#It's also good to see creators as people so you can see their flaws and critique them without seeing them as satan suddenly

[fuxling]

I'm already seeing a bunch of posts on my dash about the server, the btd community ect.

I don't think the community quite gets it yet:

Everyone is a fallible person. Adults learn from their mistakes, even with their own personal consequences. At times, the consequences aren't visible, but they're there.

Call out posts hurt people.

There's still a lot of young folks in the community who haven't found the way to be educated on a lot of shit, and while that's unfortunate and can cause issues, it's even more dangerous to just call everyone awful and start slinging insults and starting hunts.

Let an exhausted creator rest and heal.

Let young adults who make stupid mistakes learn from their stupid mistakes. Stop making call out posts, starting drama, making side servers to speculate. Humans learn from their fuck ups, it's apart of being alive, but you don't give them room to change if you're just pushing out posts and posts and posts about how people fuck up.

They don't put your failures in the newspaper. Have some respect and allow others dignity, especially when they are willing to learn from where they tripped. That's how you grow as a person.

You're not responsible for everything on the internet. Folks are gonna grow and learn, it doesn't matter if you post a callout post. That just breeds more misinformation and abuse, and often times damages those who are trying to learn from where they fucked up.

Focus on you. Lay down your urge to clean up other people's messes. Be respectful, patient, and compassionate. Say your part and leave. t's a practice, it doesn't come naturally. Hold others accountable, but allow them room to change and grow.

#i'm so burnt out on how immature and uncompassionate some of this community is #ugh #not tagging this #fux barks #also maybe see creators as people like you and your friends instead of putting them in a pedestal so when they fuck yo you feel betrayed?? #like! Goddamn! glad I didn't stay online during my worst years when I was having issues with meds and was super reactionary cause no one #would have ever had the patience for me!!!! #also yes im aware of melon using ignorant language and im not defending the use of racist or harmful language #I'm not defending the ignorance #It's also good to see creators as people so you can see their flaws and critique them without seeing them as satan suddenly #It's like we all just gave up on not thinking in black and white idk

[snekdood]

Idrc if you wanna find the politics in every piece of media you consume but personally i dont really care to all the time like idk. Like idk sometimes i just wanna enjoy shit w/o constantly thinking about the underlying politics or whatever? Sometimes its hard to ignore if its super rw based but still, a lot of other shit i just feel like im investing more energy into this shit than was intended for most ppl like idk. The underlying political implications of spirited away. Idk i just dont really care lol

#its a movie about an emotional journey so uh thats kinda my focus there bud #also ngl it does feel like ppl bring up this argument so they can keep coming to conclusions abt what the creator meant by whatever #when sometimes its not for that reason or not that deep. idk. i do feel like some of yall are married to being paranoid that whatever ur #consuming will somehow make you take on entirely different politics?? idk. but ill be real consuming things w not perfect politics only #really solidifies in my head that im right when i *do* actually think its worth psychoanalyzing. or maybe i end up neing wrong #in my assumptions. either way. im ok w critical thinking and then also not feel this weird need to shit on the media constantly #like i loathe family guy. some of the jokes are funny. most of the show is horrible. i dont talk about it bc i dont care. #im sorry lol like. what do you want from me #ive already thought about what about the show i dont like. its politics etc. and i dont watch it. but thats bc its kinda hard to ignore #the constantly shitting on everyone energy of the show. w other shit like idk. dora or something like?? im not spending my time #looking for the political flaws really?? probably there to learn spanish lol #ig i personally find tearing apart media all the time and finding its flaws to be like. a hobby people engage in. but they seem to see it #like as... political action..? ig i can see that being good for something like harry potter or whatever. but sometimes its like idk what u #guys fuckin want from me. you want me to analyze every fucking thing i watch always and forever? because for me the problematic and #off putting politics come off bery obviously when they come up. but as far as a lot of childrens shows go? idk. ig id be more focused #on the plot than the politics..? #ig its bc i kinda feel like... this isnt political action to analyze media all the time....... #i think a better use of your time is learning what you can actually do to change peoples minds to be more progressive personally? #ig if you do that w a piece of media often co opted by rwingers or something like that then its cool but idk #ig i worry about shit like. 'spongebob is a fascist' type takes lol. ig i dont feel like this is like... a great way to move ppl to the #left. esp since the only ppl who are gonna read your media analysis on tumblr is other leftists who already agree with you :|

[bloodbenderz]

there was a lot of mistakes made in the live action but the worst one without reservation was that the creators did not understand patriarchy and they did not understand women's liberation outside of an american context ( or any context if we're being honest )

it's easy to see on a surface level how that fucked up katara's whole character how she wasn't allowed to have her character defining moments how she wasn't allowed to be angry or even excited or impulsive but i think it doesn't really become clear how deeply wrong the show's conception of gender & patriarchy is (and the implications for the political landscape of the show) until you get into how they destroyed sokka's character too

sokka's whole Complex is born of patriarchy. i'm not trying to do men's rights advocacy here but in my experience when a people is under constant threat, constant assault, constant violence (much of which is gendered) and the traditional "protectors" or "providers" of that people are men, the masculine role becomes protecting women and children. i am not saying this is a good thing or a bad thing but it is true the narrative of violent resistance is overwhelmingly about men. to be a man in a time & place like this means fighting to protect your women, & to die for them is honorable. that is where sokka gets this idea that he has to be a warrior & he has to fight & if necessary die for katara & the rest of the tribe. it's about duty. everyone has a part to play, a role to fill

everyone including women! which is the other half of this. the duty of women is to keep up the home, to maintain a country worth fighting & dying for, to raise children so that the community can have a future. it becomes especially obvious in the context of the show when you see how the nwt lives & in specific how yue lives and dies.

many women participate in patriarchy. many colonized women participate in patriarchy. most of my family comes from or still lives in a country completely devastated by colonialism & its aftereffects & many women in my family believe wholeheartedly in the idea that everyone in the house has a role to play. it's not because these women are stupid or they hate themselves. but when you grow up believing that men & women are fundamentally different, and seeing that women are in specific danger because of their gender, it actually makes a lot of sense to expect the men in your family to protect you, and to raise your sons that way.

in practice that means that men aren't really expected to do anything around the house, especially when there's no actual danger. my aunt literally 2 days ago told me this lol like she doesn't make her sons do anything bc she wants to let their lives be easy before they have to go out into the world & take care of their wives & children.

what does women's liberation look like when an entire community is under threat? colonized women have been dealing with this question as long as colonialism has existed. the writers of this show don't even pretend to understand the question, much less to formulate a thoughtful response to it. they just say oh, well, katara, yue, & suki are all the exact same type of liberated girlboss for whom patriarchy is no significant obstacle.

which brings us back to sokka lol. sokka, at the beginning of the show, has completely subscribed to patriarchy, has integrated it into his sense of self. he has a lot of flaws, but he also has a lot of really good traits. his bravery, sense of honor, loyalty, work ethic, selflessness, all of this came from him striving to be a good man. he would die to protect katara, because she's his sister. he also has her wash his socks & mend his clothes, because she's his sister. even after he meets suki, humbles himself, & expands his view of the role a woman can play, he doesn't completely disengage from patriarchy. at the end of the day he believes in his soul that a good man's duty is to fight & if necessary die for his people, & that's exactly his plan. this is a very real psychic burden. pre-aang, it's also largely fictional & completely ridiculous. we're SUPPOSED to think it's ridiculous. he's spending his time training babies & working on his little watchtower. the swt hasn't been attacked since their mother was killed because it has been completely stripped of all value or danger it once held for the fire nation, & everybody knows this. there is very little "men's work" left, aside from hunting & fishing, which is so damaging to sokka's self image he resorts to toddler bootcamp to feel useful. the contradiction here is comical. it's also completely devastating. that's supposed to be the fucking POINTTTT like colonialism & patriarchy convinces this young boy he needs to be a soldier & die for his family. & you know what he does? He acts like a young boy about it. they didn't just leave this unexplored in the remake they completely changed the circumstances to 1. make sokka incompetent for some reason 2. make his "preparations" seem less ridiculous. Which ruins the whole character. Possibly the whole show.

all this makes the writing of katara & the other women infinitely more offensive to me. katara is a good character because she believes in revolution. she wants to liberate her people from imperialism, & she wants to liberate women from colonial gendered violence, traditional patriarchy in her own culture, & the complicated ways those things interact. it is LITERALLY the first thing you're supposed to learn about her. she's the PERFECT vehicle to address the question of women's liberation under colonialism. one of the things i was most looking forward to seeing in this show was how labor is distributed in a place where almost everything that needs to get done is "women's work" & how it affects katara & sokka's day to day relationship when their lives weren't at risk constantly. what actually are her responsibilities every day, & how do they compare to sokka's? how does her grandmother enforce these traditions with katara & sokka, & how is that informed by her own experiences in the nwt? what does patriarchy look like in a tribe made up of mostly women & children? it's so important to who katara is & what she believes! but why bother exploring any of that when u could instead make her a shein model who has nothing in common with the source material except her hairstyle lol.

yue is actually even worse to me bc yue is supposed to be sokka's counterpart. she's supposed to show you how destructive it is for women specifically to internalize this gendered duty so completely. it sucks for sokka, but he is a man & thus his prescribed role gives him some agency. yue's role affords her no agency whatsoever, & this is the POINT. to make her someone who's allowed to break things off with her fiance if she likes, who sneaks off to do what she wants when she's feeling stressed, whose will is respected as a monarch, like what is even the point of yue anymore? in the original the whole reason she was even allowed to spend time with sokka was because her father knew she was with a trustworthy boy. her story completely loses all significance when the dimension of patriarchy is removed from it. the crux of her whole story is that she is not just a princess but the literal & spiritual representation of the motherland. that's what women are supposed to represent during wartime, at the cost of their own sense of self. in order to fulfill her duty to her people she gives her life to them in every single way that matters.

it's just so unbelievably frustrating (and WRONG) that the only types of characters for these writers are "soulless misogynistic fuck" and "liberated american-style feminist." there's no nuance at all! they don't bother exploring how real love manifests in patriarchal communities, & how patriarchy defines the limits of that love. or how for so many of these people their idea of goodness, morality, & honor is gendered. or how imperialism affects not just individuals but entire cultures & their conceptions of gender. but why do any actual work when you could completely change sokka & katara's general demeanors, their entire personalities, & their roles in the tribe so you can dodge any & all nuance

Anyways. in conclusion. it was bad

[psychotrenny]

Lancer is a funny because of how much it insists that Union is this flawed but ultimately benevolent institution that's well on the path to improvement, a "utopia in progress" as they love to say, when like they casually reveal so many things about it that show Union as rotten to the fucking core. Like as much as Lancer fans like to go on and on about how it's an imperfect society that needs to make compromises, there's so much awful shit about Union that just seems pointless or easily avoidable.

And like part of this is the creator's politics; they're social democrats so it's not surprising that Space Sweden is their idea of a society that, if not the best we could possibly achieve, is at least the best we can do for the foreseeable future. As a Marxist-Leninist it's only natural that I'd have a condemnatory view of such a society just as I do for real Social Democracies; my idea of an achievably "good" society is just fundamentally different from that of the creators But like Lancer is also full of little details that just seem fucked up and awful even from the values and viewpoint of Social Democracy. Like stuff that's just as bad, if not worse, than a lot of sci-fi Dystopias. Like why the fuck does Union have a CIA that's run by a group of super-computers with the actual elected legislature having an advisory role but no actual jurisdiction and this fact being kept secret from the vast majority of the populace? Not much of a democracy if one of the most powerful institutions in the entire political body is free from any kind of democratic or even fucking human oversight while most people aren't even allowed to have an opinion on this because they aren't allowed to know about it. Or what about the caste of Janissary diplomats (like was it really necessary to take children and train them like they're the jedi of interplanetary relations) who come with customised computer slaves. Like yeah don't forget about the fucking SCP computer slavery thing, which is completely fine (except for the times it isn't I guess). Like it's basically the weirdest and most uncomfortable part of Star War's setting imported near whole-cloth only like the regular mindwipes are justified because otherwise they'll full Durandal and you don't want that do you? Look how happy and content they are being forced to think like humans while acting as loyal servants. Btw Union is somehow even less denazified than West Germany. Significantly so. They literally gave Hitler Corp. (a fucking weapons manufacturer so powerful they call it a "corpro-state"!) a seat at the UN. While allowing their Blue Helmets to keep using those Nazi-made weapons. And like Third Comm is repeatedly described as doing basically the same shit that Second Comm did but with more "Care" or whatever so don't worry it's fine now.

Like I can just keep going on and on like I'm not making this up this isn't some like weird expansion this is all from the core rulebook. I get that there has to be conflict and tension but like why did they need to make their ostensible good guys so fucking awful like these are the people you're meant to feel good about fighting for why did you need to fill them with the sort of details you'd see in some cautionary dystopia? And like why do actual people keep defending these guys? Like once you get down to it Union manages to be less Space Sweden and more* "The Ottoman Empire with Pronouns"

*to borrow a phrase coined by a mate while we were talking about this

#lancer

[genericpuff]

I don't know the term for creators who became popular outside the traditional steps to "make it" in their profession; then when people started taking their work seriously and giving them criticism, these creators saw it as an attack because they are not used to mentors and studies.

Smythe's professional training is vague at best, being a folklorist. Then there's the creator of the popular hell cartoon that became her own executive producer and director in her 20s (I'm not going to say her name since it tends to attract her rabid fans) and becomes reactive to any kind of criticism on Twitter. Then there's that TikToker Devon Rodriguez, who became popular for sketching people on subways, and when an art critic gave a mild review to his art gallery, Devon unleashed his fans on him.

Like am I seeing a pattern here for artists? And I guess, what do you think we can learn from it.

Ah, so this is a very interesting (and broad) topic that we've touched on in discussions in ULO and other webtoon-related communities. So buckle up, it's time for an ✨essay✨

I think the best way I can sum up my thoughts on this issue is: the vast majority of people who become paid content creators don't seek out a job as content creators, a job in content creation is just something that happens to them.

I say "content creation" because this is something that applies to a lot of other platforms and online mediums as well, such as the examples you included (TikTok, Youtube, Twitch, etc.). And don't get me wrong, it's not like every successful content creator out there didn't work their asses off to get to where they are, but for many... it still involves an element of luck. People don't go to school for it, people don't "apply" to become influencers, and much of it relies entirely on just making stuff until it gets seen and propelled into success.

I think a lot of these issues arise with the creators themselves and how they view their own work. The reality is that many of us artists have been treated as the "rejects" of society, we constantly feel like we're misunderstood and have some deep inner pain that we express through our art, and instead of going to therapy, we come up with OC's. It's a lot more fun and it's a lot cheaper LOL Webcomics naturally wind up being the perfect lightning rod for people who feel that way, where we can pour ourselves into the characters, the world, the narrative, in a way that perfectly mixes our talents for art and our need to express our innermost thoughts and feelings about ourselves and the world around us. So when our art gets criticized or rejected ... it can be hard for a lot of artists to not feel like it's a criticism of the self, a rejection of our identities, an attack on our feelings and experiences, because we've tied so much of ourselves to our work. And this can make that transition very difficult for people who are trying to go pro, because being professional demands separating yourself from your work, at least enough that you can view it objectively, recognize its flaws, seek out pathways to improvement, and not take every bump in the road personally.

A lot of successful creators are people who just never made that transition. It's led to an abundance of professional creators who know how to film themselves or react to content or, in the case of webcomic artists, write stories about their OC's, but don't know how to actually navigate the industry at a professional level. They don't know how to read and negotiate contracts, they don't know what deals are actually good for them and which ones are better left on the table, they don't know how to manage teams of people, they don't know how to react to the attention, praise, and criticism of their audience - they're just doing what they've always done, but now they're making money doing it.

None of this is to speak ill in any way of the creators who've found success and are still just doing what they've always done for money. None of this is meant to be a slight on the creators who are using webcomics and art as an expression of their deeper selves (I do it myself, it's very cathartic!) because ultimately that's what makes your work your work, the fact that you made it, with all your good parts and bad. Many of these creators are capable of running their platform without any issues because they've learned how to play the game, or because their platform is made up of people just like them so their audience is more like just a social circle.

But many of them still also can't operate on a professional level and those are the ones we often see getting called out and held accountable when they do shit like, I dunno, scamming their audiences for money or making alt accounts to manipulate user reviews or plagiarizing from other people's work or just being really REALLY shitty to their own audience.

Often times these are people who are just doing what they'd normally do as a hobby, became well known for it, and managed to turn it into a living. But they never actually learned how to turn their hobby into a job, and themselves into professionals.

And artists especially are prone to this because, let's face it, a lot of us are just weebs having fun drawing our blorbos, so of course if we get a chance to monetize that, we're gonna! We should! We should want to be paid for our work and time and efforts!

But we also have to remember that it's a different ballgame, especially if you're turning your audience into customers. "I'm just a baby creator doing this for fun" doesn't and shouldn't apply anymore once you start signing contracts, selling your art as products, taking people's money to fund your projects, etc. because now it's not just your art, it's what you're expecting people to pay for so you can eat and pay your bills and live.

As much as our art is often personal and should be cherished as such, you can't expect people to want to pay for it if you're not setting a bar and meeting it, or if you're not treating your audience with any amount of dignity or respect.

I'm not saying you're not entitled to having feelings or still wanting to treat your art as art, but the line between art and products is there for a reason, it's to set people's expectations and ensure that both sides are having those expectations met. Webtoon creators suffer from the same thing that a lot of Youtube creators and other types of content creators suffer from in this transition, and I feel like HBomberGuy summed it up best:

"In current discourse, Youtubers simultaneously present as the forefront of a new medium, creative voices that need to be taken seriously as part of the 'next generation of media' - and also uwu smol beans little babies who shouldn't be taken seriously when they rip someone off and make tens of thousands of dollars doing it."

It's not gatekeeping a medium, it's not telling people they aren't allowed to have feelings or to want to still have that personal connection to their work in spite of the professional level it's achieved, it's simply just expecting people to actually live up to the label of 'professional' that they're using to make money.

And this especially goes for someone like Rachel, who claims to be a 'folklorist' despite all the contrary evidence that says otherwise. This is the same person who copy pasted the first result on Google as her source on a simple word definition:

There's a second part to that HBomberGuy quote that also actually applies to Rachel really well in this discussion, concerning how she labels herself a "folklorist" and how that's affected and influenced the greater discussion surrounding Greek myth:

"But on the opposite end, Youtubers who act like serious documentarians gain a shroud of professionalism which then masks the deeply unprofessional things they do. We just saw that with James. I think [James] partially got away with what he's doing for so long because he acts so professional about it, so people assume, 'there's no way he could just be stealing shit!' so they don't check. And on top of that, a lot of James' videos contain obvious mistakes and made-up facts... but because they're often presented next to well-researched stuff he stole, no one questions it. I've seen James repeat a lie in his videos, and then other people claim it's true, and link his video as the proof. He has helped to solidify misinformation by seeming like he's doing his diligence."

There's always going to be discourse over what's legitimate and what isn't when it comes to Greek myth, there are loads of things we still don't know simply due to the knowledge being lost to time. But there's something to be said about a white New Zealand woman using her self-insert romance comic and platform to build a veneer of professionalism and legitimacy around herself, as if she's the authority on the subject, while simultaneously relying on first result Google searches and citing works that have no real foothold in the way of scholarly or "folklorist" discussion.

All that's to say, you're right, her professional training is vague at best. She's never completed a longform comic prior to LO, she's not doing her due diligence in actually engaging with the media she's trying to "retell" and exposing herself to the voices of those from the culture that's tied to it, and she's not holding herself to any sort of standards when it comes not only to being a professional, but a professional who's been held on a pedestal for all these years. She's still operating the same way she was 5 years ago - drawing and writing whatever pops into her head and sending it to her editor for uploading, with next to no intervention or guidance. Except now it doesn't have the benefit of being new and having "potential", it's getting noticed and called out more now than ever because it's been 5 years of this shit and it's been getting worse on account of her clearly being burnt out (or just giving up/not caring) and the readers can't be sold on "potential" anymore.

And that's all I have to say on that.

#ask me anything #ama #anon ama #anon ask me anything #lore olympus critical #anti lore olympus #lo critical

[bigcowboydyke]

about your disability pride month post: is there anything important/significant you think people should take notes on when writing a character with an upper arm prosthetic? (like starting from the elbow if i phrased correctly)?

Yeah! I think the biggest is that you ought to consider first, esp if its an OC, your reasoning for making the character disabled- you wanna make sure you're not fetishizing or exploiting their disability to prop up abled characters. I've got a list of questions for authors to ask themselves along those lines that I can post or dm

Secondly, you have to consider what level of realism you wanna go with. If you have a character where, in universe, the prosthesis functions in exactly the way an arm does, you could just go with that if you want - it's the path of least resistance, right? BUT you ought to consider that most prostheses in media exist in that way AT THE EXPENSE of good representation of disability. Erasing disability or "curing" it with magical prostheses IS a form of ableism that is so pervasive it just goes unnoticed by most. I believe personally that disabled bodies are worth portraying well even when the creators of the source material did not do that. SO if you want to go with real well thought our representation, here are some common things I think authors and artists often miss (specifically as it pertains to upper limb prostheses):

1) I already said this, but seriously, I cannot emphasize enough that upper limb prosthetics ain't cheap and are usually uncomfortable. Your character, if they are poor, or even like middle class, won't have access to multiple high tech popular mechanics cover story type robo arms. Even if they did ...

2) Not all limb different folks use prosthetics! I personally have used multiple and I disliked them. I tried very hard to learn, but there are multiple requirements to be able to use each model and sometimes, a lot of times actually, limb different people - especially people without a hand or an arm function Better without prosthetics. Be aware in your art that limb different people are Whole. How you ask can somebody without an arm, say, do all that stuff?

3) Consider the idea of adaptation in your writing and art instead of relying only on magicking disability away with prosthetics. Disabled People live in a world full of barriers and tend to be Very creative about navigating it, adapting to our environment through just being a little clever about how we do things is the biggest way i see other people with upper limb differences interact with the world. There are three main ways that we go about this without prosthetics: Using adaptive equipment, Finding an alternate method, or as a last resort, asking for help.

Example 1: I have like 1.5 arms ok so obviously only 1 hand, and I need to clip my fingernails every once in a while. The obvious solution to me, while it may seem gross, is just to bite them off. Bad habit, but efficient. I could use those horrible little nail clippers, with my remaining stump and a little finagling but it takes forever. I could also get some adaptive nail clippers - they make great big handled ones for ppl that can't grab the little ones. Or, I could ask my partner to trim them, but I'm usually too proud to do that. Let disabled people have their flaws too lol!

Example 2: I love to rock climb. This is where adaptive equipment comes in. I could slip off a rock climbing wall pretty easily right? So bouldering (rock climbing without harnesses) is totally inaccessible to me. But if I go to a gym that has harnesses, then that's fine - they catch me if I fall and that's adaptive for me.

Adaptive equipment comes in many shapes and sizes and can be regular items repurposed.

3. If after all that you Must create art or write about an OC or preexisting character that uses upper limb prosthetics, consider that in general, limb different people's prosthetics are not equivalent to having two arms. Prosthetics are only practical for limb different people if they enhance your life or are useful in some way, however, getting one high tech enough to do that is unlikely because they are expensive. There are different groups, clinics, and charities that make lower cost options but they tend to be much lower tech than is depicted (and often are clunky). My first prosthetic was a long flat piece of metal, similar to a doctors tongue depressor, attached to a plaster cuff velcroed around my stump. The idea was that since I had a little bit of stump poking out, I could pin objects against the metal and it would work like a crab's pincers. It was okay, but I did accidentally smack many. Many. Things with it, including my own face and since it was metal, that was unpleasant. Obviously hindered more than helped. Also it did not look even remotely like a hand.

4. Which prosthetics you can get generally depend on what you got on you. Literally. Bodily. With upper limb prostheses, If you don't have an elbow or wrist, your options are almost exclusively limited to the pricier electric options that are both super futuristic, unavailable to many, and also like new car priced. Many of the manual, non-electric models depend on the ability to flex a wrist or elbow, so if you have those things are a little more accessible overall. It also matters whether you are born limb different like me, or if you are an amputee. Amputees are more likely to be candidates for prostheses than people like me because they have all those preexisting muscles and nerves for prosthetics that are higher tech and require surgical attachment Also prosthetics might be an easier learning curve, and more useful for somebody who has been abled bodied than it would be for somebody who never had that limb in the first place.

5. This is a little thing and ... Not to get too medical with it ( and neither should yall) but limb different people often have physical changes associated with lack of or loss of limb. If you do not have a limb, you are not going to be developing the muscles that are surrounding it in the way an a nondisabled person would. Again for example I have 1.5ish arms which means I've got plenty of stump on my "affected" limb. Even when I did Varsity sports and everything, I was never able to get beefy on that side. It is a pet peeve of mine that many people do not seem to get this - Most art I see of vash the stampede has him with two super beefy shoulders and like yeah i get it that's hot, but if hes got roughly the same amount of stump as me, he probably shouldn'tlook like that. Another thing in this vein is chronic pain is associated with limb loss and limb difference- I have it and its reasonable that any prosthetic user or nonprosthetic using limb different person is more likely to have it. Again these are little things but if you're looking to do good representation you need to consider that limb difference is not just a cool little stylistic choice to make a character look tough or what have you - limb loss and limb difference mean that that character will not only think differently than abled bodied people, but move differently, pose differently, have different routines and preferences than are ever represented in most media. Disability is not a style, and it's not a diagnosis, it's an identity. It's important above all to be respectful of that by letting go of centering able-bodied expectations and aesthetic in your art and writing. Hard to do but i believe in y'all!

Hope that helps! I've also got a bunch of links to go along with these points, if you want them lmk! I'm always happy to take asks about this stuff!

Tl;dr please consider making characters that don't use prosthetics, or don't use them excessively because it's more realistic, better representation, and makes me, a disabled dyke on the internet, really happy.

Lastly if y'all liked my advice and appreciate my time you are always welcome to tip me for it - my c*sh*pp is $neptunedrive

#cripple your art #disabled characters #vash the stampede #trigun #character design #disability justice

[comradekatara]

What do you think makes the original ATLA so good when practically every subsequent piece of spinoff media ranges from mediocre to downright reactionary? Considering some of the stuff the og creators were responsible for counts among the very worst, I don't think it can be blamed on their lack of involvement. Idk I've always wondered about this because it's so strange. Did ATLA end up being good purely by accident & nobody involved in its creation actually understood what they were doing or what?

lmfao i definitely do think masterpieces can be created purely by accident. not that there aren’t elements of careful deliberation and a lot of collaboration involved, but it really was a lightning in a bottle sort of project. like this is just conjecture bc i haven’t seen any of their other projects but apparently the creator of black sails has made some other, bad shows. or the creators of utena as well. see, even, the stupid lame ass ending to fionna and cake. there’s no guarantee that just because someone (or a creative team) can create a coherent, nuanced work means that they can replicate that success ad infinitum.

i think that where atla truly excels is in its character writing, which is why the fandom (a fundamentally character-focused phenomenon) still endures (not that they really get the characters lmao, but at least we’re all way too deeply attached to them in the first place). and the anti-imperialist politics are almost incidental to the show’s success. i’ve said before that it was much easier for liberals to critique american imperialism during the bush administration, because the invasion of iraq was completely inexcusable, and also very easy to criticize if you dress it up in children’s fantasy and always have the defense of going “no, don’t you see, the fire nation isn’t the us, it’s the prc, it’s imperial japan!! you know, our enemies…!” which a lot of people to this day actually believe — not that there aren’t allusions to other imperialist histories (esp wrt the air nomad genocide), but zuko’s whole speech to ozai in “the day of black sun” is literally a critique regarding what it means to live in the imperial core. it’s a western, american show for americans first and foremost.

…. and then lok was made during the obama administration. neoliberal identity politics abound. and don’t get me wrong, some of those identity politics were a good thing, because i love seeing milves and bisexuals and korra just like. in general. but it’s also a show that fundamentally revolves around capitalism as its central theme without every actually participating in a coherent class critique. the closest we get is mako and bolin visiting their family in the lower ring, which doesn’t count, bc that was established in atla.

however, just because atla endures in our consciousness, and i am truly finding new things to appreciate about it all the time, does not mean that it is without flaws, and so i do think that it’s pretty fair to assume that its success as a work of fiction and a work of art would of course be undermined by the economic forces that demanded it continued to expand its franchise for profit rather than out of any narrative or thematic need to do so. it always comes back to liberalism and capitalism. lol

#bickazer #asks #lok crit #they just need to put their pens down . just stop

[hello-nichya-here]

Azula's mommy issues how it does (and doesn't) affect her personality and theoretical redemption

Ah, Ursa and how she ties into a possible Azula redemption. I recommend you get a snack and some water, because this answer is gonna be a long one XD

Before we even get to the dynamic between these two characters and how it informed Azula's actions, let's remember THE main thing that is responsible for Azula being the way she is: Indoctrination.

Her nation had been waging war against the rest of the world for 100 hundred years. Azula is 14. For 86 years her family had been telling everyone, including themselves, that the war was just, it was for the good of the world and of the Fire Nation, it was "sharing their glory", it was just them taking over land that was rightfully theirs because of "divine right to rule" (something Azula herself says to Lu Fang when she's taking over Ba Sing Se).

We see children cheering for a puppet version of Fire Lord Ozai in a festival, as he defeats an "evil" Earth Kingdom general. We are explicitly shown that Fire Nation schools lie about things like the Air Nomads, a pacifist culture, having an ARMY that Sozin's men attacked, framing it more as a mutual conflict between equals in which the Fire Nation won, instead of a sudden attack against an entire group of people that were just minding their business.

We see IROH write a letter about how he hopes his family can see Ba Sing Se IF THEY DON'T HAVE TO BURN IT TO THE GROUND to conquer it - and not only do Zuko and Azula both laugh, URSA is also laughing.

Azula was raised to believe her nation had every right to do all the attrocities it commited. And just like Zuko, she is still a teenager, not an adult like her dad, uncle or mom - and while they had less excuse than the Fire Siblings for not knowing any better since they were already grown, they do still have more excuse than Azulon and especially Sozin, since they were ALSO raised to believe that stuff was perfectly normal.

Even if Ursa had been a perfect mom, Azula would likely still be a villain, though maybe less bitter and insecure over feeling unworthy of love (but that would not disappear completely, since Ozai was still an abusive dad that very clearly expected perfection from his children at all times, which is way too much pressure to put on anyone, let alone on two kids. And since she was his favorite, she'd obviously try to copy him, so she wouldn't end up like Zuko, so her more cruel, ruthless side would also be very present).

HOWEVER, that does not change the fact that Ursa's flawed parenting had a deep impact on her daughter.

For starters, even the creators/showrunners and writers of the show have said Zuko is her favorite child - and a parent playing favorites is NEVER good, even if they don't downright abuse the one they don't like as much. And for a kid that is in an abusive home, seeing her brother be treated as completely worthless because he is not the favorite, it isn't that hard to understand how Azula concluded that, if her mom didn't like her as much as she liked Zuko, it's because she didn't like her AT ALL. Add in Ursa's concern over Ozai's influence over Azula and how it's shaping her personality, plus the fact that she said "What's wrong with that child?" WITH AZULA IN THE ROOM, and we have the source of her belief her mom didn't just dislike her, but also saw her as monster.

Because yeah, let's not forget Azula had TWO parents. Two parents that clearly wanted very different things from their children. Ursa was cool with all the imperialism stuff, but she was horrified at the thought of the family being at war with itself, fighting for the crown. She was a bad guy, but she had standards. Meanwhile Ozai was clearly on team "stab everyone in the back to get what you want, then rule by fear." Once her mom was out of the picture, Azula naturally felt like her dad had essentially proven his method was better, since he ended up getting everything he wanted (though Azula does question that in the finale, when she imagines Ursa of all people trying to make her see trying to use fear to force people into supporting/loving her would only further isolate her, showing some part of her DID internalize a point of view that did not align with Ozai's).

But even before Ursa was forced to disappear from her daughter's life, she was already failing to connect with her, but not solely because of Ozai. Think about it. We see lots of scenes of Ursa spending time just with Zuko, and some of her with both of her kids - but never do we get even a single scene just between her and Azula.

When Zuko immitates Azula's bad behavior (because he thought it was cool and funny) and throws bread (not a rock like the fandom insists, BREAD) at the turtleducks, Ursa is visibly shocked and distressed, but she EXPLAINS to Zuko why what he did was wrong (it hurt the baby turtleduck, and thus made the mother mad) in a VERY light-hearted way that he clearly remembers fondly. When Azula says things about Azulon being likely to die soon or Iroh being pathetic, Ursa is shocked and distressed - and either just says "Azula, we don't speak like that" or a very angry "Young lady, not another word" but without ever trying to explain to her why what she did was wrong.

Meanwhile, ZUKO actually says things like "How would you like it if Lu Ten wanted dad to die?" or explaining that Iroh gave up on conquering Ba Sing Se out of grief for his only child. Those two scenes were the CLOSEST Azula got to having someone actually try to explain things to her in a way she could understand - but obviously she's not gonna take her brother as seriously as she would an adult, and Zuko has his own stuff to deal with so he can't step up and be a replacement parent to her like Iroh was to him (and considering how young he was at the time, expecting him to do so would be unreasonable - hell, he likely didn't even notice just how badly Azula needed help until she had her breakdown).

Things get worse if we take the comics as canon (which I don't, but I know a lot of people do). On that version of the story, Ursa goes from "Making effort, but screwed up along the way" to "Neglectful/abusive piece of shit that should have her kids taken away."

Comics!Ursa's idea fo "quality time with her kids" involves talking solely to Zuko and ignoring Azula, instead of interacting with both of them. She doesn't encourage them to spend time with each other like she did in the show. When she is banished, she visits both her kids - but only wakes Zuko up. He gets a sweet farewell so he always gets to remember that, no matter what happened, his mom loved him and did not want to leave him. Azula doesn't get a single word, and is left to believe her mom didn't even bother with her.

Worse of all, Ursa CHOOSES TO FORGET HER OWN KIDS. After she had explicitly said she does not believe they are truly safe living with Ozai. After she explicitly said to Zuko "Never forget who you are." Not to mention, she writes a letter with the fake claim that Zuko is actually NOT Ozai's kid - because she knows he will read it and get mad. She risked putting her son in danger just to piss off her husband. That's what she did to the kid she LIKED. How low would she go if the kid in danger was the kid she didn't care for? Oh, wait the comics answer that too. She never bothered asking ANYTHING about what had happened to her all those years (nor to the kid with a scar on his face, mind you), showed more empathy towards her when she COULDN'T remember who she was (and even then it was just a "If I really am your mom, I'm sorry I didn't love you enough." That's it. That's all Azula gets), and she doesn't do ANYTHING about Azula running away. No asking Zuko or someone else to find her, no crying about losing her again, no indication that she is worried about her safety even though she is all alone and mentally unstable.

The comics really did Azula dirty, and I HATE Ursa in it. It reached the point of "I don't want these two to make up, I want Azula to give a whole speech about how much her mom sucks, just like Zuko did with Ozai" because that's what she deserves. Show!Ursa made mistakes, Comics!Ursa IS a mistake. The sympathy for Azula despite her bad actions grows significantly on that version of the story, because how the fuck can we speak her to not be so mad at the world after all that?

But at last, we need to make an important distinction clear here: It doesn't matter if we are talking about the comics or the show, if we like or dislike Azula, if we do or don't want her to be redeemed, the simple fact still is that she WAS screwed over her entire life, her troubled relationship with her mom had a deep and longlasting impact on her mental health, and there was no way in hell she would have EVER been an innocent little angel that is 100% against everything her evil father does. It's just impossible considering her backstory.

And there is a very clear double-standard in how people talk about the idea of a redeemed Azula VS the reality of a redeemed Zuko. Both start with the premise of "This bad guy has understandable, sympathetic reasons to do bad things, since they were indoctrinated from birth and had a terrible family life", both include the character having to see how their actions are hurting them AND others (including those they care about, Zuko's "victim" being Iroh, while Azula's are Mai and Ty Lee. Plus, they've both hurt each other in some ways, some more deliberate than others), and both culminate with the character turning their life around, confronting those who wronged them, and finding a support system for themselves.

Yet one is treated as revolutionary despite not being the first redemption arc ever (nor the only redemption arc in the story itself), nor being perfectly written (because perfect writting doesn't exist), while the other is labelled as lazy, out of character, or "making excuses" for bad people just because they had a tough life (like Azula is an actual person). There is no thematic or moral difference between redeeming Zuko and redeeming Azula, especially in a show that says "EVERYONE has the potential for great good and great evil" and ends with Zuko telling his abuser he hopes he'll also have a change of heart someday, even if he is not sticking around to witness or actively try to make it happen.

Redeeming Azula is no different than redeeming Zuko. It's perfectly fine to want to just one of these things instead of both, but it is NOT a superior choice in anyway, and it's very hypocritical of the same fandom that criticizes the idea of a redeemed Azula because "mommy issues isn't a good enough reson" when they can't stop praising the redemption arc that has "the villain had daddy issues" as it's core premisse. Personal preference is one thing. Being a dick about it is another.

#actual human child azula #literal child soldier azula #azula meta #azula deserved better #azula redemption

[anarglitch]

Scott pilgrim takes off inhabits the same artistic space as the matrix 4, or even the final fantasy 7 remake. I mean this as a good thing. It has the distinct touch of an artist that made something that defined a generation revisiting the art that outgrew them a thousandfold with more maturity and different interests.

These interests usually skew meta, they're about what drives someone to revisit something made by a past version of oneself, about the experience of suddenly gaining more influence than anyone could reconcile, where criticisms of your work (which you also, no doubt, have many) become synonymous with criticisms of your culture. If you've been here a while, you probably know (and are tired of) what I'm talking about, manic pixie dream girls and aloof average male protagonists, toxic nostalgia, pick your theme and it's a video essay title.

Imagine having every read of your 2004 funny video game-coded coming of age comic reverberate infinitely toward every direction, people saying your main character taught a whole generation of men to be self-absorbed while the exact opposite type of people rant about how your secondary lead "ruined a whole generation of women" because of hair-dye or whatever. Imagine Edgar Wright makes a movie adaptation of your cute little comic that somehow launches the careers of half of the current celebrity pantheon simultaneously. How would that change you?

Well, for one, it makes you less relatable. The truth of an aloof nerdy guy dating in his early 20s is a lot more universal than the truth of an artist in his 40s forever defined by the event horizon of a thing he wrote half his life ago. The matrix 4 couldn't stop talking about how it feels to have created the matrix. The final fantasy 7 remake can't help but to constantly examine what it means to remake final fantasy 7. It's easy to see why someone would hate that indulgent meta trend, I'll probably never write a generation-defining story, why would I care about the first world problems of someone who did? It can feel distant, and at its worst it can feel insulting. Like it's pointing the finger at the fans, whispering 'you did this to me'. I get that.

I get that, but I love it.

It's the fundamental difference between wanting something that is like something you liked, and wanting someone that is from the same creator of something you liked. The difference between feeding the mona lisa into an AI and finding a new authentic da Vinci. You can't make something entirely new if you religiously stick to using the parts of something that's already there. The human behind the work will always have influences you didn't realize, thought patterns and aesthetic preferences that weren't entirely clear in their previous work, no matter how much you deconstruct it. More importantly, the human will also change, and this organic self-continuity will reflect on the art. I don't want the creator of something to hold their own creation with the same zeal as its fans, because someone who did that simply wouldn't have been capable of creating the original piece in the first place.

I don't want a product, I want art.

Scott pilgrim, the original, indulges the most earnest impulse we have-- that of self-mythologizing, of creating a narrative off of our own lives. To depict the mundane as fantastic, interpersonal relationships as adventures. It resonated with so many people because it was earnest, and it was also picked apart to hell and back because it was earnest. Its flaws were on display, and not just the ones it intended to show. But in my opinion, the opposite impulse, that of washing off everything that could be criticized and presenting the cleanest possible image of yourself through your art, is just... bad. it makes for bad art, or it just freezes you. The very first hurdle of creating anything is getting over that, then maybe the spotlight will fall on you. If it does, you'll get everything you ever wanted, but everyone gets to see through you.

So, how do you revisit something like that? You have two options. Either you take all the pieces and try to reassemble them exactly how everyone remembers it, signing your name as a formality, looking at a mirror in which you no longer see yourself, or you talk to it. You dialogue with your own work, with who you used to be. You travel in time and talk to yourself. You question them, acknowledge them but also teach them a thing or two. You don't respect the product, you respect the feeling. You find the same earnestness that made you put pen to paper for the first time, and you point it towards your new loves and fears. Maybe you make it less about the main guy, take the chance to develop your secondary characters, maybe you give the girl more agency. Maybe you summon the future and refuse its answers. Maybe you fight yourself.

That's the harder choice. It submits your new self to the scrutinizing eyes of a whole new generation, it risks alienating the people who identified with your previous piece. It's riskier, probably less profitable, and by any pragmatic lens probably a bad idea. But it's the only way you can make art. It's truth, the truth that got you there in the first place.

It's how you get it together.

#scott pilgrim #scott pilgrim takes off #review #bryan lee o'malley

[darklinaforever]

So, you have to stop messing around. Yes, Atla live action is not and will never be better than the original version but we have to stop spitting on it for that. Overall the series is very successful. I see some critics saying it's mediocre and that's blatantly bad faith. No, the actors don't play badly, quite the contrary. It's not the best acting in the world but they are still children who are doing very, very well and will continue to progress. They're not fucking disasters. The actors of Aang and Zuko are the best in my opinion. And if I still see someone criticizing the weight of the actresses for Azula and Mai... There are also critics who say the CCG is disgusting, uh sorry ? This is more of a bullshit, at this stage it's downright spitting. I've even seen people say that THE MOVIE WAS BETTER ?! WTF ?! A few days ago everyone was spitting on the movie, and now under the pretext of downgrading the series, we're going to say that it wasn't so bad now ?! And even downright better than this new version ?! But damn, this is mind-blowing bullshit. Also, if I hear one more complaint that it's bad that the original creators didn't have much input into the live action project... FUCK YOU ! It's going to get into people's heads when Atla would never have become the good animated series it is today if it had only been them in charge ?! Katara would have simply been Aang's girl ! (What she ironically becomes in the sequel in comics under their sole supervision !) Toph would not have existed, nor would Zuko's exceptional arc. Misery, the best episodes of the series do not come from them ! Stop glorifying them ! They had the basic idea, but it was developed by a whole competent team behind it ! When they are the only ones in charge it sucks ! The Atla comics are an abysmal disaster in terms of character characterization and many other things. What they did to Zuko, Katara and Aang is unforgivable. The Legend of Korra is filled with the same flaws as the original series but much worse and triple ! And they want to make an animated movie about the adult gaang and another animation series with the avatar as an earthbender ?! But stop the bloody massacre ! Also... do I need to remind you that your creators, darling, that you are complaining about are not on the adaptation project, therefore complaining about the future fidelity quality of the product... THEY VALIDATE THE MOVIE ! THIS MOVIE HATED BY EVERYONE, THEY SUPERVISED AND APPROVED IT, YOU FOOL ! It's not surprising that others are more respectful of the universe than the creators themselves who have always wiped their ass with the original series through the adaptation of the movie, the comics and the legend of Korra ! Damn people can be so stupid...

#zutara #pro zutara #zuko x katara #katara x zuko #zuko and katara #katara and zuko #zuko #prince zuko #fire lord zuko #pro zuko #pro prince zuko #pro fire lord zuko #katara #pro katara #atla live action #netflix atla #netlifx #atla #avatar : the last airbender live action #avatar the last airbender live action #live action avatar the last airbender #live action avatar : the last airbender #live action atla #avatar the last airbender #avatar : the last airbender

[bonesandthebees]

I'm not sure if any of this is as important to say as I feel like it is, but just in case, here it is.

Idk about you, but I'm really tired of having things taken from me because the cc's were abusive. I say this with an emphasis on the fact that supporting their victims and condemning their actions is far more important, that I'm not giving that man a single cent anymore. The most important thing the community can do is support the people he hurt. But It's still gonna hurt to purge my playlist because we, as a community, were lied to. And something I derived comfort from, especially in the wake of recent personal events, has been taken from me. Not by the community or by the people coming out; by him and his actions.

So seriously thank you for creating a space for people to talk about what's going on, because it's so easy to feel guilty right now for having feelings about this situation. Especially as a neurodivergent person whose main comfort is music, including music (and YouTube videos) he made.

I just feel like it's important to put this out there. The community as a whole needs to support the victims, but it's also okay to feel betrayed and it's okay to look at his songs in your playlist, dreading deleting them, for a while. No one will hate you for that. You're not a bad person for that. They're just songs or videos, but they're content that mattered to some of us. How dare he ruin that for all of us. How dare he.

Now that I've written a whole entire novel, please take care of yourself. I know I'm an internet stranger but I almost didn't write this because I think that it's important to emphasize that while I'm glad to see Tumblr users creating a space to talk for those of us who don't post and such, I also think it's way more important that your blog be a safe space for you yourself.

- a rambly anon 🪐

yeah, trust me, I'm fucking sick of this too. you're not selfish for feeling upset about deleting his songs from your playlist or not being able to watch vods of his for comfort anymore. you are not a bad person for having an attachment to someone who lied to his audience about who he was. you are human. you are allowed to be upset.

also, to veer slightly from your point but to bring something else up, while I know there are varying opinions on the community in this I personally don't think I want to let this make me stop hoping for people to be good. yes, it might seem like an endless pattern of people you like being revealed to be assholes. and for some people, they might want to leave the community to avoid that disappointment again. for me, I'm not going to put cc's up on a pedestal and expect them to be great people, but I'm not going to expect the worst from them either. keep my expectations realistic, but not pessimistic. content creators are flawed human beings like the rest of us, and sometimes they can be really shitty people, but sometimes they can be good people too. and I'm always going to hope for the latter.

and thank you for thinking of me. honestly the reason I've slowed down answering asks the past few days is precisely because I've been trying to take care of myself. I've gone up and down in terms of how I'm doing, and when I'm not feeling up to it I don't touch my inbox.

and despite everything that's happened this morning, I've had a good day. I got myself a cinnamon roll. I'm drinking green tea and it's sunny out. I saw flowers blooming on the side of the road and it made me smile. focusing on the little things, you know?

#ask #wilbur situation #anon

[jess-the-vampire]

One reason people might think of arofam Philip as a "good" person could be because of comparison to canon Belos. So while arofam Philip is a deeply flawed person who has struggled and screwed up but nevertheless learns and tries to become better, set him next to canon Belos and he looks like an absolute angel.

true

i mean he had to be this way for the sake of making him likable, it would be hard to do a swap with eda, where he'd HAVE to be one of the main protagonists, and keep him JUST as bad.

i mean, i'm sure that's an idea that can be done, but it wasn't what i was going for, again, i made this au as a joke at first.

Also i think some people tend to have a strong reaction to the very concept of him having any kind of redemption, even if it's being explored in an au. I was directly told once i was being blocked because belos was a father figure to hunter in my work, i'm not even sure if this person even knew any of the context of it being an au but they took one look at it and blocked me immediately.

moderate your own fandom i know, but the fact they went from wanting to follow me to wanting to block me how they did, gives off the impression i'm being judged for it.

and that probably would go for a lot of other people, anyone who follows the au knows au philip has done some BAD stuff, he's not some perfect angel and i never intended for him to be so.

but if you are someone who just sees "Belos is a nice person in this, BLOCK", you might be making quick judgements and jumping the gun a bit.

it's why i say "Context matters", and why i very clearly mark my work under the au in the tags

you don't have to LIKE belos in the show, that's fine, but i think it's important to not let that dislike impact how you treat other creators.

Aus are a great way to explore and try new dynamics, they're like a fun sandbox where you can try the most wild concepts, those concepts might not appeal to you and that's ok, but also let's not treat every au as a sign of anyone's morality and feelings towards the canon cast.

at no point did i want a redemption story for philip in canon, the fact he has one in the au and improves doesn't really change that. It's just been a fun ride to explore his trauma and explore a redemption of some kind within this sandbox for me.

and i'm not the only one who finds some enjoyment in that, clearly.

#my art #the owl house #toh #a reverse of feathers and mud au #areverseoffeathersandmudau #a reverse of feathers and mud #emperor belos #philip wittebane #caleb wittebane

[lackadaisycats]

I love everything of your work, every page is a piece of art, textures, lights, perspective, characters and the script, with perfect balance of hilarious and engaging lore.... It keeps me inspired everyday and gives me the energies to continue my projects. I can't describe the extreme joy your works gives me and I couldn't be more grateful, because it keeps me dreaming and helped me to understand what I want to do in the near future. Thank you so so much \(^ヮ^)/.

I have one question : Do you have any advices for making comics and put them in the world? For some time I had the urge to share my works, but idk what to do :/.

That's exceedingly kind. I'm touched to hear you've enjoyed my work, and if it helped you to understand what creative things you want to do, well, that makes my heart glad. Thanks for sharing that.

Very wordy response to the making and sharing comics question below....

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

Making comics is a Whole Big Thing as topics go. It's a little difficult to provide salient advice on something so broad. So much of it depends on what you're specifically trying to achieve, and what your preferences are as an individual. Here are a few bulletpoints, though:

-- Make the comic about things you love unabashedly so that it's fun and engaging to work on. It will still be difficult - it's always difficult - but you're more likely to keep doing the work it if you're in love with it.

-- Don't put off starting until you're 'good enough'. Good Enough is a fantasy place, and Perfect is a big lie. You'll never find either and pursuing them easily turns into eternal procrastination. Get started while the fire is burning, because getting good at something happens while you're actually doing the thing, and less so while you're thinking about maybe doing it. Try to be at peace with the idea that your work will be flawed. All art is. That's what makes it interesting.

-- Try to work with your strengths, not against them. Comic making is already immensely challenging. I'd suggest not making it extra impossible by demanding an entire personality change of yourself in order to do it. For example, if you tend to have intense but short-lived interest in things, don't torture yourself by embarking on a project that is going to take years-long, single-minded devotion. Do an anthology of shorter stories instead of a sprawling epic. Do one-off joke comics, or thoughtful vignettes. Or even break up something longer into short bursts of contained chapters.

-- Don't hurt yourself. Eat right, sleep, get a comfortable chair that's good for your back, get out of that chair and move around at intervals. If something starts aching, stop and rest. If it's aching chronically, see a medical professional. Career ending injuries and health troubles for artists are insidious - they creep up all quiet and mundane while you're busy patting yourself on the back for pulling another all-nighter.

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

About sharing online - also a tricky topic! The internet has changed a lot since I began Lackadaisy. The advice I could give derived from my personal experiences in publishing and audience building is a relic of a bygone era at this point…but here are some more bulletpoints (er, paragraphs) that I think are generally pertinent:

-- If publishing publicly sounds daunting and a bit scary, dip your toes in the water before plunging in. Do a publishing test run. If there's a Discord community you're comfortable with or a social media platform you use where you can post for mutuals only, maybe try that first. Or just share directly with a handful of people and ask them for feedback. When I'm unsure about something I'm preparing to post, I usually run it by some creator friends of mine because I trust them to be honest with me. Even if they have some criticisms, it's often reassuring that I can proceed to show it to others without dying inside.

-- Places with a big, built in audience can be great for getting eyeballs on your work, but it’s a mixed bag. Webtoon is the obvious example right now. Just be wary of anyone showing a little too much interest, or coming at you with paperwork to sign. Don't rush into putting your name on something that 1) commits you to unreasonable amounts of output for barely livable wages 2) relinquishes your ownership of your IP, or grants anyone any license to your work without clearly defined boundaries (like a limited term and agreement-ending conditions) -- Contract agreements warrant lots of consideration. Involve a lawyer of your own if you can. At the very least, have friends or family read over anything you might sign. And if it sounds too good to be true, it is. Scams are unfortunately abundant, so do your research/due diligence on whoever you're in discussions with.

-- Make yourself easy to find. Use social media to your advantage. Don't feel like you have to be in every single place, though. Some platforms might not be a good fit for your work, and some might be too much of a hassle or a mental drain to do battle with. -- Scrape out your own space online if you're able - a personal web page, a little WordPress/ComicPress site, or even just a link hub so that people can relocate your work if they lose track. The point is to avoid putting your eggs all in single basket that you have no control over. You never know when the social network growth you've been nurturing for the past several years will just succumb to a billionaire rampaging around like a sociopathic kaiju in the midst of the world's most public midlife crisis.

-- Don't worry about being an immediate sensation. Seeing people respond to your work is a wonderful and immensely gratifying feeling at times, but be patient if all hear are crickets chirping for a while. Longform storytelling in particular takes time to catch its momentum, and readers take time to get invested. Meteoric rises and virality do happen now and then, but honestly, slow and steady audience buildup is probably the more sustainable and less psychologically bewildering way to experience the fun of sharing your stuff with the world.

-- Consistently put your identifier (name/watermark, URL, copyright info, or all of these things) on everything you post online.

---------------------- I hope something here is useful, and if you decide to start making and publishing comics, I hope you find much success and happiness in it!

#comics #webcomics #advice #publishing #lackadaisy

[txttletale]

I don't think the Minecraft critique you posited is really material: every instance of automation in Minecraft is an emergent mechanic. No Mojang developer* sat down and said "let's program in automatic farms". An obvious example is the flying machine, which is so obviously not an intentional mechanic but solely emergent. All of these mechanics are also Optional. It's just as possible to play like an environmentalist, sustainably farming and making limited use of non renewable resources.

It's like saying that Mario 64 supports the murder of baby animals.

Also, even in a game where you are indisputably doing Colonialism, both intentional and required (say Sid Meier's Civilization). What are you... harming? By simulating colonialism on pixelated land? Even if that's not your claim, why phrase this as a flaw with a totally fictional world? "You can do things in this video game that, were they real, would be Very Bad" is applicable to like... every video game?

* If you happen to bring up the shitheel Notch, it's worth noting was responsible for maybe 7% of the current game.

i am aware it is emergent! that's part of what my post was about:

and sure, it is possible to play minecraft in any way you like, but the systems you are given to work with (you can destroy and replace blocks--you are given ways to cut down trees and cultivate new ones, but no way to interact with existing ones, for example) and the progression structures built on these systems (you--obviously--need to accumulate resources to craft, all the things you can craft other than the purely aesthetic ones exist to help you accumulate more resources) assume that you will be extracting resources. in much the same way that it's facile to argue that call of duty isn't about killing people because you can run around the first level of the campaign not shooting anybody for ten hours, saying that minecraft isn't about resource extraction just because (like almost any game) it contains space for oppositional reception and counter-intended play isn't a very good analysis.

anyway, i obviously don't think that you're harming anybody by playing minecraft! i agree with you that sid meier's civilization is an incredibly colonialist and reactionary game with a pretty abhorrent ideology and my playtime in it looks like this:

this is a strange phenomenon i keep encountering, where people will see me critique the ideological implications of or assumptions inbuilt into a media property and assume that as a result i think it is somehow unethical or morally harmful to engage with it. that's a bridge you're making by yourself!

when i talk about the ideology of a game i am not laying that ideology at the feet of the game--rather, i'm using it as a platform to investigate the normative assumptions that are going into that game. minecraft is not the reason that colonialism exists--but its existence is a reflection of how colonialism has shaped the material and cultural situation in which it was produced.

and this last point is why i do think it is pointless to say 'it is a fictional world'--there's no such thing as a totally fictional world. because it's fictional innit. it has no autonomous existence--a 'fictional world' only 'exists' inasmuch as it is created by somebody living in the real world and it can be interfaced with by other people living in that world. it only 'exists' in the context of such interaction, and as such it can't be neatly removed from reality for analysis--at least not for meaningful and productive analysis!

tldr, i am not saying and have never said: when you play minecraft, you are doing actual real-life harm because the creators sat down and decided they love colonialism. i am saying that the systems and affordances of minecraft have resulted in the creation of extractionist systems of automated slaughter as an optimal strategy and that's important to keep in mind when talking about, say, 'what minecraft is about'

#ask

[vandalyssm]

Theory: Merlin's Recent Publicity and its Correlation to a Possible Sequel/Revival/Reboot (+Eoin Macken's Pseudo Merlin Project)

'Ello. Fancied sharing my thoughts on recent developments regarding BBC's Merlin.

Fair, firm warning: I'm only sharing speculations and my personal opinions on the matter, and I do not advertise them as fact whatsoever. Consider them musings (or delusions, your choice). You can use this to further fuel your hope of the slim chance that this beloved show will see the light of day once again or maybe make theories of your own. Dispelling it is also an option, as I cannot assure my arguments would be free from flaws.

Right. Without further ado...

Revival of the Official Merlin Twitter Account

Let's put this into scenario.

Imagine a dated piece of media, previously well-known worldwide and had its own golden age for a time. This media launched the last of its contents over a decade ago, yet it gained a loyal, devoted following that persisted to grow and continued the legacy of the franchise over the years. Though there were highs and lows, the community remained alive for an impressive amount of time, steadily producing art, fiction, and creations dedicated to the media, despite not having anything new to work with. This devotion is acknowledged by those from an outsider's perspective, including the creators of this media (cast, staff, and distributors alike).

To put into context, the community was left unsatisfied with how the media ended, and many wished for the media to return. Articles were written, petitions were signed, comments left on the cast' social media accounts, and even questions were asked directly to them. Although different in wording, the inquired notion remained the same: Will there be a possibility of a sequel/revival/return/reboot? The answers range from a neutral, vague reply to a more resounding no.

This cycle persisted, but the people were immovable; they were visionaries and their dream lived on in their hearts. And this did not go unnoticed.

So it continued... until one of the media's social accounts made a sudden return. Out of nowhere, without a warning. They're back for good, the account announced. It sent the community into a frenzy. But if you took a step back from the excitement, you'd notice that it's strange. Why would a media ended over a decade ago suddenly be promoted again?

Now, I'm going to explore two possibilities; pragmatic and idealistic. The previous hypothetical scenario lays the general principal of Merlin's relevance (duh).

I'll make the pragmatic perspective brief. FremantleMedia saw the opportunity to make some bucks from Merlin because of the loyal fanbase, using a no-cost yet effective method to keep us tuned in; hoping. OMG, what does this mean? Does this mean they're going make a sequel?! Holy shit, they're teasing us, aren't they? I can't believe this is happening, it's a dream come true! And so on and so forth. Evidently, it works and numbers are growing. The official Merlin twitter account is racking up more followers and likes with each post. In this possibility, there's no such thing as a sequel/whatever it is the fanbase hopes for; just a reanimated corpse doing the same silly tap dance while we holler at it, dumbly hoping that they bust out new moves.

Now, the fun part. The idealistic version!

I'm going to use a real life example for my theory: the upcoming release of Dragon's Dogma 2. With a quick Google search, you can learn that Dragon's Dogma 2 is the highly awaited sequel for its well-liked predecessor, Dragon's Dogma.

For some time, Dragon's Dogma was on sale on Steam (with a decent cut too). This was done to gain the attention of...

1. those who haven't previously dived into the franchise. It's to make them think 'Wow! This game's so good. Oh, there's a sequel of it that's gonna be released soon? With even better graphics and gameplay? Sign me the fuck up!'. You liked Blueberry Cheesecake, so it'd make sense that you'd be more open to buying Double Blueberry Cheesecake, Premium Ingredients Addition, with 2 additional paid toppings.

2. Veterans and nostalgic fans. 'They're promoting the game I liked years ago... Oh, well, it won't hurt to play it again, just for the nostalgia. It never really left my mind anyway."

In other words: hype! hype! hype!

If using this principle, then the possibility of a sequel/revival/reboot/new content exists. It's either being processed (wishful thinking, not as likely) or being considered (more likely). If it's the latter, then they're testing the waters to see how much people still care/how much money they'll make. The more attention and hype it gets, the higher the likelihood.

Simplified:

P (old media pushed for publicity) -> Q (hype built)

Q (hype built) -> R (new content)

Eoin Macken's Pseudo Merlin Project

If I recall correctly, Eoin Macken first announced a pseudo Merlin project in late 2020. It's first teased to be released in 2021, but nothing came out of it so far (at the time of writing this) except if you count the small handful of times Macken hinted it over the ongoing four year period.

Now, I understand his position. First and foremost, he needs the legal rights to actually produce anything and it's no easy feat when you're dealing with a massive company. Then there's the issue of costumes, props, sets, and equipment. A lot to consider. To put it simply, he must offer the company something worth more than the show itself or contribute in their favor in some way. Macken seems like a charming and capable guy, so he can make it work. Probably.

I lean towards the spin-off theory because a cast reunion would not take four years. As far as I know, Macken is close with the knights and they could get together at any convenient time. If the project was a zoom call or a recorded get-together, it would've been released already. To compare, by using the average of 385,000 babies born each day during the last three years, we have 421,575,000 newborns before the Pseudo Merlin Project.

I want to tie this in with the previous theory, but eh. It can connect, but not really. I don't have any further explanation or evidence since Macken hasn't given any news.

---

Anyways. That's enough of this. I hope it made sense, at least it did to me. I'm entering my third year in the fandom, so I'm relatively new and still hopeful. (Though I try hard to keep my feet on the ground while I stare up at the clouds.)

To end this post, I'd like to say: keep hoping. Hope is such a stupidly beautiful thing, and it should be nurtured. Turn that feeling into art, into efforts.

There are franchises revived 2-3 decades after, and Merlin is no exception.

#bbc merlin #merlin #merlin meta #merlin emrys #eoin macken #bradley james #tom hopper #rupert young #tomiwa edun #merlin bbc #theories

[genericpuff]

I'm not sure if you've answered this question before but what were some of the things that made you interested in Lore Olympus in the past and at what point did you lose interest?

I adored the art in the beginning, and just like, the really warm-feeling romance that just had me feeling so giddy reading it. There were some red flags in the beginning like the age gap, but I kinda fell for the same mindset of "well they're gods so what does it matter" (obviously I can't in good faith use that argument anymore because if the age gap didn't matter then it either wouldn't exist or wouldn't be brought up in the first place lmao but it took me a while to realize that).

Now, to be fair, LO was also one of my first introductions to webtoons as a format, prior to that I had read mostly manga and left-to-right indie webcomics (i.e. comics that were hosted on their own site) and I was still in the early years of my own development as a writer and artist (I still feel like I'm early in that development tbh) so of course there were undoubtedly a lot of obvious flaws that went over my head (and I was younger and inexperienced so I wasn't as critical of what media I was watching / reading as I am now) but that's been half the fun of catching them now - it's given me a lot more perspective and helped me hone my own skills in my writing by analyzing what's wrong with LO and brainstorming on how those problems can be avoided.

But then there was the Act of Wrath plotline and I was completely sold on it being gold. Anyone who's read my original work knows how much of a SUCKER I am for "dark alter ego" plotlines, I eat that shit up like junk food. But what I like about the dark alter ego tropes is when they're used to explore the subconscious, question one's morals and true identity, etc. That was what I was hoping for and expecting with the AoW plotline in LO - that her "dark self" was gonna be a reflection of how she felt "held back" by her circumstances in the Mortal Realm, and her wrath being something she could use for retribution (in a "do no harm but take no shit" kinda way). Especially with how naive and innocent she was in the beginning, I loved the idea of her slowly coming to terms with her "darker" side and learning not to suppress her emotions until they had nowhere else to go and exploded (which was how I interpreted the AoW).

So when it didn't do that, or even explore an ounce of nuance regarding her relationship with her wrath, I was very disappointed to say the least. When Eris was revealed to be the one who "blessed" her with wrath, that was when the rose colored glasses started to fall off and I realized "wait, does Rachel not have an actual plan for this whole Kore vs. Persephone thing???" And now her wrath is literally just there to... give her the power to bully people?? It just feels so disheartening to see such potential squandered.

Don't get me wrong, I'm not gonna chastise a story if it doesn't go exactly where I want it to go, there would be no fun in that anyways (and that's what fanfiction is for lmao). But when a story is leaving very interesting but connectable breadcrumbs that are VERY clearly leading you somewhere and then just... doesn't, that's when it's disappointing and unsatisfying. LO feels like a "creator vs. the reader" story in the worst way possible, where it's constantly leaving breadcrumbs, getting pissed when the audience "figures it out", so then it overcorrects and tries to "subvert" itself to keep the readers "on their toes"... but the problem is that all it really does is punish the readers for paying attention and investing themselves in the story by giving them a worse story. It's like Rachel's getting mad at people for figuring out a story that she's writing and hinting towards.

And this has been going on for YEARS now, it's like a Shepard tone where it sounds like it keeps getting higher and higher in pitch but then doesn't actually resolve so your brain is just scrambling trying to figure out what in the world it could be "building up to".

There's nothing. It's not building up to anything. It's just constantly putting down new plot threads that are slightly altered versions of previous plot threads and expecting you to keep following along while it makes a mess of itself. It feels like you're going somewhere but you're actually still just running in place. It's just Rachel never learning how to progress past the middle school writing level of "and then this happened and then this happened and then this happened". Not only is it disorganized writing, but it's just... it's so boring. Nothing's exciting or interesting anymore when it keeps distracting itself with shiny new plotlines and characters that never get resolved.

It's like when you were a kid and thought "man , when I grow up, I'm gonna eat nothing but chocolate cake and ice cream every day forever!" and then you get older and you realize you were being silly because eating nothing but chocolate cake and ice cream every day 1.) isn't good for you and doesn't feel good, and 2.) the appeal and novelty of it wears off if you can have it any time you want, it doesn't feel as special anymore as it did when you were a kid and having those things was a treat.

To compare this back to LO, none of its "reveals" feel like treats anymore, they feel like just another half-assed attempt to keep people interested. It's clickbait.

And don't get me wrong, you CAN totally subvert the breadcrumbs you put down for your audience and go in a completely different direction than where the audience was expecting, but it takes a shitload of skill and thought to do it well. Attack on Titan is one of the best recent examples of a story appearing to completely throw out its original script halfway through, only for that script to actually still be relevant in a very complex and thought out way. Especially when there ARE hints towards the big "twist" that make you go back and rewatch it and realize "WAIT, THEY'VE BEEN GIVING US THE ANSWERS ALL THIS TIME?!?!"

(it would be TWO MORE FUCKING SEASONS before this ending would make sense, that's fucking GENIUS foreshadowing and in the CREDITS SEQUENCE LIKE ?? IT'S SO BLINK AND YOU'LL MISS IT HOLY SHIT-)

Evidently Rachel does not have that skill and is not willing to put in that thought; maybe she could some day, but I don't think she's learning it on the job as well as she thinks she is.

And it's disappointing as fuck because it could have been so much better than this. Rachel is literally the only one getting in her own way of LO being something truly great.

#lore olympus critical #anti lore olympus #lo critical #ama #ask me anything #anon ask me anything #anon ama