#like... given the subject matter of the series and the nature of the cult i think it was absolutely imperative for them to mention that

[wannaliveattheholidayinn]

i have to say, though i know netflix is no great ally to queer people, trans people especially, i am very glad that at the end of their twin flames docuseries they include that statistic that less than 1% of people who transition regret it

#like... given the subject matter of the series and the nature of the cult i think it was absolutely imperative for them to mention that #i don't particularly want to praise them for the bare minimum #but i think it would've far too easy for them to forgo it #and that they didn't (plus that they had that one other dude who talked a bit about transness) definitely made me like the docuseries more #escaping twin flames

[mybg3notebook]

Lore: Details about the “Orb”

Disclaimer Game Version: All these analyses were written up to the game version v4.1.104.3536 (Early access). As long as new content is added, and as long as I have free time for that, I will try to keep updating this information. Written in June 2021.

Let's start with the context, because everything related to Gale is packed heavily with Forgotten Realms lore, and since the game is not fully released, whatever extra information that the game could provide to help us understand this is not there yet. Also, it's always important to keep in mind this post about "Context, persuasion, and manipulation" to be sure we are talking in the same terms. 

The lore

I'm going to enumerate some objects or elements related to Forgotten Realms lore that I personally see worth checking out in addition to other “orbs” that I've seen the fandom put attention on. All this information can be expanded using the references and sometimes wiki, even though I personally distrust forgotten realm wiki, unless I can check that info from the original sources.

Shadow Weave

The Shadow Weave is the space between the strands of the Weave. If the Weave is a spider's web, the gaps in between are the Shadow Weave. Shadow Weave reaches everywhere the Weave does, and more. It is not subject to Mystra’s laws or state of well being. If Mystra were to die and the Weave collapses, the Shadow Weave would persist. [Magic of Faerûn 3e. Personal Comment: Yes. It explicitly says in the book that it’s independent of Mystra’s well being. Clearly this has been modified in 4e since the Shadow Weave needs the structure of the Weave to be somehow stable. It collapsed when the Weave did so, so we can see this begins a series of inconsistencies]

Shadow Weave is a dark and distorted copy of the Weave created by Shar, more suited for spells that drag life or confuse the mind (necromancy, control, illusion schools), and gives more difficulty to cast spells that manipulate energy or matter (evocation or transmutation schools). It can't sustain spells that produce light. Both Weave and Shadow Weave are means to use Raw Magic (see at the end of the post). The more familiar a mortal becomes with the secrets of the Shadow Weave, the more detached they become from the Weave. Shadow Weave is NOT a part of Mystra, so Mystra can't block people from accessing magic via Shadow Weave. 

It’s a common mistake to make the analogy that the Shadow Weave is to Shar the same way the Weave is to Mystra. No. Shadow Weave is NOT Shar, while the Weave is Mystra. Shar never developed that level of commitment, making herself one with the Shadow Weave. This is one of the reasons why she could not sustain the Weave during the Spellplague when she tried to corrupt it completely into Shadow Weave. 

All this information belongs to Magic of Faerûn 3e and the Forgotten Realms Campaign Setting 3e and novels of 4e. There is nothing about Shadow Weave in 5e. If it weren't for Ed Greenwood's twitter, we should have guessed it disappeared from the lore. So far we know it's slowly recovering in the same way the Weave is. And the Shadow Weave doesn't feed on Weave. For some mysterious reason, fandom started to think so due to BG3.

Death moon orb

This artefact belongs to the 3rd edition, created by a Netheril wizard. From him, it passed to the hands of Szass Tam, who saw it destroyed when the Spellplague corrupted the magic in it. I won't give more details about this object because it looks so unrelated to what Gale has in his chest. Not only is its shape inconsistent with what we see in-game, its powers and properties are unrelated to what is explained in EA. The object is cursed, compelling its owner to cause greater acts of evil; it has a size that changes and looks like a violet-black sphere. In my opinion, the only detail in common with Gale's “orb” is the name "orb". Which is a fallacy, since Gale says explicitly that he uses the word "orb" for the lack of a better one, because clearly what Gale has in his chest is not an orb, but a mass of Black Weave. 

Netherese orbs

These objects are found in Neverwinter MMO in the quest Whisper in Darkness:

The Netherese are foul plague upon this world, corrupting everything they touch. They have cursed the Gray Wolf Tribe, turning them into bloodthirsty monsters. We must find what the Netherese intend to do with their werewolf slaves. The Shadovar Emissaries use the Netherese Orbs powered by Soul Shards to communicate orders from the Prince of Shadow.

This is all the information we have of this object. That's all. It comes from a Neverwinter MMO game which belongs to 4th edition. Once more, the concept that Gale's “orb” is not an orb but a black mass of untamed magic makes me believe that these objects don't apply either. The nature of their magic is compatible though: Netherese orbs are made from shadow magic by Shadovar, descendant of Netheril stuck in the Plane of Shadow (called Shadowfell later on, read more in the post of "The Netherese in 1492DR"). This plane is the source of Shadow Magic, they don't use Raw Magic. Ethel explicitly said in BG3 that Shadow Magic is Netherese Magic, so maybe we can consider this object filled with Netherese magic? In any case, these Netherese orbs are used for communication... which has nothing to do with Gale's “orb”'s properties. There is also no reference of consuming Weave to remain stable.

Devastation orb

The mention of a "devastation orb" happens only in Yartar in Princes of the Apocalypse (related to the god Tharizdun, the mad god): 

In page 5 we have some context: Four elemental cults grow in power in the Sumber Hills, claiming abandoned keeps that connect to an underground fortress once part of an ancient dwarven kingdom. The leaders use elemental magic to create devastation orbs capable of ravaging the countryside. They’ve been testing these magic weapons, bolstering the cults’ ranks, and infiltrating various communities, all directed by visions the prophets receive from the Elder Elemental Eye (Tharizdun). These orbs are plainly described as: essentially bombs of elemental energy to unleash natural disasters.

In page 222 we have a more detailed explanation of what these elements are: 

Devastation Orb: (Wondrous item, very rare) A devastation orb is an elemental bomb that can be created at the site of an elemental node by performing a ritual with an elemental weapon. The type of orb created depends on the node used. For example, an air node creates a devastation orb of air. A devastation orb measures 12 inches in diameter, weighs 10 pounds, and has a solid outer shell. The orb detonates 1d100 hours after its creation, releasing the elemental energy it contains. The orb gives no outward sign of how much time remains before it will detonate. Regardless of the type of orb, its effect is contained within a sphere with a 1 mile radius. The orb is the sphere’s point of origin. The orb is destroyed after one use.

Again, I don't see a real connection with Gale's “orb”. These devastation orbs are not netherese-based, they have elemental energy, and despite the explosion, they don't have any mechanics that resemble the consumption of Weave to remain stable. However, I do find a link between these devastation orbs, their process of construction, and the book that Gale found out. The remotest concept I can scratch here is that, whoever crafted the book with that piece of blackest Weave, could have used the knowledge of the construction of these devastation orbs. Instead of filling them with elemental magic, they filled it with a blackest weave of netherese magic. A procedure that could have been applied to the netherese tadpoles as well.

That's all the information I could gather that remotely is called “orb” or has some vague chance to be that blackest weave.

The Game BG3

In the game, all the info that Gale provides in EA about the “orb” is given before his revelation. The what it is, the how it works and the how it feels. In the revelation scene we only learn the details that are personal and intimate for Gale: the why he ended up with the orb, and potential solutions he can guess so far. To show proofs:

During the meeting:

Tav [Wisdom/tadpole] Try peering into his mind. If he won't open up, you'll sneak in.  [Success] Narrator: For a split second you see a swirl of untamed magic – then his defences drop like a portcullis. 

During the Protocol:

Tav: I simply want to know what it is you're keeping from me Gale: I'm dangerous. Not because I want to be, but because of... an error I made in the past.  [before Gale speaks of his loss] It makes me dangerous – even in death. [after Gale speaks of his loss/tadpole intrusion] I told you how I sought to win the favour of Mystra. I did this by trying to control a form of magic only one wizard ever could. I failed to control it. Instead it infested me. It makes me dangerous... even in death. […] Tav: The darkness inside you, what is it? Gale: It's magic from another time and another place. It is something that is beyond me, yet inside me. That makes me dangerous... even in death. 

During the stew scene or the ask for artefacts in neutral or lower approval

Tav: [Wisdom/tadpole] you sense secrecy and danger. Use your tadpole to probe Gale's thoughts. [Success] Narrator: you become one with Gale's mind and you can feel something sinister oppressing you. It's... inside of you, a mighty darkness radiating from your chest. You could try to push further, but your hold over Gale feels brittle. It won't be easy delving deeper without him noticing. Delve deeper: [Success] Narrator: “ you see through gale's eye, staring down the corridor of a dread memory. A book, bound, then suddenly opened. Inside there are no pages, only a swirling mass of blackest Weave that pounces. It's teeth, it's claws, it's unstoppable as it digs through you and becomes part of you. And gods, is it ever-hungry.

Gale: The only way to “appease” said condition is for me to take powerful magical artefact and absorb the Weave inside. [...]Tav: What happens if you don't consume any artefact? Gale: Catastrophe. [...] Think of it as... tribute. The kind a king might pay to a more powerful neighbour to avoid invasion. As long as I pay there will be peace. But should I ever stop, along comes a war. I can assure the battlefield would extend well beyond the borders of my body alone. [...] I will consume the magic inside. What was a powerful artefact will be rendered no more than a trinket. But it will save my life- even if only temporarily.

Tav: That condition of yours is a very expensive one. Gale: I obtained it in Waterdeep. Nothing there comes cheap.

Artefacts scenes:

Gale: I can feel the storm abating. [...] I will feel it stir again – like a distant thunder sending tremors through the soul. I will need to consume another artefact before the lightning strikes. There's no choice but to find more. [...] It's good to perceive this constant fear repressed into a quiet scare. Let's hope it will last a good long while.

During Revelation scene:

Gale: The gist of it is that he sought to usurp the goddess of magic so that he could become a god himself. He almost managed but not quite, and his entire empire – Netheril – came crashing down around him as he turned to stone. The magic unleashed that day was phenomenal, rolling like the prime chaos that outdates creation. A fragment of it was caught and sealed away in a book. No ordinary book, mind you; a tome of gateways that contained within it a bubble of Astral Plane. It was a fragment of primal Weave locked out of time – locked away from Mystra herself. ‘What if’, the silly wizard thought. ‘What if after all this time, I could return this lost part of herself to the Goddess?”

Narrator: You feel the tadpole quiver as you realise Gale is letting you in. Into the dark. You see through Gale’s eyes, staring down the corridors of a dread memory. A book, bound, then suddenly opened. Inside there are no pages, only a swirling mass of blackest Weave that pounces. It’s teeth, it’s claws, it’s unstoppable as it digs through you and becomes part of you. And gods, is it ever hungry… [...] This Netherese taint.. this orb, for lack of a better word, is balled up inside my chest. And it needs to be fed. As long as it absorbs Weave it remains stable – to an extent. The moment it becomes unstable, however.. [...] It will erupt. I don’t know the exact magnitude of the eruption, but given my studies of Netherese magic, I’d say even a fragment as small as the one I carry…. It’d level a city the size of Waterdeep

Tav : I should godsdamned kill you GALE: Perhaps that is what I deserve, but you deserve no such thing. To kill me is to unleash the orb. 

So far, if we don't use the tadpole, we learn from Gale that he is unwillingly dangerous, there is an ancient magic stuck in his chest—acquired in Waterdeep—that he never could control and it inspires a dreadful state of mind (constant fear). It requires Weave to stay stable, and if it is not fed, a catastrophe will happen that will extend past his body. 

With the Tadpole we learn, in addition, part of the details we can learn during the revelation scene: it's a swirl of untamed/chaotic magic which is an ever-hungry "blackest weave". 

During the Revelation Scene all the information acquired by the tadpole intrusion is given, in addition to describing this mass of magic as an "orb" despite its inaccuracy. We also learn that killing Gale will only unleash the orb instead of putting an end to the problem. 

Gale said everything that is important related to the orb before the party scene, excluding only the personal information since he is a private person. This was exactly the boundary he set when he promised during the stew scene that he was going to explain the what, not the why. With the use of the tadpole we only learn details, simple extra descriptions; all information that Gale will willingly share during the revelation scene anyway.

We can learn a bit more of the “orb”'s function if we explore the goblin party. There, Gale explains part of the mechanism of the “orb” in a "poetic" way, that may or may not be taken exactly as such:

Gale: Two shadows are darkening my soul.The shadow within and the shadow without: you. You led me down this path. [...] I don't know myself anymore. All this... It's not who I am. Around you, I'm not who I want to be. I should leave. 

Tav: [Insight] Stay. We make each other stronger. We make each other survive. /OR/ [Deception] You don't stand a chance alone. You're free to go. I dare you. 

[Success][DC15] Gale: [...]. Few things are more powerful than the will to live. But carnage such as this.... the shadow within is spreading like poison, corrupting kindness and compassion. [...]. Tonight I need to wash my hands of blood and my mind of shattering memories. 

This shows that when playing an Evil Tav who sides with the Goblins, we have an extra description for this “orb”. Again, I ponder every bit of information with its context: Gale is a poet, and he tends to speak with metaphors specially when it comes to emotional painful states of mind or when it comes to the “orb” (which puts him in a very emotional state that even the tadpole doesn't), so these lines can perfectly be understood as a poetic way to describe his deep regret for participating in massacring the Tieflings. However, there is this detail that I can't overlook: the shadow within, understood as the blackest Weave, is spreading across his body, corrupting his good essence. As we saw in the post of "Extensive list of Gale's approvals", compassion and kindness are key elements in Gale's personality. This scene shows a potential that is not explored in EA: the “orb” seems to set a path in which it will corrupt Gale. 

Now this could be considered as a potential beginning of a shift of alignment, but it goes against what Sven said several times in interviews and presentations: he stated that they were not considering to change alignments in the companions (if you can imagine all the extra branches that it opens up, it makes sense not to allow it given the already colossal proportions of the game), so it's hard to suspect how Gale would evolve from here, or if this situation will give him reasons to attempt to kill this Evil Tav eventually (which is my personal guess). Sven suggested many times that companions could potentially kill Tav or other companions during their sleep. We saw this happening in EA with Astarion. Using datamining content, we saw the same with Lae'Zel and Shadowheart. I don't see why not to give in-character reasons to make this mechanism work with Gale as well.

As an extra (datamining) detail, we have Ethel's vicious mockery line emphasising the concept of "the shadow within":

Ethel: I can smell what's under those bandages wizard, you're all rot and ruin.

Putting aside the unnerving detail that Gale's concept art has bandages on one of his hands while the game is oblivious to this, the idea of Gale's “orb” as a source of rot and ruin, in combination with that necrotic aura when he dies, gives us a sure idea that there is a “disease” spreading in Gale's body as a consequence of this blackest weave stuck in his chest.

All the in-game information was presented, so now let's drag conclusions: Comparing all the information extracted from the scenes, we can now consider how much potential has the lore object named before:

Shadow Weave: Could Gale's “orb” be a fragment of Shadow Weave?

Strengths of the argument: Gale's “orb” is described as "blackest weave". It could barely be a hint, even though the Shadow weave has no canon colour nor physical description in the corebooks. So this is a very weak strength.

Weaknesses of the argument: Shadow Weave doesn't feed on Weave (this is a fallacy so far I've checked. It would make no sense to feed on the same object that it needs to exist.) Shadow Weave doesn't explode nor is chaotic. 

Death moon orb:

Strengths: It's called an "orb". And it was made by a netherese arcanist, so it must contain “netherese magic”.

Weaknesses: This object was destroyed during the Spellplague. It's a physical orb which changes size, but it's not an "amorphous mass" of magic. It doesn't consume Weave.

Netherese Orb:

Strengths: It's called an "orb". It's made of shadow magic (which is not netherse magic in corebooks but in game Ethel used both denominations as synonymous). We know Shadovar are masters of Shadow Magic. Read more in the post "The Netherese in 1492DR".

Weaknesses: This object doesn't appear in the corebooks. It's used for communication. It doesn't seem to have any explosive properties nor consumes Weave.

Devastation orb:

Strengths: It's called an "orb". They explode with the intensity to destroy a city. 

Weaknesses: It's made of elemental magic (not netherese magic). It's a solid object, a bomb (not an amorphous mass). It doesn't consume weave.

Personal speculation

I don't think any of these canon objects are or inspired Gale's “orb”. If we take the descriptions in-game as they are, and considering the importance that Karsus and his folly have been given in the whole game (to the point that Larian added ingame books explaining part of it) I support two hypothesis that, by now, they must be obvious for lorists since I want to work with what the game (and datamining) gives me: 

1- The concept that this is a piece of corrupted Weave that Karsus' Avatar allowed to have access to when he disrupted the Weave. Gale calls it “primal weave” as well, which is a concept that doesn't exist so far in the corebooks, and one could relate, very barely, with raw magic. Maybe.

2- Heavy magic (key concept during 2e)

To understand this we need MORE lore (I know, this has no end; this is why I think a lot of misunderstandings with Gale’s character come from the big holes of lore that EA leaves, which is obvious, it's EA) So, allow me to clear out the concepts: 

Karsus' Avatar is the name of the spell that caused Karsus' folly and made him a god for just an ephemeral moment. The notes regarding the spell’s essence were nowhere to be found. It’s believed that Mystra, the reincarnated form of Mystryl, snatched the spell information from the ruins of Karsus’s enclave and sent it “on an eternal journey to the ends of the universe” (who knows what this means). Besides, as if this were not enough precaution, Mystra changed the rules of magic on the material plane making it impossible to cast spells over 10th level. Karsus' Avatar was a 12th level spell.

Raw Magic is “the stuff of creation, the mute and mindless will of existence, permeating every bit of matter and present in every manifestation of energy throughout the multiverse. Mortals can't directly shape this raw magic. Instead, they make use of a fabric of magic, a kind of interface between the will of a spellcaster and the stuff of raw magic. The spellcasters of the Forgotten Realms call it the Weave and recognize its essence as the goddess Mystra.” [Player's Handbook 5e]

The creation of the Weave allowed all mortals to have access to magic through study. The Weave works like a barrier and an interpreter to use the real source of magic: Raw Magic. For more information on this, check the wiki (otherwise each of these posts will be mini books of lore). Few mortals can tap magic from the raw magic. Spells like silver fire are part of the raw magic. Some wild mages can tap into it as well, but at the cost of making their spells very random. Only Weave-disruptive events can allow an uncontrolled influx of raw magic into the world (which can be considered what happened during Karsus' folly)

Mythalars are immense artefacts that work like intermediates of the Raw Magic. They don't use the Weave, they have direct access to Raw Magic and were used to power up magical artefacts around them (thanks to these objects the Netheril cities floated in the air). Touching a mythalar causes instant death since Raw magic is harmful for most mortals.

So the first hypothesis (corrupted Weave) means that when Karsus cast this spell and became the Weave itself for a brief moment, he may have access to Raw magic directly. His spell Karsus' avatar started using common Weave, but in the second he connected deeply with the Weave and with Mystryl's powers, he had access to Raw magic as a god. His spell may have changed the source of its power from the Weave to Raw Magic, adding the latter's randomness and chaos to the spell itself and therefore, corrupting the Weave. The transition, so violent like the whole event, may have corrupted part of the Weave that was being used while casting the spell. According to Gale's description, the “orb” stuck in his chest is a piece of Weave with the active effect of Karsus' Avatar (the spell), but the Narrator gives us the extra information that it's corrupted. Apparently Gale never realised this object was corrupted, or may have known it and he tried to cleanse it so he could return it to Mystra. Either way, the source of the corruption may have been the sudden transition to Raw Magic during the casting. My main problem with this hypothesis is how a spell can be stuck in a piece of Weave, since Gale's “orb” maintains Karsus's avatar's effect. 

On one hand, Karsus' Avatar main effect is “to absorb god-like powers”. In that moment of history, this spell was aimed at Mystryl, and therefore to the Weave. The disruption of the event “stuck” the effect of “absorbing weave” in a piece of Weave, while the chaotic nature of this “orb” could be attributed to the direct presence of Raw Magic, also stuck in it. Now, another weakness of this hypothesis is that nothing of this causes a "corruption disease" as Gale implies it (we only know that the failure of the spell turned Karsus into stone). So we don't have a good argument for this effect beyond the one “I believe that since the moment was disruptive, it must have corrupted something, and that corruption is quite unhealthy in a mortal body”. Which it's not of my liking, but this is what we get up to this point in EA.

The second hypothesis I talked about is another lore concept intimately related to Karsus in 2e: Heavy Magic (which I personally prefer over the first hypothesis). 

Heavy magic is physical, tangible magic, usually presented as a viscous mass of chaotic nature. It can crawl, entering into cracks of a wall or a body, for example. Karsus created a distilled version of this magic called super heavy magic, and experimented with people. The subject eating a bit of this magic will have heavy magic spread on all the inner walls of their body and will kill them (it's not a disease, but it spreads inside and kills). The usual effect of the stable super heavy magic was to magnify the powers of a spell or enchantment (it allowed spells to be stuck in it), however it could be used for everything. 

Karsus used this element to enhance enchantments on walls, for example projecting illusions endlessly. This means that this product has the ability of keeping a spell functioning in it (as we see that this black weave keeps the function of the Karsus' avatar). [Dangerous Games, 2e]

Naturally, heavy magic absorbs life energies (maybe another characteristic fitting the concept of disease and necrotic effects). There is an event (2e) related to this aspect in which the renegade arcanist Wulgreth became a lich after heavy magic overflew him [Power and Pantheons, 2e]

As it is easy to see, this concept shares a lot of similarities with the object stuck in Gale's chest. But there is still more:

In the novel Dangerous Games (2e), strongly focused on how Karsus experimented with Heavy Magic, it is explicitly said that Karsus infused himself with super heavy magic before casting Karsus' avatar (probably to magnify the spell power but we also know that heavy magic can get spells stuck in it). He grew taller, and glowed in a white-silver radiance. Babbling arcane chants, the super heavy magic raged within him until he came into a state of being between a man and deity. Then it followed his folly. Karsus “died”, turning his body into red-hued stone, bound in eternal torment to relieve repeatedly the moment he became aware of his folly. 

So there exists a chance that a pieces of super heavy magic (in which Karsus was infused when all this happened) may have kept Karsus' Avatar effect stuck in them. One of these pieces could have been recovered later around the red stone where Karsus is now. This could potentially be the object or, at least, in what it had inspired Gale's “orb”. It's also worth noticing that one of the main characters in this novel Dangerous Games was looking for ways to safely contain heavy magic and avoid its damaging effect, so there is extra lore information about vessels that could justify the sealed book that Gale found in Waterdeep. 

As an extra detail on this matter, we know that the runes of teleportation may have been made with heavy magic: "Gale: See that rune? Netherese, I think. Weave's so thick on it, it's almost viscous." 

Since Gale is calling "Weave" to the element attached to the teleport runes, it makes me wonder if this was a slight variation that Larian made of the canon concept of Heavy Magic to not add new concepts to the already complex world of Forgotten Realms. Maybe, in the end, both hypotheses are the same: the second one is strictly more canon-related than the first one, which is more or less the same but simplified in terms and concepts. 

As a last conclusion from my personal point of view, I see no much sense in calling this thing “orb”. In game it's clearly described as an amorphous black mass, not an orb. And it made me remember Gale's original description, when the EA was not released yet: it's the only way where I can see its nonsensical origin, which was done in a completely different context. 

Gale has one ambition: to become the greatest wizard Faerûn has ever known. Yet his thirst for magic led to disaster. A Netherese Destruction Orb beats in his chest, counting down to an explosion that can level a city. Gale is confident he'll overcome it, but time is not on his side.

After the game was released in EA, Gale's description changed radically, and therefore his current description has a different approach entirely, removing the concept of "orb" for what we know in the game: “ancient chaotic magic”. 

Wizard prodigy: Gale is a wizard prodigy whose love for a goddess made him attempt a dread feat no mortal should. Blighted by the forbidden magic of ancient Netheril, Gale strives to undo the corruption that is overtaking him and win back his goddess’ favour before he becomes a destroyer of worlds.

This is one of the many details that make me believe that Gale's original concept/character was changed significantly before the EA release. But this is a mere personal speculation. For more details on netherese magic, read the post of "The Netherese in 1492DR".

Source: 

2nd edition: Powers and Pantheons, Netheril: Empire of Magic, Dangerous Games by Emery Clayton. 3rd Edition: Faith and Pantheon, Magic of Faerûn 4th edition Player's Handbook 5th edition: Player's Handbook, Sword Coast Adventurer's Guide

This post was written in May 2021. → For more Gale: Analysis Series Index

#bg3 meta #bg3 lore #bg3 early access #gale #gale of waterdeep #bg3 gale

[a-little-revolution]

A Brief History of Dwarfism

(TW/CW: cure, medical, pet culture and slavery mentioned, discriminative language)

LYZ LENZ Updated: June14, 2017 Origional: February 25, 2015 

When researchers from the biopharmaceutical company BioMarin told representatives of the Little People of America about the results of a drug that could potentially cure one of the causes of dwarfism, they expected a better response than the silence they were treated to. This caught the BioMarin folks off guard. “I think they wanted us to be happy,” says Leah Smith, LPA's director of public relations. “But really, people like me are endangered and now, they want to make me extinct. How can I be happy?”

BioMarin isn’t the only company trying to eliminate dwarfism. For years doctors have been using limb lengthening and hormone treatments to counter and cure the over 400 underlying causes of dwarfism. And yet, despite these efforts to eliminate what many people see as a disability, society can’t stop staring. From The Lord of the Rings to Peter Dinklage in Game of Thrones, people have long been mesmerized by depictions of LPs. As Smith explains, “It doesn’t matter how normal I am, it’s hard for people to look at me an see anything besides Leah the LP.”

Dr. Judith Hall, a clinical geneticist whose work focuses on short-limbed dwarfism, explains that our staring and our desire to cure are intimately connected. “In the same way that ancient societies viewed those people with differences as a pathway to the divine,” Hall says, “I see them as a pathway to access the knowledge of nature. There is so much to be learned about humans and our genetic make-up by studying the genetics of people with short stature and anyone with a ‘disability’ although I hate that term, don’t you?”

But understanding our curiosity and desire to cure requires an understanding of the history of dwarfism, which lies in the nebulous intersection of medicine and myth.

For much of early history, LPs were considered to be intimately connected to the divine. In fact, pre-literate societies often saw all people with disabilities as conduits to heaven. The ancient Egyptians associated dwarfs with Bes, the god of home, family, and childbirth; and Ptah, the god of the Earth’s essential elements. (Both gods—representing youth and the Earth—play a role in enduring myths and stereotypes, like the fairy tales that claim that dwarfs live underground, or the stereotype about the childish nature of people with short stature.) Because of their connection with the gods, dwarfs were often revered in Egypt, and were allowed to serve high roles in the government.

Whereas dwarfs in the Old Kingdom of Egypt (2575-2134 B.C.E.) were often jewelers, linen attendants, bird catchers, and pilots of boats—all positions of high-esteem, by the Middle Kingdom dwarfs were more likely to be personal attendants or nurses. These positions, while still respected, were comparatively lower status. Historians surmise that dwarfs were relegated to these roles because their short limbs made them perfect midwives and the association with the god Bes. Of course, even in this age of reverence, dwarfs lived lives of bondage.

In ancient Rome, the attitude toward dwarfs was less reverential. Owners would intentionally malnourish their slaves so they would sell for a higher price. In ancient Greece, dwarfs were associated in a menacing and lurid way with the rituals of the Dyonisian cult; art from that period shows them as bald men with out-sized penises lusting after averaged-sized women. This same pattern of reverence and bondage also appears in China and West Africa, where LPs were so often servants of the king. A 17th-century author wrote that the Yoruba people in West Africa believed dwarfs to be “uncanny in some rather undefined way, having form similar to certain potent spirits who carry out the will of the gods.” And out of a similar reverence for their stature, the courts of China employed dwarfs as entertainers and court jesters. Here there also may have been a level of fetishism; Emperor Hsuan-Tsung kept dwarf slaves in the harem he called the Resting Palace for Desirable Monsters.

By the time of the Italian Renaissance, LPs had become a court commodity all over Western Europe, Russia, and China. There are tragic tales of court dwarfs and their wild antics. Jan Bondeson writes in The Two-Headed Boy about Nicolas Ferry, the infamous court dwarf of King Sanislas Leszynski of Poland. Ferry was given to King Sanislas when he was about five years old. The King promised his father he would be given the best education and medical care. Ferry’s father didn’t even consult his wife, who had to journey to the court to say goodbye to her son. Ferry, who may have also had learning disabilities, was spoiled and terrorized the court with his antics—kicking the shins of servants and crawling up the skirts of ladies. He even threw a dog out of the window when he believed the Queen loved the dog more than him.

Another Italian, Isabella d’Este, marchioness of Mantua, viewed dwarfs as collectable items. She hoarded them in her vast palace along with art, classical writings, gold, and silver. She also tried to breed dwarfs and kept them in a series of specially designed rooms, with low ceilings and staircases to scale. This was more for their display than comfort. One of Isabella’s dwarfs was “Crazy Catherine,” an alcoholic who stole from her mistress and whose misdeeds were laughed off as entertainment. The history of courts throughout Europe and Russia tell similar tales of dwarfs employed as jesters, or little more than pets—laughed at, loved, and never fully allowed to be human.

As the age of monarchy ended, the era of medicine and medical curiosity arose to fill its place, often providing more opportunities for LPs. Dwarfs were put on display—by others or themselves—for money. In a time where very few occupations were open to LPs, putting yourself on display in a freak show was at least a way to make a living. While traveling around provided LPs with more independence, it also opened them up to the gaping and insensitive curiosity of the public and medical professionals.

It shouldn’t come as much of a surprise, then, to say that LPs were subsequently taken advantage of by greedy brokers and agents. In his book Freak Show, Robert Bogdan explains the phenomena of human exhibits, singling out the insular nature of communities as a leading cause. Animals and humans that were outside of the norm were exciting curiosities; different races, ethnicities, and disabilities were all billed as novel entertainment. Bogdan quotes a handbill advertising a Carolina dwarf in 1738 who was “taken in a wood in Guinea; tis a female about four foot high, in every part like a human excepting her head which nearly resembles an ape.”

FOR MOST OF EARLY HISTORY, THE RESPONSE OF DOCTORS TO LPS WAS TO MEASURE EVERYTHING—NOSE, HAIR, GENITALS. THIS MEANINGLESS COLLECTION OF DATA IS OFTEN ACCOMPANIED BY CONDESCENDING NOTES ON THE APPEARANCE AND INTELLECT OF THE DWARF.

From these human exhibits came the growth of dime museums, midget villages, and Lilliputian touring communities, where many LPs rose to prominence. But while these exhibitions took center stage, several LPs made incredible, albeit quieter, contributions to history. There were people like Antoine Godeau, a poet and bishop best known for his works of criticism, or economist Ferdinando Galiani, one of the leading figures in the Enlightenment. Then there’s Alexander Pope, a classical poet known as the “most accomplished verse satirist in English.” Plus Benjamin Lay, an early abolitionist and good friend of Benjamin Franklin. And Novelist Paul Leicester Ford, artist Henry de Toulous Lautrec, electrical engineer Charles Proteus Steinmetz. The list goes on.

Yet even in this time, as many LPs grew to prominence, medicine was able to do little more than collect data. Dr. Josef Mengele, the infamous Nazi doctor, kept an LP family of Romanian performers captive in Auschwitz, subjecting them to various tests and experiments that included pulling out teeth and hair specimens. Mengele is remembered as the angel of death—a cruel doctor who performed unscientific and often deadly experiments—yet his data collection on LPs isn’t much different than that of the medical community in centuries prior.

For most of early history, the response of doctors to LPs was to measure everything—nose, hair, genitals. This meaningless collection of data is often accompanied by condescending notes on the appearance and intellect of the dwarf. Even as late as 1983, Mercer’s Orthopaedic Surgery offered this observation about achondroplasia: “Because of their deformed bodies they have strong feelings of inferiority and are emotionally immature and are often vain, boastful, excitable, fond of drink and sometimes lascivious.”

The obsessive data collection reads like a stack of clues, wherein doctors hope to find an answer to the riddle of difference. With nothing else to do, like the Egyptian pharaohs and the courts of kings, doctors found themselves staring too.

In the absence of a cure, most early doctors focused on prevention. They believed that dwarfism was caused by the mother having seen another dwarf or animal. In fact, for most of medical history many disabilities and unexplained deformities were chalked up to maternal impressions. Consequently, pregnant women often sequestered themselves away from their communities, acting like they themselves had a disability.

This isn’t different from the modern approach to “curing” dwarfism. With early genetic testing, many in the LP community are worried about unborn dwarfs being allowed to be born.

In the aftermath of World War II, LPs found more and more opportunities to work outside of entertainment. This was due in part to Billy Barty, a film actor and television star who, in 1957, organized a meeting of LPs in Reno, Nevada. This meeting eventually led to the founding of the Little People of America, a powerful non-profit that advocates for the rights of LPs in America.

THE HISTORY OF DWARFS IS A HISTORY OF SUBVERSION, STEREOTYPES, EXPECTATION, AND SURVIVAL. IT’S THE HISTORY OF HOW PEOPLE TREAT OTHER PEOPLE WHO ARE DIFFERENT.

Before Barty, with the exception of circuses and traveling groups, most LPs were isolated. There was no way to band together to advocate for civil rights. A little more than 30 years after that first meeting in Reno, the Americans with Disabilities Act was passed in the United States, granting LPs more access and freedom than ever before.

The history of dwarfs is a history of subversion, stereotypes, expectation, and survival. It’s the history of how people treat other people who are different. And, while much has changed, very little is different. The tension between curiosity and cure is still prevalent. The popularity of shows like Little People, Big World and The Little Couple, while laudable for their portrayal of normal people with difference, show that we can’t stop looking at LPs. And companies like BioMarin and non-profits like Growing Stronger, which all seek to find a cure, show that we can’t stop trying to change them.

Yet, as a geneticist, Hall dismisses the notion that she is trying to change the LP community. She describes her work as merely offering a choice to individuals. “There are genetic tests for Downs Syndrome, but they haven’t eradicated people with Downs,” Hall says. “In the same way, the work I do and the work of other scientists isn’t to eradicate difference, but rather to offer options for dealing with it. It’s all about offering choices, really.”

But Smith, the LPA's director of public relations, pushes back. “The world is full of difference.” Smith says, “Sometimes I wish people would look elsewhere.”

BY LYZ LENZ 

Origional Article Post: https://psmag.com/social-justice/a-brief-history-of-dwarfism-and-the-little-people-of-america 

#dwarfism #dwarf history #disabled #disabled history #not-from-erebor #medical #article #dwarf education

[phoenixtakaramono]

The Untold Tale - ch2 Preview

SUMMARY: Let it not be said that Shen Yuan didn’t know how to be an accomplished—arguably better—writer than Airplane Shooting Towards the Sky! A middle-aged author in his hubris, he’d unknowingly triggered his fate and had his consciousness whisked away into an unfathomable mystical world that he would later learn to be based on Proud Immortal Demon Way and his very own work-in-progress. When given the opportunity to customize his character’s stats and to design his one remaining Customizable Skill Slot, as a veteran reader of transmigration stories and its tropes, Shen Yuan demanded, “Grant me the protagonist’s halo of course!”

The SYSTEM was silent all but for a minute.【Understood. Unique Skill <<PROTAGONIST’S HALO>> activated. Esteemed Host, you share the Unique Skill <<PROTAGONIST’S HALO>> with one other.】

“Who?”

【This world’s Luo Binghe. From the original novel series.】

“...Hold on, I need some time to process this.”

(Little did Shen Yuan know that this world’s Luo Binghe is the same sadistic Heavenly Demon “Bing gē” who’d stumbled upon the alternate universe version of his “Shizun” enjoying marital bliss with “Bing mèi” in one of the released Extra short stories. It was also too bad that Shen Yuan, in his mortal form, resembled Shen Qingqiu by a good thirty-to-forty percent.) 

(It’s a sort-of redemption fic. I think Bing gē deserves his own Shen Yuan. Some soulmates are just meant to be....)

Luo Binghe didn’t reply immediately when the low voice graced his ears. He was content to drink his fill of the fortuneteller before him, his breath stolen. 

It was as if the Heavens had sculpted this extraordinary fairy from the white nephrite mines of the Tian Shan Mountains and had breathed life into their creation. Such a man gave the impression of a heron found resting in the wetlands, with an immaculately majestic white plumage and tall stature and long legs. The crown had lent him a dignified air, with its moonstone threads giving off a resplendent iridescent sheen in the moonlight. Aside from the face, any sign of skin was covered up beneath the many fabrics of dark blue finery and silverspun threads. The gossamer tips of the white embroidered wings on the back of his outer robe fanned out along the bend of those wide sleeves as though the wings of the egert were extended around the wearer himself, the outstretched tips of the chiffon weaving gracefully in the air from any subtle breeze or movement. 

Luo Binghe stared brazenly at the man’s high collar which was fastened securely around the throat, not allowing a sliver of skin to be exposed. In contrast, the mink fur of the man’s outer robe looked luxurious and soft to the touch, begging for him to sink his fingers into it. 

He was the very representation of how Luo Binghe had imagined a celestial being to appear sequestered away in the coveted Heavenly Realm, mature and self-restrained and untouched by matters of the secular world. Luo Binghe shifted, briefly scanning the surroundings. Like seeing through a fog, colors of this mystic world were not as vibrant as that in the Mortal Realm. Frozen clouds hung in the outskirts of the infinite pond, the picture of twilight outside, with heaven and earth enveloped in silver and white.

Because Luo Binghe was once brought up with the common people who believed in everything divine—or supposed to be divine, no matter whether it was associated with Buddhism, the Dao, or the cult of the dead—he was familiar with the folklores and fictions that populated the imaginations of his countrymen. The educated class never made it an occasion to question the validity of the myriad of deities worshipped by the illiterate masses. Except for deities, everything under the sky was the King's land; everyone on these lands were the King's subjects. For reasons of courting blessings and averting calamities, mortals in their middle empire followed the teaching of Confucius in their religious beliefs, including the lesson to treat all divinities with reverence and to regard them at a cold, respectable distance. 

And among those popular tales, Luo Binghe was familiar with the mythology of the Eight Great Fairies. Like cultivators, they represented the pinnacle of human beings who had acquired immortality and magic through the constant practice of the esoteric discipline of Dao, achieving a status of divinity and ascending from the secular world. If this celestial was a fortuneteller, then his situation reminded Luo Binghe of the story of Ho Hsien-ku. Endowed with a supernatural power, the magician could make divinations and prophecies without the slightest mistakes.

“My story?” Luo Binghe rasped, intentionally obtuse. His expression relaxing, he permitted his hand to be lowered but he kept the tight grip on the man’s wrist. 

When the immortal had spoken, contrary to his aloof and handsome appearance which resembled white frost, his voice was as refreshing as a spring brook. Every word he’d uttered was infused with a bit of warmth, reminding Luo Binghe of the afterglow that followed the setting sun—even with the slightest warning lodged in that tactful entreaty. He’d called him xiōng dì, so Luo Binghe could surmise the celestial considered himself as Luo Binghe’s senior.

It was obvious that while he was wary of a Heavenly Demon’s sudden appearance at his residence, the ethereal being didn’t seem to bear him any misgivings. He seemed more curious about how Luo Binghe ended up here.

“...This lord doesn’t recall crossing a silver bridge,” Luo Binghe continued slowly. In their tales, the Heavenly Realm was ruled by the Jade Emperor who presided over a court of deities worshipped throughout China. Only human beings who had lived exemplary lives were allowed entry after death by crossing the “the silver bridge” into this domain and being reborn as gods.

His body and mind felt strangely refreshed, the internal fire no longer consuming him. There was a faint recollection of the feeling of fire abetting as the yin energy flowed through him, and even when he’d begun to regain consciousness, he remembered registering the feeling of a pair of hands on his back guiding him to lie back down. Realizing the significance of his position on the immortal’s lap after falling into the river, his eyes were overfilling with indescribable emotions after piecing together what must have happened. It was a small revelation that made his head dizzy.

The serene gaze settled upon his face, and beneath the thick eyelashes that were devoid of color, the immortal was assessing Luo Binghe with an intensity that he himself didn’t mind returning. 

In the deep recesses of his mind, Luo Binghe compared the differences of his features against two similar faces. He committed to memory the beguiling shade of jade found in those pale eyes, with the emotion that swum in them as calm as the surface of a lake. They were quite different from the cruel bottomless storms of his Shizun and the gentle overcast skies of the other “Shen Qingqiu.” 

To Luo Binghe, the existence of this person was akin to finding a painting that had been carefully preserved and well-hidden, like a fairy who has hidden his existence from the realms for centuries. His unusual appearance could even be likened to the seven wonders of the world, a peerless beauty that could even overshadow the female white snake spirit Bai Suzhen from fable. Celestials were naturally an enigmatic sight that stole a second glance and set the heart at ease. Luo Binghe felt as if he’d discovered an elusive treasure of indescribable rarity which had never before been gazed upon by the likes of mere mortals or demons. 

And he was undoubtedly his shizun, even with the differences. 

This was the one—the special existence that belonged to him. A chance encounter between a celestial and between a human who had the blood of ancient demons fallen from heaven running through his veins could only be testament to the natural balance of order.

The sudden damp touch against the side of his face made his eyelids jolt slightly, reacting to the drag of fabric along his skin. 

A pensive air seeped into the celestial’s demeanor, and Luo Binghe could sense he was contemplating Luo Binghe’s facial features. Deep in thought, the pad of his thumb carelessly brushed against his jaw, making Luo Binghe’s pupils constrict.

They were a pair of scholarly, masculine hands. Although the fortuneteller wore gloves, Luo Binghe could presume that those long fingers held a bit of roughness to them, calluses formed from training with a sword or from other extraneous activities. Having trained in the art of cultivation himself, Luo Binghe could not disregard the white sword sheathed at the immortal’s waist as being worn for decorative purposes. He gave the deceptive impression of being quiet and harmless, but Luo Binghe had discerned his body to be capable of releasing stored-up strength at any time. From his position lying on the immortal’s lap, Luo Binghe could sense the contoured muscles hidden beneath the folds of fabric. 

A mental image suddenly appeared in Luo Binghe’s mind which made him want to slide those offending garments off and sink his teeth into that pale, untarnished flesh which resembled the moonlight. The emotion in his gaze became all the more lascivious as he imagined the colors that’d bloom, branded by him.

In the same measured tone, the immortal proclaimed, “You are Luo Binghe?” When the smile spread across Luo Binghe’s face, the fortuneteller soon matched it. He answered himself amicably, “Yes, you are the one whom the fates smile upon…. It is an honor to finally meet the reputable young lord who presides over the demons. I present to you my greetings.”

“And to be able to meet you is seven lifetime’s worth of blessings.” He saw those snowy lashes flicker as the brows flew up. Seeing surprise coloring those features, Luo Binghe swallowed and rasped, “Permit me to be so bold, but this xiōng dì would be honored to know what this simple fortuneteller’s name is.”

Those pale jade eyes flickered past. “...I am known as Shen Yuan.”

Luo Binghe mouthed the name, repeating the consonants and the syllables. A look of hunger flitted across his face, before his expression soon resumed its natural state, sweet and indulgent. 

He can be good to this Shen Yuan.

(Chapter 1 can be found on AO3. Link is in my profile)

#svsss #luo binghe #bingqiu #shen qingqiu #bingyuan #shen yuan #the untold tale #phoenixtakaramono #WIP #preview #ch2 #If I'm lucky I can maybe eke this out by Nov #if not then you can consider it a December gift #bc good lord the sheer number of comments from just the prologue alone #I am flabbergasted #TUT will be updated b4 G&G #my writing #scumbag system #the scum villain's self saving system

[jostenneil]

do you have shounen recs too? other than naruto and fma lol

naruto and fma are like decade long infections that have refused to leave me djdbkdn but yes, i do! i’ll apply the same logic here as i did in the other post where i include some seinen too bc ultimately the distinction is just an age demographic

sket dance (manga) - this is one of my favorite manga of all time! it centers on a group of three friends—bossun, himeko, and switch—who start a student support group at their high school for anyone to come to with their everyday problems. the clientele and their problems are varied in a pretty humorous way, and in the beginning it almost feels like the series is set up to be purely comedic, but as you get further into the series you learn just why the main characters started the club, which is the winning point for me. these characters are so fleshed out and so much of their individual trauma gives insight as to why they’re intent to help and befriend others, especially on bossun’s part. he is probably one of my favorite shounen protagonists period. his character propagates a really wonderful message of how people don’t need to be fixed in order to solve their problems, just listened to and supported, and i adore the series for its exploration of that concept. the mangaka was also an assistant to sorachi on gintama, so i think fans of gintama will rly enjoy it in the sense that both series share similar values, messages, and humor! there’s a few crossovers between the two, iirc. also! i don’t particularly mind the anime and it has a banger soundtrack but just imo the emotional beats hit harder in the manga

silver spoon (anime/manga) - this is the series hiromu arakawa wrote after finishing fma, and i would actually argue that it’s her better work of the two! it centers on a boy named hachiken, who spontaneously decides to enroll at an agricultural high school to get away from his stressful family life in the city, and obviously, it’s a huge reality check for him. he’s dropped into this school where every other student has farming-related ambitions in the long run, while he has no ambitions at all and simply used enrollment as an excuse to get away from his problems. the series is a masterclass in learning about the worth in hard work, camaraderie, and why thinking about your future and what you want to do matters, not just from a practical aspect but also in terms of self fulfillment. as expected of arakawa, it boasts endearing humor, a wonderful array of distinct characters, and a really fleshed out portrayal of farm life, made even more enjoyable and genuine by the fact that she’s writing in her element, as she grew up on a farm herself

tsubasa reservoir chronicle (manga) - this is a cult classic within clamp circles, but outside of that fandom it’s more known as the intimidating clamp series most ppl wouldn’t touch with a ten-foot pole. and i get that! the fact that it crosses over with some other clamp series makes it pretty confusing to parse through at times. but i also think that’s the series’ greatest strength, bc when you understand the nature of that crossover, the depth of the storytelling is truly brilliant! at its most basic, trc follows a pair of childhood friends, syaoran and sakura, who live in a desert-like “clow country”. sakura walks into some ruins one day and is spontaneously robbed of all of her memories, which syaoran must then journey across multiple dimensions to recapture, as her memories have been scattered in the form of feathers. the pair also have three traveling companions—kurogane, fai, and mokona—and altogether the group visits multiple dimensions that are loosely inspired by clamp’s other series and characters. obv, as the plot progresses, we discover there’s more to the group’s mission than meets the eye, and it ventures into pretty dark, existential territory, as is the norm for clamp. it also may be unpopular of me to say this, but i actually think it’s a great introduction to clamp (it was mine lol), given there’s so many cameos from their previous series and the series sets up such interesting lore. just be warned that you do have to think while reading this series, as the lore is intense! also, do not watch the anime. at all. it’s the worst adaptation ever

ookiku furikabutte (anime/manga) - popularly called oofuri, this series is in my opinion one of the best sports manga published in the last two decades. it follows a boy named mihashi, a baseball pitcher who refuses to give up the mound and essentially alienates himself from his middle school teammates in the process bc they don’t know how to actually utilize his pitches. he enters high school as a total nervous wreck with little to no confidence in himself bc of this experience, until the catcher, abe, recognizes that he’s actually a really unique pitcher unrecognized for his talents by his old teammates. abe and mihashi basically latch onto each other, with abe believing he can mold mihashi into the best pitcher there is, and mihashi believing abe is the one person capable of making him into a good pitcher. it’s a fascinating take on codependency and building up your self esteem, and i would argue that higuchi asa’s sports psychology background lends itself splendidly to the messages oofuri sends about how to build healthy sportsmanship among teenage boys. overall i think it’s a great series to read if you’re looking for catharsis and comfort, as well as baseball lore!

gangsta. (manga) - this series is the most dark and complicated of the works in this list, just as an advisory. there’s prostitution, gang violence, gore, etc etc. but for the presence of all of that, gangsta. is probably one of the most well rounded series i have read in the last few years. it starts with alex benedetto, a prostitute who ends up as the sole survivor of a mass gang murder propagated by two thugs for hire, worick and nic. the two men take her under their wing as a friend and someone who answers their phone, and the three of them form a unique but really loving partnership with each other. the plot eventually extends into a turf war that plagues the town they live in, ergastulum, on account of a drug trade that allows for the breeding of “twilights”, who are essentially drug enhanced superhumans. it’s hard to explain much more without giving away spoilers, but the series has an incredibly diverse cast, in terms of race, disability, and sexuality, and it manages to tackle really dark subject matter without coming off as too edgy or tragedy porn-seque. the artwork is also absolutely gorgeous and the relationships among various characters are portrayed with such amazing nuance, that i can’t even complain when plot points make me sad beyond belief

this is what i have for now but i may add onto it later! do let me know if you enjoy any of these ❤️

#sket dance #gin no saji #tsubasa reservoir chronicle #oofuri #gangsta. #these are fun to do! i also feel like i rambled so much more here omg #mine:recs

[secretgamergirl]

How not to Write a Campaign

I have been playing RPGs for a very long time. Back in the day, I avoided any and all pre-written adventures of any sort because my limited experience with them was... just frankly terrible. Weird inconsistencies in tone, unfair encounter setups, too many assumptions about PCs’ motives and actions, etc. Then much later I discovered a group of writers who actually got it, wrote things perfectly in line with how my friends like a game to go, and we’ve been all in on those for a decade and change. But I just finished running a ROUGH one, and I want something good to come of it.

I don’t want to make this a specific review, because... I’m in the industry, I know the people who wrote this campaign, I can guess at some of the problems involved, and I don’t want to hurt anyone’s feelings or reputation, so let me just refer to the offending prewritten campaign here as the Amnesia Campaign. It’s for a big fantasy RPG, it riffs of a particular author’s work, you can probably guess what it is from that, but, I’m trying.

The first problem I need to bring up with the Amnesia Campaign is that it just commits the cardinal sin of long term RPG campaign writing- The mustache-twirling villain who always manages to escape from the PCs at the last minute. I cannot convey just how important it is that you never, ever do this. The worst sort of example is when you plan around the PCs actually confronting your villain multiple times, and failing to kill them, which is a terrible idea because there really is no way to ever stack the deck and account for every contingency to make an unwinnable fight, or even one where escape is always possible, and especially if you’re publishing adventures, some number of groups will kill the villain too early, either shorting things out or forcing a handwave to keep an ineffectual villain in play and pretend they’re still a threat.

The Amnesia Campaign doesn’t quite go there. Having an actual chance to go toe to toe with the villain is reserved for the very end, but it does use another variant, where no matter what happens, the PCs arrive just after the villain they’re chasing has left. Now... there’s a way you can make that work. If you have a villain who cannot be reached in practical fashion, and can launch attacks anywhere within a huge region, you can build a whole campaign out of characters reacting to the aftermath of evil actions they could not be expected to even learn about until the villain has left the scene. Here, meanwhile, we have a villain with a big elaborate plot that requires traveling all over the world gathering things, based on research he does at the very start which the PCs can, and indeed are expected to do, quickly pick up on these research notes, and basically know everything the villain plans to do from nearly the start of a very long campaign. And... frankly, the villain has no real edge to keep him believably one step ahead. He is a mildly wealthy man hiring goons, mundane forms of transportation, and having to negotiate and fight his way through to various sub-objectives needed for his plan, and it is at least strongly implied that he doesn’t have a lot of lead time. When presented with a scenario about someone needing to be chased down and stopped, PCs can pretty reliably be counted on to constantly be rushing forward, coming up with clever ways to accomplish what they need to in less time, and cut down if not completely nullify their travel time. But, like with battles the villain somehow keeps escaping from, I am forced to continuously state to my players in running this that no, somehow even after avoiding this whole side quest by reading the mind of the person with important information, and directly teleporting to where the villain left for by riverboat, he somehow beat them there, and once again, just left. It’s frustrating, and implausible. We end up with a villain who seems overwhelmingly outmatched, but keeps succeeding because... well, he has plot armor so we’re railroading this.

Admittedly, having a good villain when writing a full campaign in advance can be tricky. The safe and tested formula is generally to start off with minions of your main villain, starting with some who don’t even know who they’re ultimately working for, gradually build up to who’s calling the shots and to what end, have a big side trip to prepare for the final confrontation not directly involving the villains, than cap it with a big showdown. If the PCs know who the main villain is from the very start and where to find them, it becomes hard to rationalize anything between. Sometimes you can pull it off if they’re leading an army or ruling a country, but even then, you want to work up a food chain to them.

A similar problem, which crops up a bit towards the end of the Amnesia Campaign, is making too many assumptions about how the PCs react, and who they befriend. In RPG writing, you need to make as few assumptions as possible about the specifics of what the PCs will do in any situation. You can count on the real broad strokes. The party will investigate the situation described in the adventure, they’ll explore the area, find the villains, fight them, win, learn something to keep the larger plot growing, but that’s it. You can��t assume they’re going to team up with this NPC, enter this room from that direction, or otherwise reenact what you’d imagine you’d do in their place, or what happened in your test play of your adventure. This is particularly important when you include a little sidequest unconnected to their primary goal, or you’re presenting an open-ended investigation.

Ideally, you just have a sensible location, have some villains in it with clear goals and personalities laid out, and you scatter around some things to enable various clever tricks if players think to try them, without mandating any of them. Mention where windows are, and chandeliers, and holes just too small for the average human to fit through, but don’t, as part of the Amnesia Campaign does, invest heavily in the assumption that the PCs will start investigating a sewer system when investigating how a cult gets around a city and go sparse on other possible clues. Also don’t waste adventure background note space on thousands of years of history at the expense of what the actual current problem in the area is and who or what is behind it.

The next problem is one that, were I the average consumer just buying this book would bother me a hell of a lot more than it does as someone who knows how the sausage gets made. Put mildly... you do not want to play a rogue in the Amnesia Campaign. Nor do you want to play a swashbuckler, a critical-hit focused character of any stripe, really any class out of the... roughly 25% of all classes who rely on knowledge of where to make a hit count the most to do the full amount of damage with their attacks, because practically everything is immune.

Now, again. I partly understand how this happens. We have several different authors writing different chapters of the campaign, simultaneously, in pretty unforgiving crunchy conditions, with just a rough outline to go off. Nobody really has a chance to confirm notes and say “hey, did your chapter totally invalidate one of the foundational character archetypes, because I was thinking of doing that and having two of those back to back would be a bit much.” And while the publisher of the Amnesia Campaign does throw out little booklets of tips for players on what sort of character concepts will/won’t work, they’re not written last, so this sort of tip is missing there too. On the other hand, it’s a huge problem within nearly any given chapter just on its own. If you’re making the call on what all monsters to include in a multi-level stretch of a campaign, you should generally avoid choosing nothing but monsters immune to one of the most common bread and butter class features. And honestly, given how the subject matter naturally lends to the deployment of a particular monster type, erring on the side of assuming everyone else is heavily deploying them wouldn’t be a bad assumption for any author to make.

This though, unlike the rest of my gripes, is ultimately a high level problem that needs a high level solution. When you’re publishing a whole campaign, and you’re doing it in a game where several foundational character concepts kinda live or die based on things like whether things are properly harmed by particular flavors of damage, or whether a decent percentage of enemies fall under a certain classification, that really shouldn’t be a double-blind. Coordinating to get all authors to use a decent spread, or include outline notes like “it’d make sense for about half the enemies in this chapter to be fire elemental themed in various ways, but keep a good variety otherwise,” and/or trying to get a rough handle on emergent themes to adjust for/warn about in player-facing pitch material. Even the best-written campaigns are prone to rude awakenings or hilarious reductions in challenge as turns out, say, going all in on cold damage does indeed pay off for the one with Fire in the title.

Meanwhile, on the other side of that coin, more or less, huge swaths of the Amnesia Campaign really just completely break down by failing to account for some basic standard issue capabilities of a typical party. Particularly the fact that past a certain point, you need to account for the fact that the PCs are almost certainly capable of flight. It’s a thing that happens. If you are really keen on writing adventures where local warlords are chilling out on the open-air rooftop patios of their otherwise heavily fortified fortresses, or melee-oriented monsters plan an ambush in a canyon in a vast wasteland, or a dangerous leapfrog between a series of elevated platforms over something dangerous, you want to make those low-level adventures, or else a typical party, possibly even accidentally, will just completely circumvent the whole thing. There is a whole lot of that in the back of the Amnesia Campaign. My group... literally skipped giant swaths. Heck, there was a whole side quest in the last book where the PCs are rewarded with the location of a giant obelisk which I had to cut because... it was in the middle of a big open outdoor space, and they flew over the city on the way in. They definitely had a view over those hedges.

This sort of dovetails into the next issue, consistently escalating threats. The whole fantasy RPG gimmick is that at level 1, you’re a helpless peasant barely capable of doing anything remarkable, and by level 20 you’re literally punching gods in the face and have more money in your pocket than everyone else in your home country combined (with the obvious exception of the other people in your party). Now, mechanically, balancing around that is a very easy math problem. Characters of level X are meant to deal with threats of level Y, either pull a Y level monster out of the book, or slap levels on something lower to bring it to that point, or spread that out over more enemies, then they drop Z amount of fancy loot. Easiest thing in the world. But you also need things to fit together thematically. You can absolutely throw fighter levels onto the local chicken-stealing goblins to make them mechanically as threatening as a demigod bursting through from another plane of reality, but when a group of characters is at a level where they can be expected to handle the former, it’s just plain weird for them to end up dealing with the latter. Like, yes, these particular goblins have 200 HP instead of the usual 4, so the local town guard can’t handle them, but that should never be true of chicken-stealing goblins. You don’t get that tough stealing chickens, and once you’ve gotten that tough, you should have your sights set a good deal higher than that. At least be stealing rocs or something.

The 4th chapter of the Amnesia Campaign is a particularly blatant example of not getting this, featuring a large number of “please be aware the party can fly at this level” moments mentioned above, and also just demanding the PCs deal with problems that really are beneath them at that point. Seeking out local guides, impressing petty local warlords, getting challenged by giants they must impress to rest safely when crossing a huge desert. These are... not appropriate speed bumps at a point in the narrative where the party is traveling to a location where they are going to literally fight a god, weakened or otherwise. The whole setup would be wonderful as the first chapter of a campaign, but that far in, it just doesn’t work. Particularly when the actual opening of the Amnesia Campaign sets the tension very high right off the bat, with extradimensional threats, shapeshifters, an evil cult, things that typically come later as things start to escalate.

This isn’t to say you can’t mix things up a little. Dealing with threats well below a party’s capabilities can be really nice as a chance to just sort of flex, and get some perspective on how much more capable they’ve grown over time, but you have to do it in a low-tension point of the narrative, and a little self-awareness about it doesn’t hurt.

Finally, while I really kinda hate modern wealth-by-level assumptions, they are baked into the design of the game, so if you’re running with it, you really need to make sure you’re really giving the players something they can use. The Amnesia Campaign really leans heavy on treasure being weird oddities that may be of value to a collector... while also being set, generally, in places so totally removed from civilization that shopping trips aren’t really practical. Much less those needing the party to really find the right sort of buyer.

Really, you want to give out entirely practical loot (really hard to do without knowing the party makeup, but variety can work), big piles of cash/sellables along with sufficiently large cities along the way for viable shopping, or raw materials suitable for crafting plus ample time to really do something with them.

Anyway, hopefully this has come across more as practical constructive advice for anyone writing a campaign, either as a printed product or just for your home game, not just me tearing into the Amnesia Campaign at length.

#rpg #game design #gm advice

[ezimin]

I Almost Gave Up On This Anime

I really dislike leaving things unfinished, in fact this is the reason why, to date, I have only stopped watching one anime mid-series, because I didn’t enjoy it. (I have left other anime unfinished, but this is due to me forgetting to go back to it rather than anything else). For this month I watched the anime Steins;Gate, which was an anime of two parts. For me, I didn't enjoy the first part, as I found it quite boring, but then I really enjoyed season 2 and thought it was fantastic. Unfortunately though, I don’t think you can get away with only watching the good parts in Steins;Gate as it is a story based anime and so in order to understand the story in season 2, you have to have first watched season 1. I would however recommend it, as it really is an anime I enjoyed, even if it took some perseverance to begin with.

Steins;Gate is an anime about a couple of members of a science lab where they develop devices which they believe have the potential to significantly improve human life on earth. (In actual fact, these devices are a whole heap of rubbish, which have no potential to change any life - human or otherwise). During experimentation on a new device the three lab members discover that the device they have created has the ability to send e-mails back in time. In essence they have created a very basic time machine. During further experiments, lab members find that they can change the future and this leads to some good, some bad and some life threatening results.

Originally, when I was first recommended Steins;Gate, I thought it was an obscure cult classic. In this context, I am referring to a definition of a cult classic as something that did not have a very high audience at the beginning, but as time progresses the audience begins to grow. However, on the brief research I did for this post (I always like to do a little bit of research, just so I have it clear in my head what I am talking about and know things like names of directors and writers), I read that it actually wasn't particularly obscure. According to my research, Steins;Gate received both critical and popular acclaim when it was originally released in 2011. I was recommended it by a friend who was interested in the old, obscure anime and given that they had recommended other cult classics to me before, I naturally assumed that Steins;Gate was another of these.

One of the things I particularly enjoyed about Steins;Gate was the subject matter. Obviously for anime about time travel and time machines, it could have come across as being very physics heavy, however I don't think this was the case. I think the directing team on the anime managed to create an anime that was enjoyable to watch but also had enough physics detail to create a well grounded storyline.

Steins;Gate was an anime that I loved, but did not think that I would at the beginning, because it took me a while to get into. I made the initial mistake of thinking it as an obscure cult classic on the basis of who had recommended it, but I soon started to see the wider appeal of it. I liked the fact that you do not have to have a physics degree in order to understand the story line, but that it still went into a bit of depth in order for it to give the impression of being theoretically possible. I specifically like the way it focused on the ‘’Butterfly Effect’’ and how seemingly random events can be causally connected and how something seemingly innocent, can lead to drastic consequences.

#anime recommendation #steins;gate

[thesublemon]

Favorite movies/tv shows of 2019, and why? (Also, I really like your posts and hope you post more stuff!

Thanks so much! More posts are incoming. And sorry for taking so very long to answer this.

To be honest, I don’t watch a ton of contemporary stuff. I tend to think it’s healthier to take advantage of the great wealth of great art (or weird-but-interesting art) made in all time periods than to focus on keeping up with the present. Not that I don’t watch any contemporary things, I just don’t prioritize it in any way. So this list isn’t based on me watching everything and then picking out the best. It’s based on me watching a few things and liking some of them. But I hope that even if this list isn’t any more interesting than a list of awards ceremony nominations, I might at least have something worthwhile to say about the things in question.

Recent TV:

(I’m cheating and including TV from 2017-2019 that I watched in the last year or two, or else the list would be pretty boring and short.)

Succession (2018-present) - Maybe my favorite of the shows on this list, which is surprising to me because it’s not the kind of show I normally like. I don’t tend to care about rich people being mean to each other, or art that is glossily timely. I don’t get off on seeing the private dramas of powerful, immoral people. What I like about Succession is the sense of fragility and desperation that infuses it. It’s about the human desire for these stable institutions—families, kings, corporations—and whether or not they’re actually stable, and whether or not they should be destabilized. The whole thing is just a wonderfully rich text that has been made with a lot of craft. It’s nice to know that there are people making art that is very much about the present, and has something interesting to say about it.

Fleabag (2016-present) - The second season has gotten a lot of deserved praise, so I’m not going to dwell on its merits. It’s a complex and often moving exploration of the nature of love, whether romantic, familial, physical or divine. What makes it a truly “mature” artistic work is the way that it knows what it’s about from the very beginning (“this is a love story”) and complicates that aboutness in every single episode. It’s actually interesting to compare to the first season, which lacks the same maturity. The first season is still worth watching, but it doesn’t really become clear what it’s about until the last second, when Fleabag gives her monologue in the cafe. You keep waiting for it to get to the point, instead of having a repeated sense of anticipation about the point and accompanying satisfaction every time the point-shoe drops.

Killing Eve (2018-present) - Solid entertainment. Had a bit too much of the “contemporary TV aesthetic” for me to really love. But I’d missed genuine originality and clever writing in thriller-type stories. So it’s got that going for it. (Trying to actually define the “contemporary TV aesthetic” is a problem for another post).

unREAL (2015-2018) - I only watched the first season, and don’t feel a need to watch the rest. People tell me the subsequent seasons aren’t very good anyhow. But it was doing some interesting things. Things to do with femininity, authenticity, performance and love, and the degree to which they interfere with each other. I’m planning on talking about it a bit more in a subsequent post, along with Fleabag and the movie Weekend.

Sharp Objects (2018) - Mainly watched this and unREAL because I wrote so much about Buffy season six in the last year, and I was curious about Marti Noxon’s other shows (She was the main showrunner for that season, and you can definitely tell. Unhealthy relationships, mental illness in women, rough sex, and ideas of performance seem to show up in a lot of her stuff.). She has an interesting tendency to choose “trashy” subjects, but with a refreshingly non-cute approach to the (mostly-heterosexual) female id that I respond to. I keep trying to figure out what quality Sharp Objects had that other recent art about “women being and feeling fucked up in an artistically exaggerated way” didn’t have. Things like Midsommar, The Favourite, or Gone Girl. None of which I liked. And I think it comes down to that lack of cuteness. Watching a female protagonist furtively masturbate over the memory of a murder-shack in a way that’s not about fetishizing her? Either for a male or female or political audience? It’s weirdly satisfying.

Euphoria (2019-present) - Only watched the first four episodes or so, and probably won’t watch the rest. But it was interesting to me as a pretty successful attempt to be blatantly zeitgeisty. I like its vision of contemporary life as something full of hyperstimulus (“euphoria,” get it?). Whether that’s the hyperstimulus of porn, love, attention, validation, or actual drugs. It didn’t seem to be a reactionary condemnation of all of the above, more just a depiction of it, but since I didn’t watch the whole thing I can’t comment on its attitude with certainty.

The Vietnam War (2017) - Excellent Ken Burns as usual. I appreciated the variety of perspectives he interviewed, and I appreciated the episode dedicated to Vietnam’s history before the war started. If there’s one thing that American schools suck at teaching about the Vietnam War, it’s the Vietnamese side of things. I’m not a historian so I can’t comment on how good the history in the series is. I’m sure there are important criticisms to make of it, and like all Ken Burns documentaries he uses emotional tactics to tell the story that can at times feel manipulative in a bad way. But as someone who always wanted a more in-depth, multi-sided understanding of the Vietnam War, but didn’t know where to start, I was very glad to have watched it.

Black Sails (2014-2017) - Still haven’t seen the last season. But after watching I was honestly surprised I hadn’t heard more people talking about it. Or maybe that’s just my fault for not keeping up with mainstream writing about culture. It had some fascinating themes about the nature and fragility of civilization, and I think it would be interesting to compare to Succession on that front. Black Sails features characters on the outskirts of society. Whereas Succession features characters at the center of society. But both are about the desperation for stability that leads people to make societies—and disrupt societies—in the first place.

Recent movies:

(Sticking just to 2019 this time)

Once Upon a Time In Hollywood - What I liked about this movie is that it felt like a movie. I left it feeling like I’d had a big old cineplex experience. Which was fitting, because the movie itself was about the big artificiality of film. Throughout, there is this contrast between real violence, and movie violence, and who has an understanding of them. Cliff Booth, as a stuntperson, has a “real” relationship to violence, while Rick Dalton, as an actor, does not. Cliff can cut through a cult’s fakeness, and knows to turn aside an offer of underage sex. But although Dalton does not understand authenticity, he does understand fakeness. The point of the teenage terrorists in the final act is that none of them understand either authenticity or fakeness. They don’t get that violence is real, and they don’t get that movies are fake, which leads them to being destroyed by their own movie-inspired violence. In typical Tarantino form, the movie does have a smug-feeling nyah-nyah attitude about this theme, a feeling of “you idiot loser generation, you don’t get the seriousness of violence and you also don’t get that movies are fucking fun.” But it was a theme I found interesting nonetheless.

Apollo 11 - Unequivocally loved the cinematography. Just completely aesthetically compelling to me on every level. I would have have watched an entire Koyannisqatsi devoted to it. But I feel sort of weird saying that I liked Apollo 11 as an example of contemporary movie-making, since all of that footage I loved was shot in 1969. Still, the contemporary aspect—ie, the editing—did a good job as well. Mostly because it gave the impression of staying out of the way, even though it must have been a significant effort to select and organize the footage. As well as doing animations, titling, etc. I liked that the patriotism and mythology of it was mostly just conveyed via actual soundbites from the time. And that the competent chatter of scientists was given much greater weight. I watched Free Solo the other day, a climbing documentary from 2018, and I liked it for similar reasons—the fact that the presentation gave the impression of staying out of the way of the content, despite being obviously edited.

Parasite - Pretty understandable to me that it just won Best Picture, since it’s one of the few movies from the last year that knew exactly what it was about and how to do it, and did it with unpretentious panache. I appreciated its highly cinematic use of imagery. Say, the contrast between the concrete architecture on the upper and lower levels of society— how in the upper level it’s high art, and on the lower level it’s an inhumane prison. Or the way that characters keep visually crossing lines. I was actually pretty relieved to see that Joon-ho made this movie, because I hated Snowpiercer, and kept thinking it would have been a thousand times better if it was a thousand times less metaphorical and just depicted a real-world instance of inequality in a heightened, artistic way. Which is exactly what Parasite is. In fact, I think it would be interestingly instructive to explore why Parasite succeeded in creating iconic-feeling metaphors for social inequality where Snowpiercer failed. I also appreciated its basic vision of inequality as something symbiotic, and therefore systemic, rather than a matter of mere oppression. You find yourself asking more interesting questions about how to deal with systems when you acknowledge that systems are systems, even absurd and mutable systems, in the first place. Where I think Parasite was weakest was in the pace of the storytelling. I felt myself repeatedly getting ahead of it—eg, once you realize the brother is going to get the sister a job, you’re just waiting for the movie to finish up situating the mother and father as well. Whereas I think the strongest storytelling is perfectly aware of when the audience will start anticipating something, and uses that anticipation to create complications and surprise.

An incomplete list of some other things I watched in 2019 below the cut…

Movies that I watched for the first time and liked a lot:

Brink of Life (1958), Abigail’s Party (1977), Vigil (1984), Dog Day Afternoon (1975), Resolution (2012) / The Endless (2017), Jungle Fever (1991), Festen (1998)

Movies I saw for the first time that did things I found interesting:

The Devil’s Playground (1976), Skin Game (1971), The Reflecting Skin (1990), Straight Time (1978), Late Spring (1949), Iceman (1984), Hideous Kinky (1998), Bad Company (1972), Gozu (2003), Spring (2014), Jamón Jamón (1992), eXistenZ (1999), Bull Durham (1988), Carrie (1976), Swiss Army Man (2016), Tully (2018)

Movies I saw for the first time that I’d have to write specific pros and cons for:

Cape Fear (1991), Fury (2014), Cruel Intentions (1999), White Men Can’t Jump (1992), Spiderman: Into The Spiderverse (2018), The Deer Hunter (1978), Jennifer’s Body (2009), It (2017), The Favourite (2018)

Movies I rewatched and still loved:

Night of the Living Dead (1968), Dawn of the Dead (1978), The Ring (2002), Do The Right Thing (1989), F for Fake (1973), Tampopo (1985), Girl With The Dragon Tattoo (2011), Broadcast News (1987), Tangerine (2015), Weekend (2011), Conspiracy (2001), Bicycle Thieves (1948), The Devil Wears Prada (2006), The Thing (1982), Who’s Afraid of Virginia Woolf (1966), The Hunger Games series (2012-2015)

Movies I rewatched and didn’t like as much:

Clue (1985), Before Midnight (2013), Vertigo (1958), Anchorman (2004)

#posts: art #asks

[lukeasinskywalker19]

CMYK: Shape

Analysis

Clone High is an animated show that came and went on MTV, but has gained a cult following for its unique design among other things. I wanted to use this cartoon as an example of shape in design. On the surface the audience sees very clean and straight shapes to define and establish the simplistic look of the show. However, when viewing the character design deeper, each character i given a unique look through shape. For instance, Abe (white and blue shirt) is given vertically stretched shapes for his legs, torso, and neck to imply the character is more insecure and lacks confidence. Contrast this to JFK (red and white sweater on the left), whose shape is stretched more horizontally and squashed vertically to evoke a different energy that rivals Abe. Abstract shapes, such as the semicircle for Joan of Arc’s head (pink hair) are also used to indicate a flatter, more edgy personality. Additionally, the second image shows Gandhi (on the far right), whose head is perfectly shaped like an upside-down letter “G” to imply a wackier, more fun personality compared to the rest of the cast. Each character is given different shapes and figure to create strong silhouettes, allowing the viewer to recognize the characters solely based on their outline. The last thing I want to address is the distortion in each character’s body and figure. Looking at the slant of Joan’s back, JFK’s exaggerated muscles and hair, and Cleo (black skirt) with her very thin arms, legs, and waist all work to satirize the look and feel of high school teenagers as well as explain the idea that all of the characters are clones of historical figures.

Glossary

Shape is the external form or appearance characteristic of someone or something; the outline of an area or figure. As a verb, to shape is to give a particular form. As artists, we shape our characters outward appearance by using shapes.

Abstract Shapes and Abstraction (see Non-objective Shapes)  means no recognizable objects. Abstraction is a sliding scale from realism to completely non representational. Abstract shapes can be used in backgrounds and textures. The background pattern in this Minecraft image is abstract. The character is still recognizable as a human, but the doctor’s human form is abstracted in the game of Minecraft to conform to the blocks of the game world.

Biomorphic is a free-form pattern or design with a shape suggestive of a living organism, especially an amoeba or protozoan.

Curvilinear shapes are s-curves. Curvilinear shapes inform Jessica Rabbit’s character design and can represent a winding river vanishing into the distance.

Distortion is exaggeration, contortion, reform, slant, twist, or warp in ways that depart from reality. Look at the Minecraft Human body example. The figure of the Minecraft doctor is distorted by the shape of the blocks.

Idealism asserts that the physical world is less important than the mind or the spirit which shapes and animates it. Idealists choose the soul, the mind, or the psyche over the body, the material, and the historical. When ideals (of appearance, or proportion for example) regulate the way an artist represents the world, her work can be described as Idealistic. The leading artists of the High Renaissance - Leonardo, Raphael and Michelangelo - are all associated with varying forms of Idealism, as were ancient Greek sculptors. How do you think idealism affects avatar customization?

Non-objective shapes have no object as a reference and no recognizable subject matter. Non-objective shapes are often used to simplify design shapes. Geometric shapes such as a triangle, square, and circle are abstract until you put them together to represent a house or a smiley face. One Minecraft block, away from the game, is anon-objective shape.  Inside the game that same block, depending on it’s color and texture could represent a part of a landscape, sheep, or sword. The block as part of a character or environment inside the game would no longer be abstract.

Positive space is the subject, focal point, or areas of high interest in any composition. Negative space is the area around the areas of interest. All compositions balance positive and negative space. Yes, stuff in the negative space can point to the focal point to make it most obvious. Positive and negative create a whole. Every composition is a combination of positive and negative space. Wield the positive and negative spaces with control and story-telling magic to become a design master.

Realism, or naturalism, attempts to represent subject matter truthfully, without artificiality or exotic or supernatural elements. In the visual arts, illusionistic realism strives for the accurate depiction of lifeforms, perspective, and the details of light and colour.

Rectilinear is a boxy shape made with straight lines. For example, the screen you are looking at is a rectilinear shape filled with little square pixels, and pixels are also rectilinear. A storyboard is a series of  drawings in a linear set of rectilinear frames.

Representational means objects that players can name. The object represents something from the real world, or something that has the verisimilitude of realism. A cartoon bunny can represent a rabbit without being realistic. Representational is a sliding scale from realism to almost abstract. 2 dots and a curve can be arranged into an abstract pattern or they can be arranged into an emoji that represents a smiley face.

Silhouette is a profile or shape that is easy to identify.

Squash and stretch are shapes profiles that emphasize motion. The stretched position shows the form in an extended condition. When you do a sit up your belly squashes and your back stretches.

#shape #design #elements of design #analysis

[strawberryybird]

Me sees the character songs post, immediately wants to know what character songs you have for the characters and why.

ok so. welcome to the rabbit hole that is my music taste and what is my no.1 most frequently done activity.. plastering emotions i have for fictional characters all over my music taste. I restricted myself to ¾ songs for each character & then to Edie, Hubert, Dorothea, Lysithea & Byleth because otherwise we’d be here all day (and those are the Primary Daydream Candidates rn)

under a rm because as im sure we’ve all seen.. i just don’t fucking stop.. also i got weirdly deep about some of these topics. i don’t know how to tag it. tread careful?

Here are some songs.. welcome to my (notoriously bad) music taste. alsoi go in Very heavy handed about it all. i make only a few apologies:

Edelgard:Everybody wants to rule the word - tears for fears. (ucan go with Lorde’s cover but i prefer the original bc im like that.) i meanit’s pretty heavy handed but it’s such an Edelgard song it !!!! fuels my ficwriting. if it’s not so very Edelgard’s relationship with twsitd then idk whatto tell you. plus it’s an iconic song

Medicine - daughter. (daughter is My Favourite Band. Ever. I cannot articulate how much ilove their (and ex:re’s) music!!) anway. this is a hegegard song & i don’ttake constructive criticism. I’ll reiterate this better in other descriptions,but please don’t take my inclusion of a song about such a topic as adevaluation of it in any way, that’s not my intention. The reason I go so feralfor Hegegard is because im no stranger to watching someone you care about hurt themselvesin a way you can’t stop, and that’s what the AM ending evokes in me. Hence: asong I love that one can read the same story in. And then the lyrics ‘You couldstill be / What you want to / What you said you were / When I met you” just !! parallelsEdge of Dawn’s lyrics about regret & overall I’m very feral about this.

(Don’t Fear) The Reaper - blue oystercult. this is PRIME Edelgard telling freshly-awokenbyleth she’s been waging war for 5 years. also !!!! “Seasonsdon’t fear the reaper / Nor do the wind, the sun or the rain, we can be likethey are” >>> “The Edge of Dawn (Seasons ofWarfare) (フレスベルグの少女～風花雪月～,lit. Girl of Hresvelg ~Wind, Flower, Snow, Moon~)” .. the link is tenuous but coincidence?? is it, fuck.

Seneca - Novo Amor. this is another one of those songs that could mean something different to everyone. very easy to project onto, is novo amor. I like the story of being prepared to run and break ties at any given moment, but ending up - emotionally or physically - in the same place one always was. apart from the glaring tie of how Edelgard returned to garreg mach, this song is a lot of me trying to repatriate Edelgard’s lack of emotional arc in the game by saying . well. this song. 

You can call me Al -  paul simon. am i projecting edeleth thoughts onto my favourite song? it’s morelikely than you think!!! but also i like the chorus and all the exasperating ‘call me el’jokes i can make.. i may be half writing a fic based on this song.

Dorothea:Agnes - glass animals. so i have significant emotions about edelthea at the best of times !! and this song !!! really bloody hits it home !! yes I knowit’s got a really heavy and real subject matter and I’m not trying to devalueit or minimise it.. but the story - about watching someone close to you hurtthemselves/get hurt, and doing so in ways you can’t stop them from - is adamn real one. And a Lot of why I love Dorothea’s character in the gamebecause she’s the one who can’t stop her friends from getting hurt – through exposureto warfare .. or  stopping Edelgard becomingthe monster at the end of the story. Even though she’s one of the healers onthe beagle’s team. And I feel that.

Ex’s and Oh’s – Elle King. So you know that one spn fanvid featuringthis song about all of dean winchester’s relationships? That, but for my flirting Queen Dorothea Arnault. (and I have the dumbest most fun little headcanon thatonce Dorothea and Sylvain derailed a lgbt+ society meeting whilst Edie wastrying to go over the budget by blasting this song and dancing on the table.The idea makes me laugh)

Hold My Girl – George Ezra. The whole thing about wanting just that onemoment to cherish the people you love for one moment more before you have goout face the world? If that’s not the timeskip’d Dorothea Arnault Aesthetic, Idon’t know what is.

(Call Me Out – sea girls. On a much lighter note, this song is fueling the later half of mydrafts of road trip au. And it’s literally because of that one verse. im gayshut up.)

Hubert:Red Right Hand – nick cave and the bad seeds. Is it on the nose? Is itheavy handed? Oh u fuckin bet but that won’t stop me!!! A) it’s a good song. ItIs. B) I like narrative songs. C) Any ‘red right hand’ symbolism in Anycharacter has me love them immediately and also plonk this song in the middleof any playlist about them. sure, the artic monkeys version might be a bit more on hubert’s brand.. but my mileage varies about it lmao

I had fortress by bear’s den earmarked for Hubie, as I think it’s easilyread about boundaries and a one sided intense relationship & that’s! Hubiebaybee! But I can’t possibly cover unhealthy relationships without shoving thealbum Hospice by The Antlers into every which way of it. It’s by no meansdirectly translatable to Edelgard and hubert’s relationship and it’s arguable ifI should even mention it in the same sentence as a bloody fictional character… that beingsaid, I’ve been having emotions about:Shiva – the antlers. This song specifically reads to me to be a really goodarticulation of my own thoughts about Hubert’s perspective of Edie getting experimentedon. heavy but damn. I like that. I just see a lot of what their teen years togethermust have been like in Shiva.

Time – Pink Floyd. Ok so.. it’s like Hubert in parallel bc I think thissong is a lot about searching for a purpose/reason or a quote unquote bloodyred path in life. And I may have been listening to it when I watched Hubert/DorotheaA support & now it’s just permanently associated with it bc it complementedit so well. And I like it. So . it stays. It’s very much a beagles song to meas well.

Lysithea:The Beautiful Dream – George Ezra. Ok so I read this Edelysithea ficwith this on repeat bc the title reminded me of it, and then I stuck it onrepeat because it worked too well and now.. im crying.. and i like the inflection of Lysithea’s bitterness over the titular lyric. (but also, it remains one of my steadfast edeleth songs.. sorry lys)

Secrets (Cellar Door) – Radical Face. Another Edelgard&/Lysitheasong!! I really like their relationship ok. And given the song itself can beread straight or an allegory for whatever you particularly want, but the storyis just too on the nose for me not to mention it here.(also general advocation of listening to the whole of radical face’s musicbecause I’ve loved it for years now & the work is beautiful.) (also it’swonderful for fe awakening projection. Or ur own.)

Oh Children – nick cave and the bad seeds. there’s a million different interpretations of this song, but to try nail a few onto Lysithea.. there’s the harry potter use of making/finding a light in the depths of tragedy & i love that for Lys. there’s the whole ‘the kids aren’t alright’ theme and it’s various depths. and i like narrative lyrics to plaster my large fictional-character-caused-emotions onto, so make of this one what you will.

Marianne (and Lysithea too if you like)Bad Blood – Radical Face. Ok so. This is one of my favourite songs in bloodyexistence, and it’s so loaded with meaning & it has a metric tonne of it. Icould wax lyrical about how much I love Radical Face’s work. I don’t want myinclusion of this song (specifically this one) to in any way devalue it. Butmusic is ofc incredibly subjective, and so is my reading of a lot of threehouses – in case it’s not bloody obvious by now. There’s a Lot of stories onecould take from Marianne’s character (and none of them are More Valid^tm thanany other), and I do see a very personal story in her – as I do in this song. Hgghhghive just spent 10 minutes trying to find an impersonal way to talk about twovery personal and relative stories, which naturally doesn’t work. That, and theway I read her story is Real Fucking Dicey for tumblr.com. so if this song is about accepting rejection because of parts of yourself so deep they’re in your blood, i think.. y’all can see.. where my neurodivergent gay self is going with this..

Byleth:Something to Believe In – Tom Walker. Yeah. You’re bloody welcome. If this isn’ta completely on the nose Byleth song, I’ll eat Dorothea’s hat.

Don’t Let the Man – Fatboy Slim. ~ And the sign said green-hairedpartially possessed emotionally void mercenaries need not apply for aprofessorship at the country’s most prestigious academic centre… ~

Emigrate - Novo Amor. this just fucking Got Me in the ‘actively choosing crimson flower’ feelings. im an emotional wreak but its aight. the lyrics just matched up too well for me to let it go !!!

Alps - Novo Amor. this hit me in the ‘i miss the gremlin child sothis’ feelings one day and now it’s permanently stuck that way.

Make Them Gold – chvrches. (this is very much associated with awakening’sfuture past kids and also the Carmilla series in my mind But!!) I love a story about‘if we’re all falling, we’re going down together’ and the magical power of teamwork, and how it brings out the best in people.. & that’s what this song& Byleth kinda bloody stand for ya know??

woooh.. oh my god . i need another cup of tea.

#ask #birb says what // #fe meta #that tag's just for kicks and so i can find this again #oh my god i just don't shut up sometimes #but oh my god that was fun #easiest way to get me into a mouse trap or something is to tell me to make a character playlist i s2g #anyway. thank you for the ask!!! #apologies for the brick wall of text!!! #hope someone out there found at least one part of this they liked that'd be rad #but like. i do this shit for ME lmao #kalinary

[quileutlove]

Faerie

So, this mini series is Inspired on a writting prompt: “Magic is the norm. Some excel at it, some are only okay, and others are against it completely, despite being able to use it. Your main character is the latter.”

My name is Anna, the first born of Jason and Agatha Bishop. You may have heard my family name before, more specifically the name Bridget Bishop, my great great-grandmother. And if by any chance you still can’t connect the dots I will give you three words… “Salem witch trial”. And this is my story…

Monday

- Anna stop- My mother said- You need to come.

So the thing my mother needs me to go is the Bonfire  that is held near La Push beach, for some reason she needs to get on the chief’s good side, just in case he finds out that we are witches. To me that’s just so not necessary. Why you may ask, the answer is simple, because I’m against IT. Our power have caused too much pain and suffer, not only to others but to my own family as well. Bridget Bishop? Hanged in Salem in the witches Trial. Mary Bishop? Don’t get me started on her poor life… So you see, I have every right to be against it. But, unfortunately, I was the first born which means that from all my brothers I have the strongest power, oh the irony. I mean, I can’t say that I don’t agree with my mother’s approach to the subject, I may not use it but we are a coven of 7 and all of them use their magic, so stay hidden may be a little harder then I make it to be. The only good side in all of this is that the bonfire is only on Friday, so I still have time to convince her that I don’t need to go.

I’m not, at all, a morning person, so saying that I have a bad mood during the first classes would be a understanding, specially because the first one is with the “La Push Gang”, the not so awesome name given to the boys, and the girl, that belong to Sam’s little cult. This people are so clueless, I mean they fear a bunch of boys that run around half naked but, hey “lets be friends with the girl that is NOT AT ALL a witch”, pathetic…

I started heading to class ignoring all the turmoil that happened every morning, and also ignoring the stares from the gang, you see there is more than one reason that I don't wanna go to the bonfire and the reason has a name… Leah. After the whole Sam fiasco me and Leah got REALLY close, we talk every minute of every day, we would go out every time she could, those sort of things, and then Bella happened. I swear up to this day I still don't understand, Leah hated that girl with every bone of her body but still she ignored me for her, she would spend all of her time with the girl because “she was fragile and in need of help”, her words not mine. It didn't take a witch to understand what was happening to us, so i shielded my heart and backed away from her, although she didn’t liked that move that much, or anyone from the group for that matter. But it’s my life, and my heart, we are talking about I don’t give up to peer pressure.

- Good morning Anna- Seth says while siting in the chair right by my side.

- Hello Seth- I don’t tend to talk to no one that much, especially Seth.

- Are you okay?- He asked looking straight at me, like he was trying to see trough my soul, searching for signs of something.

- Yes Seth, I’m fine.- This boy is seriously starting to get on my nerves.

- So how was the weekend?- He asked with that usual happiness that made me wanna puke.

- Fine, just like every other weekend you asked me about.- Bad mood? Check.

- Leah has been trying to talk to you, have you changed your number or something?

- Nop.- I said popping the ‘p’- I just don’t wanna talk to her.

-Oh Anna, don’t be like that. She really misses you.

- And I really don’t care.- I was so sick of this talk that I up and left.

I walked straight into the woods, people here talk about giant wolves and some dangerous activities happening in them but we have a say for that: “A witch ought never to be frightened in the darkest forest… Because she should be sure in her soul that the most terrifying thing in the forest was her”, and I sure as hell I’m not afraid of some animals. Walking trough the trees, the mud and all the nature made me feel at peace, that was my element. I could feel the wind whispering in my ears, the sun heating my face, the hearth smiling at me, I could get lost in all the sensations for hours and still would never be enough for me.

- Anna what are you doing.- Leah came screaming out of nowhere.- It’s not safe in here!

- That is none of your business Leah. I can live my life the way I want.- I huffed before turning to face her, but got the scare of my life. She looked sick, REALLY sick. Like she haven’t slept for days in a row, her clothes were all muddy and her hair was a mess, I got taken back by that.

- Anna everything you do is my concern.- She sounded defeated.

- No, is not. You made that choice!- I was struggling so bad not to cry that I was mentally begging my ancestors for strength.

- I didn’t choose anything! She needed help, are you really that selfish that you couldn’t see that!?- Oh she is mad, she is really mad.

- ME?! SELFISH!?!? Leah you totally forgot I even existed, so why so much anger just because I choose to do the same?- I guess people really don’t like when you do to them what they do to you, well… Her problem.

- I did not forgot about you! Dammit Anna, you were all I could think about- And now the lies start. Momma once said this could be easily solved by a spell, too bad I’m against it.

- Right, now I’m the one who is wrong.- I shook my head, I was so tiered of this situation-. My fault, your fault, what does it matter?? I’m not changing my decision Leah, so, just stop ok!?

I walked out of there with a pull on my heart telling me to go back, the same pull I got every time I was near her. I wanted to know what the pull was but at the same time I was scared of the answer.

I got home after the witches time which means I didn’t get the chance to talk with my mother, one day down, 4 more to go…

#quileute #twilight #leah clearwater #magic #fanfic #crepusculo #wolves

[seenashwrite]

(see HERE for part one of answer)

Ah, mass appeal, that oft elusive lil' stinker. How to get it is one of those age-old questions for us creator-types. We want it, for personal reasons, for perhaps monetary reasons, and determining what constitutes it and how to tap into it and even if we should try to tap into it are all pickles.

No, not that type, those are fabulous. I mean sticky situations. The non-tempuraish bliss with delusion of "Hey, I'm doing great on my diet, 'cause it's a vegetable!" kind.

Spoiler Alert: I'm not going to tell you not to compare yourself to other people, of course you are, and in many ways this is a good thing, it's called having an ideal to which to aspire, except it shouldn't be rooted in popularity, the admiration should be for their work. . . . Thanks for your question!

I'm kidding, Dean, and you damn well know it. Bite me. And fetch me a whiskey. And some Death pickles. I got talkin’ to do.

Part Two: Water Chumming & How That Shark May Bite Your Ass, So Here’s A Bunch Of Other Stuff That Can Be Done From The Safety Of The Shore

C/P for convenience:

Is it worth trying to please the masses when we can't please ourselves? Am I poking the bear?

Let us recap from Part One:

We talked about how to get from a feeling of ineptitude to - at first - just mild trepidation when it comes time to hit "publish",  and started delving into "but how to get there?" so that the path can lead on to an actual measure of confidence, which brings us to the second part of your question up there - which is, I find, a completely normal thought, stemming from exasperation, when it feels like you're surrounded by a ton of people who are having ungodly amounts of success, and it seems like the biggest mystery in the world. So it's natural to wonder: should I follow their lead? Try to do what they're doing?

Maybe - let's unpack that, dig into what that would entail, the pros-and-cons, what some alternatives may be.

Near the end of Pt. 1, we talked about not understanding why some stories/writers gain traction, while others don't, specifically regarding the quality of their stories. As facetious and jokey and snotty and funny as I made that "rant", and said how you could always use the SSDTs [Same Shit, Different Title] stories as a "How Not To Do It" guide, I also mentioned how they must be doing something right - and they are, the metrics we've got (hearts, notes, feedback, asks r/t stories, followers, reblogs) bear it out. It's right there. There's nothing to interpret. It's there. It's fact.

Not to mention, as much as I've tried to drill down on objective parameters for my rec list, to try and smoosh down subjectivity, both on my part and on the part of people who rec to me, there's still a pretty substantial margin of subjectivity. There just is - a story could be ridiculous in plot, could be littered with reprehensible grammar, could poorly represent Sam/Dean/etc., could have a shallow Y/N. Yet if something within the story, no matter how oblique, speaks to the heart of a reader? In the immortal words of Private Hudson:

Game. Over. They’re in. Case closed.

I also mentioned that little number in the corner, that overall snapshot of how much action a given story/that writer accumulated and pondered - does it indicate how great the story is? Also known as: Does that mean their story/their writing is better than mine?

Well. No. Not necessarily. I suspect that - and this would take a huge data mining mission on every single one of a given writer's high count stories to know - in part, some of the number represents a manifestation of a cult following. I'll save you the trouble of clicking the link:

"A cult following is a group of fans who are highly dedicated to a work of culture. A film, book, musical artist, television series or video game, among other things, will be said to have a cult following when it has a small but very passionate fanbase. A common component of cult followings is the emotional attachment the fans have to the object of the cult following, often identifying themselves and other fans as members of a community. Cult followings are also commonly associated with niche markets."

I've no idea why "musical artist" was the only human example they threw in there, because in my experience/observation over **cough** decades of life on the planet, I see cult followings for humans  more than stuff, and public figures of other areas beyond music (actors, politics, etc.) just as much. There are men-I MEAN-people who will never be socially ostracized no matter how inappropriately they behave, no matter the amount of evidence, doesn't matter - their following will absolutely make preserving the (fake) image that person cultivated their hill to die on.

But we're getting negative, and where I'm going with "cult status" in our context isn't negative. The "cult" mentality aspect to which I refer is about loyalty of followers (specifically reader-followers) in general, and then further, the loyalty of that subset of reader-followers who were early readers. They adored "x" number of that writer's stories in the past, and even if the quality of newer stories has declined, they are still gonna hit that heart and reblog it and say it was great. Do they actually believe it? Some of them, to be sure. Do some of them have on cult following rose-colored glasses? Friggin' of course.

Like I said above the cut - I'm not going to tell you not to compare yourself to other people, of course you are, and in many ways this is a good thing, it's called having an ideal to which to aspire, except it shouldn't be rooted in popularity, the admiration should be for their work. But there's admiration owed to these writers for maintaining their follower base, regardless of whether those follower-readers aren't in the admiring-for-the-work mode. So while you can't admire them for their stories, because you think they blow, there is an ideal, a definite modelling to consider: what are some of these writers who are getting huge numbers doing to maintain what popularity they've accrued?

Let's pause here for a recap of what we know for sure:

1. You won't know if telling stories is legit in your wheelhouse or not until you start getting some feedback from readers, which is going to help get you out of Ineptitudeville;

2. Ideally, this would begin with an honest, straightforward editor who knows how to give constructive critique --> in the meantime, use The Nail's guiding standards to serve as an at-home editor til you feel ready to find such an editor;

3. You can't get feedback for your supplemental self-editing documents of "nailed it" and "Achilles' heels" unless you put yourself out there (which, hopefully chipping away at #1 will get you over the ineptitude hump and into a healthy trepidation territory so you can do);

4. There's potential modelling to be done by observing what the "popular" writers are doing outside of their stories to accrue/maintain followers, and trying to see what their loyal reader-followers see in stories you don't find very good.

Again - assuming you've gotten comfy enough to just feel a normal nervousness vs. ineptitude, it's on to getting an audience. So, what could it be? That these mega-number generators are doing? I think it's two things:

(A) They have broad exposure that brings others into the fold (B) There's more at work than just stories

But Nash, are you not paying attention? I don't have exposure, they've got a bazillionty followers - you may say.

Then let's get you some exposure that has nothing to do with follower counts, nothing *inherently* due to the potentially not-so-robust nature of your stories at present, things that just might get you more followers, hopefully turning a chunk of them into reader-followers somewhere along the way.

.

(A) Exposure that doesn't require "popularity":

1. SPN Fanfic Pond ---> 24/7/365 - join it and submit your stories - never know who'll see it - guaranteed reblog

2. SPN Hiatus Creations ---> specific dates - I don't think many people know that they include fics, since they mostly get submissions of art - weekly topics to choose from - join in, submit your stories - the folks behind it most always put a little comment in their tags, so be on lookout for your feedback doc - guaranteed reblog

3. SPN Family Birthdays ---> 24/7/365 - their kindness gets your name "out there" to more people, both the mods behind-the-scenes, as well as that blog's followers - guaranteed exposure - *mandatory* to reblog this with a thank you and at least one point of feedback about it to whomever created that birthday wish for you

4. Bingos:  SPN Genre Bingo - SPN Fluff Bingo - SPN Kink Bingo - SPN Angst Bingo ---> specific dates - variety of topics - guaranteed reblog - good/decent potential reblog from others via their followers and those who follow the tags

5. Challenges from individuals ---> sporadic dates - variety of topics - follow people who you see hosting them, if they've hosted one they'll likely host more - hosts will typically reblog each fic (good chance with a touch of feedback), and/or put your "@" and link to your fic onto a master post - more popular the blog/higher follower count, the more exposure, so high reblog/new reader potential

6. Seasonal Celebrations ---> specific dates - Secret Valentines, secret Santas, etc. - do it and you're also probably making a friend, maybe gaining a new follower, maybe their followers will come visit your place because your assigned person reblogs what you did for them - moderate-to-high potential for reblog *

(*Should be a guarantee but some people are dicks; my Valentine didn't ever send me shit this year, not even an apology through the organizer, but you know what? I don't care. Legit. I made a friend through it, and really enjoyed making what I did for them.)

7. “Bangs”  ---> sporadic dates - a.k.a. Mini-bangs / Big-bangs - focused on a topic/character - guaranteed reblog

8. Appreciation Days ---> specific dates - Angst, Smut, Fluff appreciation days - you can even submit already written fics/don't necessarily have to whip out something new - specific tags can draw readers - good/decent potential for reblogs

9. Prompts ---> 24/7/365 - imagines, those generic prompt blogs - follow some, keep an eye out for the interesting ones - challenge yourself to crank out one a week, short little 500-ish word blurbs - reblogs, maybe, who cares, this is serving to get you out of the funk and get used to posting your work; it's practice, and if it gets love, then great, if not, you still got stuff to put on a master post - and make a master post and get it in your profile so it's easily find-a-ble

10. Outside of Tumblr * ---> 24/7/365 - Fanfic.net and AO3 - join and put fic there and put your links somewhere on your blog - both have stats - both give opportunity for people to comment and to share direct links to their blogs, which is how this connects to the goal of visibility in the SPN fandom here - also a way to self-reblog your story in a “fresh” way/cuts down on repetition popping up on your followers’ dashes (i.e. - helps cushion the ol’ “Oh they’re posting this again?!” feeling)

[* Note: many of us have great distaste for Wattpad because it is a breeding ground for thieves - people will c/p stories from here and present them as their own, some trying to excuse it by “giving credit” in a blanket manner a la “found at Tumblr” or listing the “@” of the writer. The problem is, Wattpad’s method of reporting leaves much to be desired - like Instagram, they only seem to be interested if a published author takes issue. The only real way to call out these thieves is via an immense amount of pressure from the SPN Family commenting directly at their Wattpad page. My point? Your choice, but if you do join up and post there, proceed with caution.]

.

(B) The stuff that's more than just writing:

1. Reblog interesting things that show who you are - fan art is a great start - shows your tastes and what you like - when feeling confident, host a challenge, as what you choose for the framework (one of mine, for instance, was using lines of dialogue from Archer) will also reflect what you like, what you're into - tag people you're friendly with and say something like "Even if you're not interesting in joining, signal boost, please??? [cute emoticon]"

2. Narrow down focus - if you're multi-fandom, drill down on your favorite - start by building up a solid following in that one fandom - keep a ratio of about 80% primary fandom, 20% to cover the others/personal/non-fandom stuff - use a "Not [fandom]" tag for that 20% so your followers can choose to opt-out - or if you can't manage this, do a side blog or two

3. Set your queue to pop stuff out (at minimum) 2 or 3 times/day - stuff it - start with CanonSPNgifs - keep your blog active - unless something you want to reblog is time-sensitive, chuck it to the queue - a wall of posts from the same person on the dash is off-putting - same for constant reblogs of your own stuff*

(* Which you should do, yes, but have an understanding of time zones, will ya? I swear some people are re-blogging for myriad time zones in Oz and Narnia, as well, I've no idea... I've digressed)

4. Send Asks to people like the "spread the love" stuff - if they post "Ask Me" things, send them one - reblog the answered ask and say what you think about their answer/at minimum say "thanks, this was great" - reblog those ask games posts for your followers so they ask you questions - get engaged

5. Respond to a good portion of the comments people leave for you, whether feedback or just funny things they said - specifically, feedback with reblog deserves reply of thank you, whether in the notes or a fresh post; see my blog for copious examples - make a post that says your tags are open/offer to tag folks - anytime your follower count jumps by, say, 5, reblog it - make an OMG!-type post every time your follower count increases by, say, 10 - you’re telling them you actually give a shit that they follow

6. Keep an eye out for folks (especially those who make rec lists, so always check out rec lists for who did it when you spot them) who have said it's okay to tag them - always tag them, even if they seldom reply/reblog/feature you on their list, as you never know

7. When you read stories by other writers that you love, reblog them *with some feedback* - do unto others, etc., etc. This is in huge headline size for a reason. Take the hint.

ETA - I chimed in and gave some tips since I composed this post, and it may be helpful for you/for people who are shy or intimidated or just not particularly comfortable verbalizing feelings.

...and here’s what I suggested:

If you want to get specific, say what your favorite thing/things is/are; in my mind that could go something like this:

I felt like I was right there with them in the ____ [setting]

I felt like I was right there during ____ [part of the plot]

I felt like I was watching an episode of the show

I could relate so much to ____ [character]

My favorite line(s) was/were ____

___ [character(s)] sounded just like they do on the show

___ [character(s)] acted just like they do on the show

And there’s also more generic things, such as:

This story really touched me, I needed something heartwarming!

This story cracked me up, I needed a good laugh!

This story made me smile, I needed some cheering up!

This story got me crying, I needed a good cry!

This story was really creative, I needed a change of pace!

And if you want to keep it really simple? This can apply to any story:

I enjoyed this more than I can say, thank you so much for writing it

.

Is full-on blind cult following an "ehhhh" thing? Yeah. But the basis of it, the true, legit loyalty part of it, is wonderful. You want that. The more readers know you, the more they'll feel comfortable interacting with you, and the greater their comfort, the more likely they'll give you feedback and, eventually, some constructive critique* 

(*You gotta make it clear you're fine with critique, though, and don't dare say it if you're just gonna pitch a fit when you get some, however poorly phrased the critique may be; but that's another topic, for another day).

Great, Nash, you still haven't answered my question about pleasing the masses - you may say. 

The answer is: that's a call you gotta make for yourself. To hopefully help, I'll tell you two stories about chumming the waters with (what seems to be) the standard wares that get a ton of followers/reader-followers.

Interestingly, I *just* this past week or so had a great discussion with someone (who I won't reveal, of course, because it was PM) on this very topic. You'd recognize their name, if not follow them/have read their stuff, they've got a healthy fanbase, etc., etc., etc. all that jazz. It would surprise you, is my point, to know that they've been pondering on their writing - specifically, the genre in which they feel entrenched. They accrued their popularity (I hate that word, but can't think of a better one) in a certain, ah, niche. You know the holy trifecta: angst, fluff, smut. One of those.

(I am not going to go down the road of how much I loathe the limitations of those, I know myself, this will turn trash fire and neglect you. But they are the cards we've been dealt, there's nothing to be done to change it, we must play our hands. #flames on the side of my face #haaaate #I'm done)

Anyway, they've sat here "x" year/years later and looked back at their pre-SPN fanfic foray (read: how they used to write/what they used to write), and are like - Where'd my voice go? Where'd my style go? Can I get it back? Sure I can get it back, but if I start being "me", what will my reader base do with that? Will they stick around and support me? Will they bail? etc., etc., etc. You get the idea. Reasonable thoughts, all.

I tell you this next bit because while what is going on with above writer is on the side of Got A Wide Reach, like I said in Pt. 1, I am presently on the other side, the Modest-in-Number, Large-in-Loyalty reader collective. And I *have* chummed the waters, though not entirely purposefully. And it didn't work... well, hasn't, I can't predict the future, could blow up tomorrow, but not likely. I suspect I know why. We'll get to that.

I say not entirely purposefully because I stumbled into Fluff and Smut, one of each. (There is a second fluff, but that doesn't count because it was tailored to a very specific person who gave very specific things to include for a Valentine swap thing.) The fluff was via a thing I did, and my dear friend nailed it, gave me three cringy words that were meant to hit the fluff bullseye, and I doubled down. You can see that here, should you care.

People fucking lost their shit. I repackaged it into its own post in case folks didn't like the snark in the one linked above/would rather reblog sans snark. People lost their shit, part deux. Flattering as hell. I appreciated it immensely, truly.

On the smut*, I lost a bet (I can't even recall what it was, maybe I mentioned it somewhere) with the friend that drew me into SPN because they were (are? yeah, still are) frustrated with the show and I needed a writing exercise and I had (at the start time) eleven years of source material, so hells yeah I said yes. The bet was for smut, and I said - Fine, but I can't not plot.  Great, was the answer, but I had to typical it up, this was a punishment, after all. And typical, for me, means so much detail that it made brain cry. Copious detail works my nerves. Copious pondering works my nerves. Any one thing that’s too much will Work. My. Nerves. And I wrote it (it's five parts now, but part one and two was the orig piece and ended open), and said to friend "This won't get shit response" - "You wanna bet?" - me, the idiot: "Yup" - "If it does, you have to finish it out".

(*no link because I don’t know your age, and it’s set to sensitive)

People fucking lost their shit. On FF.net and AO3, that is. Not the numbers some people get, but holy hell. Hence, parts 3 through 5. Far as here, not so much the hit. But the people here who've liked it have REALLY liked it, so there's that, and it's flattering as hell, and I appreciate it immensely, truly.

And yet at the end of the day, hey guess what, say it with me now:

Now, for all my pseudo-fussing, I was cool with doing it, because at heart I'm wired to think about marketing, and I thought - Oooooh. This will bring people to the goods, the stuff I'm *really* proud of, and then and then and then....

Nope. Some yes, mostly nope. Most of my loyal roundtable were brought into the Nashooligan fold by other stories.

Here's why I think writer above got on the other side of the coin and I'm riding the edge - they went down the rabbit hole on a few, got mega results, and it fills the confidence tank, and why not wash-rinse-repeat? Humans are wired that way, we don't do things that we don't get something out of, it's normal. Thing is, they - as they see it - got lost a bit along the way. It worked, though, that squashing of their voice - "worked" in the sense that it drew the masses. Some people would be completely okay with this, would find it a reasonable trade-off; this writer isn't presently thinking so.

And back to me - I think the reason my smut and fluff didn't hit the stratosphere and draw in the masses (ergo, little motivation to do more) is because my style is still in there. The snark, the focus on accurate characterization, and like I say, I can't not plot. I didn't pullout the recipe, same ol' ingredients, mix up some standard shmoop/standard porn, flop it in the cupcake paper, bake it, then smear a thin layer of canned frosting - flavor: "Meh Plot" - around it. I made that junk from scratch, like I do all my other stories, and while I did use some of the same ingredients, I didn't go all-in. Notably, my evergreen stance that Y/N can die in a fire, ceiling optional, I ain't doing it. 

I am not going to insist you read either of them, I'm just gonna ask you to trust me on this: I read quite a bit, and I've yet to see the ingredients of Reader Mommy Married To Dean Have A Baby Sam Has Dogs scenario mixed together like mine, and I've yet to see a Reader Insert Smut With Dean Smut With Sam Inferred Happy Ever After With Dean mixed together like mine. 

Which, like I say, is what I suspect is probs the issue. I didn't get as far down the proverbial hole as my writer friend in terms of Typical'ing Up my stories. Could I un-ring that bell? Better put: could I start ringing bells? And I mean weekly, if not twice a week, quickie ones, throw in a lengthy once a month? Crank out the recipes? Plenty of templates to work from, after all. It would be hard for me in the sense of voice-squashing, but could be done.

So if I had to give you a vote on whether chumming the waters is a strategy to take, given those potential pros-and-cons, here's why I vote "no", both for myself, and for you, and others contemplating such.

It's partly that cautionary tale of my writer friend (and there's gotta be more feeling like her, there's just got to be), and mostly it's because of three writers I can think of off the top of my head. They're all quite talented, they consistently turn out solid, creative pieces that can be differentiated from the rest of the fodder floating around, and all three have substantial reader and/or follower bases. One has less than the other two, but nothing to sneeze at. The second - another person I've had great PMs with on the topic of wide appeal - attributes part of their success numbers-wise to specializing not in a niche genre, but due to specialty in a subset of the fandom (a specific, very popular 'ship).

The third, who has a *massive* reader and follower base, I can't get my head wrapped around, and I don't mean that in the sense of not understanding why people adore them, they deserve every bit of it. We'd have to dig deep into years of works and chart out the numbers (likes and reblogs and comments and followers - again, the only metrics we got) to see if there's a tipping point, but there's no magic bullet, so likely there'd be nothing in that data - or data from any highly successful writer around here - that's gonna reveal some secret. And this is the only writer I can think of that I'd really love to know a tipping point on, because: reason I can't get my head around it is because they don't do typical, ain't even in the ballpark of typical. Now, they do inject smut into much of their work, but plenty of other times it's just inferred. Consistently cheeky, if not snarky, if not balls-out-gut-bust funny. Consistently original, creative plots, even when it starts out purposefully trope-y, there's gonna be a slant on their take. I may not personally like everything they put out, I'm not saying they're perfect, but if we're trying to keep it objective vs. subjective, applied to The Nail framework? They're nailing it easily 80-90% of the time. I've actually got a soft moratorium on them, between stuff I find and noms I get on their stuff, I only include them sporadically on the list or else they'd be everywhere.

That gives me hope. Not-a-one of those three are cranking out stuff religiously on some frequent schedule, they write when the muse hits. Not-a-one of those three are following recipes. Not-a-one of those three are blanketing their voice.

And this goes back to the very first thing you said, about pleasing others when we can't please ourselves. Part of the reason you're not pleased is because on whatever level, your stuff isn't grabbing an audience, however big or small. I know it, because I've been there, as I've told you. The biggest part, though? It's because you know you can do better. Maybe you're cranking it out too fast. Maybe you're not fleshing out a character enough. Maybe you wished you'd taken another run at the plot before you published. I don't know, truly. But you're not digging the end result somehow. When you get there? To legit confidence? You're not going to care as much about pleasing others, you just won't. And that confidence is going to show in how you interact with others, little notes you make on gif sets when you reblog, things you say when you feedback others, all that stuff I said above.

People are attracted to confidence. It may intimidate them at first, they may linger on the periphery, but then once they see it's not arrogance or something, they'll be bees circling closer to the honey, because it... it... how to put... it rubs off. A kind've What Would "x" Do kind've thing. And most people will always welcome having more confidence, I mean, the real genuine confidence. We choose who are friends are - to be cheesy - not just because of who they are, but because of who we are when we’re with them. I think the younger we are, we get the wires crossed of "nastiness" and "straightforward". It's the difference between those folks, for instance, who snap and go all "You cum dumpster!" on Anons who word things poorly (I don't mean the ones who are vitriolic, I mean the ones who use less-than-elegant phrasing), vs. the folks who plainly reply something to the effect of "That's certainly something to consider. Thank you for your input". That they can’t discern the difference between a person dishing out hate - actual hate - and a misstep in phrasing speaks a lot to their confidence, that they’re taking a complete stranger’s words as such a personal affront.

I say all that to say: it's not about just the stories; the stories are a piece of a bigger puzzle. Personally, when I see folks being nasty in that manner? My knee-jerk thought is - They are so quick to lash out and write that stuff, and are so careless with their words, I bet their story-writing follows suit. And guess what? I have been 99.9% correct thus far. There's no OOMPHs in their stories: there's no brain-chewy, no heart-grabbing, no snort-giggles, no soul-touching. It's as typical as that comeback. It's lazy. It's easy. It's eye-rolling. It's expected.

Put another way: their lack of confidence in general is what is infesting other areas, in this instance, their stories. I wonder if - since you said “anything I’ve ever created” - that even if it was a slip-of-the-tongue, it may’ve been a meaningful one. If it’s the case, that there are other areas of life where you feel less-than-ideally-confident (a.k.a. - inept), I think you’re smart to start in this area, with fanfic, because as illustrated there’s lots you can do that’s in your control, that’s not dependent completely on others, and probably have some fun along the way, getting to know folks, getting encouragement, seeing your stuff get circulated, etc.

Do you keep a tiny notepad on you? Do that. Grab one from a dollar bin at Target or get you a Moleskine if you're feeling fancy, doesn't matter, but keep it on you, purse, backpack, jacket, wherever. I don't want you doing what I'm about to say on the notes in your phone, not yet. I want you to physically jot down by hand a word or two or five or whatever, about things you see/encounter, turns-of-phrase you hear, mannerisms you note in others - all that stuff - things that do please you. Those OOMPHs. And now you have some inspirational story points ready to go. Even if you aren’t able/feeling up to doing that other stuff above? This is an easy, small place to start.

Bottom line: this isn't happenstance. 

It's not happenstance for the subpar writers, and it's not happenstance for the exceptional ones. This is work. Getting confidence is work. Style is a great deal inherent, true, but it can - and should be - honed, and will likely evolve in subtle ways as time goes on. Confidence and proficiency in a skill (like writing) are not automatic "things" that come with age, not even necessarily with experience. Dig in. Take some of the actions listed above. Start with the least stressful to you, then pick away at 'em as you get comfortable. If you're already doing some of those? Then, start again fresh mentally, as if you just today started doing them. Bump up your effort. Push yourself. See what happens. Get confident in the little things, and it will start to add up, overflow into the empty places.

Look at the pickle you’re in presently as an opportunity to alter your current methodology - I mean, we know whatever you’ve been doing isn’t working for you, right? So it can’t hurt. Batter it and deep fry it, tweaking the recipe as needed; it’s still you, but you’ve applied a well-thought-out, well-crafted extra tastiness to it. There’s people out there who will love it, and they’ll turn up.

See? 😉

#Dear Nash #NONNERS #Not Tyler Durden #I swear #Writing Tips #Writing Advice #Queueby Dooby Doo #Dad's on a blog post and #he hasn't been queued in a few days

[dweemeister]

Stalker (1979, Soviet Union)

Before one makes assumptions about this film’s title, the word “stalker” here refers to both the modern definition of the word and as a nickname (from Rudyard Kipling’s Stalky & Co.) for a character who smuggles people to a specific place. Andrei Tarkovsky’s ponderous, glacially-paced Stalker is among the greatest science-fiction movies – delving into questions of existentialism, rational choice, the danger of subconscious desire, faith, and the limits of human understanding. For Stalker, Tarkovsky has fully embraced minimalism – the film has 142 shots in its 163-minute runtime (the longest shots are uncut for over four minutes; the first spoken line appears after nine-and-a-half minutes) – making this movie inaccessible for those without grounding in or preparation for “slow cinema”. Tarkovsky’s final film produced solely in the Soviet Union is a deeply introspective work, bewildering in the best way, always astonishing.

In an unnamed country, the “Stalker” (Alexander Kaidanovsky) sneaks people into a place known as the Zone. The Zone, bereft of human residents, is heavily guarded along its outer perimeter, but the police and military dare not enter it. One day, the Stalker – shown to be living in poverty with children, and urged by his wife (Alisa Freindlich) not to leave – has agreed to guide the “Writer” (Antoly Solonitsyn) and the “Professor” (Nikolai Grinko) to the Zone.

The laws of physics and time do not apply in the Zone. And it is rumored that, somewhere in the Zone, there is a “Room” that grants the innermost wishes of anyone who steps foot inside. The reasons for a guide are many: the straightest path will result in certain death, any routes that once led to the Room become impassable because geography can change in a matter of minutes, and the Zone’s innumerable traps (mental and physical) can only be sensed and never seen. Depending on the viewer’s interpretation, the Zone and/or the Room may be sentient. The Stalker demands that the Writer and Professor obey his orders. During their journey, they talk about their motivations for finding the Room. The Writer has lost his artistic inspiration, the Professor reveals a nebulous desire for scientific analysis, and the Stalker – who says he does not wish to use the Room – does not reveal his intentions for guiding others through the Zone until the final minutes.

There are no villains or monsters, spectacular special effects, or anything that one might expect from a science-fiction film. This is Tarkovsky’s second science-fiction work after Solaris (1972) – a space story that analyzed the essence of love when it collides with questions of experienced reality (Solaris is a rejection of what Tarkovsky believed to be Western sci-fi’s coldness, as embodied in 2001: A Space Odyssey) – but Stalker is almost nothing like that earlier film. This film is only considered science-fiction because of the physical impossibilities of the Zone, not because of any space travel or futuristic technologies. In a development I had never considered for a science-fiction film, almost none of the questions that Stalker poses to the audience have anything to do with science or technology. While recognizing that the greatest science-fiction works examine the nature of humanity, all the science-fiction media I had consumed prior to seeing Stalker contained elements of how humanity intersects with science and technology. This relationship is almost, if not non-existent in Stalker, appearing only at the conclusion. Stalker is entirely interested in the hearts and minds of the three leads – what they are subjected to while traversing the Zone, however disturbing, does not influence the people they are and the final decisions they will make. The Room is only a projection of their humanity; it does not shape who they are. This is reinforced by the Stalker’s true introductory words upon entering the Zone:

Our moods, our thoughts, our emotions, our feelings can bring about change here. And we are in no condition to comprehend them... everything that happens here depends on us, not on the Zone.

Loosely adapted from Arkadi and Boris Strugatsky’s intricate novel Roadside Picnic (Arkadi and Boris were brothers and co-wrote the adapted screenplay), Tarkovsky simplified what he could for the big screen. This meant compositing multiple characters into the three primary characters for the film and trimming down several years of excursions into the Zone down to a single sojourn. Interference from the Soviet censors and the accidental destruction of the original negatives at the film processing laboratory necessitated the introduction of intertitles announcing a first and second part. Episodes of state interference frustrated Tarkovsky as well (the censors did not request as many changes in Stalker compared to previous Tarkovsky films, but they could not tolerate narrative ambiguity of any sort, even if they could not find any specific anti-communist themes), who was forced to shoot almost the entire film three separate times, and led to him looking towards the West for work. It is the third and last effort that is available to audiences today.

With all these compromises and production nightmares, Tarkovsky was given multiple opportunities to make the best possible film he could. Production difficulties also meant Alexander Knyazhinsky became principal cinematographer over Leonid Kalashnikov (1969′s The Red Tent), who himself replaced another cinematographer before that. One of Knyazhinsky’s decisions mirrors The Wizard of Oz (1939) – the opening scenes are shot in sepia and all scenes in the Zone are shot in color. In entering the Zone, Knyazhinsky and Tarkovsky allow for an extended tracking shot that allows a glimpse into the uncertainty of the three men journeying to the Room:

This tracking shot sets the pace and tone for the remainder of the film (notice how the clacks of the wheels become indistinguishable from Tarkovsky regular Eduard Artemyev’s film score – the Azerbaijani tar is feature heavily, and the above instance will not be the last time rhythmic sound effects become inseparable from the music). Shot in Estonia, Stalker utilizes a lush, but lifeless landscape littered with human reminders of what life was like before the Zone was created. Wind is everywhere, even if the sound mix does not pick up on it. The grasses sway, the tree leaves rustle, and a low-lying fog brushes across the flora. Also omnipresent is water – whether on the grasses due to recent rains, flooded buildings, walkways turned into creeks, or deafening waterfalls. The second half’s interior scenes were shot at deserted hydro power plants already filled with fetid liquid and marked by years of abandonment (conditions were so poor that sound designer Vladimir Sharun believes chemical poisoning from these locations hastened the deaths of three crew members, including Tarkovsky). Almost suggestive of a post-apocalyptic world with industrial and military scrap strewn across the Zone, the effect is a serene suspense. The suspense, beginning with the above tracking shot, is cumulative. With death or separation possible at any turn, a slow walk to check for traps and a trip through a waterlogged pipe inspire interminable dread.

Amid this dread, what begins as a partnership defined by obeying the Stalker’s orders transforms into a series of bursts of overwhelming philosophy, ad hominem, poetry recitations from the mouth and mind (the poems used are by Fyodor Tyutchev and Tarkovsky’s father, Arseny), and rare instances of humor. The Stalker speaks of the Zone as a holy, perhaps partially sentient place not to be mistreated. The way he describes his work is not only to serve as a guide, but to offer a sort of deliverance (for himself? Those who hire him? The Zone?). Among these three, their initial intentions are not as they first appear. Cynicism and dismissive attitudes towards the Zone and the Room belie personal weakness and tragic character flaws. A front of altruism is stripped away, revealing exhausting fear, material desperation, spiritual emptiness. Just as important as what the Stalker, Writer, and Professor say to each other is what they do not say to each other – in Stalker, silent shots of the character’s faces say just as much as the philosophical soliloquies. This is outstanding acting from Kaidanovsky, Solonitsyn, and Grinko. 

The film’s primary themes revolve around the subconscious and one’s deepest desires. Those desires are usually never the ones we speak about when questioned by others. Instead, they are the ones that reveal our most sinister, selfish urges – stripped of social constructs, morals, restraint, and the judgment rendered by even those closest to us. Or perhaps excursions through the Zone (failed and otherwise) and entrances into the Room grant something far more minatory: latent revelations and wishes which may never be understood.

Perhaps it is that pure expression and dogged pursuit of individualism which scared the Soviet Union. Indeed, Soviet science-fiction literature has a history of critiquing authoritarianism, communist and capitalist systems, and cults of personality. The self-understanding achieved in Stalker is not common in fiction or real life – the realities are deeply unpleasant, but not approached cynically. The realization of these realities provokes different responses from the characters: anger and anguish. Stalker, through its framing and narrative escalations, is evocative of classic horror films – where a dense, foreboding atmosphere is the source of the horror. The horror in Stalker includes the desolate locations it features, but most importantly the purposes of the three men who seek the Room.

Released to heavy criticism in the Soviet Union, contemporary opinion has been kinder to Stalker. Western critics compare the Heart of Darkness-esque narrative to Francis Ford Coppola’s Apocalypse Now. But Stalker has much more to say than Coppola’s film, preferring to examine its subjects for who they are and what they bring to their newfound surroundings rather than the reverse. Rather than Joseph Conrad, Tarkovsky takes his literary cues not only from the  Strugatsky brothers, but also those giants of Russian literature: Leo Tolstoy and Fyodor Dostoyevsky. Without spoiling too much, the Stalker’s enterprise seems informed by the title character in Tolstoy’s The Death of Ivan Ilyich (Ivan Ilyich is a dying man pondering the nature of his death and, increasingly, his life’s meaning) while his characterization resembles the title character in Dostoevsky’s The Idiot (whose epileptic bouts make people believe he is unintelligent, when he, despite being socially awkward, is anything but).

For first-time viewers, Stalker will baffle, enrage, and mystify. It should be viewed as cinematic poetry rather than a straight-laced narrative. This film conveys complicated ideas of desire and the changes resulting from desire that too few are receptive to. The few answers Stalker does provide are shrouded in its darkest corners, waiting to be discovered by those brave enough to present themselves and step forth. Do not expect anything flattering.

My rating: 10/10

^ Based on my personal imdb rating. Stalker is the one hundred and forty-sixth film I have rated a ten on imdb.

#Stalker #Andrei Tarkovsky #Alexander Kaidanovsky #Anatoli Solonitsyn #Nikolai Grinko #Alisa Freindlich #Sergei Yakovlev #Natasha Abramova #Arkadi Strugatsky #Boris Strugatsky #Alexander Knyazhinsky #Eduard Artemyev #TCM #My Movie Odyssey

[thinkveganworld]

This is long, but I thought I’d post on the outside chance anybody might find it worth reading.  It’s part two of a three-part series of articles I wrote years ago, and it includes information on modern day U. S politicians’ use of political propaganda.   

Goebbels and mass mind control: Part Two How PR opinion-shapers undermine environmental protection

In part one, we examined the fact that Hitler's propagandist, Joseph Goebbels, admired Edward Bernays, a self-proclaimed founder of the public relations industry. Goebbels used Bernays' book "Crystallizing Public Opinion" in his campaign against Germany's Jewish population.  Now we'll look at specific propaganda techniques shared by Goebbels and today's corporate PR teams, and at how those techniques undermine today's environmental movement.

Public relations can be used for good or ill. When PR spin is used to convince people that harmful things are good for them, or to turn people against their own best interests, it is used for ill. Goebbels practiced propaganda as a black art.

He helped organize Hitler's "brown shirts," and incited them to violence. He instigated the events leading to "Kristallknacht," the infamous nights of widespread brutal attacks against the Jews, November 8-9, 1938. He helped create the "fuhrer cult," spinning Hitler as Germany's great redeemer and convincing millions that the Nazi state was vital to their well-being.

Goebbels believed in using stealth tactics, or "institutional lying," and in using "fronts" to promote anti-Semitism and Nazi policies. For example, Goebbels set up a film office in July 1933, made it part of a branch of the Reich Cultural Chamber, and then used films to influence mass audiences. Klaus P. Fischer writes in "Nazi Germany: A New History" that most of the entertainment films "presented a sanitized image of carefree life under the protective umbrella of the Nazi regime."

When pro-Nazi or anti-Semitic propaganda came from the mouth of a popular German movie star on the screen, instead of directly from Goebbels, the public perceived it differently. In the same way, today's PR firms use front groups (fake grassroots, or "astroturf " groups) or specific so-called "third parties" to speak for corporations.

In "Global Spin," (Chelsea Green Publishing, 1997) science lecturer Sharon Beder writes that Merrill Rose, executive vice-president of the PR firm Porter/Novelli, said: "Put your words in someone else's mouth . . . There will be times when the position you advocate, no matter how well framed and supported, will not be accepted by the public simply because you are who you are. Any institution with a vested commercial interest in the outcome of an issue has a natural credibility barrier to overcome with the public, and often with the media."

John Stauber and Sheldon Rampton point out in "Toxic Sludge Is Good For You," that on behalf of tobacco company Philip Morris, the PR company, Burson-Marsteller, "created the [front group] 'National Smokers Alliance' to mobilize smokers into a grassroots lobby for smoker's rights . . . To defeat environmentalists, PR firms have created green-sounding front groups such as "The Global Climate Coalition" and the "British Columbia Forest Alliance."

Both Goebbels and today's PR firms have used euphemisms and Orwellian newspeak and doublespeak to influence the public mind. For example, corporate PR spinners have told the public that polluting-corporations are friends of nature; that weapons-manufacturer General Electric does no harm but merely "brings good things to life;" that spreading sludge on farm fields is "beneficial use;" that human beings killed in war-for-profit are "collateral damage."

American corporations have at times managed to circumvent the U.S. Constitution and ignore laws designed to protect our own workers and the environment by moving their companies offshore, in the name of "freedom." In Hitler's Germany, the euphemistically named "Law for Terminating the Suffering of People and Nation" (or, the "Enabling Law") gave governments such "freedoms" as the right to deviate from the constitution, ultimately helping Hitler undermine democracy and gain political power.

Goebbels presided over a communications monopoly in Germany by denouncing intellectualism and urging book burning. Today, U. S. corporations have a Goebbels-like communications monopoly, because virtually all television networks and the vast majority of other media outlets in the country are owned by a handful of corporations.

Klaus Fischer writes, "On May 10, 1933, an appalling event in the history of German culture took place-the burning of the books . . . This particular 'cleansing action' (Sauberung) was carried out by the German Student Union."

Of the book burning, Goebbels said, "The age of extreme Jewish intellectualism has now ended, and the success of the German revolution has again given the German spirit the right of way." (J. M. Ritchie, "German Literature Under National Socialism," 1983.) Today corporations discourage Americans from educating themselves about corporate wrongdoing by, as Stauber and Rampton say, "burning books before they're printed."

For example, science writer David Steinman obtained obscure government research from the Freedom of Information Act and used the information in his book, "Diet For A Poisoned Planet." Steinman wrote that many U.S. foods contained contaminants and gave readers a chance to make safer food choices by comparing the amounts of toxins contained in various foods.

Right away, corporate PR firms, including a "pesticide industry front group with deep Republican connections" went to work attacking the book. The Ketchum PR agency (representative of Dole Foods, the Beef Industry Council, Miller Brewing and many other corporate food clients) markets itself as a specialist in "crisis management," according to Stauber and Rampton. A Ketchum memo to the CALRAB food safety team read: "The [Ketchum] agency is currently attempting to get a tour schedule so that we can 'shadow' Steinman's [book promotional] appearances; best scenario, we will have our spokesman in town prior to or in conjunction with Steinman's appearances."

Stauber and Rampton's source inside Ketchum said the PR firm called every talk show where Steinman was booked, saying the shows shouldn't allow Steinman to appear without also presenting "the other side of the issue." The firm also tried to portray Steinman as an "extremist" without credibility.

According to Sharon Beder ("Global Spin") corporate front groups are a fairly recent phenomenon in America . . . a response to the rise of genuine citizen public interest organizations. One front group, the American Council on Science and Health, receives funds from Burger King, Coca-Cola, NutraSweet, Monsanto, Dow, Exxon and other corporations.

Dr. Beder, author of numerous books, and a professional engineer and senior lecturer in Science and Technology Studies at the University of Wollongong, Australia, writes that "the American Council on Science and Health is one of many corporate front groups which allow industry-funded experts to pose as independent scientists to promote corporate causes. Chemical and nuclear industry front groups with scientific sounding names publish pamphlets that are 'peer reviewed' by industry scientists rather than papers in established academic journals."

On the subject of corporate front groups, Beder quotes Mark Megalli and Andy Friedman ("Masks of Deception: Corporate Front Groups in America,"1991): "Contrary to their names, these groups often disregard compelling scientific evidence to further their viewpoints, arguing that pesticides are not harmful, saccharin is not carcinogenic, or that global warming is a myth. By sounding scientific, they seek to manipulate the public's trust."

The goal of pseudo-scientific corporate front groups, says Beder, is to cast doubt on the legitimacy of authentic environmental problems. For example, the Global Climate Coalition is a front group for various gas, oil, coal, automobile and chemical corporations; and it has battled restrictions on greenhouse gas emissions.

Global Climate Coalition has sent journalists videos claiming increased carbon dioxide levels will help feed the world's hungry by increasing crop production. The coalition has lobbied against mandatory emissions controls and asked the Clinton administration to avoid agreements that would reduce greenhouse emissions, claiming they "would damage the U. S. economy."

Corporations have worked to shape the next generation's environmental perceptions "through the development and distribution of 'educational' material to schools," writes Beder. Of course, the "educational" materials promote a corporate slant on environmental problems.

Conservative think-tanks have also opposed environmental legislation, working to cast doubt on greenhouse warming, industrial pollution and ozone depletion. These think-tanks mingle with lobbyists, consultants, interest groups and others and, as Beder says, "seek to provide advice directly to the government officials in policy networks and to government agencies and committees."

The think-tank employees ultimately "become policy makers themselves," and act more as pressure groups or interest groups than as academic institutions. Even so, says Beder, think-tank employees are treated by the media as "independent experts" and sources of expert opinion. Most conservative think-tanks promote free-market ideas, including corporate deregulation and lower taxes for the wealthy.

Corporate and think-tank PR spin doctors typically show little respect for the targets of their propaganda, and little regard for democracy. In another book by Sheldon Rampton and John Stauber, ("Trust Us, We're Experts!" - Tarcher/Putnam, 2001) the authors write, "If you ask the managers of these ever-more-expensive propaganda campaigns why they have vulgarized the democratic process [with, for example, fake grassroots campaigns], they will frequently tell you that the problem is not with them but with the voters who are too "irrational," "ignorant," or "apathetic" to respond to any other kind of appeal."

Stauber and Rampton quote Bill Greider's "Who Will Tell The People:" "On issue after issue, the public is belittled as self-indulgent or misinformed, incapable of grasping the larger complexities known to the policymakers and the circles of experts surrounding them. The public's side of the argument is said to be 'emotional' whereas those who govern are said to be making 'rational' or 'responsible' choices . . . The reality, of course, is that the ability to define what is or isn't 'rational' is itself loaded with political self-interest."

Hitler's spin doctor, Joseph Goebbels, also expressed contempt for the people and democracy. Klaus Fischer quotes the propagandist: "We go into the Reichstag in order to acquire the weapons of democracy from its arsenal. We become Reichstag deputies in order to paralyze the Weimar mentality with its own assistance. If democracy is stupid enough to give us free travel privileges and per diem allowances for this service, that is its affair. We do not worry our heads about this."

Fischer also points out that the Nazis were beneficiaries of popular anti-democratic theories of their time, and of a "totalitarian mood," which included "a wish to dismantle the egalitarian welfare state." Again, Goebbels' techniques and attitudes and the fruits of his propaganda were different in degree from those of today's corporate propagandists, but they were clearly of the same basic nature.

Goebbels and today's corporate PR firms often practice public relations as a black art, however some citizens inform people in helpful ways that produce the fruits of increased public health, safety and well-being.

For example, registered nurse and environmental activist Terri Swearingen worked to prevent the building of one of the world's largest toxic waste incinerators.  When accepting the prestigious Goldman Environmental Prize, Swearingen said, "There are experts who are working in the corporate interest, who often serve to obscure the obvious and challenge common sense; and there are experts and non-experts who are working in the public interest."

Swearingen added, "Citizens who are working in this arena-people who are battling to stop new dump sites or incinerator proposals, people who are risking their lives to prevent the destruction of rain forests or working to ban the industrial uses of chlorine and PVC plastics-are often labeled obstructionists and anti-progress. But we actually represent progress-not technological progress but social progress. We have become the real experts, not because of our title or the university we attended, but because we have been threatened and we have a different way of seeing the world."

In part three, we'll take a closer look at propaganda and politics.