clinging onto Newt for a sense of grounding, it is now ingrained in him at this point that the boy is his lifeline, a person to rely on. “Thomas looked over at Newt, hoping for help.” And help he does, Newt in this chapter helps ease his worries, explain a general idea of what the glade is and even pats him on the shoulder a bit to ease tension. And Thomas doesn’t bat an eye in the same way he’s weary of literally everyone else. In fact, he’s eager to stay put with him as shown with; “If Newt went up there, then I wanna talk to him.” And if none of that seals the deal, we got early bird Newt being so touch starved he flattens himself next to Thomas to wake him up at the crack of Dawn in chapter 6: “Someone shook Thomas awake. His eyes snapped open to see a too-close face staring down at him, everything around them still shadowed by the darkness of early morning...’Shh, Greenie. Don’t wanna be waking up Chuckie, now, do we?’ It was Newt --the guy who seemed second in command; the air reeked of his morning breath. Though Thomas was surprised, any alarm melted away immediately”. This whole scene follows firstly by Thomas once again impressed by how strong Newt is and then Newt giving him a rundown of what everyone else was too afraid to show Thomas, the grievers. And you know, this scene could’ve ended well and everything as totally platonic, but then we have “Newt turned to look at him dead in the eye. The first traces of dawn had crept up on them, and Thomas could see EVERY DETAIL OF NEWT’S FACE, HIS SKIN TIGHT, HIS BROW CREASED.” Now, look me in the eye and tell me there is a hetero explanation on looking at your best bro like they are the sun reincarnated themselves. But let’s not hog all the homosexual undertones with Thomas here. Wanna know what Newt’s initial reaction to having a girl in the glade was? “It’s a girl,’ he said [...] Newt shushed them again. ‘That’s not bloody half of it,’ he said, then pointed down into the box. ‘I think she’s dead” (ch.8). It’s actually a stark contrast to the other gladers eagerly wanting to know her age, how pretty she looked, and calling dibs to date her; Newt isn’t interested in any of that, he’s more perplexed on her status and not even bothering to remark on her looks, he was the only one not to and even remarks a few other instances that girls are more Thomas’ domain. For instance, he makes a joke in fever code when Thomas remarks that the girls in the institution were going to tackle him down, Newt proceeds to point out sarcastically something along the lines of “wait, isn’t that YOUR dream though?” So Newt is pretty out spoken of his disinterest in girls, and his full admiration and attention on Thomas. Oh, and yes, Newt immediately switches over to “Tommy” the moment Thomas mentions he hates being called greenie, and once again it just becomes a thing between only the two of them. Newt is also the one to be straight forward about the whole Runners business. He warns Thomas about the dangers and doesn’t necessarily turn him down on his desire to be one, he in fact encouraged him to just wait until the right moment. “No one said you couldn’t, but give it a rest for now”(ch. 15). So once again, Newt is the voice of confidence and reason for Thomas to prosper. In turn, this time around Thomas is the one to catch when something is bothering Newt. For instance, “Newt chewed his fingernails, something he hadn’t seen the older boy do before...he was genuinely concerned -- Newt was one of the few people in the Glade he actually liked ”(ch.16). Interesting how we went from fever code “friend” to “like”. And also, when Newt explains his concern about the runners not coming back yet, Thomas pieces together how scared Newt is of the Maze without being told and goes to stand next to him as a physical presence to ground Newt as they wait near the entrance. In fact, this piece is trivial to understand why Thomas does what he does next. When everyone else had given up on the Runners still outside with 2 minutes left til closing, and Newt was escorted away from the entrance, Thomas waited. And when Thomas saw them, he yells to Newt, realizes he’s too far to do anything, and makes a decision himself. He KNEW how much Newt cared about his fellow Gladers, they were like family or “kin” as its said in the book, so what does he do? “Don’t do it Tommy! Don’t you bloody do it!’ ... Thomas knew he had no choice. He moved. Forward. He squeezed past the connecting rods at the last second and stepped into the maze”(ch.16). Yes, Thomas does this because of his empathy for the Gladers, but the chain reaction of Newt’s concern is what sets his decision in stone. And yet again, Thomas enters the maze for Newt.  And that’s pretty much the constant for the rest of Maze Runner the book, Newt just sticking up for Thomas and Thomas in turn just being happy that: “He was at least relieved that Newt was there” (ch.17). And thats basically their entire dynamic. Newt just going: “If you really did help design the maze Tommy, it’s not your fault. You‘re a kid -- you can’t help what they forced you to do” to ease the survivor’s trauma Thomas has, as well as saying “I actually believe you. You just don’t have an ounce of lying in those eyes of yours. And I can’t bloody believe I’m about to say this...but I’m going back in there to convince those shanks we should go through the griever hole, just like you said”(ch.51); and I think thats the most romantic thing to hear from him. Just right out being all for supporting Thomas no matter what happens as long as he stays alive and continues to fight, he doesn’t care about what happened before. And Thomas eats that up because it fuels him even more to seek out a means to escape for the people (Newt) that deserve a life outside of running from monsters forever. So essentially, I’ll state again, it’s always been Newt the catalyst for Thomas to run head first into the Maze and seek freedom. And with all this I can clear that these two are shown to if not be romantically involved, at least have unconditional love for the other that transcends the author’s original intention.  And with that in mind, here’s the thing with Teresa as a love interest. I can list here quotes of every time she mind speaks to Thomas and how that affects him, but then this would be too long. And this is a newtmas post gosh darn it. Teresa is gleeful to humiliate, control, hurt, and force Thomas to believe they’re in love. In multiple instances we get her barging into his mind unwarranted making him understand that she has full access to his inner most thoughts. Theres nothing romantic about that, and I think its why Thomas ends up being so perceptive to the smallest of gestures that allow him to think on his own and feel like his own person. Something I’ve seen Brenda do later in scorch, and something I’ve seen Newt do since the very beginning is that they allow Thomas to come to his own conclusions in order to create his own opinions on the matters at hand. Thomas’ love language revolves around words of affirmation. He likes it when people confirm his thoughts are valid and that remind him that WICKD can’t hurt him anymore now that he has the power to be his own person. This is where Newt comes in very handy. He allows Thomas to grow in ways his female love interests have yet to show, sorry Brenda but I’ve heard you were trying to unite all immunes together to the safe haven by the end and in a sense still only using Thomas to get by; I still think she was the better call than teresa of course and I have no remorse for Teresa getting smushed by a boulder. But essentially my point here is that, how do you fail to make your initial love interests clash so badly where one has no real care about the others well being so long as everything goes according to WCKD by using a form of gaslighting and manipulation? AND THOMAS HAS STATED HIS DISCOMFORT ON THIS MULTIPLE TIMES, but the narrative always erases these instances from his mind in place of pity for Teresa’s well being (as you can tell, Teresa through this becomes my least favorite character, I can rant about her some othe time though with proper backing). The narrative in turn treats it all like a joke. I understand there are scenes where Thomas is worried about her and looks out to make sure shes ok, but even then he doesn’t know how to react with mental images of her kissing his cheek or when she screams the next minute that she doesn’t know who he is or how hes speaking into her mind. And thats because they can’t properly communicate their emotions to the other, not even in fever code could Thomas give a forward answer if he loved Teresa or not, she just assumed. Come to think of it, Thomas really doesn’t show much affection to Teresa of his own accord. So then, how DOES Thomas show his affection? Thomas provides acts of service as his love language, if he cares about you enough he will risk his life for you. Why? Because Thomas values putting the people he loves foremost knowing full well they are what help him have purpose and succeed in continuing on. In a way, Newt and Thomas’ dynamic works in this instance because they balance the other out and because they have seen each other at their worst and at their best. In a way, that's why knowing the ending of the books makes it harder to accept that Thomas would just easily take the shot...when all his life clung to Newt’s survival. But that’s a story for another time where I compare the movies (of which let me make that clear, yes I prefer) over the books. For now just know that the book may have done this by accident, maybe not, but at the end of the day theres solid proof that Thomas and Newt care about each other in a way that is separately portrayed from their connection to the other glade members, and have this consistency of soft moments running through the entirety of the series. In conclusion; newtmas. Newtmas. NEWTMAS, etc.

[fineillsignup]

tips for choosing a Chinese name for your OC when you don’t know Chinese

This is a meta for gifset trade with @purple-fury! Maybe you would like to trade something with me? You can PM me if so!

Choosing a Chinese name, if you don’t know a Chinese language, is difficult, but here’s a secret for you: choosing a Chinese name, when you do know a Chinese language, is also difficult. So, my tip #1 is: Relax. Did you know that Actual Chinese People choose shitty names all the dang time? It’s true!!! Just as you, doubtless, have come across people in your daily life in your native language that you think “God, your parents must have been on SOME SHIT when they named you”, the same is true about Chinese people, now and throughout history. If you choose a shitty name, it’s not the end of the world! Your character’s parents now canonically suck at choosing a name. There, we fixed it!

However. Just because you should not drive yourself to the brink of the grave fretting over choosing a Chinese name for a character, neither does that mean you shouldn’t care at all. Especially, tip #2, Never just pick some syllables that vaguely sound Chinese and call it a day. That shit is awful and tbh it’s as inaccurate and racist as saying “ching chong” to mimic the Chinese language. Examples: Cho Chang from Harry Potter, Tenten from Naruto, and most notorious of all, Fu Manchu and his daughter Fah lo Suee (how the F/UCK did he come up with that one).

So where do you begin then? Well, first you need to pick your character’s surname. This is actually not too difficult, because Chinese actually doesn’t have that many surnames in common use. One hundred surnames cover over eighty percent of China’s population, and in local areas especially, certain surnames within that one hundred are absurdly common, like one out of every ten people you meet is surnamed Wang, for example. Also, if you’re making an OC for an established media franchise, you may already have the surname based on who you want your character related to. Finally, if you’re writing an ethnically Chinese character who was born and raised outside of China, you might only want their surname to be Chinese, and give them a given name from the language/culture of their native country; that’s very very common.

If you don’t have a surname in mind, check out the Wikipedia page for the list of common Chinese surnames, roughly the top one hundred. If you’re not going to pick one of the top one hundred surnames, you should have a good reason why. Now you need to choose a romanization system. You’ll note that the Wikipedia list contains variant spellings. If your character is a Chinese-American (or other non-Chinese country) whose ancestors emigrated before the 1950s (or whose ancestors did not come from mainland China), their name will not be spelled according to pinyin. It might be spelled according to Wade-Giles romanization, or according to the name’s pronunciation in other Chinese languages, or according to what the name sounds like in the language of the country they immigrated to. (The latter is where you get spellings like Lee, Young, Woo, and Law.)  A huge proportion of emigration especially came from southern China, where people spoke Cantonese, Min, Hakka, and other non-Mandarin languages.

So, for example, if you want to make a Chinese-Canadian character whose paternal source of their surname immigrated to Canada in the 20s, don’t give them the surname Xie, spelled that way, because #1 that spelling didn’t exist when their first generation ancestor left China and #2 their first generation ancestor was unlikely to have come from a part of China where Mandarin was spoken anyway (although still could have! that’s up to you). Instead, name them Tse, Tze, Sia, Chia, or Hsieh.

If you’re working with a character who lives in, or who left or is descended from people who left mainland China in the 1960s or later; or if you’re working with a historical or mythological setting, then you are going to want to use the pinyin romanization. The reason I say that you should use pinyin for historical or mythological settings is because pinyin is now the official or de facto romanization system for international standards in academia, the United Nations, etc. So if you’re writing a story with characters from ancient China, or medieval China, use pinyin, even though not only pinyin, but the Mandarin pronunciations themselves didn’t exist back then. Just... just accept this. This is one of those quirks of having a non-alphabetic language.

(Here’s an “exceptions” paragraph: there are various well known Chinese names that are typically, even now, transliterated in a non-standard way: Confucius, Mencius, the Yangtze River, Sun Yat-sen, etc. Go ahead and use these if you want. And if you really consciously want to make a Cantonese or Hakka or whatever setting, more power to you, but in that case you better be far beyond needing this tutorial and I don’t know why you’re here. Get. Scoot!)

One last point about names that use the ü with the umlaut over it. The umlaut ü is actually pretty critical for the meaning because wherever the ü appears, the consonant preceding it also can be used with u: lu/lü, nu/nü, etc. However, de facto, lots of individual people, media franchises, etc, simply drop the umlaut and write u instead when writing a name in English, such as “Lu Bu” in the Dynasty Warriors franchise in English (it should be written Lü Bu). And to be fair, since tones are also typically dropped in Latin script and are just as critical to the meaning and pronunciation of the original, dropping the umlaut probably doesn’t make much difference. This is kind of a choice you have to make for yourself. Maybe you even want to play with it! Maybe everybody thinks your character’s surname is pronounced “loo as in loo roll” but SURPRISE MOFO it’s actually lü! You could Do Something with that. Also, in contexts where people want to distinguish between u and ü when typing but don’t have easy access to a keyboard method of making the ü, the typical shorthand is the letter v. 

Alright! So you have your surname and you know how you want it spelled using the Latin alphabet. Great! What next?

Alright, so, now we get to the hard part: choosing the given name. No, don’t cry, I know baby I know. We can do this. I believe in you.

Here are some premises we’re going to be operating on, and I’m not entirely sure why I made this a numbered list:

Chinese people, generally, love their kids. (Obviously, like in every culture, there are some awful exceptions, and I’ll give one specific example of this later on.)

As part of loving their kids, they want to give them a Good name.

So what makes a name a Good name??? Well, in Chinese culture, the cultural values (which have changed over time) have tended to prioritize things like: education; clan and family; health and beauty; religious devotions of various religions (Buddhism, Taoism, folk religions, Christianity, other); philosophical beliefs (Buddhism, Confucianism, etc) (see also education); refinement and culture (see also education); moral rectitude; and of course many other things as the individual personally finds important. You’ll notice that education is a big one. If you can’t decide on where to start, something related to education, intelligence, wisdom, knowledge, etc, is a bet that can’t go wrong.

Unlike in English speaking cultures (and I’m going to limit myself to English because we’re writing English and good God look at how long this post is already), there is no canon of “names” in Chinese like there has traditionally been in English. No John, Mary, Susan, Jacob, Maxine, William, and other words that are names and only names and which, historically at least, almost everyone was named. Instead, in Chinese culture, you can basically choose any character you want. You can choose one character, or two characters. (More than two characters? No one can live at that speed. Seriously, do not give your character a given name with more than two characters. If you need this tutorial, you don’t know enough to try it.) Congratulations, it is now a name!!

But what this means is that Chinese names aggressively Mean Something in a way that most English names don’t. You know nature names like Rose and Pearl, and Puritan names like Wrestling, Makepeace, Prudence, Silence, Zeal, and Unity? I mean, yeah, you can technically look up that the name Mary comes from a etymological root meaning bitter, but Mary doesn’t mean bitter in the way that Silence means, well, silence. Chinese names are much much more like the latter, because even though there are some characters that are more common as names than as words, the meaning of the name is still far more upfront than English names.

So the meaning of the name is generally a much more direct expression of those Good Values mentioned before. But it gets more complicated!

Being too direct has, across many eras of Chinese history, been considered crude; the very opposite of the education you’re valuing in the first place. Therefore, rather than the Puritan slap you in the face approach where you just name your kid VIRTUE!, Chinese have typically favoured instead more indirect, related words about these virtues and values, or poetic allusions to same. What might seem like a very blunt, concrete name, such as Guan Yu’s “yu” (which means feather), is actually a poetic, referential name to all the things that feathers evoke: flight, freedom, intellectual broadmindness, protection...

So when you’re choosing a name, you start from the value you want to express, then see where looking up related words in a dictionary gets you until you find something that sounds “like a name”; you can also try researching Chinese art symbolism to get more concrete names. Then, here’s my favourite trick, try combining your fake name with several of the most common surnames: 王，李，陈. And Google that shit. If you find Actual Human Beings with that name: congratulations, at least if you did f/uck up, somebody else out there f/ucked up first and stuck a Human Being with it, so you’re still doing better than they are. High five!

You’re going to stick with the same romanization system (or lack thereof) as you’ve used for the surname. In the interests of time, I’m going to focus on pinyin only.

First let’s take a look at some real and actual Chinese names and talk about what they mean, why they might have been chosen, and also some fictional OC names that I’ve come up with that riff off of these actual Chinese names. And then we’ll go over some resources and also some pitfalls. Hopefully you can learn by example! Fun!!!

Let’s start with two great historical strategists: Zhuge Liang and Zhou Yu, and the names I picked for some (fictional) sons of theirs. Then I will be talking about Sun Shangxiang and Guan Yinping, two historical-legendary women of the same era, and what I named their fictional daughters. And finally I’ll be talking about historical Chinese pirate Gan Ning and what I named his fictional wife and fictional daughter. Uh, this could be considered spoilers for my novel Clouds and Rain and associated one-shots in that universe, so you probably want to go and read that work... and its prequels... and leave lots of comments and kudos first and then come back. Don’t worry, I’ll wait.

(I’m just kidding you don’t need to know a thing about my work to find this useful.)

ZHUGE Liang is written 諸葛亮 in traditional Chinese characters and 诸葛亮 in simplified Chinese characters. It is a two-character surname. Two character surnames used to be more common than they are now. When I read Chinese history, I notice that two character surname clans seem to have a bad habit of flying real high and then getting the Icarus treatment if Icarus when his wings melted also got beheaded and had the Nine Familial Exterminations performed on his clan. Yikes. Sooner or later that'll cost ya.

But anyway. Zhuge means “lots of kudzu”, which if you have been to the American south you know is that only way that kudzu comes. Liang means “light, shining” in the sense of daylight, moonlight, etc; and from this literal meaning also such figurative meanings as reveal or clear. (I’m going to talk about words have a primary and secondary meaning in this way because I think it’s important for understanding. It’s just like how in English, ‘run’ has many meanings, but almost of all them are derived from a primary meaning of ‘to move fast via one’s human legs’, if I can be weird for a moment. “Run” as in “home run” comes from that, “run” as in “run in your stocking” comes from that, “run” as in “that’ll run you at least $200″ comes from that. You have to get it straight which is the primary meaning, which is the one that people think of first and they way they get to the secondary meaning.)

“Light” has a similar “enlightenment” concept in Chinese as in English, so the person who chose Zhuge Liang’s name—most likely his father or grandfather—clearly valued learning.

I named my fictional son for Zhuge Liang Zhuge Jing 京. The value or direction I was coming from is that Zhuge Liang has come to the decision that he has to nurture the next generation for the benefit of the land, that he has to remain in the world in a way that he very much did not want to do when he himself was a young man. In this alternate universe, Liu Bei has formed a new Han dynasty and recaptured Luoyang, so when Zhuge Liang’s son is then born he chooses this name Jing which means literally “capital”. This concrete name is meant as an allusion to a devotion to public service and to remaining “central”. After I chose this name, I discovered that Zhuge Liang actually has a recorded grandson named Zhuge Jing with this same character.

above, me, realizing I picked a good name

ZHOU Yu is written 周瑜 in both simplified and traditional Chinese characters.

The surname Zhou was and remains a very common Chinese surname whose original meaning was like... a really nice field. Like just the greatest f/ucking field you’ve ever seen. “Dang, that is a sweet field” said an ancient Chinese farmer, “I’m gonna make a new Chinese character to record just how great it is.” And then it came to mean things along the line of complete and thorough.

Yu means the excellence of a gemstone--its brilliance, lustre, etc, as opposed to its flaws. It is not a common word but does appear in some expressions such as 瑕不掩瑜 "a flaw does not conceal the rest of the gemstone's beauty; a defect does not mean the whole thing is bad".

Zhou Yu has gone down in history for being not only smart but also artistic and handsome. A real triple threat. And this name speaks to a family that valued art and beauty. It really does suit him.

Zhou Yu had two recorded sons but in my alternate history I gave him four. I borrowed the first one’s name from history: Xun 循, follow. Based on this name, I chose other names that I thought gave a similar sense of his values: Shou 守, guard; Wen 聞, listen. The youngest one I had born when he already knew he was dying, and things had not been going well generally; therefore I had him give him the name Shen 慎, which means “careful, cautious”.

SUN Shangxiang 孫尚香 is one of several names that history and legend give for a sister of w//arlord-king Sun Quan who was married to a rival w//arlord named Liu Bei in a marriage which, historically, uh, didn’t... didn’t go all that well. In my alternate history it goes well! You can’t stop me, I’ve already done it!

The surname Sun means “grandson” and the given name components are Shang mean “values, esteems” and Xiang “scent” which we can combine into meaning something like “precious perfume”. A lot of the recorded names for women in this era (a huge number didn’t have any names recorded, a problem in itself) seem to me to be more concrete, to contain more objects, to be more focused on affection, less focused on hopes and dreams. This makes sense for the era: you love your daughters (I HOPE) but then they get married and leave you. You don’t have long term plans for them because their long term belongs to another clan.

I gave her daughter by Liu Bei the name Liu Yitao 劉義桃. Yi 義 meaning righteousness, rectitude and 桃 meaning... peach. Okay, okay, I know "righteous peach" sounds damn funny in English, but the legendary oath in the peach garden, the "oath of brotherhood" is called in Chinese 結義 "tying righteousness" and the peach garden is, uh, a peach garden. I also give her the cutesy nickname Taotao 桃桃 which you could compare to “Peaches” or “Peachy”. Reduplication of a character in a two-character name is a classic nickname strategy in Chinese.

GUAN Yinping 關銀屏/关银屏 is a “made up” (scare quotes because old legends have their own kind of validity, fight me) name for a historical daughter of Guan Yu. Guan means “to close (a door)”. Yin means “silver” and ping means “a screen, to hide” and according to the legend, her father’s oath brother Zhang Fei named her after a silver treasure. So here again we see a name for a woman that completely lacks the kind of aspirations we see in male names. Who would have an aspiration for a daughter?

My fictional characters, that’s who. I named her daughter Lu Ruofeng 陸若鳳/陆若凤, Ruo (like the) Feng (phoenix), based on a quote from a Confucian text about what one should try to be during both times of chaos and times of good government. I portray her father as a devoted Confucian scholar, so that was another factor for why I looked to Confucian texts for a source of a name.

Modern parents also now have big dreams for their daughters :’) and so modern girls receive names that are far more similar to how boys are named. 

GAN Ning 甘寧/甘宁 is a great example of a person whose name does not suit him. Gan 甘 depicts a tongue and means “sweet”, and Ning 寧 which shows a bowl and table and heart beneath a roof means “peaceful”. Which, it would be hard to come up with a name for this guy, a ruthless pirate turned extremely effective general:

that is less suitable than essentially being named “Sweet Peace”.

And when he was an adult, his style name—a name that Chinese men used to be given when they turned 20 (ie became adults) by East Asian reckoning—indeed reflects that. Choosing your own style name was widely considered to be crass. I absolutely think that Gan Ning chose his own style name; he was that kind of a guy. And the name he chose! Xingba 興霸/兴霸! I’ve never seen another style name like it. It means, basically, “thriving dominator”! Brand new official adult Gan Ning treats his style name like he’s picking his Xbox gamer tag and he picks BadassBoss69_420, that’s what this style name is like to me. Except, you know, he had almost certainly killed many hundreds of people by the time he was nineteen, so, uh, it wouldn’t be a wise idea to make fun of his name to his face.

In my fictional version of his life, he married a woman whose father was the exception to the “parents love their children” rule and who named his daughter Pandi 盼第 “expecting a younger brother”, which is a classic “daughters ain’t shit, I want a son” name. Real and actual Chinese women have been given this shitty name and ones like it.

Because Gan Ning had an ironically placid name, I also gave his daughter the placid single character name Wan 婉, which means “gentle, restrained”, as a foil to her wild personality.

So there are a bunch of examples of some historical characters and some OCs and how I chose their names. “But wait, all that was really cool, but how can I do that? You can read Chinese, I can’t!”

I originally had a bunch of links here to dictionaries and resources but Tumblr :) wouldn’t let the post show up in tag search with all the links :) :) :) so you need to check the reblogs of this post to see my own reblog; that reblog has all the links. I’M SORRY ABOUT THIS. Here are a list of the sites without the links if you want to Google them yourself.

MDBG  - an open source dictionary - start here

Wiktionary -  don’t knock it til you try it

iCIBA (they recently changed their user interface and it’s much less English-speaker friendly now but it’s still a great dictionary)

Pleco (an iOS app, maybe also Android???) contains same open source dictionary as MDBG and also its own proprietary dictionary

Chinese Etymology at hanziyuan dot net

You search some English keywords from the value you want, and then you see what kind of characters you get. You should take the character and then reverse search, making sure that it doesn’t have negative words/meanings, and similar. Look into the etymology and see if it has any thematic elements that appeal to what you’re doing with the character--eg a fire radical for a character with fire powers.

And then, like I mention before, when you have got a couple characters and you think “I think this could be a good name”, you go to Google, you take a very common surname, you append your chosen name—don’t forget to use quotation marks—and you see what happens. Did you get some results? Even better, did you get lots of results? Then you’re probably safe! No results does not necessarily mean your name won’t work, but you should probably run it by an Actual Chinese Native Speaker at that point to check. Also, remember, as I said at the beginning, sometimes people have weird names. If you consciously decide “you know what, I think this character’s parents would choose a weird name”, then own that.

THINGS YOU SHOULD PROBABLY IGNORE!

Starting in relatively recent history (not really a big thing until Song dynasty) and continuing, moreso outside of mainland China, to the modern day, there is something called a generation name component to a name. This means that of a name’s two characters, one of the characters is shared with every other paternal line relative of that person’s generation; historically, usually only boys get a generation name and girls don’t. (Chinese history, banging on pots and pans: DAUGHTERS AIN’T SHIT AND DON’T FORGET IT!) “Generation” here means everyone who is equidistant descendant from some past ancestor, not necessarily that they are exactly the same age. For example, all of ancestor’s X’s sons share the character 一 in their names, his grandsons all have the character 二，great-grandsons 三, great-great-grandsons 四 (I just used numbers because I’m lazy). By the time you get to great-great-grandson, you might have some that are forty years old and some that are babies (because of how old their fathers were when they were conceived), but they are still the same generation.

In some clans, this tradition goes so far as to have something called a name poem, where the generations cycle, character by character, through a poem that was specifically written for this purpose and which is generally about how their clan is super rad.

If you want to riff off of this idea and have siblings or paternal cousins share a character in their names, ok, but it genuinely isn’t necessary. Anyone with a single character name obviously doesn’t have one of these generation names, and by no means does every person with a two character name (especially female) have a generation name. If you’re doing an OC for an ancient Chinese setting (certainly anything before the year about 500), you shouldn’t use these generation names because it wasn’t a thing. Also, in a modern setting, even if such a generation name or name poem exists, it’s not like there is any legal requirement to use it (though there may be family pressure to do so).

As a further complication, some parents do the shared character thing among their children without it actually being a generation name per se because it isn’t shared by any cousins. Or, they have all their children (or all their children of the same gender) share a radical, which is a meaning component in a Chinese character.

If someone does have one of these shared character names, then their nickname will never come from that shared character; either they will be called by the full name or by some name riffing off of the character that is not shared. For example, I knew a pair of sisters called Yuru and Yufei with the same first character; the first sister went by her English name in daily life (even when speaking Chinese) while the second sister was called Feifei.

tl;dr If you don’t already know Chinese, consider generation names an extra complication for masochists only. Definitely not required for modern characters.

Fortune telling is another thing that I think you should either ignore or wildly make up. Do you know what ordinary Chinese people who want to choose a lucky name for their child do? They hire someone to work it out. This is not some DIY shit even if you are deeply immured in the culture. There are considerations of the number of strokes, the radicals, the birth date, the birth hour. You’re the god of your fictional universe, so go ahead and unilaterally declare that your desired names are lucky or unlucky as suits the story if you want to.

MILK NAMES

In modern times, babies get named right away, if for no other reason that the government requires it everywhere in the world for record keeping purposes.

However, in traditional times, Chinese people did not give babies a permanent name right away, instead waiting until a certain period of time had passed (3 months/100 days is a classic).

What do you call the baby in the meantime? A milk name 乳名, which your (close, older than you) family may or may not keep on using for you until such time as you die, just so that you remember that you used to be a funny looking little raisin that peed on people.

This kind of name is almost always very humble, sometimes to the point of being outright insulting. This is because to use any name on your baby that implies you might actually like the little thing is tempting Bad News. Possible exception: sometimes a baby would receive a milk name that dedicated it to some deity. In this case, I guess you’re hoping that deity will be flattered enough to take on the job of shooing away all the other spirits and things that might be otherwise attracted to this Delicious Fresh Baby.

Because milk names were only used by one’s (older) family and very close family friends of one’s parents/grandparents, most people’s milk names are not recorded or known, with some notable exceptions. Liu Shan, the son of Liu Bei, who as a baby was rescued by Zhao Yun during the Shu forces retreat from Changban. Perhaps because his big debut in history/legend was as a baby, he is well-known for his milk name A-Dou 阿斗, which means, essentially, Dipper.

If you’re writing a story, you really only need to worry about a milk name for your character if it’s a historical (or pseudohistorical) setting, and even then only if the character either makes an appearance as a small infant or you consciously decide to have them interact with characters who knew them well as a small child and choose to continue using the milk name. Not all parents, etc who could use the milk name with a youth or an adult actually did so.

Here are some milk names I’ve come up with in my fiction: Little Mouse/Xiaoshu 小鼠 for a girl, Tadpole/Kedou 蝌蚪 for a boy, and Shouty/A-Yao 阿吆 for a boy. In the first two cases the babies were both smol and quiet (as babies go). The last one neither small nor quiet, ahahaha. 蔷蔷 Qiangqiang, which is a pretty enough name meaning “wild rose” (duplication to make it lighter), except the baby is a boy, so this is the typical idea that making a boy feminine makes him worth less, which, yikes, but also, historically accurate. Also Xiaohei 小黑 “Blackie” for a work that I will probably never publish because I don’t ever see myself finishing it. I might recycle it to use on another story.

 Here are some more milk names I came up with off the cuff for a friend that wanted an insulting milk name. They ended up not using any of these, so feel free to use, no credit necessary. Rongzi 冗子 “Unwanted Child”; Xiaochou 小丑 “Little Ugly”; A-Xu 阿虛 “Empty”; Pangzhu 胖豬 “Fat Pig”;  Shasha 傻傻 “Dummy”.

PITFALLS!

Chinese has a lot of homophones. Like, so many, you cannot even believe. That means the potential for puns, double meanings, etc, is off the charts. And this can be bad, real real bad, when it comes to names. It is way too easy to pick a name and think to yourself “wow, this name is great” and then realize later that the name sounds exactly the same as “cat shit” or something even worse.

Some Chinese families live the name choosing life on hard mode because their surname is itself a homonym that can make almost any name sound bad. I’m speaking of course of the poor Wus and Bus of the world. You see Wu may have innocuous and pleasant surnames associated with it, but it also means “without, un-”. (Bu is similar, sounds like “no, not”.) Suddenly, any pleasant name you give your kid, your kid is NOT that thing.

This means picking a name that is pleasant in itself yet also somehow also pleasant when combined with Wu. So you might pick a character with a sound like Ting, Xian, Hui, or Liang - unstopping, unlimited, no regrets, immeasurable. A positive negative name, a kind of paradox. Like I said, this is naming on hard mode.

If you are naming an ancient character, I am going to say in my opinion you should ignore all considerations of sound, because reconstruction of ancient Chinese pronunciations is on some other, other level of pedantic and you just don’t need to do that to yourself.

For modern characters, however, an attractive name, in general, should be a mix of tones and a mix of sounds. As a non-Chinese speaker, basically this means especially if you go for a two character given name, having all three characters start with the same sound, or end with the same sound, can sound kind of tongue twistery and thus silly/stupid. That doesn’t mean that such names never exist, and can in some cases even sound good (or at least memorable), but how likely is it that you’ve found the exception? Not very. (Two out of three having repetition isn’t bad. It’s three out of three you have to be careful of. Something like Wang Fang or Zhou Pengpeng is probably fine; it’s something over the top like Guan Guangguo or Li Lili you want to avoid.)

Just like the West (sigh), in the modern Sinosphere it is widely acceptable for girls to have masculine names but totally unacceptable for boys to have feminine names. If you see the radical 女 which means woman, don’t choose that character for a boy, at least if you’re trying to be realistic. Now Chinese ideas of masculinity doesn’t have the same boundaries as Western ideas, but if you want to play around in those boundaries, you gotta do that research on your own; you’ve left what I can teach you in this already entirely too long tutorial.

Don’t name a character after someone else in story, or after a famous person. In some/many Western cultures, and actually in some Eastern cultures too (Japan is basically fine with this, for example), naming a baby the same name as someone else (a relative, a saint, a famous person, etc), is a respected and popular way to honour that person.

But not in Chinese culture, not now, not a thousand years ago, not two thousand years ago. (Disclaimer: I bet there is some weird rare exception that, eventually, somebody will “gotcha” me with. I am prepared to be amazed and delighted when this occurs.)

Part of this is because of a fundamentally different idea in Chinese culture vs many other cultures about what is valuing vs disrespecting with regard to personal names. The highest respect paid in Chinese history to a category of personal names is to the emperor, and what would happen there is that it would be under name taboo, a very serious and onerous custom where you not only have to not say the emperor’s name, but you can’t say anything that sounds the same as the emperor’s name.

Did I mention that this is in the language of CRAZY GO NUTS numbers of homonyms? The day-to-day troubles caused by observing name taboo were so potentially intense that there are even instances where, before ascending to the imperial throne, the emperor-to-be would change his name to something that was easier to observe taboo about!

So you see this is an attitude that says: if you want to honour and show respect to somebody, you don’t speak their name.

As the highest person in the land, only the emperor gets this extreme level of avoidance, but it trickles down all through society. You can’t use the personal names of people superior to you. Naming a baby after someone inherently throws the hierarchy out of whack. Now you have a young baby with the same name as a grown adult, or even a dead person, who is due honour from their rank in life. People who would not be permitted to use the inspiration’s name may now use that name because they are superior to the baby who received the name! This would mean that hierarchy was not being preserved, and oh my heaven, is there anything worse than hierarchy not being preserved? All of Chinese History: Noooooo!

Now. As an author—and I hope to God no one is using my Chinese name guide as a resource to name an actual human baby because I can’t take that kind of pressure—you can use the names of characters to inspire the names of other characters, in the following way.

Remember that I said that the key, the starting point, to naming someone in Chinese is to start from a value. Okay. So what you do, if as the author you want to draw a thematic connection between two fictional characters, is take the Inspiration character’s name, think about what the value is that caused that name to be chosen, and then go from that value to choose the New Character’s name.

If you’ll recall what I said about Gan Ning and his baby Wan, this is exactly the approach I took. Gan Ning had a placid single character name that belied his violent and outrageous personality; I chose a placid single character name for his similarly wild daughter to make them thematically similar. As an author, I named his baby after him. But within the context of the story, she was not named after him. Does the distinction make sense?

Values also run in families for obvious reasons. It’s very common to look at a family tree and see lots of names that follow a kind of theme and give you a sense that, eg, this family is rather low class and uneducated; this family is very erudite but a bit too fussy about it; this family is really big on Confucianism. So yes, as an author, looking to other characters for inspiration is not a bad idea.

Remember, a lot of times, as an author, you can and even should kick realism to the curb sometimes. If you want to make some Ominous Foreshadowing that Character A’s name is something to do with fire but! They name their child something to do with water and therefore they are destined to clash with their own offspring, gasp, you can do that kind of thing because you are the god of your universe. Relish your power.

Do you have any more questions? Feel free to send a PM or an ask. I hope this was helpful! Go forth and name your Chinese OCs with slightly more confidence!

Edit 22 April 2019: I added some more sections (fortune telling, Milk Names, and taboo on naming after people). I also need to overhaul the entirety of the previous to emphasize that even thought I thoughtlessly used “Chinese” as if it was synonymous with “Han”, there are non-Han Chinese and they can have very different naming customs. Mea culpa.

[goblinfruit]

End of the year writing reflection 2017

I’m trying out this thing where I gather all of my thoughts about my writing and growth as a writer-person from the past year into one place. This is a long post, fyi. Here goes:

I had two workshop classes this year, one in the spring and one in the fall, and a writing conference during the summer. At the end of all this, right now as I calm down after finals, I feel like I have more self-doubt than I had at the beginning of this year, but I also feel like I’m more okay with that self-doubt. I can live with it more easily now. I might change my mind tomorrow, in a week, in a few months, but this feels like a real change and not a mood.

Before I always had this background noise of “you have to be good. You have to be the best. You have to be amazing. You’re not right now, so you have to work and get there sooner rather than later. You can’t miss any opportunity because it might be the only one.”

Maybe this thought is true in some respect. Maybe I shouldn’t let my guard down. But I wrote some stinkers in my fiction studio in the spring. I felt like my prose was okay but the stories were scattered and too much lived in my head and not on the page. The story I presented to my workshop group in my summer writing conference still deeply embarrasses me. I had written it a year ago, and it was a short story that was trying hard to be a modern folktale, as if the genre made up for the fact that nothing in the story was grounded. No concrete characters, setting, the plot was a thin moral. I love the concept or trope or whatever-it-is of reincarnation in stories but I put it into that Terrible story so now I have this weird heartburn whenever reincarnation comes up in shows or books. I had to re-watch the entire first season of 90s Sailor Moon to lessen it with overexposure (sure, that was totally the only reason I did that). To be fair to myself, I thought that workshop group in particular was a stinker. They made me doubt if I wanted to be a writer or befriend any writers because writers seemed to be, on the whole, a species of pretentious assholes trying to show-off or belittle anyone who makes the mistake of breathing in the same air as them. I’ve gotten over that doubt, partly.

At the end of the summer I just… let go. I tried to stop thinking about possible, future publication while writing every story. I stopped looking up story contests and submission deadlines. In the fall semester fiction studio, I still got righteously angry at some stories and commentary in my workshop because getting righteously angry over minor social interactions is my thing. But way back at the beginning of this year I also started a job as a writing center consultant. I leaned into that training, I started treating workshop pieces as if they were brought to me by some courageous student just trying to do well in their classes.

This was so freeing. It didn’t feel like much, in my mind I thought of it like briefly giving up, a hiatus. I knew that I would try to summon up all of my ambitious feelings again but I needed a break from myself. I needed to shelve the perfectionist within me and go on a mental pilgrimage to just ...think about storytelling as a concept and not specifically about ME and my DREAMS. The fall semester helped. I had to take a required algebra class on top of classes that needed a lot of mental energy. I tried to do NaNoWriMo but got too caught up in everything else. I was too busy to care or feel devastated that I didn’t draft a long manuscript.

I wrote around three short stories for my classes, and all of them were about haunting in some way. Still can’t tell if this is from my mood or if this is my new(-ish) interest. Two of them were throw away stories that were one or two scenes that I’ll either never touch again or will have to completely rework. But one of them, the longest and first of the three, is the ghost garden story, which I’m excited about. This was the first story I felt like I made progress with in the revision assignment for class. I see so much potential in it, I want to explore that world. I want to make it hopeful, bittersweet, and pretty, dammit. I don’t know if this will be a serious project or something I use to make myself a better writer. Technically, the start of this school year is my fourth year as an undergrad, but I have a double major in Brit Lit and in Creative Writing, so I’m going to be here for another year trying to fulfill all of these dumb requirements. Maybe this has also contributed to my change in mood—I’m more relaxed about this now. I have a new project and a new school year ahead of me, and I can settle in and stay put for a while. I’m not going anywhere in a hurry and that’s okay.

Tl;dr: This year I learned to chill out, a little, and this helped me grow as a writer, a little.  

Some related but miscellaneous thoughts:

On writer friends: This was true in high school and I guess it’s true in college, too. At least for me, I always feel settled into a school during the last or later years I’m there. I have been at this university for three and now almost four years and just this last semester I finally feel like I’m making friends. Some of them are writers. There are writers around me who are not condescending or pretentious! I’ve found them! Just now, this year. This actually came about, partly, from the summer writing conference. I didn’t make any friends there, but the two other people from my school who were nominated to go are awesome and the summer conference gave me a reason to talk to them. They also complain about the conference, I’m not paranoid or a debby-downer. So thank you, writing conference, for killing my confidence and showing me the friends that were near me all along. No, I kid. Kind of.

On prose versus story: Moving forward, I’m going to try to write cohesive stories. Everything grounded—solid characters, solid settings, solid conflict. I’m still the kind of writer that puts logistics last on my priorities list, but I think I lumped in “development” in with logistics before and that’s not good. I’ve had this goal for a while, but the Terrible summer workshop story has made me even more determined. If this means writing extremely short, simple stories as exercise, so be it! I think that I’ve helped myself by figuring out why my stories haven’t been very grounded so far. I took the creative writing lesson of “your reader is smart, don’t tell us everything, show” too much to heart. My studies in just the last semester helped me realize this and brainstorm ways to work past this.

I had to read several books for a current writers class and I had to read a fiction by an established “master” writer for my senior level fiction studio, and then reflect and write essays about how these works ticked. I ended up writing three to four essays railing against the teaching that makes us hold back on exposition. Each of these writers used exposition effectively in their unique narration style. I think this is the key—I think that I’ve been afraid of using exposition because I’m a fantasy writer. I think that I should be afraid of clumsy, clunky exposition, instead. Showing, not telling, is great but my reliance on this, and not using much exposition, has left my workshop readers confused and slightly angry for each story, so I need to learn moderation.

Books: one of the books I read for the learn-by-reading reflection assignments was Margaret Atwood’s collection of short stories, Good Bones, Simple Murders. I didn’t read all of them because of time, but the many I did read were amazing. Most of the stories are concise, at about two pages long, and are brilliantly written. Beautiful, poetic, evocative, righteous, hilarious. There were also little pen-drawing illustrations by the author which were also amazing and complemented the stories so well. One of the main features in the stories is this close, personal narrative voice. The person is either first or second, or a mix of both, and usually reads like a letter, a diary entry, or a piece that addresses the reader directly. One or two were fake magazine ads. You kind of have to have a bit of exposition when your narrator is so direct, but this was coupled with a vivid voice and poetic language, so it totally worked. My next writing exercise idea is to write a flash fiction that mimics this style.

More books and stuff: I took a Chaucer class, which was fantastic. The Canterbury Tales are great and made me think more deeply about framing devices than I ever have before. The Canterbury Tales also were way more interesting once I had read more of Chaucer’s work first and got a sense of his meta and satirical style. If anyone wants to read The Canterbury Tales, I’d recommend some critical edition or something with a lot of academic notes if you can afford it, because there is so much in academic studies and even in the allusions and themes Chaucer himself uses. It’s a great thing to dig into.

I also took an Arthurian lit class in the spring and this did not make me want to read more Arthurian literature. Instead, I want to read more by Marie de France. We read her lai “Lanval,” and I remembered reading “Bisclavret” (a great werewolf story to check out if you haven’t read it) from Medieval Celtic Lit.

Also, reading her short stories made me want to start reading Margaret Atwood’s work. I’ve read The Handmaid’s Tale but that’s it for novels. This last weekend, I binge watched the Netflix series Alias Grace. It felt very Gothic to me, and had a lot about haunting, and since I’ve been obsessed with haunting as a theme, I should probably read the book. Idk what it is about haunting that’s caught me lately. Probably it’s a quick, easy way to evoke the feeling of the uncanny in a story. I mean, what’s more familiar-made-unfamiliar than a haunted house? Liminal spaces, man. They’re the best.  

That’s it for this reflection. If you’re a reader and/or follower who has made it this far, kudos to you! No, seriously. I wrote this mostly for myself and I have no idea if any of these thoughts are of interest to anyone else. But I feel like writing is so much an individual, lonely thing that I like to share my thoughts or be as direct with people as I can be, when I’m allowed. This isn’t always a good thing, but despite the crushing embarrassment I feel sometimes, I prefer to be optimistic and put myself out there (sometimes) rather than have no chance to be heard at all.

[thelioncourts]

*Hi, J2 fic anon again* And some follow up questions because I'm a sucker for the technical aspects of writing; what is your favorite style of writing to read? And to write yourself? Do you like a more straightforward or prose-y writing style? What is a fic you've read/is reading whose writing really touched you emotionally?

oh gosh, these are such lovely questions ;;;

when it comes to reading I, personally, can find so much to appreciate in every type of writing. there are people out there that can destroy you in one hundred words, can make you smile, make your heart speed up. there are also people out there that can weave together 200,000 word stories full of detail and dialogue and get you so invested that you feel as though you’re part of the world you’re reading. there are people that combine words together that I, in my uncreative mind, would never think to combine, and the combination literally captures a feeling, a moment, a something so perfectly that it makes my head spin. there are people who make writing flow as smooth as the gliding of a paintbrush and people who write in jagged, short sentences, no flowers attached.  it’s all beautiful. writers are such gifts. 

with all that in mind, when it comes to what I would consider my favorite type of writing to read, I would say something that really evokes emotion. there are writers who are, technically, great writers. their plots flow, their grammar and dialogue go hand-in-hand, and it’s a great piece. but I’m not going to remember it just because the writing is good writing.  I have a horrible memory when it comes to fics, I really do.  ask @postitsandpens .��but the fics that do evoke emotion are fics that I remember and I hold so dearly. and I’ll get to some of those fics in a second. 

when it comes to how I write, I’m not really sure what my style is, or if I even have one yet. I read things I wrote two-three years ago and it’s nothing like what I write now. and I’ve been writing since I was nine-years-old, and I’ve been posting on the Internet since I was twelve, and let’s just say that I can trace such a difference in every single year and none of it is pinpointable to one style. (though let’s just make it clear that, while I’m still not very good, now-me’s writing compared to twelve-year-old me's writing is so scary. so. scary. what was twelve-year-old-me thinking?) I’m always very plot-driven, but so many of my own thoughts and plots are centered around a strong base emotion that I then try to make my writing mimic and create without stating the emotion over and over again. so sometimes that is more purple prose-like and sometimes that’s more straightforward blunt writing.  it just depends. I just know that I will continue to improve and remind myself as often as I need to that I’m only twenty-one and there’s endless room for growth as a writer.  

for some fics that have made me feel, I would definitely put The Doors of Time as the #1. never have I read something that has made me cry like that story has. it’s gripping and hopeful and gray and vibrant and painful. so so painful. like if you ever meet me and decide for some sadistic reason you need to see me cry, make me read the ending of part one of TDoT or make me read the flashback in part two to part one where it goes back to that day. god. 

The Courtship of Jensen’s Co-Star is really high on there, too, because it’s a story that captures Jensen and Jared’s voices so well, personally. there are moments where it makes me smile like an idiot because, yeah, Jared would say that, or yeah, Jensen would do that, and there are moments where it makes me cry because, oh those boys. 

I mentioned it in some tags earlier today, but one of my favorite J2 smutty one-shots is an outsider POV story from Misha and Sebastian’s perspectives and one of the reasons it’s one of my favorite stories, beyond it being an outsider POV story, is that along with it being some scorching hot scene playing out, it makes me cackle. it makes me actually laugh out loud. 

there are others, so many others, and there are some that I’ve been told would fit this ideal fic-reading for me that I just haven’t gotten around to yet. I need to make a list of “fics that make Kirsten emotional”

[inthatstateofgrace]

5 Steps to Unleashing Joy, Opening Up, & Being More Yourself

    There are only two ways to live your life. One is as though nothing is a miracle. The other is as though everything is a miracle.” – Albert Einstein

How much of the time is the authentic YOU showing up in the world?

Do you have a different persona for your work, home life, friends, strangers, and the check-in person at the airport?

Stress, grief, past or current pain or trauma, illness, or anxiety can cause us to retreat inward.

Just like preparing a house to survive the impact of a hurricane, we can close the shutters, protect fragile points of entry, conserve resources, stock up on necessities, and retreat inside.

If you have found yourself hiding the real you from the world, don’t worry. You’re not alone. Unless you are age four or under, crafting an ever-shifting-persona is a natural protection mechanism.

We learn as we grow-up that opening up and being authentic can lead to a slug of pain and a slap of heartache. Intuitively we find out what psychologists have tested to be true: people like those who mimic or mirror their body language. People also find it easier to like those who are similar or share the same interests and passions.

So is it any wonder that all at once everyone is wearing the same color of teal or using the same slang? Is it a surprise that individuals in a group can converge in dress, tastes, interests, and values?

The question is: do you want to open up and be more yourself at the risk of getting hurt and losing friends?

Step 1: Find Your Joy

Can you name five concrete experiences that bring you joy?

Joy is delight fused with serenity and evokes a sense of connection to others, nature, or the divine. Joy is playful and generous.

The first step towards opening up and being authentically you is to uncover what brings you joy. List at least five experiences which bring joy into your life on a daily basis.

Next, you can explore and remember what caused a flash of unexpected joy in the past few months. Recall moments of bliss from your life and write them down too.

List at least five surprises which bring joy into your life sporadically.

Be warned against ascribing to your cultural or familial imprinted definitions of delight. Whereas joy for everyone around you could be a rainbow sprinkled ice-cream cone, for you, it could be a cup of tea and dramatic rain clouds shifting across the sky.

Looking for some daily joy-list inspiration? Here’s my daily joy-list:

1. The first sip of espresso in the morning. 2. Strolling barefoot through the dew-covered grass and examining my garden. 3. Laughter or delight (anyone’s around me, or mine). 4. An unexpected bright dash of color and white space. 5. A smile from a someone I don’t know. 6. Hugs. 7. Listening to the rhythmic breath of my sleeping children. 8. Writing. 9. Chocolate and a captivating book. 10. The last ten minutes of yoga.

Looking for some irregular joy-list inspiration? Here’s my sporadic joy-list:

1. Breathing fresh air and taking a break from the digital while hiking up a mountain, or skiing down one. 2. A day spent swimming in the lake and then picnicking on the shore. 3. Seeing someone I love who lives far away again. 4. Dressing up to celebrate someone. 5. Mastering a new skill. 6. Connecting with someone new, or someone dear, in a deeper way. 7. Going dancing. 8. Cutting and arranging fresh-cut flowers or greenery from my garden. 9. Giving the perfect gift or crafting the perfect experience for someone. 10. Spending a day walking and playing in the woods.

Ready to make your own personalized joy-lists?

Step 2: Schedule in More Joy Moments

It turns out, you can actually add more joy to your life at little cost. Who knew?

By scheduling more of what brings YOU joy into your life, you will be illuminating the authentic you; you’ll begin to be more of you with everyone, everywhere you go.

The truth is that joy is contagious. The positive energy bounces off you and out into the world. People around you will feel your ‘good vibrations’ and respond with a smile.

Unless they are grumpy sour-faces. Then they will resent you like hell until of course, they ask you why you are so dang happy.

In which case, you can tell them. You can even show them your list, and ask them for their Joy Top Five.

Step 3: Relate in a New Way

When you meet someone new, which YOU do you present? What is the first question you ask?

The first question a lot of people ask is, ‘so, what do you do?’ or ‘what do you study?’ or ‘where are you from?’

It is natural for all of us to be comparing. The ego likes to rank where we stand. We can have the very best intentions, but when we ask about someone’s job, it will be challenging to resist ascribing judgment based on their profession. The same is true for where they come from.

Try it. If I say that I’m an award-winning artist living in New York City, what happens? If I shift to telling you I’m studying astrophysics in Russia, what is your reaction? What about if I answer I am a housekeeper in England?

Now try asking someone about their sources of joy in their daily life. What will happen?

They will most likely answer honestly.

People don’t tend to lie about what brings them delight. You can sense a genuine answer by the way their eyes light up when they talk about their source of joy.

Then you will either find out that you:

1. Share a common source of joy 2. Discover something new and authentic about the person 3. Could try the idea on for yourself

Step 4: Be Brave. Control the Conversation.

Perhaps it’s time to shift the conversation.

The pressure of kicking-butt at work and adding being a source of support and joy to those we love can get intense.

Most of the time, we have a feeling that we are letting someone, or something important in our lives, down. We just know we could or should be a better parent, partner, friend, daughter, son, sibling, employee, entrepreneur, artist, cook, or [insert what matters to you most].

The problem is that the world today is so loud and so busy, that it can all feel overwhelming.

It can feel overwhelmingly negative.

Sure, we’ve all read that optimists live longer, enjoy better health, and attract more friends and success. The problem is that when stress, anxiety, illness, or just pure bad-luck kick in, that extra dose of negative news or interaction with your boss can pitch you into negativity.

Just like joy vibrates outward and is contagious, so too is a dark mood and outlook. Get one person complaining bitterly and watch the conversation take a turn for the worst.

The next time those around you are in a stressed out funk, try shaking them up a bit. Ask them about their favorite time of day, or the last time delight flooded out the noise of pressure and expectation.

Step 5: Yoga Yourself

Why does yoga boost your self-esteem? You start to build an inner fire when you show up every day on your yoga mat. You will feel proud that you commit to practice and follow through, even if this commitment is just ten minutes per day.

With time you will master poses you never thought possible, achieve flexibility you only dreamed of, and gradually slim to a healthy weight. There will be a surge of confidence the first time you kick up into a handstand, or your heels touch the floor in downward dog.

When you start a regular yoga practice you begin to show up for yourself by taking responsibility for your physical, mental, and perhaps spiritual wellness too. By engaging in self-respect, if not self-love, you will raise your self-esteem.

Step 6: Give Dark Emotions Space to Be.

Yes, you read that correctly. First I told you to write out a joy-list, to add more of those experiences into your life, and to talk more about joy with everyone you meet.

Now I’m telling you to sit on the ground and do nothing.

Yes, I mean literally.

Meditation is a way to open yourself up and to be more of yourself by feeling connected to everyone and everything.

Meditation will unleash your joy in a way nothing else can.

Sitting and watching your thoughts glide past as you focus on your breath will unleash some negative emotions.

The noise and business of life can block out the anger, sadness, shame, and fear. All of those emotions can bubble up while you sit still, in silence. You may have been unaware they were just below the surface.

Do you know what is gorgeous about giving dark emotions space to surface? It may take weeks, or months, or years, but the fear will seep away.

With time, the negative emotions will roll through you without invoking a knee-jerk reaction to smother them with food, entertainment, noise, achievement, work, or positive experiences.

You will be able to allow anger, sadness, pain, and fear to flow in without losing your balance.

You will be able to stop running and to stop grasping, knowing all things pass, and this, whatever it is, will move too.

TAKE ACTION:

Step 1: Write your daily, monthly, and year JOY-LISTS.

Step 2: Schedule JOY into your daily life, as well as mini-month joy-cations.

 Step 3: Relate to people in a new way by asking and sharing sources of joy.

Step 4: Turn the conversation to sources of happiness instead of negativity, gossiping, or complaining.

Step 5: Yoga Time: Find a YouTube video or head to your local yoga studio.

Step 6: Meditate. You can start with just five minutes a day to make a difference. 

——————

Editor’s note: This is a guest post by Heather Lenz, a writer, yoga instructor, wellness coach, and CEO of the wellness company Delicious Glow. She wishes you to feel empowered to live your definition of a healthy, happy, and more purpose-filled life.

from Daily Cup of Yoga https://ift.tt/2l8h0oO

[nofomoartworld]

Hyperallergic: Dale Chihuly’s Road Not Taken

Dale Chihuly, “Koda Study No. 3” (2017) (photo by Marlon Co.)

Dale Chihuly’s crowd-pleasing glassworks inspire a remarkable degree of critical consensus. While the most hostile critics assail Chihuly as a craftsman rather than an artist, the majority grant the work its visual impact and technical mastery while acknowledging that it lacks restraint and a sense of purpose beyond art for art’s sake. The prevailing opinion is that the sculptures contain more dazzle than depth.

I’m not going to break rank with the critical consensus in my own assessment of the latest CHIHULY show, the second in the past dozen years to be installed at the New York Botanical Garden. The sculptures, while at times compelling, tend to be overcooked and underthought. Instead, I’m going to focus on a work in the show, “Koda Study No. 3” (1975). In its contrast to Chihuly’s characteristic style, “Koda Study No. 3” illuminates the other works’ limitations and allows us to perceive, with the benefit of hindsight, a missed opportunity in the trajectory of his work. It also accounts for Chihuly’s lukewarm reception in the realm of high art.

The current iteration of CHIHULY at NYBG is something of an unofficial retrospective. Dispersed amid the garden’s picturesque grounds, diligent visitors can glimpse sculptures from every decade of the artist’s forty-plus-year career. The LuEsther T. Merz Library displays his earlier work, such as the Native American-inspired Fire Orange Basket series from 1977, the shimmering and ethereal Seaforms series from the 1980s, and the sinuous nest of glassy forms that comprise the Palazzo Ducale Tower from 1996. More recent examples of Chihuly’s signature combinations of curlicues, icicles, rods, and flowers fill the Haupt Conservatory and dot the garden’s outdoor grounds.

Dale Chihuly, “Neon 206” (2017) (photo By Ben Hider)

“Koda Study No. 3” revisits the style of Chihuly’s 1975 installation at upstate New York’s Artpark. Located on a pond in the Haupt Conservatory’s courtyard, the study consists of medium-sized translucent monochrome rectangles standing upright and arranged in pairs that tilt against one another and let the sunlight speak through them. In their unpresuming simplicity, the rectangles recall the work of the 1960s Light and Space movement. It’s as though Chihuly took John McCracken’s leaning wall planks, shortened and widened them, and gave them the translucent quality of Larry Bell’s smoky glass boxes.

While Chihuly’s rectangles do not break new artistic ground, now or in 1975, their arrangement on the pond is pleasing, subtle, and evocative. Tinted in primary colors that are faint at times and dark at others, depending on the light, the glass panes play well off one another and the pond plants. The panes’ flat, rectangular shapes visually echo the pond’s many lily pads. With their hard angles and symmetrical positioning, the rectangles are not trying to pass as organic and yet they suit — enhance, even — the pond’s environs. It’s a thoughtful and well-conceived arrangement.

But the most striking thing about “Koda Study No. 3” is how starkly it contrasts with the rest of the show. Alongside the bold colors, baroque forms, and showy gestures of Chihuly’s mature style, the subdued Minimalism of the “Koda” rectangles seems the work of an entirely different artist. The large scale and visual intricacy of sculptures such as “Sol de Citrón” (2017), a fifteen-foot diameter lemon yellow glass koosh ball that greets visitors at the conservatory entrance, and “Neon 206” (2017), a long briar patch of glow sticks that light up at night, is undeniably eye-catching. But eye-catching is not the same as appealing. Much of Chihuly’s work is the sculptural equivalent of the sartorialist who dresses head-to-toe in statement pieces: it’s bound to attract attention, but not always in a flattering way.

Dale Chihuly, “Sol del Citrón” (2017)

The comparative aesthetic subtlety of the “Koda” rectangles evinces greater conceptual subtlety. One hallmark of Chihuly’s sculpture is its use of biomorphic forms such as plants and flowers, as well as abstract shapes that evoke stems, leaves, petals, and twigs. Many reviewers go so far as to suggest that some sculptures could pass as actual plants. “Glasshouse Fiori” — a series of glass reeds, plants, and flowers convincingly interspersed among the flora in a conservatory arcade — is representative in this regard. But even the most realistic Chihuly sculptures contain elements — be it their color, scale, materials, or on-site placement — that exaggerate nature’s characteristics past the point of credibility.

In the way they echo, rather than mimic, nature, the geometric forms of “Koda Study No. 3” demonstrate how artifice becomes less convincing the harder it tries. Chihuly may be a nature sculptor but his shiny maximalist aesthetic is far from naturalistic. “Koda Study No. 3” takes the measure of its own artifice, and does something thoughtful with it. It makes you wonder what his body of work could have become had he pursued the more understated aesthetic pathways opened up by his 1975 Artpark installation, in which he incorporated simple sheets of stained glass into the park’s landscape in a manner redolent of Land Art.

It also makes you wonder whether Chihuly would have attained the same level of popularity had his work trod subtler aesthetic paths. But playing that sort of what if? game with the past is, in art as in life, a fool’s errand. What’s most interesting about “Koda Study No. 3” is not the questions it raises of what might have been, but its reminder that deeper aesthetic inquiry has been within Chihuly’s range since the start of his career. That he chose another path confirms much of what critics have said about the oeuvre he has in fact produced.

CHIHULY continues at the New York Botanical Garden (2900 Southern Boulevard, Botanical Garden, Bronx) through October 29.

The post Dale Chihuly’s Road Not Taken appeared first on Hyperallergic.

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[thatlexplays]

Dance for Nerds: Why I do it.

I’ve mentioned a few times on this blog that I’m a little weird as a person. I’m quirky, kinda sarcastic and obnoxious, and I make more pop culture references than I probably should (and I’m honestly not entirely sure how many people get my jokes) But when it comes to my craft as a choreographer and performer, I’m the weird guy who doesn’t get exclusively get inspired by the works of other choreographers before me. Why? Because I’m nerd of my senior class. When I got to college, I was a broadway nerd (I’m less of that now), and as the years went on, I became a gaming journalist and a hardcore nerd (I mean I made a post about choreography coming from Dungeons and Dragons...that’s peak nerd right there). 

The major change in my life came with my roles at Zelda Universe. I started as a guide writer and in a turn of events that I did not expect, I ended up becoming the Media Director and an attendee to the Electronic Entertainment Expo (aka E3, the big event for the Gaming Industry). Going to E3 as a member of the press drastically altered how I compose myself because it forced me to step up to the plate and make myself seem professional. It was very weird the first year I went to E3 (2015), but by E3 2016, I felt comfortable calling myself a gaming journalist. As an artist, it also is incredibly interesting to talk to the developers of the games themselves and ask them what their process was and some of the reasoning behind their choices. My recent favorite is getting the chance to play Outlast II, a sequel to 2013′s surprise horror hit. During the demo, there was a particular jumpscare that got me so hard it actually made me scream in the middle of the show floor. When talking to the devs, they told me that that specific jumpscare is triggered by how fast your turn the camera, and NOT by touching a door, which allows the tension to continue to build up until you unwittingly set it off. That is genius. 

Sadly, I’ve also gotten a lot of shit for being a dancer that plays video games. I’ve been told by a handful of family members (as well as a few faculty members at school) that I am not prioritizing myself and should be taking more inspiration from dance. Which is unfortunate because I feel like we don’t look at video games complexly. I’ve gotten so much crap for this that I’ve become really good at explaining why being a dancer who plays video games is valid. And because I am currently sitting on a flight for three hours: I figured it would interesting to write about it.

First of all, there’s the obvious answers of storyline, art-style, and music. There are plenty of video games that do an incredible job at creating a plot arc that is gripping and engaging. For me, some of the memorable games that do this incredibly well are The Last of Us, Bioshock, Bioshock Infinite, most of the Legend of Zelda titles, and most recently, The Last Guardian (which I still have to finish, but what I’ve played I’ve enjoyed). These are games that have a great score, and have story-lines that make me connect to the characters and find things to use as inspiration. 

Then you have those games that also force you to make specific decisions that do have impact. Telltale is prastically know for this in their titles, but the one that’s had a lasting impact on me was Undertale. Undertale’s art-style mimiced that of Nintendo’s Mother/Earthbound series, and had an incredible, multi-faceted story that wasn’t afraid of being fun and kid-friendly one minute and then actively trying to fuck with your mind the next (there are even some movments near the end where the game takes a page out of Eternal Darkness and Arkham Asylum and crashes on purpose, just for good measure). The game also boasts a fabulous score, and it was one of the very few games (if not the only game) that I found a personal connection with. But what set the game apart from other RPG-style games was the primary mechanic of either sparing every enemy you meet or killing anything that crosses your path. The Pacifist and Genocide runs give two entirely different experiences and completely alter how NPCs view your character. Genocide goes one step further as well and activates a permanent flag in the game’s files upon completion, which alters the outcomes of future True Pacifist and Genocide Runs unless you go into the game’s files and delete the flag yourself (which is not as easy to do for the Steam version). This moral choice has so many different implications and is a very brilliant way of showing that every action has a consequence, which in dance, is an important rule. 

But those aren’t the reasons why I play video games. There is one reason that outshines them all, and it can be consended into a quote by Robert Frost.

"In three words I can sum up everything I've learned about life: it goes on" -Robert Frost

 If the countless hours of YouTube, Film, and Video game have taught me anything in the 22 years I’ve been on this Earth, it’s taught me that pretty much everything related to media shares a common aesthetic: life in motion. Whether it’s in the depths of outer space in Star Trek, a Deathclaw in Fallout 4, the Demogorgon from Stranger Things, or just two people chatting in a Starbucks, the act of existing in the world naturally evokes movement. Life doesn’t stop. Ever.

In video games, this is amplified depending on the game. Every character and enemy model has to have a specific way of traversing through space. Sometimes that’s as easy as using a reference (like spiders are common in games but they all move like actual spiders...also...fuck spiders). But in the cases of original enemies, somebody has to create a model and then think “Ok...so how would this character traverse through space?” Once you have that, then there are the specific and subtle nuances that all the characters should possess like Idle animations. That is all movement. 

Case in point: look at the idle animation for Team Skull Grunts in Pokémon Sun and Moon.

Now this is the most ridiculous thing I’ve ever seen in a Pokémon game. Easily. It’s so dumb that it’s absolutely hysterical. However, as dumb as it is, when I think of Team Skull now, I immediately start doing these arm gestures. I now associate Team Skull with that movement. As ridiculous as it is, it’s still movement.

Mankind is currently living in an era in which technology is evolving at a rapid pace. There is so much media in our lives we are pretty much drowning in it. As a result, everything can connect to movement, regardless of sentience or whether or not we can actually see it.

As a citizen living in a country where everything is about to drastically change come January 20th, the arts now have an important role to serve our society and create meaningful work. If we look complextly at the video game industry, we come to realize how much goes into it and how much you can use as a jumping-off point for anything. 

And that is something I intend to do--I am interested in deconstructing current media and technology down to a series of movement principles to create work (either performed live or produced as films) that not only references the culture, but also comments on it as a way of showing the complexity of modern existence through technical and natural movement. I’m also interested in utilizing technology like Twitch to create work that puts control into the hand of the audience. 

Maybe I’ll figure out a way to make this work...or maybe I wont. But it’s worth a shot.