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makapatag · 1 month

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realities, maximalism,and the need for big book™️

some gubat banwa design thoughts vomit: since the beginning of its development i've kind of been enraptured with trying to really go for "fiction-first" storytelling because PbtA games really are peak roleplaying for me, but as i wrote and realized that a lot of "fiction first" doesn't work without a proper sort of fictional foundation that everyone agrees on. this is good: this is why there are grounding principles, genre pillars, and other such things in many PbtA games--to guide that.

broken worlds is one of my favs bc of sheer vibes

Gubat Banwa didn't have much in that sense: sure, I use wuxia and xianxia as kind of guideposts, but they're not foundational, they're not pillars of the kind of fiction Gubat Banwa wants to raise up. there wasn't a lot in the sense of genre emulation or in the sense of grounding principles because so much of Gubat Banwa is built on stuff most TTRPG players haven't heard about. hell, it's stuff squirreled away in still being researched academic and anthropological circles, and thanks to the violence of colonialism, even fellow filipinos and seasians don't know about them

this is what brought me back to my ancient hyperfixations, the worlds of Exalted, Glorantha, Artesia, Fading Suns... all of them have these huge tomes of books that existed to put down this vast sprawling fantasy world, right? on top of that are the D&D campaign settings, the Dark Suns and the Eberrons. they were preoccupied in putting down setting, giving ways for people to interact with the world, and making the world alive as much as possible.

one of my main problems with gubat banwa was trying to convey this world that i've seen, glimpsed, dreamed of. this martial fantasy world of rajas and lakans, sailendras and tuns, satariyas and senapatis and panglimas and laksamanas and pandai... its a world that didn't really exist yet, and most references are steeped in either nationalism or lack of resources (slowly changing, now)

i didn't want to fall back into the whole gazeteer tourist kind of shit when it came to writing GB, but it necessitated that the primary guidelines of Gubat Banwa were set down. my approach to it was trying to instill every aspect of the text, from the systems to the fluff text to the way i wrote to the way things were phrased, with the essence of this world i'm trying to put forward. while i wrote GB mainly for me and fellow SEAsian people, economically my main market were those in the first world countries that could afford to buy the book. grokking the book was always going to be severely difficult for someone that didn't have similar cultures, or are uninterested in the complexities of human culture. thus why GB had to be a big book.

in contemporary indie ttrpg spaces (where I mostly float in, though i must admit i pay more attention to SEAsia spaces than the usual US spaces) the common opinion is that big books like Exalted 3e are old hat, or are somewhat inferior to games that can cram their text into short books. i used to be part of that camp--in capitalism, i never have enough time, after all. however, the books that do go big, that have no choice to go big, like Lancer RPG, Runequest, Mage, Exalted are usually the ones that have something really big it needs to tell you, and they might be able to perform the same amount of text-efficient bursting at the seams flavor writing but its still not enough.

thats what happened to GB, which I wanted to be, essentially, a PbtA+4e kind of experience, mechanically speaking. i very soon abandoned those titles when i delved deeper into research, incorporated actual 15th century divination tools in the mechanics, injected everything with Martial Arts flavor as we found our niche

all of this preamble to say that no matter how light i wanted to go with the game, i couldnt go too light or else people won't get it, or i might end up writing 1000 page long tome books explaining every detail of the setting so people get it right. this is why i went heavy on the vibes: its a ttrpg after all. its never gonna be finished.

i couldnt go too light because Gubat Banwa inherently exists on a different reality. think: to many 3 meals a day is the norm and the reality. you have to eat 3 meals a day to function properly. but this might just be a cultural norm of the majority culture, eventually co opted by capitalism to make it so that it can keep selling you things that are "breakfast food" or "dinner food" and whatnot. so its reality to some, while its not reality to others. of course, a lot of this reality-talk pertains mostly to social--there is often a singular shared physical reality we can usually experience*

Gubat Banwa has a different fabric of reality. it inherently has a different flow of things. water doesn't go down because of gravity, but because of the gods that make it move, for example. bad things happen to you because you weren't pious or you didn't do your rituals enough and now your whole community has to suffer. atoms aren't a thing in gb, thermodynamics isn't a real thing. the Laws of Gubat Banwa aren't these physical empirical things but these karmic consequent things

much of the fiction-first movement has a sort of "follow your common sense" mood to it. common sense (something also debatable among philosophers but i dont want to get into that) is mostly however tied to our physical and social realities. but GB is a fantasy world that inherently doesn't center those realities, it centers realities found in myth epics and folk tales and the margins of colonized "civilization", where lightnings can be summoned by oils and you will always get lost in the woods because you don't belong there.

so Gubat Banwa does almost triple duty: it must establish the world, it must establish the intended fiction that arises from that world, and then it must grant ways to enforce that fiction to retain immersion--these three are important to GB's game design because I believe that that game--if it is to not be a settler tourist bonanza--must force the player to contend with it and play with it within its own terms and its own rules. for SEAsians, there's not a lot of friction: we lived these terms and rules forever. don't whistle at night on a thursday, don't eat meat on Good Friday, clap your hands thrice after lighting an incense stick, don't make loud noise in the forests. we're born into that [social] reality

this is why fantasy is so important to me, it allows us to imagine a different reality. the reality (most of us) know right now (i say most of us because the reality in the provinces, the mountains, they're kinda different) is inherently informed by capitalist structures. many people that are angry at capitalist structures cannot fathom a world outside capitalist structures, there are even some leftists and communists that approach leftism and revolution through capitalism, which is inherently destructive (its what leads to reactionaries and liberalism after all). fantasy requires that you imagine something outside of right now. in essence read Ursula K Le Guin

i tweeted out recently that you could pretty easily play 15-16th century Luzon or Visayas with an OSR mechanic setting and William Henry Scott's BARANGAY: SIXTEENTH CENTURY PHILIPPINE CULTURE AND SOCIETY, and I think that's purely because barebones OSR mechanics stuff fits well with the raiding and adventuring that many did in 15-16th century Luzon/Visayas, but a lot of the mechanics wont be comign from OSR, but from Barangay, where you learn about the complicated marriage customs, the debt mechanics, the social classes and stratum...

so thats why GB needs to be a (relatively) big book, and why I can contend that some books need to be big as well--even if their mechanics are relatively easy and dont need more than that, the book, the game, might be trying to relay something even more, might be trying to convey something even more than that. artesia, for example, has its advancements inherently tied to its Tarot Cards, enforcing that the Arcana guides your destiny. runquest has its runes magic, mythras (which is kinda generic) has pretty specific kinds of magic systems that immediately inform the setting. this is why everything is informed by something (this is a common Buddhist principle, dependent arising). even the most generic D&D OSR game will have the trappings of the culture and norms of the one that wrote and worked on it. its written from their reality which might not necessarily be the one others experience. that's what lived experience is, after all

*live in the provinces for a while and you'll doubt this too!

#gubat banwa #ttrpg #filipino #fantasy #writing #rpg #gamedev #dnd

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reiniesainyo · 2 months

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IN BETWEEN. charlie bushnell x reader – 03

03 | ENCHANTED previous | next | masterfile

SYNPOSIS. when a girl's co-star is good to her and now she wants it more than everything in between. (smau)

A/N. i'm going through a rough / stressful period and i find this series and writing it very therapeutic so here we are! this chapter takes place around episode 7 release, i'm not really inclined to write about the filming in between for some reason (unless you'd be interested)

liked by walker.scobell, thelnarchives, and 262,287 others rickriordan With the release of the new PJO series on Disney+, I'm happy to announce that to celebrate I've partnered with some of your favorite authors and close friends of mine to present to you all a new look into the lives of our favorite demigods!

WHAT IT MEANS TO BE A HALF-BLOOD will go online for free this February 20, 2024!

Click the link in bio for more info! PS: A sneak peak from our writers on the other slides

thelnarchive ... WHAT THE??? i have to manifest a chapter for my girl, manifesting a chapter or more please or even just one mention ↳ iamcharliebushnell YOU DIDN'T KNOW EITHER?????

user1 HOLY SHIT HOLY SHIT????

user2 1) more stories about characters and 2) WRITTEN BY OTHER AUTHORS???? WHO COULD BE IN THIS PROJECT ↳ user3 i'm manifesting a story about tahlia and jason as kids oh my god

iamcharliebushnell imagine releasing a whole anthology to celebrate? that's the best author right there

user4 ohhh we're eating so good

walker.scobell another book and there's still not enough percy jackson in this world keep it coming i love your work ↳ aryansimhadri Imo too much percy maybe some more grover ↳ leahsavajeffries wrong there should be more annabeth

dior.n.goodjohn the gc going wild with this news

🃏 @CHILDOFHECATE what are your guys guesses for the stories in what it means to be a half-blood??? 🗨 32 comments 🔁 150 retweets ❤️ 456 likes

user1 a jason and tahlia story about them as kids, just a delve into their childhood

user2 more stuff on luke and rina, as individuals and as a couples- like i totally see a luke perspective on some situations or a conversation they had being in the book ↳ CHILDOFHECATE honestly i think it'd be so cool if they went like contemporary and also gave us maybe a poem or transcript / screenplay of a conversation between luke and rina

user3 stories about annabeth, tahlia, and luke's time before camp maybe fighting monsters together or just trying to survive ↳ user4 watch me cry over this one

user5 i just see a lot of delving into the lives of the original trio and also like the original supporting characters to like tahlia, luke, rina, even rachel

user6 grover's childhood! i really wanna see that or some parts of the story from his perspective

user7 Angst.

liked by iamcharliebushnell, aryansimhadri, and 320,372 others thelnarchives celebrating with the half-bloods

iamcharliebushnell when you're so excited over new lore you go and have dinner to talk about it ↳ thelnarchives this means so much to us

user1 YN IN THE SECOND SLIDE OH SHE'S GOREGOUS

user2 her face card never declines ↳ user3 it even has like benefits and a perfect credit score

dior.n.goodjohn fans first cast second ↳ thelnarchives this show has more more dressed up than my wedding

user4 this cast is so cute it's crazy

walker.scobell the 3rd pic >>> ↳ iamcharliebushnell oh so true ↳ i.am.andrew.alvarez a banger photo ↳ thelnarchives phone hijackers.

user5 the little black dress is doing so good for her, if i saw her in public i would've fainted ↳ user6 i can't believe i live in the same city as this girl like we breathe the same air???

leahsavajeffries i'm sat for the release, we're sat ↳ thelnarchives this is MY superbowl

aryansimhadri i feel excluded out of the 3rd photo ↳ thelnarchives that's okay because you're one of the girls ↳ iamcharliebushnell wait that's not fair

user7 aryan being part of the girls is so real and charlie wanting in is so cute

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comradekatara · 18 days

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I saw your toph+katara gender post and honestly... thank you for being one of few ppl i've seen who actually do a deeper analysis of toph? Most people tend to just go "i love toph she's cool <3" and while that's fine, its so nice to actually see someone Get Her. Esp wrt her gender expression and relationship to femininity. She's always been v imporant to me, like when i was like 12 i used to watch youtube clips of the toph+katara spa day scene on repeat and have Feelings abt it (still think its a super interesting scene??). Imo, while a lot of her expression is def rebelling (+overcompensating) and doing the oposite of her feminine upbringing, a lot of it is also a genuine JOY at being covered in dirt/burping/being loud and crass and tough? Idk i just feel like a lot of her contemporary "tomboy" characters were more defined as "ugh i hate Skirts and Dresses", but tophs brand of gnc joy and complex relationship w femininity always hit closer For Me? Like. She's loud and crass and rude and badass and cool, she does find it fun to dress girly but as like an Activity with a buddy, she's overjoyed at being portrayed as a big buff dude ("that's exactly how i would cast it!"), she's actually very spiritual and perceptive when not in Loud Mode, she keeps her fancy hairstyle but adds messy bangs, idk she's just. Character of all time. I'd love to hear if you have more thoughts on toph+gender (or just toph in general), and thank you for actually Understanding Her <33

YES!!!!! i have so many thoughts and feelings on toph. she is one of my absolute favorite characters i truly love her so much, and like you said, i hate when people dismiss her even as they claim to love her. "she's so badass" like okay, and?

toph is also just very important to me as her disability informs so much of her arc. and that disability is also inextricable from her gender and her family and all the factors that shape who she is, her strengths and her insecurities. you cannot separate her parents' abuse from her gender, class, or blindness. it's the combination of being an aristocratic blind girl that informs who she is and how she's perceived, especially by her family. she's an only child in a family that would clearly desire at least one son, and you cannot help but wonder whether they stopped at one for eugenicist purposes, whether they couldn't bear the "pain" of risking having another disabled child. and also because they clearly consider having a blind child such a handful that any other child would draw their attention away from her dire, pressing needs. so they completely smother her, but they also dismiss her, trivialize her desires and ignore her feelings and treat her more like a fragile porcelain doll than a person.

it's why, by the time of "the chase," she gets inordinately defensive over katara's suggestion that she pitch in when setting up camp. i see a lot of people claim that toph in this episode is acting like a spoiled brat who refuses to do manual labor because she's too wealthy to understand, but that's not actually the case. toph is fine with doing manual labor (she literally spent who knows how long working in an underground wrestling ring, she's not unaccustomed to work), but she's averse to helping others. as she says, "i carry my own weight." she's establishing, erroneously but understandably, that her idea of affording others respect is assuming that everyone behaves on an individual basis. she's never had friends before, by her own admission, and so in her mind, the only model she's ever seen for "helping others" is smothering them, denying their agency, and deciding everything for them.

toph thinks that katara is a bitch because katara is suggesting that toph meddle in other people's affairs, instead of respecting their own business. and katara thinks that toph is a bitch because she does just straight up assume that toph is a spoiled brat who doesn't understand the value of community. and while toph isn't a spoiled brat, learning the value of community is indeed integral to her arc. and more than simply communal values of helping and sharing with others, she also learns to rely on them in turn. she learns how to embrace her vulnerability, and let others carry her weight for her. her apotheosis in the finale is literally hanging onto sokka, who is holding her entire weight with one hand, for dear life. putting her complete faith in him to carry her and protect her as he always does.

that ability to embrace her vulnerability among the people she actually trusts to not only love and support her, but also to recognize her as a human being and care about her as a a peer, is so crucial to her identity as someone who has learned from years of ableist stigma to put walls up and present herself as someone uniquely powerful and invulnerable. and it's not that she isn't uniquely powerful, but her strength is also largely a projection. it's why she's so delighted to be portrayed by a big buff man, because that's the kind of person she wishes she could be, so that she wouldn't have to be underestimated and belittled and oppressed by people who dismiss her and coddle her and disrespect her and, quite literally, put her in a box.

so if toph's experience with disability is informed by her class and her upbringing, then let's now turn to her experience with gender, which is equally informed by her background. katara often balks at toph's less feminine presentation, because despite her incredibly righteous crusade against limiting patriarchal standards, she nonetheless has her own hangups when it comes to gender. but then again, so does toph. just as katara disdains toph's masculinity, toph finds katara's femininity offensive because her only real model for femininity in her experience is that of aristocratic wifehood. poppy beifong, to be exact, who is not exactly a girlboss (let alone a revolutionary, like katara is). and when katara tries to shove toph back into a box, toph resists because of course she does, that's who she is. she's not going take what she experiences as violent repression lying down.

toph is wrong in "the runaway" to exclude katara from their fun, and she is wrong to call compare her to a mother, but it's not out of nowhere. there is an obvious precedent to these actions. katara is a genuinely feminine girl who loves to boss people around and dictate how they should live their lives. to toph, this is the most egregious sin imaginable. katara, through her femininity and authoritative attitude, is positioning herself, in toph's eyes, as her mother. and toph calls her out for being overbearing and claims that katara hates fun and wants to boss everyone around for this reason, even though sokka is obviously the primary fun-hating, overbearing member of the group.

however, sokka never dictates how toph should act or dress, sokka never made fun of toph for being blind (which is a thing that really deserves its own post, if we're being honest). sokka makes them spend their vacation time at the library and enforces his color-coded schedules on them and generally brings down the vibe what with his neuroticism and severity, but he also laughs at toph's jokes and banters with her in a way that treats her as a friend and not as a rival. and unlike katara, whose desires and commands seem completely arbitrary to toph, sokka's commands are grounded in a logic that toph can understand. so even if from an outside perspective, toph's claim that a revolutionary teenage girl who loves to cause trouble and seeks adventure and joy around every corner is trying to be the overbearing mom of the group makes no sense, it makes perfect sense to toph, based on her history with femininity, overbearing mothers, and feminine overbearing mothers.

toph presents masculinely as compensation, as a way to make herself seem strong and tough instead of dainty and submissive as she was always made out to be. she associates masculinity with strength and femininity with weakness because that's the paradigm she grew up in. it's why she's always teasing aang about his supposed femininity and calling him "twinkle toes" (which, as sokka points out, isn't manly). in their first interaction, aang beat her in a fight and humiliated her in front of all her adoring fans, and avatar or not, toph's gonna make him pay for that by undermining him in turn, by using his presentation as a monk to mock him. even if aang isn't gay or even gender non-conforming (within the assumptions of his own culture), toph is still employing the logic of sexism/homophobia to undermine aang when she makes jokes about him being "more in touch with [his] feminine side than most guys." and of course, the nickname "twinkle toes" is also deeply affectionate, and aang (bless his heart) never actually takes offense to it. but toph is trying to establish herself as more powerful than him due to the humiliating knowledge that he could beat her in a fight, easily.

toph's masculinity is inextricably tied to her invulnerability. she wants to be taken seriously and treated as a human being, which is respect that has been denied to her due to her status as a blind girl, save for her blind bandit persona, which superficially empowered her and made her feel strong. it's not coincidence that her rival earthbender is a guy who is essentially a parody of masculinity. toph wants to position herself as equivalent, if not directly superior, to the Most Masculine Man, because that's how she'll be afforded respect, in her mind. but she is a girl. and there's a part of her that likes being a girl, and wishes she could explore her femininity more than she's allowed herself to, beyond the confines of the beifong mansion. she keeps her hair long because she still loves her family and holds out hope that maybe one day they can accept her (she comes from a culture modeled off of tang dynasty china, so her long hair is likely a product of her adherence to confucian values). and once she embraces it, she genuinely does get into being made over at the fancy lady day spa.

femininity has been a genuinely harmful and repressive agent in toph's life, and it's understandable that she would internalize some misogynistic notions surrounding girl/womanhood as they were foisted onto her her entire childhood. but femininity isn't ontologically harmful. femininity isn't ontological, period. i think as toph gets older, and her friendship with katara grows deeper as they both come to be more honest with each other, she would grow to embrace her masculinity in a more organic and less compensatory way. less of a "i'm not like other girls" complex (which itself is not something that girls should be mocked and punished for, but rather a product of a patriarchal system that oppresses and alienates women, thus leading many less gender-conforming girls to attempt to assert their agency and individuality in any way they can, even if it means putting down others in the process), and more so genuinely coming to embrace her butchness. (you don't necessarily have to read her as a baby butch, of course, but considering that being a masculine girl is important to her, i think that's a really lovely and beautiful synthesis of her relationship to gender as a character.)

i think toph would learn stop pitting masculinity and femininity against each other, and instead embrace whatever aspects of either (or neither) she desires, while nonetheless respecting everyone else's deal in turn. i think she would also, in a key turning point, realize that even if she loves her parents, she doesn't have any obligation to be the daughter they expect her to be, and cuts her hair. and as she grows more secure in herself (which comes with age, no twelve year old is truly confident in their own skin), she would stop feeling the need to put other people down to feel big, and be comfortable embracing her desires. and, credit to her, she's clearly already on her way. the progress she makes being vulnerable, especially around sokka, even in what is chronologically a matter of months, is huge.

toph isn't just "badass" because she's strong and powerful. but rather, what makes her so powerful, at least to disabled viewers who see their struggles reflected in hers, is her ability to grow with her environment, allowing herself to admit help, and letting herself be loved. if you couldn't already tell, toph is incredibly important to me.

#smultronviol #asks #toph #analysis #katara&toph #sokka&toph #aang&toph #poppy beifong #god she just means so much to me.....#i was trying not to make this too personal but like. baby disabled dyke. god she is so important.#not that i'm butch. but i think she is :)#also some of those links are better than others but i included all of them anyway lol #realizing now that i actually talk about toph a lot...#anyway. thank you for this ask #i really really appreciate it and took a while responding specifically because i wanted to have time to be thorough #not that this is like. The definitive toph essay #but i hope what i wrote here resonated #because like i said. she means a lot to me and i truly do feel like very few ppl understand her fully #she is so important blind bandit numero uno campeon del mundo

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depressedraisin · 3 months

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notes on "mr. snarl"

hello, hello, hello welcome to the mr. snarl is high camp discourse. i've been readin' and thinkin' and drivin' myself nuts over this, so i'll be blabberin' on for a good minute. bear with me.

before we dive into any discussion of camp, we ofcourse need to understand what camp is in the first place. camp as an idea is nearly impossible to neatly put down in a few words or a sentence. it has no definition as of such. camp is loud. camp is ostentatious. camp is exaggerated. camp is 'too much'. camp is gay. camp is ironic. camp is cheeky. drag is camp. marlene dietrich is camp. baroque art is camp. cher is camp. mommie dearest (1981) is camp. the rocky horror picture show (1975) is camp. dostoevsky is camp.

the girlies who get camp get it, those who don't, don't.

however we do have susan sontag's 1964 seminal essay 'notes on "camp"' from where most of our contemporary ideas and understanding of 'camp' comes from. in her essay, sontag noted 58 points on what camp is or might be. for our purposes in this post, we'll go by those. because it is the camp bible of course. and i am a pretentious bitch.

now before we get to the meat of the matter, a quick detour to discuss the many faces of alex turner.

alex's personas have now come to as closely associated to his image as an artist and public figure as blonde wigs are with dolly parton, i suppose. it even has its own section in alex's wiki page. he is one those performers to whom the "eras" concept can truly and perfectly apply. he is a different man on stage with every new album, each 'era' is unique from the other and distinctly defined. a new 'era' for alex is not only a change of a haircut or a new pallette, it is a total revamping of his mannerisms and performance style and public image. be it mr. schwarz (the car era), mark (tbhc era) or oliver tate sr. (early sias era), each one of his personas is another way in which he represents the themes of that album. understanding a persona is integral to understanding the album.

and alex admits to as such. each Performer is a fractured reflection of his own self, and of the album.

but. but. i do not think that he has always made use of the Performer, or atleast, tried to make perceivable distinctions between them. in the first three-four years of his career- during WPSIATWIN and FWN, he presented as just Some Guy. just another normal bloke from sheffield. which, you could argue, was the persona that fit the context of those albums, but i would say that he was probably not putting that much thought into it at the time. it isn't until TAOTU that we see alex using his on-stage fashion to project a certain kind of image that ties in with the music he's playing. (do i think it's miles' handiwork? yes.). the lil suits and ties and beatles-mop cuts, y'know.

the first distinct Performer appears during the Humbug era. the soft-spoken, brooding, fawn-mannered poet who is probably hiding a bagful of secrets and hang-ups behind those layers of brown curls- let's call her him aly. then we have the bright-eyed, puppy-smiled, deep-voiced loverboy of the early SIAS era. i propose to call him oliver tate sr. (after the guy from submarine (2010) obviously). then mr. snarl- we'll get to him later. the loud and theatrical and slutty and deliciously gay EYCTE era persona. then the melancholic space poet mark of TBH&C and finally the suave auteur of The Car- mr. schwarz.

mr. snarl is the one who has garnered the most fascination and endured the most in popular imagination. dare i say, AM-era alex turner is a lowkey late 2010s pop culture icon. it is very easy to understand why- the quiff, the leather jackets, the perpetual sunglasses, the biker boots, the LA drawl tinging his sheffield accent, the devil-may-care wantoness. the girlies on tiktok and pinterest aren't obsessed with him for nothing.

so, what makes mr. snarl camp? what am i yapping on about?

let's get back to sontag.

camp is artificial. camp is ironic. mr. snarl is too. he is a character. he is a mask. *cue the bourne identity and body paint*. 'artificial' does not imply fake or dishonest. we should be careful not to be quick in putting any value judgement onto this artificiality- the aritifice is a quality of camp. you can't appreciate camp, if you snigger at the artificial.

2. camp is character. mr. snarl is a character if there ever was one. extremely defined, visually and behaviourally- you see a performance and can immediately recognise the moment mr. snarl is peeking through. he is also very intensely one thing- very intensely masculine, very intensely rockabilly, very intensely rock god. he is 'instant character' as sontag puts it, which is why perhaps he so immediately and so firmly gripped our collective imagination.

3. camp is exaggerated. camp is style. do i even need to elaborate on this? Ben Beaumont-Thomas of The Guardian said it much better than i could- alex ironically "played with the role" of being a rockstar but simultaneously "can't help but be a real rock star." so, to put it in sontagian terms, he is not a rockstar but a "rock star"

the 2014 brit awards speech is the peak of this ironic, exaggerated performance i think. (i'm still waiting for someone to do a drag performance based on it).

4. but to me, what makes mr. snarl camp is his performance of gender. now let's get one thing clear- camp is not effeminate or queer behaviour. it is the "spirit of extravagance", so any kind of extravagant and ironic presentation of gender can be under the purview of camp.

this performance of gender is not the david bowie or marc bolan or brian molko kind, no. this performance of gender is much subtle, much more nuanced- he wasn't playing around with rigid definitions of gender or crossing gender lines. he wasn't trying to say something with it necessarily. i doubt even, if it was a purposeful thing that he was thinking of back then.

but mr. snarl is a performance of gender. it is a performance of masculinity. and the thing that makes it so very interesting is that it was a cis, straight man doing it.

[if y'all are interested, another interesting example is dolly parton + her persona + her performance of exaggerated femininity. for more on that i'll point you towards be kind rewind's video essay on her.]

mr. snarl was an image of a very certain kind of masculinity. 1950s, elvis presley, rockabilly, greasers, james dean- these are some of the pop culture touchstones that come to mind when we think of mr. snarl. he is also decidedly american. a "fictional character from america" as alex later put it. was this whole persona thing an effort to conquer america then? perhaps...but eh. there is no way i can conclusively say that. it certainly helped that cause. AM the album was very us-american in essence-- it drew from hiphop and r&b after all. the soundscape of the arctic monkeys was very much rooted in its northern british indie roots, and AM was the first one that was clearly not. and mr. snarl was just a visual reflection of that. [for more on how the arctic monkeys conquered the us]

mr. snarl was a certain kind of masculine in a way alex turner personas haven't been previously or since. he has always presented as conventionally masculine. even the humbug persona- him being my girlfriend notwithstanding- is not much different from the aesthetics of say, ray davies or mick jagger or george harrison back in the 60s and 70s. the slightly effeminate dramaticism of eycte is not exactly gender-bending as such.

but mr. snarl was hypermasculine. masculinity has had an interesting place in his lyrics up until they- they are both critical ('brianstorm' 'a certain romance') and fascinated ('jeweller's hand' 'catapult') of more aggressive masculine characteristics. (he does use a lot of very sexual but not necessarily erotic language to describe said masculinity- but that's another can of worms.) mr. snarl was in a way, alex being those characters from those songs he was writing about. mr. snarl also very aggressively straight. straight with a capital s. his songs in AM still had the self-abasing and submissive undertones to the narrator that love songs from humbug and sias, but much toned down. he was out there shouting out his girlfriend on stage. and who can forget the "ladiessssssss!" moment. he had models hanging off him in photoshoots.

you probably saw these photos and thought- "what the fuck?!" with a cackle. that is exactly what makes mr. snarl camp. the irony, the ridiculousness of it all.

5. i don't think alex was trying to be or do camp. camp is best when it is not intentional. i can even confidently wager alex would not take it as a compliment if i showed him this essay. a lot of very "serious" people look down upon camp as something lowbrow and tacky and unserious. but it isn't. i would go ahead and classify mr. snarl under naive camp- he is trying to be straightlaced and serious, but failing grandly, which makes it deliciously camp.

so. mr. snarl was an exaggerated representation of masculinity. in a sense, mr. snarl was basically drag. alex turner being "Alex Turner".

#alex turner #arctic monkeys #the last shadow puppets #camp #susan sontag #i spent wayyyy to much time on this #journal of alex turner studies

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moon-pepper · 8 months

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I'm pretty firmly of the opinion that understanding history is necessary to prevent the worst parts of it from repeating, so I spend a lot of my free time trying to learn about things like colonialism, slavery, genocide -- and it worries me to no end to see how much the majority of people don't seem to understand even about events everyone is familiar with. I used to be baffled that anyone could genuinely believe slavery was "just how things were back then", but it makes sense when you realize that most history lessons only deal with what the people in power decided to do; public outrage about a particular action only matters in the historical context if that outrage led to actual mass revolution. Even before we get to the layers of whitewashing and propaganda constantly applied to history, there's an innate bias toward treating major political movements as though they just appear and disappear entirely at random. Which leads me to wonder...

Do fellow gentiles realize that the Nazis weren't new?

What I mean is that most coverage I see of the Nazi ascension to power in Germany presents them as this new, fringe group that came to power out of nowhere through solely violent means. Sometimes there will be explicit mention of the fact that antisemitism was extremely prevalent throughout Germany (occasionally even the rest of Europe!) prior to Hitler's political campaign, but oftentimes it seems implicit that mass antisemitism in Germany began when the NSDAP first formed. Even when the prior existence of antisemitism is brought up, the Nazis are portrayed as a new, unique evil; they did things that no democratic society would ever dream of doing, things that could only be achieved by either completely hiding them from the public or by threatening anyone who spoke against them. "Nazi" is simultaneously an easy epithet for any excessively cruel or restrictive person and a label that is far too severe to seriously apply to anyone because the Nazis were so evil in a way that nobody else was that nobody is truly deserving of comparison.

The thing is, though, that the policies put into place by the Nazi government in order to enable their genocidal end goal weren't original. Even setting aside the fact that they're often viewed as the inventors of genocide despite Hitler openly admitting that he got the idea from the treatment of Indigenous peoples by the U.S.A. (highly recommend watching this BadEmpanada video to learn about that), very few of the Nazis' beliefs or actions were original to the Nazis. The conspiratorial, racially-puristic ideas that the Nazis touted were derived from contemporary conservative thinkers all across the West, and many of the antisemitic legal policies they implemented as part of their Final Solution were practices that had been standard throughout Europe for centuries prior.

The infamous yellow-star badges used to identify Jewish citizens? Those were first devised and enforced the region (by both Christian and Muslim rulers) at least as early as the 800s; it was 1215 when Pope Innocent III declared that all Jewish and Muslim people living in Catholic lands should be required to wear identifying clothing with the explicit goal of segregating them from Christians. The Nazi ghettos to which Jewish citizens were forcibly relocated were inspired by ghettos which had existed to segregate and isolate Jewish populations for centuries; the only real difference is that these new ghettos were just preludes to concentration camps rather than being meant for long-term habitation. Just about every part of Western society had some form of restriction (mandated or voluntary) banning Jewish people from occupying certain jobs or limiting their presence in universities going back centuries before the Nazis existed. There were more than 350 years where Jewish people were not legally permitted to live in England.

The reason I bring all of this up is because, even among people who are conscious of Europe's widespread antisemitism prior to the rise of Nazism, there's a strong notion that the Nazis were so detestable because they came out of nowhere; that they completely defied the norms of the day and took their antisemitism to a level that even the deeply antisemitic societies of past Europe never would have.

In reality, the Nazis weren't much of an escalation -- they were a return. Legal segregation, expulsion, and even slaughter of Jewish people really only began to end when the Enlightenment came and public sentiment in the West began to favor secular government. The first country to abolish legal restrictions on Jewish people was Revolutionary France in the 1790s. Russia maintained its restrictions on Jewish citizens' rights up until it also saw revolution in 1917. The idea that Jewish people were responsible for all of society's ills and needed to be subjugated and exterminated was not a new idea that took hold of Germany due to its economic suffering after World War 1; it was a very old, very popular idea that most of Europe had only just begun to abandon and which was brought back in full force the moment it became politically convenient.

Consider how this compares to present-day politics. Jewish Germans were only granted equal rights in 1871 -- Adolf Hitler's father and mother were 34 and 11 years old, respectively -- and when the Nazi Party formed only 49 years later, the majority of adult Germans would have grown up in or been raised by parents who grew up in a world before religious desegregation. The Nazi Party's promise to the German public was not to introduce a newly bigoted society, but to bring back the bigotry they had grown up with and ensure that it would never leave again; they succeeded by using Germany's post-war suffering to "prove" their society was declining and blaming that decline on a recent major societal change, thereby convincing Christian Germans who were still deeply antisemitic that you see? we let the Jews have rights and not even fifty years later everything is awful. Many Germans did not need to be lied to or forced into supporting the Nazis because, to them, the Nazis were just fighting to revive the "Good Old Days" of their youths.

As a political party, the Nazis were functionally identical to all of the modern-day pundits eagerly proclaiming that racial equality and LGBT equality and religious diversity and welfare policies are destroying the country. Any period of significant economic downturn, any large cultural shift, any major catastrophe no matter the cause is automatically the decline of Western Society to them -- and the blame for that decline is always placed on the most relevant pro-equality social movements. What makes the Nazis unique is not their goals or the beliefs that fueled them; what makes the Nazis unique is that they're the latest and largest example of a group like them gaining power and then rapidly losing that power, which makes them simultaneously martyr idols for subsequent fascists and sacrificial vessels through which liberals can pretend the world's evils were expunged.

Any major shift in favor of granting rights to the oppressed inevitably stirs up a proportional conservative backlash with the effort of reversing course -- not just by revoking those new rights, but by making the previous inequality worse so that it becomes harder to undo again. If we care about ensuring an equitable future, it is vital to understand that the fight for that future does not end with a law being passed. It ends only when equality for all is so well-established as a social norm that there is no way to benefit from pushing for its destruction. Do not get complacent.

#pepperpost #antisemitism #long post #disclaimer that i am not a historical expert and this is not intended as a professional essay. it's pretty surface-level t.b.h.#second disclaimer that this is not meant as doomsaying. i believe people are good by default #anyway. spent way too long typing all this out mostly to try and mull over my own recent thoughts on this subject #hopefully it's coherent to anyone else

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mariejordans · 5 months

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limoreau au ideas that i crave

1. ballet au—i’m thinking something like marie as the new ballerina in a ballet company and jordan as one of the veteran principal dancers who always gets cast for supporting roles, but never main bc management/casting is never quite sure how to cast them bc of their gender identity (bc management and casting are cowards basically) even though they’re one of the best dancers in the company (and everyone knows it.) so they’re always put in side roles that are comedic or gender-neutral (such as puck in a midsummer night’s dream or mercutio in romeo and juliet) and they’re like, SO frustrated, bc they want to be THE star, not just a side character. and so the end jordan’s contract is coming to an end soon and they’re very unsure if they’ll get a renewal, while marie is on a one year contract, so it’s also up in the air whether hers will be renewed too.

and then one day jordan and marie are randomly paired together for pas de deux (maybe it’s for a rehearsal or class/warm-up) and everyone is just floored by the instant chemistry and they end up getting cast in a brand new contemporary ballet set to premiere the following season bc the choreographer (i’m thinking maybe victoria?) just happens to also witness them and is inspired so much that they end up largely influencing the choreography and roles end up being specifically made for them.

and management is like, kinda nervous to allow them to be cast bc marie is like this freshly new ballerina who was just hired and is pretty much a rookie in all aspects, and they’re still worried about jordan’s marketability and such, but victoria vouches for them and fights super hard, so basically they can’t fuck it up at all bc it might be their only chance to really prove themselves and get their contract renewal.

and like the company is also putting on this super classic ballet (very much the opposite of the contemporary, which is very intense and sensual and dark) starring their two most popular principal dancers (luke and cate probs) and its very much implied that this new ballet has to perform as well as, if not better, than the classic ballet in order to secure their contract renewals. and so they really have to work together and help each other out so that they can both prove themselves.

also marie and jordan kinda hate each other at first bc like, marie was actually a big fan of jordans pre-getting into the company and were super excited to meet them until she finds out that jordan almost cost her a spot in the company, bc they just so happened to have seen her audition and mentioned to brink (who was on the auditioning panel) that she seemed too inexperienced and “not ready” etc etc (he ended up getting outvoted anyway bc the rest of the panel liked her) and so they basically can’t stand each other, which only makes the chemistry THAT more intense and palpable.

2. camp counselors au—marie and jordan are camp counselors at a vought summer camp for supe children. they both know each other vaguely from god u, specifically from an end of semester party where the two hooked up and had a one night stand. and so they are both totally shocked to see that the other is also working at the summer camp and the tension is still off the charts, but here’s the catch: there’s no fraternization policy between counselors, and if you’re caught hooking up with another counselor, you’re basically sent home.

and so, neither jordan or marie can afford to be sent home, so they really try to be “just friends” at first, but they just can’t stay away from one another, so there’s a LOT of sneaking around, stolen kisses and secret hook-ups. they eventually get caught at some point but like they just get slap on the wrist and sent back to their stations (apparently so many other people have broken the no fraternization rule it happens so often and they can’t fire everyone.)

the entire gang is also there (emma, cate, and marie share a cabin while luke, andre, sam, and jordan share another.) marie is in charge of arts and crafts, while jordan is a lifeguard (lifeguard jordan does things to me omg)

(also this plot is very much inspired by wildfire by hannah grace)

3. royalty au—just, this entire thread. it’s so perfect.

4. gossip girl/rich kids au—marie as a transfer student on scholarship to this very exclusive fancy boarding school. she’s there for one reason, and one reason only: to study, make valedictorian, and get into her dream university, [insert ivy league school here.] she quickly encounters the richest kids in school, a clique made up of luke riordan, andre anderson, cate dunlap, and, of course, jordan li. luke, andre, and cate warm up to marie pretty quickly, but jordan is very cold towards marie for no reason, and she doesn’t know why. but it doesn’t even matter, bc soon she realizes her biggest competition for valedictorian is jordan themself, and the two have their little academic rivals to lovers arc.

also, emma is marie’s boarding school roommate who mostly stays on the outskirts of the social scene (she’s happy to observe) but also always know all the gossip and the drama happening. and if it’s a true gossip girl au, someone like sam ends up being gossip girl lmao.

5. childhood friends au—basically canon but if marie and jordan had been as childhood best friends. like they used to live in the same neighborhood and would often play together as children, their parents were all friends; they were basically inseparable. and then when they started school, they would ride the bus together, they would do homework together. and marie being the first person to know about jordan’s powers and was there when they manifested, and was the first person to fully accept not only just their powers, but their identity as well.

but then marie’s dad gets a job offer in a different city, a different state, and at twelve and fourteen years old, the two are ripped apart for the first time. they promise to email each other everyday, and they do for two years straight until marie stops emailing one day. and jordan keeps trying to contact her, emails her constantly, tries for about a year until they give up. and they’re So angry at marie, bc it’s like they’ve been abandoned yet again. they’re So deeply hurt and betrayed. they tell themselves they don’t need her and they should just forget about her and they almost succeed.

they’ve almost managed to completely forget the best friend they’ve ever had until her application shows up in the crime-fighting applications database thing (or whatever its called idk.) and they’re like, just stunned, because as far as they were aware, marie was not a supe, and she had pretty much ceased to exist outside of distant memories from their childhood. and even then, it’s still as if she doesn’t exist, with her non-existent social media presence, and no experience in crime-fighting whatsoever.

and so they reject her application, bc of her lack of qualifications, because they weren’t prepared for her to exist to them again. they had just gotten used to her absence, and it still hurt them so bad that she had forgotten them so quickly. and even though they would hardly admit it, a part of them was trying to protect her, though from what exactly, they couldn’t say.

meanwhile, marie had been forced to stop emailing once she arrived at red river. and to be honest, even if she could, she doesn’t think she could’ve continued to email jordan like everything was fine. and so she cut off contact completely, even though it hurt her so much.

around the age of 16/17, marie realized she needed a plan to get out of red river. getting adopted was so unlikely, and she couldn’t stomach the thought of elmira. and then she saw jordan’s face on a brochure for a godolkin university and a plan begins to form in her mind. and when she gets the email that she’s been offered a full ride to god u, she finally lets herself hope. not only for future where she’s successful and her sister forgives her, but also that maybe jordan still remembers her and maybe they’ll be able to pick up where they left off all those years ago.

and marie is so disappointed that she let herself hope for that when she finally comes face to face with her old best friend years later and finds that they want nothing to do with her.

#okay so i got a bit carried away with some of these ideas……#seriously though limoreau writers feel free to steal these bc it’s very highly unlikely i’ll ever write them myself #for one i’m a shit writer #and for two i would probably never finish it anyway #also i know next to nothing about the ballet world my experience is limited to four years of ballet as a child and the tv show dance academ #so apologies for any wild inaccuracies #gen v #jordan li #marie moreau #limoreau #mariejordan #gen v au

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saddayfordemocracy · 6 months

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10 films on Palestine that everyone should watch

Explore the tales of Palestinians who have suffered atrocities at the hands of Israeli occupation forces for 75 long years.

ith the Gaza invasion dominating headlines around the world and Israel carpet bombing the Gaza strip, killing scores of civilians, we have complied a list of films that highlight the plight of Palestinians so that people remember the human stories behind the statistics.

United Nations Secretary-General Antonio Guterres, in a Security Council meeting held on October 24 to discuss the Middle East situation, asserted, “It is important to also recognise the attacks by Hamas did not happen in a vacuum. The Palestinian people have been subjected to 56 years of suffocating occupation. They have seen their land steadily devoured by settlements and plagued by violence; their economy stifled; their people displaced and their homes demolished.”

His powerful statement rings true as Palestinians have been suffering under the apartheid rule of Israel for far too long. Palestinian people have tried various ways to raise their voices and tell the world about Israel’s atrocities, which have been ongoing since the Nakba in 1948. One of the most successful methods has been telling real stories through films, dramas, and documentaries.

Here are 10 films that depict how the people of Palestine have suffered for the past 75 years.

Farha (2021)

The film depicts the true story of a Palestinian girl who survived the Nakba of 1948, when thousands of Palestinians were expelled from their homeland. The hopeful young girl who wanted to study in the city watched silently from the pantry of her house while Israeli forces ethnically cleansed her neighbours and other fellow countrymen slaughtered by them.

The movie, directed by Hassiba Freiha and Kenton Oxley, is available on Netflix.

Tale of the Three Jewels (1995)

Set in contemporary Gaza, the movie is the story of a Palestinian boy, Yusef, who becomes entranced with a beautiful Gypsy girl. The children explore nature, mysticism, and their future while learning to live amid the surrounding brutality. To escape, Yusef sets off on a journey to the North American dreamworld with his blind neighbour.

Directed by Michel Khleifi, the movie is available to watch online on various sites.

Children of Shatalia (1998)

Farah, age 11, and Issa, age 12, are two streetwise children living in Beirut’s Palestinian Shatila refugee camp, located in the city’s “belt of misery.” The centre is home to 15,000 Palestinians and Lebanese who share a common experience of displacement, unemployment, and poverty. The two children are given video cameras; they use their imaginations and creativity to come to terms with the realities of growing up in a refugee camp that has survived massacre, siege, and starvation.

Directed by Mai Masri, the movie is available on Netflix.

Omar (2013)

Omar is a young Palestinian man living in Israeli-occupied West Bank where he must navigate a steep separation wall and checkpoints to visit his friends. Omar sees his horizons diminish after he carries out a sniper attack with his two childhood buddies. He’s captured, imprisoned, tortured, and coerced into becoming an informer for the Israelis but finds he’s not the only traitor.

Directed by Hany Abu-Assad, the second film from the Palestinian territories to be nominated for an Academy Award is available on Netflix.

Pomegranates and Myrrh (2009)

The film tells the story of a Palestinian woman who uses Dabke (a traditional folk dance) to cope with the loss of her husband, who is taken away by Israeli authorities. The story talks about the political climate of Palestine and the internal and external sufferings of Palestinians.

Directed by Najwa Najjar, the movie is available on Netflix.

Eyes of a Thief (2014)

The film’s central plot-line is a father’s search for his daughter. As he searches, he not only has to fight against the lack of freedom under occupation but also against social boundaries. Having served a 10-year prison sentence for an attack on Israeli border soldiers, Tarek sets out to find his daughter Malak. When he eventually finds her in Nablus, however, he discovers that she has been adopted. He can’t reveal himself publicly as her father, so he takes a job nearby working as an engineer for the official in charge of water at the Palestinian National Authority to be able to approach her in secret.

Directed by Najwa Najjar, the film is available on Netflix.

The Time That Remains (2009)

This semi-autobiographical film tells the story of a father who fought in the 1948 war and chose to stay back when Israelis took over. It depicts the life of Palestinians living as a minority on their own land. The film is divided into four parts.

Directed by Elia Suleiman, The Time That Remains is available for streaming on Apple TV.

3000 Nights (2015)

The film illustrates the plight of political prisoners in Israel. Set in 1980, Nablus, 3000 Nights follows a newly-married school teacher, Layal, whose crime is giving a ride to a teenage boy who is accused of executing a lethal attack on a military checkpoint. Layal is sentenced to eight years in prison, where she spends her pregnancy and gives birth to a boy.

Directed by Mai Masri, the film is available on Netflix.

The Present (2020)

A father-daughter duo living along the Palestine border sets out to buy a fridge. The pair has to cross the checkpoint, segregated road, and armed soldiers, which involves a stringent checking process to cross the border. The movie depicts the life of Palestinians who can’t do basic daily routine things without facing harassment by IDF soldiers.

Co-written and directed by Farah Nabulsi, the BAFTA Award-winning film is available on Netflix.

When I Saw You (2012)

This story focuses on the heartache of a young boy, Tarek, who wants his father and his state back. He is displaced in a grim camp, with no one to turn to, and proceeds on a journey to turn his life around.

Directed by Annemarie Jacir, the movie is available on Netflix.

If you are interested in the historical context of the Israel-Palestine conflict, take a look at this list compiled by Al-Jazeera.

As Israeli forces bomb Gaza relentlessly to ‘punish’ Hamas, killing thousands of innocent Palestinians, it is important to remember their stories.

Words courtesy of images.dawn.com

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possumcollege · 5 months

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Apologies to my comics friends here but this is ridiculous:

Just the photo for folks who like to ZOOM!

I've been handling guns since I was 6yrs old. These are OBVIOUSLY not real pistols. You can tell by the screw holes in the frames, the mold/assembly lines, the undersized magwells, and the VERY clear airsoft magazines. It's a specific mix of contemporary guns too, including at least 7 H&K USPS, which cost about $1,200 each, assorted Glocks, "tactical" 1911s, and genetic S&W/ Beretta autos. They're some of the most common airsoft guns. The guns that aren't obvious plastic reproductions show no wear, and "custom" features that you wouldn't see on say, smuggled military weapons being carried around by local militia in a region that is absolutely littered with cheaper older Soviet hardware. Even looted American weapons would more likely include a bunch of very beat up Beretta M9s.

Plus a random Winchester 92? Is John Wayne's ghost backing HAMAS?

This is my favorite part though:

THAT appears to be a PILE of Knights Armament PDWs and only KAC PDWs. That gun is an "experimental" rifle w/ a $3k price tag. It chambers a proprietary 6x35mm round or 300 Blackout. Not standard ammo for any major military on Earth, making it a terrible choice for guerilla fighters. 500rds of 300blk will cost you as much as a basic S&W M&P (a civilian M4 clone) in .556 if you can find it in the US. The KAC PDW is also a popular airsoft rifle since it's rare, expensive, and dripping with tacticool features. There are almost certainly more airsoft versions than real ones in the world, but I can't say for sure because I can't find a number produced online.

There are NO AKs, M4s, M16s, FN FALs- guns that might conceivably be available in numbers for insurgent militia in the region. It's not uncommon to see fighters in the Middle East still fielding WW2-era weapons, but the only other long gun I can even try to ID on that table is essentially a cowboy gun! 🤠

A refugee camp had a baker's dozen of these though. 👇

A niche gun, so unused in any real number that the sum total of its service history on Wikipedia (gun guys religiously, lovingly maintain gun Wikis) is this:

There are at least 13 of them in this picture, so either that's nigh $40k sharing a table with rusted hunting guns and toys or ALSO TOYS!

(I still prefer LEGO)

10 minutes of searching on my phone was enough to prove this shit isn't real. And I am very very sleepy today. Writing this post took longer than tracking down that rifle by its features. I know this might not be as obvious to people who haven't handled real guns but for anyone remotely familiar with them, this looks like a joke.

This makes American cops posing around a ziploc bag of weed look good by comparison. That weed might be real.

This is extremely lazy misinformation work. It's a pathetically low effort ruse from an army that could easily have just planted real weapons. The only reason someone would post this for the world to see and claim it's real is if they're very, very stupid, think we are, or are well beyond trying because they know they hold a position of such untouchable privilege that they're cool doing the bare minimum of covering their asses. Like the cops!

All of those options make me real sad. So I'm going to just post this and never check on the comments.

#fact checking #Free Palestine #Ceasefire Now #guns #hoax

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earthdoves · 6 months

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transcript:

A few days ago, I received an invite from the Biden administration for a Diwali event being held by the VP on Nov 8 2023. I'm surprised this administration finds it acceptable to celebrate Diwali, when their support of the current atrocities against Palestinians represent the exact opposite of what this holiday means to many of us.

Diwali is celebrated by people of South Asian heritage worldwide. In the Hindu & Jain traditions, Diwali is the celebration of righteousness over falsehood and knowledge over ignorance.

In the Sikh tradition, during the time of Diwali, our 6th guru, Guru Hargobind Sahib Ji, helped free 52 fellow political prisoners from unjust imprisonment. We call this day Bandi Chhor Divas. I have always used this day to reflect on what it means to fight for freedom against oppression.

Today, the American government is not only funding the bombardment of Gaza, they continue to justify this genocide against Palestinians-regardless of how many refugee camps, health facilities, and places of worship are blown to bits. They reject the call for a humanitarian ceasefire- a baseline action being demanded by the United Nations, organizations like Doctors Without Borders, Red Cross, and a majority of countries. Over 10,000 Palestinians have been killed. The UN says 70% of the dead are women and children. We have seen Israel use white phosphorus bombs, which Amnesty International says must be investigated as a war crime. We've seen footage on CNN of Israeli settlers kicking out and occupying the homes of Palestinians in the West Bank. (Cont'd...)

I implore my South Asian community to hold this administration accountable. As a Sikh woman, I will not allow my likeness to be used in whitewashing this administration's actions. I refuse any invitation from an institution that supports the collective punishment of a trapped civilian population-50% of whom are children.

As a community, we cannot remain silent or agreeable just to get a seat at the table. It comes at too high a cost to human life. Many of my contemporaries have told me in private that what's happening in Gaza is awful, but they aren't going to risk their livelihood or "a chance at creating change from the inside". There is no magical change that will happen from being on the inside. We must be brave. We must not be tokenized by their photo-ops. The privilege we lose from speaking up is nothing compared to what Palestinians lose each day because this administration rejects a ceasefire.

When a government's actions dehumanize people anywhere in the world, it is our moral imperative to call for justice. Do not be afraid. Stand with the world and demand a humanitarian ceasefire. Many voices will join you when you speak. Let us sign petitions. Attend protests. Boycott. Call our reps and say- stop the genocide.

- rupi kaur

#free palestine #rupi kaur #palestine

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dreams-of-mutiny · 9 months

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“The acceleration of contemporary life also plays a role in this lack of being. The society of laboring and achievement is not a free society. It generates new constraints. Ultimately, the dialectic of master and slave does not yield a society where everyone is free and capable of leisure, too. Rather, it leads to a society of work in which the master himself has become a laboring slave. In this society of compulsion, everyone carries a work camp inside. This labor camp is defined by the fact that one is simultaneously prisoner and guard, victim and perpetrator. One exploits oneself. It means that exploitation is possible even without domination.”

― Byung-Chul Han, The Burnout Society

#text #quotes #byung chul han #philosophy #society

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nanowrimo · 11 months

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Unlocking the 8 Secrets of Web Novels

If you’re looking to try something new this Camp NaNoWriMo, why not a web novel? Participant Eitan Estheim talks about what a web novel is and how to get started on your episodic writing adventure! The act of writing has been with us for a long time, but that doesn't prevent us from learning different ways to approach it, especially when we take advantage of the new technologies that are emerging.

Web novels (and their variants) are original stories that are published on the internet in chapters, instead of offering the finished product from the beginning. They resemble self-publishing because the author takes care of the entire process (writing, editing, publishing, promotion), and fanfiction because they maintain close contact with the readers.

Generally, authors usually offer their content for free on the internet. However, some authors will publish in advance on Patreon to offer incentives and get monthly paid subscriptions as if it were the Netflix of books.

I've been doing this for a while now and, although I don't have the impact of other writers, that hasn't stopped me from learning a lot in the process. With this in mind, I'm going to tell you what I’ve learned, both on my own and thanks to others.

1. Choose where to publish your web novel. Nowadays, there are several platforms such as Wattpad, Royal Road, Tapas or Kindle Vella, among many others. Some are more suitable for romance and contemporary stories, while others highlight fantasy or litRPG. Keep this in mind before deciding where you want to start.

2. Be prepared. Unlike other ways of publishing a book, a web series requires regular updates. This means you need to create content frequently. As a result, many authors choose to have several weeks of chapters prepared. This ensures they can continue publishing while writing the next chapters, along with all the additional tasks that this entails.

3. Be realistic with your time. Referring to the previous point, we need to take a moment to consider everything we must do: write new content, make sure it's in good condition for publication (editing), promote on social media, etc. Many of us have jobs and responsibilities, so we must be aware of how much we can accomplish each day.

4. Every story is unique. What works for one author may not work the same for another. Some decide to publish short chapters from Monday to Friday, while others prefer to do it once or twice a week. Consider your situation and learn as you go to figure out what works best for you.

5. Take care of yourself. If you push yourself too hard, both in external obligations and in your own projects, you will reach a point where you will exhaust yourself (and that's if you're lucky). Just like in life itself, prioritize your physical and mental health, fulfill your responsibilities, and give yourself the opportunity to write under the best possible conditions.

6. Share your story. Maybe you're like me and prefer to dedicate your time to writing, planning, and editing because that's what you enjoy the most. It's understandable, but how will you get others to read your work? Get moving! Use social media, Facebook groups, and other methods because if you want others to value your work, you must make them aware of it.

7. Find your balance. Just like in any other writing project, there will be times when you write less and dedicate more time to editing or preparation. You may have periods where you write less, but that doesn't mean your productivity is lower; it just means there are other equally important tasks you must perform. Finding the right balance will allow you to progress in your short, medium, and long-term projects.

8. Take care of your readers. Remember what I mentioned about Patreon? It's not only a way for authors to receive some compensation for their work, but they also offer incentives to their followers. Most choose to offer chapters in advance, but they can also provide exclusive access to Discord/Guilded servers, EPUB/PDF files to continue reading on other devices, unlimited scenes, and a variety of other things. Just think about what you would like to have as a reader, and I'm sure you'll come up with many ideas. All of us here know how complex and exhausting writing can be, regardless of the project we're working on. However, it's equally rewarding to see our story taking shape and sharing it as if it were our own TV series. You just need to mold it in the way you desire and keep on writing!

Eitan Estheim, a passionate web serial writer hailing from Spain, is a humble virtuoso of storytelling. From an early age, armed with nothing more than a trusty notebook, Eitan embarked on a literary journey fueled by lots of chocolate. His insatiable thirst for knowledge knows no bounds, as he tirelessly hones his craft to captivate readers. Eitan's web books, spanning fantastical realms and heartfelt LGBT dramas, written in Spanish and English, mark the beginning of his promising writing career. Follow his journey on Patreon! You can also visit his website, Tumblr, Instagram, or Pinterest. Photo by MART PRODUCTION from Pexels

#nanowrimo #camp nanowrimo #self publishing #online publishing #web novels #by nano guest #eitan estheim

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gay-dorito-dust · 1 year

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⚠️Spoilers for tlovm season 2 episode 3! You’ve been warned!⚠️ also slight canonical divergence at the end.

‘You’re just deadweight.’ Osysa comments.

‘What do you bring to the group that they don’t already possess? They’ve kept long enough out of pity, to them your just a domesticated house pet they choose to being along as if they were to set you loose into the woods; you would surly die without their protection.’

‘What makes you think that they’d shed a tear at your death, should it come to pass? For you have proven yourself to be of no worth.’

The patron of the Slayers Take words stung but they had to have hold some truth for them to hurt as much as they did. Compared to everyone else, you were the runt of the litter, the weak link, the lesser known member of vox machina whom overshadowed you in every aspect you thought of.

And they were true, you knew it, they knew it, everyone you’ve come across since joining vox machina knew it and yet instead of changing everyone’s perspective of you and proving to not only them but all of Tal’Dorei that you weren’t as useless as they thought. You chose to embrace it, embrace the fact that you’ll never amount to anything or stand on equal footing with your contemporaries.

You didn’t bother to fight against what you already knew deep inside as you thought it would proof fruitless. You weren’t stupid to not notice Keyleth, pike or vex’s sympathetic glances. They saw you as weak. They pitted you, they liked you but didn’t respect you. Not enough for them to put their trust in you to hold your own in a fight which was why one of the group would always be paired up with you.

It once pissed you off but soon you lost your willpower to prove your difference. It was probably the reason why you sat further away from them during camp fires and tavern outings, almost as though you were the one embarrassed to be seen with them. You dismissed Keyleth’s question of whether you were cold with a fake smile followed by an ‘I’m alright.’ That didn’t convince them.

You could see it in their eyes it didn’t but they couldn’t being themselves to be bothered in changing that. Not one of them and once upon a time this would’ve made your heart ache but now you just shrugged it off. You even slept a distance away from them too and would awake to the sounds of their laughter, wordlessly pack your bags as they chatted amounts themselves as though you never existed.

The conversations would die down when you approached to get something to eat only to pick back up again when you left. If they disliked your presence then why keep you along was a question you’ve pondered more often then you should.

So even now as you stood a distance away from Vex and Percy as they open Purvan’s sarcophagus to reveal the death walkers ward. You felt isolated even in a room full of the people you meant to care for and vice versa. You hadn’t spoken a word to any of them but none of them seemed to care in asking the question why that was.

So when you saw Percy’s hand reach out to touch the armour just as Vex was was about to exclaim that you all should wait for Vax to come out from the hole in the ground. However it was far too late for waiting, Percy’s hand had already touched the armour and from it came what looked to be a flurry of black feathers heading straight for vex.

So without thinking or giving much thought to your actions, you shoved vex aside and allowed yourself to be hit by the flurry of feathers instead as you were flung back and struck the ground a few paces away from the sarcophagus, just as a black feather touched your forehead and dissipate soon after contact. Your eyes faded of all colour, your body; motionless as though you were dead.

You doubted that any of them cared enough about to shed a tear.

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study-with-aura · 1 month

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Monday, March 18, 2024

I hope everyone had a lovely weekend! I had a very good spring break week. I will miss volunteering at the mission, but hopefully I will spend time there over the summer in between camp, the summer trip, and my ballet intensive. This summer will be another busy one, but I still have 44 days left of studies and should focus on them to not get too far ahead of myself.

I am really enjoying the book I am reading. It is a little creepy, but that almost makes me want to read more so I can learn about the mystery of what is going on! The sequel was on my reading list for this year, so I had to read this one first so I understood any new information in the next book. If anyone is curious about my reading list, I utilize the local librarian guide for my age group. It helps me explore books and genres I may not normally read otherwise. To see my full list, you can follow me on Goodreads. The link is on my main blog page under "Navigate".

Tasks Completed:

Geometry - Read about constructions + learned how to construct congruent segments and angles + practice + honors work

Lit and Comp II - Copied Unit 21 vocabulary + read chapter 38 of Emma by Jane Austen

Spanish 2 - Reviewed vocabulary (test tomorrow)

Bible I - Read Judges 10-11

World History - Reviewed key terms for new unit + read introduction to new unit + watched short documentary video on Mahatma Gandhi

Biology with Lab - Read and watched videos on creationist perspective of how life systems came to be

Foundations - Read more on security + completed next quiz on Read Theory + read an article about the propaganda campaign against public schools

Piano - Practiced for one hour

Khan Academy - Completed High School Geometry Unit 3: Lesson 8

CLEP - Completed Module 11.0 introduction video + completed Module 11 reading "Europe: 1918 to 1945" 13.1-13.5

Duolingo - Studied for 15 minutes (Spanish, French, Chinese) + completed daily quests

Reading - Read pages 124-176 of House of Salt and Sorrows by Erin A. Craig

Chores - Cleaned my bathroom + cleaned windows in my bedroom and in the study + took the trash and recycling out

Activities of the Day:

Personal Bible Study (1 Corinthians 15)

Volunteered 2 hours at the library

Ballet

Contemporary

Journal/Mindfulness

What I’m Grateful for Today:

I am grateful that I had a marvelous spring break.

Quote of the Day:

In the attitude of silence the soul finds the path in a clearer light, and what is elusive and deceptive resolves itself into crystal clearness. Our life is a long and arduous quest after Truth.

-Gandhi

🎧Four Sketches, op. 15 no 1: In Autumn - Amy Beach

#study blog #study inspiration #study motivation #studyblr #studyblr community #study community #study-with-aura

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angstics · 1 year

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inspired by this post by @ephedrineshot:

and they still goin. real interesting how much negativity towards mcr at their come-up had to mention the theatricality and make-up (Several times). interesting because this is the beginning of the mainstream's "we're okay with gays now" era. par exemple: mcr was criticized for using "gay shock factor", which was apparently soo 90s -- said while prop 8 was being voted into law. some critics pretended the band was simply Too much -- operatic, overzealous, ineffective. this way, they avoid the base fact of being uncomfortable with feminine men in make-up, or homoerotic music / performance, or interest in stereotypically gay art like theatre + fashion.

this is a thing straight people do - camping the uncamp to ignore its seriousness. what parts of mcr are camp is debatable (to me, it's the alter egos, some songs like sing, the androgyny). but the entire band is not a camp object. using susan sontag's notes, the object has to be very earnest about a message that fails to reach the audience. it has to be self-involved to the point the style supersedes the meaning. though mcr has an extraordinary mission that should've failed and made it into a proper camp object, they succeeded. they were instant flames with a major label debut in 2 years. the work is taken seriously -- from the themes of mental illness and religious guilt to the complexity of the music. the most common accolade given to my chem is "this band saved my life". proven by the success of the return tour and foundations of decay, mcr accessed a huge audience that wouldnt have been interested in them if just for their aesthetics -- which in turn made them special as the mainstream band with style.

camp objects are either assigned as camp (like hollywood stars) or created as camp works (like john waters' films). if there is a circle of "camp aficionados", then its membrane cannot be penetrated. it can only reach out. which is to say: people who like camp choose what's camp. at the same time, self-aware camp objects do not seek out people uninterested in camp. which is to say: aware camp does not try to go mainstream (ryan murphy tv is lackluster for trying). camp is essentially an intellectual genre (sontag also talks about this). aficionados pride the work on being expressionist, referential, cultured. even when the naive camp object is mainstream, the quality of camp is a hidden gem for people "in the know".

to better understand my point, here's an argument for a camp aspect of mcr. the band's androgyny was misunderstood into obscurity to the point of being campy. while researching contemporary attitudes during the first era (articles, online posts, essays), i didnt find any indication that audiences understood the purposeful nonconformity of their looks. observations did not go beyond "gerard way looks like christina ricci" -- a focus on style over meaning. the greatest impact was the mcr-pioneered emo style inspiring male / nonbinary / trans / gnc people to dress femininely. perhaps fueled by gerard's post-break up conversations on gender, one of the most celebrated aspects of the band TODAY is the gender nonconformity. the rolling stone describes their first 2022 performance (may 16, at eden sessions) as "an understanding of what emo always was as a subgenre and cultural movement, and is now appreciated for being – a camp and feminine enterprise" (source). i am choosing to interpret this quote as describing the emo aspect of my chem, opposed to limiting the band to the single emo label. in that sense, this quote is a revelation in past and present existences converging as misunderstandings of genderqueerness are reconciled. the campiness is assigned today by people who recognize this under-represented aspect of the band -- camp aficionados.

to end of, theatre is not inherently camp. neither is homosexuality. nor is the sole state of being grand, stylish, or loud. the intent and result of the work has to be examined for the assignment to make sense. you've already failed if you use "camp" as an insult. but if the assignment also doesnt make sense, then you're purposefully using "camp" as shorthand for "i dont want to engage with queer junk". you've failed as both an intellectual critic and decent person.

aside: gay people often misuse "camp" to mean "fun". this is fine because i love gay people. we also pioneered the term. who's to say this isnt a hidden meaning... camping camp...

#mcr #mcr queer studies #qessay #very obvious i do not write often. still i try

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