#and it’s hard for a 19 year to write from an accurate perspective of an older character | Explore Tumblr Posts and Blogs

astrabear · 1 year

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I posted 810 times in 2022

That's 489 more posts than 2021!

363 posts created (45%)

447 posts reblogged (55%)

Blogs I reblogged the most:

@fruityculture

@raedear

@astrabear

@beepbeepsan

@ongreenergrasses

I tagged 684 of my posts in 2022

Only 16% of my posts had no tags

#ask game - 102 posts

#my fic - 100 posts

#the old guard - 96 posts

#the old guard fanfiction - 35 posts

#life of a writer - 31 posts

#nicolo di genova - 22 posts

#andromache the scythian - 19 posts

#yusuf al kaysani - 18 posts

#nile freeman - 18 posts

#quynh - 16 posts

Longest Tag: 135 characters

#obligatory clarification that i don't think there's anything inherently bad about putting on different accessories and making them kiss

My Top Posts in 2022:

I really enjoyed Our Flag Means Death and I'm glad a second season has been confirmed, but as an Old Guard fan it has been hilarious to see the OFMD crowd acting like waiting an entire ten weeks for news of a sequel was torture. You are a child, an infant. Your impatience is thus infantile. Our fandom has forgotten more ways to yearn for updates than entire stan armies will ever learn.

218 notes - Posted June 2, 2022

Thinking about “We all remember what it was like.” They all remember, even Nicky and Joe who came into immortality together. After almost a thousand years, Nicky still remembers the confusion and fear and alienation, enough that it makes finding this new immortal their most urgent task.

My favorite fic treatments of their first deaths really lean into this. Not just surprise or awe, but horror. Going a little bit out of their minds, begging to die and stay dead, because that’s what humans do, that’s how the world is supposed to work. I feel it viscerally, imagining the terror of finding yourself so profoundly apart from everything you’ve ever known to be true.

And the only other person who’s in it with you is the enemy you were trying to kill. This is the real impediment to replicating their dynamic in an AU. Anyone can run the enemies-to-lovers course. But enemies to “I still hate you and I don’t understand you but you are the only solid ground in this terrifying new reality and I think if we don’t hold onto each other we’ll lose everything” to lovers is pretty hard to capture in any other setting.

282 notes - Posted April 4, 2022

unofficial poll time

You are reading fanfic. The source property is set in the present day. The fic, maybe because it’s an AU or the canon just works that way, is set in a noticeably different historical period. Which of these answers most accurately reflects your feelings? (choose all that apply)

A. I like it when the writing style (both dialogue and narration) is period-appropriate, or at least a general approximation thereof.

B. I like the dialogue to be period-appropriate, but it’s fine (or even preferred) for the narration to feel more modern.

C. I don’t care either way, as long as there aren’t glaring anachronisms.

D. I prefer that both the dialogue and narration are similar to what I’m used to reading and seeing. So not modern slang or anything like that, but I don’t want it to be jarringly different.

E. I like it when the characters speak the way I’m used to them speaking, even if it’s not period-appropriate.

F. I simply don’t read fics set in past eras.

G. The only thing that matters is that it’s well written.

H. English is not my first language, so old-fashioned phrasing and vocabulary is more difficult for me to read.

I. I actively dislike attempts at period language unless the writer has done enough research to do it correctly.

J. I honestly couldn’t tell you in advance what kinds of things are likely to throw me out of the story, I just know that there’s a potential for it to happen.

K. I read fic because I like the characters and tropes. I don’t pay attention to writing style.

L. Other (in tags)

Please share and answer in the tags. This is very relevant to something I’m working on and I’d like to get some outside perspective.

315 notes - Posted June 13, 2022

The violence at the end of the episode was upsetting, but I tell you, what has stuck with me in the days since I watched it was "Which one of you gonna fuck me?!" It haunts me. Deeply shocking, viscerally repulsive, absolutely heartbreaking... and just the tiniest bit funny. It's like a gut punch every time I think about it.

I think a very young Claudia is much better suited to a written format. A five or six year old actor can't give the kind of performance that's required... and some things just wouldn't be right to do with a child actor of any age. But a 19-year-old playing a character who's physically 14 opens up so many tragic, horrifying possibilities.

And Bailey Bass is so good. I can't get her face out of my head. "And after forty years... still little boys?" God, there's just so much going on. And you feel all of it.

388 notes - Posted October 26, 2022

My #1 post of 2022

The tough thing about boundaries is that it’s not enough to state them, you have to enforce them.

I think some folks see “setting boundaries” as a kind of magic talisman to influence other people’s behavior. “I’ll tell you what I need or can’t accept, and you will act accordingly.” And sometimes that’s what happens, and that’s great! But if the other person disregards your stated boundaries, it doesn’t mean setting boundaries didn’t work.

Because boundaries aren’t about others’ behavior, they’re about your own. If the other person’s behavior doesn’t change, then yours has to. “Please don’t discuss [x topic] with me” is a request. “If you continue to talk about [x topic] then I will end this conversation/hang up/leave” is a boundary, which you must then enact. The point is less about stopping the other person (although that’s ideal) and more about protecting yourself. And you have to be committed to protecting yourself, because no one else will be.

You have to be so committed that you’re willing to tolerate other people being hurt or angry or uncomfortable. You have to accept that some relationships might change. You have to hold onto the idea that it’s all right for them to change, because the way they were before was hurting you, and you deserve to not be hurt. You gave them a choice: maintain a relationship or keep doing the thing that hurts you, and they chose to keep hurting you, so if the situation is now awkward or unpleasant that was because of their choice. Enforcing boundaries means deciding that if someone is going to feel bad here, it need not be always and only you.

There is no magic formula that will make other people treat you kindly and respectfully. But you can learn to treat yourself with kindness and respect. That’s what enforcing a boundary is.

9,690 notes - Posted July 17, 2022

Get your Tumblr 2022 Year in Review →

#tumblr2022 #year in review #my 2022 tumblr year in review #your tumblr year in review

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lilmackiereads · 9 months

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A TAXONOMY OF LOVE (2018) BY RACHAEL ALLEN - SPOILER-FILLED REVIEW

For the review WITHOUT SPOILERS, click here. To continue WITH spoilers, begin reading after the cover photo.

Overall Rating: 4 out of 5 stars

I am actually surprised with myself for giving this such a high rating as I am easily very bored with the teen romance novels. Of the few YA romance that I have read in the last year this has been my favorite which was a total surprise! I actually almost gave up reading it in the first 50 or so pages because I found the initial few chapters from Spence’s point of view unrealistic. For some reason I just didn’t feel like the dialogue and thought processes going on in this 13-year-old boy’s head felt accurate to the tween boys I’ve known growing up. There wasn’t enough swearing or boyish grossness. For instance, I feel like he needed a bit of a sprinkle of yucky (belching/ nose-picking/ farting/ name-calling) like the boys in Stephen King’s “The Body” aka Stand by Me (1986), The Sandlot (1993) or Stranger Things (2016) because many boys at this age are generally just pretty gross and obnoxious in my experience. (I grew up tween to teen between 2008-2018 and babysat lots of kids and now I work with middle school and high schoolers…)

HOWEVER, I think Allen did nail Spence’s dorkiness, which is why I ultimately kept reading because he is pretty adorable and his taxonomies are pretty funny.

Unlike John Green (The Fault in Our Stars, 2012 and Turtles All the Way Down, 2017) and Becky Albertalli (Simon vs the Homosapien Agenda, 2015) who are two of the best teen writers that can accurately display the minds of the opposite sex in my opinion, I feel like Allen struggles a bit with writing Spence’s point-of-view. I found Hope’s p-o-v more realistic (and relatable) as a female, but I think that Spence became more realistic as the book progressed from age 13 to 19. Especially once he hit puberty, I think the romantic stakes and thoughts were more accurate to a teenage boy. Haha. But what do I know? I’ve never been a teenage boy.

Hope reminded me a lot of myself because I’m generally happy-go-lucky, but I had a major emo-phase in high school that really warped my attitude at the time (and admittedly comes out to play occasionally as an adult.) I wish we had more chapters from her perspective. I was bummed out when her sister died. It's hard to lose someone so close to you, especially when they're so young. The only thing I didn't like about Hope was her last name, Birdsong. I think it was just a little too on-the-nose. If we're really going for the "girl next door" she could have just had a basic last name like Smith or Miller.

I really liked all the little parties the characters through for the holidays and the references to Hamilton (2015), Rocky Horror Picture Show (1975), Grease (1978), and Pokémon. Jayla and Spencer's Pikachu and Ash costumes sounded adorable. I feel like Hope’s transition over the story is actually a lot like Sandy’s! Also, the two girls at the Halloween party who were Sandy before and after, such a cool costume idea!

Jayla and Dean were both kind of annoying at times, but ultimately, I think they had good hearts, but were just a little too self-involved for their own good. I really appreciated after Dean went to college and grew up a little and started to stand up for Jayla and Spencer.

I also like that the book goes over some important topics like racism and the Civil War, disability awareness, bullying, mental health, and using sexual situations as a coping mechanism.

My top three favorite parts are:

The Vice Principal’s Surprise -- I mean DICK CONFETTI? How much better can it get?

2. The Tree Stand in the Rain -- My little heart at all the romance:

3. The Lightning Bugs -- Just such a sweet and magical moment.

Would I Read this Book Again?

Low key kind of want to read it again right now! I hope they make a movie of this!

#book review #spoiler review #ya novel #rhps #rocky horror picture show #tourettes syndrome #disability rights #disabled community #ya romance #teen romance #georgia #grease #pokemon #hamilton #rachael allen #a taxonomy of love

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sieclesetcieux · 3 years

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On Saint-Just’s Personality: An Introduction

Saint-Just’s personality is deeply misunderstood.

Saint-Just was a very secretive person, and guarded his personality behind walls. It might come off as surprising, considering how he’s usually depicted, but he actually was very introverted and reserved at the Convention, at the Committee of Public Safety, and during his missions in Alsace and in the North.

He was also a very sensitive person. He didn’t take slights easily (neither did Robespierre). But unlike Robespierre, he was also extremely young and wanted to be taken seriously. He was building off from nothing. So he built his own “myth”: the man (re)born with the Revolution. He made his youth his advantage: he hadn’t been as corrupted as the others by the old ways. This is something that was used by other revolutionaries, for example Marc-Antoine Jullien, who was 19 years old in 1794. They would say their youth made them closer to “nature” – that is, the natural, uncorrupted state of humanity as defined by Enlightenment philosophy.

The Saint-Just people think they know via novels and movies doesn’t really exist. I can’t think of any fictional representation that accurately portrays him. How people think of Saint-Just is basically several different “fanon” interpretations, some built by his enemies, some built by people who did appreciate him but didn’t quite understand him – which didn’t help much in the end.

This is important to point out because in the end these are the sources we have to learn who Saint-Just was as a person:

What those who knew him wrote about him (sometimes writing many decades later, which naturally impacts memory)

The little insight we can gleam from the few personal notes he left here and there in notebooks (and an unsent letter) that were never meant to be read by anyone

I know this seems obvious, but people often forget that historical figures are not fictional characters. They were real, living, breathing, human beings. They were people, and people have flaws and contradictions. People don’t necessarily remain the same at 20 years old, at 25, at 30 and so forth. People change.

The Saint-Just who writes Organt before the Revolution isn’t the Saint-Just who writes L’Esprit de la Révolution et de la Constitution de France in 1790 and isn’t the Saint-Just who gets elected deputy to the Convention in 1792. The Saint-Just who writes an unsent letter to Villain d’Aubigny (usually dated of July 20 1792, though it’s a topic of debate) is a Saint-Just no one was supposed to see. Same with most of his personal notes they built the Fragments des Institutions républicaines with.

Most importantly of all, a person will appear different to different people in different contexts. It’s a matter of perspective.

If you only take Desmoulins’ and Hilary Mantel’s and Tanith Lee’s perspectives on Saint-Just, well, I’m sorry to say, that’s not Saint-Just. That’s a perspective of Saint-Just.

Moreover, Saint-Just has many faces, many images, many legends, some of which he created himself while he was alive.

Victor Hugo was influenced by the Romantic Historians of the French Revolution, Michelet and Lamartine specifically, and their descriptions of Saint-Just to create Enjolras.

This is how you can find this connection making it even through novels that don’t like Saint-Just very much:

“He has a mind of fire and a heart of ice.”

- Bertrand Barère on Louis-Antoine Saint-Just

“It is a thing unheard of that a man should be as cold as ice and as bold as fire.”

- Bossuet on Enjolras, in Victor Hugo, Les Misérables

“...Camille felt an instant aversion, as to the touch of ice, which is what the young man most resembled. Chiseled from an ice floe.”

- Camille on Saint-Just, in Tanith Lee, The Gods Are Thirsty

Thus, even traces of this Saint-Just lives on in Tanith Lee's book.

Main testimonies

Most of them are here, in French, and some have been translated. If not, I will work on it. I will repost them on this tumblr as well, along with additional information about their author, their reliability, their personal biases, etc.

Sources by Saint-Just’s hand

While some revolutionaries have enough correspondence to fill entire volumes, Saint-Just comparatively left few letters behind. We do have one letter that gives incredible insight into his state of mind, but it’s important to remember this letter was never meant to be read by anyone. It was an unsent letter, found in his things after Thermidor, and then made public against his wishes, much like most of his personal notes. It is, however, an amazing letter nevertheless, but it’s important to keep this context in mind: he did not want you to see him like this.

Secondly, we have a lot of decrees he wrote during his missions. Though most don’t say very much, they do give clues on his personality, on his attitude, on his perspective. In some cases, he would write a quick postscript to a letter written by Le Bas and addressed to Maximilien Robespierre. Interestingly, while Le Bas would use the “vous” with Robespierre, and admitted to his wife Élisabeth he felt closer to Augustin than to Maximilien, Saint-Just always uses the “tu”. This isn’t just a matter of revolutionary zeal – the whole “vous vs tu” question during the Revolution is another, much more complicated story.

Finally, we have personal notes scattered through the manuscript that became known as the Fragments des Institutions républicaines. It’s a strange document to study and refer to. There is, indeed, a project he was working on concerning the Republican Institutions. There are at least two drafts. But the document has other things has well: from notes he later used in speeches (you can pinpoint the similarities) to a very short fictional romance between a man and a woman that’s hard to interpret.

The document known as the Fragments des Institutions républicaines was made from random papers found on him when he was arrested, taken from his apartment, and in a notebook that Barère kept. Pages are missing. Some pages are obviously torn. This is the one place where he confided some of his deepest thoughts, which reveal a great deal of insight on the Revolution and on his role, as well as his mental state. It was written in the last months of his life, when he could feel what was coming.

Saint-Just wrote fiction: yes, there’s the much maligned, very misunderstood Organt. In the same period, which is shortly before the Revolution, he also wrote a play called Arlequin Diogène, a short story called La Raison à la Morne, and a very short epigram of 8 verses, Épigramme sur le comédien Dubois qui a joué dans Pierre le Cruel.

Most of these must be treated as any work of fiction regarding their author: separating fiction from the author is complicated. Is he referencing his own life? Is he even aware that he is? The context of their redaction, however, gives a lot of information and some insight on himself. One of these texts is extremely interesting in order to study his personality. It’s a sort of foreword to Organt titled Dialogue entre M... D... et l’auteur du poëme d’Organt. The format almost resembles that of an interview. This is important as this is Saint-Just the Author, as he wants to be seen. The style is trenchant, concise, straight-to-the-point. Here Saint-Just the Author of 1789 meets Saint-Just the Representative of Year II.

(This post in an introduction to a series of several posts in the process of being written. Please be patient. If you want to know more, feel free to send me questions though! I’ll try to answer as well as I can.)

#saint-just #saint just #antoine saint-just #antoine saint just #jean pierre gross #bernard vinot #marie christine bacquès #testimonials and commentaries #references #saint-just the author #saint-just the revolutionary #saint-just the representative on mission #saint-just the deputy

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sky-scribbles · 3 years

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Fanfic ask game for procrastinating on writing (very accurate, since I should really be working on either the Aeor Fic or my dissertation right now). Tagged by @essektheylyss and @saturdaysky - tysm, this is very fun! <3

1) How many works do you have on AO3?

28! I only really started posting regularly on AO3 after I got into writing for CR, so there’s a modest amount there right now.

2) What’s your total AO3 word count?

~126000; probably going to be a lot more by the time the Aeor Fic is finished!.

3) How many fandoms have you written for and what are they?

Only three on AO3 - Critrole, obviously, plus some from my Star Wars: The Old Republic days and a single lonely Dragon Age fic. I’ve written for some other fandoms in the past (Elder Scrolls, mainly).

4) What are your top five fics by kudos?

Show me where my skin begins: Shadowgast; a study of Essek’s touch starvation and the important of touch between him and Caleb as their relationship develops.

My reasons for defying reason: Oneshot looking at Essek’s friendships with each of the Nein in turn, and the Nein’s different love languages.

I shine only with the light you gave me: The wizards slow dance at a fancy Dynasty ball, and Essek negotiates Den dynamics.

I’ll use you as a focal point: Essek summons a familiar, and as he adjusts to life with her, she helps him speedrun his character arc.

How to struggle gracefully: The Mighty Nein and Essek have dinner with Deirta Thelyss, as told through Veth’s perspective. Feat. Veth unpacking some of her own issues and her relationship with Essek

5) Do you respond to comments, why or why not?

Not as much as I’d like to anymore; my current health issues mean I have trouble writing at all, let alone replying to comments... but when I’m functioning better, I do try to reply to as many as I can! I absolutely love seeing people’s insights and hearing their thoughts; you guys make every second of writer’s block worth it! <3

6) What’s the fic you’ve written with the angstiest ending?

Hmm, I really don’t know! I’m generally an angst with a happy ending person, so I tend to round things off hopefully. I’d say that The scars that silence carved on me maybe qualifies, because from Essek’s perspective, it ends somewhat ambiguously - but the reader obviously knows that he’s about to get tackle-hugged by a little blue tiefling the moment after the fic ends.

7) Do you write crossovers? If so what is the craziest one you’ve written?

Not really. My Inquisitor!Essek AU is about the closest I’ve got, but I’m not sure I’d ever write anything or it.

8) Have you ever received hate on a fic?

Not since I was about fourteen, thankfully! I’ve had the odd ‘I hate [x character/fandom] but I love this story’ comment here and there.

9) Do you write smut? If so what kind?

Not really. I’ve occasionally strayed into very vaguely nsfw stuff, but I don’t think I’d enjoy writing real smut, nor do I have any confidence that I’d do so halfway decently!

10) Have you ever had a fic stolen?

Not that I know of!

11) Have you ever had a fic translated?

I did once, many years ago back when I was writing Elder Scrolls stuff.

12) Have you ever co-written a fic before?

No, but I’m definitely not opposed to the idea!

13) What’s your all time favourite ship?

My fic history says Shadowgast, for sure, and I can see them being a love of mine for a very long time.

14) What’s a WIP you want to finish but don’t think you ever will?

Nothing that’s posted, thankfully, but I’d truly love to finish the one that currently sits under the working title of ‘the Essek and soup fic’. I’m very fond of it, but just don’t seem to be able to make work beyond its first scene. (Maybe I’ll post that as a standalone someday.)

15) What are your writing strengths?

I like to think I’ve got a good sense for prose rhythm? When I’m proofreading, I can generally count on a voice in my head to be saying ‘this sentence needs to be x length’, or ‘this sentence needs another adjective in it to carry the right emotional weight’, and to tell me when something just feels right and flows nicely.

16) What are your writing weaknesses?

I think I have a bit of a tendency to want to include everything - every interesting thought and bit of character exploration that I come up with in the planning process. Also, plotting! The reason I’ve generally stuck to oneshots is because I find writing lengthier plots really, really hard; sooner or later I just get stumped, thinking ‘ok, but what happens now?’ There’s a reason planning the Aeor fic has taken several months!

17) What are your thoughts on writing dialogue in other languages in a fic?

It’s not something I’d do myself, mostly because I really wouldn’t want to mess up another language in a fic - but I’ve seen it really suit certain stories before.

18) What was the first fandom you wrote for?

It is... really hard to remember that far back, but probably either Skyrim or Torchwood. I did not do so well, but I did it :’D

19) What’s your favourite fic you’ve written?

Show me where my skin begins has a special place in my heart for being such huge fun to write and for being a truly feelgood fic. Familiar (like my mirror years ago) will always be important to me just for being my first CR fic and my entry point, as it were, to the CR fandom.

... but I really do hve a soft spot for The scars that silence carved on me, a study of Essek’s growth between 99 and 124. It’ll never be one of my most popular fics - the Nein don’t even appear in it - but I just loved taking Essek through all of these little changes, bridging the gap between the negotations and his reunion with his friends. And there are some scenes and lines in here I’m really proud of.

I think just about everyone I’d love to tag for this has already been tagged, so consider this an open tag for anyone who’d like to do this!

#this was a lot of fun! ty again #... and I should really get back to work on the aeor fic now #tag meme #writing meme #critical role

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kingswriting · 3 years

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30 Day Writing Challenge

hey everyone! i’m trying to challenge myself to get back into writing, and i’d like to challenge everyone to do it with me! you don’t have to start on a certain day - just jump in whenever you want!

Day 1: Write for the duration of one song. Do that again for another song. Or don’t. Or do it again for a whole playlist. It’s totally up to you! Don’t think or plan what you’re going to write. Just write. Stop the second the song ends.

Day 2: Find an image that really speaks to you. Write something based on it. It can be an image of anything, whether it be fanart for a specific fandom or just a picture of scenery.

Day 3: Find a one sentence prompt from tumblr or pinterest and write a piece about it. Length doesn’t matter.

Day 4: Find a book in your home and flip to one of the following pages: 28, 106, 242. Find one of the following sentences: 10th, 23rd, 38th. Use that sentence to write a piece.

Day 5: I read somewhere that Elvis Presley still gets hundreds of Valentines sent to his address every year. I don’t know how true it is, but it’s kind of cute. Write about someone who wrote one of those Valentines.

Day 6: Find this year’s Inktober list. (Hint: It’s right here.) Randomly generate a number. Write something based on that numbered prompt.

Day 7: For today’s prompt, you’re gonna reach way back in your head and remember something you wrote way back in the day, when you first started writing. Whether that be a year ago or 10 years ago, write a scene that you think you could improve upon. If you can’t think of anything, rewrite a scene in some piece of media you’ve consumed recently that you think you could improve upon.

Day 8: Use this generator to create a random character. Write about them. For an extra challenge, write about two random characters.

Day 9: Think of a movie, book, tv trope that you really hate. Do you hate when a big, dramatic scene ends and turns out to just be a dream? Do you hate the manic pixie dream girl? Do you, like all of us, hate ‘kill your gays?’ Flip it on its head. Instead of the queer coded fashionable villain trope, write about a straight coded, khaki-wearing villain. If you need help check out tvtropes.com.

Day 10: Freewrite. Set yourself a timer, whether it be for a minute, two minutes, five, or fifteen, freewrite. Don’t plan anything ahead of time. Let the words flow and see what happens.

Day 11: Find five things in your room that seem really unimportant, like a pencil, a dog bowl, or an empty cardboard box. Choose one of those things. Write a piece about that thing being the emotional centerpoint.

Day 12: Have you ever seen a music video that just makes you wanna create something? You can’t tell exactly what it is about it, but it just makes you wanna do something? Find that music video and watch it. During the duration of the music video, think. Let your brain be creative. After you watch it, write for 5 minutes. If you don’t have a music video in mind, challenge yourself to choose a music video outside of the genre you usually listen to and let it inspire you.

Day 13: Write a little something about your favorite OC. This can be a character from a WIP you’re already working on, or an OC you shelved a while back. Just have fun with it! For an extra challenge, try to write something over 1000 words.

Day 14: What if two main characters from two different stories got switched? What if Harry Potter and Percy Jackson switched places? Write about a main character ending up in a different story - whether the story be your own original WIP or an already existing story. Don’t be afraid to go wild with this one! Put Jon Snow in your own WIP. Have fun!

Day 15: Sometimes, it’s nice to just read about domesticity- no drama, no angst, just people doing things like grocery shopping or home renovations. Write about someone doing one of those domestic things that just makes you feel all fuzzy inside. This doesn’t have to be romantic - just write about people living their normal lives in a really cute way.

Day 16: Everyone has a strength as a writer, whether they know it or not. What’s your strength? What do you think you’re best at? Write a piece that really plays into those strengths. Are you really good at writing gripping dialogue? Do you make scenes come to life with your flowery descriptions? Can you make just about anyone cry when you write sad scenes? Do it. Just do it.

Day 17: Write a piece in which your character has a secret. But here’s the twist - you don’t know the secret yet. Let it come to you as your character is challenged by the people around them.

Day 18: Have you heard that every birthmark you have signifies somewhere that your soulmate has kissed you the most amount of times? Write about one of your birthmarks. Or someone else’s. Or one of your OC’s.

Day 19: Look up your name on pinterest - it might help to add the word ‘aesthetic’ afterwards. Write a piece based on one of the boards that comes up. If your name doesn’t work (like mine - all I get is chairs??), use your middle name, your last name, or if none of those work, use an OC’s name.

Day 20: Think of a place in the world that makes you feel a certain type of way. Do you feel small when you look at the stars at the beach? Do you feel at home when you walk through the woods? Write about a character in that specific place and how they might feel.

Day 21: We all have things that we want to write about our OCs that we know, deep down, will never make it into the final cut. They may be self indulgent, they may be unnecessary, but everyone knows that self indulgent writing is the best writing. Write that scene you’ve been dying to write, regardless of whether or not you’re going to use it in the future.

Day 22: Time to take it back a few days to the trope question. What’s a trope that you really just love? The pink haired/black haired ship? Platonic soulmates? Take this trope and flip it. See it from a different perspective. Do you love the fake relationship trope? Twist it and make it a fake enemy-ship. Do you love the best friends to lovers trope? Flip it and make it lovers to best friends.

Day 23: Choose one of these playlists. They’re all catered after certain moods - but try your best to write a piece that is opposite of the intended mood, while still taking the playlist into consideration. Listening to a daydreamy playlist? Write something gritty and realistic. Listening to a love playlist? Write about a breakup.

Day 24: Write a scene in a genre that is way out of your comfort zone. Are you a romance writer who has never taken a crack at horror before? Write something that’ll scare your own socks off. Are you a sci-fi writer who avoids romance like the plague? Write a good smooch. If you need a little help, here’s some prompts.

Day 25: Imagine that a tattoo signifies something significant that happened to you in a past life. Write about one of your tattoos, someone else’s, or one of your OC’s. Or just make something up. Write about what happened to this person in their past life, and what the tattoo is.

Day 26: Choose a scene from something you’ve watched/played/read recently. It doesn’t matter what the scene is. But write it in a completely different timeline. You can change the characters if you’d like. But if the story is a fantasy set in medieval times, write it as a modern piece. If it’s set in modern day, set it in the future. Who knows? You might end up changing the scene completely.

Day 27: Take this test to find out what animal you are. Write about a chance encounter with this animal and what that might mean for your character.

Day 28: Check out someone that you follow on tumblr. Find out about one of their WIPs, choose a character from one of them, and write about them with one of your OCs. If you don’t currently use tumblr, ask a friend about one of their characters. Challenge yourself to write someone else’s character as accurately as you can.

Day 29: This is going to be an easy one - you’ve worked hard this month. Write 1000 words on your current WIP. If you don’t have a current WIP, or you can’t choose one to write on, write 1000 words. Whatever you want.

Day 30: Take one of the pieces you wrote on Day 1 and rewrite it. Do whatever you want with it- but definitely listen to the song while you do! Make it as long or short as you want to.

#writeblr #writing challenge #30 day writing challenge #original writing

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thexfridax · 4 years

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Translated interview

Love and let love

Pamela Jahn, in: ray Filmmagazin, October 2019

// Additions or clarifications for translating purposes are denoted as [T: …]. //

Céline Sciamma’s brilliant ‘Portrait of a Lady on Fire’ opens the Viennale 2019. A talk with the French director about her ambitions, love and why you can do without men in her film.

She likes to think of herself as film activist [T: also see here], and looking at her work confirms this. Céline Sciamma is a force in French cinema, but this hasn’t yet created a ripple effect internationally. After her coming-of-age trilogy (Water Lilies, Tomboy, Girlhood), the French director and screenwriter Céline Sciamma now created an elegant but also radical period film with Portrait of a Lady on Fire. [T: Partly omitted short description of film] The two women slowly get closer to each other, determination turns into restraint, curiosity into desire, and Sciamma’s great skill is in making the intimacy between the characters tangible in a very sensual manner. Her brilliance and experience in utilising the cinematic art of seduction of all kinds make this film special, and it opens up a new perspective on the art of looking and thinking.

Interviewer: Part of the fascination for this film is in the process of discovery, the way that we, the audience, slowly get to know the face, the body, and the gestures of Héloïse. How did you develop this process from your perspective as screenwriter and director?

Céline Sciamma: First of all, it took a long time to write this. I don’t actually mean the writing itself but rather dreaming about it. The idea for the film came right after Girlhood, about five years ago. But then I allowed myself to just daydream about it for two, three years, without writing anything down, apart from a couple of notes, a page here and there, where I tried to find the right balance between the different approaches that I had in mind for the film. On the one hand, there was the idea that you implied, developing a choreography of discovery to show how someone falls in love with another person, and at the same time accurately convey this process through cinema with all its possibilities, step by step. In other words, I was interested in the joy of discovery, but also in the delay and frustrations that might occur with this. On the other hand, I also wanted to show the progression of a love story, its past, its future, this epic period of time where everything seems possible. I wanted to make a film about the dialogue of love, about its philosophy and poetry. And this takes time, to find the necessary balance, but also to steer the film in a direction that seems radical enough to me. It was important for me to find the right structure, in order to both integrate the dialogue of love and dialogue of art. That was my task, my personal mission. I had the ambition to convey all these ideas without becoming too theoretical. The film should seem playful instead, be exciting and fun – fun while filming and watching.

I: Were you inspired by certain paintings for the aesthetics of the film?

CS: My cinematographer and I, we discussed the lighting and the framing for a long time, and at one point [T: she] said: ‘Okay, let’s do this, we won’t consciously set it up like a painting, but secretly we both know it’s exactly like that.’ This means we didn’t tell ourselves that the whole thing should look exactly like a painting by Georges de La Tour or whoever [T: also see here, a pipe and a candle, hmm]. Quite the opposite. Our references came primarily from cinema, especially when it was about lighting a film with candles. But we were of course aware that everyone would say afterwards that it looks like it was painted. Cinema is about similar things after all: It is about lighting, composition, faces and silhouettes. There were no real references to paintings apart from one, but it was rather anachronistic, because it wasn’t from the same period as the film was set in. However, we always had to think about [Jean-Baptiste-Camille] Corot, a French painter from the 19th century, who mostly painted landscapes. But he also did a few paintings of women, women in landscapes. And we were quite thrilled about the way that the light seems to radiate from the figures in his pictures [T: also see here]. The figures somehow illuminate the painting, and we worked hard to create a similar effect with the colours and the clothes of the characters. [T: Also see here for an in-depth article on the cinematography of the film]

I: What were your film references?

CS: Barry Lyndon had certainly the biggest influence, not only on me, but on cinema in general, when it comes to lighting a period film. It doesn’t mean that we should do exactly the same as Kubrick did. Barry Lyndon is a film with an incredible amount of ideas, which make you think, and it’s a film that gives you more courage in what you do. That means, instead of duplicating something it’s rather about developing a standard, which you don’t have to necessarily adopt, but you can work towards it. And for that we developed our own methods to create a certain mood and aesthetics. Just like Kubrick who invented a lot for his film. He even came up with his own lens, so that he can produce the atmosphere he wanted. We made things and thought about finding a way to manage without candles in the picture, which was decided very early on. [T: also see here, here or here for Barry Lyndon]

I: The setting plays an important role in both films, Kubrick’s and yours. It develops its own character, in a way.

CS: That’s true. The building where we filmed had an unbeatable advantage: It hadn’t really been touched for years. It’s an old suburban city hall in the municipality of La Chapelle-Gauthier, about 70 km from Paris [T: also see here, h/t @podcastofaladyonfire]. When we found it, [T: we] weren’t quite sure. It seemed like a place from another time. But as soon as we stepped into it, we knew how it was. We also knew that everything should remain as it was. That’s not very common, because it’s usually about reconstructing the period in a period film, in which the story is set, so that you achieve the highest possible degree of authenticity and truthfulness. Apart from that, I mostly made all of my films in the studio. The apartments, where my protagonists lived, were all recreated. And now I suddenly had to struggle with a fourth wall. It would have made more sense not to film on an original location. It’s a paradox, but I really like it.

I: You made another conscious decision, which was mostly excluding men from your film.

CS: Yes, that was already clear from the outset. It wasn’t like I only killed the men in the cutting room. The main reason for this was that I wanted to tell a love story that is lived. And I wanted to talk about the possibility of their love, not about the impossibility. If I had included men, then it wouldn’t have worked, because the limits of what is possible would have been all too visible. We are very familiar with these limitations and I think, we don’t have to constantly talk about them. I wanted to give these women the necessary space to express themselves and fully live out their love. In other words: I wanted to give them time to imagine what their lives could look like in a world where they don’t have to constantly assert themselves against men.

I: Especially against men that try to interfere with their love.

CS: Exactly. I consciously avoided this conflict. I also didn’t want the two of them to question whether their love story is really possible or not. But that is a question of dramaturgy, not of gender. For me, it was about telling the story in a way that gives them the greatest possible liberty, but which they don’t have in reality. This is not only an imagined liberty but a very tangible one. Fundamentally, it is just another way to point out the limitations that clearly exist for both women. It’s just that we don’t show [T: these limitations], because they are quite obvious. I had the feeling that both women couldn’t imagine another life. Why should I put them in a situation where they fight a battle they cannot win anyway?

I: It seems that going back to the 18th century gave you more liberty to tell the story.

CS: Yes, it really was a liberating process for me, too. A process that made me more courageous as director. Even though, my films were always strongly anchored in the presence, and were in that sense bold, because they were politically motivated. This time I wanted to go a step further, not least because it’s about a female artist at work. The film was meant to playfully deal with the theme, so that you also see my own love for cinema. This is why it seems so intimate at times. Not because I tell my personal story, but because I keep my work less under wraps, treat it less like a secret but reveal it more as a gift.

I: It’s interesting that you not only excluded men but also didn’t include music so much.

CS: That was also a choice that I made in the beginning, or rather had to, because it meant that I had to write the script with this [T: exclusion] in mind. It doesn’t mean that a film without music cannot be musical as well. But you write differently. And it means that you have to show a strong sense of rhythm on set. That wasn’t a problem for me, because I’m anyway obsessed with rhythm. Deciding against music wasn’t meant to be for the challenge, but I wanted to put the audience into a state, where art is also inaccessible to them. So that listening to music will also become precious. The film is about the relationship between art and love, and how important art is for our lives. Listening is therefore meant to become an organic experience. For me, it was about showing that you can reclaim cinema with the power of music [T: also listen to this or this… I have no regrets 😁]. If you really think about it: The piece by Vivaldi, which is in the film, is a hymn, but it’s also typical music when you’re put on hold. It was really exciting to create an atmosphere where you rediscover this piece, which you heard so many times, and in a completely different context and with a new image in mind [T: the most heartbreaking scene ever, here goes Vivaldi, also see here].

I: The last scene of the film is breathtaking. But I can also imagine that it was a huge effort for you as well as for Adèle Haenel to hold this shot for such a long time.

CS: To be honest, that was the most important and most difficult shot that I ever filmed. And with difficult I also mean technically, because you have to ensure that the focus is retained. The poor guy, who had to take care of that, was in a cold sweat during the entire take. It’s not Hollywood after all. This means, he had to sit on a small chair, which was attached to a self-made vehicle that a couple of other men had to slowly move across the room towards Adèle. Everything was extremely improvised. But that’s what cinema is also about: technique. You create something with whatever you have at your disposal, so that there is this brief magical moment on screen, which moves people.

I: Did you also know from the beginning that you wanted to conclude the film with this shot?

CS: Yes, it was the first image that I had in mind, when I started writing. It is one of those images that push you forward, when the doubts overwhelm you. And believe me, I gave up on this film more than once [T: 😱 😌]. But I always knew that if [T: the film came to life], then it should end like this. For me, this image represents a mix of joie de vivre and ancient dream [T: the text says ‘pures Leben’ or pure life, which has more of a positive connotation in German]. I can’t describe it any better. Perhaps it is the last secret that still remains for me.

—

Picture source: [1 / Julien Lienard/Contour by Getty Images]

#ray Filmmagazin #Céline Sciamma #Portrait of a Lady on Fire #October 2019 #Austrian interview #IDK this interview warmed my heart #The relationship between art cinema and music #DIY approach to film #Her ideas and their execution #That last scene #That last secret...#Thank you for your gift Céline #My translation #long post

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heraldofzaun · 3 years

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Hi. We’re doing this again. I’ve already spoken a little bit (well, a great bit) about how old lore Viktor wasn’t a stereotypical evil villain, but I keep seeing this interesting trend crop up - especially in the comments of analyses on Viktor’s character - and so I’m going to write about it. That trend is the fact that people seem completely and utterly convinced that only old Viktor “augmented without consent” or “didn’t respect free will” or similar mad-scientist-adjacent claims. This isn't true. The inverse is true, actually.

What follows is the entirety of Viktor’s old lore (I’m using the first - the second variant is the one that snips out his going to the Institute of War, I’m not trying to pull a trick on you or anything), his lines upon release (which are still technically canonical, even if many people believe them to be outdated - whether that is due to Riot still believing that they’re accurate to his character or, more likely, Riot not caring to replace them, I don’t know), and the accompanying blurb to his release comic. I am also including Jayce’s second lore, the one which Riot wrote after Viktor fans pointed out that Jayce’s original lore was contradictory to Viktor’s character. (Which is mentioned in the post I linked above. TL;DR: Viktor fans made such a fuss that Jayce’s lore got changed to paint Viktor as less of a villain, which again points to the fact that old Viktor wasn’t necessarily perceived as villainous by his fans. Of course, fan perceptions can be wrong - but canon was changed, so...)

This screenshot is missing his pick/ban quotes (“Join the Glorious Evolution.”/”Inferior constructs.” - ban quotes were added after his release, so they recycled one of his attack lines) and the quotes for Chaos Storm (“Obliterate!”/”Consume!”/”True power!”/”Behold!”). This is because it didn’t fit on my computer screen nicely.

This was written alongside Viktor’s teaser comic. (I personally really like the teaser comic, even though I’m concerned about Viktor cutting a hole in his laboratory wall.) It is, technically, non-canon material as it was posted on the now-defunct forums rather than anywhere on the client, but as we’ve seen a recent trend of Rioters Word-of-God’ing facts about canon, I may as well include it. There may be more Word-of-God confirmations on those forums as well, but the backup site that they’re currently hosted on doesn’t allow for searches as the original site didn’t either. You can find this on the “Development” tab of Viktor’s wiki page, if you’re curious.

Is there anything in here, besides “Submit to my designs.” and a few other of his voice lines, which should be taken with the context that they were a) written in 2011 and are thus not the highest examples of character-focused writing and b) written under the context of these being things he is saying to opponents on a battlefield, that says “Viktor augments people who are unwilling”? I don’t see it. He isn’t an angel, sure, because he wrecks Jayce’s lab after the man doesn’t want to work with him, but… He’s mostly alright, at least when it comes to the claims I’m investigating. (Also, note that his acolytes are not specified as being under his control or anything like that - they very well may just be people he’s helped, who don’t want a strange man smashing up the lab they were helped in.)

An interesting side-note: Jayce’s first lore does seem to imply that Viktor murdered people, as he “staged a deadly raid on Jayce’s laboratory”. This is concerning. There’s still somewhat of that implication in the second lore, considering the whole “incinerating the lab’s meager security force” line, but I’ve never seen anyone in fandom over the years use that as evidence for Viktor being a murderer, which is interesting. There’s actual textual evidence you can point to to say that Viktor’s a morally awful dude, and yet no one pointed to it when it was canon...I’ve never seen it cited in any character analyses for Viktor, nor have I ever seen anyone make the point that it’s people that Viktor’s incinerating. Food for thought, I guess. Anyways, my personal take is this: it’s security systems, not people. It doesn’t quite make sense, in-universe, for Viktor to murder a bunch of redshirt security guards but only blast Jayce aside - and leave him with no lasting injuries, obviously. Out-of-universe, you can say that it’s because Jayce is a champion, but still… It really doesn’t fit. Of course, I’m an old lore Viktor fan and this is entirely me trying to justify that he’s not a bad guy, so you can definitely take my words as biased. As we’ll see later, even if you take this as proof that old Viktor’s a killer, it doesn’t mean new Viktor is morally spotless.

Also, if you speak a language other than English and want to kill time, feel free to write in with what Jayce’s old lore says he did if you can find a translation of it. (If you go to the League wiki you can find other language versions of it, and from there you can poke around on Jayce’s page to see if it even has his older lore at all.) The Polish version apparently doesn’t imply people, but the Russian version uses “guards”... or so I think, my knowledge of Russian is pretty small so it was me and Wiktionary against the world. I think that League lore translations, especially from 2011, aren’t exactly the best material for textual evidence, but it’s an interesting curiosity. (I’m genuinely fascinated on how this was never a point of argument, and also to the fact that it was made much more ambiguous in Jayce’s post-outcry lore… but not removed.)

Anyways. Of course, you can take his lines and general character to a logical endpoint and say that it is implied that he doesn’t care much about whether or not people consent to the Glorious Evolution, but at that point you’re arguing interpretation and need to say as such. The cases I’ve seen in which people say that old lore Viktor was lopping people’s limbs off without consent or what-have-you just say that, without citing any textual evidence or saying that it is possibly implied by his character and lines. It’s pretty hard to take those claims seriously when there’s much more textual evidence that current-canon Viktor doesn’t seem too keen on respecting autonomy. Let’s begin with his own lore, which is written to favor his perspective.

Please keep in mind that this Viktor got his start selling automative technology to businesses in Zaun. The Zaun that is full of corrupt chem-barons. But let’s give him the benefit of the doubt and say that he only sold to good businesses. (Also, fascinating that a common complaint about old Viktor is that his status as a pioneer of his field is that he’s “unrealistically accomplished”, and that other people would have figured out the same technology - just as it seems to be the case in current lore, with the Church of the Glorious Evolved existing pre-Viktor (except that it probably didn’t at the time of this lore’s release, as there’s a paragraph later on in his lore that talks about a “quasi-religious cult” that is unnamed but… Who else would it be?) and augmentations being common on the NPCs on the Universe page. Yet someone who’s 19 having their inventions be commonly used in Zaun long enough for the term eventually to be used in reference to the next stage of their life is perfectly acceptable. Anyways…)

What we see from this is clear: even if there is a “good” reason to control the divers, there is no mention of them consenting to the procedure. Considering the previous quotation, Viktor seems to deal more with the bosses than the workers and doesn’t seem to consider the potential job-removing impacts of his work (how many people lost jobs due to being rendered obsolete?), which doesn’t bode well for him caring much about what the workers think. But of course, this aside about dealing with bosses is all interpretation, so you can ignore it if you’d like. There still is, however, actual, textual evidence that new Viktor does not care about consent if he believes his idea is what’s best for you.

Ignoring the writer misusing the term “psychotics” - par for the course in fiction unfortunately - here’s Viktor kidnapping people “for their own good”. Nothing is said in his lore if he’s contracted to do this, or if he’s just Zaun’s version of a Good Samaritan out and about chloroforming people. While I’m not saying that the moral choice is to not intervene, he is drugging people here and performing brain surgery on them. Please note the “in a manner of speaking”. What does that mean? Is it in reference to them having permanent brain damage? Or is it in reference to him being all well-and-ready to transfer their bodies into robots that presumably weren’t designed for them? (Speaking of, if Viktor can transfer the consciousnesses - or at least brains - of people… why is he still in a fleshy mortal body? Yes, it would require a VU to update him to be fully robotic, but none of his written media seems to imply that he’s on his way. His color story has him integrating technology directly into his arm, for example. Why aren’t you getting into the robot, Viktor?)

Anyways, two options here: either the automatons had enough of their former programming to react to Viktor giving a kill command, or the consciousnesses of the people Viktor is “saving” are in these robots and are under his sway enough to commit murder. Either is bad (and negates any moral superiority over old Viktor’s maybe-implied-canonical-murder), but the second is horrifying. And, obviously, non-consensual. (Because the damage is reversing, I don’t believe there’s room for a justification of the second option in which these people are still violent and dangerous.)

Anyways, last bit. It’s pretty bad when your ethics are panned in Zaun, the nation host to rampart corruption and also people like Singed. Let’s now move on to his color story, which is what a lot of fans point to as evidence for new Viktor having a heart or a moral compass.

Yay! Moral win: your cyborg isn’t cutting off the head of a child without his consent. (Also, again, is this proof that Viktor can put brains or consciousnesses in robot bodies? Admittedly, he might be joking since this Viktor is a little softer than he is in his biography.)

Moral… win… your cyborg is augmenting a child… Anyways, joking aside, this is unethical. How’s Naph supposed to consent to something like this? I know that we can’t expect fictional characters in a fantasy setting to abide by modern ethical standards, but I think we can critique them from an out-of-universe context. This is bad. Viktor gives very little context, could very well be lying (he isn’t, hopefully), and sends the kid off with his version of a pat on the back and tells him to come back if he wants more. (The “Oh yes” is also… creepy.) A kid’s decision-making abilities aren’t developed to the extent that they can be reasonably expected to understand or consent to a procedure that removes a pretty crucial emotion. If Naph comes back and wants his fear gone permanently, will Viktor oblige?

Also, fear is something that is very important to survival and judgment calls. Without fear, a kid in Zaun might take dangerous risks that could end up with them dead. I can’t really see how people interpret this as a morally sound decision - Viktor’s pretty much giving mood-altering drugs to a child and telling him to come back if he wants another hit. Just because he got Naph’s okay doesn’t mean that he got informed consent.

Let’s now turn to the black sheep of Viktor content: his Legends of Runeterra lines. There’s two of interest.

Armed Gearhead’s card art is of a man whose only augmentation is his arm, which he says he broke in another line. (I suppose he didn’t want to wait for it to heal?)

Viktor is talking about messing with his head, here, because Armed Gearhead is… too emotive, I’d guess. He is “not yet complete”. A statement which Armed Gearhead seems rather apprehensive about, if you listen to his response.

I know that LoR Viktor is one of the more “comically villainous” depictions of Viktor we’ve seen, so if new Viktor fans would like to ignore his lines I have no issue with that. But these lines certainly seem to imply that what Viktor sees as Armed Gearhead’s end state isn’t necessarily what he sees as his, and should be considered if people want to take them as canonical.

Not necessarily needed, but here’s Jayce’s present lore. One of them is definitely lying - Jayce’s lore says that he doesn’t strike until after Viktor gives the kill order, and Viktor’s says that he gave the kill order in response to Jayce smashing up the lab. Either way, Viktor is ordering automatons (that, in this version, are outright stated to be housing the brains of the people Viktor is trying to keep alive) to kill Jayce. Not a good look.

Viktor’s new lore gives significant textual evidence that he doesn’t care for whether others willingly consent to his ideas, so long as he believes that his ideas are for the greater good. This is in contrast to the vagueness of his original lore, meaning that any individual who speaks about how current Viktor is someone who cares for consent in contrast to the “unethical mad scientist”ness of old Viktor is unfortunately mistaken. I have to imagine that general fandom interpretation, combined with the fact that his bio and color story are very tonally different, have made it so people believe that this version of Viktor is much more ethical than he canonically is.

Interpreting Viktor as sympathetic and actually morally grey is fine, of course! Riot wrote his narrative very poorly when he was updated, which is why I’m still finding bones to pick with it in comparison to his original and more open-to-interpretation lore. The issue is stating that this is canonically the case, which it isn’t, and/or stating that the current iteration of Viktor has the moral high ground over his previous incarnation, which he doesn’t. I think that much more interesting character conversations can happen if people acknowledge that Viktor as he’s currently written is roundly unethical - how can that be improved upon for a more complex character, does that mean that Jayce’s behavior was right, etc. For all my dislike of new Viktor, I’d be genuinely curious to read a take that actively acknowledges his pre-college work in automation and how that affects his standing in Piltover and Zaun. (Is he well-known in industry? What do workers think about him? And so on…) And, well, on a personal note: I think that acknowledging current Viktor’s moral failings would be nice, because it would mean that people would stop using old Viktor as a strawman.

Anyways, I suppose that’s the post. Thank you for reading!

#headcanons | beneath the mask #//back at it.

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letterboxd · 3 years

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How I Letterboxd #10: Chad Hartigan.

Filmmaker Chad Hartigan talks to Jack Moulton about his prescient new sci-fi romance, Little Fish, why radio silence is worse than a bad review, and his secret system of Letterboxd lists.

Chad Hartigan has won prizes at the Sundance Film Festival and the Film Independent Spirit Awards for his acclaimed films This is Martin Donner and Morris From America. He’s also been a Letterboxd member since way back, joining what he proclaims as “my favorite website” in 2013. Hartigan has always been an obsessive logger: he has transcribed all of his viewing data since 1998 and continues to work on filling in the gaps in his downtime.

Like many ardent Letterboxd members, Hartigan is a diligent list-maker, keeping tabs on his best first viewings of each year and assembling an all-time top 1,000 films over the summer (with an accompanying 26-minute supercut). Perhaps unusually for a member of the film industry on Letterboxd, he’s unafraid to hold back his opinions and regularly voices his critiques on even the most acclaimed films.

Hartigan’s newest film, Little Fish, is a sci-fi love story starring Olivia Cooke (Sound of Metal) and Jack O’Connell (Unbroken). Written by Mattson Tomlin, it’s set during an imagined pandemic—shot long before our own actual pandemic—wherein a disease causes people to lose their memories. It was set to premiere at the 2020 Tribeca Film Festival, and then postponed due to Covid-19. It’s now out in limited theaters and on demand, and we were delighted with the excuse to put Hartigan in the How I Letterboxd spotlight.

Olivia Cooke as Emma and Jack O’Connell as Jude in ‘Little Fish’.

You made a pandemic movie before the pandemic. How do you feel about accidentally hitting that unfortunate zeitgeist and now consequently being asked questions like this one? Yeah, strange. The questions are fine. If it wasn’t this one, it would be another that you would have to answer over and over again. One of the things that drew me to the project was that it felt like a fantasy that wasn’t necessarily rooted in reality in a way that my other [films] were. I liked that it’s old-fashioned in its attempts to purely take you somewhere and wasn’t intended to hold up a mirror to our times—but then in the end that’s exactly what it’s doing. I’m curious myself, and I’m checking Letterboxd to see the reactions from people because I really couldn’t guess what it would have been like [now].

Are there any prescient details you’re proud of getting right? I’m so grateful and happy that Jack [O’Connell] is wearing his mask correctly. That’s the number one thing that I’m glad we got right. I think it was very smart of Mattson to focus the movie on [the relationship] rather than the details of this global pandemic. I feel the reason it’s not in bad taste is because it dealt with those things as a backdrop and instead focused on people just trying to remember what’s important and clinging onto those that they love.

Onto our own favorite memory aid, Letterboxd. How did you discover us and how did you manage without us? I’ve been on since 2013, so I’m probably one of the earliest people to jump on it. I love the interface and the diary, just aesthetically it was really fun. I’ve been keeping track of what I see with analog [methods] for as long as I can remember. I have diaries and planners so I logged all that old information. If I was running for president, my platform would be that everybody is required to use Letterboxd comprehensively, because I just love to know what everybody is watching all the time.

Do you talk about Letterboxd in the real world with the other filmmaking people? Yes, and I’m often trying to convince them to join. Other filmmakers are more concerned about having their opinions on peers be public knowledge than I am, I guess. I’ve made four films now and each one’s been bigger and more widely seen than the last. The very first one was a total no-budget affair that couldn’t get into any festivals and I was very excited when I finally got it into the Hamptons Film Festival. It was about half-full and one or two people came up to me afterwards and said they liked it. This was pre-Twitter so I spent the whole next day Googling to see if anybody had written anything. I was so curious to see what people thought and there was nothing—not a review, not a blog—just total emptiness.

When the next film got into Sundance, there were people tweeting their reactions and actual reviews and I read everything. People were asking if the bad reviews hurt me. Absolutely not—nothing can be worse than the radio silence of nobody caring about the first film. The fact that people care enough to sit and write about this movie—good or bad—is a win, and I’ve carried that onward. I like to see what people think, it can be helpful in how you view the film as a success or failure. You learn and move on.

Jack O’Connell at least remembers how to wear a mask in ‘Little Fish’.

Some filmmakers have told us they’re kinder to films after making their own, but you’re not shy at all about being critical. How did making your own films change your perspective as a critic? I don’t consider myself a critic so that’s why I’d be less concerned with someone reading what I thought. Why should they put any stock into what I think? If they get hung up on it then that’s their own stuff because I’m not a critic. Like everyone else on Letterboxd, I just love watching movies. Obviously I can appreciate and understand some of the technical aspects maybe moreso than people who don’t make films, but at the end of the day, rarely that’s the thing that makes you love a movie or not. There’s a great bit in Francis Ford Coppola’s commentary track for Finian’s Rainbow where Fred Astaire’s doing a dance number and [Coppola admits] he totally messed it up because Astaire’s feet aren’t fully in frame. He’s very honest about his mistakes because it’s one of his earliest movies. Then he goes on to say that he thinks there’s the same number of mistakes in Finian’s Rainbow as there are in The Godfather, it’s just that he made mistakes on the things that don’t matter for The Godfather. No film is perfect, but if it can latch onto this one magical aspect that connects you to it, that’s what makes you love it or not.

You had a project where you chart the best films made by directors at certain ages as you reached that age. Tell us more about it. That was a great project. I got the idea when I was 26. This was back when I had a Netflix DVD subscription and it was just hard for me to randomly choose DVDs to throw in the queue. I needed a system. I decided to watch movies from directors when they were my age and see if there’s some common denominator, something I can learn. At that point, there weren’t many, there were films like Boogie Nights and Fassbinder films. Not many people had made stuff when they were 26 or 27, so it was very feasible. Every year there were more movies and more directors to add to the list and it became time-consuming. I did it all the way up until I was 34 and the reason I stopped was because I had a son and there was no way I could continue this level of viewing output.

My favorite part of your account is the fact that you log every viewing of your own films. You know for a fact that you’ve watched Morris From America 26 times and Little Fish fifteen times. Why do you log them? What counts as a viewing? I’ve clearly watched those movies many more times in little chunks but I’ll only log it if we’re sitting down and watching it from beginning to end. I have a ticket to see Little Fish in the drive-in on Saturday, so it’s going to be logged again. Why do I do it? Like I said, I wish everyone was required to use Letterboxd comprehensively. That’s what it’s there for for me, an accurate log of what I watch. This is psychotic behavior but I’m tempted to have a Letterboxd account for my son. I’ll do his views for him once he starts watching movies until he’s old enough to take over. It’ll just be, like, Frozen a thousand times but he’s not old enough to watch anything yet, so we’ll see.

Have you discovered any films thanks to Letterboxd discourse that influenced your approach to filmmaking? For sure, I can’t maybe say specifically, but once I dropped the directors my own age system I didn’t replace it with nothing. I’m a Virgo and I have a little bit of OCD, so I have to have some system. I’ve replaced it with a new complicated system where I pull from different lists and that’s now my main source of how I choose a movie to watch. I have like ten or twelve different lists, each about a thousand movies with a lot of overlap. One of them is my own list of every movie I’ve seen in a theater and I’ll go and look through that and if it’s something I want to revisit. Recently I rewatched Twister, which I hadn’t seen in a long time and is an old favorite from when I was in high school.

I have a bunch of private lists I cycle through; every movie nominated for a Spirit Award, every movie that’s won an Oscar, every movie that’s played in competition at Cannes, the top 1,000 films at the box office. There’s another great website that I use as a biblical resource which is They Shoot Pictures, Don’t They? and their lists of acclaimed films for all-time and the 21st century. I hit those up often. Something that I watched purely because of the very high Letterboxd rating and really loved is Funeral Parade of Roses. I try to see as many movies as I can that have a 4.0 rating or higher.

You respect the Letterboxd consensus. I do, but I don’t always agree with it.

‘Little Fish’ director Chad Hartigan.

Which is your most underrated or overlooked movie according to Letterboxd? I can say I was the very first person to log a movie called Witness in the City, which is an Italian noir movie I watched when I was doing my ‘directors my own age’ series. Literally nobody had logged it, so my review was like “whoa, I can’t believe I’m the first person to log this!”. It was very exciting for me because it’s great, but I’m the OG logger of that movie.

From your list of every film you’ve seen in a theater since you were twelve, which was your most memorable experience? The cheap answer is that it’s hard to top my own movies. The Sundance premiere of Morris From America at the Eccles Theater is maybe the best, but if I’m disqualifying my own films, seeing Scream 3 in a very packed theater in Virginia Beach was really fun, really rowdy. There was a trailer for a Jean-Claude Van Damme movie and I remember the climax was Van Damme going “you lied to me!!!” and everyone laughed. Someone did a George Costanza move later during Scream 3 and yelled out “you lied to me!!!” and everybody laughed again—so that’s a high. That’s the thing I miss the most about movie theaters, and the worry I have if theaters go away, is that so much of how we feel about a movie can be tied to the experience; who we saw it with, what we did before or after, what the crowd was like, or if anything strange happened. There are a lot of movies I have strong memories and affection for because of the experience of seeing them and I probably wouldn’t feel the same way about if I just watched it at home on my laptop.

I typically like to cap interviews off with what filmmakers thought was the best film of the past year, but we have your data to hand. For you, it’s Garrett Bradley’s documentary Time. Can you talk a bit about what makes the film stand out for you? One thing I learned about myself from the pandemic is that the motivation and desire to see new things is very closely tied to the theater-going experience for me. Once that was taken away and you could watch a new movie at home, it joins the pile of all the other movies. The fact that it’s new doesn’t really do anything for me. Why would I press play on Da 5 Bloods when I still haven’t seen Malcolm X? I gotta see Malcolm X! There wasn’t an urgency, so I saw far fewer films than in an ordinary year. But Time I found incredibly moving and important. Similar to what I liked about the Little Fish script, it’s so hyper-focused on one relationship and within that one story it has so much to say about larger issues and the world at large. It was an emotional and rich viewing experience.

‘Little Fish’ is on demand and playing in select theaters now. Images courtesy of IFC Films.

#little fish #chad hartigan #life in film #film director #letterboxd #how i letterboxd #letterboxd member #letterboxd tips #olivia cook #jack o'connell #romance #romantic film #sci fi romance #pandemic movie #covid movie

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ctl-yuejie · 4 years

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sooo, I might delete this later and I know that it is kind of preposterous considering I haven’t watched the last two episodes (or any episode after the fifth) but the thing that particularly has been bugging me since reading the spoilers is not only the bury your gays trope but how bad that trope gets specifically as a shock value device.

because having one main character die unexpectedly is and should be really hard to write. you have to think of a scenario that is both likely and also fits into the message of the story, or really just in general it has to at least add something to the main story itself.

when a main character unexpectedly dies, there isn’t anything that has lead up to it so you need there to be a meaning to it storytelling-wise for it to make a point beyond being a shock-value device.

i know that this can be different to everyone but as someone who has lost friends, it will affect you for life. it won’t be devastating all the time, there will be fond memories but it will be somewhere in your mind and heart constantly.

one of my friends died 10 years ago and i still think of her.

so ending a series with half-assing what happens afterwards and not moving the plot forward beyond a “here’s where they are now” is not adding anything to the characters nor the story.

so what we are left with is just the huge shock from the impact of the event. the viewer suffers the consequences without any in universe means of dealing with it.

which is especially horrifying when it comes to queer characters.

because when the last and ultimate statement of your series is that there is no meaning to a character beyond the shock their death deals onto the viewer and that is their whole worth to the story.

someone very accurately called this tragedy porn in the modc tag and i very much agree. a series that started with the approach to “normalize” queer relationships forced the outsider perspective on its viewers, making them feel like the queer character is a simple tool.

tl;dr:

it is a gamble to have a character die, but there should be sensitivity to not turn the character into just a tool - especially in queer media - and deal with grief convincingly.

also:

series that had sudden and horrifying but thought out character deaths in car accidents (spoilers)

- Shut Up Flower Boy Band (South Korea, 2012): totally sidelines you with the character death but deals with the grief for the rest of the series

- Fleabag (GB, 2016-19): not as surprising but the death is made somewhat of a mystery but very well incorporates the different ways people try and cope with grief

#ctlyuejie writes #ctlyuejie rants #? maybe ?#to delete later #also maybe #death cw #car accident cw #omg i don't even really go here and this ended up getting really long #i might really delete this later #in other news: my first homemade lemon curd is super buttery and tart but delicious af

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ryanmeft · 4 years

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Ryan’s Favorite Films of 2019

A stuttering detective,

A top hat-wearing vamp

A forced-perspective war,

A bit of Blaxploitation camp

Prisoners on a space ship

Having sex with bears

A writer goes remembering

Whenever his pain flares

A prancing, dancing Hitler

A gambler high on strife

Here will go cavorting with

A mom who becomes a wife

A family plot with many threads

Three men against their own

A stuntman and his actor

A mobster now quite alone

Doubles under the earth

Two men in a tall house

Are here to watch a woman who

Is battling with her spouse

A family’s plans for their strong son

Go awry one night

A man rejects his country

Which is spoiling for a fight

A house built by his grandpa

(Maybe; we’re not sure)

Looks out upon three prisoners

Whose passions are a lure

All these are on my list this year

It’s longer than before

Because picking only ten this time

Was too great of a chore

What are limits anyway?

They’re just things we invented

I don’t really find them useful

So, this year, I’ve dissented

You may have noticed this time out

That numbers, I did grant

Promise they’ll stay in this order, though?

Now that, I just can’t

I’m always changing my mind

Because, after all, you see

Good film is about the heart

And mine’s rather finicky

There are a lot more I could name

(And I’ll change my mind at any time)

For now, though, consider these

The ones I found sublime

20. Motherless Brooklyn

I’ve got a (hard-boiled) soft spot for 90’s neo-noirs like L.A. Confidential, Red Rock West and Seven, and Edward Norton’s ‘50’s take on Jonathan Lethem’s 90’s -set novel can stand firmly in that company.

19. Doctor Sleep

There’s something about Stephen King’s best writing that transcends mere popularity; his work may not be fine literature, but it is immune to the fads of the moment. So, too, are the best movies based on that work. This one, an engaging adventure-horror, deserved better than it got from audiences.

18. Jojo Rabbit

There was a time when the anything-goes satire of Mel Brooks could produce a major box office hit. Disney’s prudish refusal to market the film coupled with the dominance of franchises means that’s no longer the case. If you bothered to give Jojo a shot, though, you got the strange-but-rewarding experience of guffawing one moment and being horrified the next.

17. By The Grace of God

I’d venture this is the least-seen film on my list; even among us brie-eating, wine-sniffing art house snobs, I rarely hear it mentioned. Focusing on the perspectives of three men dealing with a particularly heinous and unrepentant abusive priest and the hierarchy that protects him, it’s every bit as disquieting and infuriating as 2015’s Oscar-winning Spotlight.

16. Waves

You think Trey Edward Shultz’s Waves will be one thing---a domestic drama about an affluent African-American family (and that in and of itself is a rarity). Then it becomes something else entirely. It addresses something movies often avoid: that as life goes on, the person telling the story will always change.

15. Transit

You’re better off not questioning exactly where and when the film is set (it is based on a book about Nazi Germany but has been changed to be a more generalized Fascist state). The central theme here is identity, as three people change theirs back and forth based on need and desire.

14. American Woman

Movies about regular, working class, small-town American usually focus on men. This one is about a much-too-young mother and grandmother, played brilliantly by Sierra Miller, dealing with unexpected loss and the attendant responsibilities she isn’t ready for.

13. Marriage Story

There is an argument between a married couple in here that is as true a human moment as ever was on screen---free of trumped-up screenplay drama and accurate to how angry people really argue. The entire movie strives to be about the kind of realistic divorce you don’t see on-screen. It is oddly refreshing.

12. Once Upon a Time in Hollywood

Quentin Tarantino’s love letter to 70’s Tinseltown is essentially a question: What if the murder that changed the industry forever had gone down differently? Along the way, it also manages to be a clever and insightful study of fame and fulfillment, or lack thereof.

11. High Life

Claire Denis is damned determined not to be boring. Your reaction to her latest film will probably depend on how receptive you are to that as the driving force of a film. Myself, I’m very receptive. I want to see the personal struggles of convicts unwittingly shipped into space, told without Action-Adventure tropes, in a movie that sometimes misfires but is never dull.

10. Dolemite Is My Name

And fuckin’ up motherfuckers is my game! Look, if you don’t like naughty words, you probably shouldn’t be reading my columns---and you definitely shouldn’t be watching this movie. Eddie Murphy plays Rudy Ray Moore, the ambitious, irrepressible and endlessly optimistic creator of Blaxpoitation character Dolemite. Have you seen the 1975 film? It’s either terrible and wonderful, or wonderful and terrible, and the jury’s still out. Either way, Moore in the film is a self-made comic who establishes himself by talking in a unique rhyming style that speaks to black Americans at a time when black pop culture (and not just the white rendition of it) was finally beginning to pierce the American consciousness. What The Disaster Artist did for The Room, this movie does for Dolemite---with the difference being I felt like I learned something I didn’t know here.

9. 1917

Breathless, nerve-wracking and somehow intensely personal even though it almost never takes time to slow down, it is fair to call Sam Mendes’s film a thrill ride---but it’s one that enlightens us on a fading historical time, rather than simply being empty calories. Filmed in such a way as to make it seem like one continuous, two-hour take, for which some critics dismissed it as a gimmick, the technique is used to lock us in with the soldiers whose mission it is to save an entire division from disaster. We are given no information or perspective that the two central soldiers---merely two, in a countless multitude---do not have, and so we are with them at every moment, deprived of the relief of omniscience. I freely admit I tend to give anything about World War I the benefit of the doubt, but there’s no doubt that the movie earns my trust.

8. Ash Is Purest White

Known by the much less cool-sounding name Sons and Daughters of Jianghu in China, here is a story that starts off ostensibly about crime---a young woman and her boyfriend are powerful in the small-potatoes mob scene of a dying industrial town---but after the surprising first act becomes a meditation on life, perseverance and exactly how much power is worth, anyway, when it is so fleeting and so easily lost. What do you do when everything that defined you is gone? You go on living. This is my first exposure to writer-director Jia Zhangke, an oversight I must strive hard to correct in future.

7. Knives Out

The whodunit is a lost art, a standard genre belonging to a time when mass audiences could appreciate a picture even if someone didn’t run, yell or explode while running and yelling every ten minutes. Rian Johnson and an all-star cast rescued it from the brink of cinematic extinction and gave it just enough of a modern injection to keep it relevant. Every second of the film is engaging; Johnson even manages to have a character whose central trait is throwing up when asked to lie, and he makes it seem sympathetic rather than juvenile. The fantastic cast of characters is backed up with all the qualities of “true” cinema: perfect camerawork, an effective score, mesmerizing production design. As someone who didn’t much care for Johnson’s Star Wars outing, I’m honestly put out this didn’t do better at the box office than it did.

6. A Hidden Life

After a few questionable efforts and completely losing the thread with the execrable vanity project Song to Song, Terence Malick returns to his bread and butter: meditative dramas on the nature of faith, family, and being on the outside looking in, which encompass a healthy dose of nature, philosophy and people talking without moving their lips. That last is a little dig, but it’s true: Malick does Malick, and if you don’t like his thing, this true story about a German dissenter in World War II will not change your mind. For me, what Malick has done is that rarest of things: he had made a movie about faith, and about a character who is faithful, without proselytizing. That the closeness and repressiveness of the Nazi regime is characterized against Malick’s typical soaring backdrops is a masterstroke, and the best-ever use of his visual style.

5. The Lighthouse

Robert Eggers is a different kind of horror filmmaker. After redefining what was possible with traditional horror monsters in The Witch, he returned with something that couldn’t be more different: an exploration of madness more in the vein of European film than American. Robert Pattinson and Willem Dafoe are two men stranded in a lighthouse together slowly losing their minds, or what is left of them. The haunting score and stark, black-and-white photography evoke a nightmare caught on tape, something we’re not supposed to be seeing. It’s not satisfying in a traditional way, but for those craving something more cerebral from horror, Eggers has it covered.

4. Us

I have become slightly notorious in my own little circle for not thinking Get Out was the greatest film ever made, and now I’ve become rather known for thinking Us just might be. Ok, so that’s definite hyperbole: “greatest” is a tall claim for almost any horror movie. Yet here Jordan Peele shows that he can command an audience’s attention even when not benefiting from a popular cultural zeitgeist in terms of subject matter. It’s a movie with no easy or clear message, one that specializes in simply unsettling us with the idea that the world is fundamentally Not Right. I firmly believe that if Peele becomes a force in the genre, 50 years from now when he and all of us are gone, his first film will be remembered as a competent start, while this will be remembered as the beginning of his greatness.

3. The Last Black Man in San Francisco

Ostensibly about urban gentrification, this story of a young black man trying to save his ancestral home from the grasping reach of white encroachment is a flower with many petals to reveal. Don’t let my political-sounding description turn you off: the movie is not a polemic in the slightest, but rather a wry, sensitive look at people, their personalities and how those personalities are intertwined with the places they call home. Though the movie is the directorial debut of Joe Talbot, it is based loosely on the memories and feelings of his friend Jimmie Falls, who also plays one of the two central characters. If you’ve ever watched a place you love fall to the ravages of time and change, this movie may strike quite a chord with you.

2. Uncut Gems

When asked why this movie is great, I usually say that it was unbelievably stressful and caused me great anxiety. This description is not usually successful in selling it. The Safdie Brothers have essentially filmed chaos: a man self-destructing in slow-motion, if you can call it slow. Howard Ratner has probably been gradually exploding all his life; he strikes you as someone who came out of the womb throwing punches. He’s an addictive gambler who loves the risk much more than the reward, and can’t gain anything good in life without risking it on a proverbial roll of the dice. His behavior is destructive. His attitude is toxic. Why do we root for him? Perhaps because, as played by Adam Sandler, he never has any doubt as to who he is---something few of us can say. He’s an asshole, but he’s a genuine asshole, and somehow that’s appealing even when you’re in his line of fire.

1. Pain and Glory

When I realized I would, for the first time, have the chance to see a Pedro Almodovar film on the screen, I was overjoyed. His movies aren’t always great, but that was of little concern: he’s one of the handful of directors on the planet who can fairly call back to the avant-garde traditions of Bergman or Truffaut, making the movies he wants to make about the things he want to make them about, and I’d never seen one of his films when it was new and fresh, only months or years later on DVD.

It seems I picked right, as his latest has been almost universally hailed as one of the best of his long career. An aging, aching filmmaker spends his days in his apartment, ignoring the fans of his original hit film and most of his own acquaintances, alive or dead---he tries hard to put his memories away. Throughout the course of the movie, he re-engages with most of them in one way or another, coming to terms with who he is and where he’s been, though not in a Hallmark-movie-of-the-week way. Antonio Banderas plays him in the role that was always denied him by his stud status in Hollywood. It isn’t simply him, though: every person we meet is engaging and, we sense, has their own story outside of how they intersect with his. Most engaging is that of his deceased mother, who in her youth was played vivaciously by a sun-toughened Penelope Cruz. Perhaps Almodovar will tell us some of their stories some day. Perhaps not. I would read an entire book of short fiction all about them. This is the year’s best film.

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headlesssamurai · 4 years

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My Lazy, Poor, Stupid Person’s Attempt to Paint Tabletop Miniatures

by headless

This has nothing to do with covid-19 really, it’s just something I reckoned I’d share. For several years I’ve played Dungeons & Dragons, and occasionally others like Call of Cthulhu and Delta Green, or Shadowrun. Though, I say ‘play’, when I mostly run games as a Dungeon Master. It’s one of those “hobbies” that is a lot of fun for someone like me, but requires a ton of dedication, so it isn’t always easy to get a dedicated group together.

Anyhow, I generally homebrew settings and adventures, never really been too big on running pre-written games, even if some of them are fantastically written. And one of the most frustrating things is I some times want to have a miniature on the battle grid that looks a certain way. This is hardly a big deal, since miniatures are just markers meant for reference in combat encounters, the real image of the characters is in all of our heads.

Still, I sometimes want to have something especially specific, a lot of the players in my current group appreciate cool looking miniatures, and seeing as I’m usually hard-up for cash, I can’t always buy pre-painted mini-figures, unless I get a good bulk deal on ebay or something.

One of my recent attempts to acquire bulk miniatures came a few years back when I realized during the 4E days, Wizards of the Coast had released boxed board games themed with the D&D style, which all came with a great deal of unpainted miniatures; these came in sets like Wrath of Ashardalon, or The Legend of Drizzt, with lots of themed minis for the board game’s scenario.

Anyhow, I’ve had a ton of these unpainted miniatures forever and use them often for nobody-NPCs and other characters the players run across. Lately, however, the group I’ve been running in a campaign for about eleven months (usually weekly), ran across a problem where their dragonborn ranger Grixxis was captured by and then negotiated his away out of the clutches of this ancient entity who calls herself Gorgoth (who appears to be a pale, beautiful young woman, but probably isn’t; even the not so arcane-y Grixxis intuited that much). She was actually impressed that he resisted her Sleep spell, and offered him a deal, she’d let him go but he needs to complete a task for her in the next seven days, and if it isn’t completed in that time frame his soul will be bound to her forever.

The task was to go to a mountaintop and retrieve something that resides there, though Gorgoth did not explain what the object was, so the party set off to find this mysterious mountain. The journey led them to an area of bad wilderness where no one lives, and where roving bands of orcs constantly hunt and war with one another, so only a few people know anything about that region. The party ended up hiring a guide, who was a wood elf exile named Skaya. They seemed to be intrigued by her because she’s living in a city which is currently at war with wood elves, so there’s a lot of prejudice and racism against her kind. Skaya does have facial tattoos that indicate she’s been exiled from her tribe and therefore no longer truly considered by her people to be a wood elf (their worst form of punishment in this universe), but still, the party seemed immediately fascinated by this single NPC among the potential seven or so they might’ve hired for this expedition.

Anyhow, my players have only gotten truly invested in one other NPC they’ve met before this; a small little orc toddler named Gruuba who they saved from a bunch of slave trading bandits early on in the campaign. I’ve had difficulty finding a good miniature for Gruuba too (because she’s really small and scrawny), but since she’s at the same developmental level as a human six year-old they try to keep her out of combat scenarios (despite Gruuba’s excited insistence that she enjoys using clubs “for smashings”). Since the party have begun to really enjoy Skaya as character, the longer they’ve slowly, slowly gotten to know more about her stand-offish personal history, I really wanted to get a miniature for her that reflected my image of her better than the one I’d been using.

So, even though I got basically no experience doing so, I bought a miniature from Reaper Miniatures, and after looking up a few tutorial vids for beginners like me, I set about trying to paint my first mini-figs.

Two things, if you’re looking into this yourself; First, I’m not totally unartistic, I write creatively and I sketch with pencils and ink. Painting’s fairly new to me, but it’s not like I have absolutely no artistic talent. I also solder a lot of really small wires and components in my normal daily job, so I may have better muscle control for this sort of thing than some people. I only mention this because I may have had a few advantages in this undertaking. I just don’t want to make people overly confident, keep things in perspective. So whatever your level of expertise at this, if you want to start just try to patiently measure your expectations, and don’t get discouraged if your first results aren’t so great. All things improve with time.

And B. if you’re poor, lazy, and stupid like me, there’re ways to get around that. This video I watched gave me a good rundown of the basic steps which are; - scrub the plastic down with some dish soap, luke-warm water, and a toothbrush; allow at least 1 hour to dry (I let them sit for a day because I’m paranoid), and be sure there’s no lingering moisture before you start painting - get a good primer or base coat on the model before you start adding other colors; lighter base coats allow more colors to show up easier, while darker base coats tend to make the colors you paint over them darker - stay calm and take your time - try to paint the colors that’ll go under other colors first, like, if a barbarian dude is shirtless but’s wearing a few pieces of armor, paint his shirtless skin first, then paint the armor he’s wearing second because it layers over better that way - use thinner paints and multiple coats of a color to get an even final color instead of one thick coat - allow each coat of paint to dry for 10 - 20 minutes before applying the next coat - learn about washes, pigments, and inks, because they’re awesome - get a decent varnish for a final protective coat, matte varnishes make the model look dryer and flat, gloss varnishes make the model look shiny and wet, if you do a coat of gloss and a coat of matte varnish it equalizes it pretty good

And this video here sort of laid to rest my fears that I’ll need to spend $600 on paints and washes and stuff. The very helpful lady in that video explains how she uses generic acrylic paints from the craft store (I got mine at Wal-Mart) to paint her Warhammer miniatures, and she even offers a method of making your own washes from a combination of paint and flavorless mouth wash. It’s genius. So try not to stress too much about buying the really nice brand name paints, because it’s not necessary, those paints just have an optimal mix I think, otherwise they’re the same damn thing as generic acrylic paints. Also, you’re just trying to learn, so unless you really, really feel like emptying your bank account, just use the generic stuff.

I started out painting something I didn’t care about. I wanted my miniature for Skaya to look badass and awesome, so I wanted to start with some practice miniatures. Grabbed a few from those 4E board game sets and gave it a shot. But I had also recently gotten hold of a Goliath Barbarian miniature from the Player’s Handbook Heroes sets (also from the 4E days) a rare find, since it usually goes for like $60.00 by itself. Randomly found some dude on ebay selling an unopened box set for $20.00, so I got a wild elf druid and a human berserker along with it. So I started out touching up the goliath’s armor to make it look more like armor and less like weird blue stuff.

Here’s a before-and-after for him (I didn’t take photos of them before because I wasn’t anticipating this, so I just found examples from around the web):

Next I tried a re-paint. A friend of mine had recently guest-played in my campaign and created a half-drow monk (his backstory was fantastic), so since nothing like that exists, I took a Soulknife Infiltrator miniature seen here:

And repainted it to sort of look like his half-drow Monk of the Open Palm:

I finally had the courage to do a full paint, so I grabbed the Dragonborn Elementalist from the Wrath of Ashardalon box, and painted her up with reddish scales (I’m one of those who thinks dragonborn should have physical attributes of their heritage).

In the box her name’s Heskan. I definitely used way too much wash on this one so she looks super shiny.

I then took the orc archers in that same box, and not really paying too much attention this time, quickly painted them, because I lack many orc archers:

At this point, I felt it was time to finally paint Skaya, the wood elf exile. I used the Reaper Bones model Deladrin, Female Assassin ($1.99) for Skaya’s mini.

And taking way more hours than I did on the others, which were only about 1-3 hours each, when you count waiting for the coats to dry, I managed to sort of make her look like Skaya, I guess:

After this, the fact that it wasn’t complete and utter shit, which is what I expected, I was encouraged. So I tried to do out party’s tortle cleric, named Daruuk of Chult (who oddly speaks with a Slavic accent, so that’s how people from Chult sound in our campaign), for whom we’ve lacked an accurate mini-figure for some time. I bought a pack of Spikeshell Warriors ($2.99) from the Reaper Bones line.

But Daruuk characteristically wields a large shield and a warhammer, so for some reason I got super detailed and bought a pack of loose shields from the Reaper Bones line ($0.99), then bought Halbarad ($1.49) a human cleric.

I clipped off Halbarad’s hammer at the hilt, then I trimmed the spikes off of the spikeshell warrior’s club, and used a dremel to carfully mill a hole inside the shaft of the spikeshell’s club, then pinned the hammer inside and secured it with gorilla gel. I used an actual cork board pin to push the shield onto the spikshell’s offhand after cutting off his turtle shell shield in order to pin it before gluing, then clipped off the rest of the cork board pin. Somehow, this ended up making the shield look meaner because it now has a like pyramidal spike sticking out the center. After allowing the glue to dry I painted him up, and my attempt at Daruuk the Death Cleric turned out thus:

I guess his hammer looks sort of Acme-level cartoony, but he’s a giant 350 lb. turtle-man who talks like Omega Red from X-Men The Animated Series, so I’m okay with that. The spikeshell also fits well with the razorback sub-race feature I allowed Daruuk’s player to homebrew for himself. I was really proud of this one.

Finally, because I’m an insane asshole who is getting obsessed with my new hobby, I decided it was dragons or bust. So I bought a pre-primed unpainted Young Blue Dragon from WizKids ($13.99).

And spent, like, three days meticulously testing different paint layers to see how they come out. I tried to paint her in the tradition of blue dragons as they appear in the art of Forgotten Realms material, but gave her a somewhat darker cast, and added metallic blue layers to her claws and spinal ridges. I still need to paint her base, put some highlights on her eyes to accentuate the glowing effect and add my washes to give her a final layer of dimension, but here’s how she came out so far:

Behold, Stormfang! Mistress of Thunder...

Anyhow.

This is super long and I wonder if anyone will bother to read any of it. But just wanted to put this out there. From a dude who, if you asked me a year ago if I thought I could do this, I’d have said I’m too stupid, poor, and lazy. I still think of myself as all of those things. The real pros use crazy detailed techniques with like seven layered highlights on their models, and airbrushes and all kinds of other madness. I use maybe three coats total and I don’t get too worked up if I make a mistake here and there, and I haven’t spent more than maybe fifty bucks total across six weeks, and most of that was wasting paints because I was still learning how to mix different shades.

So if you got something you feel like you’ve always wanted to do but are too stupid, poor, and lazy to figure out, just go for it yo. I managed to crack out these bastards and I still think I suck, but it’s way better looking than I expected. For real though, you should see some of those Warhammer players, they got mad crazy god skills at this stuff compared to me. But your level of skill isn’t the point. The point is to have that moment with that thing you did, and look at it, and just go “Yeh, I did that” when at one time you never believed you ever could.

There’s always going to be somebody better than you, but even they, like all of us, are still learning.

侍 headless

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momtemplative · 4 years

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Nine Days. (COVID-19)

To say day-to-day life has changed since I last posted (March 9) feels like a gross understatement. Nine days feels like the gestation period of some unknown force that continues to grow.

I’m writing, but my words feel like sheets of paper in a cyclone. Nothing cohesive. Self-judgment says, does anyone really want to hear what you have to say in the midst of this barrage of COVID-19 thoughts/opinions/posts/news? Then I shut up and write, even if it’s just something, even if it’s not pristine.

Nine Days, in list form:

1. Thursday, March 12, 2020—THE OUTSIDE TURNS DOWN.

We get the news that schools are going to be shut down for many weeks, probably more. When that happens, the lighting in our house shifts. It’s as if the outside turns down, like half-drawn curtains. And those who live inside the walls of our little house—Jesse, Opal, Ruth, myself, and the pets— take on a fresh-rinsed potency, as if we know we are on the brink of something big and we are in it together.

2. Friday, March 13, 2020—TARGET

We take a trip to Target. Ruth begs to wear her tap shoes, which I reluctantly agree to. The people at Target are amiable; nobody is concerned about keeping a distance yet. We are pushing carts as two-way traffic down aisles, brushing elbows, as we would on any large-crowd shopping day. Moms exchange nods of camaraderie, like fellow Harley drivers on the highway. The overall feeling is generous and very much we-are-in-this-together. What is different, what is startling, is the very, very low inventory. Some of the shelves are completely empty, (toilet paper, cleaning agents) which, in spite of the music, crowds and fluorescent lighting, feels eerie.

The lines are 10-12 people long, cards filled to the brim, and even though I don’t hear one short-tempered word, most of the people in the lines are wrapped comfortably in the tiny glare of their smart phones. It’s amazing how deeply grownups crawl into those little screens, even in public. Ruth walks by them with her tap-tap-tap shoes, duct taped at the buckle and two sizes too big. They make a startling, gloriously sharp sound against the linoleum.

Imagine a line of adults raising their gaze with each step of her foot, like a face-only version of the wave, a beautiful cascade of heads that rise to meet the sound. Each face spreads into a smile when they see where it originates: tiny girl, impervious to her impact, shiny-star tank top and tutu, like a Disney+ version of Madonna’s Like a Virgin.

Back at home, emails flood our inboxes with some variation of ‘COVD-19 closure’ in the subject line. The library. The Rec center. Stores dropping from Main Street like birds shot from a wire. Restaurants and coffee shops are sweating hard, offering discounts on gift cards for later and curbside take-out.

We are getting wind of the fact that we need to slow the spread of this virus so as not to overwhelm the healthcare systems—to ‘flatten the curve.’ We need to stay in as much as possible. Not be in big groups. Probably not see the grandparents for a while. Wash our hands like crazy, scrubbing while singing the ABCs from start to finish.

It sure looks as if we won’t be going to Target (where Ruth who touches every surface with all ten fingers then promptly rubs her eyes and picks her lip) for a while.

3. Saturday, March 14, 2020—SHOULD WE??

Every out-of-house action feels strange and other-worldly. Even the most benign of outings suddenly beg the question, wait—should we?? Do we really need to?? Going to the kid-gym and kid-yoga just two days earlier suddenly seems outlandish. A planned gathering with friends that felt wonderful yesterday feels out of the question today.

4. Sunday, March 15, 2020—COMMUNITY.

There is an amazing video going around of a community in Italy who are quarantined, but still singing from their balconies as an etherial chorus.

A family-walk around the block feels potent and perennially safe. Our next-door neighbor joins us with her dog. We wave at another family of neighbors who are perched on their porch in the sun, their toddler wearing the hilarious mirrored sunglasses of a studly lifeguard. Then we cross and take the bike path behind the houses that are on the other side of our street. Another neighbor exits from her sliding back door, her dog lurching out from behind her. Yet another neighbor steps out into the light wearing pajamas and with his small dog under his arm. Everyone feels hungry for sunshine and familiar connection, but we all keep our distance.

When I was 13, I took a spring break vacation with friends to Arizona, where we visited the “Biosphere2.” The headlines read: “Eight explorers join together in a daring, high-profile study of sustainability and the new science of biospherics—the study of closed systems that mimic Earth’s environment.” Essentially, eight people lived in a sealed-up dome, a mini-earth, for two years to study sustainability. We could see them all through the glass. I remember waving, though I don’t know how accurate that is. I think of that right now, as I wave to my friends through their windows.

Even Opal is weighing her options. Just after lunch, she says to me, “I’m going to try and make Ruth my friend. We may be together for a long long time and I want to have fun with her.”

The girls laugh so hard at dinner tonight, we wind up calling a moratorium when they are unable to take a drink without spraying it across the table. This is very unusual.

5. Monday, March 16, 2020—RAGE

The media is rich with photos of college kids whooping it up over the weekend for St. Patrick’s Day. Seeing photos of hundreds of young bodies smashed together in a bar makes my blood curdle. I can practically see the virus spreading.

Let’s talk about neuroscience for a minute. The brain isn’t fully developed until the age of 25. Therefore, to leave hundreds of thousands of 18-24 year olds to their own devices to make good choices around self-quarantining is like requesting the same from a litter of wild animals. Is there a psychiatrist out there observing this with some sense of concern? Where are the leaders in this? I don’t just mean parents. I’m also wondering about teachers, staff, the adults who own the bars, ANYONE who has some sense of perspective and enough maturity to help float those who aren’t as evolved.

Concurrently, parents are home from work, doing their human duty of staying home/keeping kids home to slow the growth of this thing. Healthcare workers are AT WORK so we can stay home and everyone can get a handle on this thing. Grr. It really is infuriating.

6. Tuesday, March 17, 2020—WHAT IF IT WERE MY IDEA?

Today I have a random memory of having insomnia for close to a year when I first moved to Colorado fifteen years ago. It was agonizing: the mealy brain that would wake me up with an indifferent shrug and leave me unsettled and restless for hours—a fate far worse than jolting into a leap of wide-awake!—left me feeling dead-brained and disconnected for weeks at a time. The only thing that helped me to recover was to pretend it was all my idea. I have no recollection of how that notion ever came to me but there it was. I’d wake up at 3am and force myself to say, well, super! I was hoping to be up tonight! I have so much to do, after all! Filing, for example, was a big one. Before going to sleep at night, I’d actually pile things by my bed to do when I’d wake up during the night. It positively worked. In under a week, I was sleeping like a mouse.

I got to wondering if that hypothesis could be applied to this COVID reality. Perhaps, I could say to myself, now is as good a time as any to face down some mortal fears and learn about what it’s like to live in quarantine with a four and a ten-year-old. I’m not talking about Pollyanna-Sizing in the least. Just talking about broader perspectives to keep sanity in check.

7. Wednesday, March 18, 2020—A FEW GOOD THINGS

Some parts of this feel tenable, dare I say nurturing. The first few days of this have felt like a combination of a snow day and a meditation retreat. It is part family love-fest, part novel bio-spheric experiment. The weather is warm and inviting so we triple our number of family walks and clock in hours in the backyard. (Backyard, oh how I love thee.) Time feels abundant and luxurious. The slow-drip news of this international trauma infuses the ordinary moments with a sense of urgency, of faintly (or not) facing our individual mortality. Each choice is whittled away by the updated COVID rules du jour. Gratitude lists brim with things that may have previously been taken for granted: health, family, running water.

I clean the hell out of the bathtub today and enjoy every moment of it. I cannot for the life of me remember an instance when I took my time cleaning the bathtub like this, doing small circles on the tile like Mr. Miyagi. I typically rush through my cleaning with some sense of discontent, feeling that it’s taking up space that could be used for something worth relishing.

I typically feel paycheck-to-paycheck with regards to time. But now, time is one thing we have more of than we could possibly use. Usually, my brain has the feeling of being pulled down the road by pack of strong wolves. A lurching feeling. Now—not the case. I feel a shit load of feelings, but rushed and overwhelmed are not on the list.

While I clean? The girls are content reading books in their individual ways. Jesse is in the living room in the rocking chair he continues to scoff at, feet up on the rocking foot-stool, MacBook in his lap as if he’s rocking it to sleep. In that moment, there is a settled feeling inside the places where rushing and overwhelm are usually expected. This is one part I do not mind about the new norm.

8. Thursday , March 19, 2020—SNOW / CREATIVITY IS REQUIRED FOR SUSTAINABILITY

There is at least ten inches of snow on the ground—an abrupt change in weather—and I want to start drinking well before lunch. Cozy as it is, all I can think of is our lack of ability to escape into the out-of-doors.

Yesterday I felt heavy and blue, like the adrenaline was wearing off and the novelty of our situation was waning. My face felt leaden and I was short-fused with everyone, making audible sighs of exasperation that drive me bonkers when done by someone else. I miss my friends. I miss my routine and my work and Sunday morning writing-then-yoga. I know everyone does, but I do too. I want my Big child to continue to enjoy being with my Little child without constant management. I want to know HOW THIS IS ALL GOING TO UNFOLD.

Then, moments later, I am telling Opal how we need to try and be patient with each other. We can get what we need with kind words. We are a team.

I am struggling to find balance. One moment, I am a parent who remembers that Opal feels the same feelings as I do around all of this, yet with less perspective and practice on how to be with those scary inner-bits. The next moment, I am fed up with her vague grumpiness and I just want everyone to work together dammit!

The koan is how to feel spacious in a scenario where there is very little limited space.

Today I awoke feeling brighter. Opal has a Girl Scout meeting over Zoom at 2pm. Something for the schedule that did not originate from a member of Grimes Home Base! Yay! We are both as excited as eager peaches. Facetimes, Skype, Zoom calls are going to be the wiring the keeps us tethered to our relationships. Such irony, when, not long ago, the internet felt like the very thing that perpetuated our universal disconnection.

People are starting to get innovative with their use of the Web, and it’s inspiring as hell. Creativity will save us. Some of my favorite local musicians are doing “QuaranTours”—live shows on line. A famous kids’ book author is teaching the art of doodling. Late night Talk Show hosts are doing shows from their living room, with kids climbing on their shoulders and cheeks shiny without the help of a make-up crew.

9. Friday, March 20, 2020—WE NEED A BROCHURE.

Last weekend, we invited our dear next-door neighbor over to watch Frozen 2 with us. She ate our Pirate Booty, sat on our furniture. The things you do with a friend on any given, normal day. This weekend, she texted to see if we wanted to watch another movie, this time with her fiancé who had been traveling last weekend. I felt the need to explain that so much has changed since last Sunday, at least for us. Had it for them? Our tactics had been distilled down to the essence. At this point, we have decided not to let anyone else in the house right now. They totally understood.

Then I ran into them while on a walk today. They were walking towards Elvis and I on the sidewalk and I crossed the street away from them, not at all realizing who they were. I was just doing my usual COVID-cross-the-street-to-give-room move. I was also absorbed in a Podcast.

I crossed-back to see them. I was genuinely giddy with the prospect of their company. I realized I hadn’t been with any adult other than Jesse during the past week. I must've oozed with fervor! But, quickly I felt awkward because I was standing only a few feet away from them! I stepped back but that also felt wrong. Then I was aware of them being aware of me, and I thought, what is happening to us? These are my friends! But because we are not all on the same page, it can feel a bit clunky. Even still, our interaction was supremely satisfying. I wanted them to stay with me for the rest of my walk, but they had plans to go play Scrabble.

Oh how hungry I was for diverse conversation! Those few minutes on the sidewalk together were rich with talk-points and humor. Memorable. I’m still finding my way with enjoyable FaceTimes, but long-distance sidewalk chats are thus far my jam. I had a fantastic chat with a neighbor a few doors down while we were shoveling, and with another neighbor from my porch to her on the sidewalk. Both were far enough away to comfortably toss a softball. Both lasted only a few moments. Both were lavish with depth and hilarity, but concise, as if there were no time to waste.

March 20, 2020

Photos—Top: gel print by Opal. Middle: quick portrait by Ruth. Bottom: me rainbow-organizing markers (who has time for that on an average day??)

#momtemplative #HeatMamaWords #mindfulparenting #CovidList #NineDays

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sciencespies · 4 years

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Take a Virtual Tour of the Smithsonian American Art Museum's Humboldt Exhibition

https://sciencespies.com/nature/take-a-virtual-tour-of-the-smithsonian-american-art-museums-humboldt-exhibition/

Take a Virtual Tour of the Smithsonian American Art Museum's Humboldt Exhibition

SMITHSONIANMAG.COM | May 1, 2020, 9 a.m.

It’s not what you’d expect from an art show. At the end of a long corridor, beyond a pulled-back heavy burgundy brocade curtain, a full-scale mastodon skeleton fills much of the rotunda-like space of the gallery. The fossil is the centerpiece of “Alexander von Humboldt and the United States: Art, Nature, and Culture,” an exhibition at the Smithsonian Museum of American Art. The show was poised to open with much fanfare earlier this year just as the COVID-19 crisis shuttered the museum. Today the stately mastodon sits waiting for crowds to return. In the meantime, viewers can go on a virtual tour of the show through a new video put together by the museum’s senior curator, Eleanor Jones Harvey.

For Harvey, the 11-foot tall, 20-foot long elephant ancestor is the uber statement on what polymath Alexander von Humboldt (1769-1859) meant to the American politicians, scientists, artists and writers who fawned over him during his brief six-week visit to the United States in 1804, and who became a part of his global network of admirers for a huge chunk of the late 18th and early 19th centuries.

The mastodon was a coup for SAAM—it is the first time the fossil will be back in America since 1847, when it made its way through Europe and ultimately ended up at The Hessisches Landesmuseum Darmstadt in Germany. A video shows the disassembly in Darmstadt and three-day reassembly at the museum.

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Alexander von Humboldt and the United States: Art, Nature, and Culture

A Prussian-born geographer, naturalist, explorer, and illustrator, Alexander von Humboldt was a prolific writer whose books graced the shelves of American artists, scientists, philosophers, and politicians. Humboldt visited the United States for six weeks in 1804, engaging in a lively exchange of ideas with such figures as Thomas Jefferson and the painter Charles Willson Peale.

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The mastodon—exhumed under the guidance of artist Charles Willson Peale and cobbled together with wood by a leading sculptor of the day—represents the intersection of art, culture and science, says Harvey. Similarly, Humboldt studied multiple disciplines and believed that “artists need to have enough scientific background to know what they are painting, and scientists should maintain a sense of aesthetic wonder to appreciate as they are collecting,” Harvey says.

Almost 300 plants and 100 animals are named after the Prussian-born naturalist. Have you heard of the Humboldt penguin? The Humboldt Squid, which swims in the Humboldt Current? How about the Humboldt lily, found in California, which also has a Humboldt County? Forests, rivers, peaks, mountain ranges and even a patch of plains on the moon have been named for him. Humboldt, who published 36 books, including his five-volume masterpiece, Cosmos, was a man of many interests—so many that it’s hard to catalog them all.

He mentored many young scientists and accumulated a vast network of admirers and collaborators through some 25,000 letters, often beseeching others to share findings from their explorations as a means of accumulating data to prove his “unity of nature” theory: that everything on the planet is interconnected, says Harvey. Humboldt may have been one of the first to warn about climate change, noting that the devastation of forests in Venezuela had changed the local climate.

Read more about Alexander von Humboldt in this article by Eleanor Jones Harvey

Exhumation of the Mastodon by Charles Willson Peale, ca. 1806-08

(Maryland Historical Society, Baltimore City Life Museum Collection, Gift of Bertha White in memory of her husband, Harry White)

“He’s really one of the last great enlightenment scientists and one of the first great modern scientists,” Harvey says, noting that his work was grounded in meticulously analyzed data.

Humboldt’s holistic perspective—and his desire to make people understand nature’s importance to humanity—is more relevant than ever, notes Hans-Dieter Sues, chair of paleontology at the Smithsonian’s National Museum of Natural History, in the preface to the exhibition catalogue.

Most present-day scientists “tend to focus on specific ecological changes without considering the complex web of interactions between humans and the environment,” writes Sues. Environmentalists also concentrate too much on the preservation of a particular species, “rather than taking a more integrated approach that also considers humans.”

“There is an urgent need for a Humboldtian perspective if we are to understand and address the unparalleled crisis now facing our species,” Sues writes.

Niagra by Frederic Edwin Church, 1957

(National Gallery of Art, Corcoran Collection, Museum Purchase, Gallery Fund)

It’s hard to overstate Humboldt’s popularity during his heyday—the late 18th and early-to-mid-19th centuries. Widely traveled and broadly known in Europe, he was able to secure backing from the King of Spain to travel throughout South America, Mexico and Cuba between 1799 and 1804, documenting plant life, geology, climates, peoples and discovering the location of the magnetic equator, allowing him to “recalibrate his equipment and take the most accurate readings to that point of longitude and latitude in the Americas,” according to Harvey.

His book, Personal Narrative of Travels to the Equinoctial Regions of the New Continent during the Years 1799–1804, and other writings, excerpted in newspapers, gained him fans in the United States. Humboldt arranged a stopping over in America at the end of the southern hemisphere journey, primarily to meet President Thomas Jefferson, who “he suspected was his intellectual equal,” but also to get a close-up look at democracy and to possibly explore the Louisiana Territory, says Harvey.

He was greeted like a rock star by Peale when he disembarked in Philadelphia and feted by other intellectuals during his visit. He arrived in America at an auspicious time, says Harvey. Humboldt believed that the nation should capitalize on its natural wonder—that places like Niagara Falls and Natural Bridge in Virginia (on land owned by Jefferson) were just as monumental as European castles and cathedrals.

The Natural Bridge, Virginia by Frederic Edwin Church, 1852

(The Fralin Museum of Art at the University of Virginia, Gift of Thomas Fortune Ryan)

Cho-Looke, The Yosemite Fall by Albert Bierstadt, 1864

(Timken Museum of Art, Putnam Foundation)

The Peale mastodon—exhumed in upstate New York in 1801—fed into the mythology Jefferson hoped to create: that everything in America was bigger and better. Mammoth mania took over America after Peale displayed the fossil at his Philadelphia museum in late 1801. The unearthing of the bones is magnificently recalled in Peale’s 1806 painting, Exhuming the First American Mastodon.

Humboldt had written to Jefferson hoping to finagle an invite to the White House by mentioning that he’d found some mammoth teeth in the Andes. It worked, and he soon found himself hobnobbing with a network of American politicians, painters, writers and scientists. Among those who became a part of the Humboldt Hive: James Fenimore Cooper, Edgar Allan Poe, John Muir, Henry David Thoreau, Frederic Church, Walt Whitman and Samuel F.B. Morse.

The Prussian eventually came to consider himself half-American. Though he never visited the U.S. again after the 1804 trip, American luminaries frequently came to his Paris residence to bask in his presence. By 1847, Humboldt had been made a member of seven American scientific and cultural organizations.

Humboldt inspired a bevy of artists to ground their work in nature, including some of the greatest landscape painters of the time, Albert Bierstadt and Church. Twenty works by Church and two of Yosemite by Bierstadt are featured in the exhibition. Church’s paintings of Niagara Falls, Natural Bridge, and several Andean peaks, which he visited during a trip that recreated, step-by-step, Humboldt’s expedition through the same region, transport the viewer into a towering vision of nature.

Throughout his travels and his life, Humboldt was an advocate for social justice. “He thought the one flaw in American democracy was that it would not abolish slavery,” says Harvey. He urged James Madison to consider ending slavery, telling him that “nature is the domain of liberty.” Humboldt backed the anti-slavery 1856 presidential candidacy of John C. Fremont—who, during earlier explorations of the American west that were inspired by Humboldt, paid tribute to the scientist by naming various features after him, including a river in Nevada.

Valley of the Yosemite by Albert Bierstadt, 1864

(Museum of Fine Arts, Boston, Gift of Martha C. Karolik for the M. and M. Karolik Collection of American Paintings)

The plight of Native Americans also concerned Humboldt, especially in the wake of the Indian Removal Act of 1830. He convinced Prince Maximilian zu Wied-Neuwied, a protégé, and artist Karl Bodmer, to replicate part of the Lewis and Clark expedition to document the tribes of the Upper Missouri River. The exhibition features excerpts from the Prince’s journals and finely detailed watercolors of tribe members executed by Bodmer.

Humboldt also became friends with artist George Catlin, who had begun immersing himself in the documentation of America’s vanishing tribes starting in 1830. They meet in Paris, where Catlin has brought his portraits of Native Americans and a group of people from the Iowa tribe to educate the French—and shore up his dwindling finances. “It is the first and only time Humboldt will meet North American Indians,” says Harvey. Humboldt ends up touring the Louvre with some members of the tribe, one of whom kept a diary of the events of that trip.

A number of original Catlin portraits are on display, as is an 1845 painting depicting the visit to France, Karl Girardet’s Danse d’indiens Iowas devant le roi Louis-Philippe aux Tuileries (Dance of the Iowa Indians before the King Louis-Philippe at the Tuileries).

Not surprisingly, Humboldt is even connected with the founding of the Smithsonian Institution. When the Prussian traveled to England in 1790 to connect with a mentor there, he also ended up being introduced to a young chemist, James Smithson—the same Smithson whose bequest eventually created the Smithsonian in 1846.

Bison Dance of the Mandan Indians in front of Their Medicine Lodge in Mih-Tutta-Hankush by Alexandre Damien Manceau, engraver, after Karl Bodmer

The two reconnected in Paris in 1814, and spent a year in friendship, hanging out with liberal pro-American and pro-Democracy factions—making Smithson a bit of an outlier among his British compatriots. Humboldt and Smithson shared a love of collecting and analyzing, and spreading knowledge.

Well before the Smithsonian was established, Peale had already envisioned a national institution dedicated to the arts, sciences and American ideals and asked Humboldt to convince Jefferson to buy his museum collection as the foundation. Jefferson wasn’t interested in purchasing Peale’s materials. But the idea of a national institution continued to be discussed in Washington and elsewhere for decades. In 1835, Smithson’s last heir died and the estate was then, as directed by Smithson, bequeathed to the U.S. After much debate, Congress decided to accept the money. American attorney Richard Rush was dispatched to London to bring the dollars home, to, as Smithson put it, “found at Washington, under the name of the Smithsonian Institution, an Establishment for the increase & diffusion of knowledge among men.”

Those words “are a Humboldtian credo,” writes the museum’s director Stephanie Stebich in the introduction to the exhibition catalog. Most of the men ultimately involved in setting up the Smithsonian Institution had either known Humboldt, corresponded with him, or admired him, says Harvey.

“The entire Smithsonian is in some ways the bricks and mortar realization of everything that Humboldt cared about,” she says. The Institution’s 19 museums, the National Zoo, and 21 research centers and programs encompass Humboldt’s vast interests.

To make that point, the final gallery in the show features nine ongoing Smithsonian projects “that reflect Humboldtian enterprise,” says Harvey.

Though Humboldt was celebrated throughout the 19th century—with big parties in American cities every decade starting in 1869—the rise of Germany as a hostile power in the early 20th century caused Americans to stop teaching about the great scientist. Essentially, the lights went out on Humboldt, says Harvey.

“I’m trying to turn the lights back on and dust for his fingerprints, and say, ‘hey, he was here, and here and here,’” she says.

Currently, to support the effort to contain the spread of COVID-19, all Smithsonian museums in Washington, D.C. and in New York City, as well as the National Zoo are temporarily closed. The exhibition “Alexander von Humboldt and the United States: Art, Nature, and Culture” goes on view at the Smithsonian American Art Museum in 2020.

Listen to Sidedoor: A Smithsonian Podcast

It took a zealous Prussian explorer to show the colonists what they couldn’t see: a global ecosystem, and their own place in nature. Check out this season five episode, “The Last Man Who Knew It All,” about Alexander von Humboldt.

#Nature

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operationblanketfort · 4 years

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I, um, I’m feeling very speechless right now.

I’m mostly numb, but I’m sort of glad we’re doing this, so many people weren’t doing what they were supposed to do with regards to social isolation so it makes sense.

This is about the lockdown announcement from Boris Johnson tonight, at half past eight GMT on the 23rd March 2020. I am 19 years old, and my college and last a level exam were cancelled last Wednesday night and I had a completely terrible weekend worrying about it all. I want to write this so I remember how it feels, and to hopefully provide some insight to future historians, or at least my own children/grandchildren.

The mention of police involvement actually really properly scared/scares me. I know he only said fines/dispersing but jesus christ even just the idea scares me. It feels like a proper lockdown now.

My dad, before the broadcast, kept insisting that nothing would keep him inside the house, he was even laughing at the idea of us trying to stop him going out, so I’m really worried about him. I’m also worried about all of us being stuck inside together for so long, my family all (thankfully) get along well but we’ve been arguing more recently so I really don’t know what’s going to happen. I’m also worried about my grandmothers because they both live alone and are particularly vulnerable. I’m so worried about something happening to them.

Okay, Its been 20 ish minutes now (taken me so long to write and word this stuff) and frankly I’m still struggling to process. It’s really hard to think about what’s going to happen in the next few weeks.

The feeling of having witnessed a historic moment live- of living through the history my grandchildren or even my children will learn in school- is absolutely momentous. It’s actually quite a scary feeling, but you also feel small.

Aaand the emergency bbc news bulletin is followed by an advert for ‘your perfect home’ and then masterchef. Perfect. It honestly doesn’t feel right watching masterchef after that announcement. I’m not sure any reality tv is going to feel okay watching for a while.

It’s now five past nine. My sister and dad finally left the room so mum and I could have a quick talk. We both admitted to being scared. It’s nice to have someone feeling the same, especially when it’s someone you’re really close to. She also put into words something I couldn’t: even though I expected this, I’m really shocked.

I suppose this is just too massive a thing to process. They (the government and media) keep using the word ‘unprecedented’ and to be honest I’ve been getting sick of it, but it really is the most accurate word. This has not happened to this scale in a long time, possibly even not in living memory or ever (but my medical history is not good enough to make that statement definitely).

I’m still really upset about losing my last days of school to this virus, and about the uncertainty around exam cancellations. Maybe that’s why I’m having such a hard time processing this.

When I really think about it, not a horrendous amount will change for me. People have been making jokes about it, especially on social medias, but with my college (sixth form, not uni) classes online I wouldn’t be leaving the house much anyway. The main problem is going to be overexposure to my family lol.

Also, I almost feel a bit cheated? I’ve finally gained an interest in going out and hanging with my friends like a normal teenager, but now I can’t at all. I wanted a bit more experience in going on nights out or parties before uni, but I can’t now. Ugh.

I’m really hoping this does help stop this virus. Like I said, I’m glad we’re doing this because it actually does have a chance. I really don’t want this to last any longer than it has to, because I want a life! I want university and dating and nights out and pub crawls and going on walks for the hell of it and random trips to the shops for some sudden craving. I want house parties and coffee with friends and trips to town because I’m bored. I haven’t really wanted any of this for most of my teenage years (because of mental illness) and now that I finally do it is taken from me and I hate it. But also, I’m glad we’re doing this because I really really want no one else to die or get infected. It’s such a conflicting, confusing time to live through.

Oh, another problem I’m going to have is hobbies. I like to write and sew mainly. Writing will be fine, except I haven’t done any properly in ages. Maybe this will turn out to be a good time to finally get back into it. My sewing however, mayyy be affected. I don’t think hugely, but I only have so many supplies because normally I can just run out to the range.

The television has been on a different channel (history, I think- dad’s watching wheeler dealers) since the news ended. It feels really strange watching adverts for shops and products and services that probably won’t be available for the next three weeks. There’s loads of McDonald’s adverts, and they announced they were closing earlier today. Adverts for things that really don’t matter anymore, or that won’t be there anymore, are almost creepy. Like, even if they work from an advertisement perspective, nothing can happen about them. They still won’t make people buy the things. It’s kind of sobering.

Okay, now it’s 34 past nine, and I’m exhausted so I am going to bed. Finally. I might update this tomorrow, might not. I have some online classes tomorrow, and I’m going to check up on my friends, make sure they’re okay. I’m still hella numb and shocked, so maybe some sleep will do me good. Rest well everyone, even any of you from the future!

#mine #uk #coronavirus #boris johnson #lockdown #long post #sorry i just needed this out there #thanks for reading love y’all #sorry for the terrible formatting im on mobile and cant be bothered

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drink-n-watch · 5 years

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Hello boys and girls. I hope you are having a great day. Healthy, happy and well rested. For my part, I’m still struggling to get that last one under control after that wonderful horrible thing that happened at the convention. What thing you ask? Well I’m so very glad you did ask! It would have been a really short post otherwise. Sit back, relax: let me paint you a mind picture.

do I have your attention now?

A little while ago, I dragged Mel out of Anime land where she’s been… Well… You’ve read the fanfics… To attend Otakuthon with me. It worked. Yay! I’m generally ambivalent about conventions but I’m glad I went. It was fun. And exhausting. Funny how those two things so often go together. Like most conventions, Otakuthon has a large amount of artists from all over coming together to sell goods. The special part is that unlike in US cons, you can hear them talk in French which is entertaining… I’m not a very nice person. I must say though, most did a wonderful job no matter what they may think!

Mel and I decided to do a tour in the artists’ alley (that’s how it’s called but it’s more like an artists’ gymnasium), on Friday evening after work. No big thing, I had been up since 5 and I really just wanted to scout out the place before going back the next day. I was successful! In one of the back rows, a pleasant and clearly very talented young lady was displaying her prints for sale (side note: there were so so many prints guys, it made me consider putting in more walls….) which caught our eye and we went in for a closer look.

This sounds like a casual venture but you need to fight your way through hordes of fans, occasionally in pointy and dangerous looking cosplay, to get anywhere near the booths, let alone buy something. Moreover with my vertically challenged state I really need to have a front row view. As I try to avoid touching strangers, this closer look involved a series of acrobatics, getting on my tippytoes and trying to figure out how to stretch my neck like a rokurokubi while working hard on giving off an intimidating aura to make people part before me. I’d like to think it’s the aura that did the trick.

there’s no way this can go wrong

When we finally reached the booth, victorious, Mel bought some stuff and I admired the images on display. Off to one side there were a few BL and Yuri prints that caught my eye. The images were lighthearted and loving. I didn’t recognize any characters but the BL one’s were labelled 19 days while the ladies sported a neat little tag with the words “their story”. I made a mental note, hoping it wasn’t original art work and moved on.

Friday evenings are busy for me. No no, not with social outings and tons of friends, you silly! Friday evenings are when I finish up the Given collabs with Karandi and put the gallery post together to go out on Saturdays. It’s also when I watch DanMachi, Dr. Stone, Granbelm and Fire Force and review them all (or as many as I can before passing out). Coming home late means it was around 11 when I was done watching and had to start on writing. Keeping in mind that I had been up since 5 and had a full Saturday planned. I got through 2 reviews before giving up and calling it a night.

That’s when I got the bright idea to read a little something before bed. I remembered the prints and got to googling! 19 days is indeed a rather popular Chinese you series. It’s artistic and a lot of it has no dialogue. It’s in my to read pile. Their story is also a Chinese webtoon (alternate or original title: Tamen De Gushi) about two girls finding each other and it devoured me.

I had to force myself to close my computer early Saturday morning when I got to chapter 130. I finished up the remaining 63 chapters when I got up a few hours later. It’s an ongoing series and believe you me that I will be keeping up with it!

anytime, anywhere

I read a lot of webtoons, doujin and even more traditional manga but I rarely talk about them on my blog. I also rarely give up my sleep on the one weekend I actually have to stick to a schedule in order to read something I could finish anytime. So why is Their Story different?

That’s an impossible question to answer. The short and most accurate response is : I like it. I really like it. The longer one is that it has great pacing and a good sense of humour. The narrative respects the characters which are all well crafted and complex while remaining realistic and consistent. They are recognizable as people you may be friends with but just a bit more fun since you only hear about the adventures. The discovery of sexuality and social pressure is modernizes, told from a contemporary setting where a lot has changed and the stigmas aren’t the same but some things are still painfully old fashioned. Their Story is a coming of age from the point of view of modern young women and we don’t get enough of those. And it is also absolutely heartwarming. Not everything needs to be tragic and sometimes we can manage to cut ourselves on the softest things.

I didn’t do a good job. I’m still trying to get back those lost sleep hours. Ok, let me just give you this one random chapter as an example:

This chapter isn’t directly related to the story so there are no spoilers here, but the general theme has a connection with an earlier arc. It’s obviously feminist and if that annoys you…well you probably have given up on my blog a long time ago cause I am way more annoying than Their Story. I don’t see that many webtoons trying to make these points. Their story is fairly innocent and could easily be targeted at a younger audience. An audience that might not have completely acknowledged these realities. It made me so happy to think that somewhere a 13 year old saw this and thought, I never thought about it nut that’s sort of true…it kinda sucks. I also don’t think this story is particularly targeted to girls, as such the more personal perspective is even more interesting.

And a chapter like this works only because the author spend 180 chapters before it making us laugh and worry and fall in love with the characters. It’s not a message manga it’s a story that occasionally has something to say beyond it’s own fiction. Have I mentioned it’s adorable. Ok. Let me try again, here is one of the early chapters…..

I hope this has wetted (yes, this one time the error is on purpose) your appetite enough. It really is a great webtoon. Unless you are opposed to Yuri for some reason, I recommend you give it a try.

For my part, I scrapped myself together best I could, trying to make myself look somewhat presentable for the con and went right back to spend an entire day walking in heels on a few hours sleep. When I got back to that booth I told this entire tale of woe to the poor confused artist and openly blamed her for my sleep deprivation. Then I bought the Their Story print. here it is. I love it. Thank you..

I Ruin My Sleep Schedule Again, This Time With Yuri! Hello boys and girls. I hope you are having a great day. Healthy, happy and well rested.

#love #manga #romance #Their Story #wow #Yuri

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