KRENKY I DIDNT KNOW YOU LIKE HISTORICAL FASHION TOO!?!
YES!!! :D
I really enjoy social history of all sorts, and historical fashion is a major focus of that interest! I LOVE looking at the common garments and silhouettes of different eras and areas, and the techniques and industries that were used to make them. and also the related hair styling and makeup of different times and places!
and it sounds like you're interested in historical fashion as well? :D
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What you think of wikidots? It was/is the host mogaipedia and genderpedia
I think Wikidot is a good host !! I like that you get 300 MB for free and that the file upload limit on a free account is 25 MB ( I wouldn't be using the wiki as a place to get high-quality files, just info and links ) I'll have to get adjusted to a non-mediawiki environment but I think this is probably the easiest option.
I guess the next steps would be deciding on a name, finding people I know and trust to help me make articles, and putting out a call to LIOMOGAI creators who'd like / be okay with their flags / symbols to be archived on an external site.
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OMGGG the backhanded art comment 💀🤡 I wanted to say thank you sooo much for adding your input because comments like that are the reason why I have the urge to rip my hair out everytime I enter the comment section of an MV/Dance Practice like wdym "it's not dance, it's art" ?? what did you think dance was??? How little do you care about dance then?? You're literally the first person I know to address it which was kind of unexpected but very much needed (Sorry if you can feel the frustration radiating of this ask, but that's how much I despise it)
kljlkjflkjflksda well i did go to a very prestigious art school so i do have the experience to back up my backhandedness. i have to thank @exo-s-victory-lap first bc if they hadn't posted that comment on the birthday dance practice i wouldn't have said anything, bc i never read the comments on any kpop-related videos as i don't need the headache. but you're right it is a thing that very few people talk about, mostly because like i said, there's a mass lack of education around the different types of 'art' beyond painting and sculpture, and what even is 'qualified' to be called art in the first place. to be honest dance gets the most of this pseudo-'complimentary' offensive garbage because the average person in the west just does not interact with dance as an artform like, at all. the most common types of dance at the moment are street dance based/whatever shows up on tiktok and they've become so ubiquitous that people have ceased to see it as a skill and connect it to being worthy of being called 'art'. the convention of what constitutes 'art' in a lot of the general public's eyes is western eurocentric forms that have 'historical' backing, but only those that have been approved by the 'elite' as the ones acceptable. and very very few forms of dance have made that cut, so relatively few people recognize it as such.
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I know Borderlands truly lacks royalty, but what about Rhys having to deal with a noble for some sort of business deal.
the borderlands is a collective term for the planets in the galaxy that the game's events happen i think (if it isn't then i've been using it wrong this whole time lmao), but considering that there're at least six galaxies that are traversable with canon technology, i think it's safe to say that meeting folks who live in a society ruled by a noble class is very possible
rhys is incredibly serious about atlas' expansion and improvement, so i can imagine him hearing about a planet where these ruling classes exist and wanting to cash in on it. and how else can you make sure to get them to support your work (and in turn sponsor their own needs tech-wise, which then leads to a fruitful and harmonious steady business) besides getting to know them personally?
i think, considering the dynamics he was exposed to in hyperion, where there was a clear food chain, it wouldn't really be uncharted territory for him? add in the fact that he has a ~CEO facade that he needs to wear in general for his atlas-adjacent endeavours and-- while there may be some growing pains-- his willingness to adapt to situations as long as it's to his advantage and he'll... probably be okay. i can imagine him doing extensive research beforehand so as not to be completely culture shocked, but of course looking things up could never compare to the real thing
the rest after that depends on the aforementioned noble and whatever culture they come from. generally speaking rhys can probably deal with them. but if one of his Cannot Be Compromised things are pinged then i think he's entirely capable of cutting his losses and getting out of there, too :-)
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Nobody is making anyone go into scriptwriting. No one is born in a Netflix company town where their dad takes them into the script mines at age 12. Fuck writers who want to get paid more than once for the same job. They should only get residuals AFTER all the people who do REAL WORK, like construction, grips, costume, makeup & animators etc. Most of them are much better at their jobs than writers especially for streaming services, and they are what screenwriters can lean on & novelists can't.
People need to realize that the unions for white collar people like WGA or SIEU or NEA (public sector unions are why cops who kill the people they were supposed to serve & protect remain employed get pensions) is not the AFL-CIO or any other historical union fighting for the lives of the people who built the country's industry and made it run, any more than the NRA are the Minutemen of 1775 New England.
First, go fuck yourself, you fucking scab. No, seriously - you don't come to my blog and spout off about what workers deserve unions and decent pay and what ones don't, like it's your fucking decision. The intellectual labor that writers perform is just as real as any other work done on a film set - "all who labor by hand or brain" is the inherent logic of industrial unionism for a reason.
Second, writers aren't asking to get paid more than once: residuals are deferred pay, you absolute moron. In Hollywood, whether it's writers or actors or voice talent or whatever, you get a small fraction up front - it's usually an ok check, depending on the union's day rates and so forth, but you can't make a living off stitching these together - and then most of your pay comes from monthly royalty checks that provide you with the income you need to live off when you're between jobs.
The problem is that, historically in Hollywood, residuals have been structured with a very long "tail" - the payments start out relatively low and then get more generous over time as the show has more seasons and (presumably) goes into syndication. This doesn't work with streaming's new business model, where increasingly shows are getting 2-3 seasons max and streaming services have become increasingly quick to not just cancel shows but yank them off their servers in order to avoid paying residuals.
So what WGA writers are fighting for is a system that ensures writers (but also actors and other creative workers, because the unions pattern bargain) get a fair share of the show's revenue, even if the show is only given 2-3 seasons.
Third, the U.S labor movement would not exist today if it wasn't for white collar workers and public sector workers. About half of the U.S labor movement - 7 million workers - is public sector, and those workers are overwhelmingly women of color, mostly working as either teachers or postal workers. Likewise, about half the U.S labor movement is made up of white collar workers, and we're graduate students and adjuncts and lab researchers, teachers and social workers, administrators and IT departments.
I'm both public sector and white collar, and I'm a member of an NEA union. I'm an adjunct professor who earns $6,000 a course and it's my job to get working adults with jobs and families who've never gone to college or who've been out of higher ed for a decade to graduate with a bachelor's or a master's. If you don't think that's real work, you're free to research and write all the lectures and powerpoints, deliver those in an entertaining and educational fashion, answer a flood of questions from students who need help navigating academia, and then grade all the midterms and finals and research papers.
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"does a story need to mean something" i think i know what people are trying to get at here but it is also worth reiterating that 1) stories or narratives always convey meaning, question of 'need' irrelevant 2) that meaning is not necessarily or solely determined by authorial intent and it's not a property that the story in itself possesses transcendentally but comes about also as the result of an interpretive act occurring within a given set of social relations and circumstances. the iliad probably did not mean to homer exactly what it does to me. a generative language model can't imbue its output with its own 'intent' and yet if i read that output and interpret it, i'm engaging with it in a way that creates meaning, structured by the particular narratological frameworks or schemata i've learned. a story might 'mean' something internally, and 'mean' something quite different when that internal meaning is contextualised in its social and historical circumstances. etc.
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