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sonobeunitsarecool · 3 months

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Super random

Went through the Milgram channel, watched... most of the videos again, trying to see if there were any tiny details I missed All I got was: Haruka - enough for a seperate post/theory, though I think someone's already gone over it? (psych ward theory) Futa - all the cans in Backdraft say "pressure", the graffiti is too hard for me to interpret for the most part. Though, the words in bubble text around the victim's witch icon reads "killcheroy", and there's the words "pazuzu" and... SaP? SkP? Does anyone know what all the other graffiti text says, I can only read the "pressure, pressure" ones. Mu - in After Pain, when you see the time on her phone, it reads 17:20. Why was she at school at 5:20? Shidou - looking at how he holds the scissors and knife in Throw Down, and how he opens the door and holds the "promise card" in Triage, I think he's left-handed? Mahiru - in Ai nan desu yo, the clothes she wears at one point have the caption "winter style", though many of the other pictures don't seem to have been taken in winter. She's also reading a lot, which fits with her literature degree. Kazui - near the end of half, he's shown with all his different costumes, without any masks. Kotoko - in Harrow, she looks at a sign/thinks about a sign with text that's partially cut off, but reads "at around ----- on this street... ----a traffic accident occurred... if ---- , please report to the police". She also thinks back to a news report showing the location and aftermath of an accident outside a house. Was she impacted by this? Random cipher translations (using assets from laniemae's archiving)

The text under the MW bit just says MARGLIM. The banner text says "lossitarelecste" on the top and "rutiro" on the bottom, or "et sceleratis sol oritur"/"light shines even upon the wicked".

The text reads "innocent sheep" on repeat. For the goat one, it reads "guilty goat" on repeat. Text above doors for T2 is "Lasciate ogne speranza, voi ch'intrate", or "abandon all hope, ye who enter here". The quote is from Dante's Inferno, the words written into the gate to hell. For the T1 key visuals, the text individual to each prisoner simply gives basic info. For example, Yuno's would be "Milgram second prisoner, eighteen age, five foot (something or other) point (something or other) height, female", with the others being in the same format. The wall behind the prisoners in Undercover just has "ft" and "ft in", for measurement. The backgrounds that look like this:

all read "every (s)aint has a past, and every sinner has a future." This is the same for some of the wallpapers, and whenever that kind of vertical text shows up (voice trailers and such). It's missing the "s" in "saint". Tags on the clothes and the tops of the cards from Undercover are all just their names. The prison jackets seem to repeat the text, "Milgram ---- prisoner (name)". The Undercover CD's cipher text just reads "Milgram prison guard Undercover Es. Es theme song CV Yurina Amami". Es's sashes read (backwards) "De omnibus dubitandum" and "Prison Officer". Are there any other ciphers that I've missed? Because I'd really like to try and translate those!

#milgram #milgram es #milgram cipher

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relatableblorbopoll · 5 months

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Preliminaries

Here's how it will work:

The first round will consist of 18 polls of 6 participants each, the first two places get a place on the bracket

For the second round, there will be 12 polls of 6 participants each, the first two places get a place on the bracket

The third round will consist of 4 polls of 12 participants each where there will be a (metaphorical) knife battle to the death where only one character from each poll will get in the bracket

All pairings of groups are randomly generated

Check after the read more for the full list of participants and for the groups of the first round of preliminaries

Group 1 poll

Nimona (Nimona)

Twelfth Doctor (Doctor Who)

Blue/Green Oak (Pokémon Green/Blue/Red)

Jack Reacher (Reacher Series)

Tsubakura Enraku (Len'en Project)

Albedo (Genshin Impact)

Group 2 poll

Jessica Day (New Girl)

Daniel LaRusso (Karate Kid)

Omota Uramichi (Life Lessons with Uramichi Oniisan)

Jack Spicer (Xiaolin Showdown)

Hatsune Miku (Vocaloid)

Eichi Tenshouin (Ensemble Stars)

Group 3 poll

Conner Bailey (The Land of Stories)

Lucy Honeychurch (A Room With A View)

Greg Heffley (Diary of a Wimpy Kid)

Gideon Nav (The Locked Tomb)

Akaashi Keiji (Haikyuu!!)

Burgerpants (Undertale)

Group 4 poll

Legosi (Beastars)

Stephen Stills (Scott Pilgrim comics)

Sunny (Omori)

Tony Stark (Marvel Avengers)

Rookie (Club Penguin)

Charlie Morningstar (Hazbin Hotel)

Grupo 5 poll

Melissa Chase (Milo Murphy’s Law)

Candace Flynn (Phineas and Ferb)

V-Flower (Vocaloid)

Ciaphas Cain (Warhammer 40k)

Percy Jackson (Percy Jackson series)

MK (Lego Monkie Kid)

Group 6 poll

Jesper Fahey (Six of Crows)

Crowley (Good Omens)

Dave Strider (Homestuck)

Junior (Total Drama Presents: The Ridonculous Race)

Kim Dokja (Omnicient Reader's Viewpoint)

Donutella (Tokidoki)

Group 7 poll

Rigby (Regular Show)

Angua (Discworld)

Cao Weining (Word of Honor)

Aang (Avatar: The Last Air Bender)

Okuyasu Nijimura (Jojo's Bizarre Adventure)

Shin Tsukimi (Your Turn to Die)

Group 8 poll

Stanford Pines (Gravity Falls)

Miles "Tails" Prower (Sonic The Hedgehog Franchise)

Jonathan Sims (The Magnus Archives)

Ford Prefect (The Hitchhiker’s guide to the Galaxy)

Shaun Murphy (The Good Doctor)

Sonic (Sonic The Hedgehog Franchise)

Group 9 poll

Overlord (Bad End Theater)

Denji (Chainsaw Man)

Abed Nadir (NBC Community)

Entrapta (She-Ra and the Princesses of Power)

Gren (The Dragon Prince)

Ocean O'Connell Rosenberg (Ride The Cyclone)

Group 10 poll

Nagisa Ran (Ensemble Stars)

Waver Velvet (Fate series /The Case Files of Lord El-Melloi II)

Shuichi Saihara (Danganronpa V3)

Opossums (real life)

Midori Takamine (Ensemble Stars!! Music)

Seven of nine (Star Trek)

Group 11 poll

Mae Borowski (Night in the Woods)

Shigeo Kageyama / Mob (Mob Psycho 100)

Barry the Quokka (The Murder of Sonic the Hedgehog)

Kaveh (Genshin Impact)

Yusuke Kitagawa (Persona 5)

Nanami Kento (Jujutsu Kaisen)

Group 12 poll

Rod (Avenue Q)

Missi (Vampair Series)

Lia (The Music Freaks)

Sand (Only Friends)

Pa Jindapat (Bad Buddy)

Sara Murphy (Milo Murphy’s Law)

Group 13 poll

Cecil Gershwin Palmer (Welcome to Night Vale)

Noah (Total Drama Series)

Basil (Omori)

Stanley Pines (Gravity Falls)

Wen Ning (Mo Dao Zu Shi/The Untamed)

Nick (Only Friends)

Group 14 poll

Oz Vessalius (Pandora Hearts)

Sound (My School President)

Luz Noceda (The Owl House)

Gundham Tanaka (Super Danganronpa 2)

Saiki Kusuo (Saiki Kusuo no Psi Nan/The Disastrous Life of Saiki K)

Drew (The Music Freaks)

Group 15 poll

Wen Kexing (Tian Ya Ke / Faraway Wanderers)

Homura Akemi (Puella Magi Madoka Magica)

Nico di Angelo (Percy Jackson Series)

Heinz Doofenshmirtz (Phineas and Ferb)

Reki Kyan (Sk8 the Infinity)

q!Quackity (QSMP)

Group 16 poll

Parker (Leverage)

Gudetama (Sanrio)

Finn the Human (Adventure Time)

Rain O'Fire Frazier (Worm)

Piper Mclean (Heroes of the Olympus)

Norma Khan (Dead End Paranormal Park)

Group 17 poll

Berdly (Deltarune)

Hamlet (Hamlet)

Squidward Tentacles (Spongebob)

Hunter (The Owl House)

Szeth-son-son-Vallano (The Stormlight Archive)

Nami (One Piece)

Group 18 poll

Tobias (Animorphs)

Isaac O'Connor (Paranatural)

Trisana Chandler / Tris (Emelan book series)

Sokka (Avatar: The Last Air Bender)

Haruhi Fujioka (Ouran Highschool Hostclub)

Shinji Ikari (Evangelion)

#relatable blorbo poll #tumblr tournament #tumblr tourney #tumblr polls #preliminaries #character bracket

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haveyoureadthisfanfic · 11 days

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Summary: Just two weeks after moving to his new elementary school, Kusuo Saiki, the 6 year old psychic, meets Aren Kuboyasu, budding punk. They get on a bit too swimmingly, in more than one way, in Kusuo's opinion. Whatever. At least their moms are pleased, even if Kusuo doesn't actually know the chaos he and Aren plan on causing.

Author: @fluffydice

#official fic poll #haveyoureadthisfic #pollblr #fanfiction #fandom culture #internet culture #fanfic #tumblr polls #fandom poll #Little Punk Tactics #saiki kusou no psi nan #saiki no psi nan

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fluffydice · 3 months

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I reuploaded two fics from my tumblr to my one-shot collection while tidying some things up on my blog,,, here they are on ao3, just so they're easier to access instead of being lost to the void:

also! apologies for the break in updates, I have competition coming up this week so I've been putting literal hours into that while still trying to manage school and sleep lmfaoo. Just know it's being worked on in my free time <3

#saiki k #sorry if anyone gets excited asdfghjkl they're just reposts...my bad </3 #kubosai #fluffy writes a fic

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ao3-saiki-updates · 1 year

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Saiki has plans?

Saiki has plans? by Hillbilly man

Saiki mentions having plans after school, and the overactive imaginations at PK Academy work themselves into a fuss trying to imagine what he could be doing.

Words: 4239, Chapters: 1/1, Language: English

Fandoms: 斉木楠雄のΨ難 | Saiki Kusuo no Sai-nan | The Disastrous Life of Saiki K.

Rating: General Audiences

Warnings: No Archive Warnings Apply

Categories: Gen

Characters: Saiki Kusuo, Kuboyasu Aren, Kaidou Shun, Nendou Riki, Yumehara Chiyo, Teruhashi Kokomi, Mr. Matsuzaki, Toritsuka Reita, Mera Chisato, Akechi Touma, Saiki Kurumi

Additional Tags: Rumors, POV Multiple, Comedy, Fluff, Gossip

Read Here: https://archiveofourown.org/works/46904551

#AO3 Feed #FanFiction #AO3 Saiki #♠#Kusuo Saiki #Aren Kuboyasu #Shun Kaidou #Riki Nendou #Saiki K #R:G #A:Hillbilly #Fluff #May 2023

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bnhaobservation · 8 months

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BNHA Observations, speculations and assorted info: Pre-marriage Todoroki Enji (Part 1)

So, in order to write my fic, I spend much time observing canon scenes, comparing the manga and the anime version, take note of details, translations and info in them as well as finding out how are some things called.

Since what I noticed/speculated/found out can be of use for other fic authors I thought to share as well.

Resources:

Chap. 356 "Regarding the Enemy" (敵について Teki ni Tsuite) Chap. 93 "One For All's Ember" (残り火ワンフォーオール Nokoribi One for All) Chap. 165 "Win Those Kids' Hearts" (掴めガキ心) Tsukame Gaki Gokoro) Chap. 189 "Why He Gets Back Up" (彼は何故立ち続けたか Kare wa Naze Tachi Tsudzuketa ka) Chap 192 "The Todoroki Family" (轟家 Todoroki-ke)

Ep. 49 "One For All" (ワン・フォー・オール) Ep. 79 "Win Those Kids' Hearts" (掴めガキ心 Tsukame Gaki Gokoro)

School Briefs I "Epilogue" School Briefs III "Dramatic Makeover!"

Team-Up Missions: Mission 33

To this date the chapter that shows the youngest Todoroki Enji is 356, which include some sort of dream/hallucination in which Enji faces his past self and his 'origin' so first let's look at...

THE FULL SEQUENCE AS IT IS IN THE MANGA

There are two core scenes, one depicting Enji's father's death preceded by a speech of young Enji:

'Sara ni yowaku natta' 「更に弱くなった」 “You became beyond weak.”

'Tachiba to tsugunai to ayamachi to sekinin ga' 「立場と償いと過ちと責任が」 “Position, atonement, mistakes and responsibility.”

'Omae no seirai no yowasa wo abaki dashi miru ni taenai guzu e to hikizuri oroshita' 「おまえの生来の弱さを曝き出し見るに堪えない愚図へと引きずり下ろした」 “Your innate weaknesses was exposed and I can't bear to see how you were dragged down into an indecisive person.”

'Chōjin ni wa narenainda yo Enji (omae) wa' 「超人にはなれないんだよ炎司（おまえ）は」 “Enji, you can’t become a superhuman.”

'Genten wo omoi dase' 「原点を思い出せ」 “Remember your origin.”

While fighting the Nomu Enji said he hated U.A. School motto, Plus Ultra or, in Japanese 'Sarani mukō e' (更に向こうへ "Beyond the other side" or, better "Further beyond"). Now his past self seems to taunt him saying 'Sara ni yowaku natta' (更に弱くなった “You became beyond weak.”)

'Seirai no yowasa' (生来の弱さ) is translated as 'weakness that was always there' in the English version but 'seirai' (生来) actually make clear the weakness is innate, by nature. In short Enji was born weak and tried to hid it. 'Guzu' (愚図), more than a loser is a 'foolish figure', a 'dullard' or also an 'indecisive person'. Enji project an air of arrogance and security but Enji's younger self is implying he's basically not capable.

The official translation uses "Superhero" to translate 'Chōjin' (超人), but there's no 'hero' in the word, someone can be a 'Chōjin' (超人) and be a villain. Ironically we could also translate it as 'superman', and considering later Enji uses laser eyes like Superman I wonder if this was planned.

'Teki ga nan datta no ka wo' 「敵が何だったのかを」 "What was the enemy?"

'Akkan kara shoujo wo sukuou to shi kekka shoujo moro tomo nikukai to ka shita chichi wo' 「悪漢から少女を救おうとし結果少女もろとも肉塊と化した父を」 "Your father tries to save a girl from a scroundel and, as a result, he and the girl were turned into a lump of meat."

The way the sentence is put, it seems to imply that the girl and Enji's father both died because the man tried to save her.

Enji is witnessing the scene, a schoolbag on his back. His school uniform misses the shoulder insigna and the necktie which are part of U.A. summer uniform, so it's possible this took place before Enji joined U.A.

The whole implication of the sentence and the dialogue seems to be that since his father was weak, he caused his own death as well as the one of the girl, and this should have started Enji's obsession for strength.

Young Enji goes on speaking about other things Enji should remember:

’Shin no choujin he no senbou to higami wo’ 「真の超人への羨望と僻みを」 “Your envy and inferiority complex toward a true superhuman…”

Again, the official translation uses plural but there's the image of All Might and in My Hero Academia Ultra Archive is made clear Enji previously viewed everyone else but All Might as weak, so the 'true superhuman' is solely All Might back in his past (then he also added Deku).

We can't see Enji's father's face but he's likely the man on the picture hung on the wall in the room with the Butsudan as in that room Enji would place the photo of his deceased family members.

Going on.

'"Doryoku (‘Endeavor’)” to nanoru hikutsu na shoune wo' 「“努力" （エンデヴァー）と名乗る卑屈な性根を」 “You called yourself ‘effort’ (read 'Endeavor’) due to your menial nature.”

This bit confirms Enji chose his Hero name while at U.A. and picked it up because (compared to All Might) he believed he lacked in skill but, probably, he thought he could compensate with effort/hard work.

From other chapters we know Enji and Recovery Girl know each other from his time at U.A.

‘OB no Yoshimi de kite ageta yo’ 「OBのよしみで来てあげたよ」 “I came for you since you were an alumnus”

'Soreni ima wa mō No.1 hīrōda mono ne' 「それに今はもうNo.1ヒーローだものね」 "Besides, you're also the No. 1 hero now.'

While in the Japanese version Recovery Girl is more vague, saying she came because Enji was an alumnus, since she's in U.A. by basically forever she likely got to know him, which is confirmed in "School Briefs I Epilogue" and "School Briefs III Dramatic Makeover!".

In "School Briefs I Epilogue" is said that with her Enji manages his manners because she's someone he had known nearly all his life.

By the way the two of them call each other by their Hero names.

"School Briefs III Dramatic Makeover!" is more specific. It has Recovery Girl tell Shōto she's been in U.A. by a long time and knew his father from when he was a student at U.A. and how she was always threating him for scrapes, cuts and bruises back in those days as his father used to put himself through the wringer hoping to become Number 1 one day, implying he was impressively driven. Shōto will make clear he doesn't want to hear about his father so she'll later be more subtle, telling him every boy and girl at U.A. tend to do their darnest and that they always had, implying Enji did the same.

We also have a bit of info in "Team-Up Missions: Mission 33" about how Enji holds the U.A. record for no-quirks trash pick-up (as All Might was too busy chatting with everyone).

'Sorezore ga hirotta gomi no sōryō o kiroku!' 「それぞれが拾ったゴミの総量を記録！」 "Record the total amount of trash each person picked up!"

'Tadashi "kosei" shiyō-fuka!' 「ただし”個性”使用不可！」 "However, "Quirk" cannot be used!"

'Onore no junsuina tairyoku nomi de shin kiroku o mezasu nōsuji ibentona nda!' 「己の純粋な体力のみで新記録を目指す脳筋イベントなんだ！」 "It's a brain-muscle event where you aim for a new record using only your own physical strength!"

'Chinamini rekidai No. 1 kiroku hoji-sha Endeavor da 「ちなみに歴代No.1記録保持者エンデヴァーだ」 "By the way, Endeavor is the all-time No. 1 record holder."

There's something else in chap 356 that's interesting in the following bit.

'Kojishite inakereba tamotenu teido no minikui kokoro wo' 「誇示していなければ保てぬ程度の醜い心を」 “Unless you're putting on airs you can't sustain your ugly heart”

'Minikui' (醜い) means "ugly" in the sense of "unsightly/unattractive". 'Kokoro' (心) is a delicious word that can refer to "(emotional) heart" but also to "mind" and "soul".

So basically Young Enji is saying that to hide the fact Enji is weak and indecisive, not a real superhuman, he put on airs to hide it... but the interesting part is that the image focuses on Enji's fire beard.

This was said in his profile.

The rest we have on Enji's youth is from other chapter and it's mostly tiny info.

We've a young Enji, who's now an adult but who still feels the gap between himself and All Might is one he can't surpass.

'Kisama (All Might)..." 「貴様（オールマイト）…」 "All Might..."

'Kisama o koeyou to kensan o kasanete kita…!' 貴様を超えようと研鑽を重ねてきた…！ "I've been repeatedly training hard to surpass you…!"

'Kasaneru hodo ni tsūkan suru.' 重ねる程に痛感する。 "I realized the more I repeatedly did it, the more I feel the pain."

'Kisama to no sa ga… kisama no senaka ga…!!' 貴様との差が… 貴様の背中が…！！ "The difference between you and me is… your back…! !"

'Zetsubō ga! ! Ore o…' 絶望が！！俺を… "I despaired! ! I…"

'Nanda so nonnasakenai senaka wa!!' 「なんだそのっ情けない背中は！！」 “What’s with that pathetic back?!”

LOL, the sentence seems not to make sense but in Japan a large back is equated to strength. Hawks later, thinking about Endeavor will say Enji must do it because Hawks' back isn't large enough.

On another interesting bit... even if Enji says 'All Might' the kanji actually say 'kisama' (貴様) which is currently a very rude way to say 'you'.

We've another bit about Enji's past when he talks with All Might after the latter retired.

'Ore wa ase kō ni subete o takushita' 「俺は焦凍に全てを託した」 "I entrusted everything to Shoto"

'Hatachi no koro ni wa sudeni No. 2 e to noboritsumeta.' 「二十歳の頃には既にNo.2へと登りつめた」 "By the time I was 20 years old, I had already climbed to No. 2."

'Tō tte kitakara koso… rikai shite shimatta.' 「登ってきたからこそ…理解してしまった」 "Because I made that climb… I understands."

'Ore wa itadaki ni wa tadoritsukenai to' 「俺は頂きには辿り着けないと」 "I can't reach the top"

'katagaki ga hoshī dakenara kisama no yō ni herahera to' 「肩書きが欲しいだけなら貴様のようにヘラヘラと」 "If I just wanted a title, I'll be laughing like you."

'Aiso mo furimaitadarou sa.' 「愛想も振りまいただろうさ」 "I would have showed sociability as well."

'Ore wa dare yori tsuyoku naritakatta' 「俺は誰より強くなりたかった」 "I wanted to be stronger than anyone else"

Okay so this was meant to be solely about Enji's past but I can't skip this line. The English translation decided to translate 'takushita' (託した) with 'gave' but it's not like Enji gave Shouto everything Shouto wanted... it's that Enji entrusted his dream, his everything to Shouto. So he's not really depicting himself like a doting father but as a father who planned to have his kid fulfil his dream.

The relevant part in this little dialogue is that Enji became Number 2 at 20.

Considering he started U.A. at 15 and should have finished attending it at 19, it's quite a fast climbing.

The mountain is probably Sekoto Peak (瀬古杜岳 'Sekoto take'), where Enji said he used to train in the past and where Touya will 'die'. (Chap 291).

According to Hawks, Enji was the only one trying to surpass All Might.

Technically though, considering Hawks is one year younger than Touya and got interested in Endeavor after he was saved, he only witnessed him post marriage and it's hard to say if this applied also to when Enji was pretty young. Anyway the previous generation of Heroes come out pretty lame as now the kids at U.A. wants to surpass All Might while before only Enji considered doing it.

And so we get to Enji deciding he can't surpass All Might and therefore must produce a heir who will do so for him... but as that part was transposed in the anime, for a better comparison I'll put it in a part 2.

#boku no hero academia #Todoroki Enji #Yagi Toshinori #bnha observations

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akirameta84 · 1 year

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yippe chapter 5 (or 4 if you separate the prologue) of the wof au fic <3

hope you can enjoy. stuff happens and stuff. idk just read i dont do chapter summaries for a reason (fic summaries are already difficult enough). also im posting this while in school and thats just amusing to me

okay enjoy hopefully the next chapter will arrive sometime before 2024

#akira scribbles #wof au #wof #wings of fire #saiki k #saiki kusuo no psi nan #the disastrous life of saiki k.#writing #fanfiction

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no-one-picked-maris · 8 months

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Why I Think They Won't Re-Release Felicity (in any meaningful capacity)

Felicity's stories are very white and protestant in a very alienating way - and I say this as someone who related to her as a child. She's literally a member of the gentry, she's Samantha of the 18th century.

Fun Fact: In the earliest editions of Meet Felicity, rather than referring to Jiggy Nye's language as "not proper", it's referred to as "sinful". Felicity is also chided with reminding her that disobeying one's parent's is a sin. Oh, and this change:

Nan: "Then Mr. Nye called the horse a nag, and he said the devil could have it. And he said he would skin us alive if we ever came back!”

Nan: "Then Mr. Nye called the horse a nag, and he said anyone could take it if they could ride it. And he said he would skin us alive if we ever came back!”

Her hornbook:

(and the parentification)

Felicity and Kirsten share a very similar problem in the way they present history, they are literally the mascots for sanitized white people history. There are no black people in Kirsten's stories. Kirsten is literally Manifest Destiny: the Doll.

There's only one free man in Felicity's stories, Issac. Rose and Marcus are slaves. King's Creek is a plantation, a plantation left to Mother and the children when Grandfather dies (he knew they "loved it so.") Felicity is a slaveowner.

She's not reading Thomas Paine there guys.

I haven't read Felicity's Beforever series. I know they're abridged, and I know they didn't substantially change them. Felicity's relationship with her Grandfather, and his subsequent death, are integral to the series.

How do her central series present her slaveownership? It was ignored as some sort of background consequence of her possession of King's Creek. Like it's just a fact of life, with no need to remark upon it.

okay, and:

Felicity was the worst selling light skinned doll in the collection. Even worse than Kirsten whose sales got cannibalized by Kit after 2000.

I'm not sure if there's a consensus on why Felicity sold so poorly. Red hair, a dainty collection, not girly enough? Her class contemporary, Samantha, is widely agreed to be one of the most popular historical dolls AG released. So it's not class consciousness.

Both don't follow the rules of the time (being a tomboy, befriending people outside her class status):

Felicity only got a movie because Julia Roberts loved her.

Kirsten: Little House on the Prairie and All American History. This is the time of the Oregon Trail Game, after all. I lived on pioneer stories when I was little (1990s).

Samantha: Romanticized "victorian" era things were popular, and her clothing is pretty 1980s inspired. Look at it.

Molly: The Grandmothers' generation.

Is it Felicity's mob caps? She was the horse girl, and that wasn't enough. Was she frumpy, with her gowns rather than dresses? Her schooling - it's unrelatable. She's learning etiquette with Miss Manderly rather than struggling with Miss Campbell's times tables:

Her daddy owning a fucking general store and being prominent enough to provoke a reaction with his refusal to sell tea?

Her Beforever release was out for 2 years, releasing during the 2017 Doll Deluge or whatever we call it. She was gone by 2019. She got a doll, accessories, and undergarments. At least the latter were more period accurate.

you have to keep your trademark active.

Kirsten's unpopularity prior to archival is easily explained by the release of Kit, the decreasing popularity of pioneer stories, and the changing times.

Felicity was never popular at the outset.

Why?

Felicity's 35th Anniversary Edition was the first to sell out, but that can mean a lot of things. AG doesn't realize sales figures and stock figures. Selling out of 2,500 Felicity is relative to selling out of, say, 10,000 Samantha. Businesses order stock based on projected sales. I'd argue, without the benefit of the full statistical picture, that Felicity collectors are a small and passionate group.

They removed Felicity from catalogs in 2001, making her an online exclusive. Did sixty somethings use the internet at the turn of the century? Mine didn't! She wasn't worth the catalog space a year after American Girl was sold to Mattel. Pleasant was inspired by colonial Williamsburg to create AG. She wasn't enough to gamble a new doll line on. She had to wait until they had some footing. I'd argue Pleasant always knew Felicity would be a poor seller.

When Felicity was removed, I got Kit. She was my next favorite after Felicity and I related to her as a small child, too.

Which reminds me, Kit is responsible for a lot in the AG Historical Collection:

She was another blonde haired blue eyed doll, but with a more relatable collection, and easier to deal with hair:

Ta dah ^

I think Kit also a soft relaunch of Felicity:

In photos and brief:

wearing boys' clothing

close with their fathers

tomboys: with felicity being interested in footraces and racehorses, and kit being a newshound, lacking patience for Ruthie's princess stories (at first).

Kit was like a two-for-one special. I'd really like to see her sales stats compared to Felicity and Kirsten.

#fuck you Eddie Ryland #even tho I do think he and Sam get married when they grow up #american girl #american girl felicity #american girl kirsten #tw: racism #I'm almost done with Samantha's collection #I'm at my stopping place with Kirsten's collection #I need to make some decisions on Kit's collection #treehouse outfit definitely #decisions on felicity #ag #agblr #american girl collection

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sillysnack · 11 months

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An Unexpected Transferee?! Ψ

Summary: Saiki Kusuo in school, as per usual— Ah, this isn't PK Academy, though. He's in... Kamiyama High School...?!

...Huh, I swear this place only existed in my phone screen.

——

notes: HAJAJWK2K2KKTTKSKAKAK 😭😭😭😭😭💔💔💔💔 featuring unfortunate gacha game player saiki kusuo.

#cloud's writingz #project sekai #the disastrous life of saiki k #saiki k #saiki kusuo

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miuamor · 1 year

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there are people that have daddy issues and then theres kafka

#letter to my father #der brief an den vater #franz kafka #kafka #literature class #german literature #nan.txt #nan's school archives #nan rants #daddy issues

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robynngaeblack · 9 months

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Summary:

Maekawa Aoi has always been his best friend and the person he knows will always be there by his side, no matter what it does to anyone around them. Saiki Kusuo has always been her best friend that she trust to be herself with and the one person that will always protect her, no matter how great the danger is. They are polar opposite in interest and actions, but somehow could still form some sort of long friendship between each other. They promised to be there for each other through high and low and now, they're in high school and their friendship is put on test with so many incident that only a prescience and a psychic can handle

#the disaster of psi kusuo saiki #saiki kusou no psi nan #kusou saiki #saiki kusuo #saiki no psi nan #the disastrous life of saiki k #saiki k #ao3 saiki #disastrous life of saiki k #saiki kusuo no psi nan #fanfiction #saiki k x reader

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ladysunamireads · 1 year

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Saiki has plans?

Saiki has plans? by Hillbilly man

Saiki mentions having plans after school, and the overactive imaginations at PK Academy work themselves into a fuss trying to imagine what he could be doing.

Words: 4239, Chapters: 1/1, Language: English

Fandoms: 斉木楠雄のΨ難 | Saiki Kusuo no Sai-nan | The Disastrous Life of Saiki K.

Rating: General Audiences

Warnings: No Archive Warnings Apply

Categories: Gen

Characters: Saiki Kusuo, Kuboyasu Aren, Kaidou Shun, Nendou Riki, Yumehara Chiyo, Teruhashi Kokomi, Mr. Matsuzaki, Toritsuka Reita, Mera Chisato, Akechi Touma, Saiki Kurumi

Additional Tags: Rumors, POV Multiple, Comedy, Fluff, Gossip

Read Here: https://archiveofourown.org/works/46904551

#AO3 Feed #FanFiction #AO3 Saiki #♠#Kusuo Saiki #Aren Kuboyasu #Shun Kaidou #SaikiK #🔮#R:G #A:Hillbilly Man

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goldenpixelcoop-en · 13 days

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Complicit Images

Screenings and conversations on the matter of images

Medienwerkstatt Wien / Neubaugasse 40a, 1070 Vienna

3.5.2024, 7-9 pm 4.5.2024, 5-9 pm

curated by: Maia Gusberti (Lucerne University of Applied Sciences and Arts), Olena Newkryta (The Golden Pixel Cooperative)

with films by: Enar de Dios Rodríguez, Musquiqui Chihying, Daphné Nan Le Sergent, Suneil Sanzgiri, Sanaz Sohrabi

with lectures by: Maia Gusberti, Caitlin Berrigan

What is the role of images in exploitation and dispossession processes? How do they frame the earth as a deposit for extractable resources? And how can images resist their own complicity? The programme Complicit Images presents films and performative lectures that question the role of visual media in the context of colonial surveying and exploration as well as in the extraction of raw materials and cultural knowledge. The selected works address the complicity of images in the conquest of territories, the representation of looted goods and the construction of visual narratives. On the one hand, they examine how the appropriation and exploitation of material and immaterial resources is staged, documented and legitimised by visual means. On the other hand, image technologies mostly rely on the availability of precisely these resources – an interrelation that is discussed in the curated programme from a media-situated perspective. The selected films consider the source and composition of their own materiality, technology and history. They reflect on the social and political function of images by means of images themselves.

The invited artists develop critical image practices by accounting for and reactivating visual archive material and employing new imaging technologies. They point to the (in)visibilities that images (re-)produce and explore alternative historiographies through material- and mediaspecific strategies. By examining and excavating the political and historical dimensions of images layer by layer, they create new frameworks and visual spaces for engagement and interaction. The films of the programme are committed to an experimental, rebellious, genuine and at the same time poetic reflection: The instrumentalization of visual media is redefined as a multi-layered, ambivalent complicity of images. Thus, images become tools for self-reflection, contextualisation and consequently reimagination. Complicit Images raises urgent questions about the visual construction of our (world)view and our visual literacy.

Programme:

Friday, 3.5.2024, 19:00 Film Screening Scenes of Extraction (43 min., 2023), Sanaz Sohrabi Liquid Ground (31:46 min, 2021), Enar de Dios Rodríguez

Followed by a Q&A with the filmmaker and member of The Golden Pixel Cooperative Enar de Dios Rodríguez.

Saturday, 4.5. 2024, 17:00 Lectures Performative lecture by Maia Gusberti (Lucerne University of Applied Sciences and Arts / LUCA School of Arts, Gent), , 20 min. + Q&A Lecture by Caitlin Berrigan (Academy of Fine Arts Vienna), 30 min. + Q&A

Saturday, 4.5. 2024, 19:00 Film Screening The Sculpture (28 min., 2020), Musquiqui Chihying L'image extractive (20 min., 2021), Daphné Nan Le Sergent Golden Jubilee (19 min., 2021), Suneil Sanzgiri

Films:

Sanaz Sohrabi Scenes of Extraction 43 min., 2023, Canada / Iran

Scenes of Extraction traces technical and social entanglements between the construction of infrastructures and the political economy of images in the context of fossil fuel extraction in the Iranian oil belt in the first half of the 20th century. Collaging footage from the British Petroleum Archives, aerial footage and amateur material, Sanaz Sohrabi reflects on "reflection seismography" method of oil exploration. With a multi-layered, speculative approach and through the use of CGI maps and spatial renderings fed into an AI software, she uncovers discrepancies in colonial narratives. Scenes of Extraction constructs a historiography that questions the role of images in colonial extractive politics by examining their relationship to the history of photography and to archival strategies.

Enar de Dios Rodríguez Liquid Ground 32 min., 2021, AT/ES

The seabed is one of the last unmapped spaces on our planet, and also one of the last unexploited natural spaces. From illustrations of underwater creatures to computer-generated cartographies of the seabed, Liquid Ground dives deep beyond the surface of representation into the abyss of colonization and exploitation of this underwater world. Structured around a child's questioning from a nursery rhyme, the film gradually reveals the complexity of the capitalist self-destructive system and offers a feeling of being trapped in a vicious circle of its consequences. Enar de Dios Rodríguez picks up on images that are deeply inscribed in our worldview and brings to light the visual technologies behind the plundering that simultaneously rely on the resources extracted from the depths of the sea.

Musquiqui Chihying The Sculpture 28 min., 2020

The Sculpture takes two museum collections as its starting point: The recently established collection of African art in the National Museum of China in Beijing and the “imaginary museum” as conceived by the French art theorist André Malraux. Through a succession of black and white photographs and two alternating off-screen voices, the experimental documentary follows the movement of artefacts between the Asian, African and European continents. What happens to an artwork once it is disconnected from its original cultural, geographical, and historical context? And who owns the art collection of the “Musée imaginaire”? Re-enacting a well-known portrait of Malraux, Musquiqui Chihying, reflects on how the Western gaze has modified the meaning of appropriated African artefacts.

Daphné Nan Le Sergent L'image extractive 20 min., 2021

L'image extractive examines the material foundations of photographic and cinematic images. It is an intriguing journey into the economics, extraction and visual circulation of silver halide - the material that has enabled permanent capture of light and shadows in the first place. Can an image look back at its own history? Is it able to witness the ruptured grounds from which it emerged? Daphné Nan Le Sergent considers silver photography through three levels of a production chain: the extraction industry, stock markets and data mining processes. Beginning with the first great silver deposits discovered throughout colonised Americas, the video essay spans stock market fluctuations, Kodak's efforts to digitise photography and data modelling as a way to predict the scarcity of resources.

Suneil Sanzgiri Golden Jubilee 19 min., 2021

“When we analyze the images of the past, are we asked to mine the archive?” Trawling the potential of visual storytelling, the Golden Jubilee blends various visual textures and forms of narration; drone videography of Goa’s landscapes, 3D renderings of the filmmaker's family's ancestral home and 16mm footage of the liberation movement. It reimagines the history of a place that has been haunted by financial speculation, mineral extraction and colonialism. This film is the third in a series of works about memory, diaspora and decoloniality. In this piece, Suneil Sanzgiri centres his father’s memory of encountering the “demonic” spirit Devchar, whose task is to protect workers, farmers, and the once communal lands of Goa, but “protection from what?" the filmmaker asks.

Lectures

Caitlin Berrigan works as a visual artist and writer to explore poetics and queer science fiction as world-making practices through instruments and moving images. Her work enfolds the complexity of interrelations across humans and other beings within spatial ecologies, technologies, and systems of capitalism. She has received fellowships and residencies from the Humboldt Foundation, the Graham Foundation and the Akademie Schloss Solitude among others.. Her experimental writings are published by e-flux, MARCH, Duke University Press and Broken Dimanche Press. Currently a Senior Postdoctoral Fellow at the Academy of Fine Arts in Vienna, Berrigan has held full-time and visiting faculty positions at NYU Tisch, Caltech, Bard College Berlin, Harvard, and UMass Boston.

Maia Gusberti is a visual artist and researcher. She transforms lens-based images into multi-layered relational spaces in order to reflect on the relationship between image, gaze and society. Her practice includes curatorial projects such as "Complex Images" (Kino REX, Bern) and "Choreography of the Frame" (Kunsthalle Exnergasse, Vienna). She studied Art and Digital Media (University of Applied Arts, Vienna) and Critical Images (Royal Institute of Arts, Stockholm). Currently, she is a doctoral candidate at the LUCA School of Art and the Lucerne School of Design, Film and Art (HSLU), where she also works as a research assistant. As an artist in residence she worked in Cairo and Amman (Pro Helvetia), Ramallah (Al Mahatta), Paris Cité des Arts and Rome (BMUKK) and in Sofia (Interspace). Gusberti presents her projects at international exhibitions, conferences and festivals.

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goldenpixelcoop · 13 days

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Complicit Images

Screenings and conversations on the matter of images

Medienwerkstatt Wien / Neubaugasse 40a, 1070 Wien

3.5.2024, 19 - 21 Uhr 4.5.2024, 17 - 21 Uhr

Kuratiert von: Maia Gusberti (HSLU, Hochschule Luzern), Olena Newkryta (The Golden Pixel Cooperative)

Mit Filmen von: Enar de Dios Rodríguez, Musquiqui Chihying, Daphné Nan Le Sergent, Suneil Sanzgiri, Sanaz Sohrabi

Mit Vorträgen von: Maia Gusberti, Caitlin Berrigan

Welche Rolle nehmen Bilder bei Prozessen der Ausbeutung und Enteignung ein? Wie stellen sie die Welt als eine Oberfläche aus abbaubaren Ressourcen dar? Und wie können Bilder ihrer eigenen Komplizenschaft widerstehen? Mit Filmen und performativen Lectures befragt das Programm Complicit Images die Funktion von Bildern im Kontext kolonialer Praktiken wie der Vermessung der Welt, der gewaltvollen Extraktion von Rohstoffen und der Aneignung von kulturellem Wissen. Die ausgewählten Positionen thematisieren die Komplizenschaft der Bilder bei der Eroberung von Territorien, der Repräsentation von Raubgut und der Konstruktion visueller Narrative. Dabei untersuchen sie, wie diese Prozesse durch Bilder gerahmt werden und wie die Ausbeutung materieller sowie immaterieller Ressourcen mit visuellen Mitteln inszeniert, dokumentiert und legitimiert wird. Gleichzeitig beruhen Bildtechnologien auf der Verfügbarkeit dieser extrahierten Ressourcen. Diese Verknüpfung wird im zusammengestellten Programm aus einer medien-situierten Perspektive diskutiert. Damit reflektieren die ausgewählten Filme über Herkunft und Zusammensetzung ihrer eigenen Materialität, Technologie und Geschichte, und denken mittels Bildern über die gesellschaftliche und politische Funktion von Bildern nach.

Durch die Aufarbeitung und Reaktivierung von visuellen Archivmaterialien und die Anwendung neuer Bildtechnologien erarbeiten die eingeladenen Künstler:innen eigenständige, kritische Bildpraktiken. Sie verweisen auf die (Un-)Sichtbarkeiten, die Bilder (re-)produzieren und erproben material- und mediengerechte Strategien alternativer Historiographie. Indem sie den Bildern zugrunde liegende politische und historische Dimensionen Schicht um Schicht vertiefen und abtragen, etablieren sie neue Interpretationen und visuelle Handlungsräume. Die präsentierten Beiträge sind einer experimentellen, widerständigen, ernsthaften und zugleich poetischen Reflexion verpflichtet: Die Instrumentalisierung visueller Medien wird in eine mehrschichtige, ambivalente Komplizenschaft der Bilder umgedeutet. Dadurch werden Bilder zu Werkzeugen der Selbstreflexion, der Kontextualisierung und damit der Reimagination. Nicht zuletzt stellt Complicit Images dringende Fragen an die visuelle Konstruktion unserer Welt(sicht) und an unsere Bildkompetenz.

Programm:

Freitag, 3.5.2024, 19 Uhr Screening Scenes of Extraction (43 min., 2023), Sanaz Sohrabi Liquid Ground (31:46 min, 2021), Enar de Dios Rodríguez

Mit anschließendem Publikumsgespräch mit der Filmemacherin und Mitglied der The Golden Pixel Cooperative Enar de Dios Rodríguez

Samstag, 4.5. 2024, 17 Uhr Vorträge Performativer Vortrag Maia Gusberti (Lucerne University of Applied Sciences and Arts / LUCA School of Arts, Gent), 20 min. + Gespräch Vortrag Caitlin Berrigan (Akademie der bildenden Künste Wien), 30 min. + Gespräch

Samstag, 4.5.2024, 19 Uhr Screening The Sculpture (28 min., 2020), Musquiqui Chihying L'image extractive (20 min., 2021), Daphné Nan Le Sergent Golden Jubilee (19 min., 2021), Suneil Sanzgiri

Filme:

Sanaz Sohrabi Scenes of Extraction 43 min., 2023, Kanada / Iran

Scenes of Extraction spürt den technischen und sozialen Verflechtungen zwischen der Errichtung von Infrastrukturen zur Förderung fossiler Brennstoffe und der politischen Ökonomie von Bildern im Kontext des iranischen Ölgürtels in der ersten Hälfte des 20. Jahrhunderts nach. Mit filmischen Collagen, bestehend aus Bildern des “British Petroleum Archive”, Luftaufnahmen und Amateurmaterial, thematisiert Sanaz Sohrabi die Methode der Reflexionsseismik, die zur Erkundung von Ölfeldern angewendet wird. Dabei deckt sie mit einem vielschichtigen Einsatz von CGI-Karten und räumlichen Renderings, die in eine I-Software eingespeist werden, Diskrepanzen in kolonialen Erzählungen auf. Scenes of Extraction untersucht die Geschichte der Fotografie und Archivierungsstrategien und konstruiert dabei eine Geschichtsschreibung, die die Rolle von Bildern in der kolonialen Förderpolitik hinterfragt.

Enar de Dios Rodríguez Liquid Ground 32 min., 2021, AT/ES

Der Meeresboden ist einer der letzten unerschlossenen Räume auf unserem Planeten, der Ressourcen enthält, die potenziell abgebaut werden könnten. Von historischen Illustrationen diverser Tiefseelebewesen bis hin zu computergenerierten Kartografien des Meeresbodens taucht Liquid Ground unter die Oberfläche der Darstellungen in den Abgrund der Kolonisierung des Unterwasserreichs ein. Gegliedert durch drei Kinderreime, enthüllt der Film nach und nach die Komplexität eines selbstzerstörerischen Systems und entwickelt ein Gefühl des Gefangenseins in einem Teufelskreis von Konsequenzen. Enar de Dios Rodríguez greift Bilder auf, die in unsere Weltanschauung eingeschrieben sind, und bringt die visuellen Technologien hinter dem Raubbau ans Licht, die sich auf dieselben Ressourcen stützen, die aus den Tiefen des Meeres gewonnen werden.

Musquiqui Chihying The Sculpture 28 min., 2020

The Sculpture bezieht sich auf zwei Museumssammlungen: Die kürzlich gegründete Sammlung afrikanischer Kunst des Nationalmuseums in Peking und das „imaginäre Museum“ des französischen Kunsttheoretikers André Malraux. Der experimentelle Dokumentarfilm verfolgt mit einer Abfolge von Schwarz-Weiß-Fotografien und zwei sich abwechselnden Stimmen aus dem Off die Reise der Kunstwerke zwischen dem asiatischen, afrikanischen und europäischen Kontinent. Was geschieht mit einem Kunstwerk, wenn es aus seinem ursprünglichen kulturellen, geografischen und historischen Kontext herausgelöst wird? Und wem gehört die Kunstsammlung des „Musée imaginaire“? Indem er ein bekanntes Porträt von Malraux nachstellt, reflektiert der Filmemacher Musquiqui Chihying, wie der westliche Blick die Bedeutung der angeeigneten afrikanischen Kunstgegenstände verändert hat.

Daphné Nan Le Sergent L'image extractive 20 min., 2021

L'image extractive untersucht die materiellen Grundlagen von fotografischen und filmischen Bildern. Es ist eine faszinierende Reise entlang der Ökonomie, der Gewinnung und der visuellen Zirkulation von Silbersalzen – dem Material, das die dauerhafte Erfassung von Licht und Schatten erst ermöglicht hat. Kann ein Bild auf seine eigene Geschichte zurückblicken? Kann es den zerrütteten Boden bezeugen, aus dem es hervorgegangen ist? Daphné Nan Le Sergent betrachtet die Silberfotografie durch drei Ebenen der Produktionskette: der Förderindustrie, der Aktienmärkte und der Prozesse zur Datengewinnung. Der Videoessay beginnt mit den ersten Silbervorkommen, die im kolonisierten Amerika entdeckt wurden, und spannt einen Bogen über Börsenschwankungen zu Kodaks Bemühungen um die Digitalisierung der Fotografie und Datenmodellierung als Werkzeug zur Vorhersage von Ressourcenknappheit.

Suneil Sanzgiri Golden Jubilee 19 min., 2021

„Wenn wir die Bilder der Vergangenheit untersuchen, sind wir aufgefordert, im Archiv zu graben?“ Drohnenvideos von Goas Landschaft, 3D-Renderings des Elternhauses des Filmemachers und 16-mm-Filmmaterial der indischen Unabhängigkeitsbewegung. Golden Jubilee nutzt das vielschichtige Potenzial der visuellen Narration und verbindet dabei unterschiedliche filmische Texturen und Erzählformen um die Geschichte eines Ortes, der von Finanzspekulationen, Mineralienabbau und Kolonialismus heimgesucht wurde, neu zu denken. Es ist der dritte Film einer Werkreihe über Erinnerung, Diaspora und Dekolonialität. Suneil Sanzgiri stellt darin die Erinnerung seines Vaters an die Begegnung mit dem „dämonischen“ Geist Devchar in den Mittelpunkt, dessen Aufgabe es ist, Arbeiter:innen, Bauern und Bäuerinnen sowie das einst gemeinsam genutzte Land von Goa zu schützen. „Schützen wovor?“, fragt der Filmemacher.

Vorträge:

Caitlin Berrigan arbeitet als bildende Künstlerin und Autorin, um Poetik und queere Science Fiction als wertbildende Praktiken mit Hilfe von Instrumenten und bewegten Bildern zu erforschen. Ihre Arbeit befasst sich mit der Komplexität der Beziehungen zwischen Menschen und anderen Wesen in Ökologien, Technologien und kapitalistischen Systemen. Sie erhielt Stipendien und Forschungsaufenthalte von der Humboldt-Stiftung, der Graham Foundation, der Akademie Schloss Solitude u.a. Ihre experimentellen Schriften wurden bei e-flux, MARCH, Duke University Press und Broken Dimanche Press publiziert. Derzeit ist sie Senior Postdoctoral Fellow an der Akademie der bildenden Künste in Wien. Zuvor hatte Berrigan Vollzeit- und Gastprofessuren an der NYU Tisch, Caltech, dem Bard College Berlin, Harvard und der UMass Boston inne.

Maia Gusberti ist eine bildende Künstlerin und Forscherin. Sie transformiert Bilder in vielschichtige relationale Räume, um die Beziehung zwischen Bild, Blick und Gesellschaft zu reflektieren. Zu ihrer Praxis gehören kuratorische Projekte wie „Complex Images“ (Kino REX, Bern) und „Choreography of the Frame“ (Kunsthalle Exnergasse, Wien). Sie studierte Kunst und digitale Medien in Wien und Critical Images in Stockholm. Sie ist Doktorandin an der LUCA School of Art und an der Hochschule Luzern – Design Film Kunst (HSLU), wo sie derzeit als wissenschaftliche Mitarbeiterin tätig ist. Gusberti war Artist in Residence in Kairo und Amman (Pro Helvetia), Ramallah (Al Mahatta), Paris Cité des Arts und Rom (BMKÖS) sowie Sofia (Interspace) und präsentiert ihre Projekte auf internationalen Ausstellungen, Konferenzen und Festivals.

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