#Very Important Research Pictures [Art]

[gender-trash]

I would be very interested in hearing the museum design rant

by popular demand: Guy That Took One (1) Museum Studies Class Focused On Science Museums Rants About Art Museums. thank u for coming please have a seat

so. background. the concept of the "science museum" grew out of 1) the wunderkammer (cabinet of curiosities), also known as "hey check out all this weird cool shit i have", and 2) academic collections of natural history specimens (usually taxidermied) -- pre-photography these were super important for biological research (see also). early science museums usually grew out of university collections or bequests of some guy's Weird Shit Collection or both, and were focused on utility to researchers rather than educational value to the layperson (picture a room just, full of taxidermy birds with little labels on them and not a lot of curation outside that). eventually i guess they figured they could make more on admission by aiming for a mass audience? or maybe it was the cultural influence of all the world's fairs and shit (many of which also caused science museums to exist), which were aimed at a mass audience. or maybe it was because the research function became much more divorced from the museum function over time. i dunno. ANYWAY, science and technology museums nowadays have basically zero research function; the exhibits are designed more or less solely for educating the layperson (and very frequently the layperson is assumed to be a child, which does honestly irritate me, as an adult who likes to go to science museums). the collections are still there in case someone does need some DNA from one of the preserved bird skins, but items from the collections that are exhibited typically exist in service of the exhibit's conceptual message, rather than the other way around.

meanwhile at art museums they kind of haven't moved on from the "here is my pile of weird shit" paradigm, except it's "here is my pile of Fine Art". as far as i can tell, the thing that curators (and donors!) care about above all is The Collection. what artists are represented in The Collection? rich fucks derive personal prestige from donating their shit to The Collection. in big art museums usually something like 3-5% of the collection is ever on exhibit -- and sometimes they rotate stuff from the vault in and out, but let's be real, only a fraction of an art museum's square footage is temporary exhibits. they're not going to take the scream off display when it's like the only reason anyone who's not a giant nerd ever visits the norwegian national museum of art. most of the stuff in the vault just sits in the vault forever. like -- art museum curators, my dudes, do you think the general public gives a SINGLE FUCK what's in The Collection that isn't on display? no!! but i guarantee you it will never occur, ever, to an art museum curator that they could print-to-scale high-res images of artworks that are NOT in The Collection in order to contextualize the art in an exhibit, because items that are not in The Collection functionally do not exist to them. (and of course there's the deaccessioning discourse -- tumblr collectively has some level of awareness that repatriation is A Whole Kettle of Worms but even just garden-variety selling off parts of The Collection is a huge hairy fucking deal. check out deaccessioning and its discontents; it's a banger read if you're into This Kind Of Thing.)

with the contents of The Collection foregrounded like this, what you wind up with is art museum exhibits where the exhibit's message is kind of downstream of what shit you've got in the collection. often the message is just "here is some art from [century] [location]", or, if someone felt like doing a little exhibit design one fine morning, "here is some art from [century] [location] which is interesting for [reason]". the displays are SOOOOO bad by science museum standards -- if you're lucky you get a little explanatory placard in tiny font relating the art to an art movement or to its historical context or to the artist's career. if you're unlucky you get artist name, date, and medium. fucker most of the people who visit your museum know Jack Shit about art history why are you doing them dirty like this

(if you don't get it you're just not Cultured enough. fuck you, we're the art museum!)

i think i've talked about this before on this blog but the best-exhibited art exhibit i've ever been to was actually at the boston museum of science, in this traveling leonardo da vinci exhibit where they'd done a bunch of historical reconstructions of inventions out of his notebooks, and that was the main Thing, but also they had a whole little exhibit devoted to the mona lisa. obviously they didn't even have the real fucking mona lisa, but they went into a lot of detail on like -- here's some X-ray and UV photos of it, and here's how art experts interpret them. here's a (photo of a) contemporary study of the finished painting, which we've cleaned the yellowed varnish off of, so you can see what the colors looked like before the varnish yellowed. here's why we can't clean the varnish off the actual painting (da vinci used multiple varnish layers and thinned paints to translucency with varnish to create the illusion of depth, which means we now can't remove the yellowed varnish without stripping paint).

even if you don't go into that level of depth about every painting (and how could you? there absolutely wouldn't be space), you could at least talk a little about, like, pigment availability -- pigment availability is an INCREDIBLY useful lens for looking at historical paintings and, unbelievably, never once have i seen an art museum exhibit discuss it (and i've been to a lot of art museums). you know how medieval european religious paintings often have funky skin tones? THEY HADN'T INVENTED CADMIUM PIGMENTS YET. for red pigments you had like... red ochre (a muted earth-based pigment, like all ochres and umbers), vermilion (ESPENSIVE), alizarin crimson (aka madder -- this is one of my favorite reds, but it's cool-toned and NOT good for mixing most skintones), carmine/cochineal (ALSO ESPENSIVE, and purple-ish so you wouldn't want to use it for skintones anyway), red lead/minium (cheaper than vermilion), indian red/various other iron oxide reds, and apparently fucking realgar? sure. whatever. what the hell was i talking about.

oh yeah -- anyway, i'd kill for an art exhibit that's just, like, one or two oil paintings from each century for six centuries, with sample palettes of the pigments they used. but no! if an art museum curator has to put in any level of effort beyond writing up a little placard and maybe a room-level text block, they'll literally keel over and die. dude, every piece of art was made in a material context for a social purpose! it's completely deranged to divorce it from its material context and only mention the social purpose insofar as it matters to art history the field. for god's sake half the time the placard doesn't even tell you if the thing was a commission or not. there's a lot to be said about edo period woodblock prints and mass culture driven by the growing merchant class! the met has a fuckton of edo period prints; they could get a hell of an exhibit out of that!

or, tying back to an earlier thread -- the detroit institute of arts has got a solid like eight picasso paintings. when i went, they were kind of just... hanging out in a room. fuck it, let's make this an exhibit! picasso's an artist who pretty famously had Periods, right? why don't you group the paintings by period, and if you've only got one or two (or even zero!) from a particular period, pad it out with some decent life-size prints so i can compare them and get a better sense for the overarching similarities? and then arrange them all in a timeline, with little summaries of what each Period was ~about~? that'd teach me a hell of a lot more about picasso -- but you'd have to admit you don't have Every Cool Painting Ever in The Collection, which is illegalé.

also thinking about the mit museum temporary exhibit i saw briefly (sorry, i was only there for like 10 minutes because i arrived early for a meeting and didn't get a chance to go through it super thoroughly) of a bunch of ship technical drawings from the Hart nautical collection. if you handed this shit to an art museum curator they'd just stick it on the wall and tell you to stand around and look at it until you Understood. so anyway the mit museum had this enormous room-sized diorama of various hull shapes and how they sat in the water and their benefits and drawbacks, placed below the relevant technical drawings.

tbh i think the main problem is that art museum people and science museum people are completely different sets of people, trained in completely different curatorial traditions. it would not occur to an art museum curator to do anything like this because they're probably from the ~art world~ -- maybe they have experience working at an art gallery, or working as an art buyer for a rich collector, neither of which is in any way pedagogical. nobody thinks an exhibit of historical clothing should work like a clothing store but it's fine when it's art, i guess?

also the experience of going to an art museum is pretty user-hostile, i have to say. there's never enough benches, and if you want a backrest, fuck you. fuck you if going up stairs is painful; use our shitty elevator in the corner that we begrudgingly have for wheelchair accessibility, if you can find it. fuck you if you can't see very well, and need to be closer to the art. fuck you if you need to hydrate or eat food regularly; go to our stupid little overpriced cafeteria, and fuck you if we don't actually sell any food you can eat. (obviously you don't want someone accidentally spilling a smoothie on the art, but there's no reason you couldn't provide little Safe For Eating Rooms where people could just duck in and monch a protein bar, except that then you couldn't sell them a $30 salad at the cafe.) fuck you if you're overwhelmed by noise in echoing rooms with hard surfaces and a lot of people in them. fuck you if you are TOO SHORT and so our overhead illumination generates BRIGHT REFLECTIONS ON THE SHINY VARNISH. we're the art museum! we don't give a shit!!!

#so anyway i love going to art museums-- #the trashcan speaks #long post

[zaebucca]

About scale, process, palette and canvas: a few considerations on pixel art as a medium

User moredogproblems answered an interesting and legitimate question by another, DiscountEarly125, regarding my work and canvas size. He also perfectly isolated two central concepts of pixel art, which are scale and process. Canvas size, which was the theme of DiscountEarly125's specific request, is more of a dependent variable to those two aforementioned concepts, rather than a starting point. I hope the following considerations I shared may help or prompt some other ideas, but this is what I could come up with 15-ish years of experience with pixel art (and a few more years of art and media studies). I was quite in the mood of writing down these few thoughts that have been floating for a while. I apologize as this may also result in a confusing wall of text, but it is all part of a my work and research, and I would love to polish all the material, hopefully with some thoughts, insights from other colleagues, as well as pictures and materials!

A. Scale and canvas size It is true that the bigger the canvas, the more distance one may visually create from pixel art, but I personally think this is to be possibly considered a matter of perceiving pixels, rather than a fundative problem of the medium. In fact I concur with the idea of "process makes the medium" rather than identifying pixel art as how (evidently) pixeled the result feels. The general picture, or the sum of pixels, though, is a really important matter to the medium nonetheless! Pixels themselves work in relation one with another, so it's their overall result that gives context and makes the subject recognizable. This relationship between pixels links back to all the art fundamentals that each artist is taught, from color theory to shape and composition - and so on. So, the canvas size debate usually boils down to a matter of scale or necessity of your subjects. As long as the dimension (canvas) of your subject (as in: a drawing of an apple, a character sprite, a mockup environment) allows you to operate, control and keep an eye on the quantity (number/area of pixels together) and quality (color, shaping of multiple pixels, texturing obtained through color and shapes) of isolated single pixels or pixeled areas, you're in the pixel art universe. The other way around to define the matter of scaling: in order to be operating pixel art fundamentals and techniques, your subject has to be on a scale that allows you to apply principles of pixel art within the space of your canvas and your personal style. These very same principles, or basics, can be applied with different results and extent to bigger and smaller canvases alike, each with their own specific difficulties and variables. It is important to adapt your scale when learning, and trying classic canvases per subject like "16x16px" (standard tile or character sprite unit, tied to older consoles and screen ratios, it's a bit complicated there) is always a nice idea - they also tend to be industry benchmarks and necessities so in case you'd like to consider a professional output, that's very useful.

Scale also applies to the array of colors, and there lies the concept of palette: a number of single hexadecimal hues we are using for each single pixel. Any single pixel can have one hexadecimal color only.

Consequentially it is absolutely true that either a huge canvas or a palette too broad may prevent a viewer from perceiving immediately the "nature" of your medium, namely seeing square pixels, recognizing a certain amount of color - or more thoroughly recognizing that you made some choices for each subject on a pixel level. What could possibly happen on a huge canvas (without zooming in) is that you can't really grasp the pixels, but just the "overall picture" - and that may not differ too much from digital, raster art, which is of course also based on pixels. Therein appearently lies a sort of threshold that is really hard to pin down for us pixel artists, as it depends on screen size, visualization methods, distance, filters and lots of other inherently subjective parts.

This kinda is my case sometimes: I make big environments (possibly too big, and too detailed in each part I tell myself) that are a sum of many lesser parts: both tilesets and sprites that relate (but not strictly adhere) to a basic space unit that is 16x16pixels. You can indeed consider scale in a broader sense as a subdivision or magnification issue, much alike squinting your eyes to focus on a picture's overall contrast or, conversely, analyzing its fundamental parts with a magnifying glass, and then a microscope - an analogy as follows:

a. the picture as a whole is like a colorful rock that you can analyze by magnifying its grain. b. the characters, geographical elements and textures, works like the different substances that compose the rock and give its visible characteristics grain and complexity, c. single pixels constitute the very atoms of those previously recognized substances.

I mean "atom" in the traditional, classical meaning of indivisible, fundative object. That's a "quantized" part of information, which for pixel art is ultimately color (or a binary value, like yes/no black/white). If you were, for example, to crop some parts of my work - let's say 160x144 pixels (a gameboy screen resolution in pixels) you would see the substances that are characters and elements of nature, and when you zoom in again, every atom becomes visible as a single entity of color. There are 29 different type of "atoms" in Ruin Valley as in different, singularly hexadecimal colors that work together in different combinations and shapes to create different substances and characters. 18 of them are used for the different qualities of the environment, and 11 more for extra hues for characters and other elements to pop out a bit.

It's really interesting to see how many pixel artists push this "threshold" of pixel art canvases to the extremely small or the extremely big, whereas, notably, palettes are less open to growth: it is indeed my opinion that pixel art tends to quantize color (quality) over than dimension (quantity). Palettes, notably, do not grow exponentially, but tend to a lower, fixed, controlled amount of individual values instead. This usually gives the artist the true possibility and toolkit through which is possible to think about/with pixels. In other words: color (or its absence) is the founding unit and identity of pixel art as a digital medium.

B. Pixels as process or pixels as objective? Pixels themselves (as strange as that may sound!) are not to be considered an objective of pixel art, I think, but the founding matter of its research as a medium instead. I think that making pixel art is not just devoting oneself to show those jagged, squarey areas or blunt edges that we all know and love: this is just one of the possible aesthetics that pixel art conveys or adopts - especially on small canvases. Pixel art is not about denouncing itself as pixels, but, rather, embracing the square, atomic unit to build an ensemble that conveys a content or a style. That's the important part of the discourse that emancipated pixel art into being a medium, and not just an aesthetic choice or style of representation. Again: process makes this medium. Speaking of that, I consider pixel art as part of a broader family of "quantized art", namely media that operate on/with "indivisible, founding bricks and unities" that can assume a certain quality (color, mainly) within a certain quantity (palette, canvas size) and in relation to its surroundings to describe something. This puts pixel art, with its specifics and with a certain degree of semplification, among other mediums such as cross-stitch, bead art, construction sets, textile art (on a warp and weft basis), (micro-)mosaics and others.

A classic threshold example of process vs objective: oekaki art. Oekaki art - which I love and also happen to make from time to time - doesn't really work or "think" specifically on a pixel base: it doesn't place pixels per se, but uses pixel-based areas and textures on bigger canvases with a certain degree of freedom, like one would normally do with brushes on raster digital art programs (adobe ps, gimp, clip studio and so on) in order to convey an aesthetic with fewer colors and a certain line style and texturing. That way, oekaki uses and knows pixels in a deep way, but doesn't see them primarily in a quantized way. As a result the "overall picture" shows pixels to a certain extent, and it's possible to recognize distinct pixels for each part, but the objective is not an analysis and use of pixel and quantized information, but the use of an aesthetic based upon accessibility of resources, their control and a certain rendering style.

A huge part of pixel art is its absolute accessibility: everyone with a fairly outdated computer or screen and a basic drawing program can study the medium. To be fair, it's indeed considering accessiblity that I highly support an inclusive approach to the term "pixel art" and I think traditional oekaki is a close, beautiful relative that builds upon the rules and techniques of pixel art and pixel rendering, yet keeping its identity as its very own medium - somehow like a dress may be built around/upon textile design. Anyway, boundaries are meant to be crossed and I think there definitely are lots of oekaki and pixel-based art that meet traditional pixel art mid-way - or further. I also think the "is it pixel art?" discourse possibly ensuing - and generally speaking any media belonging purist ontology - is a treacherous, slippery terrain leading to excesses, and this is not my focus today, neither am I able to tackle that subject extensively at the moment.

C. Conclusions and a few good exercises Everything above may be farfetched or too complicated as a starting point. I tried to write all down as orderly as possible. The point of this (possibly discouraging) analysis and the reasoning between scale and process is that (pixel) art is about trying different canvases, and reasoning on one's subject and objective, rather than limiting oneself to presets sizes or styles. It's important to choose something that resonates with us and, in doing so, thinking about other, more interesting limitations: that's the discourse about quantity of space and quality in color. Limiting is the best possible exercise and one I wholeheartedly encourage: by doing so we are progressively delving deeper on the basics, as we learn the fundamental relationships between shapes and colors that we can achieve through pixels. A few good exercises that I too implemented in my own workflow come to mind: 1. Trying different canvases (or sizes) for the same subject (sprite, character art, illustration or so on). This helps a lot finding a comfortable size to apply pixel techniques, as well as getting a hold over fundamentals such as aliasing, linework, conventional representation and so on. 2. Trying different palettes for the same subject, both by varying colors themselves (therefore learning about values and contrast and readability, as well as atmosphere and mood!) or singular hues and their components, in order to discover possible relationship between them. Have fun! 3. Reducing the width of the palette progressively for the same subject: reducing the number of singular colors forces a reasoning on shapes, rapresentation. You may go from 1-bit art (just black/white) to 3 colors, 4, 8 and so on. We'll not talk about transparency as a singular color there, but if you happen to be interested in retro art, transparency counts to the palette size. This exercise is very useful in rendering, and possibly tricky. And definitely fun. :') 4. Choosing an objective and usage of our work: for example trying to learn about old pixel art limitations for games, in order to reason within specifics. Get inspired by traditional games (spriters-resource is your best friend here, in case you have a specific retrogame you're thinking of)! I will probably talk about limitations and style on another post. 5. Four eyes (and other multiples) are better than two: try to talk with people and friends and other artists you trust and feel comfortable with to get their point of view. This can be scary, I know, especially at the beginning. You're not forced to, of course, but if you do (in a safespace) there's lots you can learn about concepts such as readability, subject recognition, rendering and composition. Our eyes and brains get accustomed to something, and pixel art being a rather analytic medium made of synergies, subtle changes, limitations and conventions is especially tricky on the artist's eyes on the long term. Either way, the important thing about pixel art is understanding that this medium is about recognizing and enjoying the process rather than the eventual aesthetic and in order to do so the best choice is to start simple, small, with few colors and techniques at a time! Have fun and hit me up with your progress and considerations. :')

#pixelart #art resource #pixelartist #how to #reference #art tips #learning #insights #pixel illustration

[centrally-unplanned]

Another big stop in Tokyo for me was Jimbocho Book Town! It is a neighborhood of, depending on who you ask, up to 400 generally-secondhand bookstores flanked by some of the major universities in Tokyo. The local government even prints out maps of the stores to help people find them all:

Which, you will note, is not 400 stores, because the process of becoming an "official" Jimbocho Town Bookstore is an intensely political operation run by local stakeholders with tons of fights over what should qualify and what rights that entails - never change humanity!

"Book Towns" used to actually be quite a common thing, and they peaked during the literary boom of the late 19th century. Figuring out "what books existed" was a hard task, and to do serious research you needed to own the books (you weren't making photocopies), so concentrating specialty bookstores in one area made sense to allow someone to go to one place and ask around to find what they need and discover what exists. It was academia's version of Comiket! Modern digital information & distribution networks slowly killed or at least reduced these districts in places like Paris or London, but Jimbocho is one of the few that still survives.

Why it has is multi-causal for sure - half of this story is that Tokyo is YIMBY paradise and has constantly built new buildings to meet demand so rents have been kept down, allowing low-margin, individually-owned operations to continue where they have struggled in places like the US. These stores don't make much money but they don't have to. But as important is that Japan has a very strong 'book collector' culture, it's the original baseball cards for a lot of people. The "organic" demand for a 1960's shoujo magazine or porcelainware picture book is low, but hobbyists building collections is a whole new source of interest. Book-as-art-collection powered Jimbocho through until the 21st century, where - again like Comiket - the 'spectacle' could give it a lift and allow the area to become a tourist attraction and a mecca for the ~cozy book hoarder aesthetic~ to take over. Now it can exist on its vibes, which go so far as to be government-recognized: In 2001 the "scent wafting from the pages of the secondhand bookstore" was added to Japan's Ministry of Environment's List of 100 Fragrance Landscapes.

Of course this transition has changed what it sells; when it first began in the Meiji area, Jimbocho served the growing universities flanking it, and was a hotpot of academic (and political-polemic) texts. Those stores still exist, but as universities built libraries and then digital collections, the hobby world has taken over. Which comes back to me, baby! If you want Old Anime Books Jimbocho is one of the best places to go - the list of "subculture" stores is expansive.

I'll highlight two here: the first store I went to was Kudan Shobo, a 3rd floor walk-up specializing in shoujo manga. And my guys, the ~vibes~ of this store. It has this little sign outside pointing you up the stairs with the cutest book angel logo:

And the stairs:

Real flex of Japan's low crime status btw. Inside is jam-packed shelves and the owner just sitting there eating dinner, so I didn't take any photos inside, but not only did it have a great collection of fully-complete shoujo magazines going back to the 1970's, it had a ton of "meta" books on shoujo & anime, even a doujinshi collection focusing on 'commentary on the otaku scene' style publications. Every Jimbocho store just has their own unique collection, and you can only discover it by visiting. I picked up two books here (will showcase some of the buys in another post).

The other great ~subculture~ store I went to was Yumeno Shoten - and this is the store I would recommend to any otaku visiting, it was a much broader collection while still having a ton of niche stuff. The vibes continued to be immaculate of course:

And they covered every category you could imagine - Newtype-style news magazine, anime cels, artbooks, off-beat serial manga magazines, 1st edition prints, just everything. They had promotional posters from Mushi Pro-era productions like Cleopatra, nothing was out of reach. I got a ton of books here - it was one of the first stores I visited on my second day in Jimobocho, which made me *heavily* weighed down for the subsequent explorations, a rookie mistake for sure. There are adorable book-themed hotels and hostels in Jimbocho, and I absolutely could see a trip where you just shop here for a week and stay nearby so you can drop off your haul as you go.

We went to other great stores - I was on the lookout for some 90's era photography stuff, particularly by youth punk photographer Hiromix (#FLCL database), and I got very close at fashion/photography store Komiyama Shoten but never quite got what I was looking for. Shinsendo Shoten is a bookstore devoted entirely to the "railway and industrial history of Japan" and an extensive map collection, it was my kind of fetish art. My partner @darktypedreams found two old copies of the fashion magazine Gothic & Lolita Bible, uh, somewhere, we checked like five places and I don't remember which finally had it! And we also visited Aratama Shoten, a store collecting vintage pornography with a gigantic section on old BDSM works that was very much up her alley. It had the porn price premium so we didn't buy anything, but it was delightful to look through works on bondage and non-con from as far back as the 1960's, where honestly the line between "this is just for the fetish" and "this is authentic gender politics" was...sometimes very blurry. No photos of this one for very obvious reasons.

Jimbocho absolutely earned its rep, its an extremely stellar example of how history, culture, and uh land use policy can build something in one place that seems impossible in another operating under a different set of those forces. Definitely one of the highlights of the trip.

#Ash Japan Adventures #Jimbocho #anime culture discourse

[renthony]

Mickey Mouse is Gay

I'm working on research notes for my Hays Code video essay, and I'm reading The Celluloid Closet by Vito Russo. While reading, I came across this image:

[Image description: A screenshot from the ebook of The Celluloid Closet. It shows an old poster of Mickey Mouse playing a harp, with text that reads "always gay!" in large capital letters. Smaller text at the bottom reads "(C) Walt Disney Enterprises." The image is captioned with, "When the word gay meant happy and nothing else." End description.]

There was no immediate information about when or in what context this poster was produced, but since I live in Florida, where Disney was involved in the recent "Don't Say Gay" chaos, I felt compelled to go dig up more info.

That digging led me to a copy of Tinker Belles and Evil Queens, by Sean Griffin, which opens chapter 2 ("Mickey Mouse--Always Gay!") with the following:

In the midst of The Celluloid Closet, Vito Russo’s groundbreaking work on representations of homosexuals in American film, there appears a poster advertising Mickey Mouse cartoons. As a joyous Mickey plucks out a tune on a harp, the poster proclaims, “Always Gay!” Underneath this picture, Russo writes the caption “When the word ‘gay’ meant happy and nothing else.” Although Russo separates Mickey’s personality from the modern connotations of the word “gay,” linking the word “gay” with “homosexual” had begun in various homosexual communities during the 1930s. The word “gay” was used in these circles as a method of code to let others know that someone was “a member of the community” without declaring it to those who would physically or legally threaten them. Furthermore, although Walt and most (if not all) of his employees probably would not have known this new meaning to the word when they created the aforementioned poster in the 1930s, it seems that certain audience members were watching and enjoying Mickey’s “gaiety” in all its connotations.

This dynamic becomes more apparent when certain historical evidence suggests that the phrase “Mickey Mouse” itself was bandied about by some homosexuals as a code phrase. Gay and lesbian historian Allan Berube found a photograph of a gay bar in Berlin during the 1930s called “Mickey Mouse.” A lesbian hobo of the 1930s who went by the name Box-Car Bertha related to Dr. Ben L. Reitman in 1937 that a group of wealthy Chicago lesbians threw soirees called “Mickey Mouse’s party.” Bertha maintained contact with these women in order to borrow money, introducing herself by saying “I met you at Mickey Mouse’s party.”

With this evidence of the use of “Mickey Mouse” as a code phrase for homosexuality, seemingly benign uses of the name by homosexual figure take on heightened meaning. When openly gay songwriter Cole Porter wrote the lyrics for “You’re the Top” in the early 1930s, he included the line “You’re Mickey Mouse.” In The Gay Divorcee (1934), Betty Grable approaches Edward Everett Horton, who made a career out of playing the bumbling sissy in Hollywood films during the ’30s, and sings to him “You make me feel so Mickey Mousey.” Although what Grable’s character means by this is left open to interpretation, in context she seems to mean that Horton stirs some emotion within her. Yet, “Mickey Mousey” might have had a sly double meaning—especially when a flustered Horton responds to Grable’s assertion, “Well, no wonder!”

I've said before that completely writing off Disney media is a bad take, because Disney media has been very important in queer history. The corporation is evil, but the art has the talent and soul of countless skilled artists, many of whom are/were queer. Painting Disney media as across-the-board soulless and terrible erases the contributions of countless artists who were themselves exploited by the company.

There is such a long tradition of queer people slipping queerness under Disney's radar and into their classic films. I typically use Howard Ashman's work on The Little Mermaid as my go-to example of this, because The Little Mermaid is a very queer movie based on a very queer story by a very queer author.

So it's pretty wild to learn Mickey Mouse himself has been used as queer flagging!

For more info about Disney Queerness, I recommend the video essay "What Makes Disney Villains So Gay?" by Matt Baume, as well as the YouTube channel Dreamsounds.

(Also, if you want to support the production of my video essay about the Hays Code, you can pledge to my Patreon. I still have some texts to track down for research and might have to shell out to buy them.)

#original post #disney #mickey mouse #queer history #queer media

[londonfoginacup]

A New Larrie’s Guide to Tumblr

A probably incomprehensible, certainly incomplete list of what you need to know; whether you’re coming from a different platform or discovering Larry for the first time. 

My credentials

Hello! I’m Emmu. I’ve had tumblr since… 2008? Maybe 2009. I moved over from deviantArt and used Tumblr as a personal art blog for many years. I joined the One Direction fandom in 2014, so my 1D blog has 8+ years at this point. That being said, I will get on my soapbox a bit during this. Please excuse me, I’m quite passionate about cultivating a happy and healthy fandom.

What makes Tumblr different

The biggest thing that makes Tumblr, as a site, different from Twitter or Instagram is the rejection of algorithms. The “following” tab on your dashboard is in chronological order (and if it isn’t, you can – and should – change that), and the “for you” tab is both a recent feature and rarely used. Tumblr has very little algorithm, and the algorithm they have isn’t very good. It means that you’ll get the most god awful ads you’ve ever seen on this site, because they don’t utilize your data well. And that’s to your advantage.

Tumblr is a great place because you can curate what you see more than other social media. The people that you choose to follow are the only people that you see on your dash (unless you choose to follow tags, which I guess is an option? @lululawrence says “it is and it used to not do anything unless you went to the search page and then it would like autofill your followed tags options, but NOW they take those followed tags and plop them on your dash... SOMETIMES. usually only on mobile. but if there's only one new post in the tag, it shows you that post OVER. AND OVER. AND OVER AGAIN. IT'S SUPER ANNOYING ACTUALLY. SO I STOPPED FOLLOWING TAGS. lol anyway”).

So, the site is in chronological order. This is its biggest selling point.

There is also the opportunity for long posts. Masterposts. Things that are searchable without having to read through pages of screenshots or condensed twitter threads. You can write a whole lot more without worrying about character limit. People publish whole fics on here (I suggest ao3 for that, but tumblr is technically an option!).

Another important thing to know about tumblr is that the archives on tumblr run deep. There are newer larries here, and a lot of them, but you can also find older larries. People whose 1D blogs go back to 2010 or 2011. You can dive into the archives and read firsthand accounts of what was happening with One Direction or larry at that very time. Doing a bit of research means you find cute fetus pictures of the boys, but also you’re able to figure out for yourself whether something actually happened. Rumors always seem to spread quite easily and fandom memory always seems impossibly short, but here on tumblr you’re able to find out for yourself. That means the next time you hear about how xyz thing happened a long time ago, check out some of those archives and see what you can find.

Also, my personal favorite part of tumblr is that old posts are just as valid as new posts. Find a masterpost about RBB and SBB from 2015? Go ahead and reblog that; bring it back to the circulating dash. People will love that. Find a fanartist that you really like? Search through their tags, reblog anything you want. It’s not considered stalking or weird in any way. We love bringing back old posts here. Tumblr is a website where you’re not meant to just talk about the present. 

The cultural difference between Tumblr and Twitter

Speaking of the ways that tumblr and twitter are different, let’s talk for a moment about the 1D fandom in particular.

I’ve held this theory for a while that the twitter (and instagram) algorithm is fracturing the fandom. Because twitter is so dependent on the algorithm, people are more likely to split apart and join smaller and smaller communities based on smaller, more specific opinions. Tumblr, being a place where you don’t just get a post on your dash because someone else liked it, doesn’t have those smaller cliques. There are larries, and there are antis.

(if you get really in the weeds, there are also larry shippers [who don’t believe they’re together but like to read it in fic], and houis [who think they were together but broke up], but I just don’t hear about them as much).

While I do occasionally hear about blouies on my dash, for the most part this is a culture that exists primarily on other sites. 

On another note, because tumblr doesn’t have that handy algorithm, we have to work to make it a more active space. Likes don’t do anything here for anyone other than you, and it doesn’t really change anything about what you’ll see on your dash. Think of them more like the bookmark setting on twitter or instagram. Reblogs are necessary to get anything spread. Anything that you enjoy, or that looks interesting for any reason? Reblog it! That’s the only way other people will see it! And leave a happy comment in the tags if you’ve got one (more on that later). 

And, while lurkers do exist in this fandom (and we love them), it’s important to get an icon and blog header that make you look like a real person. People on tumblr have long been in the habit of blocking shady blogs, mostly because of a bot problem, so if you want to lurk, you have to look like a lurker. Maybe reblog a post or two to establish yourself, and make sure you don’t accidentally look like an icon-less bot posing as a sugar daddy. 

How to set up your account

Okay, so you’ve got a tumblr. Let’s take a minute to fix up the settings so that you’re not getting, well, the worst version of the site. 

My advice is to start by going into your dashboard preferences and:

Turn off the best stuff first (it’ll just show you things you’ve already seen)

Turn off “include stuff in your orbit” (you’ll see terrible posts that are mostly NOT in your orbit)

Turn off “Included based on your likes” (again, you’ll see posts you hate)

Turn off “shorten long posts”. It’s a ridiculous setting that, like many things on tumblr, had potential but was rolled out in an incredibly unhelpful and user unfriendly way.

Once you’ve got that squared away, go into filtering and block any tags and content you don’t like, as that is always proper fandom etiquette. Not seeing things you don’t like is your responsibility, not the responsibility of the person posting them. I personally suggest adding the topics you don’t want to see to both the content list and the filtered tags list, as that gives a much better likelihood of posts that are particularly unsavory for you getting caught by the filters. Please also note this might need to be done on both desktop and the app separately as, depending on where tumblr is at the moment, these filters do not always carry over from one application to the other.

Now scroll down to tumblr labs. These are their experimental things. Some are good! Some are very bad. They do change, though, so this might get out of date pretty fast.

Personally, I enabled fast queue

And disabled everything else

ALSO, an important note, if you are using the apple app, you need to go in and turn off the adult content filter. No idea offhand where that is, but it means posts that include tags like “mine” and “girl” are blocked. It’s ridiculous. 

Who to follow and how to find them

So, you’ve got a new tumblr and need people to follow. This makes sense! To really fill up your dash, I’d suggest the following

Find one person you like. There’s a good chance you know at least someone from twitter who also has a tumblr, so you can start there. If you’re not from twitter, or are looking to start fresh, you can dive into the search function (I’ve never tried finding someone this way myself, but searching larry stylinson or something similar would probably get you started)

Find the people they reblog from and check out each of their blogs! Follow people that make you happy

Follow some update accounts! Thinking of some off the top of my head, there’s @HLUpdate, @Stylesnews, @dailytomlinson, @HLDailyUpdate, or @neilswaterbottles (there’s definitely more though). 

Follow some fanart or fic rec accounts! 

I’d always suggest @1d-fanart or @hlcreators for art. 

For fic, you could check out @hlficlibrary, @ficsyoumayhavemissed, or @thelarriefics. 

Or, recurring fic fests! @onedirectionbigbang or @wordplayfics, which happen every year.

And if you end up not enjoying someone you’ve followed? Unfollow them! It’ll make you happier.

How to interact with posts

Tumblr is all about tags. Do you have a comment or thought? Reblog a post and say your thought in the tags. That way anyone you follow will see it, and the person who made the post will see it. This way a post doesn’t end up with a lot of cluttery additions that don’t mean a lot to the average person reblogging it, but if you browse the tags of posts you’ll find lots of interesting things. Tags can be used to keep track of things, too, of course — some people tag all pictures with who’s in them, or tag art or fic with tags that mean they can find them again. Tags are versatile! But reblog, don’t just like, and tag! The more you interact, the happier content creators are!

What not to do

Don’t repost. If you see something you like on tumblr, reblog it. Even if it’s a really old piece of fanart (like circa 2011). Reblog that old post! Reposting means people don’t get credit, and it doesn’t link back to them. That’s not cool, and in the long term makes fandom less happy.

How to cultivate a happy and healthy fandom

Send happy anons! Ask how people are doing, do question memes, say how much you loved fic/art/edits, etc.

Reblog art. Reblog fic. Reblog what makes you laugh. The more you reblog, the more other people see, the more the fandom moves! Content creators just want their things seen; every time you reblog, their phone gets that little notification and you’ve given someone a bit of happiness.

Unfollow people who annoy you. Follow people who make you happy!

If someone has a take about 1D that you don’t agree with, don’t tell them or send them argumentative anons. Find people who will agree with you, and complain to them privately. Or make your own post, not shading anyone, just presenting your own opinion and theories!

Remember that everyone is a real person. Cut them some slack when you find them being annoying. But also, unfollow. Curate your dash.

#I made this like #in the spring? or summer #and then felt like it was too pretentious to post lmao #anyway maybe this will help someone! #foggy essays #that's a tag that WILL have more in it eventually #once i write my essay about Carolina #...which i was supposed to do back when it first came out lmao

[thebomb-thebird-andtheburntbitch]

Mosaic

kaeya/gn!reader

genre: hurt/comfort, teensy angst, fluff

warning(s)!!!: hydro-vision/polearm-user reader (bc i said so), kaeya word vomits all over the place, kaeya also becomes self-aware of feelings and Dislikes that, kaeya also makes some poor choices in leu of those feelings, all is well in the end tho! he learns (and cries) (tayls is pushing the pathetic crybaby kaeya agenda and cannot be stopped)

w.count: 8.7k

synopsis: kaeya is none the wiser to the people around him and what it is they think about him- he didn't get his title of 'top candidate for grandson in law' for nothing. however, he never thought he'd get so swept up in his own feelings that when he does, he decides he has to put a stop to them no matter the cost. but can he really follow through with that?

a/n: i love when tumblr nerfs my banner quality but it's whatever. have some kaeya nonsense (fr take this away from me)

“A mosaic.” 

That was your answer to a question Paimon and the Traveler asks while you were meandering around the Favonius Library looking for a book you needed for some personal research. They had run into you there and a conversation about what some citizens of the City of Freedom embody had sprung up somehow. For example, Paimon was very set on saying that Master Diluc was a rock- set in his ways and tough to budge- and so on from there.  The ideas and objects tossed around were anywhere between insightful and downright silly. 

So, it was inevitable that eventually the trio would cycle around to the Knights. Jean was dubbed a Dandelion according to the Traveler and Lisa was crowned as an elegant bookmark that was so sharp it would cause terrible papercuts. Of course, Lisa’s object was picked ever so gracefully by Paimon even if it didn’t make much sense she was set on her answer, and nothing would change her mind. Then, when the personification of one Kaeya Alberich came around, admittingly the two Outlanders were stumped.  

Kaeya would always peruse around with such an air of mystery. Keeping important aspects of himself tucked so far away that very few people knew of his secrets- and they were tight lipped for their own reasons.  His smooth tongue aided him greatly whenever someone would ask about himself personally- spinning tales and weaving verses that got him out of any sort of personal interrogation. 

The trio knew if they asked Diluc, he’d give a short and possibly crude answer.  Jean would probably give him some illusion of not being sorted into such games and Lisa would just think you three were adorable and not give her two cents at all. You, however, thought on it for a bit longer and finally had an answer. 

“A mosaic?” Paimon mimicked, making sure her voice was kept down in the sanctuary of books. “Like the artwork?” 

“He is good looking,” Traveler pitched and it was true. Even people with aged or poor working eyes could see Kaeya was far from being an ugly man. 

“I don't see how him being a little ‘good looking’ is deserving of the title of being a piece art!” You chuckle at Paimon’s small fit of confusion. 

“Well, ignoring his looks, a mosaic is a piece of work that is made of small pieces right? It isn’t whole until it’s all put together. Just like a puzzle.” 

“So, he’s a glorified puzzle?” 

“That isn’t what I meant,” you shake your head in a small chuckle. You take a small trip to another corner of the library and run your fingers along the spines of different books before you grab one and easily slide it out of its spot on the shelf.

It’s a book on different types of art. Flipping the pages you find a page with a drawn on copy of a mosaic from another country. You lay it down on a nearby table and tap the drawing with your fingertip. 

“What I meant was the process of becoming a mosaic- how it’s created.” you trace the empty spaces of white on the page where the piece of the drawn on piece were supposed to connect to create a bigger piece. “Various pieces of work all put together to make one big picture. A series of events leading to a grand conclusion of hardwork and patience. Maybe it took a lot of time and work. Sometimes creating such a piece was so frustrating at times you wanted to give up, or maybe sometimes nothing looked right. But, by the end of it all- it couldn’t be anything but a wonderful representation of all those struggles.” 

Paimon floated in awe at your explanation and the Travelers playfully placed their hands on their hips as they looked at you. 

“You sure think highly of Kaeya, don’t you?” 

“It’s that noticeable, huh?” You chuckle a tad embarrassed. Your long-standing puppy-crush on Kaeya you’ve had since you met him wasn’t always the best hidden secret. In fact, you were almost positive that the Cavalry Captain himself knew you had a thing for him, but you were happy he never cornered you about it. 

“You’re a love-struck citizen alright,” Paimon rushed to the Traveler’s side in making slight jests at you. You shut the book you had used to try and explain your choice of object and rubbed the back of your neck as you ignore the warmth in your face. 

“Yeah, yeah, I get it.” You turn on your heel and walk back to the shelf to replace the book. Paimon had cupped a small hand around her chin before she was floating over to your side and asking you another question. 

“So, if Kaeya is a mosaic, then who’s his artist?” You look at her and blink a few times, processing what she was asking. You didn’t expect a question like that.  You cup your own chin in thought and after a moment, you laugh at being caught off guard.  

“I hadn’t thought of that.  I guess maybe Mondstadt itself? It is where all his friends and family are after all. Oh, and his job of course.” 

“That makes sense,” Paimon muses, seemingly satisfied with your answer. The conversation had moved from the shelves to the open space of the library and soon out the doors. As the three of you left, the topic of objects to people shifted to one of getting some food into Paimon’s ever empty stomach. 

The book you had previously replaced back on the shelf was easily slid back out by a hand adorning open finger gloves. Taking a relaxed seat at a nearby table, he flipped to the very page you had been on before and looked at the image himself with a small huff that twisted into a quirk of his lips. 

“How interesting,” he muses before reading the whole installment about that specific piece of art. After all, how could he not? 

The next morning was quick to roll around. After a hearty meal at the Good Hunter and pleasant good nights exchanged with the Traveler and Paimon, you were more than ready to head back home to rest. After a swift debrief on the commissions set aside for you today, you move out of the way and off to the side so you could flip through the four pages of individual commission information. 

A typical site clearing of hilicurls, a balloon transport, and two other sites said to be infested with abyss mages and mitacurls. Taking a deep breath and letting it out in the form of a heavy sigh, you roll your neck and shoulders. It looked to be a very physical day, considering the commissions alone were already enough, they were hardly close in range to each other.  

“My, what does this sunny morning lack that is making your shoulder’s slack so much,” the familiar voice of the ever lingering person on your mind spoke. Lowering your commissions and offering him a greeting smile, you watch as Kaeya marches his way down the stone steps of Mondstadt to you. 

“The weather has nothing to do with it, I'll have you know.” When he finally gets to your sides, he silently offers his hand out for your daily commission sheets. You hand them over and resume your small effort of stretching. His eyes quickly scan sheet after sheet before he’s clicking his teeth and shaking his head.  

“Having your run all the way to Stormbearer, to Windrise, down to Springvale and then back up to Wolvendom is just cruel.” The way his voice has that familiar lithe to it, you knew he only half meant what he said. 

“Maybe I’ll get lucky and run into the Traveler who can do me a favor by hitching me a ride on a Waypoint.” You quickly take your commissions back and fold them down twice before storing them away in your pack. Watching the sun’s orange morning hue fade into its daylight yellow was tell enough that you had to get moving or else you’d be rushing to get your work done. Kaeya walked you to the city gate and even across the bridge before you were ready to set off.  

This is practically routine. You weren’t sure when it started, but at some point, Kaeya had started meeting you at the Adventurer’s Guild after receiving your daily commissions and would insist on escorting you out of the city. He claimed it was on the way of his morning walk to stretch his legs, but you weren’t sure how much you believed him. You allowed him to do it anyway since it always set up a good start to your day. 

Getting a small amount of Kaeya’s time was something you would relish since you never wanted to impede on his busy schedule with the Knights. It was the small selfish part of you that wanted to capitalize on this so-called ‘alone’ time that lasted only a small piece of the day. 

“Be careful,” Kaeya always tell you and you always nod back to him a simple ‘I will’ before he would watch you disappear down the worn, dirt paths. Your first destination would be Stormbearer Mountain it appears. 

Most of Kaeya’s morning consisted of going over documents shoved on him courtesy of his position as one of the ten Captains within the knight’s ranks.  With sighs echoing in his private workspace every few minutes and multiple tempting ideas of sneaking out without even processing the paperwork, he finally finished and approved the last document before placing it in a file on his desk that Jean would surely come and snag from him later. 

Leaning back in his chair that would soon need the cushions replaced, he craned his neck to gaze out the tall window in his office.  The sun was much higher in the sky than it was when he had arrived earlier that morning.  His thoughts easily drifted to you and a frown found its way onto his lips. 

“Are you doing alright?” Kaeya delicately asked to the air of solitude around him.  You were more than capable to handle yourself.  In truth, if you weren’t already associated with the Guild and kept so busy by them, Jean probably would’ve scouted you for the Knights instead.  ‘Your skills are impressive, and the others could learn a lot from you’, that’s probably what Jean’s pitch would be. All true of course, sometimes the job of trying to train the lower ranking knights was more of a chore than a duty, once Kaeya would often get stuck with.

He'd be more than happy to spar with you instead any day.  

Steering his gaze away from the window and moving it towards the ceiling, he traced the wooden beams above him with his single visible eye. He sighed again- this time not because of his now finished paperwork. 

“Surely, they’d be in Windrise by now… right?” His fingers drummed against the arm of his chair before he was bringing his chin back down to lock onto his office door.  His paperwork was done, so maybe…

Two knocks rapped against the thick door and Kaeya’s posture straightened out of habit. A muffled ‘Captain?’ heard behind it.  He let his head sink as a small, defeated breath left his open mouth before correcting himself again. 

“You can come in,” he answered.  Guess his plans to sneak away were once again foiled. 

By the time Kaeya made it out of HQ it was already late into the afternoon.  Stretching after stepping foot out of the large entrance, he stepped down the short set of stone steps before making his way towards the front of the city.  You must be back now, or close to the city at the very least.  It had been almost the whole day, if you weren’t back yet he’d simply go on an unprompted adventure to ‘bump into you’. Luckily, there you were; standing in front of the Guild and talking to Katheryne once again. Although, the look of you was less than encouraging. 

While you yourself seemed more or less fine, just from the distance between the top set of steps by Good Hunter to you at the Adventurer's Guild Reception, he could tell your commissions had worn you out today. It was no wonder considering the distance between them. Your clothes had clearly been fixed prior to you reentering the city since the dirt and stains on them were a clear indicator that you had your fair share of roughing up. 

Kaeya can, and did mostly, dismiss this all, however.  It was the serious look on Katheryne’s face and the way yours didn't show relief after a hard day's work like it normally would be. He started making his way towards you and started catching bits of the conversion you both were having. 

“I deeply apologize, y/n, but it’s an Emergency Commission we just received.” The way Katheryne’s voice was coated in tension made Kaeya’s pace harden. When he had arrived at your side, his hand came up to rest on your back without his notice as he looked at the way you held your head in your hand like you were preventing an oncoming headache. 

“What’s the problem?” Kaeya made it a point to look at you- directing the question at you and not Katheryne. Your hand dropped and you sighed with a shake of your head before looking at him. 

“It’s nothing, just a last-minute Commission.”

“What? You just got back from your commissions, didn’t you?” 

“It’s an Emergency. I can’t just brush it off.” 

“Make someone else take it then.” 

“No one else is available.” 

“y/n.” 

“Kaeya.” 

The small verbal battle you both engaged in was empty and Kaeya knew he was playing a losing game. He let out a sigh before he finally turned to look at Katheryne who must have all the patience in the world for standing by and letting you both bicker until she was needed for something. 

“What is the commission exactly?” 

“Apparently, a Ruin Guard has been spotted near Springvale after a passing Adventurer accidentally triggered its detection sensors. The nearby residents are frightened it could march into someone’s territory and wreak havoc there.” 

Kaeya pinched the bridge of his nose with his free hand- the other still mindlessly resting on your back- as he sighed.  This is indeed something that couldn’t be pushed off for someone else to take. When it comes to those old machines, who knows what could happen if they aren’t swiftly deactivated. The Captain was at an impasse; letting you go after already being exhausted from running around all day or tying you to one of the Guild’s posts and keeping you there until someone else passed by that Katheryne could snag instead. 

“Fine,” Kaeya relented.  His hand finally dropped from your back and crossed with his other arm over his chest. “I shall accompany you then.” He saw you open your mouth- probably to protest- but he didn’t let you. “Ah-ah,” he tutted at you, “no arguments. Let’s get moving.” He uncrosses his arms to grab your shoulders, spin you around and lightly push you to get your legs moving. 

Luckily, Kaeya’s vision was extra compatible with your own. While your fight styles were different, the fact you had a hydro vision was very much a blessing. It was quiet easy work taking down a Ruin Guard that had been drenched in water then subsequently frozen. After picking up a few dropped items from the timeless machine, Kaeya had stood up and placed his hands on his hips as if proud of himself. 

“Aren’t you happy I decided to tag along now? We made quick work of that Ruin Guard.” 

You can only roll your eyes at the smoothtalker.  Still, you quietly laugh at his antics all the same. Finally calling it a day in the middle of the field you had previously battled in with him, you lay down on the grass.  You were already covered in sweat, dirt and other stains from your earlier commissions, so getting a little more on your clothes wasn’t a concern. You shut your eyes and took in the breeze you silently thanked Lord Barbatos for as you took in a deep breath, letting yourself decompress. 

Kaeya stood over you, moving so his boots were on either side of your head and he was looking down at your relaxing face.  With your eyes closed, you didn’t get to see the smile that was only ever present when you weren’t looking.  The moment your eyes would open, you would only see his normal everyday grin. And open your eye did and oh how lovely they were. The evening glow did wonders for their color. 

Evening. Yes, it is getting rather late now. 

“Are you ready to head back now?” He asked and you nod. Sitting up, Kaeya offers to carry you back to the city on his back- which you decline. That didn’t stop the fact that you reentered Mondstadt securely resting on Kaeya’s back as he held you up with a slight bend to his posture and firm grip on your legs. 

This routine would continue for as long as Kaeya’s luck would allow.  He’d be the first to see you in the mornings before being the one to walk you out of the city and if he was lucky, he’d be the first to greet you back (not including Katheryn). 

If Kaeya was lucky he would greet you back into the city and spend more time at your side.  Reporting in with you to the Guild. Running a few errands like stopping by to purchase things from Blanche or getting your polearm enhanced or repaired at the smith. 

If Kaeya was lucky, he would persuade you into getting dinner with him or dropping by the Cat’s Tail for some casual TCG matches when he was off duty. 

If Kaeya was lucky, the conversation between you both would be flowing well enough that even if there was nothing left to do, he’d be privileged enough to walk you home or come inside to continue occupying your time until you fall asleep or push him out the door saying that he had to get up for work in the morning. 

Today was not Kaeya’s lucky day.  When he got up this morning, his routine to finding you was practically ingrained in his muscles and when he didn’t see you at the stone steps, city gates or the Guild’s reception, confusion crossed his brows.  He casually took a seat on one of the nearby outside stools by the Cat’s Tail and waited until the time to clock in at HQ was growing closer.  With hesitation, he got up and looked around for you once more just to see if maybe he could at least catch a glimpse of you rushing around to get a (rather late) start to the day. 

He was antsy all day and he was astonished to find out that throwing a wrench in his morning threw off his day so much. Kaeya knew that seeing you first thing in the morning was quite a lovely way to start his day, but he didn’t know the extent in which it could affect the rest of it.  Not exchanging a good morning with you or even saying his usual ‘be safe’ message at the edge of Mondstadt nagged at him.  

Currently, he was sitting in a remote corner of the Favonious library, legs crossed as his rear was sat towards the front of the seat to make up for the fact his back was bent over the back of it.  He rests a flimsy, paperback book over his face, the pages scent of old paper and ink invaded his nose and the feeling of them rubbed against his cheeks. One of his hands held it open with his thumb and pinky and the other arm was hanging uselessly at his side, his wrist bouncing against his vision from time to time just for something to interact with. 

Underneath the book, his eye was closed.  He had tried reading the passages in this particular book at least four times now, but the words just weren’t registering in his mind, so he had given up. He was left listless; certain he could easily fall asleep in this very position at any given time. Of course, it wasn’t often that Captain Kaeya would get much quiet time to himself anyways. 

“Uh, what are you doing?” The voice of Paimon made Kaeya’s eye open under the book before he was pulling it down his face enough to only reveal that one eye.  Seeing Paimon floating at the Traveler’s side made him slip the book off his face completely and shut it before setting it on the table in front of him. His posture was corrected as he sat up straighter and rolled his neck. 

“Couldn't you tell? I was reading.” 

“Paimon think’s you were slacking off.” 

“Is that what it looked like?” He jokes as he pushes his chair back and stands up properly before placing one of his hands on his hips. “I would never be caught slacking off, you wound me.” 

“We’ve heard that before,” Paimon sighs with a shake of her head.  In the moment, Kaeya is reminded of the conversation he overheard before between you and the other two. The same time of day, the same location, the same two participants of that conversation. 

“Say,” he says to gain both of their attention, “what do you think it is?” Kaeya’s exceptionally broad and unprecedented question left the two Outlanders confused. The way the Captain could almost see materialized question marks float around their heads was comical before he elaborated. “I’m asking about my artist, of course. Surely you must have your own idea, no?” 

Both Traveler and Paimon’s mouth opened in shock.  

“You were listening?!” Paimon shrieks before she is shushed by other people in the library for her volume. 

“It’s rude to eavesdrop, Kaeya,” Traveler tells him as they cross their arms over their chest.  Kaeya fakes a gasp before shaking his head and shrugging with his arms up. 

“Eavesdropping? Why, I’d never.” He dropped his arms back to his sides. “I was simply in the area and didn’t want to interrupt such a compelling conversation topic. That would’ve been quite rude of me, wouldn’t you agree?” The looks he received were easily brushed off. “Anyway, you didn’t answer my question.” 

“Well,” Paimon started, “didn’t y/n say it would be Mondstadt?” 

“And? Do you agree with them?” 

“Paimon doesn’t see a reason why not,” she shrugs in the air. 

“I see,” Kaeya’s arm crosses over his chest before he’s resting his opposite elbow on it to cup his chin. His gaze shifts downward before he's blinking slowly, meaningfully. “I suppose I could give you half marks.” 

“Half marks?!” Paimon whispers. 

“What about ‘the people of Mondstadt?’” The Traveler interjects.  Kaeya’s eye shoots back to them and his hand drops from his chin to resume a casual stance. 

“That assumption is largely correct as well.” The smile he gives the two gives nothing away. It wasn’t clear if he was sincere about what he said or if he was just saying it to hear himself talk. “A mosaic is usually a large piece, yes? It would make sense for there to be multiple people taking part in such a project at some point I suppose.” 

“You suppose? You’re just running us in circles here!” 

“I don’t know what you mean,” Kaeya deflects with a lighthearted tone and short laugh. 

“Fine! We get it!” Paimon huffs before the conversation devolves into little to nothing until he is parting ways with the two, leaving the library and ready to end the day that seemed to have lasted longer than usual. Despite having a rather lax day, he felt lethargic. 

Yet, despite his lethargy, when he finally made it out of his day clothes and into his bed, all he could do was lay on top of his covers and stare at the ceiling. His eyepatch had been removed- just as always when he was in the confines of his home- and his long bangs covered the eye that was always so accustomed to the darkness.  One of his legs was propped up on the mattress with the other stretched out and his arms were folded behind his head. 

His mind was curious about a number of things all the time- so his racing thoughts weren’t unknown to him. Still, the nagging feeling in the back of his mind didn’t let up. Was not seeing you at all really that much of a clog in his daily life? It made him feel so off-set and that alone was enough to plant a seed of anxiety in his chest. 

Kaeya sighs to himself and his ceiling before rolling to his side and letting his bangs slip across his face and reveal his always concealed eye between the blue strands. He closes his eyes and wills his mind to stop dwelling on menial things. 

Heart and mind are difficult things to cooperate with one another though. 

Kaeya Alberich couldn’t risk getting mixed up in too many personal things- it made his future even more murky and daunting than it already was.  

After that one day of missing seeing you out before your commission, Kaeya tried to do it less on purpose. Maybe that was a message from the gods themselves that he needed to take a step back. If your very presence could affect his day to day life like it had, he needed to back off for his sake and yours. And while he didn’t see you off, he still would welcome you back any chance he saw you return to the city with a raised hand he would immediately tuck away again. 

“I didn’t do anything to make you upset, did I?” Of course, you had noticed his sudden shift in nature. 

“Of course not,” he tells you as sincerely as he could. His smile was strained on his lips and his nose felt like twitching from the sheer effort it took just to pull them up. From the unamused look you gave him at his answer, he knew you knew he wasn’t being completely truthful. Still, you just looked away from him and sighed. Kaeya was grateful you didn’t push the issue because a part of him was sure if you had, he would’ve spilled his guts about things he wasn’t sure of himself just yet. 

The process of slowly taking steps away from you wasn’t pleasant for either party. Kaeya’s days had devolved into nothing but more boring paperwork and patrols he could do with his eye closed, and that would mean seeing nothing at all. The dull lag of the daytime was boring to him with nothing to do between his job and downtime he suddenly had. The Angels Share's atmosphere was a welcome comfort to his new, unpleasant routine- though, he could do without the looks from Diluc.

Meanwhile, you had felt the sting of dejection in your chest. You had come to the assumption that maybe Kaeya had finally taken action on your unspoken feelings for him and was politely telling you to take a hike. It was logical to you; a common everyday Adventurer probably couldn’t make it work out with one of the Knights’ Captains. His previous time spent with you was probably just a hindrance, a distraction from his real work, so this was good. He could focus on what was important, protecting Mondstadt. 

Though, that mental pep talk didn’t make it hurt any less. 

Just like Kaeya, you decided to bury yourself in your work. Taking commissions on top of any other field requests. Clearing hilicurl camps wasn’t something difficult and while the occasional Abyss Mage was a pain, it was all manageable. So, when your back to back jobs kept you out of the city for days at a time, that slowly became the norm for the citizens of Mondstadt. 

It was only natural for no one to notice. 

“Has it really been that long?!” Kaeya had been passing through the central square of Mondstadt when he heard the familiar shrill of Paimon. His interest took little to be piqued and he easily strut his way over. “And no one has tried looking for them yet?” Paimon and the Traveler were stuck in a conversation with Katheryne as is the norm for them nowadays when their travels bring them back to the City of Freedom. “Oohhh,” Paimon worries, “Paimon’s worried.” 

“What’s the problem,” Kaeya interjects into the conversation. All eyes shift to him, his easy strides coming to a stop when he fully joins the group with his arms crossing over his chest. “My, what’s with all the long faces?” 

“Kaeya!” Paimon screeches. “Oh, maybe you’ll know! Have you seen y/n around?” Kaeya’s chest tightens. 

“Y/n? I’m afraid we’ve both been too wrapped up in our own duties recently. Sorry to disappoint.” The slight light of hope Paimon dawned dimmed and worry once again took over her features. The tension in his chest felt tighter, like a white-hot coil was entangling itself around his insides and replacing his ribcage. “Has something happened?” He asks slowly, making quite sure his voice doesn’t crack or waver. All his hard work to distance himself from you can’t unravel now; not when you aren’t even here. 

“We aren’t sure,” Katheryne fills in.  All eyes look to her as she repeats what she had just told the duo before Kaeya arrived. “Y/n had taken a rather dangerous commission the other day. It was a job that required them to explore and investigate some ruins that had been discovered behind a wall of rocks on Stormbearer. The commission should’ve well run its course by now, but we haven’t heard back from either the client or y/n, so some of us are beginning to worry.” 

Kaeya’s fists clenched, but no one took notice of them under his cross-armed stance. He made sure to keep his face from giving himself away. 

“Have you made the issue known to the Acting Grand Master?” He questions. Katheryne shakes her head. 

“No, we haven’t. We had had planned on bringing it to her attention if y/n still doesn’t get in touch with us by this evening.” 

“We should let Jean know right now!” Paimon insists and the Traveler easily nods in agreement. “What if they’re stuck in the ruins. Or- or hurt or something!” Paimon’s worry bleeds easily into her words like a fresh wound into water. 

“The last thing we should do is panic,” Kaeya said hypocritically. His gut felt like a boiling cauldron with panic as the main ingredient. Still, his many years of being persuasive and aloof didn’t let any of that show. 

Though, the off hand look the Traveler shot him made him doubt himself; they’ve been awfully diligent when it comes to reading him ever since his wild goose chase he sent them on not long after they arrived in Mondstadt. Or maybe it was just because they had more experience than he initially thought. Still, it almost made him squirm. 

“Well, we’re going to go tell Jean!” Paimon declared, her small hands on her hips as she bobbed up and down in the air. Kaeya just shrugs indifferently, surely not making any moves to oppose them. With a small huff, Paimon and the Traveler take off towards the Knights Headquarters. When they were well out of earshot and sight, Kaeya’s cross arms drop and his gaze moves to the ever-open gate that showed the wilds outside of Mondstadt. 

“Katheryne,” he almost whispers. “You said Stormbearer?” 

Your vision was blurred when you opened your eyes from your, albeit useless, slumber. You had long since tucked yourself between a small alcove of debris and rock in the ruins you had agreed to investigate. Had you known the person who had commissioned this job was some ruin machine-obsessed loon, you wouldn’t had agreed so easily. A couple ruin guards aren’t a big deal, but adding their mechanical brethren- so to speak- on top of a nut job maintaining them the moment you have to step away to recoup, that's when things get tricky. 

Your body had long since grown exhausted from using your Vision by excessively trying not to get killed. Luckily, the mad man only had his madness going for him, so hiding from his view was easy. Staying hidden from the machine’s censors was what worried you, but you had succeeded so far. Because of that very fact, however; you were reluctant to move. Beyond your weary body, hunger and thirst were starting to eat away at you too. 

Having been in hiding with no ample moment to even try fleeing back to the city for additional aid, you had run through what little rations you had. Your gut ached with hunger pains and your throat had never felt dryer, still you weren’t backed up against the preverbal wall so much you threw all caution to the wind. 

Your polearm had remained materialized as you kept it rested against your shoulder for ease of quick use should you require it.  Your vision had never felt heavier from its placement on your person and your hands cramped from how tightly you had gripped your weapon’s staff. You let your head fall back into the rock behind you and let out a silent sigh. 

In truth, you felt more foolish than injured or exhausted. You knew this commission sounded… odd, but you took it anyway. Anything to help distract your mind from the ever cloudy presence of Kaeya- or lack thereof. 

Your small sliver of respite you found in your cove of rock and debris was beginning to quake and crumble… literally. Your eyes you hadn’t realized had dropped back down shoot open and between the crumbling dust that threatened to get into them, you could hear the engines of machines whirring above you. You scramble to get out into the open before your previously, temporary safety could crush you. Though, coming out meant that you would be more vulnerable than you’d prefer. 

The moment your gaze lands on that familiar warm glow of the back of a Ruin Guard, you throw your polearm into its core, coating the blade with water from your Vision without much thought. The guard crackled with electricity as it malfunctioned and was brought to its metallic knees. Sprinting to its back to quickly retrieve your polearm, you made sure to use your Vision to drench its legs and feet just in case it got back up again. Perhaps the moisture would cause it to comically slip and buy you just a bit more time and maybe a chuckle or two. 

It was odd though, aside from the now jagged whirring of the jittering machine in front of you- there was nothing else. No crazed man trying to jump you or sick another random machine of his on you for whatever cause. It was in fact quiet, and that quiet put you on edge. Your brain knew you needed to stay on guard, but the silence was starting to lull your body into a false sense of security you couldn’t trust. 

Still, your mind that had been in fight mode for what should have been days now, had no chance against your weary body. Your grip on your polearm slips and the weapon clatters to the ground just before your knees did and your body slumped rather pathetically afterwards. 

‘If you fall unconscious, you’ll die’,  you mentally scold yourself. Trying to bully yourself into getting back up, keeping your eyes open, keeping your guard up. Still, your mind was beginning to feel as weak as your body. Thoughts swirled together into a mess of intangible words stuck in your mind and your sight was no better.  Perhaps it was your delirium and exhaustion, but your body suddenly grew cold and you vaguely felt goosebumps raise on your skin like winter itself had bloomed in these ruins with you. Among the changes you felt externally, you swore you heard a muffled voice too. 

Perhaps it was the mad man, the one who got you suckered into this stupid job. If it was, he could make quick work of you now since the last of your fight had disappeared taking out that Ruin Ruard core. The warmth you felt on your neck and cheek was the final thing you could mentally register before your body succumbed to its burdens.

‘Odd’, was the first thing that crossed your mind when you found yourself staring blankly up at a well maintained ceiling. You were sure that if you woke up again, and not gotten yourself killed or crushed, you’d be waking up to jagged rocks and mossy walls. So, the well furnished room you now occupied threw you for a loop- which your pounding head didn’t exactly take well. 

The room you were in was familiar, and you were sure you’ve been here before, but your foggy mind couldn’t process where you were.  The bed you were tucked into was soft and comforting, and with a wince the mattress gave when you push yourself to sit up. You were alone in the room and without much thought, you shuffle your legs out from under the blankets thrown over you to place your feet onto the floor and wobble up to your legs with the help of the bedside table acting as a- albeit less than desirable- crutch. 

The door creaking open was almost mistaken by you for the sound of your sore joints straightening out, as humorous as that was to you since you let a brief, lighthearted laugh escape you in a huff. Then, with your sights on the ground, you noticed a shadow casted by light you don't remember being in the room with you before. 

You follow the shadow along the hard floor covered with a single, purple rug until your eyes found a pair of all too familiar boots.  Your aching body starts to feel anxious- a small wave of gooseflesh running across your exposed skin at the idea of Kaeya being in your proximity for the first time in a while. Still, regardless of how you hadn’t been able to squash your silly crush on him or properly prepare yourself for a possible rejection without even confessing- you were no coward. 

With both hands tense on the bedside table, you raise your head to look at the blue haired man who had removed the fur, half-cape from his shoulder.  It was strange seeing how empty his shoulder was without the extra fluff the fur provided. Still, it was nice to see him in his entirety again since it had been a while. The blacklight of the space behind him made it difficult to see his expression since the lights in the room you had woken up in had been turned off presumably for your ease of comfort. 

“It’s been a while,” was the lamest thing that’s come out of your mouth in a while.

Of course it had been, you were both actively avoiding each other and practically the whole of Mondstadt picked up on it. Looking behind his shoulder you could only barely see corners of art pieces on the walls behind him and another rug that ran down the hall behind his heels.  “Kaeya, am I at your house?” You ask, finally realizing where you recognized your surroundings from.  

You’d been in his living room plenty of times visiting, but you had hardly been back in his room unless you were the one tasked with dragging him home from Angels Share and were generous enough to lug his body weight back to his bed. It was a rare occurrence since you were normally one to just dump him on the couch with a blanket and glass of water for his possible next morning hangover. 

Kaeya never graced you with an answer before he was marching into the room. His bootsteps seem louder than usual on his hardwood floors of his enclosed room, but maybe that was just the headache. His hands shoot out to grab your shoulders and turn you towards him, your hands that had been on the wooden night table were effectively removed from its surface and now Kaeya’s grip was the only crutch you had for balance before your brain could full calibrate standing without swaying again. 

“What on Teyvat were you thinking?!” He raised his voice and even in the dimly lit room with only light from the hall flooding in, you could easily see his expressions now. His brow was turned in a frown and his eye clouded with something you couldn’t pinpoint. It was a far cry from his normally suave and dismissive behavior. “Taking an obviously suspicious commission in ruins that hadn’t been officially investigated by the Knights? Seriously, you thought that was smart?!” 

His temper only made your headache worse and in turn soured your already not-so-great mood.  Reaching up to grab his arms like a hook for support, you verbally push back. 

“I think I'm capable of handling things myself, you know? The Guild doesn’t need the Knights’ to babysit them for every little thing, and as a member of the Guild that applies to me too!” 

“Oh yes, so capable you spontaneously disappear for days? Does that sound capable to you?” 

“It does actually because I was handling things just fine by myself, not that it makes a difference to you.” 

“You collapsed next to a Ruin Guard, y/n! What would you have done if it had restarted or if something else would have happened? Magically wake up and jump into battle again, because I have my doubts about that!” 

“What is your problem, Kayea?!” 

“You! You are my problem!” 

Astonished, you scoff before rolling your eyes.  It had been so long since you hashed it out like this with anyone, let alone Kaeya. It didn’t feel good, it made you feel sick to your stomach. Not hearing any retaliations from you, Kaeya guides you by the shoulders back against the edge of the mattress and pushes you to sit down again. You didn’t let yourself release the sigh of relief that you felt now that the weight of your own limbs was lifted- you wouldn’t give the Captain that satisfaction.

You expected him to let go of you, release your shoulders and march out of the room and maybe slam the door for good measure. Or maybe pace around the room before ordering you good enough to argue, so you would be good enough to get out of his hair. Out of the possibilities, the only thing that you predicted right was him releasing your shoulders. 

Kaeya's hands left your shoulders before sliding down your arms and dropping to the mattress edge on either side of you. You were stunned when he dropped to his knees in front of you and the pressure of his forehead resting on your knee felt heavier than anything. Caging you with his arms and using his head as an anchor on your legs he had effectively trapped you. You kept your hands tucked into each other by your stomach, making sure your knuckles wouldn’t brush even a strand of his hair and you could feel the thin strap of his eyepatch leaving an intent on your skin. 

“Kaeya,” you sighed heavily, his name leaving your lips like a weight. 

“I tried,” his muffled voice sounds weak that your gaze softens at the abrupt tone change. “I did. I tried to fix it, but my problem is still you and I can’t do anything about it.” 

“I have no idea what you’re-” 

“Tell me what to do.” His words that interrupt yours cause you to furrow in confusion. 

“What?” 

“Tell me what to do,” he repeats with a strained voice. “I have so many things I need to do, choices but I- I don't want to. So, do it for me.” 

“I still don’t know what you’re talking about. What does all that even mean?” 

“Make me choose you,” he sighs heavily before the hands of his that were placed on the mattress beside you move to lightly grab at your shirt like he was scared to touch you further. As if you’d push him away, scorn him for his actions and inactions alike. “Because I will. I just- I need someone- you, you need to-” His sentences never finish as his breaths become uneven. The hands that grip your shirt tighten to ball the fabric in his fists now. “I’m sorry.” 

Never had you seen Kaeya, the ever debonair Calvary Captain who kept all his secrets stored into his chest, kneel and subsequently crumble like this to anyone- much less to you. Perhaps in the past he never talks about, Diluc had seen him so weak, but that would be where the witness list ends. You lift your hands from your lap and hover them over his hunched body that clung to you like a child; you were unsure if touching him would set him off or if he would recoil from you. Your silence only made his hands that ensnared your shirt tug on the fabric like an anchor keeping a ship from sailing away. 

One of your hands reach to his head and your fingertips breach the blue tresses of his hair. His shoulders tensed and you almost snatched your hand away. 

“Don’t,” he mumbled into your leg. You weren’t sure if he was saying not to touch him or not to pull away. So, you kept your hand half in his hair and unmoving. 

You yelp when the tugging on your shirt flew into a harsh yank. The back of your knees that had previously been resting snug against the edge of the mattress were now well away with the back of your thighs replacing their spot. Closer to sliding right off the bed than comfortably sitting on it, Kaeya’s arms moved to wind around your waist and his face found a new home in your stomach as your arms hovered in the arm like a puppet's dangling from unused strings. 

You could feel the weight of his words fall onto your legs by way of the tears leaving his eyes. You could feel it in the way his shoulders shake and the uneven breaths that warms your lap through his mouth.

“Kaeya,” you softly start, “what has gotten into you? I've never seen you act like this before.” You slowly lower your arms and place your palms on his shoulders gently so as to not startle him; you weren’t going to keep them in the air forever, they’re sore. 

“I’m from Khaenri’ah, you know?” His voice strains as he lets out a pathetic laugh that’s damp with a web forming in his throat. He feels your hands on his shoulders twitch and his grip around you tightens so you have no chance of running from him. 

“Kaeya, what-” 

“My father abandoned me here with the intention of using me as a spy. I’ve only ever told Diluc, but when I did a lot happened and he left, abandoning me too. I don’t care about Khaenri’ah- not anymore- Mondstadt is my home. It’s where my friends are, my brother- even if he will never accept that role again. I can’t leave Mondstadt behind.” 

“I’m sure Diluc doesn’t hate you, not like you think. He just- he’s set in his stubborn ways and isn’t good at communicating.” You decide to speak only on his mention of Diluc, since the new information of the land in which he supposedly hails was still processing in your mind. 

Your previous comparison of Diluc to a rock briefly comes to mind at the mention of his stubbornnes. You nearly laugh at the thought, but now is definitely not the time.

“Please, please, make me choose you. Tell me to, order it of me, I don’t care. Just- don’t make me live without my artist. I can’t risk that again; I can’t take being abandoned again.” 

“Artist? Kaeya, what are you talking about?” You felt like you didn’t understand the words coming out of his mouth. 

There was a bout of silence after your question and the air felt heavy. You know Kaeya heard you, but he was reluctant to answer. Odd, considering the word vomit he had already coughed up in the last several minutes since he came into the room. Your hands start to move and lightly rub his shoulders over onto his neck, silently trying to coax him into talking more. 

“I heard what you said to the Traveler.” You almost roll your eyes because that could be literally anything. Does he know how often you get the chance to actually run into them and Paimon? He is just trying to dodge the question and by habit you lightly swat at his head. A silent, ‘okay smartass’ to keep him going in the right direction. He almost scoffs into your lap for that one. “You called me a mosaic.” Oh. “You told the Traveler that ‘Mondstadt’ is my artist; they said the ‘People of Mondstadt’, but only I know who my artist truly is.” His arms around you twitch and you could almost feel a stitch of pain in your side from how long he's been effectively squeezing you. “My artist is you. It’s just you.” 

The room is engulfed in a silence that feels heavy, yet... somehow also relieving. So much time recently had been the both of you dancing around the issues neither of you wanted to confront and all it took was you getting yourself into potentially mortal danger for days on end for the truth to come out. Kaeya knew you were someone important, but he didn’t realize just how heavy your permanent absence would be to him. Just the thought of possibly finding you in those ruins dead made his throat burn and ache like swallowing a ball of thorns. 

“Kaeya.” 

“I’m not lying,” his voice was strained, filled with fear of being labeled someone worthy of nothing. 

“I wasn’t going to say you are,” the hand that had previously tapped his head now rested on his nest of blue hair. The gentle strokes of your palm against his scalp were soothing as he felt your breath move your stomach against his head. “I don't see why you would lie to me right now.”  There was no doubt in your mind that everything that came out of his mouth was the unadulterated truth. You’ve never seen the suave captain bleed such vulnerability before. 

You didn’t say anything else to him after that. You move your hands to his arms, unwinding yourself from them before pulling him pathetically up onto his own bed. Not even bothering to fix your position, you fall back onto the mattress with your feet hanging off the edge and he easily follows you. From the lighting provided from the hall, you notice his eyepatch string had loosened from all his face hiding and you take it upon yourself to tighten it- securing it back where it belongs. Your fingertips linger around its material for but a moment before sliding down to his cheek.

His eye is brimmed with tears that had stained his skin with tracks and swelling. He also wouldn’t make eye contact with you, and you roll your eyes endearingly at his childish whims. With you both laying sideways on the bed, feet and legs hanging and not even a blanket to cover up with, your thumb run over his skin. Kaeya is quick to reach for and latch his grip delicately onto your wrist to keep it there. 

“‘M sorry,” he mutters again, sounding much more shy than he did before now that his face was in view of your gaze. You smile at him, knowing there was a long and meaningful talk in the near future. 

“I know. Go to sleep.” 

“But I-” 

“Artists' orders,'' you chortle. He just scoffs and offers his own eye roll, but his cheek warms under your palm. His eye closes and he let out a deep breath before taking one back in and repeating. 

“Stay until I open my eyes again.” 

“I will.” 

And you did. 

#kaeya x reader #kaeya angst #kaeya fluff #kaeya hurt/comfort #kaeya x y/n #kaeya alberich #genshin impact #genshin impact kaeya #kaeya comfort #kaeya fic #genshin impact fanfic #genshin impact fic

[lyrring]

Do you have any tips for a young artist?

okay GOOD QUESTION so I'm gonna just start typing about some things I wish I had known as a young artist and keep adding to the draft of this answer as I think of things. LOL.

Advice I'm definitely qualified to give young artists:

1) If you are primarily an artist that draws humans or humanoid characters, I need you to internalize this very important fact: There is NO race, shape, type of body, etc. that you are 'unable' to draw. Y'all it is 2023 and Twitter is a cesspool of idiots running around INSISTING that they simply "can't draw black people", "can't color dark skin", or that "black people don't fit into my style."

But you, young artist anon, YOU know better now! Go tell all your friends! Spread the good news! There is no fundamental inability to include diversity in the subjects of your art--there is only unwillingness to learn.

Because that's the thing--a lot of people who say these kinds of silly things will also say that the don't want to 'get it wrong' (I typed and deleted a whole other tangent here. lol). The important thing about approaching diversity in your art is that you are earnestly trying, respectful, and open to being corrected. Hard to go wrong that way! There are tutorials abound--research is your friend!

2) Related: encourage yourself to explore and celebrate variety as you cultivate your unique style. and DON'T SKIMP ON THE FUNDAMENTALS! DO NOT!

I'm going to talk a little bit about what it was like for me when I started "really" drawing at like. 9 or 10. (cont'd.)

I got really into drawing because some friends of mine liked to draw anime in their free time in class. I centered my early drawing life around emulating a style that was strictly anime. Drawing realism or semi-realism seemed so ugly to me! I had no interest in it.

In addition, I came away with a message that harmed my self-esteem greatly, even if I didn't know it at the time: black people don't look good in an anime style. You just can't do it!

So I never tried to. I had a narrow focus, and I was reluctant to explore outside of it. If I'm being honest with myself, I hamstrung myself pretty hard by not being open to exploring a variety of styles. I also thought that the fundamentals of art (principles of lighting, color, shape, and the human figure, etc.) were a waste of time for me to study up on. I knew what I wanted my art to look like--pretty anime pictures! Lol.

All of the above is why I don't think I actually started to get "good" at art until September of 2019, roughly a trillion years after I started to draw. I know that because of those art summary memes, lol. Here, for reference:

tumblr compressed the image to shit, so you'll have to take my word for it, but yeah! lol.

Anyways, the point is this:

You will go through many stylistic phases in your life as an artist. This is normal, and honestly, I'd celebrate it! Be open to any number of unlikely stylistic influences. They may take your artistic sensibilities in a direction you'd never expect. All in service of developing your unique artistic voice.

If you want to be good at what you do, you will need to create a strong base of knowledge for yourself. This is what intentional study of the fundamentals does. Get that shit in your brain while you're young!!! You will be planting the seedling of your artistic prowess in much nicer soil, and future you will thank you for it.

3) Developing artistic skill is NOT A RACE! You will hear this advice a lot, but I'd like to talk about a specific nuance that I think is important.

There are a number of reasons why it would make sense for you to think that it is, in fact, a race. For instance, there are roughly a kajillion other artists in your age range. A lot of them are on social media, cultivating a following. A lot of them will be "better" than you.

Do not get attached to the idea of being a brilliant young artist. You will not be young forever. If your idea of skill is entwined with your identity as a young person, what happens as you get older? I'll tell you: You start to see more and more people who are way more talented than you, and at least five years younger, and it can really really hurt you because you have not been set up for success with the right mindset. Your pride and joy was not being a creator--it was being a young creator.

Being an artist, especially in the age of social media (jesus, i sound so old) is an emotional investment as well as a practical, skill-based one. If you do not take care of yourself emotionally, if you do not approach creating art and posting it online with the right mindset, you will destroy yourself. Worst case, you end up bitter and hating art altogether.

If you are able to remain reasonably detached from social media response in general--great! That bodes well for you. But that's a skill, like anything else, so it's much more likely that the way your art is received on social media will affect you.

If you are very young, say, in your teens, and your art is exemplary, you will probably receive a lot of comments about this! They might be astonished that you, at so young an age, are so advanced in your skill. It is GREAT to be proud of yourself for accomplishing so much at a young age, don't get me wrong. Feels nice! But just like you will be advised not to let mean comments go to your head, you need to be thoughtful about how you receive comments that praise you for your age specifically. You need to be firm in the understanding that your age is not what makes your art exceptional. Your art is exceptional because YOU made it and because YOU honed your skills!

Beyond that, stuff that you probably already know: comparison to your artistic peers can be very encouraging and motivating; conversely, it can also be stressful and lead to unfortunate emotional spirals. You know yourself best--engage with or steer clear of comparison according to your comfort. You're not on your friend's artistic journey. You're on your own one. This is a very cursory thought on the topic of comparison, but I don't think I could offer you anything you don't already know about it, y'know?

4) This one... I'm gonna try to get across a very specific point. My point is this: Know what success looks like to you, and be honest with yourself.

The definition of 'success' may evolve for you as you develop, but I don't think it's ever too early to have a frank conversation with yourself about what it means for you, specifically, to be a successful artist.

Do you want to develop the skill to draw or create a specific idea in particular? Do you want a kajillion followers on instagram? Do you want to build a portfolio that will get you into a specific creative industry? Do you want to cultivate a steady stream of commissioners? Do you just want to relax and get ideas out of your head? And any other infinite goals.

Obviously I'm saying this without placing a value judgement on anyone's definition of artistic success. This is a highly personal sort of thing.

The reason I encourage this is because it can provide additional direction to a young artist, for whom the world is an oyster. Different enduring goals will require slightly different approaches to art as a field. This goal may inform what you draw, what medium you use, your higher education & career plans, where you choose to post your art (if at all), how much effort you must invest in building a brand for yourself, the role of social media in your life as an artist, the kinds of artists you devote energy to being peers with, etc. Hope that makes sense!

Anyways, I hope this advice is helpful. I'm always happy to answer other questions related to this sort of thing. Go forth, young artiste--I believe in you!

#posting without proofreading be nice to me #ask #anon #art advice #artists on tumblr #text

[wishjacked]

Happy #WebcomicDay!! :D

This year we're celebrating the process of making pages... so below the cut I've got a bunch of pictures sharing how I go about making pages of my evil post-apocalyptic workplace sitcom, Cargo!! :D

So! My process!!

Writing-> I think sometimes there's pressure to "write" your comic a certain way, I see people talking about script format and stuff a lot. That really doesn't work for me, though! I write my "first draft" script in short scenes on scrap paper, in whatever order they come to me. Sometimes a scene will just be one or two lines, and then a little description of what I want to happen in the rest of the scene.

Later I type the scene up, and write the "connective tissue" that fits between the disjointed scenes so they all flow together like they ought. I don't do page breaks or even character tag or action notes hahahaha I like it to be as BASIC as POSSIBLE so it's easy to edit. And since I'm the person drawing it I can almost always remember who's supposed to be saying what lmao

I edit a lot, but the most major editing is also probably the last bit... when I letter my pages usually I realize "they would never say that" and so I end up rephrasing everything. My art brain is sometimes waaaaay better at phrasing hahaha. Like you can see in the finished page for this script I rewrote like basically all of it, and actually went back to the original "sketch" script in a lot of places.

Thumbnailing-> my thumbs are really big, I draw them with markers on printer paper and keep them in a binder!! I like to thumb scenes in batches and I also usually write my dialogue on them, just so I can read through them before (and while) I draw to get a feel for how the pacing works. :)

Sketching-> OH sketching is also really hard for me! I don't have a good visual imagination so it's really important for me to make sure I have good references. Last year I was especially focusing on setting.

My comic is set in Florida. I'm lucky in that I used to live there and still go back to visit sometimes, so sometimes I can gather my own reference images! But more often I start on Google Maps or Zillow, trying to find buildings that have interesting features or the right kind of "look" for what I want. I'll also look up other interesting elements, my comic is set in a post-apocalypse and I'll research home gardening and things like that which people would probably have.

For example, in this set in chapter 7, I used Google Maps images, photo references of indoor hydroponic gardening, and like, 90's-00's hacker computer setups haha. Also my BFF Roomstyler.com, where you can make 3d house interiors haha!!

Lineart-> I LOVE lineart it is my favorite!!!! I sketch and ink two pages at a time, and it usually takes somewhere between 10-12 hours to do both steps.

I actually think my art looks best when it's just lineart... but I think my STORY is better with color, like it makes it clearer and easier to read and it has a better atmosphere HAHA.

Colors-> I think it usually takes me 4-6 hours to do 2 pages (I haven't timed myself as consistently as I time my lineart and sketching). I have a big file with small copies of my previous pages that I color drop from, and my characters are all flats only. The limited palette that I use is also really handy, it streamlines coloring a LOT.

Finishing Touches-> aka I steal mercilessly from my one true love, my internet home, the beautiful and blessed Wikimedia Commons

I put lots of overlay layers on my art! I like textures so having some strange little textures or pictures on things makes my art feel a lot more finished to me.

And finally my very most favorite ✨finishing touch✨ is the bright colored/patterned gutters that I use. Here are some of my favorites that I've made and used in the past!

And that's all!! I hope you guys have a very happy Webcomics Day and find lots and lots of wonderful new things to read!!!

#WebcomicDay #Webcomic Day #my art #webcomics #webcomicsday

[brother-emperors]

hiii so. i really really admire you because of the depth of research you put into your art (even as someone who tends to fall down deep research holes i'm in Awe) but also because of the art itself - and i wanted to ask if you had any recommendations for someone who wants to get better at drawing? (books to read, things to do?) especially for figure drawing as you have (to my untrained eye) one of the best balances of style realism and naturalness and in general just overall make some of the best art i've ever seen methinks

this is really high praise, thank you so much!

as for art advice and recommendations for getting better at drawing, I 100% believe in carrying around a sketchbook wherever you go. if the pressure of having nice pages is something that bothers you, get a stack of sticky notes because you can cover up mistakes and re draw over it immediately, and squares of color will add some fun to a page later when you flip through everything.

ideally, I think there's a balance to skill building and having a good time, and I tend to split my own sketchbooks between life drawing (frequently I'll draw windows I think look neat or my morning coffee) and doodling shit for fun. I try out a lot of different styles and draw a lot of nonsense just because it felt like a good time. I do a lot of edward gorey type stuff because the line work process is comfy.

one way to go about doing this is to pick a direction (so to speak) that seems interesting, and build along side it! when I first decided I wanted to take art more seriously, I started looking up pictures of renaissance statues and drawing those. trying to draw those. it took a long time to get my art to look anything like a bernini statue, but I had a lot of fun learning that I really enjoyed drawing hands! comics are another good one, naoki urasawa's work is fucking genius level to me, I regularly revisit monster and do studies off of literally everything he does.

(I also keep a separate sketchbook for figure studies. this is mostly because I really enjoy drawing the human figure, this is very relaxing for me personally: I rotate between doing gesture drawings, contour drawings, and longer anatomy studies)

finally, I have found reading books on art history to be critical in my own process. so much about art history will tell you how to convey a million words into a singular composition. idk how much of that will be of interest or help to you, but I personally found it helpful, especially in understanding how to read things visually, which in turn helped me figure out how I wanted to tackle drawing something

and! two books I've found invaluable for anatomy were george bridgman's constructive anatomy and michael d. mattesi's force: drawing human anatomy, although I might recommend morpho's books above them now, like oh my god morpho is so good.

OH the other thing. this is something I picked up from when I was taking an animation class in art school, but sometimes I'll put on a movie or show I really like and do thumbnail studies of the frames while I watch. there's a lot to learn in a frame! shapes are important. god I love shapes.

#ask tag #thank you again! i hope some of this was helpful!!

[dresshistorynerd]

kinda random question but how do you go about researching? I’ve wanted to get deeper into fashion history than just watching youtube videos, but I don’t really know where to start.

ps. thanks for making such detailed posts. they’re really interesting to read.

Thank you! I'm really glad you've found my posts interesting!

This is great since I've kinda answered this in replies couple of times, but not properly. I very much understand the struggle. Dress history is a relatively new academic field and there's not that much reliable sources available and so so much unreliable sources everywhere. Internet of course has this problem but so does a lot of books too.

I thought this would be a short one and yet, here we are again.

Disclaimer: I'm writing this from a western fashion history perspective, since that's what I know best, but especially reading up on academic research and doing primary source research applies to non-western cultures too, though often it's harder to find sources for non-western fashion.

Getting started

Imo the best place to getting started is to read a book that gives a general timeline of fashion through history. I'm not sure if that's just how my brain works, but it helped me a lot of when going deeper into one period or another to understand the broader context and what roughly came before and what after. However these books are inherently difficult to make well, because there's so much nuance and variation in every period of dress history and if you're writing about the whole timeline through thousands of years and keeping it book length, there will need to be a lot of simplification to the point of inaccuracy. There's many popular fashion history timeline books with illustrations made for the book, but I would avoid those since non-contemporary illustrations often give a distorted image of the fashion, especially when it's about earlier periods in history. I've seen some really inaccurate illustrations depicting Middle Ages and Renaissance especially.

Costume and fashion: a concise history by James Laver - I'd recommend this as the starting point. James Laver was a art historian, an important pioneer of fashion history and curator of Victoria and Albert Museum, which has one of the most extensive costume collections now. The book is therefore based on serious academic study, but being a pioneer means you'll be outdated, when the field is more established, which is partly the case with this book. There's some outdated parts, but the images are primary sources and it does give good historical background. It should be taken as a starting point, not as the end point.

A History of Fashion by J. Anderson Black and Madge Garland - This is another similar book. It's more recent, but it also suffers from some outdated parts. The writers are not academics, but it has more primary source pictures which does help (at least me) understand visually what's being said.

Books

In a given subject I'm researching I usually start with seeing if I can find a reliable book on it or related to it, if I haven't already read much on it. Often what I want to research goes deeper into details than what a book usually does, so it will work as a starting point. As said it can be hard to find these books that are actually reliable, but here's couple of reading lists to help with it.

Here's a reading list by a retired professor of dress history from Helsinki University. It's very extensive and has a wide variety of books and papers listed. There's a bit of leaning towards Finnish sources, but most are in English and about more international western fashion.

Here's a reading list by @clove-pinks, who is excellent and writes a lot about the Romantic period, especially men's fashion here on Tumblr. These are all books that can be read free on Internet Archive, which makes the list even better.

Internet sources

There's a lot of bad sources floating around in the internet, but also some excellent gems. As dress history is such a new field, there's a lot of unexplored spots and lacking research still, but some troopers in the internet have done some great legwork in going through primary sources and gathering them together. These can be excellent especially when trying to research a specific garment, since often these blog posts are by historical costumers, who are detailing their background research in reconstructing a specific garment. It's not always easy to find them, since they might not come up in the first page of the google search, but I often find them through pinterest, where the blogs are linked into the primary source images and images of the reconstructed garments. Though be sure to look with blogs like that with critical eye. The best sign that it's reliable is when each image is given a source.

There's some more general sources too that need to be taken with a grain of salt.

Fashion History Timeline - This is a page with entries to the whole timeline of fashion as well as entries of specific garments. It's very well sourced and has usually pretty good image sources too. I will say though that it often gives a pretty limited description of the period focusing on some specifics, without giving a good overall picture, especially in the Medieval sections. The medieval sections are honestly pretty useless. It's at it's best in 19th century imo (I haven't checked out the entries to 20th century since I rarely research vintage styles, but I'd assume they are pretty good too). But since it has great sourcing it is usually informative. It just shouldn't be relied upon to give full picture of a period.

Wikipedia, History of Western fashion - In some ways this is the opposite of Fashion History Timeline. Wikipedia has articles on each period. The sourcing on these articles is often quite lacking and the information shouldn't be taken at face value. Especially the terms for the garments are often used in these articles in very questionable ways. However what these articles have is pretty good primary source image collections, and what is nice is that in Medieval, Renaissance and Early Modern periods they are often divided into regions, and they often have images of working class clothing, which are for some periods really hard to find. These articles often don't either give a full picture of the period, but in someways the basic picture of the period is easier to grasp from these than from Fashion History Timeline. I use these mostly for the primary source images, and the texts of them should be taken with a bucket of salt.

Academic papers

Going deeper into something will inevitably require reading up on some academic papers. I'm lucky since I get access to a lot of academic publications through my uni, but JSTOR (my beloved) gives free access to 100 papers per month (you'll just have to make an account). Through google scholar you can search for papers on a given subject, or if you don't have access to other publications, you can just use JSTOR's search engine.

Primary sources

If some MVP hasn't already combed through primary sources to gather them on a give subject, you can do that too. It's not necessarily an easy task though. There's thankfully a perfect guide for that.

A Handbook of Costume by Janet Arnold - Janet Arnold was a legendary dress historian, who really defined the modern field. This book details the process of researching dress history and how to analyze primary sources. And it's free on Internet Archives.

I'll give some basics here though.

Extant garment

Most of us who are not academic historians don't have physical access to extant garment, but many museums have nowadays excellent digital archives of their costume collections. Here's a list of the most well known ones. MET and V&A has sometimes great descriptions of the clothing and their history, but not for every item.

MET Costume Institute

Kyoto Costume Institute

LACMA

V&A Costume Collection

Palais Galliera

Extant garments are of course the ideal sources to study, since they are the actual garments and not just representations or descriptions of them. Sometimes the collections even have pictures of the insides of the garments, giving invaluable information about their construction. However, extant garments have limitations for research, since there's a strong survivorship bias. Firstly, they heavily lean on later periods as textiles deteriorate relatively quickly. You won't find extant garments from Middle Ages, at most fragments of them. Secondly, they are mostly clothing of the upper classes. Lower classes used their clothing till they broke down, and even then often salvaged any fabric that could be salvaged for new clothing and other textiles. Upper classes didn't necessarily have to do that, so what survives is usually very expensive formal clothing that people would wear rarely and rather preserve than salvage the fabric from it.

Photography

Since camera was popularized in early Victorian era, you don't get photos before that. Photography is a great source from the times it was available, since yes it's still only representation of the clothing, but there's less artistic interpretation than in paintings and illustrations, though importantly, there still is artistic interpretation. As long as there has been photography, there has been photoediting. They of course used it for creepypasta purposes by editing them holding their own heads and editing ghosts into backgrounds, but also editing their waists smaller. Basically the exact same way photos are still edited. So no, this is not really how small the waist got in Edwardian era, since this is edited.

Another obvious limitation for early photography is that it didn't have colors, so popular colors of a given time period and given styles have to be found through other means. A great thing about photography though was that compared to painting, it was relatively cheap, and therefore a lot of lower class people were able to photograph themselves. We even get people outside in everyday situations not posing.

Photography can be found with search engines like google and pinterest, though they should be always sourced then. You sometimes come across very Victorian looking photos that are actually just modern photos that are well edited. And also it's important to date the photos, which might not be easily with photos just randomly floating in the internet. Libraries and museums sometimes have good digital collections of old photos. For example:

Digital collections of New York Public Library (NYPL) - It has a wide variety of collections including photography, fashion plates and other illustrations. I haven't found a great way to search through the collections, but the best way I've come up with is to search images within the Clothing & Dress topic, put some limiting filters, then click some right looking image and then go to the collection it was from. I bet there's an easier way but I haven't figured it out.

Paintings

A great thing about paintings and statues is that they date basically through whole history of organized civilizations. Paintings are more delicate so even with murals in antiquity, you'll get more surviving status from that time period. But because of the strong artistic interpretation inherent to these art forms, there's some tricky parts to them as sources for historical fashions.

You'll find a lot of paintings by just searching for fashion or paintings of a given period in google and pinterest, but it's sometimes tricky to source them to figure out where and when they were painted. Therefore I often check from Wikipedia a list of artists from a given time and place, and search their paintings from digital archives of museums. It also helps when you choose artists who were specialised in specific type of paintings. What kind of paintings depends on what you're researching and the time period.

Portraits are of course great sources. They depict the actual clothing an actual person wore and if the person was historically important enough you can find out who they were and gain a lot of context for the clothing. However, they are usually all rich people, though not always. Another thing to keep in mind is that sometimes portraits portray the subject in a costume. This became a pretty big trend among nobles in 18th century. They had costume parties and would have their portrait painted with their costume, but also there were trends of costume that were not even worn for parties, but only for having a portrait. Sometimes the painting would be painted like a scene and not like traditional portrait. Van Dyke costume (first picture below) in first half of 18th century paintings is one such example. It referred to mid 17th century fashion that was seen as timeless at the time. Peasant costume (second picture below) is another example of a popular costume for nobles to wear in portraits. Costume balls continued to 19th century, but after the popularization of camera they were mainly photographed. People would continue to dress up in costumes for portraits, but it wasn't as big of a trend as in 18th century.

Genre paintings were a genre of paintings that became popular first in 16th century Low Countries and then In Netherlands/Belgium area during the Dutch Golden Age (from late 16th century and thorough Baroque) and during Baroque's popularity all over Europe. Genre paintings depict normal everyday life of peasants, working class people and the bourgeois. During Baroque they often had elements of idealization, symbolism and even sexualization of the subjects, so they should be taken with a grain of salt, but they do usually depict accurately the clothes the people wore. Rococo era had a lot of these types of everyday scenes about the upper class. During the Romantic era peasants were heavily romanticized in genre paintings, but there was also a lot of genre paintings of bourgeois thorough 19th century that was wasn't as strongly romanticized. These scenes were sometimes also depicted in portrait form. Realism brought another interest into the genre and Realistic genre paintings often focused on the working class. They did the opposite of romanticism though and often exaggerated their subjects to look more wretched.

History paintings depict events and scenes that were for the time historical too. They became very popular in 19th century, when Historism was the dominant in arts, but they have existed long before. There's even some from late Medieval period, and in those earlier history paintings, the historical figures are usually depicted in contemporary clothing and there's no attempt at recreating historical styles. In later periods, especially during 19th century Historism they very much tried to recreate historical styles. This is why it's important to always source paintings. I've too often seen Victorian paintings used as images for Medieval fashions.

Religious paintings have sometimes a bit of the same issue. They were very popular during Medieval and Renaissance eras, and usually the biblical figures would be depicted in contemporary fashions, though not always, sometimes in vaguely "biblical garbs". Religious paintings also have the issue of often being highly symbolic, so sometimes the characters in them are not dressed for the situation, or a character that in the biblical canon very poor is depicted in upper class contemporary fashions.

Illuminated manuscripts

Medieval manuscripts with illustrations are invaluable sources for Medieval fashions. They are usually commissioned by royalty and detail historical narratives, so they mostly depict royalty and nobility, but some illustrated scenes depict commoners too. You often find images of the illustrations floating around in pinterest but they can be hard to source when the source is not linked (which is quite often). The illustrations can be spotted by the quite consistent style (though sometimes they are not from illuminated manuscripts but some other rarer illustrations like playing cards).

A lot of illuminated manuscripts have been digitized and British and French libraries have quite extensive online collections of them which are linked below. The manuscrips in those are mostly English and French of course but there's manuscrips from other places in Europe too, I've seen quite a lot of the German speaking area especially.

The Bibliothèque nationale de France (BnF) The British Library

Fashion plates

Fashion plates became a thing in 1780s, so they are not useful for periods before that. They are basically illustrations that show the latest trends and they were published in fashion magazines. They don't reflect the way everyone dressed, since as they did show the latest high fashion and the people who would be wearing that were mostly young rich fashionable people. However, fashion at the time had a little different meaning than today as it was linked to dress code, and to be respectable you needed to follow fashion. So everyone, even working class people, would follow the new trends to an extent. This is especially true when we get to Victorian era, when mass industrial mass production and the emerging middle class made clothing cheaper and more available to more people. They wouldn't maybe follow every new trend or with every detail and with as much extravaganza or with the most expensive fashionable materials.

While the fashion plates didn't necessarily depict specific existing clothing, they were based on existing clothing and they were often used as guides for dressmakers. Kinda like you might go to a hairdresser with a picture of a famous person's hair or hairdressers sometimes use pictures of famous person's hair to show what they might do. And the people who might not afford something as extravagant as shown in a fashion plate, might still show it as a guide and get a simpler version of it made for them. People of the middle and lower classes especially would also use them as guides to sew themselves fashionable clothing.

Fashion plates are quite easily found on the internet, but as with other things, if you don't go straight to some organized archive, it might be really hard to date them accurately. Many bigger museums and libraries have fashion plates in their online archives, for example NYPL which I mentioned earlier.

MET Fashion Plate Collection - This is a pretty extensive collection.

Regional costume illustrations

When genre paintings became popular, artists didn't necessarily have the change to go and see what peasants wore in the places they were setting their genre paintings in, but because the whole point of them was to depict authentic real life, there was a need for illustrations of regional dress around Europe. And some artists would travel and create costume collections for resource to other artists. These are really invaluable to us today, though they should always be taken with a grain of salt, because sometimes the artists who created these drew dresses for places they never had even been in. For example some of these collections include non-European dress and they should all be probably disregarded as fantasy costumes basically. You can usually assume that the closer the region which dress they depict is to their own place of origin, the more accurate and based on reality it is. It's also good to try and google the artist and see if you can find information of where they actually traveled, because sometimes we know that pretty well.

These collections can also be found in the digitized archives of big museums and libraries, again there's some in NYPL collections.

British Museum's collections by Hippolyte Lacomte from 19th century

A collection from late 16th century on BnF archives

Honorable mentions

There's many other primary sources in different periods that can be helpful, but the ones I've mentioned are the major ones and easiest to access, when you're not doing academic research with institutional resources. I thought I might mention couple of other sources that have become handy to me as examples.

Magazine and news paper ads became wide spread in the Victorian era and from that onward is a great source. They advertise specifically ready-made clothing, so clothing that was much more available to a regular person and therefore can be really helpful to understand what a regular person might wear. I don't know a great source for them though. Many libraries have digitized old papers and magazines so going through fashion magazines is perhaps the best bet, but it's definitely a lot of combing though. Some people have though gathered ads in blogs.

Satiric comics can be surprisingly helpful for researching sort of alternative styles and seeing what trends garnered backlash. For example I've long been obsessed with Aestheticism and the other counter-cultural movements related to it, and there's quite a lot of women's Aesthetic extant garments, photos and paintings available, but very little of men's Aesthetic fashion. But then I found that Punch Magazine (conservative satire magazine) loved mocking the Aesthetes and therefore drew a lot of comics with men in Aesthetic fashion. Caution should be taken though since satiric illustrations do often exaggerate for comedic effect. For example the idea that 1770s ladies made ships out of their massive hair comes from a satiric illustration mocking the large and elaborate hair of the time.

Runaway ads of slaves and indentured servants are bleak, but can be helpful source for the clothing of poor people during 18th century. This is specific to US, but because of the colonialism poor people there would often wear at least similar clothing as those in Europe, especially Britain and France, which had the most colonial presence in that region. The clothes were described in great detail in these ads for identification purposes. These runaway ads can be also found in news papers of the era, many of which are digitized in archives of bigger US libraries, but it's definitely even more combing through. Though again some people have done some of that work already and documented it in blogs.

#answers #history #fashion history #dress history #sources #research #historical research

[pastelcheckereddreams]

Four Seasons Manor (四季山庄): Set Layout, Part Three!

This is the third and final post detailing my set sleuthing adventure, looking for the sets that make up Word of Honor's Siji Manor. If you're stumbling over this post in the wild - hi! I draw architectural drafts of cdrama sets, as accurately to the show as I can. A huge amount of research goes into creating my art, and so far no set location has been as elusive as this one.

Split across two sets - one located in Hengdian World Studio's Spring and Autumn Tang Park, and the other in Hengdian's Huaxia film studio - this post is the final part uncovering the layout of Siji Manor. (And nothing will make sense if you read this post first, go back to part one and part two!!)

A reminder, before we dive right back into the breakdown of my completed birdseye view, that this last part will cover the main courtyard of what I have dubbed the "interior" Siji set, highlighted in red below:

Let's dive in!

project list | kofi | prints

The Main Courtyard

The main hall (6), the largest building in this set, is what I and @minnarr, who shares my brainrot 🙏 and has been a great help in this process, have been calling "Everlasting."

This is because sign over the entrance reads, "萬古長青" (wàn gǔ cháng qīng), which to my layman's knowledge translates as "Everlasting and Evergreen," an idiom that can be extrapolated to mean "forever green throughout the ages," which describes a noble spirit or deep friendship that will last forever, like an eternal Springtime:

In the above screenshots, you can see that Chengling's training area (9) is set up in front of this main hall, and over his head in the third picture, you can just about see the moon window that is a feature of WKX's room.

Importantly, the pavilion (10) just about seen behind Chengling's training area, marks a de facto boundary for this set as it appears in WOH, as the camera angles of these episodes never never stray past it. For a long time - until I began to watch Mysterious Lotus Casebook and Heroes, which handed me the final puzzle pieces to rule out this set as part of the film parks - I thought the entire set must finish just to the right of the pavilion.

That is not so. If I pull up some screenshots from MLC and reintroduce the scant few photographs I've found of the "Mansion Scene" Huaxia set itself from part two, you can see this main courtyard in full:

In these photos and screenshots, we can now see the main courtyard almost in full: the main building with its projecting entrance (I'm unsure if the term portico applies to Asian architecture); the pavillion to its left, standing opposite Building 8 which we will come to in a moment; and Building 11 at the end of what, in MLC, is a central pathway - but that I have interpreted in my own drawing to be a path of scattered stepping stones like the rest of the set, considering the smaller courtyard (5) - as discussed in part two - appears to be taking on the role of a more formal courtyard.

'Everlasting' and 'Gentle Winds'

For a moment, though, I need to draw us back to the main building. This building - Everlasting - is very important as, by vehicle of drama magic, this is where the two Siji sets conflate.

In episode 24 we cut from a shot of the main building in the exterior Siji set, whose sign reads "風輕雲淡" (fēng qīng yún dàn), or "Gentle Winds and Light Clouds," to this interior shot of Everlasting:

And to confirm that this interior shot is Everlasting, or building 6, we return to MLC, where we are treated to an outside-to-inside shot of the build, whose inset floor matches that of WOH's Everlasting building, seen clearest in episode 24, above, and episode 28:

(I do have more screenshots that I may add in later, but right now I'm running out of steam, please just take my word for it. 😂)

Cold River Room

Now, unfortunately I've been unable to place the medicine room, in which ZZS grinds herbs, in what photo resources I have of this film studio. Likewise for the room I've taken to calling the "infirmary" (where WKX takes a healing bath after his confrontation with YBY). Equally as unhelpful, there's simply no discernible exterior details seen from inside these two rooms that I can dig my research claws into and try to identify a placement or orientation for them:

The room they spend their first night at Siji Manor in, however, is a different story. That room - dubbed as the "Cold River Room" by Minna - is Building 8.

This was quite easy to place, thanks to this screenshot of a behind the scenes video (that I've since long lost the link to, unfortunately - if you have a link, I'd be very grateful if you share it with me so that I may add the source). Here, we can see the column inscriptions on Everlasting through the window:

So I can confirm this building to be the room they spend their first night as Siji in, seen here behind Chengling as well as in a MLC screenshot - showing its place across from the pavilion clearly:

The Pond

The last part of the main courtyard - and of this set breakdown overall - is the pond and Building 11:

I had suspected their was some kind of water trough or strip of pond between the seating area (4) and the pavilion (10) for a while, but never had the resources to confirm it. I still can't. However, a film studio's entire purpose is to shapeshift from one design brief to another. Sometimes, there is a pond and sometimes there isn't, as these two images show:

The left image is a photograph from the article about Hengdian's film studios linked above, taken from the seating area (4), while the right image is a screenshot from Heroes episode 13, the camera positioned in front of Building 11. I simply decided that I liked the pond there, so I included it in my Siji layout.

As an aside, in this scene in Heroes, with the camera panning just a bit further right, we get a lovely clear shot of the archway from the formal courtyard (5) to this one:

Finally, we come to Building 11. You'll notice that I called the courtyard of the QHZ snow scene in WOH a "formal" courtyard (5), on account of the clearly defined, linear paving.

However, it doesn't have the large gate of a main courtyard:

This courtyard, the one with Everlasting, does. The winding steppingstones used as paving in the Siji set dressing of this location takes away from the formality of this courtyard that, once you see it in its entirety in shows such as MLC or Heroes, it certainly has. To that point, Building 11 - or rather, structure 11, as may be more appropriate to call it now - is actually a large gateway. This is easiest seen in Heroes, episode 13:

Of course, that doesn't mean we have to designate it as a gateway in the Siji layout. I don't think it's meant to have that identity, based on the above - well, it's not meant to have an identity at all. It's never seen in the show. But, given the Siji set dressing and the resemblance it bears to Building 8, the Cold River Room, I might consider giving it the identity of one of the rooms I've been unable to locate - the infirmary, or the medicine room.

Let me hear your thoughts!

I'd like to hear your suggestions and thoughts on that. On all of it! Because despite all of this research, I am still left with the gargantuan task of drafting it all into a finished piece. And as such, I am still faced with the dilemma I began to outline months ago in part one:

How could I merge these two very different sets together? Should I merge them together?

I have rambled ideas at friends about presenting an architecture draft that is simply reportage - showing both sets, and summarizing the information I've given you all here before making suggestions on how they could combine into "one true set".

But on the other hand, do I draft the Siji I see emerging in the crossover of these two sets - the one I can feel starting to take shape in my brain? And then simply offer this research up as the facts.

There's still a long way to go, but thank you for being here! As always, if you'd like to support my research madness and help fuel my many artistic endeavors, please consider donating to my kofi or checking out my print shop:

project list | kofi | prints

And happy new year! I hope 2024 brings you happiness and opportunity in all that you wish ✨

Part One | Part Two | Part Three

#nikkidraws #四季山庄 #山河令 #four seasons manor #word of honor #shan he ling #shl meta #woh meta #word of honor meta #woh set design #shl set design #set design #yeeting this from me now it's taken two days to do both of these posts at the same time 😭 #i hope this last post makes sense i'm so tiiiiired

[thebleedingwoodland]

Time to release draft I wrote in year 2021. 

Warning: ⚠️Very long post, no hide. Important critical about faulty of The Sims 3 game content directed to EA (Electronic Arts) company. ⚠️ English is not my first language. I cannot input many images/pictures for evidences because the post is already too long, please do research by yourself to find more images/pictures. 

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As an ethnically Chinese, I baffled seeing what EA portraying China/Chinese culture in TS3 World Adventures world Shang Simla. For more than 10 years. It is full of wrong ignorant portrayal, obviously without asking input from actual Chinese people and portraying the world as “China inspired East Asian world with American Chinatown based on what Westerners’ perspective”.

If you are non Chinese, non Asian, please do not believe nonsense what EA made in Shang Simla.   

Using icon of Japan: Torii Gate. 

To be more specific, Itsukushima Shrine. 

There are Great Wall, Chinese Gate, Forbidden City, Temple of Heaven in the game, why didn’t (logically) EA made the icon based on one of the builds? France and Egypt have correct icons with same build in the game, Eiffel Tower and Pyramid. Imagine if Windenburg, TS4 Europe world, has American Liberty Statue as icon, what’s your reaction? 

There is one person already complained about the matter on EA forum, no response from EA themselves. https://answers.ea.com/t5/Technical-Issues-PC/Sims-3-World-Adventures-is-incorrect-and-technically-racist/td-p/3474359

Symbol for China should be: Forbidden City / Great Wall / Pai Fang (牌坊)

Shang Simla residents bowing to other Sims when greeting. Chinese people DO NOT BOW when greeting people, but shake hand as usual. The only Chinese people bowing is when we are in important respectful and formal events, such as showing respect to the dead person in funeral / cemetery and religious events, or any formal apologies by company and services in China and Taiwan. For normal occasions, meeting other people casually, there is no bow in Chinese culture, only Japanese and Koreans who bow. I guess EA added the “bow” culture to make Shang Simla more “exotic” and more “Asian”, as Al Simhara and Champs Les Sims have local gesture greeting. 

Fortune Cookies. There is no such thing as Fortune Cookies in Chinese culture. Fortune Cookies are cookies originated from Japan, spread to USA country, popularized by Japanese immigrants to Chinese restaurant in USA.  “China” world? More like American Chinatown, located in USA.  It is not first EA did that mistake in TS3, In TS4, EA added Fortune Cookies symbol in street food vendor for Chinese food stall. 

https://www.ripleys.com/weird-news/fortune-cookies-2/

https://en.wikipedia.org/wiki/Fortune_cookie

Accurate historical Chinese food / dessert  = Mooncake (in Autumn) or Zongzi (in Summer).

Mooncake, TS3 CC made by LunaYue

Left: Zongzi from Southern part of China, TS3 CC made by me, right: Zongzi from Northern part of China, TS4 CC made by Rex. 

There is Korean household in Shang Simla. Ho Sung Kim, Hui Young Kim, Sun Young Kim Why did EA added Korean Sims in “China” country? As if EA wants to mix up China setting, Japan icon & bowing culture, Korean Sims as one “exotic” East Asian country. Why called it China (literally in-game) if EA added fusion with Japanese and Korean elements? 

“Asian trait” for Shang Simla residents, instead of “Chinese trait”. Did EA know Asian is continent, not only one country? Which consists many countries? https://en.wikipedia.org/wiki/List_of_Asian_countries_by_area  China only cannot represent Asian continent. Southeast Asian countries and other regions of Asia do not use chopsticks when eating. Southeast Asia uses spoon & fork and hand. South Asia uses hand. 

Houses in Shang Simla are very exaggerated Ancient China palace style, so silly and hilarious. According to EA, Chinese resident house must look like stereotypical exotic curved palace like portrayed in movies. 

While ordinary Chinese residents (in villages) are like THESE . 

Square boxy, normal looking roof. Curved palace looking like what you saw is for kingdom in high position in ancient dynasty time, not for poor or ordinary peasant citizens. If you see that kind of curved building in modern time, is for community lots and as tourist attraction. Not for ordinary residential houses. I envy for Al Simhara and Champs Les Sims, they at least have better portrayal of Egypt and France in modern setting, but in villages. Their Sims residents do not live in tacky Versailles mansion- like house or Pyramid-like building. 

There’s one dish called Egg Rolls, which is actually called Spring Rolls in Chinese & Asian countries. The dish placed together with noodles in one plate, which looks very weird and gross 🤢 , it’s like putting burger and spaghetti in one plate. 

Chinese and other Southeast Asian countries place and eat Spring Rolls in one plate, as a individual meal or snack, not place it together with another main course meal. Like THIS. 

I suspect the culture of American people putting all food in one plate in “Americanized Chinese food” buffet restaurant.

Small issue but a bit annoyance: Shang Simla wives have the same last name with their husbands. While actually in Chinese culture, married women still keep their birth last name, not following their husband’s last name. What I know, western culture forces married women to change their last name same as their husband‘s last name. As TS3 game has feature of separating last name and household name, better make more sense to make the husband and wife of Shang Simla residents having different last name. 

EA confused “modern setting but taking place in village” with “ancient time”.  “Shang Simla, China is home to people that value discipline, peace, and clarity of mind over all else...”  . The description is very stereotype Hong Kong Kung Fu movie (Jackie Chan, Bruce Lee, Jet Li, etc) taking place in ancient time. Real Chinese culture value family, fortune, culture, food over all else. “Discipline, peace, clarity of mind”...? Must be “fantasy” made by westerners thinking China is still stuck in ancient dynasty time practicing martial arts with martial arts-like “discipline” rules like depicted in fictional movies. EA must be confuse “Quietness, peaceful society” to Japan. Chinese people culture in general is very extroverted, loud, and noisy. Champs Les Sims and Al Simhara obviously taking place in modern but in village. “ Champs Les Sims, France offers the cultural elite some of the finer things in life. Sims can learn the fine culinary art of nectar making, or flash over with a camera to learn the Photography Skill.” Sounds normal and applicable in modern time. Local Champs Les Sims do not dress like in ancient European Medieval or France Revolution era.  Local Al Simhara wearing conservative long dress with head cover as Muslim society, not ancient Egypt Pharaoh-like clothing. 

Very stereotype view about Chinese by westerners: Kung Fu. TS3 Martial Arts in-game are not comparable to real Chinese Martial Arts, definitely not all. It’s just a made up cartoony fighting of generic punch, kick, parry for E rating game / suitable for children by EA, mix up with Japanese Karate (breaking block). If you want to see better portrayal of Chinese Martial Arts for Teen Rating game, go play fighting game like Tekken. (Nah, that’s fighting game. For real life wushu you can see example like THIS or many more on internet. I’m not interested in Chinese Martial Arts.) --- You know the most realistic ethnic Chinese people’s activities? KARAOKE & GAMBLING !  😂 Also, “fighting” to pay the restaurant bill first.   

Whoever making this chopsticks animation is violating the most basic principle of 3D animation : Doesn’t look at the real life reference. TS3 has the worst eating using chopsticks animation compared to TS2 and TS4. You cannot hold food with chopsticks in real life like this, it’s just lazy animating. 

How to Hold Chopsticks (in English language) 

(Do not use “It’s too difficult, it’s foreign culture!” as an excuse. Asian food is already globalized and famous in western countries. I know you westerners have experienced holding chopsticks to eat Chinese/Japanese food in your country. If you do the 3D animation job, do it professionally, regardless the difficulty!). Left-handed is very uncommon in Asian countries, and many Asian and Middle East countries with significant Muslim population sees left hand is “dirty hand”, right hand is “good hand” , including Egypt, which is Al Simhara, fictional country EA portrayed in-game. EA must be careful at portraying culture outside than American. Majority people in this world using right hand, not left hand. TS2 and TS4 right: Using right hand, why TS3 suddenly switched to left hand? 

English version of the game is much more hilarious: 

In English version, Shang Simla signature dish named “Stir-Fry”.  “Stir-Fry” is cooking technique, not name of the dish. Is like naming boiled egg as “Boiled” and Fried rice as “Fried”. Why didn’t the dish named “Stir-Fried Chicken/Pork/Beef” or “Stir-Fried Vegetable” or “Stir-Fried Noodles” to make more sense?  Furthermore, the 3D food object themselves is bad. Sorry to say, what EA’s made is very laughable and doesn’t deserve to be called “Chinese Dish”. 

Chinese food always combine all stir-fried ingredients into one in one plate! Not separated like North and South Korea! As a real life designer, I notice that EA employee pick wrong yellow colour for noodles-like texture, random western leaf decoration, separated (?) into two. Real stir-fried noodles looks like THESE.

Appetizing yellow, vibrant colour, fresh, combining all types of ingredients into one. My guess is because American Chinese buffet again as the responsible why the “Chinese” food in American country look like what EA portrayed  🤢 To be honest, I am disappointed why the signature food of the in-game country must be ordinary home-cooked food cooked for 10 minutes, not something exquisite, restaurant/chef-made such as Peking Duck? Peking Duck is national dish of China. When I was in vacation trip in Guilin, China, I always served with Peking Duck in all restaurant I visited. Must be because American Chinese buffet again that serves Americanized style Stir-Fried food as popular “Chinese” food known for American people.  

In TS3 WA EP English version, Spring Roll is named as “Egg rolls”. In Asian countries, not just China, Spring Rolls （春捲）are THESE. You westerners are mistaken Spring Rolls with “Egg Rolls” name, then you wondered why “Egg Rolls” made without eggs  😂 . Egg rolls （蛋捲 ）are THESE. Made from eggs. Biscuit and crunchy. In TS3 WA EP Traditional Chinese version, the dish is correctly named 春捲 . I researched about Spring Rolls in English language, it seems like U.S.A like / obsessed about Spring Rolls as Chinese food. Probably because Spring Rolls often served in Chinese restaurant in U.S.A? If EA wanted to create accurate signature dish of China, it must be: 1) Peking Duck  2) Noodles / Rice Porridge / Century Egg / Braised Pork Belly / Hot Pot . Not Dim Sum because Dim Sum already in Base Game. 

Shang Simla resident names in English version are confusing, mix up Last name as first name, first name as last name, there is parody of real life famous Chinese person, there are made up names such as Adaeze, Bebe,  Louie (??) How could these names fit to China world at all? 

If EA cannot portray specific country decently, don’t ever dare to call the fictional world as the real life ones.... If the result is disastrous like this, better to call it just Shang Simla, do not call it China. What EA portray is not China, but “East Asian inspired world mixed with American Chinatown in western view”.  

How could EA, a big corporation, biggest video game developer, with big budget, did not hire someone expert to do research about the culture they portrayed first? Was there no internet connection in EA studio? Didn’t they at least has Chinese descent employee in their office? California has many Asian descent include Chinese.  EA has headquarters in Beijing and Shanghai.... EA market this game to other Chinese countries (not just China) such as Taiwan and Hongkong, hiring Traditional Chinese translator to translate the game, also there are many ethnic Chinese and other Asians who play the Sims game, of course we can recognize the inaccuracies very easily. 

This is another example of westerners making profit from product sales portraying Asians without doing research, without consulting to the actual Asians people at all. Look how mess Disney’s Mulan (2020) movie is. Every Chinese descent and actual China people hate it for ignorant portrayal and inaccuracies by western moviemakers without doing research at all, also bad story plot, suddenly fantasy mixed with random Chinese element wuxia/xianxia stereotype that looks cringy parody, wrong phoenix (western/Egypt phoenix, not Chinese FengHuang), Chinese letters on sword looks like bad/awkward Chinese tattoo by westerners. I have real life sibling still hating and complaining everytime Mulan 2020 was mentioned 😂. Western Simmers from USA, Europe keep taking screenshots of Shang Simla, saying Shang Simla is beautiful.... You westerners call Shang Simla beautiful because you don’t know Chinese culture at all, you only see the landscape and don’t see how awful the culture portrayal of EA made in that world.  

Now I want to know how bad the portrayal EA made for Champs Les Sims as France world and Al Simhara as Egypt world.... I can see Al Simhara is too stereotyped as “Indiana Jones raiding tomb adventure” site. I see there are many French Simblrs.. please post and elaborate if you find any inaccuracies  😁

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Arguments: 

- It’s just a game: 

Whoever complain like this must be casual gamers who only playing The Sims as Barbie dressing simulator or Candy Crush mobile game and do not have experience of playing real video game titles. EA is one of biggest video game company with big budget releasing AAA video game titles to make profit, similar to Disney. They’re not free CC creators. Whoever create game placing expensive price tag with very big budget for making big profit from international players  must be responsible to create product with quality and effort, including consulting & do research to local people & culture to depict culture outside their default culture (American). I bet you Americans and Europeans complain if you find inaccuracies or any stupid fatal mistake depicting your own country and culture. It’s not just cultural inaccuracies, there are many bug, glitch, cheaply-made, bad animations, missing features or any factors are not deserved in The Sims game that supposedly AAA expensive game titles.

- The Sims is marketed heavily for U.S.A. and European countries to appeal U.S.A. and European players: 

Video games, any titles, any genre, is marketed to international people, not just western countries only. The Sims is translated to Chinese language, sold in China, Taiwan, Hong Kong, and any other Asian countries. If EA marketed heavily for western countries only, why are EA hiring Chinese translator then sell their games into those countries? Hiring translator + shipping + marketing to other countries have costs too.  

- But we westerners are accustomed/used to Fortune Cookies as they are cookies that usually available in Chinese restaurants! 

“Chinese” restaurant? Ha ha ha. That is Americanized Chinese restaurant. Every Chinese restaurant in every country changed to suit local people’s taste, so no longer authentic. In my country, Chinese restaurant provides not authentic and hybrid to local cuisine in my country too. Please broaden your knowledge, google Fortune Cookies for 1 minute and it says originated from USA. Furthermore, Shang Simla is located in China in-game by EA, it is supposed to depict China, not Chinatown in western country. It is unprofessional/laziness from EA by not researching or consulting to actual Chinese people (I repeat: They’re big company, not free CC creators). No need to use World Adventures EP to provide Fortune Cookies, just release in Base game or Store content separately. Because using World Adventures EP to introduce in the Shang Simla, China world, it makes as if Fortune Cookies belongs to Chinese culture / China, while actually it’s foreign/alien cookies for us ethnic Chinese. 

- The Sims 3 World Adventures is focused heavily on adventure, explorations, and martial arts. It’s family-oriented / cartoony game / parody of life anyway. 

I know that The Sims game is parody of American suburb life. Countries often depict other countries with stereotype. Focusing on martial arts because China/ Chinese culture is often depicted by foreigners as Martial Arts because Hong Kong / Chinese martial arts movies taking place in ancient time is very popular internationally, no wonder Chinese culture is stereotyped with martial arts. But this inaccuracies or any stupid fatal mistake is supposed to be not happening if the employees whoever create the game do research carefully. Mistaking Chinese symbol with Japanese symbol? Seriously?   

How about American country world has Eiffel Tower or Pisa Tower as symbol icon? France world has American Liberty statue as symbol icon? Croissant and spaghettis placed on the same plate? Croissant has shape and colour resembles to poop? France world has Pizza and French Fries depicted as French culinary specialty in that world? Champs Les Sims, France world has German household and Italian and Spanish elements, local Sims trait has “European trait” instead of French trait? France world has stereotype castle-like or Versailles-like house build? France world has stereotype ancient French revolution clothing complete with fork sticks and fire torch, with depiction of the world like “Seeking for equality and fairness, [reference to French Revolution]” ancient stereotype for the world that supposed to be placed in modern setting in village?  You want to depict adventure and exploration culture, but with this kind of depiction, I bet actual French people will not feel comfortable, and other westerners from USA or any other western countries will recognize the stupidity and inaccuracies easily. 

- EA will not make super realistic depiction of world like its real life country. China in TS3 World Adventures is supposedly focus on exploration/adventure not miniature real life China and realistic society with karaoke, gambling, and focus on family. 

Yeah, I know. I didn’t expect EA, The Sims game developer from USA will include karaoke and gambling or any super realistic for cultural world depiction, it must be something famous and stereotype from the country. Champs Les Sims world has the most normal description:  “...offers the cultural elite some of the finer things in life. Sims can learn the fine culinary art of nectar making, or flash over with a camera to learn the Photography Skill.”  Shang Simla: “...value discipline, peace, and clarity of mind ...” sounds very exaggerated too heavily focused on martial arts in ancient time in fictional movies and confused with Japanese Zen Garden or Chinese Spa/Meditation by Americans. Better description if Shang Simla is “...offer the cultural experience, culinary, and successful exploration will be granted with good fortune. Sims can learn Martial Arts skill...” Strong points of China (and Chinese culture) is the culture and food. Martial Arts is supposedly a bonus, not the prime feature. If Champs Les Sims has nectar making, these prime features of Shang Simla that fits for the game: 

Making noodles. Noodles are the most oldest food invention in history, recorded 4.000 years ago in China, becomes important meal in Chinese culture. Imagine the cartoony/goofy animations when Sims crafting noodles then fail with funny expression. Very fitting to the game. 

Or making dumplings. 

Calligraphy

Majiang (Mahjong) technically gambling. EA had made playing cards table for TS2, just re-use the cards game table coding. 

LION DANCE video 

Giving simoleons in Hong Bao (Red Envelope) to Lion Dance, then Sims will be granted with ‘Good Luck Charm’ or ‘Good Mood Moodlet’. Lion Dance has cartoony moves, jumping from one pole to another, so it’s very fitting to The Sims game. 

Not the Fortune Cookies in-game. Fortune Cookies is American, so it’s useless, doesn’t provide any functional and wasting potential for The Sims 3 World Adventure EP to represent real culture.

It’s unfortunate that Americans or western people in general seem to think Chinese culture is “Kung Fu - Dragon - Kung Fu - Dragon - Exotic palace looking building from the East - qipao / cheongsam - Americanized/westernised Chinese food.” only. 

-But they are American company!!111!! As a company from different country/culture they could be at least cannot represent other cultures 100% accurately!  Shang Simla is fictional world!!1!! 

Whoever complain like this must be casual gamers who only playing The Sims as Barbie dressing simulator or Candy Crush mobile game and do not have experience of playing real video game titles. 😂

There are Lion Dance and Hong Bao (Red Envelope) as Lunar New Year update in The Sims Freeplay in year 2015. Yeah authentic representation 😁 , by The Sims Freeplay mobile division team, different team than EA The Sims 3, made exclusively for players from Asia. 

Whoever game developer team behind it had done great job: did research and obviously had consultation to actual Chinese people. (I mean, how many average American/western people in general aware of Lion Dance and Hong Bao?)

No need for EA team to travel far away to China to survey, just do deep research on internet and asking someone working in EA ethnically Chinese. Costs $0 for them. There are a lot of authentic real culture that will give more unique, fresh idea, great input into the game if only the game developer team willing to spend their time and effort to do research.

 I applause the authentic representation but too bad it’s in mobile game. 

https://www.techinasia.com/sims-freeplay-cny-update

Other games? Sleeping Dogs. 

Developer from Canada, Publisher from Japan, the team behind them seems to don’t have Hong Kong and Chinese ethnic, but they did great job at representing fictional Hong Kong setting looks like actual real life Hong Kong. 

https://store.steampowered.com/app/307690/Sleeping_Dogs_Definitive_Edition/

I’m not from Hong Kong, but definitely feels the Southern Chinese culture vibe. Authentic street food, noisy people, pedestrians eating noodles with styrofoam package in street, night market, shrine to pray, Chinese festival, Lion Dance, Jiangshi (Chinese hopping vampire), realistic street fighting (not Kung Fu), game price is more cheaper than The Sims 3, definitely they didn’t make stupidity such as mistaking Chinese icon symbol with Japanese icon symbol and including Fortune Cookies. (My Sleeping Dogs save game file is corrupt, you can take a look at Youtube videos).  

The Sims is the only proper game with genre of life simulator on the market, but disappointingly, the developer of the game do not take the quality of the game very seriously about dining. I often see many action games, fighting games, other genres portraying authentic food, how to dining properly with right utensils, right hand, although they are not life simulator genre. The Sims? The genre of life simulator? Eat with left hand, eating animation still like a cartoony greedy pig, do not use fork and knife elegantly but instead using only fork with stiff animation, wrong chopsticks hand position, not authentic food, food only represented in one plate = one meal = for one person which is lazy coding & no innovation. In real life, one person put many meals on dining table to pick and choose to put on that person’s main plate/bowl, not just eat on one plate only. 

-Why are you complain so much? Show some respect to EA’s employees!

I’m real life employee who have been working as 3D Artist & Animator for video games and movies companies for years. No need to be employee for this kind of industry, as a customer who had paid the product must be feeling disappointment and anger if the product you buy is broken, not working, faulty, and after service is bad. Not the employees’ fault, not at all, the fault must be upper management of company, who demand income as fast as possible, hiring few low-skill workers to cut production cost as possible to force them to create many assets in-products as many as possible in short deadline, not doing research, not brainstorming the ideas and resources well because the company do not have good communication and time management or probably do not have much fund to pay research, then release product immediately although the product is not finished/developed well. My guess is that upper management in EA doesn’t care quality of The Sims game itself, as the game is seen as “Children’s Toys”, marketing for teenage girls / majority women, so the company doesn’t take it seriously, contrast to EA’s sports game titles, Battlefield, Star Wars’  Battlefront, or any titles marketed strongly for teenage guys / men. 

Look at complaint at someone who’s saying Shang Simla icon is wrong, is Japan’s Torii Gate. No response from EA at all. Very unprofessional, while the fault is the company itself.

EA Sims 3 division, if you couldn’t do the research, give the world to ethnically Chinese, to be remade by actual Chinese employees (I know it’s impossible, The Sims 3 is ended, already 12 years old). Seriously. Clearly EA has money, power, headquarter in Shanghai and Beijing.. It would be much better, authentic portrayal, than ignorant stupid wrong portrayal that seems to make fun of Chinese culture in bad way and misleading to western/international players. I’m only Chinese descent, dislike portrayal of Shang Simla world, let alone Chinese Simmers live in China, Taiwan, and Hong Kong.   

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#shang simla? more like shang shitla #worst chinese culture depiction i've ever seen #ts3 #the sims 3 #shang simla #EA #innacuracies #chinese #china #champs les sims #al simhara #ts3 world adventures #the sims 3 world adventures #mulan 2020 #disaster #video game #pc game #chinese culture #EA the sims 3 team I will find you and stab you with my chopsticks for horrible chinese culture depiction #chinese sims #asian culture #asian sims #opinion

[lady-of-imladris]

How to recognize AI "Art"

A post I have wanted to make for a long time because I think it's important to know! Please mind that this is not 100% accurate and I am by no means an expert on AI art. My knowledge on the topic comes from a semester of research on the development of AI art and how it has improved over the years. I wrote a pretty intense paper on it (I got an A on this!) and I am now using this knowledge to help identify AI art.

I often ask myself "did an actual person make this art or did they just generate it?" because I WANT TO SUPPORT ARTISTS WITH A REBLOG BUT AI "ART" IS NOT ART!!!!

Image description and tags, other posts by the same user If there is no image description by OP, that's usually a bit sketchy. Also read tags other people have added in their reblogs! And look at other posts from the same user!

Features blending In an image where a person is wearing glasses, do they maybe merge into the skin a bit? (see Image 9)

Circular artefacts TBH I forgot why they happen but one paper I studied discussed ways to remove them because they are an obvious giveaway that an image is artificial (see Image 10)

Image 1: Circular Artifacts [1]

4. Problems with text or other "logical composition stuff" (sorry I'm bad at words) AI is bad at generating text! It looks like words, but it makes no sense. In Image 3, where does the cat's paw come from? (Also note here that DALL-E puts those coloured squares in the bottom right corner).

Take a closer look at the hands of the women in the image on the bottom right. How many are there? Hands are also a good indicator!

Image 2 [2], Image 3 [3]

Image 4 [4], Image 5 [5]

5. mismatched earrings/eyes... ("long range dependencies") Human faces are symmetric, we (usually) have two eyes, two ears... That's a problem for AI. Earrings and eyecolours usually have to match. Either side may look perfectly fine, but when you look at is as a whole, it does not always work.

6. seems "too smooth"? I've noticed a lack of texture. Brushstrokes are missing, everything seems just a little flat. There are definitely generative models that can emulate brush strokes, but watch out for backgrounds. They sometimes give it away!

7. read this article for a lot of additional information!

8. something I found in this article that is not mentioned: the harsh contrast I have taken the below pictures from that article, and you can see some very "harsh" areas around the irises in the pictures with the eyes, or around the kids

Image 6, 7, 8 [6, 7, 8]

In the two images below, I have just marked some areas that seem off and I will briefly discuss why:

Image 9, Image 10 [9, 10]

Left (Image 9): In Halbrand's hair, there seems to be part of a crown or some other adornment, but it's not quite there. You can also see the general "smoothness" in this image. Another suspicious looking area is Galadriel's neck. Between their faces, you can see the mountain range in the background continue, but it stops exactly where the strand of hair is. On the right side of the image, there are some bright spots on the rocks that also look a bit weird.

Right (Image 10): I have marked some spots that I think look a bit like circular artifacts (that have probably already been "treated" by the generative model). On the bottom left side I have circled this jar? vase? Whatever. You can see that the lid and the rest of the object don't align.

Once again: DISCLAIMER - I could be wrong! This is really hard because the generative models get better.

Sources:

[1] D. Stap, M. Bleeker, S. Ibrahimi, and M. ter Hoeve. Conditional image generation and manipulation for user-specified content. arXiv preprint arXiv:2005.04909, 2020.

[2] A. Ramesh, P. Dhariwal, A. Nichol, C. Chu, and M. Chen. Hierarchical text-conditional image generation with clip latents. arXiv preprint arXiv:2204.06125, 2022.

[3, 4] Generated by me using DALL-E for research purposes.

[5, 6, 7, 8] from this article, accessed on August 15 2023

[9, 10] posted by Tumblr user @ fandomfatale, accessed on August 15 2023

#ai art #anti ai art #anti ai #psa

[mustbemosstaken]

I know this has been said before but the people bringing it up in the art stream has put it back in my brain (Also please keep in mind this is very /lh and just my opinion based on how I interpret the story of Fable SMP as a viewer):

Y’all don’t want a Rae villain arc, you want an arc where Heyhay can play a villain. A villain arc for Rae would go against literally all of the character development that has been established for Rae.

And you can’t even have the argument of like “oh well the angst of if he’s corrupted and then comes back later to see how he hurt people” because WE HAD THAT. WE HAD LIKE A WHOLE ARC OF THAT WITH THE WARDEN.

Even outside of the Warden, you’ve got that whole Among Us AU where we get to see Rae being evil?? We have villain Rae guys what more do you want?!? Villain!Rae is a fun idea for an AU, but narrative wise it does not work in canon at all-

I agree that Heyhay would play a great villain, and would probably find a way to make Villain!Rae really compelling. But Rae has been built up in such a way that to have him suddenly “go on a villain arc” would just like,,, wreck any of his previously established arcs?? At least from my interpretation of Fable so far, the overall arc with Rae as a character, regardless of gods or anything like that, has always been about a man coming to love himself through learning to love other people, and through that, a lonely man finding a family. S1 Rae at the very beginning is a lonely, broken man with no regard for himself or those around him, driven purely by research, who is forced to take a mentoring, and then pseudo-leadership position, and forced to care for and eventually come to love the people around him, who he now views as his family. A family he never got to have beforehand.

That’s why the relationship with c!Jamie is so important to Rae in canon. Jamie is the first person where Rae really had to step up and be there for someone else. Thats why he cares so much about c!Athena, because Rae really had to find it within himself to save them and be there for them. That’s why Banner Fam, or the Breakfast Squad, or even eventually Broters means so much to Rae because he didn’t have that family when we started the story. To have him go on a villain arc and hurt the people around him would narratively break all of that. It would pull apart all of those relationships at the very foundations, and it would be really hard to repair them from a storytelling perspective.

The only way I could see it being done is if Rae was to go “evil” to protect the people he cares about, but as long as those characters are still in the picture they’re the kind of people who wouldn’t let Rae do that to himself. Hell, the man had a full breakdown because he punched his best friend one time, you think he’s gonna murder someone or something?

And like,,, it’s not even like we don’t get to see snippets of these things in canon. We get to see elements of Rae losing himself to anger and desperation in order protect others. We get it when he replaces his eye in S2 and he goes all mad scientists, or when he yells at Ulysses in S3 because he genuinely believes he needs to step up because this man is a threat to his family. Hell, we even see the angst of “his family thinks Rae is evil and is scared of him” because THATS LIKE MOST OF C!JAMIES ARC IN EARLY S2???

Season 2 really is a treasure trove of theoretically “villainous Rae” content. His betrayal of Aax’s trust with the eye surgery, the Jamie memory arc where they do view Rae as evil, delving into more and more dangerous and morally questionable Telchin medicine to help c!Athena, and then the entirety of the Warden arc where he’s actively hurting those around him and taken over by an evil goddess, like it’s all there. We have that guys!?!

This ended up way longer than I thought it would lol, but I don’t know, I just constantly see people in the fandom and in HeyHay13’s twitch chat being like “oooh villain Rae we desperately need villain Rae in canon” and I just personally don’t get the appeal from a storytelling perspective. Maybe I’m just too caught up in wanting characters to be happy lol. Let my poor little meow meow have peace and love his boyfriends and not have to be evil again.

Anyway, uh… TLDR Mosstaken doesn’t like villain!Rae except for when he does I guess lmao /j

#fable smp #fablesmp #rae morningstar #honestly like I’m sure if a villain arc could work narratively it would be really cool I just don’t get the appeal of it based on past lore #someday I’m just gonna write a dissertation on the themes of Fable apparently #these always end up being so long- #fable smp c!Jamie

[kleefkruid]

It is interesting to observe classic tattoo flash sheets from my academic background though, because since tattooing wasn't considered a real art form for a long time (and we can talk about if it is today) most of the preservation of American traditional (the 'sailor' tattoo's that are at the base of all Western tattoo styles) was done by friends and protegés of the original artwork, and therefore wasn't always preserved properly to say the least.

For instance with Sailor Jerry, one of the grandfathers of modern tattooing whos designs are still used and adapted, al lot of them are now publicly accessible after someone compiled them into a book after he found a bunch of photo's and polaroids of the original designs at a studio, and the guy who made the pictures did so at another studio, where one of the artists just happened to had the original pieces handed down to him, and they were stored 'in a box on the fridge.' A very important historical resource saved only by a string of people going "neat, I'm keeping that around." (A scenario that is very familliar to anyone who cares about any art form overlooked by the art world, like embroidery patterns surviving in a random attic.)

But these storage methods, the age and the fact that it isn't researched troughly, raises some questions with me:

Are the colors we associate with traditional tattooing accurate or is this how the pigment faded over time?

light yellow is used a lot in flash sheet backgrounds to make the designs pop, but to which point did the original artists use this, when we need to consider that 1) varnish yellows over time 2) there was plenty of smoking in these spaces, which yellows the interior 3) paper tends to yellow on it's own

I'm sure someone has already looked into this properly, but good luck to me finding this lmao.

#tattooing #flash tattoo #traditional tattoo #my work #I recently read the foreword of the book that compiles the sailor jerry designs so that's the source for that

[sincerely-sofie]

Have you ever wanted to draw something but you fought due to your skill level at the time you decide not to do it

Ohhh man. I’ve got so many projects that I want to make but haven’t because I view my current skill set as lacking— and they’re almost always drawing related, because I’m very insecure about my drawing skills— even moreso than my writing skills. To go on a tangent and paint a picture of how severe this visual art insecurity is, I will list off how many people I have directly permitted to read my major written pieces once I passed my mid-teens:

My older sister, because she was my co-writer for the project and not letting her read my work wasn’t an option

My mother on one occasion

My aunt, who has experience with writing and publishing, and I have only ever sent two pieces to

Look at that number of people. The number of pieces I shared with them, in total, was four out of the hundreds of projects I’ve made over the years. I was so precious about my writing because I’m insecure about it. I’m even more insecure about my art. I couldn’t list off all the drawing projects I hesitate to make because I think it’s impossible with my current skill level, not even in a thousand years, but I’ll give a few examples that are always in the back of my mind lately.

A semi-animated pilot to a fantasy-comedy cartoon parodying The Office, starring a goblin secretary who’s trying to assassinate her employer and take over as the final boss of an RPG-esque dungeon that operates like an office building, while her employer is a lich who misinterprets all her efforts to kill him as her being flirty, leading him to develop a very severe crush on the goblin. The project is titled “Boss Fight”, and I have all the resources I need to make it, but I drag my feet because of my art insecurity… also I would be doing all the voice acting myself, and I don’t find my voice very appealing even when I change it to fit different characters.

A webcomic about a fantasy world populated by bipedal bug people that features a very brief “save the world” plot, then focuses the rest of the storyline on how the characters recover from the events of their backstories and the trauma the experienced while saving the world. It’s titled “The Creeping Chronicles”, and I love the project but am so insecure about being able to do the story justice with my art skills that I’ve tentatively pivoted to making it a book series instead. It’s got 21k+ words across 10-ish chapters because I’m too insecure about my art to draw it fully.

A slice of life comic titled “Welcome to Wayside” that’s basically Gravity Falls meets Stardew Valley where a young girl saves a cryptid’s life and now he’s stuck helping her until he repays the life debt he owes. The story features a vaguely men in black-style evil secret agency called G.L.O.O.M. (Gents for Ludicrous Oddity Organization and Management) who have various ranks are named after facets of fashion (khakis are their grunt labor and pocket squares are researchers) and they use a threat-ranking system based on dress codes (i.e. “WE HAVE A BLACK TIE DOWN ON SOUTH STREET, REPEAT: BLACK TIE DOWN ON SOUTH STREET”), and I adored G.L.O.O.M. along with the cast of characters featured in the story, but I don’t feel confident in my ability to design interesting-looking original cryptids.

I could leave this post at that, but I’ve got an important thing to say on this subject—

If you want to make something but are hesitating to because your skill levels are lackluster, make it anyways.

Doubt kills more dreams than failure ever can. Let yourself make the thing, and let yourself make the thing badly. Love it and how ugly it is. The perspective is all askew in this part, and that character is horribly off model there, and isn’t it all amazing? You made that! You made a thing! And you wouldn’t have this thing that you made if you waited until the conditions were perfect to make it and refused to create the thing before your skills were sufficient.

There’s this terrible thing about creative projects— one that is very noticeable in drawing projects especially, in my experience. As your artistic skills develop, your artistic vision also develops to become more and more detailed and masterful… and it’s always going to be outside of your grasp. If you wait until you’re ready to make the thing, you will never make the thing, because you’ll never feel ready no matter how much you build your skills. But if you make the thing before you feel totally prepared, you’ll learn and grow artistically as well as personally, and will be able to feel more confident in future thing-making efforts.

#creativity tips with sofie #(kinda) #(not an official installment to the series but it fits into things well enough to include it in the tag) #sofie answers asks #creativity tips #creativity tip #creativity advice #art tips #art tip #art advice #drawing tips #drawing tip #drawing advice