#that distinction is important folks

[andr0nap]

You said that Atem was eating shoal of fish in one go, or group of birds, with this mouths. Simce they seem to hunt for their food, I was wondering... did anyone ever eat a human before? (If yes, I'm betting on Ryou. The guilty one is always the most innocent one looking.)

ryou definitely ate someones dead body before out of morbid curiosity but he wouldnt actively hunt people

amir on the other hand turns people into regular meals if they happen to be around and hes hungry

other than that i dont think anyone else ever ate a human since its considered barbaric and just really weird in general

#ask #dragon au #dragon folk may be animalistic but theyre not feral #important distinction

[becausegoodheroesdeservekidneys]

The thing with the Mari Lwyd, though, is that it's being... I don't know, 'appropriated' is the wrong word, but certainly turned into something it isn't.

Thing is, this is a folk tradition in the Welsh language, and that's the most important aspect of it. I feel partly responsible for this, because I accidentally became a bit of an expert on the topic of the Mari Lwyd in a post that escaped Tumblr containment, and I clearly didn't stress it strongly enough there (in my defence, I wrote that post for ten likes and some attention); but this is a Welsh language tradition, conducted in Welsh, using Welsh language poetic forms that are older than the entire English language, and also a very specific sung melody (with a very specific first verse; that's Cân y Fari). It is not actually a 'rap battle'. It's not a recited poem. It is not any old rhyme scheme however you want.

It is not in English.

Given the extensive and frankly ongoing attempts by England to wipe out Welsh, and its attendant cultural traditions, the Mari is being revived across Wales as an act of linguistic-cultural defiance. She's a symbol of Welsh language culture, specifically; an icon to remind that we are a distinct people, with our own culture and traditions, and in spite of everyone and everything, we're still here. Separating her from that by removing the Welsh is, to put it mildly, wildly disrespectful.

...but it IS what I'm increasingly seeing, both online and in real world Mari Lwyd festivals. She's gained enormous pop-culture popularity in recent years, which is fantastic; but she's also been reduced from the tradition to just an aesthetic now.

So many people are talking/drawing about her as though she's a cryptid or a mythological figure, rather than the folk practice of shoving a skull on a stick and pretending to be a naughty horse for cheese and drunken larks. And I get it! It's an intriguing visual! Some of the artwork is great! But this is not what she is. She's not a Krampus equivalent for your Dark Christmas aesthetic.

I see people writing their own version of the pwnco (though never called the pwnco; almost always called some variant on 'Mari Lwyd rap battle'), and as fun as these are, they are never even written in the meter and poetic rules of Cân y Fari, much less in Welsh, and they never conclude with the promise to behave before letting the Mari into the house. The pwnco is the central part to the tradition; this is the Welsh language part, the bit that's important and matters.

Mari Lwyd festivals are increasingly just English wassail festivals with a Mari or two present. The Swansea one last weekend didn't even include a Mari trying to break into a building (insert Shrek meme); there was no pwnco at all. Even in the Chepstow ones, they didn't do actual Cân y Fari; just a couple of recited verses. Instead, the Maris are just an aesthetic, a way to make it look a bit more Welsh, without having to commit to the unfashionable inconvenience of actually including Welsh.

And I don't really know what the answers are to these. I can tell you what I'd like - I'd like art to include the Welsh somewhere, maybe incorporating the first line of Cân y Fari like this one did, to keep it connected to the actual Welsh tradition (or other Welsh, if other phrases are preferred). I'd like people who want to write their version of the pwnco to respect the actual tradition of it by using Cân y Fari's meter and rhyme scheme, finishing with the promise to behave, and actually calling it the pwnco rather than a rap battle (and preferably in Welsh, though I do understand that's not always possible lol). I'd like to see the festivals actually observe the tradition, and include a link on the booking website to an audio clip of Cân y Fari and the words to the first verse, so attendees who want to can learn it ahead of time. I don't know how feasible any of that is, of course! But that's what I'd like to see.

I don't know. This is rambly. But it's something I've been thinking about - and increasingly nettled by - for a while. There's was something so affirming and wonderful at first about seeing the Mari's climb into international recognition, but it's very much turned to dismay by now, because she's important to my endangered culture and yet that's the part that everyone apparently wants to drop for being too awkward and ruining the aesthetic. It's very frustrating.

#wales! #closed for cleaning on mondays #mari lwyd #tedious personal details

[bingkitch]

Thinking about the frustration of having to articulate myself as a decidedly not binary person forced to navigate the expectations of being a binary trans woman by medical and social systems that have decided on a specific model of narrowly and conditionally “acceptable” transition so tenuous that there’s no room to challenge it without also undermining the few gains we’ve managed to get.

HRT makes me feel like a real person with a future and a self that I can develop and grow as; it’s what made it possible for me to understand myself as flawed, as worthwhile, as alive, as mortal. To me it doesn’t mean I have a “female brain,” but I had to tap dance to a “female brain” script to be seen as worthy of medication. And I want to scream about liberating HRT, how the female brain model was pushed on us by cis doctors who categorized us by our sexual proclivities, but I am also aware of how fragile the right to any informed consent is, how tough that is.

And like. Binary trans people aren’t the problem; they’re binary and have a right to exist and articulate their experience. There are those who push the “two genders” talking point but they’re decidedly in the minority. I’m just tired of the way that the development of the social-medical liberal consensus talking point has us in this constrained system where we’re lumped into the One Trans Experience, and me speaking about my own experiences risks Undermining The Narrative.

Anyway, I’ve:

Described my gender as a 360-noscope back to masculinity, but through identification *with* (not as) womanhood,

Taken a decidedly feminine name and hairstyle

Taken a decidedly masculine fashion style

Realized I don’t think there’s such a thing as a straight relationship I could be in

Used the men’s room regularly

Been in the “women’s” club at work

Had to ask “what research purposes are they getting at” on gender questions in surveys - and answered in multiple ways while staying consistent in my self-identification

Given up on navel-gazing about my gender. If we lived in the gender utopia, I’d be done thinking about it. I’d take HRT, be bisexual, piss in a coed bathroom, and would just fucking vibe. But I’m so tired of having to navigate in situations where it’s assumed that I’m saying more about gender than I am.

#I need to rant on why the distinction in identifying with vs identifying as is so important to me #but it’s a big deal and I might ramble on it if anybody on the hellsite is interested #and literally none of this is intended to say anything about any other trans persons vibe #I’m literally just mad that there’s this sort of consensus among mainstream trans accepting circles of cis people #which assumes there’s like one reason and one way for people to be trans and it’s wild to me #this post was oddly motivated by euphoria #saw another post by someone talking about doing a gender 360 and experiencing solidarity with mtf folks and it was like hey yes cool yes

[blondephenobarbitol]

If there's one thing TGWDLM fans are gonna do, it's think about the implications. And the implications of the opening number are crazy.

So. We know that the show isn't completely chronological since the opening number takes place before the meteor hits. So that song is a sort of "flash forward" moment. But when you think about it, we don't really know how far in the future it takes place.

What we do know is that by the time it's happening, Emma is infected. She has a little solo in it singing about how Paul is pining over a barista

And we know that this is meant to be an infected Emma specifically. Lauren had other characters in the show, if they wanted to avoid the Emma implication they would've just dressed her as one of those.

So we know this is meant to be Emma.

And Emma isn't infected until the very end of the show. She's dragged off stage during the credits. So since she's infected in the opening number, we know the number takes place after the events of the show.

Another important detail is that Paul is infected before Emma. He's the one that passes it on to her.

So back to the opening number, Emma is infected. Which means by just following a simple timeline, Paul must also be infected. He should be singing and dancing, right?

But that's not what happens. Paul misses his entrance.

If Paul is infected, then there's no reason he should be missing his entrance. Furthermore, if he's a part of a hive mind, there's no reason other members of the same hive mind shouldn't know where he is. They are literally all connected by one brain, and yet both Mr. Davidson and Bill express they have no clue where he went.

What I'm saying is that Paul is not infected. He was infected (again, we know that because Emma is infected and he was infected before her) but now he's not anymore.

I'm saying there's a way out of the hive, and Paul found it. That's the only explanation that makes sense given the facts of the situation. Sometime after the events of tgwdlm, Paul is able not only to break out the hive mind, but to hide from it.

And if he broke out, others could do the same. Maybe even Emma.

Edit because a countertheory has emerged: Yes it's possible that everyone is infected the entire time and the show itself is just Pokey replaying the events for the fun of it. But it seems unlikely to me. First of all, each of the Lords in Black has a distinct personality. They all are evil, but within that they seems to fall somewhere on a spectrum of "silly billy" to "prick." For example, Tinky is more of a silly billy. He toys with humans without much of a motive and more for just shits and giggles. But in every instance, Pokey's more on the extreme side of prick.

He's one of the few with an actual motive behind what he does. In Yellowjacket, it's confirmed that Pokotho hates the sound of anyone's voice except for his own. The events of TGWDLM don't happen because Pokey is bored, they happen because he is executing a plan. So I don't think that he would just have them play out their little scenario just to entertain him, especially just one small island? I just feel like he'd be more focused on world domination.

If the theory is that all this is happening after Pokey's already taken over the whole world, no one was successful in stopping him, then yes it's plausible, but still weird. There are a strange amount of things in that show you just think an eldritch god wouldn't include.

Edit 2: New evidence has emerged???

The Guy Who Didn't Like Musicals is loosely based off of Invasion of The Body Snatchers. Paul's last name is even a nod to the main character, Matthew. At the end of the film, Matthew survives, and continues living among the infected, pretending to be one of them. And wouldn't that be just such a fun little parallel...

Obviously it doesn't prove anything but the source material doesn't lie folks.

#the implications #starkid #hatchetfield universe #hatchetfield #paul matthews #emma perkins #tgwdlm #the guy who didn't like musicals #npmd #black friday musical #theory #fan theory #jon matteson #lauren lopez

[thagomizersshow]

Apes are a kind of monkey, and that's ok

This is a pet peeve of mine in sci comm ESPECIALLY because many well respected scientific institutions are insistent about apes and monkeys being separate things, despite how it's been established for nearly a century that apes are just a specific kind of monkey.

Nearly every zoo I've visited that houses apes has a sign somewhere like the one below that explains the supposed distinction between the two groups, focusing on anatomy instead of phylogeny.

(Every time I see a graphic like this I age ten years) Movies even do this, especially when they want to sound credible. Take this scene from Rise of the Planet of the Apes:

This guy Franklin is presented as the authority on apes in this scene, and he treats James Franco calling a chimpanzee a monkey like it's insulting.

But when you actually look at a primate family tree, you can see that apes are on the same branch as Old World monkeys, while New World monkeys branched off much earlier.

(I'm assuming bushbabies are included as "lorises" here?)

To put it simply, that means you and I are more closely related to a baboon than a baboon is to a capuchin.

Either the definition of monkey includes apes OR we can keep using an anatomical definition and Barbary macaques get to be an ape because they're tailless.

"I've got no tails on me!"

SO

Why did all this happen? Why did we start insisting apes are monkeys, especially considering the two words were pretty much interchangeable for centuries? Well I've got one word for ya...

This the attitude that puts humans on a pedestal over other life on Earth. That there are intrinsically important features of humanity, and other living things are simply stepping stones in that direction.

At the dawn of evolutionary study, anthropocentrism was enforced by using a model called evolutionary grades. And boy howdy do I hate evolutionary grades.

Basically, a grade is a way of defining a group of animals by using anatomical "complexity". It's the idea that evolution has milestones of importance that, once reached, makes an organism into a new kind of thing. You can almost think of it like evolutionary levels. An animal "levels up" once it gains a certain trait deemed "complex".

You can probably see the issue here; that complexity is an ephemeral idea defined through subjectivity, rather than based off anything truly observable. What makes walking on 2 legs more complex than walking on four? How are tails less complex than no tails? "Complexity" in this context is unmeasurable, therefore it is unscientific. That's why evolutionary grades suck and I never want to look at one.

For primates, this meant once some of them lost their tails, grew bigger brains, and started brachiating instead of leaping, they simply "leveled up" and became apes. Despite the early recognition that apes were simply a branch of the Old World monkey family tree (1785!), the idea of grades took precedent over the phylogenetic link.

In the early years of primatology, humans were even seen as a grade "above" apes, related but separated by our upright stance and supposed far greater intelligence (this was before other apes were recognized tool users).

It wasn't until the goddamn 1970s that it was recognized all great apes should be included in the clade Hominidae alongside humanity. This was a major shift in thinking, and required not just science, but the public, to recognize just how close we are to other living species. It seems like this change has, thankfully, happened and most institutions and science respecting folks have accepted this fact. Those who don't accept it tend to have a lot more issues with science than only accepting humans as apes.

And now, we come to the current problem. Why is there a persistent idea that monkeys and apes are separate?

I want to make it clear I don't believe there was a conscious movement at play here. I think there's a lot of things going on, but there isn't some anti-monkey lobby that is hiding the truth. I think the problem is more complicated and deals with how human brains and human culture often struggle to do too many changes at once.

Now, I haven't seen any studies on this topic, so everything I say going forward is based on my own experience of how people react to learning apes (and therefore, humans) are monkeys.

First off, there is a lot of mental rearranging you have to do to accept humans as monkeys. First you, gotta accept humans as apes, then you have to stop thinking in grades and look at the family tree. Then you have to accept that apes are on the Old World monkey branch, separate from the New World monkeys.

That's a lot of steps, and I've seen science-minded zoo educators struggle with that much mental rearranging. And even while they accept this to an extent, they often find it even harder to communicate these ideas to the public.

I think this is a big reason why zoos and museums often push this idea the hardest. Convincing the public humans are apes is already a challenge, teaching them that all apes are monkeys at the same time might seem impossible.

I believe the other big reason people cling to the "apes-aren't-monkeys" idea is that it still allows for that extra bit of comforting anthropocentrism. Think of it this way; anthropocentrism puts humans on a pedestal. When you learn that humans are apes, you can either remove the pedestal and place humans with other animals, OR, you can place the apes up on the pedestal with humanity. For those that have an anthropocentric worldview, it can actually be easier to "uplift" the apes than ditch the pedestal.

Too make things worse, monkeys are such a symbol of a "primitive" animal nature that many can't accept raising them to the "level" of humanity, but removing the pedestal altogether is equally painful. So they hold tight to an outdated idea despite all the evidence. This is why there's often offense taken when an ape is called a monkey. It's tantamount to someone calling you a monkey, and that's too much of a challenge to anthropocentrism.

Personally, I think recognizing myself as a monkey is wonderful. Non-ape monkeys are as "complex" as any ape. They make tools, they have dynamic social groups, they're adapted to a wide range of environments, AND they have the best hair of all primates.

I think we should be honored to be considered one of them.

#primatology #primates #phylogeny #sci comm #monkeys #apes

[prokopetz]

Folks tend to talk about fidelity in retro game visual design in terms of adhering to the limitations of particular consoles, but I think keeping in mind where they weren't limited is at least as important. When a console could do something that previous console generations – or its current competitors – couldn't, its developers tended to want to show that off, and while these effects are often thoroughly unremarkable to contemporary audiences, they're a big part of each console's distinctive "feel". For example, the NES only had one tilemap plane, but it could decide whether to render sprites behind or in front of it on a per-sprite basis, so you get a lot of games with complicated set-piece levels where the player character walks behind a foreground object. The Super Nintendo, conversely, could do multiple independently scrolling tilemaps for not a lot of resoruces, so Super Nintendo games that are trying to wow players with their visuals love themselves some multi-plane parallax. This sort of "hey, look what we can do" showboating is just as essential to a console's visual identity as having the right number of entries in your colour table.

#gaming #video games #game design #console games #retro games #game development #computers #technology

[galedekarios]

reading more about waterdeep and waterdhavians explains so much about gale:

class & station

Instead of the fragmenting and distinct splits based on income or birth, Waterdeep has nullified such differences almost entirely. "Social level" and "class" are far less important in Waterdeep than in other cities of the Realms (and elsewhere) any prejudices against folk due to race, creed, or coin are brought in by visitors from outside the walls, and are not tolerated to a large extent. The crossroads nature of the city and the up-and-down fortunes of those who make their living in trade keeps the inhabitants of the city tolerant of a wide variety of peoples, with widely varying customs, religions, and incomes. [...] In Waterdeep, low birth or station is not a recipe for rudeness from one's betters, beyond what one's actions would earn from one's equals in any case—if you are ridiculed in Waterdeep, you brought such treatment upon yourself!

character & temperament

"Live and let live" best describes most Waterdhavians' attitudes; everyone is far too busy in the pursuit of wealth and happiness. [...] The cosmopolitan nature of the City of Splendors makes its natives very tolerant. They tend to be talkative, friendly, easygoing, and outspoken, but do not expect others to be. [...] Natives of the City of Splendors are notoriously slow to take offense. A Waterdhavian will plainly state his or her feelings as a warning before showing anger. One is more apt to hear "I don't find that amusing, friend," said pleasantly to a stranger before an angry voice is raised. Some visitors misinterpret such behavior as cowardice or ignorance ("he was too stupid to know I insulted him!"); if they act on such misjudgments, however, surprise and regret are the usual results. 

other races

Most Waterdhavians are slow to take fright unless facing magic or monsters. Beings of almost all races may be seen in the city, too. A typical Waterdhavian would react with hostility and fear only to a drow, an illithid, nonhuman natives of the Lower Planes, and, of course, "monsters" such as beholders and dragons; with all others, it's generally "business as usual." [...]

smalltalk

Waterdhavians do not discuss the weather, unless in a profession governed by it like farmers or sailors. Small talk and idle chatter normally centers on matters of commerce, and secondarily on warfare elsewhere in the Realms. Waterdhavians take a sporting interest in such happenings as the constant minor strife in the South, the recurring unrest and bloodshed in Tethyr, and traditional and long standing shipping discord between Ruathym and Luskan. [...]

#these are all from waterdeep: dragon heist #gale dekarios #gale of waterdeep #baldur's gate 3 #bg3 #baldurs gate 3 #ch: gale dekarios #vg: baldur's gate 3 #series: baldur's gate #meta: mybg3

[madlori]

Things Plagiarism is:

Taking someone else's words and passing them off as your own.

Things Plagiarism is NOT:

Writing a story with the same concept but told differently, with different words

Using the same tropes

ETA: I made this post because I got two separate well-meaning messages today about a story of mine being plagiarized. I investigated and found that it had not been. I appreciate folks looking out for me, but the above is an important distinction to internalize.

[creature-wizard]

Hey folks, this is your reminder not to use the terms conspiracy and conspiracy theory interchangeably.

There are real conspiracies. Loads of them. Most of them don't really work out for the conspirators. A few actually do.

If you say, "oh, that's just a conspiracy" in a dismissive way, you're functionally implying that some dudes didn't get together and conspire to kill Julius Caesar in 44 BCE.

If you're talking about some kinda thinly-veiled Protocols of the Learned Elders of Zion redux or something (ya know, like QAnon), then be sure to say "conspiracy theory." Because it's not a conspiracy, because it's not real. It's a conspiracy theory, an ontological framework that some people propose and believe in, that also happens to have zero actual evidence, that can consistently be tracked back to various people looking for an excuse to do violence.

The distinction is very important.

#conspiracy theory #conspiracy theories #psa #qanon #words #language

[creative-type]

The Romanticism of One Piece

I’m always amazed by how Oda has managed to stay thematically consistent for more than two decades while writing a thousand plus chapter epic about silly pirates having fun chasing their dreams. One Piece, at its core, is about the dawn of a romantic adventure, and its been that way since volume one, chapter one.

But romance is one of those terms whose meaning as shifted over the years and is drastically misunderstood. So what is literary romance, and how does One Piece fit within its framework?

Well buckle up, folks. This is gonna be a long one.

Romanticism as a movement started in the late 18th century, and is described by Isaiah Berlin as the “the greatest single shift in the consciousness of the West”. The modern ideas of childhood, imagination,  and sentimentality were born here. It’s a rejection of society’s constraints in favor of impossible yearning for impossible goals. Romantics were restless and passionate, and embraced the magnitude of their feeling over the scientific rigors of the Age of Reason.

Sound familiar?

Romanticism gets its name from the old medieval ballads (themselves written in the Romantic languages) that became popular with the growing movement. The 19th century was a period of incredible change. Industrialization, urbanization, and the development of the middle class were all new. Revolution, both industrial and political, was changing the course of the world forever. The Romantics worshiped heroes of the past (in fact, the term hero worship was coined during this time) and sought a return to nature. William Wordsworth famously lobbied against the building of railways in his beloved Lake District, and much of the art of the time, whether it be painting or poetry, focused heavily on man’s relation with nature

In addition to rebelling against traditional political structures, the Romantics also broke away from the traditional religious teaching, many believing that man found enlightenment not through theology or the bible, but by study and attunement with nature. One of proto-Romantic writer Jean-Jaques Rousseau’s most influential works Emile, or On Education was banned in parts of Europe and even publicly burned due to its ideas on natural religion.

All of this leads to the Romantic pursuit of the sublime. While Enlightenment thinkers would often attempt to remove themselves emotionally from what they were experiencing in order to understand said experience through objective, immutable fact, the Romantics sought emotion, awe, and reverence that transcended rational thought. They celebrated and marveled at the wonders of creation, allowing themselves to be consumed by emotion and experience. These were not stoic people, and its here where One Piece truly begins to shine as a work of Romantic art

The world of One Piece, particularly once the story gets to the Grand Line, is chalk full of impossible wonder and whimsy. Each island visited along the journey is a feast for the eyes, and Oda’s art does each distinct and incredible location every justice. Luffy has no desire to see the boring or everyday, and he has no qualm in expressing his excitement everywhere he goes. Oda has made the conscious decision never to let the reader look into Luffy’s thoughts via thought bubbles, but the audience is still able to connect with him because they are always aware of what he he is feeling. Every smile takes up half his face, every sadness drawn as a sniveling wreck. Logical ideas are routinely rejected in favor of desired experiences, and Luffy himself rejects the opportunity to hear the answer to the series’s biggest questions because to him, the journey is more important.

It’s important that Luffy’s mindset isn’t all that common, even a world as wild and wacky as One Piece. As the Jaya arc proves, Roger’s execution initially inspired a generation of pirates to go out and follow their dreams, but in the twenty years since his death that ideaolgy has crumbled under the weight of a new wave of dreamless pragmaticism, the same way the Romantic movement gave way to the Realists who followed. 

Luffy’s Romantic spirit stands out, even amongst the Straw Hat Pirates. Many of the Straw Hat’s character arcs involve Luffy helping to remove the blocks that prevent them from living out their Romantic ideals. As the series progresses, the crew inches towards embodying that freedom of spirit that Luffy exemplifies. What that looks like for each crewmate is different (Romanticism is highly individualistic, after all) but they’re given the opportunity to live out that ideal because of their association with Luffy.

This theme of freedom of expression and pursuit of dreams follows the Straw Hats wherever they go on both the micro and macro level. The Romantic pursuit of self-determination bleeds over nearly every arc with Luffy at its epicenter, until it comes to a crescendo during the Wano arc, when the true nature of Luffy’s fruit comes to light for the first time.

Luffy is the beating heart of One Piece’s Romanticism. He specifically imbues many of the Romantic ideals of childhood, such as innocence, joy, and being unprejudiced by a corrupting society. He’s uncomplicated yet passionate, without a care in the world for what anyone else thinks about him, and because of that disregard for authority he comes off as equal parts wise and naive.

In Emile, Rousseau lays out his idea of childhood education, which doesn’t include a classroom so much as the child’s interaction with the world, emphasizing the senses and building on the child’s own observations and inferences. The Romantic child was instinctual and in tune with nature, and a character like Luffy growing up on the fringes of society while spending most of his time romping around in the woods would not be out of place (see Mary Robinson’s The Savage of Aveyron, based on the real story of a feral boy that had been found in France).

What makes Luffy different is that he never loses that simplicity of character even as he interacts with an increasingly complex world. Yes, he matures both as a person and a captain, bearing the weight of terrible loss and difficult decisions, but he does it still while maintaining that curious mix of selfish desire to do whatever he wants and selfless sacrifice towards the people he cares about. Luffy doesn’t want to be a hero, but remains uncorrupted by the malevolent social hierarchies that rule One Piece’s world.

But for all the ways One Piece is a Romantic story, the philosophy of the series departs in several key places. The Romantics of the late 18th and 19th centuries were reacting to the anxieties brought around by the Industrial Revolution and the subsequent urbanization that came along with it, while One Piece belongs squarely to the post-modern era of the 21st. While both glorify a long-gone past, what that past looks like is very different. One Piece fully embraces technology and progress, as best seen during the conflict between Noland and Calgura in the Skypia flashback. While industrialization is sometimes portrayed negatively (see Wano) it’s just as likely to be seen in a positive light (Water 7), and the mysterious civilization of the Void Century was more technologically advanced than the present day manga, not less.

What’s more important than modernization and technological advance is the ways people use said technology. The beautifully rendered locations along the Straw Hat’s journey are just as likely to be vast stretches of wilderness as bustling metropolises, and that search of wonder and the sublime is equally likely to be found in both.

More importantly, I think, is that the Romantics of old were solitary creatures, brooding and isolated from the people around them. There was a preoccupation of creating art devoid of outside influence. The sublime was a deeply personal experience that by its very nature could not be shared with others. Melancholy, loss, solitude, and death were preoccupations of the Romantic mind, the price of visionary genius being social isolation.

One of the most famous Romantic heroes of the 19th century was Thomas Chatterton, a young genius of a poet who, in the midst of poverty and depression killed himself at the age of 17. He was immortalized in paintings and poems, and his influence can be felt to this day by the persistence of the trope of the suffering artist that he, and countless others, helped codify.

One Piece is the story of a boy who rejects the confines of society in search of his own freedom, but he does not do so alone. Luffy is driven as much by the desire to be with his friends as he is by his desire to find the One Piece. The series agrees that risking death is an acceptable part of chasing ones dream, but rejects the notion that it should be sought out or celebrated. It’s better to live an undignified life in the hope of a better tomorrow than to give into an easy death.

And that’s the fascinating part about how philosophies evolve over time, because as much as One Piece borrows from the Romantic era of the 18 and 19th centuries, it isn’t a Romantic story, just as how no amount of research and copying of style could ever turn a historical novel written today into a product of the era its trying to emulate. Oda has taken an old idea and made it into something new, using that idea as the guide for the entire series. Like sun, guiding to the dawn of a new era.

A Romance dawn, if you will. 

#one piece #romanticism #creative-type analyzes #monkey d luffy #guess what I wrote instead of sleeping

[radley-writes]

A confession:

Most 'character development' help posts do nothing for me. Nada. Zilch.

This is not a denunciation of such posts - they evidently work for a lot of folks! But if I see questions like 'what is your character's favourite colour?' or 'what is your character's biggest fear?' I am clicking away.

Obviously, working this sort of thing out is important! These details add fun little quirks to your character, or shine a light on their backstory. But when I'm developing a complementary cast of characters, with a smorgasbord of unique and interesting personalities...

I just put them in situations.

I call this the fanfic approach, as it basically amounts to writing mini fics about how your characters would react to a variety of stressors. For instance: let's start with a simple scenario with a potential for conflict!

A barista gets the character's coffee order wrong. Like, horrifically wrong. They create an unholy abomination of syrup shots and espresso that probably tastes of cough syrup, and hand it to your character, straight-faced. How does the character react?

Working with the cast of No Man's Sky...

Mavrik would shrug and chug the coffee anyway. She's drunk worse; she ain't bothered. No point causing a fuss.

Vox would threaten to kill the barista and their entire family, in graphic detail, until they were escorted out of the coffee shop and banned for life.

Oleander would smile politely, engage the barista in small talk, show genuine interest in their hopes and dreams, then proceed to make such a pleasant yet insistent song-and-dance about how this was not their order that the barista would apologise profusely, remake his drink, and offer him complimentary free croissants for the rest of the year.

Jagura would drink the coffee-trocity without noticing the error.

Renzou would apologise to the barista.

As you can see, we have five distinct, diverging reactions - and thus, five unique characters! I like to repeat this exercise with three-ish prompts of varying intensity. Here's some ideas, if anyone wants to play along:

Your character is waiting for a train. It's running late, but only by five minutes. However, they are hoping to catch a connection at the next station, and this will reduce their transfer time by half.

Your character finds a box full of sickly kittens, abandoned in a rainy street. There are far too many for your character to adopt and look after alone.

Your character walks into a room where there is most definitely not supposed to be a dead body. There... is a dead body.

You get the idea! Your characters don't always have to react in a unique way to every scenario, but there should be some individual flavour to their actions, whatever they may be.

Go forth and put those little guys in situations and scenarios! And pretty please feel free to reblog and let me know how your cast would react!

#writing #writing advice #writeblr #writers on tumblr #character development #radley writes #radley rambles

[skaldish]

Is it normal to not be satisfied in Norse Paganism? Like I do offerings and such but I feel disconnected from the gods and the religion?

Maybe it’s because I’m comparing it to Christianity too much, but there’s no thing of just praying to a god for the sake of it, to talk, there always has to be a practical purpose. And with offerings it just feels transactional to me, like I’m buying a service. I feel like I settled for it because it was the closest thing I could find to what I wanted in a religion, but I’m not really getting what I want out of it.

Should I just be content anyhow?

No, of course not! You don't have to settle for dissatisfied, especially not with something as important as your religion/spirituality.

Fortunately, Norse Paganism/Heathenry is so much more than just this strange, transactional dynamic.

Unfortunately, information about "what Heathenry is" is still very inaccessible to anyone outside of Northern Europe. If you're from the Americas like I am, my guess is that you're running into the same issue I ran into when I initially came to Heathenry: The realization that there's very little depth to the things people say are what you do to be Heathen.

The missing piece here is the cultural worldview.

Heathenry actually has no centralized orthodoxy or orthopraxy. There's no doctrines you need to follow, codes of morality you need to adopt, or practices you need to observe. There is no distinction between the sacred or profane, no dualism, no concept of blasphemy, and no concept of sin.

The notion that we need to treat the gods like lords tonserve or paragons to emulate is actually foreign to Heathenry. This mentality has its roots in ancient Roman culture, rather than originating with the Norse people.

Instead, the Norse gods are viewed more like celebrities—that is, celebrated and cherished figures. They're local spirits, folk heroes, and ancestors who organically grew popular and widespread because people liked their energy and their folklore.

Ultimately, kind of relationship you have with deities is between you and them. As in, this is something that grows organically out of your interactions with them. The relationships are built the same as ever.

To illustrate my point: I would hardly call my relationships with the gods "practical." I ask them all kinds of obnoxious questions. I ask them to teach me magic and how/why it works. I ask them to share the secrets of the universe. But most of the time, all I want is to hang out with them.

I'm more like Loki's playmate than I am his devout worshipper. We do bits, we "yes, and—," we egg each other on. I give him offerings, not because I feel like I need to, but because "sharing food with the people important to you" is a love language. He has a dedicated shrine, yes, but that's because I want him to have that space in my life.

I say all this to demonstrate that at the heart of Heathenry is the human condition. The Norse gods don't pretend otherwise.

Ask yourself what kind of relationship you would like with your deities, and approach them with that. And if you don't know? Let it flow naturally in your exchanges with them. Either way, allow yourself to have what it is you need out of your spirituality. It's yours, after all.

#answered #norse paganism #heathenry #deity work

[sunny-day-jack-official]

Sunny Day Jack Report 07/11/2023

Wednesday means it's time for our weekly development report, and this one's a nice big one for everyone to enjoy! Those of you who have been following us on Twitter may have noticed that we redesigned our logo for SDJ. The majority of the devlog will talk about our process behind that, so read it for free on Patreon or click the readmore for the important bits!

Unity Demo Version 0.03

Changelog:

Fixed video rendering while playing on the Steamdeck (via Windows Proton Compatibility)

Added missing CGs

Game extended slightly past the kissing on couch scene

Select narration from Y/N reworded for clarity

Macintosh OS compatible version has been added

Known bugs:

Certain voice lines may be missing or cut-off

This update was largely focused on ensuring stability before adding in more content. Those who backed the SDJ Kickstarter can access their beta testing keys via this link, while SnaccPop Patrons who pledge a minimum of $12/mo can access their beta testing key over here.

For our MacOS players, you may encounter issues launching the game due to Apple security, so please follow this tutorial to temporarily disable Gatekeeper (we recommend turning it back on afterwards). We're investigating ways to avoid Gatekeeper flagging the game, so please bear with us! As for our Linux/Steamdeck players, for the time being, please use the Windows version and use Proton Compatibility to play the game.

Logo Graphic Redesign

Like with the previous SnaccPop Studios logo, the SDJ logo was due for a makeover. For starters, the old logo was tiny.

Yes, that's literally the largest size we have on hand for the original SDJ logo source file, and everything else is just blown up bigger in size if need be. Astute viewers may also notice that the Something's Wrong With portion of the logo was also slightly off-center this entire time, as With was hanging off the edge a lot more than Something's. Another issue that came up as we continued working with our translators was the fact that we'd most likely need logos in the target language too; adapting the old logo was near impossible because all we had left of it was a .png file. At this point, making a new logo just made sense.

The new logo largely retains the important elements of the original one. Using the Buddy Belt motif as the background image and the use of two distinct fonts, a formal serif for SWW and a more bubbly sans-serif for the SDJ that essentially captures the essence of Jack's dual personality, were ideas Sauce carried over. Additionally, his signature primary colors palette is much more clear in the text, making this logo more easily identifiable. After nailing down a good foundation and centering the text, Sauce overlaid faint scanlines reminiscent of old CRT display monitors then splashed some blood here and there; all in all, the new logo is a nice visual of the ludonarrative dissonance the game itself aims to achieve.

We'll pass the mic to Gureii here when it comes to the localized logos!

Translation & Localization

Hey there! Gureii (she/her) here. You might know me from one of the previous devlogs posted here on Patreon not so long ago.

 I’ve been asked by BáiYù to present you a tiny (okay, not that tiny) little treat for both the Russian and the Japanese-speaking folks out there who are interested in our upcoming game, Something’s Wrong With Sunny Day Jack.

Let me introduce you to the new localized logos real quick:

One of the most interesting aspects of working on these was the brainstorming session behind both of them. As the Lead Russian translator of this project, one of my main concerns was to come up with the title translation that would be both both simplistic and catchy, hence the name change from a statement to a question. The localized version of the title - «Что с тобой, Джек?» - includes both the questions a player would ask to Jack himself: “What happened to you?” and “What’s wrong with you?”, either depending on their opinion towards him or both of these at the same time.

The Japanese translation team, on the other hand, opted for something much more laconic, to which I was happy to comply! They're only using Katakana to translate the commonly abbreviated title into【サニー・デー・ジャック】, which will be easy for Japanese speakers to read (it'd be pronounced "Sanī dē Jakku"). It's short and punchy, and it's not unusual for Japanese logos to have the English text as well.

Another aspect (a tricky one this time!) was looking up the Cyrillic and Kana fonts that would match the mood of the English logo we got: it gets quite tricky when we talk about anything but Latin fonts, and it gets even harder when we talk about something that is as bold, youthful and bright as it is. For example, with the katakana transcription the Japanese translation team and I had to search for something that would not scare the person interested in playing the game, something much more inviting than the crimson lettering used on the English logo. The bloody Buddy Belt portion of the logo will still indicate to potential players that this is a horror game, so it works out.

By the way, you might be asking yourself, "Why isn't there a Spanish version of the logo?" Both Pierre and Nana expressed that translating the title wouldn't sound nearly as good as the original English title (a literal Latin Spanish translation would be "Algo Malo Pasa Con Día Soleado Jack"). Luckily, both English and Spanish share similar alphabets, so it's as big of a difference compared to Russian or Japanese.

---

And that's all we got for this week. Thanks again for your continued support of SnaccPop Studios!

#sdj #sunny day jack #somethings wrong with sunny day jack #gamedev #vndev #yandere #minors dni #visual novel

[general-cyno]

it's dressrosa time for more zolu rambles. there were some really good and funny bits like zoro being (unsurprisingly) on board with luffy's idea of fighting the emperors

luffy charging right after zoro when he gets his sword stolen bc it looks fun (though he ends up in the tournament instead)

zoro getting absolutely sidetracked from his very important mission of going back to the sunny to help the others bc he saw luffy participating in the tournament, then again when he saw luffy in person (he wanted to be invited too!)

luffy happily and without hesitation agreeing to zoro's crazy plan for the lift

cheers to luffy's casual, unwavering faith in zoro!

zoro just letting luffy do whatever he wants and manhandle him around with a simple "yeah sure where we going" compared to law who is decidedly Not Even Remotely Used to this kind of treatment

their gremlin braincell once again shining through as they both laugh at pica (much to law's continuous exasperation)

I also liked how confidently luffy decided and told zoro he'd continue ahead while zoro chose to stay behind and deal with pica, yet again demonstrating luffy's casual but firm trust that zoro can handle things and protect others in his stead, while he takes care of the biggest threats. zoro's own taunting and smug "our captain wants nothing to do with a pebble like you, so you have to make do with me" at pica was good too lol.

when zoro finally defeats pica and side characters, in awe of his strength, are baffled that someone so powerful is luffy's "henchman"? also peak.

two other things I enjoyed, albeit not necessarily involving zoro and luffy directly, were:

- zoro taking the lead, attempting to stop doflamingo's birdcage by force and doing so by asking for ppl's help (showcasing his willingness to guide as much as rely on others when it's needed) which drove folks to actively follow him in a similar fashion to how they tend to do with luffy. in a way, zoro's determination uplifted ppl's spirits + the whole thing helped keep civilians and others safe while luffy recuperated enough to finish off doflamingo. it's no wonder zoro was one of the few straw hats to stay behind in dressrosa, since that's the kind of feat someone like him (as luffy's first mate/second in command) can accomplish. really highlights zoro's role in the crew and why luffy's belief in zoro's reliability, of him being able to handle dire situations and protect ppl on his own without luffy having to worry abt/over him is a recurring and important part of their overall relationship. usopp desperately asking zoro to save him back during the pica ordeal and hugging him afterwards in relief as other characters thanked him too, was a funny and sweet way to acknowledge this as well.

- this interaction between luffy and rebecca:

can't say whether it was intentional or not, (probably not since these chapters are wildly apart from each other) but it made me think of luffy and zoro's first meeting, and how luffy ultimately decided to make zoro part of his crew after he asked to be fed the stomped riceballs and for luffy to tell rika they were delicious. these two are so very similar on a fundamental level, even if they still retain certain differences and distinct approaches depending on the situation, and it was nice to see another reminder of it. both luffy and zoro are, at their core, strong and kind characters (though in a curiously selfish manner) who don't hesitate to acknowledge and repay the kindness they're offered in turn. imo it's cool how these shared traits have allowed them to understand and stay alongside each other to this point.

edit: forgot to mention but sabo entrusting the crew with luffy's safety and giving them luffy's vivre card (handing it to zoro specifically) as zoro fondly remarks how he resembled ace back in alabasta was just. really really good as well. esp when you consider how much the crew loves luffy, and what zoro himself has done to protect him.

#zolu #long post #tp #yes it's that annoying mf on the zolu tag again with his manga rambles hello #now I'm off to cry abt sabo corazon and law on my priv again see ya again for the next arc post #jay reads op

[whenmemorydies]

Preliminary thoughts on The Bear, race, power and privilege

I’m a non-Black woman of colour who has spent all of my life in the west…so I’ve consumed a lot of television media that is produced by and for the white gaze. The most obvious way that gaze plays out is when people of colour are non-existent in a cast, or when they are included, are tokenistic, bit players.

A more insidious manifestation is where POC are cast to play parts that could just as easily be played by white folks: characters that have no interiority or external relationships related to their cultural identities, wider communities or individual or collective histories (for example, Mindy in The Mindy Project for most of its run, or the characters of colour in Season 1 of Bridgerton).

I've had some thoughts about how The Bear (thankfully) avoids tokenistic and "colour-blind" representation. I also have some thoughts about how the show models meaningful allyship. I'm so keen to discuss this with folks and hear what others think about it too.

Unambiguous and unapologetic

The Bear is confined in its universe, particularly in season 1 where it’s focus is tightly bound to the physical location of The Beef as the setting for almost every scene. Episodes of The Bear are generally not very long, so time is precious (every second really does count). These factors necessarily limit how deep we can get into each character. But the show is so good at drawing on different means of communication: images, lighting, score, soundtrack, phrasing, callbacks to previous episodes, other cultural references etc, that each episode is like a jewellery box with gems waiting to be unpacked and pored over. I've said that I have started reading this show like a tarot deck because of how rich the symbolism in each episode is.

So despite the constraints of time and setting, characters of colour in this show are also so very rich in their realisation and portrayal. These characters are unambiguously and - this is important - unapologetically racialised: through language (see: Tina’s use - and occasional weaponisation lmao - of Spanish), physical appearance (see: Sydney’s two-tone braids and her stunning, prolific collection of headscarves throughout the show), culturally distinct names (see: Sydney Adamu, Ebraheim, Tina Marrero, etc), food (see: Carmy’s peace offering to Syd in ep 1x03 of Ebra’s family chicken suqaar - a popular dish in the latter character’s birth country of Somalia), etc.

GIF by @chefkids

These may seem like small and inconsequential details to some. In fact I’ve been seeing a lot of commentary from folks online saying that what they like about The Bear is that race isn’t mentioned at all on the show. But make no mistake: race is all over this thing. The examples I've given are only some of the many references to racialised histories and cultures that build out the broader fabric of multicultural Chicago here.

What is not present in The Bear is a script that is wasting time explaining the characters of colour and their rich inner and outer lives to white folks. Those things are just a given and we are invited to witness them being brought to vivid life by this cast and crew. And I am fucking here for it.

Respect and allyship

Another thing I LOVE about this show is the respect given to, and the recognition of, the experience, talent, drive and ambition of its characters of colour.

This is most obvious in the relationship between Syd and Carmy who are signalled as complementary equals in many ways. Others have written on the importance of the representation embodied by Sydney’s character and you should search out that analyses, especially when its authored by Black women. The only other thing I’d say about it is that I love Sydney’s character and I also love endgame Sydcarmy (even if it’s only hinted at in the last second of the last frame of the last ever episode lmao…I will take whatever I can get of these two 😭).

I also see the show’s respect and recognition manifest in The Bear's investment in its staff, particularly in season 2. Everyone who worked at The Beef has a role at The Bear and Carmy, Syd and Nat fund the ongoing training and upskilling of their largely racialised staff to make sure this happens. Ebra and Tina are paid to attend culinary school (Carmy also gives Tina his prized knife for her studies and beyond). Marcus is sent to stage in Copenhagen to develop his skills as a patissier. And then we have The Bear itself - what started as Carmy and Michael’s vision, is now the whole team’s baby, with Sydney literally being made the captain of the ship by Carmy at the end of ep 2x09.

GIF by @savagegood

Part of what was so tragic about Carmy's fridge spiral at the end of season 2 was that he didn't get to see how beautifully the team came through in a crisis. Instead we had him internalising, regressing and lamenting how he had let everyone down. This language centred Carmy as the be all and end all of The Bear (saviour vibes) when this couldn't have been further from the truth (particularly in a season where the man spent so much of his time not in the restaurant but chasing manic pixie no-last-name-having Claire....but I digress).

Carmy is his best when he checks his ego, takes a step back and realises that he is not alone. He is part of a whole chosen family supporting one another at The Bear. And I get the sense that the folks creating this show know that we need more white folks using their power and privilege to step back and facilitate access, and less gatekeeping white saviours taking credit where its not due.

After all, and paraphrasing Viola Davis, the only thing that separates people of colour from anyone else, is opportunity.

12/04/24 Note: I’ve amended this post because I forgot to mention the most pivotal example of Sydney along with her relationship with Carmy. Also made some slight stylistic changes to phrasing cos i fixate on errors lol

#the bear #the bear hulu #the bear fx #white gaze #critical race theory #carmen berzatto #sydney adamu #tina marrero #ebraheim #marcus brooks #allyship #white privilege #power #chris storer #joanna calo #sydney x carmen #sydcarmy #carmy x sydney

[end-otw-racism]

Frequently Asked Questions (FAQs)

Read our Call to Action first, then come here if you have additional questions!

Vote To End OTW Racism FAQ

Why Voting?

We feel the current Board of Directors has demonstrated little urgency on dealing with issues of racism on their platform. Additionally, over the course of the last few weeks, a variety of accounts have come forth showing fundamental, institutional and structural issues with OTW as it currently stands. With 4 of the 7 current board positions up for election, we feel that now is a key time to push for a board that is willing to address and tackle the issues OTW and AO3 are currently facing. 

Why are you encouraging donations to an org you are trying to change?

The only way to be able to vote is to donate. Like many nonprofits, OTW uses a membership fee to ensure that each member is a distinct individual with one vote. In order to do this, the OTW requires their supporters to make a minimum donation of $10 US. We do not feel that anyone should feel compelled to donate. However, there are many people who have already donated who may not know that donation entitles them to voting!

Can we donate on behalf of other users so they can vote as well?

Unfortunately this is not possible under OTW’s current system. You cannot create a membership for anyone but yourself. This system protects OTW elections from sabotage by outside parties. 

Do we have to give money?

No. We fully believe no one should feel pressured at all to contribute financially. There are many who are uncomfortable contributing to the OTW as it currently exists and we fully support and understand their position. We feel voting is only one of many ways people can be involved and encourage everyone to do so at a level they feel comfortable with. With that, our Call to Action has a subsection of many ways you can get involved that do not involve money. 

What is the point of changing Pseuds?

We want everyone, including those who cannot or do not create fanworks, to have a way to show their support and be engaged in this movement. Creating a Pseud is a great way of showing support and reminding people that voting season is upon us – it makes our action visible in comments and kudos and can be done by anyone with an account. After the action, the Pseud can be deleted and all comments/kudos made will revert back to the main account. 

Should we change the names of old fanworks for this action to Vote to End OTW Racism?

You don’t need to, but are welcome to change any and all fic titles to join in the action and our collection at any time. The primary goal of this action is to be a constant reminder to AO3 usership that it is voting season and they should vote if they can, which is why we’re focusing on name-changing new works between now and the end of elections – so that the reminder can be front and center regularly on various fandom and tag pages. (We can’t put a banner at the top of every AO3 page to encourage voting, so this is our next best tactic.)

General FAQ

Who are you people? Who's running this initiative?

Given that virulent harassment for speaking out about fandom racism is one of the things we're attempting to fight, it should be understandable that we don't want to make targets of ourselves by revealing our names/handles. We believe that our message and this movement is more important than our individual identities, and ask that you respect that by not engaging in baseless and inflammatory speculation.

The core organizers of this initial action are all longtime fans and users of AO3, including both people of color and white folks, who have been in fandom for decades. We are NOT "outsiders"! Our perspective and work on antiracism in fandom has also been developed in collaboration with a diverse range of fans older and younger than us, from many different fandoms and backgrounds. We are grateful for those connections, and are inspired by those who have been tirelessly fighting racism in fandom over time. We are all sick of seeing the same kinds of racism crop up in fanspaces year after year, in fandom after fandom. We want to see fandom's flagship project do something to make fandom more inclusive and safe for fans of color. We welcome participation and input from all fans who want to fight racism as we move forward. Fill out this form or contact our socials to get involved beyond this first action!

Are you pro-shippers or antis?

Neither. This is not about shipping discourse, it is about racism and harassment, full stop.

Is this about dark or "problematic" content?

Is this about policing kinks &/or queer content?

Is this about top/bottom discourse?

No. This is about racism and abuse/harassment. We are in favor of kinky, queer, and dark content (and many of us have created and enjoyed fanworks that falls under those umbrellas). If you consider extremely racist content to be a kink essential to your identity as a fan, then we can't help you.

Why aren't you focused on underage/incestuous/dark/etc content? Isn't that also a problem?

Bigotry is a different issue from content that fans may find uncomfortable or even triggering in other ways. Please don't derail this focused campaign by bringing other topics into the mix.

Is this about monetizing fanworks on AO3? Is this about making the AO3 palatable to advertisers?

No. We support AO3's rule against openly/directly monetizing fanworks hosted on its platform, and its commitment to being totally fan-funded and free from advertising revenue (and the fickle, proscriptive demands of outside interests like major corporations and other advertisers). Fanspace should be for fandom, not credit card companies or tech conglomerates to profit from.

What kind of work do you mean when you say "extremely racist and extremely abusive"?

We understand that people might be concerned that we're opening the door to broad censorship of work on AO3, but that's not our goal. Our concern is with racist fan works written for the purpose of making the fan site unwelcoming to fans of color. We haven't directly linked to current examples here because we don't want to invite harassment of individuals. However, we do hope that the OTW/AO3 takes a long hard look at their Terms of Service (TOS) and brings it in line with current/progressive antiracist content. Currently, AO3 only considers something harassment if it targets a specific individual - and even then, they have often refused to take action on harassment like authors using racial slurs in replies to comments, or tagging a scholar of color's full name in a fic to incite harassment of them for speaking out about racism. We believe that harassment against a racial/ethnic group should be considered harassment under AO3's TOS and Abuse policies. How AO3 handles offending works until these proposed changes would be up to AO3 to decide. Avenues for progress may involve discouraging such works, de-listing such works from search results, or prohibiting them all together, depending on severity. We are also in favor of the organization establishing reasonable guardrails or guidelines so that the new TOS/policies are less likely to be abused or otherwise used maliciously.

Who gets to decide what content is "extremely racist and extremely abusive"?

Ideally, the OTW will update their TOS and Abuse policies and procedures to define these terms, and they will ultimately determine how to implement these changes. We're not asking for them to hire a bunch of prudish strangers to comb through every work AO3 in order to mass-delete anything remotely objectionable, but for the OTW to implement common-sense measures to make the AO3 and the organization more inclusive. They've already committed to similar measures, so we're just asking for concrete action to back up their vague promises. This approach to racist harassment is in line with their existing policies that prohibit certain kinds of content, such as their policy on plagiarism that takes a case-by-case approach to determining what is and isn't plagiarism. We're just asking that they expand those policies and practices to include extreme forms of racism & harassment.

What do you mean by "off-site harassment"?

Answered here.

Do you want to remove content from the Archive?

Our primary goal is for the OTW to follow up on the promises it's already made to protect fans of color and other people who have been harassed, but in more concrete ways than they've done thus far. This does involve reviewing the TOS and Abuse policies and procedures to add protections for people facing racist harassment. Like with any other violation of the TOS, such as failure to use the archive warnings properly or plagiarism, this may result in creators receiving warnings about their works that are in violation of the new harassment policies. However, the end goal is not censorship, but an Archive that is more inclusive for fans of color and which minimizes harassment and abuse.

When do you expect AO3 to solve these problems?

We're hoping (in an ideal world) that they will respond within the recommended two-week timeframe of our action (which ends May 31st) by putting out a statement committing to our requests. We understand that a large organization like this run by volunteers needs time to actually implement those changes, but OTW has been working on these policies for three years already. With that pre-existing work, our demands can be feasibly implemented within six months to a year at the latest, and a commitment to change – and sharing a concrete, expedited timeline – can happen immediately. The exact timeline is up to the OTW, and we hope they will be fully transparent about both that and any delays they may encounter. We don't want this to be a rehash of their previous commitments, where they keep kicking the can down the road indefinitely: we want them to make a concrete plan and stick to their promises. The OTW has in fact acted quickly on policies when they feel urgency to do so - their implementation of a tag limit happened within months! - so we know it's possible. After the current action window closes, we'll still need your help to keep an eye on the org and make sure they fulfill their promises. Fill out this form if you're interested in helping long-term!

Why are you doing this? Why aren't you focusing on real racism in the real world?

Fandom racism is real racism. Fandom is not an utopian bubble insulated away from the real world – if we're not careful, we bring our parent cultures' biases and bigotries into this space, and fandom racism has a real impact on fans (who are real people). People of color, especially Black fans, have been harassed, doxxed, had their actual jobs threatened, and even reported to law enforcement for talking about these problems. Fans of color deserve for fandom to be just as safe and welcoming and inclusive for them as it is for white fans privileged enough to ignore these issues. And racism should be fought everywhere so it has no place to hide or fester - remember Gamergate and how the bigotry in that space metastasized into American politics? Don't let fandom have the same issues.

[edited 06-16-2023 for Action 2]

#End OTW Racism #End OTW Racism FAQ #racism in fandom #otw #ao3 #fandom racism #organization for transformative works #archive of our own