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kvalenagle · 3 months

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For the beautiful interior graphite pieces by Brenda Lyons for the GryphIns series, the plan was to keep them as a perk for buying copies of the books. As more and more fans are experiencing the series on audio, I've been a little happier to show them on social media, just to make sure the audio listeners get to see them, too. The first piece for Eyrie was a deliberate choice: Reeve Brevin, the antagonist, in all her snake-themed peacock glory. While the series has gryphons that are more traditional (Zeph matches the traditional Egyptian gryphon pretty well as a hawk, Cherine matches the traditional Greek gryphon pretty well as a golden eagle), I'd noticed that there were some fans who wanted gryphons to be specifically a North American bald eagle + lion gryphon. While I love all gryphons, I didn't want someone to pick up this story and be disappointed. The choice to go with a green peafowl was intentional, especially as Zeph was on the cover, to let readers know from the outset that you were going to get interesting gryphons in interesting locations with this series.

The interior art pieces were set in the front instead of inside the text so if you picked up the book, you'd see Brevin and Hatzel (another non-traditional gryphon, saber-toothed tiger and the extinct Haast's eagle) first. If you wanted traditional (or bald eagle?) gryphons only, you knew this was a series to skip. But if the idea of interesting gryphons captivated your imagination, you were in.

Later editions would move the interior art pieces into the, well, interior of the novel, near where you meet each of the characters. Zeph and Kia, as the protagonists of Eyrie, also received interior art pieces. The reasoning there was that, once a few books were out, it was clear the series really lived up to its "interesting gryphons in interesting locations" mantra. Zeph may look boring (I'd argue he's interesting and pretty) on Eyrie's cover, but the next few books gave us snowy owls, shrikes, Peruvian diving petrels, European starlings, hooded pitohui, hoopoe birds, snow leopards, great blue herons, and white-tailed kites front and center.

Here at the beginning, however, in March of 2019, we wanted to set an expectation. And while Hatzel did some of that on her own, the choice of Brevin specifically let us show off the harnesses and jewelry the opinici in the series wear. It set an expectation: you won't get gryphons with laser guns, but there's some kind of society here.

I've always been grateful that we met Brenda Lyons. My husband came across her work at local conventions, and came home with one of her pine phoenix pieces for the office. She was working on a cover for another of my books when we all got to talking, and when you have three gryphon fans together, the topic often turns to The Black Gryphon by Mercedes Lackey and Larry Dixon. And how much we all loved Larry's interior art pieces for the series, how they shaped many artists and authors today. Though the first review copies of Eyrie had gone out, there was a moment where we realized there was just enough time before the print files were finalized to do interior art. And the rest is history.

(The choice of Brevin also hinted at the origins of the gryphons and opinici in having a female character with male bird plumage. Growing up with peacocks and peahens guarding the nearby orange groves, I do know the difference between peafowl. But in addition to the nature angle, it foreshadowed the queerness of the characters. With Pridelord's release, it's probably the series with the most trans gryphons in it.)

#Brenda Lyons #gryphon #gryphins #gryphon insurrection #fantasy #griffin #griffon #gryfon #creature fantasy #Reeve Brevin #Eyrie #green peafowl #peacock gryphon #peaphon #opinicus

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ahomeartgallery · 3 years

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Cherine Fahd, Apókryphos 6-1405, 2019 from her Apókryphos series – part of Home’s 2019 ‘The Portrait’ exhibition.

“…there is an unwritten contract that grief is private, unphotographable. Even in the family album it is kept hidden. Family albums celebrate our moments of togetherness; birthdays, holidays and weddings as well as ordinary moments of domestic life. But what of death? What of images of grief and loss? Apoìkryphos is a response to rare photographs from my family archive. In this series, I offer a forensic examination of mourning and the physical ways in which emotions are visualised, experienced and witnessed. Using image and text I have reproduced 24 photographs taken in 1975 of my Grandfather’s funeral and burial. Using a numerical system of annotations and footnotes, I forensically yet intimately guide you through the mysteries of the event portrayed, offering a visual and literary response to the photographs and to the unknown status of the photographer..."

#photography #funeral #family

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keepingupwithfundies · 6 years

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do the bates kids have to have their parents in their texts with the person they’re courting like the duggars do? also, are the bates parents cool with their kids having snapchat when they’re not married?

The early couples (I remember thsi specifically with Cherin) had an accountability buddy, so Chad would sent his messages to Erin to say Tori’s phone, where she would read it and then let Erin see the messages. So even checking up on potential suitors got outsourced to siblings. (Annie)

Edit: Oh, I found the bit on our blog:

http://keepingupwithfundies.tumblr.com/post/162613731984/what-are-the-general-courting-and-engagement-rules

“Before courtship, we chose to allow them to communicate through something we called accountability texting. They texted to a sibling’s phone who forwarded their messages. This may seem like an unnecessary process, but it served two purposes for us: 1. It allowed them to guard their conversations before they were certain that they were ready to become more serious about their relationship. This meant they focused their talk on really getting to know each other, rather than just repeating a lot of emotionally charged words before they were ready for that phase. (Many couples can say “I love you,” but they never learned to show it, and they never took time to ask questions to find what makes their companion feel loved). 2. It made the whole family become close friends with Chad. Chad even gave the siblings “Thank you” gifts for all the forwarding they had done for him before courtship. This was one of the best and sweetest things we did!“

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grarlon · 4 years

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Photography Guest Lecture Program: Emma Phillips

I found Emma Phillips really engaging and for me personally the most relatable. Her exploration of her own relationship with photography and the journey she has taken so far to find a clearer understanding of why she does it and what she likes and dislikes was very inspiring to me. Her love of using film as a main medium of photography I also found very engaging.

Phillips exploration with becoming closer to her subjects to get to know them better and more intimately through photographing them in more personal environments comes through in her work exhibited in her gallery in Melbourne. In comparison to her work she photographed for her final grad school work the subjects she’s photographed have clear influences from the research she had done on William Eggleston and Dorothea Lange.

I found her process of creating work very interesting, taking film photographs then developing them later, then sitting on them for around 6 months to be able to have a clear head and idea of how she would want to use the images. That time between physically taking the photos then later looking at them and deciding the context and meaning in how they will be presented and exhibited seems like a very successful way of editing.

Phillips relationship with text and her photography work and how she would incorporate it into her exhibited work reminds me of Cherine Fahds work “Apókryphos” and Dorothea Langes work. Her documentation of writing pulled from her own diaries and journals from her time in grad school. Bringing these conversations about her work with her teachers from the past back into her current work and incorporating and relating it to what she makes now is another interesting aspect of her creating and editing process.

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perry-tannenbaum · 5 years

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Review: The Jewish Plays Project

By: Perry Tannenbaum

The Jewish Plays Project, currently in its ninth season, seeks to recognize and develop new plays that freshly address contemporary Jewish life. In their annual Jewish Playwriting Contest, plays that peddle stock Jewish humor or deal directly with the Shoah are graciously discouraged. Like other playwriting contests, it solicits scripts that haven’t received professional productions and welcomes playwrights of all ethnicities. Of course, an expert panel is part of the selection process, but unlike the Pulitzers, the Tonys, or the Steinberg Awards, the JPP panel only screens the hundreds of entries and winnows them down to a group of finalists.

Cunningly, JPP invites theatre communities around the country to engage with the scripts, winnow them down to a Top 3, perform the Top 3 publicly in abbreviated staged readings, and have the live audience vote for their winner. In the 2019 cycle, Charlotte is the first of seven cities to complete its participation in the process, so the ultimate winner won’t be announced until after the Palo Alto readings on May 1 – moving on to a full production in New York this September.

The seven finalist scripts were emailed to us back in November, and I can proudly say that our reading panel in Charlotte had the most listed members, edging out Houston and New York, sharing the honor for the most populous panel with Chicago. Our panelists met at the Levine Jewish Center for a dinner powwow during the last week in January. After spirited discussions of each script, we wound up choosing In Every Generation by Ali Viterbi, The Shabbos Goy by Cary Gitter, and Dox Modern Middle by Megan Pope for the public event at Gorelick Hall, the J’s theater facility.

Last year’s national winner, Summer Night with Unicorn by David Rush, had been produced by the Levine Cultural Arts department’s JStage at the Gorelick in November, so there were people in the audience – and onstage – who had experienced last year’s playoffs and/or seen its fruit. This was the third year that Charlotte had participated in the annual contest, my second year of participating on the community panel, and my first time at the competitive readings. I was a bit taken aback by the robust turnout. Word has gotten around.

Unlike the staged reading festivals presented in the past by Actor’s Theatre of Charlotte and the defunct Charlotte Rep, the Levine’s Jewish Playwriting Contest maintained its professionalism without stuffiness or excessive formality. If you were an actor, you weren’t warned against the impropriety of wearing a color or dressing for your part, but you did lay your script on a lectern as you performed. If you bought a ticket, you could grab a free nosh at the back of the hall and schmooze with your fellow cognoscenti before David Winitsky, the founder and director of JPP, moved up front to issue welcomes and thanks. Then he explained the JPP and the Contest before testing the technology that would be used for the individual playwright intros and the voting. Directing all three entries, he also read the stage directions during the readings.

Old schoolers could vote on paper ballots as God intended, or if you had a smart phone, you could text your vote to a prescribed number. My first two test votes, before and after the first play reading, were for macaroons and Bernie (who lost to Midge). While writing this review, I texted “LEAVE” to the number we had been given and received an answer, my first real assurance that my votes had counted. So the technology worked, the format for the evening had been exhilarating, and theoretically, my vote may have been decisive. Yet I did not drive home feeling that the format had been completely fair.

Gitter’s The Shabbos Goy led off the readings, probably the easiest of the three to summarize. Seth, a divorced Orthodox Jew, has a crisis of faith because he has fallen in love with Angie, an Italian-American art gallery curator who recently moved into an apartment down the hall. Not knowing she had moved in, Seth had knocked on her door, thinking he would call on his Shabbos goy to do something for him that Orthodox Jews are forbidden to do on the Sabbath – like turning on a lamp or an oven. Angie readily agrees to help this nerdy knish maker. He’s such an unlikely candidate for her affections that, when he asks her out, she doesn’t immediately grasp what he’s doing, by which time he’s apologizing.

Seth’s sister Rachel, his partner in the Lower East Side knish store, is more devoutly opposed to her brother’s wishes – she’s not Jewish! – but Sophia, Angie’s folksy grandmother, has an open mind. In the scenes excerpted for the reading, Seth (Jordan Ellis) told Angie (Karina Caporino) about his spiritual crisis. His confession went better than Fitzwilliam Darcy’s, acting as an aphrodisiac. Afterwards, Angie had a couple of heart-to-hearts with Sophia (Jackie Fishman) and Rachel (Susan Cherin Gundersheim).

If the allusion strikes home, you’ll already know that Viterbi’s In Every Generation has something to do with Passover. Not only is the Passover seder the instrument of fulfilling the biblical commandment of telling your children about the exodus from slavery in Egypt, it is the gateway for fulfilling man’s obligation “to see himself as if he personally went out of Egypt.” Viterbi divides her play into four parts, a very apt number for Passover, and links three generations of a family across three seders, beginning with 2018 in LA, then flashing back 65 years to 1953, and then zipping forward to 2048. After three seders with this family, Viterbi thinks we’re ready to visualize her family in 1416 BCE after leaving Egypt, celebrating Passover and yearning for the Promised Land.

In the first excerpted scene, we saw all three generations gathered at the 2018 seder. Drawing most of our attention were two squabbling siblings, Yael Katz (Caporino) and her adopted Chinese older sister, Devorah (Vivian Howell Tong), who is studying to be a rabbi. It is she, therefore, who expounded on the number four in the Passover Haggadah. Their mom, Valeria (Stephanie DiPaolo), tried to keep order, but her difficulties were compounded by her octogenarian parents, Davide Levi (David Catenazzo), who coukd no longer speak due to ALS, and Paola (Fishman), who kept lapsing into Italian. Our second excerpt took us to 1953, shortly after Davide and Paola had immigrated to America. Davide could talk at that seder – smoothly enough to convince Paola that Passover might be a great time to start their squabbling unborn family.

Reduced to a bare-bones 20-minute sampling, In Every Generation had to shed its last two parts – and the English subtitles that are supposed to help us understand Paola’s Italian when she arrived in LA back in 1953. Shabbos Goy suffered to a lesser extent from Winitsky’s radical abridgement, losing one of its characters, a dashing young artist whose work Angie would love to display at her gallery. Young and sexy Blake, Angie’s arrogant quarry, expected to combine business with pleasure. Pope’s Dox Modern Middle was perhaps the most disadvantaged by Winitsky’s excerpting. It would have been helpful, for starters, if the playwright, the director, or the reading had explained what the title meant.

Amid some healing chanting and a spectral appearance of Fathermother, representing her parents and her Orthodox Jewish heritage, the excerpt began with 17-year-old Raphaela (Arella Flur) arriving in Israel. She was greeted by her Aunt Caroline (DiPaolo), a longtime Israeli who knew more about Raphaela than the girl thought. Caroline already knew, for instance, that her upfront 16-year-old neighbor Gil (Rixey Terry) would be the perfect companion to show Raphaela around – because he is gay, she is lesbian, and that’s why she was sent away from Brooklyn by her “Dox” parents. In later excerpts, we learned that there’s an LGBTQ nightclub in Jerusalem that will welcome both Gil and Raphaela, with queerness to burn. A quartet of glittery queens emerged from the audience, voguing and preening. More seriously, the club’s bartender, Pop Tart Girl, took an interest in Raphi, evoking memories of Ani (Caporino in both roles), her previous paramour back in Brooklyn.

When the votes were tallied, Winitsky announced that The Shabbos Goy had been our audience favorite. Audience members who have become attached to Seth and Angie, rooting for their romance, can go to JewishPlaysProject.org and see how Gitter’s romantic comedy is doing in the standings. With the two points that Shabbos Goy earned at the Charlotte playoffs, it is now tied with In Every Generation for first place. Next in the standings, trailing the leaders by two points, is Dox Modern Middle. As exciting as the contest was, I’d be more comfortable if the readings were extended to 40-45 minutes each. Lacking that, audiences should get a full summary of each contestant. That’s what I’m voting for.

Jewish Playwriting Contest Dramatically Involves Charlotte Audience in Selecting a New Play for a New York Production Review: The Jewish Plays Project By: Perry Tannenbaum The Jewish Plays Project, currently in its ninth season, seeks to recognize and develop new plays that…

#Ali Viterbi #Arella Flur #Cary Gitter #David Catenazzo #David Rush #David Winitsky #Gorelick Hall #Jackie Fishman #Jordan Ellis #Karina Caporino #Levine Jewish Center #Levine’s Jewish Playwriting Contest #Megan Pope #Rixey Terry #Stephanie DiPaolo #Susan Cherin Gundersheim #Vivian Howell Tong

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thevulernablepreacher · 6 years

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Jesus, writing. I feel like a boulder someone else needs to push up hill right now. I can’t cry right now..i’m too filled with pain.

I had a couple of really good interviews this week. And then i had to pay the $105 bill for editing & consulting. Considering it was over 8 hours of work it’s ridiculously reasonable. And i adore my editor.

But i have zero fucking money. Not Zero..but not enough to breathe easily that’s for sure.

I love my podcast. By the fourth interview (in total) on Wednesday i felt like, “i think i’m getting this. I think i’m settling in again. I think i’m relaxing. I think i’m honing in on what it is that i’m doing.” And i do think it’s amazing and soo soo cool and so so important. I am archiving the stories of every day women. The miraculous lives and winding roads and traumas and successes and failures and confusion and clarity and everything in between.

I think it’s good.

One of the people I interviewed was this very cool spiritual coach from Norway. Once it airs you can tell me if i sound pathetic; but i had this feeling and have had for a while that i really wanted to work with her. She offers this 3 month intensive that’s supposed to help women shed the blocks and start to live to their highest vibrational desires-painlessly. The pathetic part is that i say “I need to work with you.”

Who the fuck doesn’t want to live like this? And it’s only.. 4K. When i heard that the first time we spoke i stopped breathing. No way. And, wow- Amazing that she has the balls to charge this without question; and that people pay it. Wow. Im guessing fairly well off white women are her buyers.

I’m ridiculously superstitious and i tend to go off with magical thinking that really isn’t grounded in reality. So when i began to read her website and interview her, i thought, “I REALLY need this.” “I”m not living my highest vibrational blahblahblah.” “This is the answer. And it’s even more of the answer b/c i can’t afford it! So it must be what i need!

She told me i was living from a place of scarcity. That hurt. That hurt b/c its absolutely true as evidenced by my thought process above.

All three of the Cherin children live like this. They’d shoot me if they read this; but it’s true. We never have enough. And they will never read this.

I am sure i’d get a ton out of this thing, and maybe it would elevate me for a while by creating a sisterhood of elevating vibrational souls. I think that sounds fabulous. And the magical thinking part is that it would transform me forever; which i have been trying to do, forever.

But you know what? I have scaled the universe spiritually and psychologically, delving, excavating, journeying, praying, analyzing from a very young age. It’s just what i always did. Always trying to get to the essence of my shit. And it’s just who i am and always will be. But i certainly do not need to feel scarce or that i’m missing out bc i don’t have 4k lying around to sit with a group of soul sisters that I already have in abundance; all of whom i consider to be living at incredibly elevated vibrational levels.

Honestly. I have a great Jewish therapist who never lets me sit in the muck. I have hilarious and smart and clear-eyed girl friends, who while much more “externally” successful than me, also struggle daily with existence and their own shit; despite what it all looks like.

And i have a Temple-with the penultimate greatest gift of a Cantor who is surely divinely sent, and a community of the most true, raw humans i have ever encountered.

So i would say that I am divinely blessed in every sense of the word. And if this is my plane of existence, how lucky am I? Supremely.

And yeah, i sprained my ankle while basically just breathing for perhaps the 30th or 40th time. But i am still one lucky fuck.

And at one of my lowest points today i received a text from one of my brilliant, funny, irreverent, off the charts fabulous and a sailor of her own course, friends. It was EXACTLY what i needed to hear:

“4K? For what? That’s a lot of dough. Em, you already have what you need inside..the way you live your life? People should pay you 4k for your wisdom and humor.”

I died..could she have written anything better? Thank you. And you’re so right! I do contain infinite wisdom and humor. I simply needed a reminder. Who the fuck doesn’t need a reminder on the regular?

You know what? This is my sisterhood! My phenomenal female friends; and they are PHENOMENAL humans. Each of them blows my mind. So if they’re my friends and i’m there’s...i must be pretty fucking great as well.

Yes, i am ready to throw the towel in on life today. And yes, i’m devastated that i can’t go to Temple tonight to hear the spiritual journey of someone i just love. And deeply saddened that i don’t have a friend who will pick me up and take me there and home in whatever state i am in right now. That’s my reality today.

But that damn text from one of many true soul sisters was fucking awesome.

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mudefrau · 8 months

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wow thank you for liking my pictures....♡ your interactions have allowed me to discover some nice active blogs with the same interests too^^

i dont post very often because i am used to twitter but even so i'm also less active there since the schoolyear started and i lately hesitate a lot before posting. and i haven't even been responding to my friends -_-' (sorry, gotta fix that. i'm a bit mentally blocked rn)

i am so happy #tincrow and #gelphie are a thing wow.... i am used to my ships never being popular and having to hide like i have the plague lmfao

(i have a story in mind linking seamlessly the fiyero/boq canon to SC/tinny, maybe one day i get around to share at least what the plot would be...! i'm sure this has been done, but when i'm new to fandoms it makes me anxious to check fanfics. lol don't question it i'm just pathetic)

still i think i like to do platonic stuff even more, like elphie+dorothy (in my AU where she realizes the WWW is good and oz is evil) and elphie+nessa. (their relationship is one of my fav things in the musical and i dunno yet if it's preserved in the book but i hope so,, tho i feel a flying monkey paw curling bc i can't trust this author sfdsd /affectionate)

#wizard of oz #wicked musical #personal #cherine text

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mudefrau · 9 months

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very long text of me talking about tooticky idk if this is an "analysis" or whatever. just rambling about trying to grasp her truest canon self vs 1990/2019 adaptations vs my daydreams + i used a filter for proper capitalization and punctuation so it's more readable. i am sleep deprived and in love with her so i don't know if it makes sense

Ok, first of all, it feels weird to analyze this as 'I wish that' or 'I would like' because the basis of it all is a woman's children's books in the fifties, where a lot of the inspiration was personal stuff (and she went on for the first two books despite almost no success). It's not like modern-day media that clearly caters to online fandoms—so I don't know how to word stuff like 'I wish Tooticky had more protagonism' in the sense of where do I exactly wish she did? If I'm talking about a remake, it's important to stay true to the author's legacy. I don't feel entitled to make such statements. I think Tooticky and Ninny are so interesting they could take the role of Snufkin and Moomin respectively, but they did not show up that much in the books, so an adaptation like that would be unfaithful and pandering (to me specifically).

I could choose to word it instead like 'I wish I saw more Tooticky in fandom,' but here, I also think it's wrong to tell people what to do when it comes to free art and fics they post on the internet. People should have fun with whatever they like, even if it's already popular or out-of-character (OOC-ness can be subjective when it comes to nebulous characters anyway).

So, I mostly just make my stuff quietly and leave it there. But I finally watched S1 of MV2019—and I can tell people might get more 'demanding' with this show because they're obviously already taking some freedoms despite the clear intent of staying faithful to (mainly) the books, but adapted to the episodic nature of 20 minutes each. I would say they openly choose to give Snufkin more protagonism than he actually has in the book and deliberate choices. So, this makes me look at Tooticky, and I sniff audibly like 'Damn, this could've been you.'

They also gave him more feelings, tbf I see why because he wails when the sea is gone in 'Comet in Moominland' (first example that comes to mind), and I think the '90s is a bit on the other extreme like he's TOO chill in 'Tanoshii Mūmin Ikka.' I would say the books are a middle point between 1990 and 2019. And I can also see the basis of why this character could be gay. Like, let's be serious for a moment, we need to admit this is a fandom conception, but it has some basis given the author's life—HOWEVER, I think Tooticky is more blatantly gay than he is. Not just the butch part, but mainly based on who she's openly modeled after. I don't think it matters she doesn't have a girlfriend or anyone she's very close to in canon. She's still an icon.

Now let's move to her personality. I think Tooticky's character is a bit nebulous like Snufkin (who I keep bringing up because it's the non-winter counterpart); like we don't really truly know what they do when they travel, that contradiction between being social and warm but a loner and distant, and that (at least, sticking to books) we don't know how deep their emotions can go. And I can't make this up as a fan, at best I can label it as a 'headcanon.' Seeing how Tooticky has been adapted in 1990 and 2019, I realize they make her very sweet. Tooticky is normally described as uncompromising and deadpan so if they tried they kind of failed. The mysterious and weird vibe is a bit gone. Snufkin is allowed coolness in 1990 and emotional depth in 2019. I wonder why this choice for Tooticky then; because she's an older woman, she must be mother-figure-like? Tove was not going for this at all. Fandom interpretations add her more 'coolness,' though I think this coolness is inspired by the comic strips.

I WILL FORGIVE HER SWEETNESS AND WARMTH BECAUSE THIS IS SO FREAKING CUTE, though my thoughts in ep13 were "Moomin does not deserve her", Ninny deserves her more, but that is beyond the point of whether it's IC of Tooticky to act like this or not

Despite what I said about her not being overly sweet or motherly, I think her presence is comforting by itself. In 'Moominland Midwinter,' I think Moomin is really 'going through it'. The whole book felt like, to me, a metaphor about growing up (I say this as the characters are no longer referred as children it appears), or Tove's losses she was going through by the time she wrote it, or what causes depression. Which is reflected in that desolate landscape, no one familiar like Moomin's parents or Snorkmaiden being awake, nor his friends Sniff or Snufkin being present. Just edgy Little My, and Tooticky.

I can understand why Moomin doesn't show any kind of appreciation or affection to Tooticky; he has a very heavy heart at that moment. However, it makes me a bit sad no one truly seems in-canon appreciative of Tooticky despite how... epic she is. I guess because she's only there when everyone is sleeping, but still. Snufkin has Moomin and even has in-universe 'fans' like Teety-Woo. Tooticky has her invisible creatures who love her, I guess?

[I have an incredibly cute screenshot of her in 2019 petting invisible shrew but IDK how many screenshots I can get away with without being taken down, I know how the company is like with this stuff. ]

Edit: NVM

This leads me to why I wish Ninny was permanent in MV (again, for reasons I explained above, wish = headcanon). I can see why they didn't do that choice (adding Alicia instead or whatever; I love Alicia, but I'm making a point pls :joy:): post-invisibility Ninny would perhaps be too much of a Little My clone. But when I say MV2019 took some liberties, well, Ninny's final place to stay is not stated in the books. The 1990 anime in the original Japanese dub says she returns to her aunt, who ends up 'missing her' (and wow, I can see why they changed that to leave it ambiguous again in the English dub). 2019 randomly makes up that Tooticky has a sister to argue where they left Ninny at. And here's where I say... why not say Ninny stayed with Mymble? This would solve three things:

Ninny being permanent in MV

Adds a link between Mymble (Jr)* and Tooticky. Come on, people want them to have a connection after that one arm-clinging illustration.

Listen, I think Tooticky being lonely and comfortable with it is very much a part of her character; I think making up a relative for her is not a good move that contributes anything and more like decontributes.

The Mymble house indoors is never shown AFAIK so it wouldn't matter if they decided not to show Ninny again, just say she's there.

((*)BTW, I think I heard Mymble Jr. has not shown up in S1 to S3, but I've only watched S1, so I'm not sure. I have fears Tooticky will not show up again after S1 either. I'm going to cry.)

Like I think Tooticky would be aware she would not be the best caretaker (again, I don't view her as motherly; 'auntily' maybe, if anything lmao) and wouldn't want to keep her isolated anyways. I think Mymble Jr. also would enjoy having a calmer girl around she can read books with and braid her hair and whatnot. Little My's reaction to this would be interesting also.

Coming back to my point of being lonely, I think this could also be part of why Ninny could admire her, in part because she sees herself in Tooticky. So, I prefer Tooticky relative-less because, unlike other characters (Moomin, Mymbles, Sniff), Ninny has no relatives except an abusive one (actually not even blood-related in her original story). This is why I said 'Ninny and Tooticky could be the Moomin and Snufkin of Moomin.' If you keep Tooticky's original 'impassible, panders to no one' attitude most of the time but make her soft for Ninny, and add Ninny's past-influenced possible emotional attachment to her despite Tooticky keeping her distances (which here feels even more justified than Snufkin and Moomin having the feelings they do for each other; not saying all feelings have to be grounded in rationality, but yeah), it really hits. I'm not going into why Ninny might, could, probably be a lesbian as well because I'm kind of tired at this point and this is about Tooticky, but I don't mean this in a ship way it's more like a mentor relationship and I'm drawing parallels to Snufkin and Moomin dynamics for other reasons so people can understand me because I do see the appeal in snufmin.

Overall, I like to write about Tooticky, but she's mostly taking a counselor role in my stories, not just with Ninny but with the Groke as well (in the end, it's an equally lonely and sad character, the difference being she inevitably harms others while Ninny's invisibility just reflects pain on herself). I think, 'I never write about Tooticky's own problems, poor her, she deserves to be sent a whiskey crate,' but I literally don't know what kind of problems would be in-character for her to have. And when it comes to her life and past, I also make her intentionally vague, like she enjoys obscuring it to in-world characters and to the reader. Because anything else feels like going too far and writing an oc. In the end, I understand this is a highly personal character for Tove that was only created later in the series, so I would feel bad for desecrating it.

But regardless, talk to me about Tooticky and feel free to contribute because I tend to miss a lot of stuff. I realized I skipped the opportunity to send people I follow Tooticky questions for that character ask game everyone was reblogging, and I'm so mad at myself for thinking slow lmao.

#cherine text #i don't know if to tag this or not.#too-ticky #tooticky #too ticky

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mudefrau · 10 months

Text

youtube

i don't know if this machine-assisted translation is fully accurate (since it tried to translate the title Ninnilaulu to "Lullaby" but it should be "Ninny's song" riight), i hope it is because i cried;;

The sea is so blue, a school of fish glides, over the open waves, carried by the breeze. The wind tousles your hair, whispering in the garden. Days and years are left behind, in the whole wide world. What will it be like, where you are heading? Will you miss anything, will you see the same stars? If you have a couple of friends, by your side at times, you can explain everything and show your emotions. The day shines, the land blooms, as you walk by the riverbank. You cannot always anticipate who will offer friendship. Shed tears of sorrow, overcome your troubles with them. You may get angry, as long as you do not harm others. Winter, spring, and summer pass, then the autumn frost comes. Soon the land will be free of snow, underneath your footsteps. A little bell jingles, it is near you. The wind rises, it roars, bringing your loved ones here. In the world, there is much distress for the little ones. You quietly sneak in rooms, finding no courage. But play, sing, smile, so you won't disappear, so your heart's radiance can reach everyone.

original 🇫🇮 under the cut

Meri on niin sininen, kalaparvi kiitää, yli aavan laineiden tuulenhenki liitää. Tuuli tukkaa liehuttaa, kuiskii puutarhassa. Päivät, vuodet jäävät taa koko maailmassa. Millaista on aikanaan siellä minne lähdet? Jäätkö mitään kaipaamaan, näetkö samat tähdet? Jos on pari ystävää joskus seurassasi, kaikkea voit selittää ja näyttää tunteitasi. Päivä paistaa, kukkii maa kun kuljet joen rantaa. Aina et voi aavistaa ken ystävyyttä antaa. Itke surun kyynelet, murhe niillä voita. Suuttuakin saat, jos et muita vahingoita. Talvi, kevät, kesä on, sitten syksyn halla. Pian on maa taas lumeton askeltesi alla. Pieni tiuku kilisee, se on kohdallasi. Tuuli nousee, kohisee, tuo tänne rakkaimpasi. Pienelle on maailmassa paljon ahdistusta. Hiivit hiljaa huoneissa, et löydä uskallusta. Vaan leiki, laula, hymyile, jottet katoaisi, jotta loistaa kaikille sydämesi saisi.

#moomin #moominvalley #the invisible child #ninny #ninni #näkymätön lapsi #finnish #suomi #Youtube #cherine text

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