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pinchinschlimbah · 2 months

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On "Coming Out" and Noel Fielding

I mentioned forever ago that I had this post in mind and then never got around to it, but now with the new interview quote I was yelling about recently it feels like a particularly good time to get it out of my brain and onto the page! tl;dr: musings on the concept of "coming out" as it has evolved over time, whether it's something that should continue to be necessary or expected of queer people, and why Noel is particularly inspirational to me in that regard since this is, after all, my brainrot blog. This may be extremely long and a bit disjointed but I hope some of y'all will enjoy it!

So a while ago myself and several friends were discussing the concept of coming out. All of us are some flavor of queer both in gender and orientation, but each is in a different place along their self discovery and identity journey, with some being long since out and proud, and others just starting to dip their toes into exploration past the expected cishet.

This discussion actually was prompted by a different discussion about Noel, spurred by comments we'd come across slamming him as being homophobic/transphobic on Bakeoff for making comments suggesting he has romantic or sexual attraction towards Paul, referring to himself with female-centric terms, playing female characters in the skits, and a particular moment where he brings up Old Gregg while talking to KimJoy and says "he was a sea transsexual....quite a demanding role for me" while laughing to indicate that that last part was said in jest. Hey fellas, is it homophobic/transphobic to be a little bit gay and trans? This got us talking about how the current culture of queer identity has evolved to the point where "coming out" feels more like something the public feels they're owed in order for them to view one's expression as valid, rather than its original purpose as something one does for themself in order to live most authentically. I don't think I need to go into detail about how many artists have been harassed by their "fans" into coming out before they were ready because people wouldn't accept the validity of that person's work without knowing exactly how that person identified, there've been plenty of articles and video essays and better written tumblr posts about that, but it's definitely a concerning trend. It can be particularly dangerous when it comes to people who aren't feeling confident or safe enough to come out, who end up being criticized and shunned by the queer community as being somehow problematic for not being able to fully articulate to a group of strangers the ways in which they're experiencing their identity. In this situation, the people who are struggling the most end up with the least support. Forcing people to either declare an identity or get out just leads to more people staying closeted out of fear of doing it "wrong" and never getting the chance to explore the most authentic and joyful versions of themselves, or even worse, feeling the need to out themselves before they're in a safe place to do so and suffering the resulting consequences. Questioning or cautious people deserve space in the community to experiment even if they haven't yet or maybe never will come out! My high school's Gay Straight Alliance was comprised entirely of "straight allies" when I was there. There was not a single "out" person in the school at the time. Nearly all of us in the GSA ended up being some flavor of queer or trans years later after graduation. But whether it was intentional closeting or just feeling an innate affinity towards something we couldn't quite pinpoint at the time, we all knew we belonged there and made that space for ourselves and others like us. Back when "coming out" first became a concept in the public consciousness, it was during a time where cishet identity was not just considered the default, but the only option. By coming out, queer people were giving genuinely revolutionary representation for themselves and others like them by telling the world that, as the old saying goes, we're here, we're queer, get used to it! Nowadays, we're lucky to live in a culture that is much more cognizant of queer identities being a thing, so in many cases coming out has become less about having to explain to those around you the basic concept of queerness existing, and moreso about which specific identity you fall under, and that's where things get messy.

My friends and I shared our own thoughts and experiences. One is currently identifying as "unlabeled" because they haven't found a term that feels correct yet, and therefore hasn't come out because they wouldn't know what to say. One spoke about how when they first came out they were much more insistent on what terms or pronouns people used for them but as time has gone on they've grown to find joy in being inscrutable and letting others wonder what they're perceiving. One expressed that given the state of the world they've been retreating somewhat back into the closet for safety reasons rather than being super outward with their queerness like they used to and is working on learning to embrace those parts of themself again. One said they felt like they'd already been existing as queer and expressing that queerness "before I even had the terms to come out to myself" and is now working on catching up on the conscious end of figuring out what's what. I myself never really had an official "coming out", I just became increasingly visually/socially/vocally queer as I became more and more confident in who I was and what I wanted to be and who I had on some level always been, and decided if people didn't get the hint that's their own problem. I came into consciousness of my queerness during the early 2010s original tumblr MOGAI microlabel boom, where there was a ton of focus on figuring out the hyper specific identity labels that exactly described what you were experiencing. I did a lot of digging and soul searching and experienced a lot of unnecessary stress trying and failing to find my perfect labels and landed on clumsy terms like "full time drag queen" because it was the closest I could get to what I was feeling about my gender, only to be told it was problematic for me to call myself that as an AFAB person because drag "belongs to cis gay men" (don't get me started on that statement, that's a whole other essay lol) It was a real wake up call once I distanced from these aggressively labeled and segmented online spaces and made my way into real world queer communities where I was relieved to find that in fact no one there asks to check your membership card before letting you in, if you feel like you belong there you're welcome no questions asked.

I had other people in these communities referring to me as "queer" and "fag" and "gay" and "queen" before I felt comfortable doing so myself based on online Discourse I'd experienced over who is Allowed to use certain terms, and having these community leaders I respected recognizing those things in me and welcoming me in like that gave me the confidence to really find my own footing in ways that attempting to find my exact correct identity label so that I could officially proclaim it never did. Once I could answer the question of what I was with a shrug and "queer I guess!" things became so much easier. Microlabels can be incredibly helpful and liberating for some, don't get me wrong if it works for you that's great, but let's not pretend that everyone is going to have the same experiences.

So anyway, back to Noel. Noel has never, to my knowledge, ever had any sort of official “coming out” or explicitly referred to himself as queer. So I know there are people out there who will disagree with me considering him to be queer. But so much of what he’s said and done throughout his several decades long career has indicated to me that this is clearly someone of queer experience navigating the world as such, and just as the queers in my local community welcomed me as one of them before I knew to do it myself, I extend that welcome forward.

Let’s take a look at some of the facts. In the public span of his career, Noel has.....(in no particular order, also if anyone wants to add additional instances of note in the reblogs or comments please feel free, this is by no means a fully comprehensive list) -repeatedly called himself "the woman of the Boosh" or Julian's/Howard's "wife" in ways that suggest that's how he actually felt about it rather than it just being a punchline that he was mistaken for female in the show [2] [3] [4] [5] [6] [7] [8] [9] [10] [11] [12] -referred to himself at the GQ "Man of the Year" awards as "never been a man" and "a sort of girl, he/she" -been referred to by Sandi Toksvig as being "on the cusp" in regards to gender, to which he reacts with amusement and acceptance -consistently expressed excitement and appreciation when others refer to him with feminine terms or say he looks like a girl [2] [3] [4] [5] [6] -said "I love being a man-woman, it's much more interesting than being one or the other" and expressed that the loved shooting the Boosh Electro episode for this reason -referred to Vince Noir (a character who he's been pretty open about being based on himself) as "wasn't seemingly one gender or the other" -expressed that he felt most free and happy when presenting femininely [2] -had Julian, one of the people closest to him, express that Noel and Sandi (an out lesbian) may have "real sexual chemistry" because Noel is "all over the shop, he's a different sex" -used the "Confuser" line of "Is it a boy? Is it a girl? I'm not sure I mind" to refer to himself rather than Vince, and express that he's had to work to find new ways to feel as androgynous as he'd like now that he's older -referred to himself as a lesbian [2] -said that he "sometimes looks in the mirror and sees a woman", in the same interview that Julian implies that Noel is in fact a girl -referred to himself as a "girl/boy" -consistently referred to himself with feminine terms on panel shows and bakeoff -made a joke on bakeoff about not being a testosterone-based person -responded positively when asked about the ways Boosh had influenced queer and nonbinary youth -has said he's "quite obsessed with the man/woman mixup thing" -has said if he was an animal he'd want to be a seahorse because the males get pregnant -Had Lee Mack, who Noel used to live with, refer to him as "the little transsexual one, yeah I think she's fantastic" in a Boosh documentary and "a young lady who came out here happy to be herself" in response to Noel's Wuthering Heights drag performance -had his own mother refer to him as "the daughter I always wanted" -described his own appearance as that of a "transsexual witch" and when an interviewer attempted to make fun of him for calling himself "a transgender witch" by showing Noel a drawing the interviewer clearly found repulsive, Noel responded that the interviewer was "holding up a mirror" and called the image his passport photo

And I'm not even going to bother citing sources on the countless times he's made comments suggesting romantic or sexual attraction towards men. Literally just watch any non-character appearance he's ever done, it's kind of his whole thing??? Not to mention his penchant for picking up explicitly queer and gnc character roles, and also just [gestures vaguely to everything Noel and Julian have said about each other suggesting romantic and sexual tension between them and how they used their characters as an excuse to explore those feelings in a less scary way, again that could be a whole other essay on its own but ooh boy] I also think there's something interesting to explore in the idea of Noel repeatedly referring to his appearance as transgender or transsexual rather than identifying himself as such- at what point does the appearance of something become reality?

It all begs the question- is it even a joke anymore if it's that consistent? Either it's not a joke and it's an authentic expression of his real feelings and experiences, or he for some reason really really wants everyone to believe that he's queer when he's not, with this behavior spanning back to a time before the concept of queerbaiting was on anyone's minds and when being publicly queer could mean the end of your career. Which scenario do you think is more likely? And, does someone who’s been conducting themself like this for their entire career really NEED to come out? Honestly, I find this level of simultaneous authenticity and inscrutability aspirational.

In this Velvet Onion interview from 2012, Noel compares his penchant for dresses to both Grayson Perry and Eddie Izzard. This is interesting because those two people represent pretty opposite intentions behind their presentation- Grayson identifies solidly as cis male, and for him the shock value of crossdressing is the point, saying “I signed up for a gender and I want them to be very clearly delineated so I know I’m dressing up in the wrong clothes.” This doesn't seem particularly in line with where Noel is coming from given him famously referring to himself as "the Confuser" and stating in that same Velvet Onion interview that he "never even bothered giving it a label, I never went oh I'm a transvestite, I just went yeah if I fancy wearing a dress I do, never really thought about it really" Eddie on the other hand has famously said "They're not women's clothes. They're my clothes, I bought them." indicating that they were a genuine part of her authentic expression rather than a crossdressing costume, and has subsequently over the years identified more and more solidly as transfemme. I find Eddie's trajectory particularly fascinating because it's been so non-linear. In the 90s when the language for transness was much less public knowledge, she referred to herself consistently as a transvestite- a cishet man who enjoyed dressing as a woman, as well as using terms like "male tomboy" and "male lesbian" and "a full boy plus extra girl". Despite doing most of her standup shows in femme looks, most of her acting jobs were male-presenting, and there was a period of time in the 2010s where she dropped the femme presentation entirely in an attempt to be taken more seriously as the "crossdressing" was seen by many as a gimmick. Swinging back around more recently, Eddie has been explicitly identifying as genderfluid and transfemme, and in recent years has made the decision to "be based in girl mode from now on", and use primarily she/her pronouns. Since this announcement, in her trans advocacy work Eddie has described herself as being "out" as trans since the 1980s despite all of the above. She always knew who she was, it's just she's gotten access to more accurate terms over time to describe what she was experiencing, as well as feeling more safe to do so the more that transness became a known and accepted concept in the public eye.

The interview I mentioned at the very start of this post isn't really a coming out from Noel. And I don't think we'll ever really get one from him. In my opinion Noel has spent the past several decades conducting himself as someone who is in fact already out- it’s pretty clear Noel knows and is proud of who he is regardless of how he chooses to describe that identity. At this point, making some sort of official statement would just be for the benefit of others looking for clarification on their own perception of him and people who want to be able to put him in one box or another, and that’s not what coming out should be. The statement in the new interview is not "I am genderfluid", its "I've always been genderfluid", simply putting an accurate name to what's always been publicly visibly true now that he's got the terms to do so.

#noel fielding #gender files #gender files masterpost #gay yelling #the mighty boosh #shouts into void #a lot of this could also apply to my other wife #but that discussion is way more of a minefield so I'm not touching that for now plus many more people already have

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loveinhawkins · 1 year

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Hi! I've never messaged you before, but your writing is some of my very favorite on Tumblr! I love that you have Steve as a poetry fan, and a fan of Simon and Garfunkel! I was reading the poem Richard Cory, and it made me think of a young Steve, the one people only see as a King, as a spoiled rich boy, not seeing his pain and trauma. Even his friends seem to gloss over it. And I can imagine him and Eddie in English class, and Eddie barely paying attention, but seeing how Steve subtly reacts to the poem when they read it, and Eddie wondering if maybe there's more to him than he'd previously thought! I found out that Simon and Garfunkel made it into a song, too, and that really sent it home! I hope you have a wonderful day, thank you for sharing your wonderful stories with us!

you are so kind, thank you so much. i hope you have a wonderful day too ❤️

oh, this has so many things i love. the poem & simon & garfunkel references (cw for references to suicide in both the poem & song lyrics), how Steve views himself and his high school persona vs how Eddie sees him—like, I could quote the whole poem but:

he fluttered pulses when he said, “Good-morning,” and he glittered when he walked.

Steve glittering as he walks! Eddie in denial that his pulse is also fluttering! ❤️

and them fleetingly crossing paths in high school is one of my absolute favourite things to think about, as well as them sharing the same English class at some point.

And when they read that poem… Eddie silently notices things. How Steve’s reaction stands out amidst the typically bored, glazed-eyes expression of other students. Eddie can see out of the corner of his eye how Steve reads the poem over and over, the subtle swallow, the shift in his jaw. The crease in the middle of his forehead that somehow seems more than just straightforward confusion.

But then he puts it out of his head—until, that is, an English period when the teacher says the whole lesson is just for silent reading. And Eddie hears a, “Psst,” coming from his left.

He doesn’t realise that it’s Steve Harrington trying to catch his attention, assumes it’s just someone trying to piss him off, so he snaps, “What?” a little harsher than warranted.

He almost does a double take at the way Steve shrinks back in his seat—not obviously so, but just enough for Eddie to notice.

“… Nothing. I’ll leave you alone,” Steve says shortly.

Eddie feels a flash of guilt. Sighs. “What?”

“Just… you’ve done this class before, right?”

“Fucking astute observation, Harrington.”

“Shut up. I just…” And Steve hands Eddie his photocopy of the poem, points at the top of the page. “Do you get this stuff?”

There’s a pause where Eddie scans the poem—and, Jesus, there’s a lot of annotations. Like, a lot. There’s even parts where Steve’s writing gets all cramped in between the stanzas, because he’s got a helluva lot to say, apparently.

Then he sees the part Steve’s pointing at, where there’s a scrawl of: Metre???

“Uh, yeah,” Eddie says. “I get what… it’s, like, the rhythm of it. Where the emphasis is on each word and stuff.”

Steve actually has the audacity to roll his eyes at Eddie’s, in his opinion, very generous explanation. “Yeah, I get all that in theory, but I can’t, like, hear it, y’know?”

And well, Eddie’s in a band. He knows a thing or two about rhythm. So he leans over and taps the rhythm out with his finger on Steve’s desk. He can’t remember the proper term for it, but he rambles, “It’s the same rhythm in Shakespeare plays? Kinda like a heartbeat.”

It must click for Steve, because sometime during Eddie talking, he starts tapping out the beat, too. Their knuckles almost touch. Not quite.

“Thanks, Eddie,” Steve says distractedly, as he takes his paper back and starts writing again.

And for the rest of the lesson, Eddie has to consider the fact that Steve Harrington truly knows his name, like he didn’t even have to think about it; like the freak moniker didn’t even occur to him.

#i got locked out of my account but I’m back now! this was so lovely to think about thank you ❤️#steddie ficlet #steddie #steve harrington headcanon #steve harrington hc #pre steddie #steve x eddie #steve harrington #eddie munson #eddie munson headcanons

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indiangp · 4 months

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Analysing Valentino Rossi's handwriting

okay so to preface this so I don't have to explain myself if I ever get anything wrong:

1. I have lost most of my knowledge regarding graphology after I got deep into it about 4 years ago. I rediscovered it about 3 days ago. Moreover, I'm just a girl on the internet, not a scholar. Some things might be inaccurate.

2. Graphology is considered a pseudo-science. There is no empirical evidence backing up graphology; if it's more understandable that way, think of it as analyzing someone's birth charts.

3. I generally do not know the people whose handwriting I analyze. I nor know what Valentino Rossi is like in real life, and neither will I ever. This is for funsies <3 I just enjoy graphology.

4. An important, somewhat unspoken, rule of graphology is that it's imperative I keep aside my knowledge of what I've seen him act like in public and focus solely on what the page tells me.

5. ALSO. Our handwriting has fixed as well as unfixed traits. For example, your IQ is fixed, likewise, your aptitudes, temperament, and identity are all fixed. There are unfixed traits as well in our handwriting. They keep changing depending on the conditions. Your abilities, attitudes, moods, beliefs, motivational level, and physical conditions are unfixed traits. People's handwriting also changes depending on whether they are writing for themselves (eg. a personal note, journal) or for someone else (eg. a letter <- like the sample currently at hand !)

6. I will sound nerdy at times as I might quote some graphology experts or use their works verbatim from their books. I have tried to keep it as simple as possible but still, if anything is unclear/your opinions vary, asks are always open <3

*****Text in italics are random comments that shouldn't be included in any professional graphology analysis document but are there because this is a TUMBLR POST******

Now, the actual analysis

1. Initial Impression

This is a “normal” writing sample at first glance. Form quality doesn't reflect over-embellished or neglectful form. The writing is legible, which is expected considering it is a letter. The handwriting is slightly middle zone dominant(explanation in section 8.) indicating a bit of self-centredness and concern regarding day-to-day life. There are a lot of things crossed off which may show emotional distress at the time of writing the sample. I also noticed the large spacing between the lines at first glance and it generally shows fear of isolation(he was leaving Yamaha 💀) and distrust. There are also some arcades and garlands at the end of words(explanation in section 10). WEIRDASS LOWER ZONES.

But mainly, it's so… erratic; the baseline is erratic, the slant is mostly vertical but still erratic at times, and the way he crosses off so much stuff is an indicator of emotional distress.

2. Baseline

The baseline is the imaginary line running from left to right at the same level. It is on this imaginary line that letters rest on dividing upper and lower areas while moving forward to the right. Any movement horizontally along the baseline represents your reaction to experiences, living values, time demands, and learning. Right motion is to advance, expand, and progress and left motion is to revert, constrict, and regress. The baseline reveals 1. attitudes about reaching our goals, 2. the kind of mental energy we apply to our life situations, and 3. our general moods.

Initial lines in the sample display a “Moody” baseline or an erratic baseline(some authors call it a “sinuous” baseline). When a baseline has a number of ups and downs, or ascending and descending it is called erratic. Of course, it shows the moodiness of the person. They may laugh and cry easily and have lots of ups and downs in their lives. They are unbalanced as the handwriting shows. This is not to be confused with an incoherent, aka, ”sociopathic baseline”.

HOWEVER, the end of the sample follows a stable baseline which is an indicator that the person shows controlled/consistent behaviour to the outward world. A straight line is a straightforward path and its meaning is a firm, unchanging foundation. Its positive qualities are straightness, discipline, willpower, constancy of purpose, and responsibility. Its negative aspect impact is inflexibility.

I wish I had more samples to confirm my thoughts and form a consistent opinion because I cannot conclude a single baseline pattern followed by the person. Language and cultural upbringing differences also don’t help.

3. Slant

A handwriting can be a. just vertical; it stands straight on a baseline as though at 90 degrees. b. inclined to the right or c. inclined to the left. Further, it can be lightly inclined, very inclined, or acutely reclined. In general:

Leftward slant writers are emotionally cold and defiant, self-centered, and/or selfish. Overly leftward can be very emotionally sick. Extremely left slants often indicate past trauma and/or inability to move on/ recover.

Upright/vertical slant reveals emotional reserve, suppression, and self-reliance. The person acts not with his/her heart but with the head. The person can be cool under pressure.

One’s right slant indicates compliance with people. The person is emotionally expressive. The person will act according to emotions. Here pressure levels reveal how intense the emotions are expressed. Overly right slant writer cannot control his/her emotions.

Variable slants betray mostly an emotionally unstable person.

I had a terrible time with this one because even when I superimposed a chart on it, it was still unclear which slant it follows. Rossi’s handwriting appears to go in all directions however it is seldom on the extreme ends(ie, acutely inclined to the right or acutely reclined to the left. Both of these are “abnormal” and rare.)

If we write with an unstable slant, we feel pulled in different directions. An unstable slant is a wobbling slant. At one moment the person is affectionate and at another moment he is aloof. The more unstable a wobble, the more unstable is the writer. The interpretation of the slant is based on the universal concept of ‘left versus right.’ Usually, people associate the left with the past and the right with the future. If the left and the right represent the past and the future, then the centre represents the present.

4. Size

Size simply refers to whether the writing is large or small. Of course, there are many categories in size, like large, overly large, medium, small, or overly small (microscopic). It is an unfixed trait. Because, depending upon the mood, people write sometimes small and at other times big. It also depends upon the paper on which they write.

Valentino’s handwriting again follows a somewhat irregular pattern when it comes to size. I say this because size changing over a few lines is completely normal but irregular size between words shows emotional instability.

According to Karen Amend et al, “variable letter sizes, that is, middle zone letters ranging in size from 1116th of an inch upwards, show a writer who is emotionally off-balance a good deal of the time. Too much caught up in his own feelings, he is likely to be self-centered, overly expressive, indecisive, and childish. Those around him often find him moody and immature, but not always without charm.”

(I do not agree with this description too much but this is all i could find regarding unstable size)

The letters enlargen in the middle of the sample, especially when he mentions someone by their name. If a certain word or name becomes suddenly bigger in comparison with other words in the same line, then we can conclude that the writer has invested some emotions either positive in the person or thing signified by that particular word that got enlarged. When we hold somebody or something in high esteem, then automatically that word gets enlarged in our writing. On the contrary, if we have less regard, and think less of the person, then the word automatically shrinks.

5. Margin

NARROW UPPER MARGIN

In short, it shows informality. If your handwriting leaves a very narrow margin on the top, it is an indication that you are informal with the person to whom you write. It shows informality and familiarity. Just because you are comfortable with the person, you start writing from the very beginning. (this does match with the contents of the sample at hand)

(Not much more to say really, the margins are wide on left and right side but it doesn't favor one side, which shows a balance/peace with their past as well future)

6. Speed

Speed refers to how fast or slow one writes. It measures how quickly or slowly an individual thinks and acts, the person’s intelligence level, and finally the degree of spontaneity and honesty. When we speak of speed, we are referring to the natural speed of the writer in thought, action, and reaction. All of us have an optimum speed at which we think and act most comfortably. If one is forced for a long time to go faster or slower than the optimum speed that will end up in difficulties. Speed tells of the intelligence and spontaneity of the writer.

There are barely any signs that the sample was written in a rushed or sloppy manner. He does leave a few large gaps in between which indicate uncertainty and the writer is possibly taking time to gather their thoughts before putting them onto paper.

7. Spacing

SPACING WITHIN WORDS

The distance that the writer places between the letters shows how he relates on a personal level to other people. Valentino’s handwriting shows more or less balanced and normal spaces within words. There is occasional tanglin but not to a concerning degree. A normal, well-balanced spacing within the letter shapes and between them shows a personality that is balanced and flexible in relationship to others, with the ability for both closeness and reserve where appropriate.

SPACING BETWEEN WORDS

The space left between the written words represents the distance that the writer would like to maintain between himself and society at large. Rossi’s handwriting has rather narrow spaces between words. Very narrow spaces between the words show someone who will crowd others for attention, craving constant contact and closeness. Such a writer can be selfish in his demands and unwilling to give of his own time and energies to others.

SPACING BETWEEN LINES

The amount of space that the writer leaves between the lines on the page gives clues to the orderliness and clarity of his thinking, and to the amount of interaction that he wishes to have with his environment. Overall the sample at hand shows normal to slightly wide spacing between lines. There isn’t much tangling(sign of confusion/jumbled ideas) between the lines and neither are the lines excessively far apart(signs of suspicions and hostility). Normal spacing has its own personal harmony and flexibility.

8. Zones

This is the most complex thing in graphology to me personally but to oversimplify, the three zones and what aspects they relate to are as follows:

I. Upper: fantasy, spirit, intellect, creativity, imagination

Ii. Middle: social life, daily life, everyday concerns

Iii. Lower: instinctual self and drives for security, materialistic things, biological needs

People can have a writing that is balanced across all zones or they may have a dominating zone. Valentino’s handwriting is overall middle zone dominant. According to Karen Amend et al, “If the Middle Zone is Strongly Developed, but neither the upper nor lower zones are, the writer is overly concerned for himself and his own daily activities. His self-assurance borders on presumptuousness and conceit, and he will make great issues of trivial things. The danger to this sort of writer is boredom and confinement in a self-centered world. ”

This is a somewhat pessimistic and outdated view of this trait(and respectfully I hate it <3). Most students today actually tend to have this type of handwriting and it’s quite common. While it is a somewhat “childish” trait, it may show the person’s extroversion and general concern over daily concerns. (This view is what I believe in more than the weird self-centred blah blah explanation.)

9. Printing & Cursive Writing

To oversimplify, print writing = intellectual/methodical person/head-over-heart or trying to be coherent. Cursive = fast/connected thoughts.

Valentino mixes these two and it is considered an example of efficient breaks in print-cursive handwriting. It is quite common and indicates that the writer is intelligent, succinct, efficient, direct and fast, and simple in writing.

10. Connecting Strokes

(This was another aspect I had a hard time with because I am so out of touch with the knowledge I used to have.)

There are 4 types of connecting strokes: garland, angles, thread, and arcades.

(I’ve already written more than anyone wishes to read so I'll just jump to the conclusions instead of explaining each.) He uses a lot of garlands(upward strokes) as connecting strokes. If you write with garland connectors, then you are open, friendly, sociable, affectionate, flexible, ready to establish a link with others and communicate easily. Garlands are associated with openness and friendliness. More women than men seem to use garland connectors.

Garland is an image of round and open and is sincere, receptive, and obliging. Hence the positive qualities are feminine traits, friendliness, kindliness, natural behaviour, lack of formality, receptiveness, and adjustability. Socially, they are adaptable and flexible, but their strong need for security makes them feel threatened by any changes in their home, family, or lifestyle. These types are expressive yet conventional. They want communication with and acceptance by other people.

11. Signatures

Signature reveals: one’s public self-image, self-confidence, egotism, self-destruction, diversity, and creativity. Signature is the sum and substance of your public self-image. It shows how one behaves in public, how one acts around others, and in short, one’s social persona.

Signature larger than the script

The writer is advertising and wishes to be recognized as an important person. Pride, self-esteem, ambition, and self-confidence are shown. (also a sign of vanity)

Creative Signature

The graphic imagery of the creative signature will mirror or express the nature of the creative drive, as in the beat of music, the stroke of brush or pen, or creative imagery that reflects the professional involvement.

Ascending Signatures

This is a sign that the person feels good about his public image.

12. Letter Specific traits

Capital 'A'

The 'A' seems to be written in a single stroke retracting back up which may show intelligence and originality.

Lower zone letters

I DIDNT KNOW ANYTHING ABOUT THIS AND I HAVE NOTHING TO SAY. SO HERE IS WHAT ONE TEXTBOOK SAYS:

THIS IS WILD AND I DO NOT WANT TO COMMENT ON THIS.

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

Yeah so that will be it for the analysis, I wish I could be more coherent about this. please send asks incase if you want me to explain something in particular or you disagree with some aspect of the analysis (eg the slant <- the poll I did was killing me)

#valentino rossi #og #vr46 #motogp #handwriting analysis

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surgepricing · 1 month

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RWBY Final Thoughts: Legacy

Very rarely would I ever consider a fandom on its own worth its own section of a Final Thoughts. ... [Basically,] they behave like a cult.

This is a repost of a post I made February 1st, 2024 on another site. At the time, it was the final post of a deep-dive recap of RWBY and the history of the show, its fandom, and its direction under Rooster Teeth.

I felt this out with some of my peers and the feedback I got in relation to posting in on Tumblr was that, well, why not? It was my main haunt to begin with, and I may as well, since Rooster Teeth is closing its doors. I'm posting this mainly as a shot in the dark just to see how it gets received. Only minor edits have been made; I'm sure there's some stuff in here that would make people mad, but that applies to pretty much anything someone could say about RWBY. Click the read more to get a glance at how my time with RWBY ultimately wrapped up.

Nine years ago today, Monty Oum died of an allergic reaction. Today is a day of mourning for fans of his work, including RWBY. There’s no sense in waiting. Let’s finish this and heal.

The Showrunners

Miles and Kerry often received the brunt of the attention when it came to RWBY. As the writers of the show, they bore responsibility for the largest chunk of why it eventually went into the shitter, and fan anger against them was almost certainly not helped by the damn near idolization heaped on them by fervent stans. They are, undoubtedly, the focal point of RWBY fans’ parasocial relationship with the show.

Of course, despite sharing about the same credits space as his partner in crime, Kerry tended to fly under the radar a lot, with it being Miles who received the brunt of the fandom’s fury with each successive volume. It’s not hard to see why; the character Miles voices has been consistently over-exposed and is in many ways an obvious creator’s pet, with denials as to this fact falling on deaf ears as Jaune’s screentime continued to balloon past its merits, whereas the character Kerry voices could just about wrangle an average of ten seconds of screentime every three years. Certainly Miles has been in trouble with fans more often than Kerry for the shit he’s said and done. The Ruby body pillow and the Tifa Lockhart ‘prostitute’ comments come to mind. Oh, and the slurs, that one too.

But perhaps the reason Miles gets so much more flak than Kerry is that Miles just...acts like an asshole a lot of the time. Even aside from above examples, Miles’ flaws come out in his writing: he’s petty, holds grudges, can’t take criticism, and just overall has way more power over the story than someone of his caliber should. He’s very poor at disguising his real feelings and often lets them bleed through, and when he actually decides to voice them on purpose, things get ugly—refer to that Cameo about Ironwood.

But as tempting as it is to treat Miles as an out-of-control cockwaffle on the rampage and Kerry as his sympathetic ineffectual shadow, the reality is that they’re co-writers, have been for ten years, and anything Miles gets away with doing is as much Kerry’s fault as his. If the Gray Haddock situation has taught us anything, it’s that more people tend to harbor blame than the one individual that makes an easy scapegoat.

Since aside from aforementioned n-word business, Miles and Kerry are almost never connected to moral outrage, this makes it easy for the stans to uphold them, since all they really have to defend them from is accusations that they didn’t honor Monty’s “vision” for the series. This is only easy because the stans are fucking insane, but that’s for later on down the page.

“Vision” is in quotes because that’s how fans treat it, we all know they don’t really care. Miles and Kerry’s vision matters, and we know that much because of Calixyn’s interview where she all but begged to be told that RWBY Volume 5 was as bad as it was because the “good bois” had control of the show ripped from them. Nope, turns out all that racism, homophobia, and plain shitty writing is all on them. But at least they’re nice!

(Miles was 26 when he said the n-word. I’m 26 now when writing this. I think it’s pretty fair to call him an asshole.)

But the truth is that it’s objectively stupid to think that the direction of RWBY hasn’t changed since Monty’s passing, it’s impossible for it not to have. There are more writers on board than before, and it’s been a long time since he was alive to contribute his thoughts. The real question is whether they at least tried, and I don’t think they did.

I mean, Shane Newville never names Miles and Kerry in his letter, but he does state several times that the choices made for the show were not only not what Monty wanted, but “straight up just shitting all over what Monty made”. I find it very difficult to believe that that insinuation, and all of the people caught up in the net it casts, wouldn’t include those two. And like it or not, but the person who is able to compile tons of clips and interviews over the years as some sort of seeming immutable proof that “CRWBY” are good-hearted people determined to preserve Monty’s vision, isn’t really looking at any more evidence than the person who’s come to the conclusion, based on what they’ve seen, that that the opposite is true. And they’re certainly looking at less evidence than the people who actually did work there around Monty, Miles, and Kerry. The facts sometimes boil down to ‘if it walks like a duck, talks like a duck, and is implicated in the walls of text like a duck, it’s probably a duck’, guys.

Even in the best case scenario in which the work of Monty Oum turns out to have been treated with dignity and respect (and was just really shittily written from the beginning), the fact remains that Miles and Kerry did not put a quality product into the world. I will be very surprised if either of them manages to get a lead writing position ever again, because once the popularity of RWBY fades, so too will the goodwill they’ve somehow amassed among its fans. RWBY, much like Twilight, is inevitably going to taint the people who were in charge of writing it.

But Miles and Kerry are just two dudes. What exactly is going to happen to those fervent fans who hung on their every word and insisted they were the embodiment of everything pure and innocent? What, exactly, is going to happen to the RWBY fandom that once seemed to be unavoidably populous on the internet?

F, N, D, M

We already went over “constructive criticism” and “worldbuilding”, so let’s add another eternally-misused word to our roster. You know, something I’ve occasionally thought about in terms of online spaces is that no one knows what a “comfort show” is. It’s one of those terms that became too popular almost as soon as it was introduced, to the point that it became meaningless, much like “hyperfixation” and “anxiety”. I see people refer to RWBY as their comfort show and I’m just like...how? A comfort show is supposed to be the show that always puts you in a good headspace, a show you rest easy with because you’ve always connected with it because the love was always there. A comfort show is a show that you watch in your down moments to feel better, not a show you think is just the greatest thing ever, the bees’ knees if you will.

A comfort show is not a show you force yourself to like, it is not a show you defend at all costs, and it is not a show you only still cling to because enjoying it once coincided with a time when you felt popular and among friends. Which, increasingly, seems to have been the case for RWBY fans.

RWBY’s Fandom

Very rarely would I ever consider a fandom on its own worth its own section of a Final Thoughts. But I’m doing it now because the RWBY fandom, though now it’s a shadow of its former self, is still a sizable chunk of people and took a lot longer to die than most other fandoms.

The RWBY fandom itself was an especially big and very online fandom, and the show produced an abnormally large amount of big name fans who continued to use their own influence to push its success and keep its momentum going. As I’ve said before, the RWBY fandom is something that Rooster Teeth were able to extract an excessive amount of praise out of for minimal effort; it simply seems to be in RWBY fans’ nature to speculate and theorize and over-analyze and fill in blanks, and to perceive good writing and animation where there is none. But you know how fandom operates—the bigger its size, the more infamous it becomes.

Long since famed for being especially toxic, those who are in the know consider RWBY fans a different breed, really. They create and move narratives at high speed and act quickly to correct any perceived dissent in the ranks, casting out anyone that feels disillusionment with the product and insisting everything is peachy even as their world crumbles around them. To RWBY fans, the “CRWBY” are always separate from the “problematic” aspects of Rooster Teeth (which is basically the whole company) and it doesn’t matter how many of its flaws get highlighted; RWBY and the people that make it are always great, innocent of any harm done and fantastic, and anyone that dislikes them is a villain—even if those people were at one point part of the “CRWBY” themselves. Loyalty is everything. In other words, they behave like a cult.Those acronyms themselves have always bothered me, and I’ve grown a strong distaste for them. Originally they were just a quirk of the show; a format for team names that spawned the name of the show and eventually stopped being relevant altogether. But RWBY fans are simply unable to not use them. It’s not “the fandom” it’s “the FNDM”. They’re not “the RWBY team” or “the RWBY crew”, they’re “CRWBY”. Even people that the fans are actively trying to shame, shun, and harass don’t get to simply be people—they’re “RWDE” and, when that became an actual community of sorts unto itself, was switched to “HTDM”, short for “hatedom”. They remind me distinctly of code words that get formed and passed around in cult movements, identifying terms that quickly provide boxes to put people in and make it easier to sort loyals from disloyals. “Hatedom” itself is another one of those terms that spread and got so prolific it really doesn’t carry any meaning anymore. Real hatedoms are surprisingly rare, guys. Every fandom that becomes big enough for its respective product to become criticized eventually comes to believe it has a ‘hatedom’ because how could someone dislike something I like so much? But a hatedom on its own arises out of very specific circumstances and environments, and causes the spread of hate for a product based on broad foundations that are often unfair to the product and which creates perceptions that spread faster than the work, so that the work is often talked about in mocking reference rather than true dissatisfaction.

RWBY doesn’t have a hatedom guys, it never did. The Last of Us doesn’t have a hatedom. Fairy Tail didn’t have a hatedom. Blackpink doesn’t have a hatedom. Even Marvel doesn’t have a hatedom.

Paris Hilton had a hatedom. Nickelback had a hatedom. Hell, the website Tumblr itself had a hatedom. These were examples of people or products whose reputations spread too quickly and eventually swallowed rational perception of them, with people who have never experienced them or their work dismissing them and the fans who enjoy it wholesale.

Using the term “hatedom” is understandably common because (and in spite of the fact that) it allows for easy miscategorization. A hatedom is not composed of people that were actually exposed to the work, found it lacking, and expressed that. A hatedom does not occur in the wake of a product that was so bad it pissed off its fans and caused them to walk. People don’t hate Metroid: Other M because they can’t stand the sight of a woman being vulnerable and don’t understand challenging drama, they hate it because it was poorly written, badly designed, and tarnished a long-running and highly cherished gaming heroine’s reputation. People didn’t hate Fifty Shades of Grey because of some bias against women expressing their sexual freedom, they hated it because it was a wildly misogynistic and badly-written piece of dreck. People didn’t hate The Last of Us Part II because of homophobia and transphobia, they hated it because it was a misery fest with a tired moral theme that posited itself far more deep and compelling than it really was. And just because people with the above disingenuous views also hated these things does not discount the fact that the works got the reputations they did because they were getting back the exact amount of love and respect that was put into them.

Similarly, RWBY doesn’t have a hatedom. It does, in fact, have an ex-fandom. Those are also things you don’t see very often, but when you do, they almost always follow the same pattern, don’t they? A work which got wildly popular very quickly, took really deep nosedives afterward, and became disowned by the people that had formerly propped it up.

But that’s a discussion for later. What exactly makes RWBY’s fandom so toxic and cult-like, and why and how did it get that way? I think it’s a combination of several key factors that were baked in and collided badly.

The first was ease of access. RWBY was sold extremely well early on, and shared enough similarities with both anime and video games that it attracted many curious people from those communities. Combine that with vibrant colors, an attractive visual aesthetic, an air of badassery, and good music, and it gained a lot of loyal fans quickly—fans of anime and video games, specifically, being fans that tend to get more attached than to other mediums and are known for spending a lot on merchandise. These, in turn, morphed into nostalgic elements ripe for misremembering—people often have difficulty acknowledging that something they once liked isn’t good anymore even on its own, and I think RWBY fans in particular put way too much energy into the show to be able to admit that all the time they spent defending it (and harassing people who criticized it) was for nothing.

That skyhigh rocket to fame early on, of course, was attached to the reputation of Monty Oum, and once he died, he quickly became a martyr, which galvanized the loyalty of the show’s most toxic fans even further. To this day, talking about Monty at all, even for the right reasons, is seen as disrespectful or distasteful unless you’re trying to use him to prop up Rooster Teeth, a double standard I’ve unfortunately run into even in seeming safe spaces. I think if we’re comparing RWBY fandom to a cult, then Monty Oum and his memory can be compared to a central mythologized figure, the center around which are formed all of the pretty lies the members of the cult will tell you. Monty’s name is irreplaceably tied to RWBY, and as such, in order to defend Monty, its fans have to defend RWBY...and you can see where this leads. Attempting to talk about the mistreatment Monty and his family went through at Rooster Teeth is seen as using his name as a weapon—nevermind the fact that Rooster Teeth and their fans regularly use his name as a shield.

Of course, what this really reveals is that many such people don’t care about Monty, who he was, or who he went through, but rather his name alone. In fact, I’ve straight up seen RWBY stans say that people shouldn’t “take Monty’s name in vain”, as if Monty were in fact some sacred religious figure. It’s both bizarre and harmful.

A third factor was popularity. For a lot of the same reasons as, say, Supernatural, the perception of RWBY skews much more broadly between fan and ex-fan than that of the typical over-hyped show. The truth of the matter is that when a show gets popular, or really any work gets popular, enjoying it becomes a cliquey sort of thing. People that enjoyed being into something well-respected and widely known and basically the hottest trend are far more prone to become overly attached, put too much of themselves into it, and remain unequipped to deal with the fact of that trend’s eventual passing, especially if it’s a fall into disgrace rather than a quiet entrance into history. You can still find certain especially toxic big names from the RWBY fandom active and posting, pretending not to notice that their audience has become smaller and smaller over the years. Let’s face facts here, a lot of people that enjoy being part of the “in” crowd never manage to figure out how to accept losses and will do anything to try and regain lost popularity, or fool themselves into thinking they’re still on top of the world.

But we can reason and explain all day. Another truth of the matter is that it shouldn’t be other people’s problem that fans can’t accept reality and adjust, and that the RWBY fandom quite honestly deserves its reputation as abysmally toxic. The way terminal fans of the show have treated anyone who dissents, most prominently Shane Newville and other ex-employees, let alone other ex-fans of the show, is quite frankly disgusting. RWBY stans are difficult to look at in all of their bewildering, teeth-gnashing toxicity and forgive...so I’m not going to. People that still insist there’s nothing wrong with this show or the company making it are, as far as I’m concerned, beyond help, and are part of the problem. Many an ex-employee certainly thinks so.

In a lot of ways, you could call the fandom one of the driving forces of the show’s failure, mostly because they had an abnormally large amount of influence over the show. Pleasing the fans has always been a major goal of the RWBY team (unless you like characters Miles Luna doesn’t, I guess), but it’s almost disturbing how the Rooster Teeth strategy has been to lead them along and bat their eyelashes at every turn and how the fandom laps it up.

Of course, Rooster Teeth feeds the parasocial engine by engaging with the fans as equals, and I was given a disturbing reminder of how many of the people who worked on the show—the ones who aren’t pissed and digging themselves out of trauma ditches—behave exactly as the fans do, tweeting twenty times a day about their favorite ships and memes. By creating the perception that RWBY’s team is just like the RWBY fanbase and wants the same things they want, they tap that line of excess energy that’s kept this fandom going so long despite how far it’s fallen. It’s that “hey! my friend said my ship is going to be canon and he works on the show” feeling.

Of course, a probable reason as to why so many employees who worked on RWBY behave the way RWBY fans do is because a lot of them started out that way. As in, student hires. This has long been an open secret of Rooster Teeth’s M.O. for a while now, hiring people who look up to them and engage heavily with their content. Many an ex-animator has lambasted this tactic because it’s insidious, and purposely designed to make the incoming staff feel honored and indebted and excited so they won’t notice how they’re being fucked over. Arryn Troche, who made the ‘gays greenlighting volume 10’ tweet, rings up as a particularly eerie example considering they have the same rather-uncommon and unconventionally-spelled name as the voice actor for a ship they’re obviously very attached to. A quick search reveals them to have been a longtime fan and cosplayer for the show before being signed on as a junior animator.

And it is the fandom who ultimately makes the legacy for any given work or body of work. So what is RWBY ultimately going to be remembered for?

Legacy

I thought about it for a little while and found five things that are most likely to be associated with RWBY in the public’s memory after its death. The first should come as no surprise to anyone.

Bumbleby

The only part of RWBY that will likely be carried on by fans who stuck with it until the end is, of course, the only part of it that mattered, to many of them. You’ll know from my earlier recaps that shipping was always a big deal in fandom, but due to key choices (or if you prefer, mistakes) made during Volumes 2 and 3, one ship grew larger and more promoted in fandom circles than any others.

This is a combination of the unique features of the RWBY fandom and their one-track mind. The fans are well-known, as I said, to fill in the blanks in a pattern that best suits their narratives, and this works out with Rooster Teeth because it means that any sudden changes in direction they make will always be excused and praised rather than critically examined. Unsurprisingly, Bumbleby’s fandom, now that their victory has been cemented, have doubled down on their narrative that this was the intended goal from the beginning, despite it being plainly obvious that early RWBY was angling for Sun Wukong as the love interest and threw the occasional bones to Blake/Yang shippers to try and play nice.

This used to be one part of the fandom, of course, but as the show continually bombed with viewers and made more and more decisions that pushed them away, all competitors were slowly filtered out as their fans left, until Bumbleby shippers were the fandom. It’s no coincidence that Blake and Yang suddenly started acting unusually touchy and sentimental in Volume Six, following on the heels of a volume of RWBY so wildly unpopular that it woke up the company execs and forced them to acknowledge that the biggest part of their fanbase was only going to remain loyal in exchange for one thing: their ship.

The sad thing is that you can tell Rooster Teeth wanted to explore other options. Volume Five features a rather sudden shift into Yang and Weiss interactions in what I remain positive to this day was an attempt to sway shippers into a potential second choice while Black Sun was still in the oven, and this really represented one of the major errors of Rooster Teeth, in that they failed to understand the audience they were trying so hard to please.

Bumbleby became what I call a “Big Red Button” ship, and it is only the second of its kind that I’ve seen. The first? Destiel.

Yes, there’s a reason I kept comparing RWBY to Supernatural whenever Blake and Yang’s relationship came up. I admit I wasn’t a part of the Supernatural craze in its heyday and have never really enjoyed the show, but I’ve watched enough of it to connect the dots from what cultural osmosis I had to the eventual downfall we saw in November of 2020.

Both Bumbleby and Destiel were held up as the gay ship that would change everything, the biggest ship in the fandom and the one that would’ve been a major push for LGBT visibility, at least during their heydays. The problem was that its fans were not really that interested in LGBT visibility and were simply obsessed with the ship itself, applying it value as a win for LGBT audiences purely to bolster its perceived importance. Fans like this were not ever going to accept any alternatives regardless of the sexual orientations or gender conventions involved. Hence, the metaphor that is “the big red button”. You have a big red button that says “canon gay ship but not the ship you want” and ask the fans you’re trying to court whether they’d press it or not. Whatever they might say out loud, you know none of them is pressing that fucking button, ever.

Both of these Big Red Button ships became what they were due to showrunners being forced into courting an audience they really didn’t care for, and how could you blame them when both were infamously very, very over-active and annoying in general. Just like with RWBY’s well-intentioned but misguided Freezerburn phase in Volume 5, Supernatural also tried to gently shut down fans who then managed to obliviously ignore any and all hints that their ship was not meant to be endgame, and I can say that because “he’s like a brother to me” in any fandom but Supernatural would’ve been a tactical nuclear strike that sent the shippers packing. Once it failed, the gay bait came out in full force. It’s well known by now that, contrary to what one would imagine, the CW was not pulling a profit off of Supernatural’s minor mainstream success pushed by a cult following, so it’s no wonder they eventually resorted to desperately baiting the one audience that was going to stick it out no matter what, provided they had the right relationship dangled in front of them. RWBY went through the same thing.

The main problem with these two ships is that for all its diehards insisted that it was all about the gay representation, their respective shows teased and baited for so long that the world outside the little bubble these shippers lived in had moved on by the time they came to fruition. Gay visibility in media these days, at least western media, is easily available, to the extent that sometimes people believe homophobia is totally over when it really, really isn’t. If you’re looking for gay representation, you can find it plenty of places, and the first place you look probably isn’t going to be Supernatural or RWBY. So the huge wave of viewers that these shippers expected upon their victories was never going to occur, which might could’ve been avoided if the writers had simply grown a pair and made moves towards canon much sooner than before the shows were on their last legs and due to be scrapped.

Or, you know, just been honest. Diversions and alternatives were never going to work. The only thing that these shippers were ever going to understand was a hard no, a “sorry, this ship isn’t going to happen”. But the execs in charge of these shows were never willing to take a hit like that, so instead they dug their own grave.

And where does that leave the shippers, those people who devoted their whole lives to these fictional characters, only to find the show that bore them into the universe dead in a ditch? Well, nowhere good. Much like Supernatural, RWBY is heavily associated with its booming period, the heavily online portion of these shippers’ lives in the early and mid-2010s when it was all the rage, and yet in modern day, it’s seen as a bad neighborhood to hang in, an abandoned mansion at the corner of the street where awful things happened. These shippers don’t have many friends except each other.

Just like RWBY, Supernatural also exists primarily as an ex-fandom now. Much of its former fanbase remember the good days fondly but make no secret that they stopped following it once the writing tanked, and this left the shippers without many allies to associate with since so many of them had been pissed off with the way their shows ultimately became the Destiel Show and the Bumbleby Show, respectively. Contrary to an unfortunately popular idea, these shows did have actual LGBT fanbases, only a lot of their LGBT fans were not on kool-aid and avoided being sucked into a trap called “if you don’t ship this, you’re homophobic”.

You will find that the Bumbleby fandom are often looked on with disdain by quite a number of viewers of RWBY who have accused them of speaking over minorities, sexual and otherwise. Many fans have noted that, aside from Blake’s bisexuality being a seemingly late addition (Arryn Zech is noted to have cast her as straight when discussing Ilia Amitola’s ill-fated crush on her as late as 2019), Blake was very swiftly removed from all faunus characters who held romantic connotations in favor of Yang, implicitly saying that Blake was better committing to a white human woman than to an ethnic faunus male. There are obvious reasons why this left a bad taste in peoples’ mouths. Not to mention, other LGBT fans that invested in the show were not exactly welcomed with open arms.

Fair Game, or as I tend to call it, Qrowver? Qrow x Clover? Yeah, that was huge in Volume 7’s airing days. It very much experienced a rapid ballooning in fans and fandom love...but we all know how that ended. Many a fan who felt heartbroken and, importantly, betrayed by Clover’s sudden and rather pointless death turned on RWBY and Rooster Teeth and accused them of gaybaiting, which is of course exactly what happened. They received no sympathy from Bumbleby shippers—because of course they wouldn’t. If Rooster Teeth would gaybait with Qrow, a popular male character, that would mean they could potentially be gaybaiting with Blake and Yang, too. That was unacceptable, and so ironically the part of the fandom that had always crowed about the importance of extending a hand to LGBT viewers turned on LGBT viewers, valiantly defending Rooster Teeth as they always had.

And because Bumbleby fans had no room in their hearts for anything about RWBY except Bumbleby, and were hostile to anyone who didn’t ship it, they ended up being their own best friends and everyone else’s bad memories. When RWBY has faded from the public’s memory and is no longer a source of active income at all (so, basically right now), one of the only relics you’ll find of this show will be the two women making out in all the fanart you’ll find on the occasional Tumblr blog.

The Bigotry

You could call this section “the Racism” since that’s the biggest part of it, but we’d be remiss in neglecting the harm done to other minorities as well. We’ll get to them in a minute, but race is the thing that’s going to pop to mind when we talk about one of the other things RWBY left behind in the common memory.

One of the longest-running subplots that RWBY ever went through with was the racism subplot. Its basis is one of the things that so severely dates RWBY: creating an in-universe stand-in for people of color through the existence of people with animal traits was something you would absolutely not get away with after 2020, and even by 2016 was something liable to be seen as tacky. Nonetheless, RWBY openly used the faunus as stand-ins for black Americans and the struggles they faced in a white world.

Except that the company, based in Texas and headed largely by white staff, did not feel the importance of that. What slowly started out as a main character’s attempt to redeem an organization she felt had been driven too far and was no longer her home was slowly transformed into a means by which some incredibly racist people could spout off about what they felt were the real issues to be talked about, which were the condemnation they felt was deserved by activists that turned to violence, labeled, a little too quickly, as terrorists.

The 2010s saw a shift in social values, and much as with gay audiences and gay characters, black audiences and black characters—as well as other racial minorities—were experiencing something of a renaissance, with efforts to put the voices of these people into the public’s feeds. It wasn’t just George Floyd in 2020—the unexpected and frankly traumatic reign of Donald Trump as president of the United States galvanized the divide in America and social awareness became a bigger thing than ever, and since Trump was a flagrantly racist person with racist beliefs who enacted racist policies and was uplifted by racist Americans, people pushed back as they felt their lives and existences being threatened by a racist establishment...an establishment which Rooster Teeth came down on the side of very firmly.

No quarter is given to the fictional stand-ins. Sienna Khan’s policies are never examined in-depth, and the only close looks we get at the sorts of activism the White Fang does are at Adam, who is obviously condemned by the narrative and made into everything but a mustache-twirler, with delusional and frankly baffling beliefs of faunus superiority spelled out at length. No matter what concessions Rooster Teeth might’ve tried to make with Sienna’s beliefs before they stuck a sword in her, the fact of the matter is that their beliefs came through in the voices of Ghira and Blake, who made it very clear that the individual motives and experiences of people like Ilia, Corsac, Fennec, Yuma, and the rest simply don’t matter in the face of what they’d been driven to do by them. The whole ‘blacks can be racist’ tone of the final scenes involved in this subplot are both miles removed from the more cautious and neutral tone of early RWBY, and also just a very alarming red flag overall.

I went over this in my Volume 5 Final Thoughts: the shoddiness of the volume does not lie solely with the animation department. Miles and Kerry are known to have had generally sole control of the show up until Volume 7—but we also know that they didn’t have to, if they were writing anything company execs felt wasn’t to their tastes. The sudden twisting of Adam into a homicidal incel ex-boyfriend, along with his mutation into a faunus supremacist, when he was the face of the faunus movement as a whole, along with Sun’s blatant ill will towards the White Fang when he’d previously been willing to give them a chance on Blake’s word, all imply that Miles and Kerry endorsed the worst possible interpretations of racial activists and felt free to condemn them and place responsibility onto the faunus—and by extension, the real-life minorities they represented—to take a stand against the bad seeds within their causes, and the fact no one stopped them from airing this implies the higher-ups felt the same way.

People didn’t just leave RWBY after Volume 5 because of some really badly animated fights—they left because they’d felt too much of the authors’ racism coming through in the narrative and couldn’t comfortably continue watching. Every member of the faunus that had “bad” views was either killed (Adam, Sienna, Fennec), arrested (Corsac, Yuma), or “redeemed” by choosing to fight the first two (Ilia). All of these combined factors, with no room for charitable interpretations…not a good look.

And once Adam was defeated in Volume 5, and the White Fang reformed, that was the last anyone saw of that subplot, which had taken five years to wrap up and somehow still ended too early. Miles and Kerry had washed their hands of it, and references to Blake’s place in society were sparing from then on. This subplot’s inescapable presence throughout the show, combined with how it was dropped out of existence, left no room for redemption, either. No one was going back and saying “maybe this looks really, really bad”.

And so, that’s what a lot of people carried with them as their final and most relevant memories of RWBY: it’s astounding levels of racism. This is a bitter subject for many an ex-RWBY fan, many of whom aren’t white and, even among those that are, it’s simply inexcusable. Meet someone on social media who talks about RWBY at all, and isn’t one of the Bumbleby stans we’ve already discussed? You will find some mention or other of RWBY’s racist elements somewhere within their sphere. And so, that becomes a part of RWBY’s legacy, as a feature of the show that was simply too big to ignore and too poorly-handled to forgive. People don’t get over this shit, man.

This is of course not to mention the well deserved shitty reputation RWBY has for its other bigoted elements, as well. Bumbleby, as we’ve discussed, encompassed pretty much every RWBY stan left standing by 2020, but that left quite a few ex-fans that were fed up with the company’s obvious ploys when it came to sexuality and gender. Remember when I talked about Qrowver up above? Its ballooning and immediate fall from grace was a much-condensed version of RWBY as a whole, and pretty much featured as Rooster Teeth blowing their last remaining patience from LGBT fans to smithereens. The fact of the matter is that when you get down to it, every RWBY volume after Volume 4 was not a good time to be a minority. If you were gay, the show seemed to either ignore or despise you—between the background gays that warranted mockery, the mixed reception Ilia generated, and the outrage that finally boiled over when Clover bit it, part of RWBY’s legacy is how utterly unpleasant it has been for LGBT fans who expected and deserved better.

And so despite entering the scene in 2013 as a supposedly progressive show all for being led by four women, the show died known as a low-effort half-baked cringefest whose politics were always on display and always several years behind the trend.

The Good Days

Of course, another major part of RWBY’s legacy is the early days when everyone actually liked it. This is, again, something the show creators brought on themselves and something fans assisted with. I did mention the nostalgia for the Good Ol’ Days as a significant part of the RWBY fandom’s more cult-like elements, after all. The fact of the matter is, on some level, everyone knows that RWBY has spent several years going downhill. The ex-fans lament this fact, and the diehard stans insist that it’s all just as good as it used to be, primarily by doing what they do quite a lot, and linking completely coincidental elements back to things characters said or did in previous volumes as some sort of evidence that this has been the plan all along.

I’ve run polls on this matter before; even though I’ve recapped Volumes 1-3 thoroughly and shone lights on some pretty significant flaws, you ask anyone what they think the best volume of RWBY was and they’re gonna tell you Volume 3. Yes, even with all of the stalking incel Adam and the deaths of Penny and Pyrrha. It’s the last time RWBY felt cohesive and even though some obvious derailing was in effect, and Shane Newville has openly said that the behind-the-scenes matters were pretty ugly, it’s still the golden child. Shane’s only one person, and it’d be a while before RWBY scandals would become consistent and begin to overshadow the show as a whole.

The RWBY team themselves have certainly nurtured that very much on purpose. That tactic started with them, of course. Many elements that were either unpopular or predicted to ruffle feathers were stated to have originated in earlier volumes, even in situations where this wouldn’t have made sense or where it’s an obvious lie—such as Maria Calavera. They know full well their seasons post-Volume 3 were unpopular and receiving blowback, and tried to minimize it by linking them to more well-respected seasons. Suffice to say that this simply didn’t work. But it does make people remember those earlier volumes. Because so many ex-fans lost their energy for RWBY after its most active period, much of the hype from the hype era is all that you’ll see when you encounter one. Nostalgia wins out in the end, and at least RWBY can say that, as a show, it had enough of a headstart to leave an impression that lasted in a positive way. Although that’s only one side of the coin...

The Scandals

Let’s face facts here, the biggest part of RWBY’s legacy, period, is that it fucking died. It didn’t die instantly, but rather took hit after hit, blow after blow, and slowly had its image tarnished alongside that of the company, which failed to contain repeated scandals as ex-employee after ex-employee after ex-employee spoke out about the abysmal ways they’d been treated.

RWBY is Rooster Teeth’s biggest IP by far and, really, their only one worth talking about. Every other show was either eclipsed by it or unofficially canceled after bad reception. So when Rooster Teeth suffered the consequences of their actions, so did RWBY. It really can’t be overstated how the last few years of RWBY’s existence have been absolutely bombarded by a barrage of terrible Glassdoor reviews and bombshell exposure letters. Fans managed to stay strong through the first few rumblings of ill will, but after Volume 5 shook the fandom loose, discontent entered enough of the fandom sphere to be normalized, and once that happened, it was all downhill. Once people were actually allowed to talk about not liking Rooster Teeth’s content, they sure as hell weren’t going to be dissuaded from talking about not liking Rooster Teeth as a company or its practices.

Separating the art from the artist is a very difficult thing to do and only really appropriate in certain situations. Don’t fall for any kool-aid, guys, it doesn’t make you more mature or ‘above all the drama’ to actively ignore the damage done to real people in the process of getting fictional content out into the world.

If you’re still able to enjoy the Harry Potter books and look back on the good times they gave you in fondness, then fine. If you actually purchased and played the Hogwarts Legacy game programmed by antisemites and which puts money in the pocket of the transphobic owner of the franchise, then yeah, people will be right to give you shit for it. There’s a difference between quietly enjoying a product in a manner that doesn’t hurt anybody, and actively ignoring the people hurt to make that product while feigning concern. The gap in the fandom widened as the repeated leaks and scandals continuously ate away at the protective bubble around Rooster Teeth and it became clear that whatever fans might bleat, Rooster Teeth wasn’t going to ‘learn their lesson and do better’. The habitual cycle of using whatever recent scandal had occurred to cast disappointment and anger on a particular figure and uplift the rest of “CRWBY” (see also: the Gray Haddock issue) gave diminishing returns as the bombs kept dropping. This is part of why RWBY has such an ex-fandom, because if they aren’t enjoying the product and people were hurt to make it, why stay?

Crunching employees so hard they struggle to sleep and suffer debilitating health issues? Writing the n-word on a white board knowing a black employee will see it? Goading someone into trying to kill themselves? Calling an LGBT employee a slur and then making up a public-friendly nickname in place of that slur just to get away with continuing to call her that? Laying off people without warning or a means of letting them stay afloat until another job is found? Not paying or crediting employees and cultivating an environment where those in charge do what they want and those in the public eye reap all the benefit while those without a consistent spotlight get treated like dirt?

Just some of the things I thought up off the top of my head. There’s plenty more in the details. And you can’t blame Fullscreen, you can’t blame Warner, you can’t just write it off as something that happens at animation studios, because it isn’t. Yeah, the work environment in general for animation studios in America is lacking because, ya know, late-stage capitalism hellscape, but that’s dismissive of the point. Rooster Teeth are a bad company and hurt their employees and lie when called on it. It’s impossible to separate RWBY from Rooster Teeth (despite stubborn stans’ best attempts, which themselves have been called out by these same ex-employees) and because of that, RWBY’s legacy is one of corporate abuse and utterly vile behavior towards people that just wanted to make something cool.

People have refused to associate with the show over these things and honestly, they’re right to. RWBY’s ultimate legacy, if we’re honest, is the show that became a shadow of its former self, still trying to dazzle with reminders of its former glory and promises of gay relationships, all while trying to squeeze money out of both the employees who made it and the fans who upheld it. It’s the show that cost hundreds of people their physical and mental health and didn’t even have anything to show for it at the end of the day. It will live on in history as the most bitter of pills to swallow, that something you once liked and wanted to succeed can and will be ruthlessly twisted for profit margins and might actively hate you on the side. And speaking of…

Monty Oum

The biggest travesty of RWBY’s legacy is that Monty Oum is ultimately only the smallest part of it. He’s there, but barely—he’s a name in the credits that quite frankly is only there to keep up the facade of loyalty, when the show had stopped being Monty’s show before he even died and by now can be safely said to resemble nothing he would’ve made.

It’s a shame that for all that Monty was held up as a genius of his craft and a genuinely good man who inspired so many people, all he’s going to be remembered for is...this. A show people only attach his name to in an effort to insist it’s actually worth sticking by. Yes, Monty did other things, had other works, but none of them ever achieved even a fraction of the fame and respect that RWBY had from its first baby steps in 2013.

Maybe this could’ve been avoided if the real carriers of Monty’s legacy—Sheena, his wife, and Shane, his pupil—hadn’t been cast off as they had.

Shane seems to have found a new life and is working with Dillon Gu on animation, but I think we’ve all noticed his name hasn’t gone mainstream yet. I’ve tried to get in touch with him; from what I’ve gleaned, I frankly just advise leaving him alone. He wants to move on and I don’t think the RWBY fandom, which was so awful to him for telling the truth, is ever going to be a place he can feel welcome.

Sheena has mostly been quiet and done her own thing, cosplaying and watching anime and hopefully enjoying herself, although I notice posts on her Twitter feed from last year calling for a New Deal in the animation sector and castigating corporate abuses.

She also plays Hades, a much better product than RWBY with more love put into it and much better LGBT representation, which means her taste is excellent. She has a site now that you can go to, and the about section doesn’t mention Monty, her late husband, at all, for obvious reasons: Sheena doesn’t want to be connected to RWBY. Though, there is something there that’s noteworthy, in the last paragraph:

Still desiring a social element to her career, the animator turned professional cosplayer also has a history in the live stream world. Past broadcasts have included creating costume pieces, playing games with community members and subscribers, RPGs and more. No matter the project, peers or problem, Sheena strives to keep moving forward.

That powerful phrase we all associate with Monty.

It’s a shame that this show had to be Monty’s legacy, and that years off from now, his name isn’t going to mean anything to the public because the project he was passionate about and died making outlived him and his passion. It feels like his legacy was stolen, and his own part in the show’s legacy is held up purely as a pedestal on which the show should rightfully shine.

Every time I think about Monty, I think about how much I don’t want that to be me. For all the years I’ve spent here, with my graphics certifications being wasted since I earned them while I slave away in retail, I wonder if I’m the lucky one. If I were to enter the workforce and do what I loved, would it be worth it in the end? Would what happened to Monty and Sheena and Shane happen to me? Not sure I wanna know.

Snipped here.

#rwde #rwby

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agent-calivide · 5 months

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I kinda roll my eyes whenever I see posts mocking the whole "don't spam like" "unalive" tiktokification of social media, but not in the genuine "it's a fucking travesty that people have to self censor and think about algorithms that actively tries to screw over the users" way but rather in a "haha, new social media is dumb, I'm a bitter 30 year old" way.

Like, yeah, on Tumblr getting the response of "don't spam like" is fucking annoying because it doesn't do shit other than just show that someone's looking at all of your stuff, but spam liking is not binging a page. It is specifically when someone goes onto someone's tiktok and proceeds to mass-like videos without actually watching them all the way through, it's just scrolling and liking without actually watching the content, which communicates to the algorithm "hey, this person's videos suck because people stop watching at the 3 second mark" and stops pushing your videos.

This doesn't matter for people who are doing it for fun, I don't care personally on my tiktok, spam like away, but when people are trying to make a career out of it by either being an influencer or advertising their small business or trying to show music they've written or just wanna share work they're proud of it's annoying to get screwed by someone showing misplaced love. Especially when there was a window of time were people would spam like as an attack to try and fuck someone over and "shadowban" them.

And the making fun of the censoring is even more fucking stupid. I have posted 2 videos that got dinged for having inappropriate content and got two strikes on my tiktok that I've been running for about 5 years. Anyone who has seen my tiktoks knows I am as inoffensive as you get, I don't do thirst traps, I have Content and Trigger and Flash warnings, I hand-type captions on all of my videos and if I do use the auto-generated ones I watch the video back to make sure they're all correct, I just lipsync to silly audios and basically make video versions of incorrect quotes of whatever my hyperfixation is at the moment.

One was me painting a nerf gun and a nerf crossbow to look like a real gun and real crossbow to be props, which was dinged for showing firearms. My video of me painting a neon yellow gun and bright pink crossbow to black and woodgrain was marked as dangerous content because either someone chose to report me or whatever scanners they use to pick out "dangerous" videos misread and assumed I had real firearms and wouldn't repeal it. My other video, with multiple content and trigger warnings, had an audio that went "For my next trick, I'm gonna fucking kill myself". And while the audio was allowed to stay on tiktok and other people were allowed to use it, because I had a caption and a description that read: TW: Suicidal ideation and properly typing out captions, I got penalized.

But with tiktok, your post isn't just taken down, you have a limited number of strikes and if you get too many, you're entire fucking page is eaten. Just gone, erased, and there is no way for you to get it back. And I have two strikes for: painting a toy black and lipsyncing to a popular audio.

People aren't arbitrarily using "sewer-slide" "grapist" "unalived" and "pew pew" because they wanna infantilize this serious issue, it's because they want to talk about this serious issue without being silenced and, like it or not, tiktok is where word travels fast and to the biggest audience these days. Being "shadowbanned" and having all of your messages get strangled because you used the proper terminology, if not getting kicked straight off the platform, is too high a risk for someone who uses that platform. Especially if they do also use it to advertise, to squeeze a few pennies from the creator fund, to try and make it big or even just to fucking have fun.

I don't know if shadowbanning ever was actually a thing, I just do silly costumes to songs for fun, but there were many people who'd be trying to get traction to show work or get sales or speak out about a bad situation and suddenly they'd go from getting hundreds of thousands of views on every single video to maybe a couple hundred because they had the audacity to say "this shooter is a fucking monster" rather than "this [pew-pewer] is a [bad bad person]"

And if TikTok was their first social media platform, of course they're gonna think other platforms are also ruling with an iron fist. I still feel weird being allowed to say shit like gun and murder on Tumblr because there's a voice in the back of my head that says I'm gonna get my entire blog taken away for daring to use the proper words.

I don't know, maybe I'm missing something, but I think the most well known and most encouraged to use platform of these last few years is also one that's so highly regulated that people are pre-emptively trying to figure out how to talk about important things without it totalitarian-ly beating them into a fine paste with the algorithm so people just see the silly little dance videos tiktok would rather push over the people communicating real world problems is more fucked up than Stacy saying "unalived" on Reddit out of habit.

#rant post #tiktok

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justalittlestarguy · 5 months

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Small Collection of Deltarune Musings

I see people constantly posting their Deltarune theories online so I decided to post mine in a corner of the internet.

Toby Fox & Deltarune's Origins

I feel like people when theorizing about Deltarune largely overlook how Deltarune came to be... it's enormously important to the timeline of events. We have to remember that Toby doesn't really compromise on ideas - I think it's a safe to assume that Deltarune of the past is largely still what Deltarune of now is.

Let's go over the facts real quick.

The idea for Deltarune came to Toby Fox in a dream he had in 2011 while he was at college. In the dream, he saw the ending to a video game and was determined to create it. Fox was also inspired by a collection of playing card designs posted on Tumblr by artist Kanotynes. Development of the game started in 2012, although it was abandoned before Fox created the first room.

(Source: Wikipedia page on Deltarune, cites a Nintendo article on Ch. 1)

We have to remember that Deltarune is the original. This is my core problem with people theorizing about Deltarune in the context of Undertale. While as an audience that is all we are privy to regarding Toby's world, we have to remember that Undertale came from Deltarune, not the other way around. If anything would refer to Undertale, that's either Toby messing with his audience or means something different in this context.

Deltarune is an AU to Undertale in one sense, but in many others, it's a prequel. I am in the full belief that Deltarune's events are before Undertale could ever happen. If Undertale and Deltarune were in the same universe, Undertale would 100% happen after it, but I don't think Toby was lying when he said that the events are largely unrelated.

In fact, I don't think Toby has ever once lied about his details about Deltarune. "They are connected in a sense" and "they are not in the same universe" can both be true at once. Toby is not even necessarily lying by omission, but moreso that as an audience we could not realistically grasp the timeline from a meta perspective. The only real outlier is "Deltarune is meant to be played by fans of Undertale" as expressly retroactive, and I think this is because Undertale fans will get something new out of his characters.

I think that the timeline largely explains a lot of factors that people theorize about and can't quite get to the bottom of, including...

W. D. Gaster

People talk about the fact that Gaster's fingerprints are all over Deltarune's narrative, and Andrew Cunningham went over all of Gaster's leitmotivic theories very well, better than I ever could. Like most Deltarune theorycrafting videos though, I got stuck on one line from the video, when talking about April 2012 (the song).

For April 2012... I don't know man. Even if Toby Fox crawled out from under my bed and handed me a ratified document professing that the quote here was 100% intentional, what would that really tell us beyond the fact that Gaster's theme has existed since at least 11 years ago? It would be interesting, sure, but not particularly insightful.

My liege Cunningham I must respectfully disagree. I believe that April 2012, if a real Gaster quote, actually tells us a lot about Gaster and why he's all over Deltarune. In terms of concrete information about plot details, the answer is small, but definitive. After all, Gaster escaping his confinement as "merely unused content that people love fan speculation over" would be quite interesting itself. We assume that he will show up, but aside from ANOTHER HIM, there's very little reason for him to.

...By the way, has anyone ever wondered why Gaster went unused in the first place?

I think people just think about it at the surface level. Gaster is unused, or died before the events of Undertale (or worse). He's got NPCs that refer to him in very vague ways, and he's a particularly hidden trinket of lore. When Toby anticipated people datamining the game, he didn't really hide his existence there all that much as some other things.

But if we remember that Deltarune was the original idea, that Undertale later springboarded off of, then I think that makes Gaster a lot more interesting. I don't think Gaster was EVER meant to be a part of Undertale's story in a major way. He's a Deltarune character that snuck his way into Undertale as an easter egg.

I do have a small shred of evidence to support this as well, with another character that gets explicitly mentioned in Undertale in a small capacity... Rudy, Noelle's father. ...At least in the alarm clock dialogue.

Rudy, similarly to Gaster, seemingly dies before the events of Undertale could ever take place, but still existed there. Largely, many of the characters are still the same or have counterparts in Undertale. Gaster being Ultra Hidden still had a presence there, and I think some of people's musings on connections to other characters have merit, but for the wrong reasons. (Being related to the skelebros with another font and Sans' machine are interesting notes, especially given that we haven't actually seen Papyrus in Deltarune yet...)

Chara & Deltarune's Release Schedule

I similarly think that Deltarune being a meta-prequel makes people talking about Chara also make sense. The idea of Chara and Kris being largely separate characters makes sense in a traditional story, and we largely lack evidence for it aside from a tease in Chapter 1. However, let's consider a new meta-detail: Deltarune's intentional release schedule.

When we played through Deltarune (known at the time as SURVEY_PROGRAM), we were left with two big twists. The first... the scene at the end where Kris seems to form a Chara-like grin with a knife, and throws our red heart into the birdcage. This is an obvious tease on Toby's part. There was little subtlety here, but it gave a lot of questions. The second is that THIS IS CHAPTER 1, not a demo.

Fast forward to the height of COVID, and Toby decides on a whim to release Chapter 2. This was...expressly NOT planned. Deltarune was meant to be in our hands in any close-to-complete form with the release of CHAPTER FIVE. So we are effectively given a peer into foreshadowing that wasn't even meant to be seen by us until we could continue further.

This is important because there are a few elements that Chapter 2 starts delivering upon but doesn't entirely go through with:

Kris as a "[Heart] on a [Chain]"

Anything involving the "Weird" route, straight up didn't exist in Ch. 1

A couple more Gaster-y details than Chapter 1

Spamton seemingly hints at the next few bosses

("WE DON'T NEED [Easels] OR [CRTs]"... seemingly implying our Ch. 3 Dark Crystal holder is a TV, and our Ch. 4 Dark Crystal holder is an easel [art related?])

("WE DON'T NEED ANY [Man, Woman, or Child] AT HALF PRICE" ...could mean a lot more, but seemingly refers to Chapter 5 in some way like the others, as he goes on about Mike afterwards.)

So what does all this mean for the Chara "reveal" at the end of Chapter 1? We were supposed to see it from the start, unlike Chapter 2, so where does that leave us?

Toby is intentionally setting an expectation.

I think Kris and Chara are related in more ways, but more explicitly, I think Kris' story is more pivotal to Undertale than one may think. We have to remember a few details about Chara.

1) Before Chara became everyone's favorite diagetic narrator, Chara was a kid who lived in a monster family. No more, no less. There's no reason to think Chara was insane before effectively escaping the narrative.

2) Chara still had a fascination with a few things in common with Kris. Knives and chocolate being a couple of them, and Asriel rounding it out. Asriel is Kris' big sibling, except a bit more literal this time compared to Chara.

3) Kris and Chara (as well as Frisk) are all intentionally non-binary or potentially agender altogether. Kris goes by they/them, and both Chara and Frisk never have explicit genders either, though that can be argued to be for other purposes such as character immersion (any/all).

4) Chara is a similarly deeply troubled individual as Kris, suffering from mental conditions that Toriel and Asgore are not very good at helping them get through. This leads to disastrous consequences when Chara takes their own life in Undertale.

So what does this mean for Kris?

I think many people assumed correctly when saying that Kris is Chara, but I believe it's more accurate to say that Kris IS Chara in Undertale, but with a new role.

Kris, Chara, and CONTROL.

We all understand at this point that Kris has a troubled relationship with autonomy, given that the player guides their actions during the plot of Deltarune. But if Kris is related to Chara, then we can ask a question - what do the two have in common?

Well for one thing, they both exercise a desire for control.

In a similar vein to Cunningham's video, I once watched a video talking about [Hyperlink Blocked] that was quite interesting, and I thought there was one theory as to what it was that doesn't get enough attention. (at around 50:50, I'm going to use some select quotes here)

Control Theory [...] Kris and Spamton both want control, and it makes sense that Spamton would offer this to Kris as a reward. [...] However, the one noticeable weak spot in this theory is in Snowgrave. You could argue that Kris is taking control of their life, but they are really not. If anything, they are robbing Noelle of her control, which isn't the same thing.

The line in question substituting Hyperlink Blocked in this context is:

"NO, I GET IT! IT'S YOU AND THAT [Hochi Mama]! YOU'VE BEEN [Making], HAVEN'T YOU! YOU'VE BEEN MAKING [Control]!! AND NOW THAT YOU HAVE YOUR OWN SUPPLY, YOU DON'T NEED ME!!!"

I respect Jabu's actual theory a lot on this one. [LOVE] in the context of Undertale makes a lot of sense and fills just about every quota. However, that's in the context of Undertale's terminology. We can't limit ourselves to just that. I don't think [LOVE] gets extra brownie points for just tying into Undertale, expressly for the reasons I've stated before. Deltarune's ideas came before Undertale's, and while some concepts are linked, they are not all the same. (See: the concept of a human SOUL and Determination not lining up either.)

Jabu has a point about Control, but only from a healthy mindset point of view. We have to consider the mindset and shoes of someone who lacks control.

Take... a controlling mother. One who lacks control over a lot of aspects of her life for one reason or another, and demands perfection from herself. One coping mechanism, no matter how wrong, is trying to seize the control over her sons. It's a way she can exercise having control over something in her life. It gives her room to have agency, even at the expense of her sons' agency. She could force her son to go to college, because she can't imagine any other path for him, and she never GAVE him a choice.

...Anyways.

This anecdotal example isn't just for shits and giggles. I really do want people to look in the shoes of someone who is deeply troubled by a lack of control and examine the Weird route with that in mind. Many people troubled by this go on to become manipulative people, or exercising their agency by using someone else's. In the weird route, Kris manipulating Noelle becomes his coping mechanism, and you enable their behavior with your actions.

So what does this mean for the normal route? Obviously it's at least a bit more healthy, and as a result I do expect (and look forward to) Kris butting heads with the player, not just as a way of coping or fighting back, but to wrestle control of the narrative for their own at some point. I don't think Kris becomes a villain in this context, but I do expect them to become an antagonist if the player is considered the protagonist.

All this lines up well for Kris, but then what is Chara? We know that Chara works through the player for the [Genocide] route in Undertale (its own "Weird" route) and that by the end Chara has taken full control away from the player. This is a Chara that never had the opportunity that Kris had to turn things around. This is a Chara fundamentally broken by their lack of control, and abuses it every chance they get once they do obtain it. And to top it all off, you hand it right to them at the end. They even exercise their control over the narrative with the creepy extra scene if you perform a Pacifist route on the same file as a Genocide route was previously completed.

...hey, isn't that similar to Kris' actions and Susie's actions that the player never has direct control over? Weird. Even expressly against the player's wishes too? Interesting.

Conclusion / TL;DR

The summation of my theorycrafting is built on the knowledge that Deltarune came first, and that Undertale builds off of this info, not the other way around. Many people theorycraft assuming the inverse relationship due to Undertale releasing first, but no one seems to ever step into the developer's shoes.

I believe this:

Kris and Chara ARE expressly related and not just for surface level observations - they both tell us something about **control**

Gaster is a Deltarune character that Toby knew would be important, but got scrapped for Undertale so it can tell its own story. He was left unused in Undertale because he was never meant to be an important part of it.

A lot of Chapter 2's foreshadowing is expressly information we are *not supposed to have* due to Deltarune's intended release schedule and for that reason is very volatile.

Deltarune is a meta-prequel to Undertale. Deltarune's ideas not only came first, but are the original, and if anything Undertale is a spiritual successor to what Deltarune will eventually become. As fucked up as that timing sounds.

Anyway like and subscribe for more stupidity

#undertale #deltarune #game development #analysis #theory

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tiredmilkshake · 2 months

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This is an open letter to the camp here and there fandom.

Also this is written out of pure rage so if anything doesnt make sense that is why, this is just me letting off steam and anger.

Firstly this is not directed at anyone in particular, not at any blog or any specific post i could find. This is purely directed at a possible person or post that was said to exist that i couldnt find proof for. That alone would be a reason to neitheir write or post this but i still am because i do have something to say and something i want some people to think about.

This is about the "transfem elijah headcanon" that i am not sure if it exists because the only evidence i could find for it where two post useing he/she for elijah and a single piece of fanart portraying him in a dress that isnt particulary saying that person hc elijah as transfem but they where praising quote "feminine elijah" so thats what i am going off.

So why am i mad at this? well there are two reasons a personal one and one with the moral implications of hc him as trans fem. so lets start with that.

Headcanoing elijah, a man that actively stalks, grooms and commits medical malpractice on someone, as transfem is fucked in its implications. 1. because there is the popular notion that trans women are groomers wich would implicate you support that notion. in its concept its transmisoginistic and alianates real life trans people from this fandom. and 2. because there is inherently something very wierd about makeing a "villan" flamboyant and feminine, because its a stereotype. feminine man being villans or only being portrayed in a bad light has been a problem in hollywoods history for ages so why would you transfer that idea onto queer media like this.

I am not attacking people who have the hc personally because i know a lot of the people active in this fandom are very young around 12-15 and i was at that point when i first came into this fandom so i understand that frankly sometimes younger people will not think about the implications of what they say or do. I just want to encourage people to think about this stuff because i feel it is important.

so now lets get to the personal side of this. When i first came into this fandom i became very good friends with a group of people who had the headcanon that jedidiah was transfem and i counted myself as one of them because i liked the headcanon, it was harmless enough. Shortly after a lot of people from said group started being harrased got suicide threats... etc. this caused us to hide on discord as a group. While i was never personally the one being attacked i was part of that group of people and i directly saw what it did to them and it affected me. one person has left tumblr compleatly over harrasment (not only over this but in part) and two whrere compleatly alienated from the fandom entirely.

this was over a year ago maybe over two i am not sure. A lot of stuff happend, the manifesto incident aka. the jedidiah apologist vs the elijah simps wich is still going on somewhat.

I mean to say that i doubt any of the people who have the elijah hc where the ones who harrased us back then. Yet i still deeply feel the injustice that no one speaks up against this hc and its actual harmfull indications while we were actively getting death threads back then and 15 page essays saying what bad people we are for disliking elijah.

so this has been my word about this.

#camp here and there #chnt #chnt elijah #the elephant man #elijah volkov #elijah chnt #jedidiah a a martin #jedidiah martin

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venacoeurva · 7 months

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I got bills to pay! And discounted experimental N S F W comms are OPEN! Currently ONLY for users I recognize, such as followers I’ve had (positive) interactions with and seen around for a while, mutuals, and previous clients. If I don't know who you are even remotely, it's gonna be a no. You gotta be 18+ as well, of course. There are some series I will NOT draw, if you ask for it, then I'll let you know I won't do it. I'm estimating about 3 slots will be open, but if someone buys a particularly complex one, I may reduce the amount.

I can do short comics and sequences, but keep in mind those are independently quoted prices based off complexity and amount of images/pages and not the flat rate above. Kinks/fetishes are also fine! Just run them by me and make sure they're not on the will not draw list above. Don't try to stealth them past me. That will get you blacklisted.

Keep in mind these are at the end of a short but pre-existing queue!-- Estimated start time for the first one of this type is around the middle or later in the month.

You can see other examples at @wetciabatta on here and Pillowfort. I also have SFW comms open, if that's more your thing, but please use my Ko-Fi for that. 3 slots available currently on there!

Process:

Read the rules and figure out what you would like if it's something I'll do (if shading, poses, overall scene, etc.). Also please acknowledge the price is something you can/are willing to pay.

IM me including an email you can use to discuss such content (so not the family email or a work one), if you're someone I recognize and am comfortable taking such a comm from you (unlikely chance I WON'T, but y'know) I'll email you. DO NOT INCLUDE THE ACTUAL COMMISSION DESCRIPTION/ANY IMAGES OF THAT NATURE HERE. Don't accidentally get yourself flagged.

I will give you a randomized codeword in the IM so I know who is who, especially if email and username don't match. Also, so I can verify it's not some rando who saw us interact/saw that you commed me before and is trying to sneak around. (in my and others' experiences, people do weird, cringeworthy desperate things to get these types of commissions, man...)

When I email you, respond with the following info: -The codeword and who you are on Tumblr -Paypal email to invoice -What you would like drawn as well as parameters (if cropped specifically, what? If you want shading, if a comic then how many panels or pages, etc.) -Any visual references such as for OCs/Player characters or AU versions of characters. I will not draw characters that only have a written description unless I have done a commission with that for you before and I know you do written descriptions very well and are responsive with changes.

We continue from there. If I accept your commission, I will then invoice you and once paid and started, send you a sketch to be approved, and finish it once that sketch is approved. Until you approve a sketch or give feedback asking for any changes necessary and then approve the modified sketch/want any more changes, it will be counted as inactive and will not be worked on further.

#commissions #non osha compliant

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ferociouslycreativemystery · 7 months

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I just finished the Button House Archives and it's SPECTACULAR. Here are some personal highlights:

I love Alison's additions and comments in lots of places. She is fighting tooth and nail to stay on those hinges, and we love to see a character with spunk!

Mick's facial reconstruction could be the most horrifying thing I have *ever* seen

Mary's bits are some of my absolute favourites. Her speaking/writing voice is just delicious

Pat was just a terrible group leader wasn't he XD the arrow was really just a matter of time. He should have gone orienteering with them first, then he might have lost the kids before they could kill him

HAH I unwittingly picked Kitty's "character quote" to use in my video edit :P I feel validated

Thomas with his painfully literal complaints about other people's poems OMG rip bestie you would have loved tumblr (I haven't listened to the audiobook yet but I swear I can hear his "counted them, did you?" through the page)

I really like the way you can glimpse parts of later documents around the edges of earlier ones (like with Pat's folder, where the layers are removed one at a time, p. 22-23, 40-41, etc)

Hang on, just gotta go put on One Night in Bangkok for Robin (wait, now I need to hear him say that out loud)

Cap's munitions requests and personally penned operations with their TERRIBLE hand drawn maps that he keeps sending to actual Southern Command; I am fascinated by your mind sir. I believe he suffers from the same affliction I had in school where a combination of the dunning-cruger effect regarding general knowledge and teachers not talking to you in person about what you write in hand-ins causes you to just sort of assume everything you do is brilliant and that then it simply disappears into an unknowable void, and therefore you feel basically free to confess to murder in writing without ever thinking of the consequences. Embarrassment and second thoughts are very much face-to-face kinds of emotions (as he. ahem. would come to find out). Like, is written communication even real? Did it ever really leave your head?

Also: his war diaries were published? 1) who chose to publish them and 2) did Havers ever come across them by any chance? (plus: love to see a fellow tiny handwriting person. Cheers!)

The hand lettering on everything is so well made!!! I know a little (heavy emphasis on 'little') about palaeography, and the writing styles are recognisably of their eras, if many of the letter forms have indeed been updated to be readable for modern audiences. Compare for example Arthur Pinhoe's writing from 1575 (p. 8-11) with this actual letter from 1547. Also this actual 1700s writing to Kitty's diary entries from 1779 (p. 70-71 etc). (These samples are in Swedish but minus åäö they're all the same letters.) The writing also follows the pattern of older script being generally more rigid and standardised, while the closer to present day we get the more individual the handwriting becomes, which is a great opportunity for additional characterisation—which has also been very well implemented I think. I'm devouring every page of this, line by line!

REST IN BRIEFS (also the sly tail of the 'y' from the Daily Mail title just visible above the only compassionate headline lmao)

The reason I cannot talk to people is that Fanny's etiquette rules on conversing take over my entire mind from the moment I see another person.

Oh Kitty, I am coming to pick you up—you can be my sister instead of Eleanor's. It was nice to read her final entry though; finally the trick backfired and she got something good out of it while Eleanor suffered. Bieetch.

FANNY. SINCERELY. YOU ARE INSANE. I already knew about the letter where she demands reimbursement for the unsunk 7/8 of the Titanic's journey that she was cheated out of, but to SIGN IT OFF WITH "Would be survisor/victim of the RMS Titanic". Unbelievable.

Pat write a legible word challenge

I have a slight suspicion Julian might have had something to do with the designs for the Boys Adventure Club badges...

The "pictures of the ghosts" will make excellent reference photos for the various rooms, I appreciate them very much (should we make a game out of copying them and filling in the ghosts? There is a lot of potential there)

Humphrey, my guy... do you need a hug? (Sorry.)

FLOOR PLANS FLOOR PLANS FLOOR PLANS THANK YOU SO VERY MUCH I WILL TREASURE THESE WITH MY LIFE

Robin's constellations are impeccable I say we officially replace the zodiac with these no more superstition only bum

Julian's final email was really well written; a single page yet it's oozing with character and story

The behind the scenes pictures at the end are heartwarming. I am slightly alarmed at my ability to pinpoint the precise scene in the specific episode many of them are from though... is it maybe time for a break?

No. Never!

#I did it! I read a book in a day!#not a very wordy book but still. I'm a very slow reader #bbc ghosts #button house archives #maddie's ghosts tag

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paradoxcase · 7 months

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Chapter 48 of Harrow the Ninth

Ahh, I've missed Gideon POV

At first I thought that the double douchebag comment was about Lyctorhood in general, but then I remembered that Gideon was totally 100% for getting eaten by Harrow. I guess Ianthe is just a double douchebag because Gideon considered both Ianthe and Naberius douchebags, so now they are a double douchebag

Oh Gideon, wanting to kick Crux down the stairs 100% makes you awesome

(Actually, reading it again, I'm not sure if she means "fantasizing about kicking Crux down the stairs doesn't reflect well on me because kicking people down the stairs is bad" or if she means "the fact that I never kicked Crux down the stairs doesn't reflect well on me because I never did it")

But don't worry, Harrow thinks you're great regardless

So like, to what exact degree have the second-person parts of this book actually been through Gideon's perceptions? Or are they Gideon's experience filtered through Harrow's perceptions? Like, if Harrow hallucinated something that was not there, would Gideon have seen and reported it? Earlier Gideon said that she couldn't actually see out of Harrow's eyes during that part, so maybe she was just getting second-hand information from what Harrow saw, or thought she saw, and reporting on it? If seeing Cytherea's body was a hallucination, it does make sense that Gideon wouldn't question it, since she's not used to questioning the things she sees. But, maybe Gideon was actually perceiving stuff herself, somehow, and everything that Harrow reported actually happened, including Cytherea's body under the bed, and Ianthe telling her that stuff didn't happen was just gaslighting? Now I'm not sure anymore

I love everything about this

Oh god, this isn't just a tumblr meme, it's actually a quote from the book

So Mercy ducked out to go kill Harrow, and just never came back, and Harrow left for obvious reasons, and then Augustine left for currently unknown reasons, and then Ianthe abandoned Gideon the First because she's just like that. I hope Gideon the First doesn't die because of this, I've sort of settled on him being maybe the only good Lyctor at this point

So he also came to whatever conclusion Mercy came to based on Gideon's eyes, in a lot less time, and it has something to do with John, and he's also had some thought about Mercy, so maybe he knew she was ducking out to go kill Harrow. Ok. I still don't know what the significance of this is. You know, it is kind of funny how much of this plot is hinging on people's eye colors, because I can't actually tell people's eye color in real life, like I feel at this point that Gideon's eyes must be like broadcasting the bat signal or something for everyone to be reacting to them this quickly. Like, I can see if eyes are light or dark, but are the light eyes blue, or grey, or green? I have zero idea. I don't think I could actually tell unless I went up to someone and stared at them from three inches away, or something. And while I was googling for pictures of what amber eyes actually look like in reality, I remembered that I don't even really know my own eye color, either. I was always told it was hazel, and that's what it says on my driver's license, but then when I joined the Sims 2 fandom like 15 years ago and downloaded some custom hazel eyes thinking I was going to go make some sims with my eye color, those eyes were a completely different color than my eyes, and I learned that by "hazel" people usually mean the kind of eyes that are like partially brown and partially green, whereas my eyes are definitely a single solid color all the way through and if I actually look at the wikipedia page on eye color, they do look most similar to the picture for the amber eyes. But then wikipedia also says this:

which is a pretty good description of my eye color, and I think also a good description of the picture on the wikipedia page for amber eyes. So I've got no idea, honestly. By the way, I can't find any other source online for this statement about hazel sometimes meaning hazelnut-colored, every site I can find seems to use the brown-mixed-with-green definition. The four sources in that image are not about language use with respect to eye color descriptions, or about eye color genetics, they're just miscellaneous eye studies in which eye color was a variable and all four of them divide all possible human eye colors into one of three categories: blue/grey, green/hazel, and brown. I can't read the full articles, but for all I know these references are just meant to mean "some scientists classify eye color this way for simplicity's sake". There's one person on the talk page of the wikipedia article claiming that the definition of hazel = hazelnut-colored is the main one and the brown + green definition is specious, but they seem to be contradicted by the entire internet. So what is hazel? What is amber? What are Gideon's eyes supposed to look like? What color are my eyes? I don't know. I don't know the answers to any of those questions

I am living for the Ianthe/Gideon banter

I appreciate Gideon for this more detailed description of the Cyrus and Valancy nude art that Harrow could not bring herself to give us

Did Gideon get "so many" letters from Harrow? The only ones I remember from Gideon the Ninth were the various snippy notes that Harrow left her after she went to go adventuring in the facility, and after the siphoning challenge, but I'm not sure that qualifies as "so many". Did Harrow write letters to Gideon before they came to Canaan House?

I have to wonder under what circumstances Harrow thought Ianthe might run into Gideon that she gave her this letter. Did she expect this exact thing to happen? I got the feeling at the beginning that she had some other ultimate plan in mind for Gideon besides her sharing Harrow's body. Also, didn't Harrow work very very hard to not achieve One Flesh One End with Gideon?

And of course, the sunglasses will hide Gideon's eyes, for when she goes to talk to John. I would have thought this was part of Harrow's plan, except I'm also like 100% sure that Harrow also has no more idea about what Gideon's eye color means than Ianthe does

No comment

Gideon just cannot resist the that's what she said joke even while clearly having some Big Feelings

I feel like Ianthe thinks she's in a completely different genre of book. She wants to be this clever, aristocratic lady in a fantasy of manners that's full of intrigue and backstabbing and then she falls in love with some dude (or some woman, maybe) and has to keep that from unraveling all of her plans, but instead she's in this gross body horror story where love isn't keeping a lock of someone's hair, it's giving yourself DIY brain surgery in order to prevent the destruction of their immortal soul after they died. I think she does know why Harrow did what she did, though, I think she said so herself in that one chapter we got that was from her POV. She's just trying to stir shit here. But more fool her, I'm pretty sure Gideon already thinks that Harrow removed her memories of her because she hated her, I don't think there's any way that Ianthe could hurt Gideon here that Gideon hasn't already done to herself

I feel like Harrow and Gideon came away with very different impressions of what exactly went down during the Pool Scene

I'm still not entirely sure how right Gideon is about this and how much of it really was just Ianthe trying to use Harrow. And I think it's hilarious that she immediately comes back to "she was a hypocrite for getting upset about the necrophilia"

Is there going to be any love confession in this story that is not completely fucked up?

This is obviously supposed to be some sort of joke, and it was mentioned repeatedly in that "what's the worst joke" poll, but I don't get it at all

#the locked tomb #harrow the ninth

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thatoneaceinthecorner · 10 months

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RQG Art Masterpost

Hey guys! So recently I've had a wave of notes on some of my old rqg art, and a few new followers. I got really nostalgic about rqg and decided I wanted an easier way to access my rqg-related art (other than the dumpster fire that is tumblr's tagging system), and I wanted other people who are just finding my art to have an easy way of looking at the rest, if they want to. So I dug through everything and made a masterpost! This post contains links to all the rqg art I've ever posted on tumblr, as well as a couple images that I couldn't find the original posts for, despite all the digging. It's loosely organized, emphasis on loosely, but I hope it should be fun to look through if anyone ever feels like it. Spoiler warning for the whole show, just in case anyone new isn’t done with their first listen. There's also stuff in here that's pretty old and that I don't necessarily love anymore, but seeing how my skills progressed over time is still pretty neat. This is a long post, so I've put all the links under the cut. Enjoy!

My top three pieces and why they're my favorites

General:

Shoin's sketch of London

RQG Inktober: Scars

Resurrection Ritual in the Ursan Village

Zolf Smith, cleric of what comes next (comic)

Alex's horrible Barret Monster with knife arms

Ada and Tesla in their lab with the Babbage brain

"Why didn't you do more" (it's all your fault comic)

Blue-veined arm in Other London

Zolf and Azu hear the hivemind

Sasha and Cicero leave Rome behind them

Apophis in human form

Party camping outside the Garden of Yerlik

Kantu!! Because I thought they were cute

Also these two drawings, the ones I couldn't find the original posts for. Azu giving Hamid a piggy-back, and a really old drawing of Azu in Carter's mind museum.

Sasha Racket:

Sasha hangs out with gargoyles (and sphinxes)

Sasha portrait

Goodbye, Brock

Goodbye, Grizzop

If Grizzop had lived and helped raised Sasha's kids

Sasha deserves bat wings, as a treat

"I so wish you could meet them"

My very first drawing of Sasha, post-Kafka fight

Wilde:

Wilde masterpost (yes he has his own)

"We're all in the gutter, but some of us are looking at the stars"

His brain might've popped

Wilde looking pretty (plus bonus shitpost sketch)

"Oh Wilde, you must have been so scared"

Wilde with blue veins

Wilde gets his magic back (first time I ever drew him)

Zoscar:

Wild and Zolf in the rain, epilogue

"We've got this" "Yeah, we've got this" aka Parallels

Breath of Life

Wilde's first death

Peace and comfort (for once)

Actually some more peace and comfort

And a little more

Aaand back to some angst

RQG Zine Art:

The End of the World As We Know It

How Little He Matters

Rome Is Where the Heart Is

Animatics/Animations/Videos:

Hamimatic - Immature

Zolf is the sand guardian, guardian of the sand

Wilde and Zolf in the rain but animated this time

Sasha protecting Wilde in Paris

Time lapse of some of the "Breath of Life" drawing

Ben Meredith quoting Jenna Marbles (starring Toothbrush Zolf)

Doodles, sketches, and requests:

Messy busts of the whole party (plus Wilde, obviously)

Azu and Grizzop outfit/deity swap

Never wake a sleeping Barnes (comic)

Toothbrush Zolf

Azu caring for undead Sasha

Ada mourning Babbage AU

Fun sketch page of various PCs

Domestic Zolf and Wilde

Canon-compliant under-dressed Zolf (look he's posing like the coppertone baby from that one brand of sunscreen, i thought it was funny)

Sasha and Wilde bonding time

If Sasha and Cel met each other

Sasha and Zolf, amputee buddies

Wilde in a flower crown (Everyone Liked That)

More domestic Zolf and Wilde

Sasha playing with Hamid's twin brothers

Sasha looking after Grizzop's kids

Zolf and Wilde hugging

Sasha and Skraak, dynamic duo

Barnes and Carter hugging

Kobold in the kitchen with Zolf

Ada holding down the fort

Happy Hamid

Cel and Grag

Wilde and Hamid high-five

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abeautifulblog · 1 year

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UR TRANSLATION IS BAD AND U SHOULD FEEL BAD

A Shout Out To All My Homies

[a rant I wrote in grad school, reposting to tumblr so I can link it to people]

So for my thesis I've spent a lot of time wading around in the original text of these 1600-1850 stories, but premodern Japanese isn't exactly my native language, I read slow, so I also leaned pretty heavily on extant English translations to help me find the places I ought to focus my attention on.

They're kind of terrible sometimes.

I'm reluctant to call anybody out by name, because I know how much work goes into translation. It's not a lucrative field, the people who translated these books did it for love not money and I'm greatly beholden to them for it -- their translations made my research possible. Not to mention how much easier it is to nitpick a few points than it is to translate a dozen, or a hundred, or a thousand pages of neo-classical Japanese. And I also know that if I do wind up going into academia, it's not going to endear me to potential future colleagues to be on record shredding their shit.

...But on the other hand, you're accountable for what you publish, and some of these errors are pretty egregious.

Point the First: Grammar is fucking important

Okay, so Japanese is a null-subject language, which means that if the grammatical subject is clear from context, you can omit it. Basically, wherever we'd use a pronoun in English (because you know who's being referred to), they just drop it altogether.

English speakers see this and lose their shit. Particularly in translation, because when you have a null-subject sentence without a clearly-defined actor, as a translator it goes against everything in your soul to just make one up. Translators are understandably wary of inserting anything into the translation that wasn't in the original, something that they couldn't necessarily justify if challenged on it, and so the two strategies tend to be:

(1) Make it really vague. "Someone once wrote..." "They say that..."

(2) Make it passive. "It is said that..."

I object to both pretty strenuously. Preparing to address that in my paper, I wrote:

In the face of a context-less null subject, often the English-speaking translator's impulse is to render the verb as a passive (ie, “It is not known”)

I got the draft back from Professor Lady (who is a native Japanese speaker) with the comment "That is not a correct translation."

DON'T TELL ME, TELL THEM.

My hand to god, this is not just me being pedantic, not when the null-subject is "I" and some sloppy translator has just erased the first-person narrator that any native speaker would identify as such.

Or if you want something more meaningful, Jay Rubin points to the inscription on the atomic bomb memorial at Hiroshima:

安らかに眠ってください。過ちは繰り返しませぬから。

And its passivized English translation, "Rest in peace, for this mistake will not be repeated." When it actually reads "because [SOMEONE] will not repeat the mistake," which throws you face-to-face with the question of WHOSE fault it was, in a way that a passive sentence lets you sidestep. There's a reason politicians use passive sentences when they need to apologize for something.

Let's just say that MISTAKES WERE MADE in these translations, a lot.

"Mmm, yes, this is definitely a third-person narrative," Professor Dude 1 murmured, looking very professorial as he peered at Ueda Akinari's "Shiramine" over the rims of his glasses. "You can tell by the use of mi-mahoshi and the quotative particle. A first-person narrative would have used mitakute or something along those lines."

"Mmmm," I said.

"You disagree?"

"No. It's just that Zolbrod translated it as first-person."

Professor Dude 1 scowled. "...Zolbrod couldn't translate his way out of a paper bag."

Point the Second: Honorifics are fucking important.

I'm not just saying that because honorifics are what I wrote my thesis on, I wrote my thesis on them because they're fucking important.

In fact, they're often the vile enablers that make null-subjects possible.

Take the verb "say," for example -- default is iu. Honorific forms are notamau and ōsu. Humilific form is mōsu. All four of them mean "say," and the distinction gets entirely flattened in translation into English.

And because they don't need to be translated differently, a lot of second-language learners of Japanese just map them all to the same mental space. So then when they're reading Japanese and come across any of the four, they automatically think say, without registering which it was.

But it matters because sometimes it's your only clue as to who the fuck is talking. Prime example occurs in the Richardson translation of the Asai Ryoi story "Flying Kato," in which Kato, a sneak thief, is having a conversation with Uesugi Kenshin. (Yes, that Uesugi Kenshin.)

It's a conversation. Dialogue is set off by alternating inquit tags to iu (plain) and to notamau (honorific). Plain form "said”s are for Kato's lines, because he's a lowly thief; honorific "said”s are for Kenshin's lines, because he's a big famous warlord.

Richardson translated the whole damn thing as a monologue from Kato.

(Richardson... manages to mistranslate honorifics almost every time they appear. >_>)

"How did he mess this up??" I demanded, appalled. "He is better at Japanese than me. He translated the entirety of Otogi-boko, which I could not have done. He understands so many things that I don't. How could he have missed something so simple?"

"Well," Professor Dude 1 said, unruffled. "Richardson did learn Japanese from the CIA."

"I was talking with Royall Tyler once," remarked Professor Dude 2, meditatively. (Royall Tyler being the latest person to tackle translating the gargantuan Tale of Genji.) "He said it wasn't until the 'Wakana' chapter that he felt he'd finally grasped Murasaki Shikibu's use of honorifics."

I snorted.

The professor continued, "I asked if he'd, ah, gone back and fixed the earlier chapters, then...? He said no."

With a pencil, I strike through a line of the Richardson translation and write in the margin: "This is a causative, not an honorific."

Halfway down the page, I strike through another line and write: "This is an honorific, not a causative."

Point the Third: Werds are pretty important too

Perhaps it's not quite so damning a sin as outright mistranslation, but gawd, how some people have a tin fucking ear for language.

No sooner did he open the door of the sleeping chamber, than a demon thrust its head out at the priest. The projecting extremity was so huge that it filled the doorway, gleaming even whiter than newly fallen snow, with eyes like mirrors and horns like the bare boughs of a tree.

"Projecting extremity"? Really, Zolbrod? Really?

Or like this line from the cinematic opening of Kyokutei Bakin's Hakkenden, as the main character is fleeing a doomed battle and turns back, Orpheus-like, just in time to see his father die:

馬の足掻をとどめつつ、見かえる方は鬨の声、矢叫びの声かしましく、はや落城とおぼしくて、猛火の光天を焦がせば

He stopped his pacing horse and, when he turned to look back, he heard the noise of war and the sound of arrows. Knowing the castle was about to fall, he saw the light of a fierce fire burning the sky. (trans. Ellen Widmer)

"Sound" of arrows. Yes, I suppose screaming (sakebi) is a sound, one that is a hair more evocative. "Toki no koe" is not "noise of war," it is specifically the thing you holler as you run into battle -- the voice you give at the appropriate time, as it were. Not to mention the really terrible ordering of the whole sequence, and the bizarrely juxtaposed participle. I submit for your consideration:

He reined in his horse and looked back, toward the battle cries and the screams of arrows. He could see the castle about to fall, the light from its roaring flames setting the sky itself ablaze.

This is also the translation that gave us "They were defeated refugees with nothing left. Master and servant alike were extremely hungry and tired."

I think the words you're looking for are exhausted and starving.

Hungry, you say? Were they hara ga hetta? Onaka ga suita? A bit PEKO PEKO, perhaps?

Or were they -- as it says in the damned Japanese -- ueru, aka, literally starving.

This is like "sound of arrows" versus "screams of arrows" thing again -- why on earth would you pick the phrase that is both further from the original and fucking weaksauce? It's the worst of both worlds.

One more from this translation, because I can't-- I just can't:

"He ceremonially picked up the piece of dirt three times and inserted it into his breast pocket."

Inserted it

into his breast pocket.

I can't decide which is worse -- the weirdly clinical "inserted" instead of something like "tucked" or even "put," or how that makes it sound like the guy is wearing a sports jacket instead of a kimono.

(Then again, an anachronistic translation kind of suits the spirit of Bakin, who has his 15th-century Japanese dudes shooting each other with guns. 🤣)

Oh damn, I thought, comparing the Japanese text of Hakkenden chapter 25 to Donald Keene's translation of it, He didn't do the whole chapter, he just selected a part from the middle.

It's okay though! Because I remember seeing someone else's version of the same chapter in a different anthology. Yup, there it is, "Shino and Hamaji," translated by Chris Drake.

...which, curiously enough, begins at the same point as the Keene translation.

...and also ends at the same point.

You even read, bro?

Not everyone is terrible. Paul Gordon Schalow is very good at spotting the subjectivity cues of a first-person narrator even in the absence of first-person pronouns. (Although he does make null subjects overly vague sometimes.) Barry Jackman eschews false passives with the fervor of a convert. Anthony Chambers can make Ueda Akinari's creepy-cool ghost stories reach across the centuries to raise the hair on your arms.

THE END

(And I didn't wind up going into academia or translation, but I still have opinions about these things. 🤣)

#and now for something completely different #translation stuff #all of these anecdotes are 100% true actually #I miss grad school =/

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