#on that topic- if anyone wants to see any specific pride related art for this month feel free to ask that too :D

[time-slink]

of you're still doing requests, may we have an etho? the way you draw him is so very based and skrunkly

him n his. sugar.. roommate?

#poor iskall #slinky’s sketches #art asks #ethoslab #iskall85 #there’s like 5 asks in my inbox rn asking for etho so there WILL be another more detailed etho soon >:) #also no need to say things like ‘if you don’t mind’ ‘if your requests are still open’ etc etc they’re always open and i never mind! #i am not forced to draw anything i don’t want to and i enjoy people talking at me #i also sometimes have trouble finding ideas to draw sometimes so having a repository of requests really he #lps me sometimes (line break not intended but i ain’t retyping that) #on that topic- if anyone wants to see any specific pride related art for this month feel free to ask that too :D

[thedarkmistress16]

Hetalia G8 (+ Canada, Romano, and Prussia) as Teachers (1/3)

Part 2. Part 3.

~Classes~

Axis:

Italy: Traditional Art. He really wanted an instruction class in the culinary arts, but because his big brother France swiped up the option immediately, he happily settled for teaching the intricacies of art, specifically with sketching and oil painting. Will bring in nude models for “Renaissance Week,” but also does it to have a reason to talk to pretty women and men during work. Anatomy. He really only teaches this as an extension to his art class more than the science of it, again with the contribution of “real models.” The board still hasn’t found out about this predicament.

Germany: Science. It’s not really his expertise or interest, but he has a lot of knowledge on the topic for some reason. This is the one subject he’s lax with his students on because he also struggles with it (even during demonstrations). Technology. Focuses on lecturing about older pieces of equipment for the purpose of “understanding history’s origins for modern innovations.” He only says this because he sucks at explaining and handling modern tech. He covers inventions like the radio and refrigeration, and particularly any piece of equipment he’s had personal experience in handling. This causes the students to moan and groan because most who sign up think it’ll be a cakewalk. That is before they realize the pop quizzes center around what integral components make up a communication device’s infrastructure instead of cracking into some computer software.

Japan: Digital Art. He squeezes the art of traditional inking and watercolor in there as well, since Italy teaches a majority of the art department and Japan was too respectful toward the board’s decision to request it, on top of entrusting Italy to instruct the topics with care. Japanese. Usually stoic when teaching, but there are times when he’s seemingly more gentle-sounding when he talks or looks off in the distance. Most students chalk this up to him having a soft spot for the topic.

Romano: Art History. Refuses anyone else to teach this subject due to his brother teaching Traditional Art, finding it obvious that no one else is allowed to do it because of this reason. Gardening. This was the only way he could gush about his love for tomatoes in a semi-related way during class, but is actually more passionate about horticulture than he realizes.

Prussia: European History. Because he is technically not a country, he is more allowed by the board to teach history in this field due to his lack of current world bias and involvement. The wars are still a sore subject for him and traitorous tears will spring up in his eyes when talking about them, even if he has the tiniest bit of connection to them. He will get passionate about distrusting stereotypes when such events are being covered, defending his heritage more than anything else at these moments. May go into tangents when discussing countries he’s personally familiar with. German. His brother is worse at teaching students this subject due to his lack of patience and method of discipline. Prussia is more willing to laugh about mistakes when it comes to learning languages and happily encourages his students to get it right, even if it sounds condescending. Takes great pride in the language still being relevant to teach as a secondary language for non-natives. Always happy to see willing participants taking in his every word during sessions.

Allies:

America: American History. He forced this subject upon the school board to be taught regardless of relevance and completely refused to let Britain teach any of it in case he tried to “twist the truth to make me look like the villain.” He really gets into the Wild West chapter of his life, the whole comics code fiasco, and various fights for the rights of the people, including the Revolution. Communications. Loves commanding a room and having people listen to what he has to say. He encourages his students to do the same and helps them get over any fears they have with public speaking. May seem like he doesn’t care with how he comes off and how he says things, but truly looks out for his student’s well-being.

Britain: English (ESL/ABE). Absolutely appalled at America’s interest in teaching English and never budges from his stance on being the superior instructor on this subject, despite what his older brothers may say. Gets mildly agitated by what he sees to be common knowledge as a native speaker when a student does or says something wrong. He ends up portraying more patience in correcting mistakes than he lets on with his standoff-ness, not unlike a mother hen would. Literature. One of his favorite subjects to teach and it shows. He also takes it seriously to the point of lecturing his class on properly caring for the assigned books and looking downright scary when a small antic like passing notes catches his eye. It seems he can spot pranks and tricks without even needing to look in that direction, and students claim he has a sixth sense or some kind of insane hearing power for that kind of thing. Whenever he gets to covering Hamlet, he has to physically stop America from hijacking his work computer to play “The Lion King” instead of the live-action adaptation he originally cued to show during class.

France: Culinary Arts. He’ll die before he lets any other country have the honor of teaching the art of cuisine to impressionable minds. While the dishes he presents are mostly his own, a lot of them have real-world applications to other cultures’ meals such as general food prep and ingredient selection advice. Fashion. Was only able to nab this subject due to his devotion in following current trends and either designing immaculate inspirations off of them or accurately anticipating the next fad. If France didn’t advocate for the importance of style functionality, fabric durability, and color theory, then the school board wouldn’t have offered Fashion as a necessary subject.

Russia: Home Economics. His big frame holds a gentle soul, which is why he chose to teach home skills. Topics like sewing and cooking are made his own by delivering instructions on how to do such tasks with things found around the house when the recommended materials aren’t available. Likes covering D.I.Y. projects in particular, and while the board disagrees, they’re too afraid of opposing him on it in fear of being beaten to death, despite Russia’s go-lucky claims of only “beating you all into submission, silly!” Russian. About every student who takes this class gets intimidated by Russia at one point, either from making mistakes or during a normal lecture. Sometimes he can’t help his emotions and brushes them off, but his students will always remember his chilling auras and sudden interrogations at disruptions or ignorant questions. They’re all too fearful to report him.

China: Health. Really focuses on telling students the things that are bad for their bodies, which also includes the mention of narcotics, substances, sexual activities, etc. He’s very blunt about the information he gives, which makes note-taking pretty straightforward. At the same time, the things he covers rarely stray from the textbook to the point where some students don’t bother attending lectures and just study the text instead. China’s never caught onto this and simply calls those students “lazy,” making his tests and quizzes notoriously easy. Chinese. Because he was denied his demand to instruct the history of Asian nations, even with his claim of America getting his way with American History, the board claimed another history class wasn’t necessary. So, in retaliation, China interjects heavy doses of Chinese culture and history into the topics he teaches in his class, which mainly revolve around home remedies, his native language, and other, general facts about Asia as a whole.  This was the closest he could manage to be able to teach a history course on his and his younger sibling’s cultures.

Canada: Math. Most students take this class when they hate the subject but like Canada as a teacher, because this is the only course where students can actually hear him speak through the whole session. On top of Canada's slow explanations, willingness to correct himself, and patient answering, the subject is less daunting as a whole. Workshop. From birdhouses to chairs, the students will learn a-plenty about carpentry with Canada, who really oversees the work and reads from the book. He acts as the text’s voice, really. He does none of the actual demonstrative work for it and is virtually unhearable when the students start working. Knowing this, America’s a little peeved he isn’t in there so he can teach it the right way, or “the hero’s way,” which includes wielding his chainsaw and screaming about Chuck Norris for some reason. This is the exact reason why Canada doesn’t allow him to teach it with him. What his brother doesn't know is that Canada acutely observes his students, who all quickly realize they can't get away with slacking off in his classes. Baking. Canada’s recipe log for this class includes small yet filling Canadian treats, and even some from France and Britain. He instructs difficult and tricky recipes on purpose- wanting to gauge his student’s current levels of skill, patience, and tenacity when they come across a difficult problem. Some students grow aggravated with this method, feeling like they’ve hit a wall or are being treated unfairly, while others feel accomplished or see what their instructor is doing and welcome the challenge. They can hear him a little better in this course compared to Workshop, but not by much; some students wish live captions were a real-life thing when they attend his lectures.

#moi writing #or for your consideration- an aph oc can teach european history instead of prussia? 👀 #classes here means the main courses they're solely or mostly in charge of. this is relevant to know going forward yes. #aph hetalia #aph headcanons #hetalia headcanons #aph axis #aph allies #aph italy #aph germany #aph japan #aph romano #aph prussia #aph america #aph england #aph britain #aph france #aph russia #aph china #aph canada

[munku-collar]

This is your open invitation to infodump about an opinion you've been wanting to share. Go off, friend 💙

Actually had a convo about this with my gf today that a lot of people fundamentally misunderstand Demeter as a character which I've def complained about before but specifically when it comes to her sense of fashion or appearance in human AUs.

For some reason there's this tendency to make her dress modestly or somewhat plain, to make her look like a goody-two shoes, which is not the case at all. At face value Demeter and Bombalurina are the "sexy cats" of the show. Their makeup is the most human/least cat like and designed specifically to make them attractive, and the choreo in the macavity number oozes sensuality and the song itself hints at a very active sexual and dark side of Demeter which she shared with Macavity.

Yes, she knows the things he's done are terrible and left him behind and now can offer warning, but there's nothing to say she didn't also enjoy things with Mac when they started out, which I always talk about whenever I mention Demecavity. It's a direct parallel to Grizabella honestly, in that they both were out in the world doing things that were perhaps morally questionable in pursuit of either romance, fame or belonging, and neither situation worked out. That's probably essay worthy in itself, but I'll leave it there for now.

Anyway, the fact that Macavity is obsessed with Demeter and wants her back is a direct indicator that Demeter has a naughty side or has an edge to her, because Macavity would not fall in love with a run of the mill goody-two shoes who just fawns over him. There was something in Demeter that he related to and found exciting and attractive, and it certainly wasn't because she is the type of person to wear sweater vests and modest dresses or even casual wear with sneakers.

Design-wise her appearance is more wild compared to some of the other queens and some productions push this really far with her wig. She's one of the handful of cats to wear a spiked collar and there are some parallels between her eye makeup and the trad goth fashion movement. See examples here.

(2nd photo on the top row is of the lead singer of Siouxsie and the Banshees which is a band featured on my Demeter playlist because their music just Screams Deme.)

Yes, she is a very loving character, and is sympathetic, especially towards Grizabella, but there's an underlying strength in her and even a hint of darkness compared to a lot of the other cats. It's even in her color scheme: she's got white on her chest over her heart, indicating a sense of purity, which extends to gold, making her attractive and "valuable" or covetable, but the gold is shrouded in black, which suggests that she's tainted by encroaching darkness, regret, and in my eyes, anger. These details in her appearance are directly transferable to her personality, which a lot of people misread.

There's a tendency to make Demeter this fearful, defenseless creature in order to make whichever character she's shipped with, whether it be Munk or someone else appear stronger or more capable and caring, which I don't understand. She is shown to be very alert throughout the show, warning the tribe of potential danger every time and she isn't afraid to use her voice. She participates in all the activities, doesn't hide away(in some productions she does which is an intentional change but on the whole she's Involved in the tribe) and she is the one to reveal Macavity's deceit. She is the one to physically attack him first. Demeter is not demure and incapable of taking care of herself or others. She has to have a sense of fire or strength in her for the story to work. Like I've said, there has to be a reason Macavity wants her back so bad.

And women, contrary to popular belief, are 3 dimensional, so yes she can have moments of vulnerability or anxiety, but that is not all she is. She's capable of experiencing a range of emotions and presenting herself in more than one way, which many people tend to forget. And this happens with several characters, in every single fandom I've ever been in, where people reduce a character to a handful of emotions or quirky traits in order to ship them, or turn them into props for other ships, or because they simply don't put in the effort to analyze a character. I'm not sure why it happens but it's something I've consistently noticed and it irritates me to hell and back.

So how should Demeter be presented in AUs or drawings where cats are wearing human clothes? Simple and goth or grunge leaning. Black clothing with hints of brighter colors mimics her fur pattern. Perhaps a gold shirt or dress. Goth inspired makeup(whether full goth or a more subdued look) directly parallels her facial markings. Black leather jacket. Tall boots or heels. The collar. The collar should always be there, whether it's her actual collar or a similar dramatic necklace. Obviously she can wear a range of things depending on the situation, but the overall vibe should be the same: Trustworthy with a hint of edge.

The goth umbrella is very large and filled with many fashion motifs and movements including anything from leather to lace, and of course Deme can lean outside of a specific type of fashion too, but the overall style should be a mixture of grungy, sexy, and casual, in line with her characterization. Low necklines but long sleeves. Short skirt but long boots and oversized jacket. Something that indicates that she seems like trouble, but is very in control of her self presentation, and most importantly, her clothing isn't performative. She doesn't dress for anyone else's happiness, she dresses for her own.

For a character with such apparent trauma who has, for the most part, found happiness, her clothing should be a form of armor or a form of visual storytelling. She should look comfortable in her clothing, because she's become comfortable in her own skin again, and should wear it with pride, as she wears the title of Jellicle. This is moving into character design territory, which I'm not going to go into too much even though I could (art degree 🤪) but yeah.

I suppose I'll leave off with some outfits I would put her in, if I wasn't too lazy to draw. Some of these are more on the tame side, indicating that she's found a sense of easy confidence and honestly, rehabilitation, but they all share visual traits. You can imagine they all are in her wardrobe/belong to the same person. A sense of coherency is a must when picking a style for a character, and these looks, combined with either subdued trad goth or full trad goth makeup accurately reflect Demeter's character much more than something like pastels and lots of florals, or sweater vests, or a simple graphic t-shirt and jeans.

No shade to anyone who draws her like that, because people make beautiful art, but in my eyes it's not the most accurate representation.

Lastly, don't come arguing. This is my blog, my opinion, and quite frankly I don't care to read any differing ones 🤪 This is a very personal topic to me and it's my blog so I'm always right. Don't agree? Keep scrolling ✌

#my shit #asks #demeter #cats demeter #demeter cats #cats 1998 #cats the musical #JH #macavity #grizabella #demestrap #demecavity #no this is not going under a cut cuz yall WILL read this #get educated

[the-gay-prometheus]

Frankenstein AU Segment - “Willful Disobedience”

Clervalstein yearning goes brrrrrrr

Anyways- uh... so as I said at the beginning of pride month, my goal for June is to write at least one directly Clervalstein related AU segment each week because gay. 

This time around, I was inspired to write about the events that led to how Henry would eventually find Victor and the Creature on the mountain, so in terms of timeline, this takes place before all segments I’ve written except for “Home Again” and “Same Scars, Same Stitches.”

A couple of fun little tidbits about the making of this segment (feel free to skip over them and get right to the segment below the cut, this is just me rambling about some inspiration):

1. The whole bit with Victor drawing and the Creature mimicking him by drawing as well was somewhat inspired by the “Forbidden Friendship” scene from How to Train Your Dragon. I listened to that specific track from the movie score a few times while I was in the process of thinking about this idea!

2. Another bit of musical inspiration actually came from the Chronicles of Narnia, specifically the track “Evacuating London” from The Lion, The Witch, and The Wardrobe. If you time it just right and you’re somebody who can actively read and listen to music at the same time, it should somewhat line up with the last few paragraphs (excluding Henry’s bit at the end) - starting at where Victor says “I’d give anything-”, then with the little piano part being timed with the paragraph that starts with “It was intricately detailed-”, then the major swell in that half of the song should line up with the paragraph where the Creature begins feeling the need to disobey Victor’s most important rules; then comes the part that begins with a bit of bells and eventually vocalization, and that entire half of the track should align with the Creature carrying out his plan at least most of the way. Of course - all of this depends on your reading speed, but I would definitely recommend listening to the song after reading at least and imagining those parts of the segment along with it if you’re interested in a little peek into my crazy writing process! 😅

Anyways- this is another wholesome segment, so no warnings needed to my knowledge!

As always, all likes, reblogs, and comments of any kind are welcomed, encouraged, and appreciated!

~~~

Sunlight warmed the cold stone of the mountain ridge upon which Victor sat. His sleeves were rolled up on his arms, as the heat from the summer sun was felt much more intensely up on the mountain top despite the cool alpine breeze. Heavy clouds capped the peaks beyond though the sky was primarily a clear blue, and mist drifted through the valleys below. Though the view was magnificent, the sketchbook that sat on Victor’s knee contained no trace of the mountains. His eyes darted from the open page to the horizon, but it wasn’t the horizon he was searching for. As he stared over the peaks beyond, it wasn’t the view itself he focussed on, and instead an image that was clear in his mind. With a slight smile at the thought, he turned his gaze back down to the page and continued his sketching. It wasn’t long before the smile faded as the sound of quiet, careful footfalls upon the stone broke the calm silence, and he became aware of a presence directly beside him. He instinctively scooted himself about a half inch away as the other figure slowly sat at his side, his brow furrowed as he tried to concentrate harder on his sketching. “What are you doing?” came the inquisitive voice of his creation, and he felt the looming figure lean over in an attempt to view what he was drawing. With a further frown, Victor covered over his sketch with his other hand and turned away.

“Last I checked, that was none of your business,” he grumbled in reply. The creature tried to get a better look, but Victor’s hand covered over too much of it for him to be able to see. He sat there for a moment longer, his mind wandering and his gaze flitting about from view to view as he tried to decide what it was he should do. Now that the cabin was finally completed, he found himself with a lack of activities to keep him busy, and though his creator was certainly better company now than he had been when he first arrived to the mountain, he still wasn’t much of a conversationalist and was often preoccupied with his own thoughts or projects. Out of ideas, he hummed something softly to himself, some tune he had once heard Victor singing one day many weeks ago. Victor lifted his eyes at the sound and glanced over at him, but the moment the creature returned his gaze, he rolled his eyes and shook his head, turning back to his sketching. Quieting himself at his creator’s reaction, the creature sighed and stood, walking back toward the cabin. Victor almost felt bad - almost - but he kept drawing, now absentmindedly humming the same tune. After a few minutes, he became distracted by the sound of footsteps once again, but this time the creature sat a ways away from him. He went quiet, trying to ignore his creation and keep his focus, but he heard the scratching of another pen on paper, then a pause, then more scratching, and he felt himself being watched. With an exasperated sigh, Victor dropped his pen beside him and looked over to the creature. “What on earth are you doing?” The creature looked up at him, his expression blank.

“Last I checked, that was none of your business,” he answered matter-of-factly. Victor stared at him a moment, then frowned.

“Back talking me? That’s new.” The creature blinked, but didn’t answer, instead turning back down to the piece of paper that lay on his knee and continuing to draw something on it. Now thoroughly curious, Victor stood, walking over to him and standing behind him to look over his shoulder. The creature made no efforts to hide his drawing, and Victor could clearly see the rough beginnings of a person sitting in the exact same pose he had been sitting in. “Are you… drawing me drawing Henry?”

“Ah, so you were drawing someone named Henry.” Victor blushed furiously.

“Oh you sly bastard,” he muttered. The creature glanced up at him. “How clever of you, to get an answer out of me like that.”

“That was not my intention, but I cannot say I am disappointed by the result,” the creature responded simply. Victor sighed, sitting down beside him before flopping dramatically onto his back. Now trying to think based on memory, the creature gazed off into the distance before looking down at his paper and continuing to draw. “May I ask who this Henry person is?” he asked as he drew. “I hear you speak the name often. He must be of great importance to you.” Victor wanted to be angry. He wanted to tell his creation to mind his own business and stop prying into his personal life, and yet… he couldn’t be angry - not while Henry was the topic of the conversation, anyway.

“Henry is… was my…” He paused, carefully thinking about how to choose his words, “closest friend.” There was a length of silence as he felt an ache in his chest from the thought of Henry, and the creature took a moment away from his drawing before returning to it.

“Tell me about him,” he suggested as he sketched. Victor sucked in a deep breath and exhaled slowly, holding his sketch of Henry over his heart as he stared into the sky.

“Where to even begin with him,” Victor uttered quietly.

“Describe him to me.” Victor lifted his sketch up and stared at it, before holding it out to the creature. The creature glanced up, and looked at it with a curious expression. Victor gave him a curt nod, signaling that he was welcome to inspect it closer, so he gently took it from Victor’s hand and inspected it closely.

“He’s tall, but not too tall - just tall enough that I have to look up in order to look into his eyes. And he’s always well dressed - I don’t think there’s ever been a day when he wasn’t looking his best, though I suppose I might be a bit biased on that.” For a moment he wondered just how much further he should go with his description. How could he describe someone like Henry without giving his true feelings away? He hesitated, then sighed with a smile. His creation already knew one of his secrets, and, after all, it wasn’t like he was going anywhere or seeing anyone else, so what harm was there in completely venting his thoughts? “He has the most thoughtful hazel eyes, toffee brown around the edges and streaked with emerald green that deepens toward the pupils, the kind of eyes you could get lost in if you stared for too long.” The creature’s pen went still and he looked up toward the horizon, trying to imagine what Victor was describing. “And his hair is long - not quite so long as yours, but ends just past his shoulders - and lays in tangled waves always kept tied back, though a few strands never fail to set themselves free. When the sun hits it just right, I could swear it was made of fire,” Victor breathed as he pictured it in his mind. “It’s the kind of brilliant auburn that takes your breath away, that seems to gleam with its own radiant light. Sometimes I swear he’s more angel than man, and perhaps if angels do exist, he may well be one of them.” The creature smiled, but the smile soon faded as his mind drifted to Paradise Lost and further to his past. He blinked the thought away, then turned his eyes back down to his art, setting Victor’s drawing of Henry down at his side. “He’s covered with what must be thousands of freckles, mostly concentrated on his cheeks but they expand over his face and at the very least his arms, chest, and back. I would liken them to… dark stars against a bright sky,” Victor explained. He raised an arm up and began tracing lines in the air as he continued. “I used to try to find constellations among them, and sometimes I thought I nearly could. Orion, Andromeda, Lepus, Lynx, Pegasus, Phoenix, Vulpecula,” he muttered each constellation as he imagined himself tracing the lines between freckles on Henry’s skin, his chocolate brown eyes seeming to light up with wonder as he grew to be lost in his own imagination.

“He barely sounds real,” the creature interjected nonchalantly, hardly looking up from his drawing as he began to focus closer on it. Victor grinned and chuckled softly.

“I tell myself that every day,” he murmured with a hint of sarcasm. “Surely no man could ever be so perfect, and yet there he is-” He paused, reaching higher toward the sky and extending his fingers to feel the breeze between them, “as real as you and I.” His hand dropped back down to his chest as he heaved a sigh. “There’s no man on earth as generous or as compassionate as my-” He stopped himself, blushing hard as he realized what it was he was about to say. “As Henry, I mean. Just… just Henry.” The scratching of the creature’s pen stopped again, and Victor glanced over at him to see him staring ahead in clear contemplation of the implications of his words before returning to his art. “You know,” Victor began, returning his eyes to the sky. “I can just about guarantee that if it were Henry who made you instead of me, you would have turned out ok.” The weight of his words hadn’t set in before he said them, but now that they were out, they sat heavy on his chest like lead. It took him a moment, but he sucked in a ragged breath and exhaled unsteadily. “If it were him instead of me, William would still be alive.” At those words, the creature froze, as rather than a weight to him they felt like a dagger slowly piercing between his ribs and etching each letter directly onto his beating heart. “And to think… Even if it wasn’t him who made you, if it were him who found you here, perhaps your night terrors would have all but ceased by now. And maybe, by his grace, you would be at peace.” They sat in contemplative silence, both somehow altogether calmed and unnerved in each other's presence. “I’d give just about anything for him to be here,” Victor mentioned, breaking the silence and lifting himself up onto his hands. “And I know all it would take is one letter. He’d drop everything to come here. But that’s… that’s just it. That’s the problem.” He sighed, fully sitting upright. The creature glanced over at him. “I can’t let him just… ruin the rest of his life for me. I don’t know how I could live with myself knowing that I held him back because of my own mistakes.” His eyes dropped to his other side. “And yet… I barely know how I can live with myself without him here.” It was at that moment that he felt something being laid gently on his lap, and when he looked down, he saw the drawing the creature had been working on.

It was intricately detailed, each line placed carefully onto the page with such precision. Though it was only simple line art, Victor could clearly see the image of himself sketching from earlier on the page, but standing in front of him was another figure - Henry. He was exactly as Victor described him, tall and well dressed, with long hair tied back and a few strands that drifted over his face. Though there was no color, his eyes seemed just as gentle and full of wonder as Victor remembered them to be as he stared off to some distant land. His face was covered in tiny dots, freckles, each so meticulously pricked on that Victor could clearly trace some of the constellations he described between them. Tears welled in his eyes as he placed his fingers gently on the drawn image, running them gently down the drawing’s cheek, wishing instead of cool paper that it was the soft, warm touch of Henry’s face. “Did I do him justice?” the creature inquired quietly, trying to read his teary expression. Victor sniffled and smiled.

“You… you’re quite the artist,” he managed to answer. Gingerly, he folded the paper and slipped it into his pocket, slowly rising to his feet. “I’ll… I’ll be back later. I need to take a walk and… clear my head,” Victor mentioned, wiping the tears away from his eyes. “Will you be ok on your own?” The creature didn’t answer for a moment, his yellow eyes staring into the distance as he thought deeply, but soon he snapped his attention back to the present.

“Yes, of course. Take your time, Victor.” Victor sighed and nodded.

“I’ll try not to be too late to return.” His creation watched as he wandered off and eventually disappeared into the trees, before returning to his thoughts. It was strange - in all the months that he had been there, the creature had never once considered disobeying Victor, especially out of the fear that he might abandon him again. Suddenly, however, he felt the strong need to disobey each and every one of Victor’s most important rules. He hated to see his creator so struck with longing, but even more so, he considered the positive ramifications of what his carefully formulated plan might bring. Sure, Victor might be initially upset, but with how much he desperately wanted this Henry person to be there with him, surely it would be well worth it in the end.

The first part of his plan was simple. He would need to break Victor’s trust, and search through his personal belongings. He made his way back to the cabin and slipped into Victor’s room to find a mess of folded papers lying on the bed stand - each paper being a letter he had received from a Henry Clerval. Though all he was searching for was an address, the creature couldn’t help himself and decided to read through some of the letters. As he did, he became even more certain about his decision. Not only was this man exactly as Victor had described, but the connection between them was clearly something so strong that it should have been unbreakable. To his luck as well, the creature managed to find amongst the scattered papers a letter Victor had intended to send as a reply to Henry but never had the chance to send, dated from a time before his creation.

The second part of his plan would be the most time consuming, but also the most critical, and this unsent letter would prove to be the perfect resource. Retrieving his pen and a small stack of paper Victor had stashed away, he began crafting a letter of his own. With as much precision as he could muster, he forged Victor’s handwriting and did his best to copy his style and choice of language. A few hours were spent on this, most of that time spent on crafting one single sentence until he was sure it was perfect before finally continuing on with the rest of the letter. After he completed it, he spent a few more minutes checking it once, then once more to ensure it was in fact as accurate as he could make it, before then spending a little more time practicing forging Victor’s signature and finally signing the note in his creator’s name.

Finally came the most dangerous part. With only his own memory of his travels from Ingolstadt to guide him, he would need to find and deliver the letter to someone who would be able to ensure that it reached Henry safely. Of all Victor’s rules, perhaps his greatest was that the creature was to never descend the mountain, and above all, was never to enter civilization or interact with any other human beings. Each of these would need to be broken in order for his plan to succeed. For a moment, he hesitated. Would Victor become so cross with him over this that he would abandon him once again? Where would he go if he did? What would he do? Who could he turn to? Still, it cut him sharp to think that he might be squandering this small chance to bring his creator some joy after all his sorrow if he were to abandon his plan now. His mind was made - no matter what the outcome would be, he was going to ensure this letter was delivered, and hope that Henry would arrive some day soon just as Victor said he would.

He would need to be swift in order to ensure that Victor would never know he had even left, so he quickly yet cautiously put each letter back in its rightful scattered place as though they had never been touched, and pulled the hood of his cloak over his head. With a deep, shaky breath, he could feel a new sensation pulsing through him - a rush of adrenaline that raised his heart rate and widened his yellow eyes. Letter clutched tightly in hand, exited the cabin and broke into a sprint. Down the mountain he ran with superhuman speed, leaping over logs and boulders as though they were mere hurdles. Though he should have balked at sheer cliff faces, instead he lept from them and skid down their sides, ignoring the sharp pain of the rock scraping at the soles of his feet and the palm of his empty hand. Letting his intuition guide him, he continued his swift journey to Geneva. Though the place held painful, dreadful memories for him, the surge of adrenaline that coursed through him overrode the thoughts, and he raced toward the location of the address. Slowing to a walk, his chest heaved and ached from exertion, but he slowed his breathing as he came upon a fence that outlined one of many pastures that outskirted a large house on a hill beyond. In one pasture, he could just barely see a figure on horseback, cantering through a field with his wavy, tied hair flickering ember orange in the sunlight behind him. 

“Can I help you, sir?” came a sudden voice from beside him. He jumped at the sound, instinctively hiding his face in the hood of his cloak.

“I- ...yes. Yes, I believe you can,” he stammered in reply. The stranger, a servant from the Clerval household, gave him a curious look as he held out the letter. “This is a letter for a man named Henry Clerval. I am of the impression that this is his residence?” The servant smiled as he took the letter.

“Ordinarily I would have sent you in the direction of Ingolstadt in Germany, but as luck would have it, master Henry returned home just yesterday.” He inspected the folded letter curiously. “May I ask your name?” The creature froze, gripping his cloak tighter around himself.

“I am but a simple deliverer of this message, kind sir. My name need not be of any concern. As for the letter, I am under the impression that he will understand who it is from once he has received it.” The servant nodded.

“I understand. Thank you - I will see that it’s delivered to him promptly.” With that, the man turned and started off toward where the man on horseback was riding, glancing back at the creature in confusion for a moment before continuing with a brisk pace to the one he would be delivering the letter to. The creature waited a moment longer to watch for the rider’s reaction, smiled, knowing he had made the right decision, and began his sprint back toward home.

“Master Henry? Sir?” the servant called in the pasture, letter held carefully in his hand. Henry’s hazel eyes lifted as he turned his head and gently pulled back on the reins of his mount. The mare he rode slowed to a trot, then to a walk as Henry carefully turned her in the direction of the servant.

“Yes, Marc? What is it? Is there something wrong?”

“Nothing wrong, sir,” Marc replied. As Henry slowed his steed to a stop at his side, he looked down curiously at the other man, who held the letter out to him. “This arrived for you just now from an unknown deliverer. He said you would know who it was from when you read it.” Now thoroughly intrigued, Henry took the letter and opened it. His eyes widened as he beheld the handwriting, and slowly his other hand lifted to his mouth as his jaw dropped while he read. “Is there something wrong, sir?” Tears welled in Henry’s eyes, dripping down onto his freckled cheeks as he looked up from the letter, his expression of shock turning to a tearfully happy smile.

“No, Marc, everything is much better than I had anticipated.” Marc gave him a confused glance. “Will you help me ready a supply pack and ride with me? I will need to be leaving at once.”

“Of course, sir,” Marc replied with a curt nod. “May I ask where it is we are headed?”

“The base of Mount Montanvert.” Henry turned his mount, his eyes resting on the distant mountains. “Be prepared to bring the horses back here for me once we arrive there. I might not be returning for quite some time.”

#frankenstein au #frankenpride #clervalstein #head empty clervenstein thoughts #clervenstein my beloved #also back at it again with not proof reading before posting lmao so hopefully this is good

[pigspeetsandhooflikefeets]

Hey. I don’t like posting this because I like to be a positive person and this is a really cool and positive fandom, but I need to say please avoid melodicalmusic on DeviantArt/doggiebeats on Quotev. Initially I thought it was just someone who was missing the point, but they are far worse and actively harmful. (notes under cut)

melodicalmusic/doggiebeats is the author and illustrator of an au fic named “Velo Life”. At first glance it is harmless, the art is fine. The story revolves around a mask named Pap (a papillon dog) doing things, being an assistant to the monarchy, and dating Fox. Sometimes other masks get chapters, but the overall focus is on her oc, which is fine, as ocs can be good. The problem isn’t conception, it’s execution.

Transphobia: Melodic decided to cast Leopard as a non-binary intersex character. It was a fair design choice, other than the fact she referred to them as a “pseudo-h*rmaphodite”, which is medically outdated, as well as the inclusion of ‘pseudo’ is more offensive than the slur alone. Leopard has biological cubs, despite most intersex (obviously not all) being infertile or unable to carry children showing a lack of research on the topic, as well as it being a very dysphoric situation for many trans and intersex people.

Leopard was referred to as a “quing”, combination “queen” and “king”. Now. Mull over it. Okay stop mulling, because she had every inch to just use “Monarch”, such as “Monarch Leopard”, as well as titles like “Their/Your Majesty”, which works for both kings and queens, so it should have been suitable for Leopard.

Unprompted, she backpedaled saying “But I wanted Leopard in my AU to be a actual female. Cause I think it's for the best. Everyone kinda hated Leopard, but I love everything she does. No not Transgender, just really a female.”. Besides the fact she took it in her own hands to decide that a mask played by Seal was ‘now a cis woman’, she implies that trans women are not women, calling cis women ‘really a female’.

In her fic, the only other trans character is Egg, who is exceptionally ambiguous to being trans, not specifying if Egg is NB, FTM, or if he as well was going to be intersex. She dedicates a chapter to pride month, yet a lot of the focus is on the cishet masks (Pap (her oc), Frog, and Fox), as well as a concerning ship of T-Rex and Poodle, as everyone knows that T-Rex is somewhat coded to be a child, since Jojo was only 16 when she performed. Despite claiming to respect trans people, she only had two trans characters, and decided that one of them wouldn’t be trans anymore because “I admired the high-pitch voice that was fitted for the Leopard, it just suits SO well. Even if the show kept going, I always hear the digital high vocals.”. Call me crazy, but that’s not a reason to make a man a cis woman.

As a trans man, Leopard was disgustingly handled in the show with the panel first week, accusing Seal of ‘tricking’ them for wearing drag and acting feminine (not acting like a woman, acting feminine), and I hoped it wouldn’t leech into the fandom. Clearly I was wrong.

Homophobia: Where to start with this. As stated, she changed Leopard from a NB intersex character (in her original canon) to a cis woman. In the fic, Leopard is married to Nick. I don’t need to tell you that she made Nick x Leopard into a straight ship. She made the only gay ship tease in the show into a straight ship. I wish it ended here.

Somali, an oc, has potential. Not here, but he has it. Somali is gay. If you think I’m undermining his character, that is his character. Somali likes magic and theater, and is very flamboyant. He is a gay walking stereotype. In his description, it is stated, “The story is that he turnout Gay, Of course Pappy was Supportive, but she knew it wasn't fair, especially through everything she's involved.” If you need me to translate: Somali broke up with Pap after realizing he was gay. Pap saw that as unfair, and that she was a victim of being lead on because he found out he was gay. Yes, Pap is making Somali being gay and dealing with his internalized homophobia… about herself. She goes to the point of calling him her nemesis. Which is a... toxic way to refer to someone who broke up with you on clean terms.

Somali eventually teams up with Rottweiler, Pap’s brother (who abuses her, despite it being out of character in every means) and is. Evil, and he hates Pap now apparently. We can’t go a minute without the gay oc being evil huh. Somali being gay doesn’t add to the story, it just suggests the only reason he stopped dating her was that he was gay (which is bad and offensive in Pap’s eyes) because he is not shown to fall for Rottweiler, or have any crushes on other male masks. His homosexuality is an accessory tag, and it’s really not a good one when he is the only gay character with a lot of lines.

Every. Character. That. Is. LGBT. Is. A. Token. Ice Cream and T-Rex are the closest ones to not be tokens, as Ice Cream has a job at a diner and T-Rex gets lines, but T-Rex is only used for exposition, and again, a child shipped with an adult mask. Peacock’s and Rabbit’s role outside of the first chapter is to have a rocky relationship, being forced to rekindle their relationship after Pap tells them to do so for a love festival. Several of the female masks are bisexual or lesbians, but they add so little to the plot, that I don’t even remember which ships are which. Every [since Leopard used to not be but is now] main character is heterosexual and cis (Pap, Fox, Leopard, Kitty, Frog, Turtle, Rottweiler) which doesn’t imply that she actually is that pro LGBT. Drawings of hers for Ice Cream and Egg are captioned “Just something Gay for you guys to see~” (fetishizing much?).

Ableism: One of the ocs in the fic is a Red Panda, who is related to Panda (don’t be confused, animal wise they are not closely related at all). In the fic, Red Panda suffers from PTSD due to an accident which caused her to be disabled in the leg, who uses a single-leg-crutch to walk. The physical disability is handled well enough, not being a hindrance or made fun of, but her personality is the worst. Red Panda is a cowardly and sniveling child, scared of her own shadow and completely incompetent. Her PTSD is very thinly written, not giving her any specific triggers or reasons for anxiety. If her PTSD was presented with her being afraid of entering a vehicle or certain smells that would relate to the accident (rubber, smoke, leather), it would make sense, but Red Panda is scared of everything. On a dare, Frog tells Kitty to impersonate a mask. Kitty impersonates Red Panda, making fun of her cowardice, which can be an actual attack on people who have PTSD (like myself), Kitty justifies herself, saying she couldn’t think of anyone else, Red Panda immediately accepting it. Being a minor character, there is no time for her to develop, and the Red Panda we were presented with is already a mess.

In the same chapter that Red Panda is introduced, Axolotl (mentioned a lot later) dares Fox to remove his prosthetic arm. I don’t need to need prosthesis to know that asking someone to take their ARM OFF is unfunny and uncalled for. Pap, Fox’s girlfriend, decided to take the time and kissed the welt, commenting that it “looked interesting”. Don’t- don’t do that. Don’t kiss people’s scars or cuts or welts or anything related to their disability, especially without permission. Axolotl was being ablest to Fox and somehow Fox didn’t know better and forgot to tell her she was acting uncivilized, despite being one of the smartest masks in the canon.

Condoning Incest: One of the ocs in the fic is an Axolotl. The axolotl is Frog’s biological sister, Frog having Turtle as his adopted brother, which in fic Turtle is stated to have been adopted in Frog’s family for over 15 years. In the axolotl’s description, it is stated “Though Axolotl is a relative of him, She deeply has a crush on him. Which maybe weird but hey, Turtle's Adopted. So not a big deal”. No, it’s not ‘ok’ because Turtle is adopted, especially since they’ve been related 15 years. It’s not like Frog and Turtle are ‘close enough to be brothers’, they are related by law. Axolotl is presented to quirkily force a kiss on Turtle in one chapter, which she is not punished or condoned for 1. Sexually harassing him 2. Committing incest and putting it on his conscience, OTHER than her getting salmonella, which all characters who kiss Turtle are prone to getting (Ice Cream in chapter was stated to have fallen sick after kissing him). Axolotl is treated completely fine and Turtle has her in his band, regardless of the fact she is predatory towards him. Additionally, Axolotl is treated as a babysitter towards all of the children on the island, despite, again, sexually harassing someone she is related to, which people saw happen.

Incest is a harmful thing that can cause people to self-deprecate themselves or worse. It’s not a quirky “ha ha, they kissed, so funny!” because Axolotl DOES want to prey on Turtle. She DOES want to be with him. She didn’t CARE about his feelings, in the moment or after. It wasn’t a cute kiss on the cheek, and it wasn’t funny.

Fetishization of Japan: Pap is a weeeeeb. Pap is stated to be Japanese (her last name being Akita) which is confusing on account of the fact Rottweiler and her family are not shown to be Japanese? Anyways, Pap uses broken Japanese, completely unsparingly, and just says it in a way she expects everyone to understand her. It’s not Engrish, she speaks English well enough, she just adds it in sentences, and Melodic doesn’t even offer translations at the end of chapters. Phrases used are arbitrary, one some reason ending with “translator”. Entire sentences can be in Japanese, making the story hard to follow. If this fetishization of the language was limited to Pap, it’d be more tolerable, but other masks, ones who have no reason to know Japanese, use it as well, equally poorly.

Xenophobia: Some reason the USA and UK masks are all good guys (other than Rottweiler) but the German masks live in a ‘badlands’. German Monster teams up with Rottweiler and is his girlfriend, while German Dragon sexually assaults Kitty when they go through the badlands. There is no rhyme or reason why they are the scapegoated ‘evil’ series, but it leaves a bad taste in my mouth.

Inability to handle criticism: I tried. I tried my absolute best to tell her that what she was writing was harmful and past borderline offensive. I told her that Somali was a gay stereotype and very poorly presented, not getting a personality out of ‘likes singing’ (which all masks do…) and ‘is evil gay’. She didn’t care. We told her she was using slurs and that turning a mask played by Seal into a cis woman was offensive and transphobic (as well as Leopard already poorly being handled). She didn’t care.

In fact she more than didn’t care. She called us insensitive and whiny. Quote from her, "Now, I been feeling upset about some Haters/Karens harassing me on my AU ideas. And yes that's dumb.” Karens. You know, the stereotypical older women who hate the gays and trans people and bully people doing their jobs? Karens? Yeah, no. A Karen would be against any characters being trans or gay, insisting the show is for families, not telling them to stop using literal slurs (which have been outdated over 20 years) and to actually write gay characters. She genuinely acts like she can do no wrong and that everyone that doesn’t fawn over her is bad. This has nothing to do with the quality of the writing and the lack of grammar, this is about how she is unapologetically offensive and writing triggering content for the sake of being ‘quirky’.

I’m not saying “go rally against her” or “dox her” or “flame her story”, I’m suggesting please don’t give her attention. She’s clearly a child, and she’s not willing to change. All we can do is limit how much attention she gets until she grows up.

#masked singer #the masked singer #talking about this with my group really hurt like this is a bad headspace to be in #I don't want her to quit I want her to grow as a person

[sazandorable]

things I wanna see in ace fanworks!

It’s Ace Week!

And there’s huge variety among the aspec community (spectrum! that’s what it means!), so here’s a post about a variety of things I’d love to see more in fanworks involving asexual characters!

(I’m especially thinking of Jon from The Magnus Archives and Zolf from Rusty Quill Gaming, but this should easily apply across fandoms!)

I’ll try not to repeat it every line but: blanket disclaimer that this is very much a “what I feel, what I want, me, personally” post. Others (including other asexual people) might feel differently, and that’s perfectly okay. That’s kind of the point of this post! This is absolutely not a “here’s the one correct way to write all ace characters that all ace people will enjoy and agree with” Rules post — on the contrary, this is partly in reaction to seeing other people say that they dislike seeing, or don’t dare create, things that I, personally… desperately want to see, actually.

CW: this post will contain references to many common sources of trauma for asexual people, such as aphobia, partner abuse and rape, as well as sex (in general and sometimes in specifics) and asexual people having sex.

So! I, personally, love and would love to see more...

Fanworks by all sorts of asexual creators

No matter what your specific experience is, it is important, and your getting to create and share art about it is important, and you deserve to get that, and there are people interested in seeing it. And the same is true for all the other aces with different experiences, too.

Variety! Room for all of us! Share your experience happily, and let other aces happily share theirs!

Fanworks by allosexual creators

I’m so happy you’re interested in asexuality and in depicting it! I do want my experience to be normalised and seen as a normal thing that anyone can find interesting and relatable, even allosexual people. If you don’t mean to be an asshole about it, if you’re generally interested in exploring asexuality and you’re doing it from the heart, thinking of asexual people as people — then I want to see it, and I want you to be able to give a try to creating or consuming whatever you want, and I do not want you to be attacked for doing it.

Of course, you might still unwittingly fuck up, and people might still get hurt, and truly hurtful things should still be pointed out in order to be improved on; but I want us as a community to help creators up instead of shouting down, and I hope you continue putting thought into creating fanworks involving ace characters.

Keep reading for some tips and suggestions of things to think about, to keep in mind and to look into to improve your representing of us and our experience of it!

Extremely specific, different, kinda weird, niche, Problematic™ content, from creators of any identity (including questioning!), who are wary about sharing it because they think that there’s no audience for it, or that they’re not allowed, or that it’s a bad and evil way to represent asexuality

I want to see that, I’d be thrilled if you did it, I hope you do it, and I want a fandom environment in which you can do that safely because you deserve to. Of course, make sure to provide good tagging and CW!

Awareness that asexuality is a wide varying spectrum of experiences and there is no One Correct or More Valid Way to depict it

Awareness that even people with the same identity, label and life experiences might want to create or consume different things

Permission for everyone to create whatever they like, so long as it’s just done earnestly

No shaming, gatekeeping, accusations of fetishising, etc.

There are newbie writers who will never learn if they’re scared away from trying; there are people who haven’t yet figured out that they are in fact ace and never will if they’re not allowed to explore it safely; there are ace people who consume ace content to feel good about themselves; there are ace people who create ace fic in order to explore complicated, hard, unpleasant experiences and feelings; there are ace people whose experiences do not match stereotypical narratives I’ve most seen brandished around, and those people are just as ace and just as allowed to create and consume whatever they want; I do not want to foster a fandom environment in which people must out themselves and offer up their experience to scrutiny in order to be “allowed” to write certain topics; etc., etc.

Over the past two years, I’ve regularly seen a lot of yelling along the lines of “this work includes x and not x because this character is ace!” or “this fic I just read is the only valid ace fic” or “oh my god everyone look at this, this is the perfect ace fic”. A lot of it comes from a place of defensiveness and/or pride, ace people happy and proud to share something that was, finally, pinning down their experience. That’s awesome! ... For them. There are plenty of other asexual people who don’t relate to or enjoy those narratives — in fact, all the ones I’m thinking of squicked me hard, despite being made by ace creators and accurate to (an) ace experience, and I would be really unhappy if all ace fanworks was like those. Meanwhile, plenty of stuff I enjoy gets accusations of being fetishising.

So it would do a world of wonder for me and my experience of ace fanworks if those things could be internalised by the fandom as a whole!

Clear distinction between “being asexual” and “not interested in sex”, ”sex-repulsed” or “not having sex”

Those can and often do overlap, but the word “asexual” just means “experiencing little or no sexual attraction”!

In fanworks about an ace character, the two are generally linked and the reason a character doesn’t want to have sex tends to be that they’re ace, but the shorthand and immediate assumption that “being ace” automatically and always means “never having sex” or “hating the concept of sex” always feels a little weird to me.

This goes both ways — even if your aspec character is very sexually active and enjoys it, or if they’re demisexual and currently experiencing attraction to their partner, etc. — they’re still a person who experiences little to no sexual attraction in their daily life, they’re still aspec in a way that can be depicted and that I can be made to feel.

On AO3, widespread use of the tag “Canon Asexual Character”…

There are different views on the “correct” way to use that tag, in part because… what's the point of it? Should we use it in every single fic in which the Archivist appears, because he happens to be ace in the canon, even if it doesn’t come up in the fic?

IMO, it is helpful — it indicates to me that the author wrote their story with that character’s asexuality in mind, and it informed their writing of that character. Personally, I use it on fics where it feels “relevant” even if it doesn’t come up, such as a fic from Martin’s POV about Jon not being very touchy-feely (even though it doesn’t specify that that is because Jon is ace), but not a fic from Jon’s POV in which they’re happily living together but it’s not about the physical specifics of their relationship (even though in my head that relationship is non-sexual, but I could have written this specific fic the exact same way if Jon wasn’t ace).

The use or non-use of the tag can also simply help distinguish fanworks that were created and posted before that revelation, and did not depict that character as ace because the creator genuinely wasn’t aware of it.

… but also more detail than that, for instance: tagging the “shade of ace” the character is written as

A few examples:

#aroace Jon

#demisexual biromantic Jon

#greysexual nonbinary Jon

#sexually active kinky asexual Jon

#sex-positive low-libido Jon

#touch-averse Jon

#sex-uninterested ace demiromo Jon in happy QPR with Martin

#sex-repulsed sub Jon gets creative

#aspec Jon experiences sexual attraction for the first time and it’s for freaking Elias of all people oh God oh no

etc., etc.

Those are VERY different things! There’s some I’d be delighted to read, some I’m not interested in, and some that would actively squick me personally for personal reasons but I can think of some friends of mine that would be super happy to see it.

If you don’t know or aren’t sure of the exact terms, or if you wrote a relatively broad scenario and want to let people project any labels on it, you can also just describe what the situation is or how you depicted your character relating to things. That’s still very helpful. For instance:

#Jon doesn’t like kissing but cuddles good

#the struggle of NOT liking touching but craving intimacy

#Jon and Tim pointing at each other like spiderman meme, same hat?? how??

#Daisy and Basira have no idea how to explain their relationship and it’s none of your business

#Zolf is just tired and wants people to stop prying into his love life

etc., etc.

More awareness that there’s plenty of stuff about the ace experience that, while very common, can be squicky or even traumatic, and more tagging/warning about that

Here’s some other things that are common to the ace experience and commonly depicted in fanworks involving ace characters, and that can be genuinely upsetting and potentially triggering and traumatic, whether or not an ace person has encountered it in their own life (lots of CWs in this list, obviously):

encountering aphobia, even clueless and well-meaning

having internalised aphobia, aphobic thoughts, self-hatred, feeling broken or strange

social pressure to have sex or relationships, people being invasive or judgy about others’ love life, feeling disconnected from allo people

trying things out just to see

having sex

enjoying sex

forcing themself to have sex

referring to past sexual experiences as something that they didn’t enjoy

being emotionally pressured into having sex

wanting to please their partner despite not desiring sex

feeling an obligation to satisfy their partner

the prospect of romantic rejection for their asexuality

the idea that they must earn love

the idea that getting their boundaries respected is something exceptional and rare and an incredible sacrifice from their partner

being sexualised by someone else or the object of someone’s fantasies

wanting sex or experiencing sexual attraction for the first time

etc., etc.

Two concepts here that are both simultaneously true: 1) those are indeed very common to the real life experience of ace people, 2) it is possible to depict the ace experience without tackling any of that.

Of course, you can have all that! You can create content about that! That’s very relatable for a lot of people, and that last one, for instance, can in fact be an accurate and important depiction of demisexuality. But it’s also not a given that a fictional work about asexuality will/should depict it, and not a given that all ace people looking for ace content will want to see any item from that list. So please, give content warnings for all that, too.

It would be a tremendous help in curating and improving my experience if this could become a widespread habit — I have lost count of the amount of fics tagged as fluffy that I had to backbutton out because they suddenly threw in something really depressing that I, personally, didn’t want to see happen to a character I project on (while other readers found catharsis, validation and kinship in seeing their experience represented accurately!).

If it does come up, tags about what comes up

Beyond the content warnings for clearly traumatic stuff, is there “#Discussion of asexuality”? Is it “#Coming out as asexual”, or “#Jon discovers the existence of asexuality”? Is there “#Acephobia” (“#Accidental”? “#Casual”? “#Internalised”?)? Is there “#Explanation of asexuality to a clueless partner”, or “#Jon’s partner tells him about asexuality”? Is there “#Relationship negotiation”?

Since, again, not all aces have the same experience, odds are that some people will JUMP happily on content depicting a specific experience which they relate to... and inversely: again, there’s some of that which I personally do not relate to and actively do not want to read.

Detailed tagging is a huge help for me to figure out if a fic about asexuality is going to squick me and make me sad for the evening because ah I am weird after all even amongst my brethren, or if it’s going to be, finally, my heart’s desire, what I’ve been craving for, and make my entire week. (Sidenote, thanks to good tagging I did find the perfect QPR fic I’d been yearning to read last week and I’m still thinking about it right now and so, so, so happy.)

Making it clear when an ace character is going to be having sex — beyond just the ship tag and rating

Reminder that a fic rating alone does not necessarily mean sex! A fic tagged just “#JonMartin” and rated Explicit could have them in a relationship and then an explicitly detailed scene in which Jon dies a excruciatingly gruesome death, or a graphic scene of Martin having some solo fun, or even another character, or a sex scene between another tagged ship.

With smut involving an ace character as with everything else, there are lots of us that do want to see it (for a wide variety of reasons), and obviously there are lots of us that desperately want to avoid it (but might be in the Explicit tag looking for smut involving other ships, or horror or whump content, etc.) — please help us know whether to click or not click!

The normalisation of not expecting/forcing anyone to do things they don’t actively want to do

There’s a relatively common thing in heartwarming ace fic where the ace character is surprised that their allo partner is fine with dating without having sex and the partner goes, “I love you, of course I’m fine with that” and the ace character is all oh, oh, oh I am loved and respected, did not expect that. Or an allo character saying “That’s fine, I don’t make you do anything you don’t want to do,” or “I don’t want to do anything unless you’re into it!”

And I see how it sounds nice and romantic. It probably is to many people. But it can also be extremely sinister and anxiety-inducing in its implications: what if the partner didn’t love the ace character quite that much? What did the ace character expect? If this is amazing and rare, then what was the baseline expectation? If this ace character has dated before, what were their past relationships like, for this to be surprising?

I end up running into it more in fluffy fanworks about asexuality than in fanworks that aren’t. Again — you can absolutely do that, but please tag/warn for it; even if it’s just in passing, in fluff fic it’s really not something I expect from the genre. Even though I might sometimes be specifically in the mood to read an exploration of that, in dark fic or in hurt/comfort fic!

And now for more specific stuff I wanna see in stories:

This last bit is intended as both an encouragement for people who want to create these things and think there’s no audience (there is!!), and as a box of ideas for people who have no idea how to depict the asexuality of characters but want to :3 Again, this is not in any way a statement that these are The Only Correct Way, or even things that all aspec people want to see, nor is it a diss at people who create, consume or want the exact opposite of these things — for that matter, some of the items on this list are mutually exclusive. It’s just my own tastes and literally just stuff I personally would love to see (more).

Ace character being single, happy to be single, and happily ace

Asexuality being written in but a complete non-issue, not discussed, not brought up, not even to reassure the ace character that It Is Fine

Ace character being flippant and snarky about their asexuality, making jokes and memes about it

Ace character not caring about other people’s perception of them at all

Ace character feeling only pride and happiness and comfort about that label

More than one ace character! Extra love for them having some similarities and also some differences!

Intersectionality: ace character being also aro, trans, nonbinary, bi or pan, polyamorous, kinky, a drag queen, a dom or sub, neurodivergent, disabled, non-white, … ; asexuality being just one part of their identity

Asexuality being queer and belonging to the LGBT+ community in itself; a character being cis, aro or heteroromantic, and ace, and “counting” as “queer enough”

Flirty ace character

Confident, self-comfortable ace character

Ace character considering their specific experience to be perfectly normal and not unique, if not typical

Ace character enjoying something that is commonly considered to be sexy or sexual, but it isn’t for them — such as wearing makeup or lingerie, going clubbing, pole-dancing, massages…

Ace character happily dating someone who is not aspec

I like the thought that it’s possible! I personally like this more than I like fanworks about two aspec people dating. I like it when the ace character is happy to adapt to their allo partner’s requirements and I like it when the allo character is happy to adapt to their ace partner’s requirements and I like it when there are things that just do not match perfectly and that doesn’t put an end to the relationship.

Ace character having a lot of experience dating

Partner(s) already knowing about asexuality and not needing to have it explained to them

Partners just being like “*shrug* okay”, without making it a big deal that they’re “giving up” sexual intercourse

Ace character crushing and getting flustered over physical but non-sexual aspects of their love interest’s looks

Big strong hands, nice jaw, strong nose, long eyelashes, lovely profile, silky hair, lovely eye-colour, delicate wrists, muscles, long legs, collar bone, shoulder blades, squishy stomach, peek of bellybutton, freckles, moles, scars, …

Ace character daydreaming about their love interest in ways that involve zero physical attraction, thoughts about how pretty or handsome they are, or desire to touch them

Jon pining for Martin and just wanting to talk with him, have tea with him, hang out with him… not seeing how Tim is good-looking but being attracted to his humour and nerdiness… missing his relationship with Georgie because it felt nice to cook together and share clothes and watch the telly together… Zolf missing Hamid’s fiery passion or Wilde’s awful puns… being attracted to Cel’s liveliness and inventiveness… being charmed by Azu’s emotional intelligence or her unwavering certainty in her faith…

Smut involving an ace character

No shaming of fellow real living people about that

Not going to go into it again because plenty of us have been talking about that in this fandom for two years now — bottom line is there do exist plenty of asexual people that 1) do have sex IRL, 2) do want to consume smut, can we please, as a community, move past the “this is not smut because this character is ace!” passive-aggressive attacks already. (“I depict this character as not having sex because he’s ace and I’m ace and it makes me happy” is fine! Just don’t imply that that’s the only way to be ace and that other people are wrong to want something else.)

Ace character enjoying sex

Ace character being completely neutral about having or not having sex

Ace character disliking sex in the same way they dislike, idk, coffee. No, absolutely not, thank you, no concession, not for me, but also it’s nothing traumatic or moral or uncomfortable.

Sex being just a thing, not a big deal, having or not having it not being all that important

Ace character enjoying the concept of sex, abstractly. Ace character consuming porn, writing porn, being fine discussing sex with friends, having a dirty mind — just not wanting to be involved in it

Ace character having fantasies that disturb them

Ace character feeling arousal and being just *shrug* about it, not particularly disgusted, just uninterested

Arousal, libido, or masturbation as something different and separate from sexual attraction and desire to sleep with someone or to be touched

Ace character being kinky af

Ace character having multiple partners and different sorts of relationships with each!

Open relationships

Non-sexual romantic relationships

Queerplatonic relationships

COMMITTED!!! NON-SEXUAL AND NON-ROMANTIC!!! PARTNERSHIPS!!! AAAAAA [sobbing emoji]

Non-sexual physical intimacy

Hand-holding! Playing footsie! Cuddles! Hugging! Kissing! Super heavy making out and getting aroused but no sex! Sharing a bed! Lying on top of each other! Bathing or showering together! Giving each other a haircut or a shave! Massages! Non-sexual nudity!

Non-physical intimacy

Committed couple having separate beds/rooms! Getting married! Being in love and not kissing or touching! Loving long-distance relationships! QPR! Affection and closeness expressed through speech, gifts, services, time, shared activities — wearing each other’s clothes, cooking together, long emotional conversations, trust and secrets, love letters, post-it notes, “thought of you” gifts, celebrating anniversaries with a candle-lit dinner, co-parenting...!

Sexual situations with no touching

(CW bit detailed:)

Sexting, cybersex, phone sex, dirty talking, reading or watching porn (alone or together), consensual voyeurism like watching their partner masturbate or have sex with someone else, kink using toys and accessories or scenes but with no actual touching, …

Romanticised consent and boundaries

An asexual character being super firm about what they do not want and their allo partner being thrilled about that trust and communication!! An allosexual partner trusting their asexual partner about what they want without infantilising them or doubting their capacity to establish their boundaries! “Wait, you always say you don’t like [x]?” “Yes, but I feel like it right now, as I assumed would be pretty clear from the fact that I am doing [x] right now :w” “Hey, just checking, sue me :w” “Yes, thank you :w”

Specific boundaries

Cheek kisses but no lip kisses, no PDA, not having sex where they’re also going to sleep, needing a shower immediately after sex, lights off only, …

(CW more detailed:)

… not caring about feeling or seeing their partner’s hard-on but not wanting to do anything about it, penetration but no oral, bottoming but not topping, giving a blowjob but not having their head held, being fine with extreme acts but not liking fluids, pet names but no dirty talk, dirty talk but no pet names, happy to pleasure their partner but not wanting to be touched, not wanting to come, being only into sex as part of extreme kink but not interested in vanilla sex, …

Shifting boundaries and consent

Ace character likes kissing or cuddles but only on their terms — they will come give their partner a kiss sometimes but bristle at being touched. Today is not a kissing day. Today this ace character is a bit down and would like a lot of physical affection and cuddling. Certain areas are off-limits for touching because this ace character is sensitive on their thighs, ticklish in their ribs, self-conscious about their scars. This ace character considers their chest non-sexual so that’s fine but do not pat their butt.

Today, exceptionally, this ace character is horny and feels like banging. Ace character feels like banging sometimes but is not in the mood right now, bye. Ace character feels like banging from eight to nine pm every second Thursday of the month, catch it or miss it. Couple shares a shower every morning and it’s never meant to be a sexual thing, but today the ace one is getting aroused and hey, you know what, they’d like to get off right now. This massage is fantastic but it’s getting overwhelming, so they ask to stop (but it was great!). Ace character is intrigued about this particular scenario/position/kink and wants to try it out, they do, it’s perfectly nice, but hmm, once was enough, they’re not interested in doing it again. Ace character sexts their partner all day but by the time their partner has got home, undressed and prepared and pulled out the strap, they’ve lost interest.

♠♥ Thank you for reading all this! Hope this inspires people so I get more stuff that makes me happy! ♥♠

#ace week #asexuality #representation #the magnus archives #rusty quill gaming #a lot more TMA than RQG though #writing #fanfiction #happy end of ace week everyone!

[historicalfightingguide]

Drilling With Gear(by Tea Kew)

" Something I've often seen in HEMA is the idea that ‘technical practice’ can be done with no or minimal gear. Partner exercises for ‘form’ or ‘technique’ in many clubs are done with just masks, or masks and gloves, or even no equipment other than a sword. This is often pretty safe, as long as all participants have reasonable control over their weapon and actions. But it does still lead to some issues, even if there’s no actual injuries caused. I think that this habit is often a factor in complaints we see about how technique seems not to be reflected in sparring.

The key problem with minimal gear drills is transferability. No drills are like fencing - and good drills don’t have to be like fencing - but it’s important that the skills learned in that drill can be easily and effectively transferred to actual fencing. When using minimal/no gear for drilling, there are a number of factors which limit the transferability of the exercise. Since many of these are required for safety, it’s hard to fix them with better drill design - but it’s easy to address most of these simply by drilling with gear.

The first is intent to touch. When my training partner is not wearing gear, I can’t actually touch them with my action. When they’re wearing limited gear, I can touch them - but I have to ensure I don’t miss in any way (we’ll come back to this later). Both of these mean that I’m not concentrating on delivering my touch to the best of my ability - instead I’m practicing *not* touching, or practicing staying slower than I can to avoid any chance of a mistake. This makes it difficult for me to learn the actual feeling of making my touch, or the commitment required to attack effectively. It also applies to the incoming cues my partner is giving me: the attack they make which I parry/riposte will not actually be an attack that’s going to hit me. I might learn the movement pattern, but the underlying intent in both parties actions is almost certainly going to be missing.

One specific way in which this manifests is distance. Understanding and controlling distance are critical factors in the success of any fencing action, but when drilling with minimal gear, the distance is normally increased for safety. This means participants are learning to associate a particular action with an incorrect distance situation, harming their ability to effectively use it in real fencing. If they try to perform the action in fencing at the distance they’ve practiced it, their opponent is likely to be able to make it fail. So they need to learn to re-adjust it on the fly when fencing, increasing the difficulty of using the action effectively. As a concrete example: say we are practicing a parry/riposte against a thrust. Since we aren’t wearing fencing jackets, my opponent thrusts from slightly wider distance, so that if I miss the parry they will fall just slightly short. I make my nice crisp parry, and riposte with my own thrust - also falling a fraction short. When I try to use this in fencing, I parry at a wider distance than is ideal and my opponent can now likely touch with a disengage. Even when my parry connects and I riposte, the distance is probably a little wide and I’ll fall short or be counter-parried. Another is structure and targeting. In order to shorten the distance without injuring training partners, we see actions like cutting with bent arms, changing the angle of the sword with the hand, shortening the arms in the thrust, slipping away from the target at the last moment, etc. All of these have obvious impacts on what the action will achieve. If my training partner is feeding me weakly structured cuts, I might learn to parry in ways that resist this - but won’t hold up against a properly structured cut that I find from an opponent in sparring. If I learn to change the angle of my thrusts at the last moment to make sure they miss the target for safety reasons, then that is likely to reflect when I try to use the same technique under more pressure. The common thread here is feedback. A good drill needs to quickly give clear feedback about the success or failure of the student’s actions. The safety requirements of minimal gear technical drills make it much harder for them to give this feedback to the participants - and make it much harder to interpret the feedback which is received. If my counter-cut isn’t strong enough to displace their blade properly, was the problem in the action I made, or was it that I’d deliberately weakened the structure to avoid injuring my partner? If my partner’s thrust falls short, did I evade it successfully, or was their attack intrinsically launched at the wrong distance to avoid hurting me? Successful repetitions are in some ways even worse here, because we are learning that an incorrect execution of the action leads to a successful result. A riposte from out of distance should be punished by a counter-parry, but now it’s allowed to be successful. An attempted counter-cut with bent arms should fail to displace the blade, but the helpful training partner lets their sword be knocked aside because it’s the ‘correct’ way to do it for safety here. There’s another major aspect to discuss as well: minimal gear exercises are far less accepting of mistakes. Making mistakes is really important in training - it’s how we really learn what does and doesn’t work, what is and isn’t important to the execution of a technique, etc. When the risk of mistakes is much higher, it’s hard to ‘push the envelope’ and stress test one’s decisions and execution. If I can only thrust into a specific small target area, then I have to slow down the pace of my riposte to make sure it lands there - and my training partner will in turn have to artificially allow this slow riposte to land successfully. By wearing gear, I can push the speed of my execution while trying to keep the same precision - I will fail at this at first, which is why the equipment is necessary, but I can only learn that precision at speed by training it at speed. To be clear, none of this means you have to do technical drills by smashing each other at full force. Controlling the intensity and pace of actions is very useful for longer term training - it allows more practice, with less injuries, and more conscious thought about the action. But doing technical drilling in gear allows for correct distance and structure to be safely used, it allows for intent to touch on the part of the participants, lets mistakes be made safely and gives much better feedback about correct or incorrect execution. Using relatively full gear makes it far easier to train techniques in a way that translates to using them under pressure - whether that’s in free fencing, or in ‘real fighting’, or whatever purpose you are training students for."

Found here via   HEMA World Domination* where you may find further useful information in the comments.

Do remember to check out Tea’s blog https://pteappic.tumblr.com/

And remember that he will likely combine the various bits and pieces of teaching advice in a book or such like.

And remember that he also does seminars and workshops that you may want to employ him for. * “ HEMA World Domination is a place for HEMA School owners and Club runners to discuss the good and the bad, the highs and the lows of running a HEMA based business. Share your tips and advice about running a HEMA school, student outreach, or student management.”

Remember to check out  A Guide to Starting a Liberation Martial Arts Gym

Also here’s a few pride-themed things to check out getting as well as a few related topics

And stay safe

And if you can consider donating to any of these causes.

Consider getting this rashguard or this one or something from here

We need change and justice for all.

This may be a useful link as well.

For anyone unclear on this Black Lives Matter.

Good luck everyone.

#longsword #fencing #historical fencing #swordfighting #hema #swords #pedagogy #teaching #instructing

[tammyhybrid21]

On Villain Impact

SO, Guess who just rewatched UP so that I could further expand on the tea brought up in the post that ask prompted! I mean, and some general comparison moments... with plot and tone and the possible inspirations... BUT--

We're not here to explore Paradise Falls today!

So let's take this in parts so I can give each villain(and one bonus) their dues. Starting with the Pixar villain who first traumatized me in 2009.

Charles Muntz

Sooo first of all, this guy is terrifying.

Like, out of all the villains I'm here to talk about, Muntz has reached that point that there's just... something wrong and broken by the time he actually shows up on screen in his movie. Well, not his movie but-- By the time we meet him, isolation has done a number along with his single minded focus on his goal.

Muntz is... not in a good state of mind AT ALL.

BUT--

I kind of want to take it back for a moment to what triggered this. Because here's the tea-- As we see, throughout the movie with Russel and Kevin, Muntz's find was real. Birb still around even. That skeleton he displayed-- and yet--

They decried it as fake. Something he fabricated. Which hello, here's some of my related tea-- Again, this is basically that whole-- issue of if it doesn't fit with known facts, along with some of the other issues regarding the palaeontology community in general that is-- not quite the same, but--

I have many, many dinosaur issues and some of them come from how long it took people to accept feathered dinosaurs, to the fact that there has been multiple cases of evidence that dinosaurs went extinct much more recently than what we're taught in schools(middle ages, medieval art and designs and just argh--), that are just-- REJECTED. Which even included a report about still images, art and designs that are very dinosaur in nature. Or hell, the comparison of dragon legends to how dinosaur skulls and appearances are--

Not to mention there have been and are still fiascos about dinosaur bones and the whole marrow and blood cells discovered in them. Which instead of maybe assuming that means they're younger than previously assumed they're assuming that means that decay rates are off, which... yeah sure. I don't really have a degree on that, but it sounds wrong when decay has more clear and obvious examples that have been more clearly witnessed, studied-- I mean there's a whole STUDY on decay--

BUT I'M NOT AN EXPERT AND THE EARTH HAS TO BE--

Anyway-- Fossils and bones have-- such a HUGE mess. From exhibits going missing, discoveries passed over time and time again because is "doesn't fit" what was previously know, there's a whole documentary that's one guy trying to explain how there's evidence of specific species actually just being sexual dimorphism and differences in age of just one species and being mocked by the rest of the community for that view--

You know fascinating stuff--

Among other things, like I remember so clearly a documentary that used to be around where they talked about a dig site where there were modern animals preserved with animals from so, so long ago-- along with trying to explain how the very existence of Dinosaur bones and fossils proved that the Great Worldwide Flood happened.

Which-- honestly on the flood, just look at how pretty much every culture has a Great Flood story and that's already proven that something happened. WHICH is all beside the point--

But this-- THIS--

Do you know how much this happens, happened, and still probably will happen in the future?! I mean shit-- people thought the KANGAROO was FAKE NEWS once upon a time. Among-- many other of Australia's animals... also like-- think about weird animals from your own country and imagine in the olden days, sure people could travel, but that didn't mean everyone would or could and just--

How many animals sound fake but then you see them?!

In any case, there's just a very subtle background flow to this movie in that ultimately, the TRUE villains hidden in the story are the Archaeology & Palaeontology communities. Scientists.

--

Which yeah, deviation from the main point of this post, so now that we have that background detail and rant. What impact does Muntz have as a villain. Well... very clearly he's terrifying. Like, I don't think I can overstate how much I was FREAKED OUT as a baby 11 year old seeing this movie for the first time, with exaggerated memories of fire and trauma and all-- and just-- Muntz is a Pixar villain.

Which yeah--

I don't actually really have to say much in regards to how he lingers and his presence is felt all through how the movie unfolds. Even from before this reveal-- there's that sense of wrongness when you're paying attention and you just think about how the dogs act.

And well-- there's something to be stated about this scene... and how it serves as a good lead in to the next villain I would like to talk about-- But for now...

Muntz' degeneration here is subtle. Traitors, liars, people after his discovery... and some serious isolation induced paranoia.

But the heart of his motivation is that long, long ago disgrace. It's been YEARS, of hunting and trying to find the one thing. Carl's entire lifetime from childhood. His entire goal-- and what a hell of a broken pedestal that creates... but arguably, he's from a somewhat tragic perspective when you actually think how fundamentally broken he's fallen when examining the facts.

From a lauded explorer-- adventurer... to this.

Fearing and calling anyone he meets liars.

Max Mordon

Soooo before anyone says that was an abrupt-- I think that this is the PERFECT place to transition over. Because the one immediately there is... some DRASTIC contrasts between these two, despite well. Some small similar vibes to generals.

Like seriously...

Not precisely the same... but like-- Brown hair, blue eyes... and the general frame of his hair style. Max just missed some of the points and has no moustache or anything. BUT--

Max is also in direct contrast in regards to motivations. At least to the prior villain of Muntz. BUT-- Max is kind of literally the kind of people that Muntz was paranoid about. Which isn't really played for subtly in the movie, which is unfortunate, but to be fair that's a hard thing to play subtle and with all the tropes we've been exposed to nowadays-- BUT--

Max basically fell into the trap of, pedestal to break, along with what I kind of call Scooby logic, in how his presentation gave him away as a villain. And also all the older mentor characters disapproving of him.

Basically he was doomed from the framing.

Which-- isn't really the movie's fault, and in the end I would argue it actually plays to his favour to be so obvious.

Sooo I can also actually focus on other things instead of the fact we all know! Like how THERE'S just... so, so much I could say about Tad's reactions to Max throughout the movie. But that will probably take away from the focus of this rant/analysis. BUT-- Yeah, Max is set up as pretty obviously trouble to EVERYONE but the main characters.

Which... I do have opinions for another rant about how Sara would have in any other context probably noticed his fake sooner-- but Max is... "media circus" and archaeology... and more really his pursuit is-- really, really straight forwards in the context of the movie and even the greater scope.

Max is after immortality, power, and prestige. Puts great pride on his title and claim to be the "Greatest explorer". And much unlike Muntz there is no sign of ANYTHING tragic or forgiving in his background. He wasn't screwed over by the system, rather he's here using the system to screw others other.

ALSO--

Max is savvy as anything.

Like-- I don't think people will quite understand my glee at how RUTHLESS this is. But in a similar vein to Muntz, Max isn't letting anything stand in the way of his goals. Not here-- directing the Odysseus to get rid of Freddy and Tad despite them ostensibly being "no threat", which yeah... not completely for Tad as later that comes back around-- BUT-- Max is just... SAVVY in that sense that he's not taking risks.

BUT then we also get him showing he's... really not as expert as he plays himself. Which sure, the Professor has studied for years, but still-- there's a kind of logic that's just-- well, in the Quipu room and even before entering the ruins... He's just-- not studied enough, or observing enough. Not without blind spots.

BUT--

I also want to for a moment just take a moment to have an aside on this:

I also don't know if this is something that people would notice. But-- when it comes to this moment, Max turns the tables... really quickly. Which half of that is just Mummy being kind of naïve himself here in this moment, like-- of all the decisions... but the other half is SOMETHING clicked in Max's mind on this--

But mostly I want to focus on that expression. He's so damn smug-- like he's got a plan, smug and smooth, ready to try and steal the advantage... and I have... opinions on other nuances that might be hiding in that smile. But-- well, it's just not something that can easily be covered all in this--

BUT

It's these two SIDES. And his clear motivation, that actually makes Max a really, really strong and interesting villain to speculate and think about. ALSO-- On the topic of my prior rant...

Max DEFINITELY is the kind of person who probably-- had the movie not unfolded as it did, just be likely to think Mummy was just "another discovery" and tool to use to boost his own reputation.

But as we all know-- ultimately it all came back down on him and backfired.

Jack Rackham

Is honestly the most bland and kind of... confusing almost part of The Secret of King Midas. Like, I almost get him, but then compared to Max, there's just... Nothing to really work with in terms of fanfiction for missing scenes, alternative takes on the universe and story-- and even for his basic motivation it feels like something is... missing or unexplained. Not quite paid off properly.

But then, a lot of things in the sequel kind of pan out in a weird way that I have... much to grumble on.

"So cute, the power of Midas goes way beyond wealth my dear"

"Midas' power, is the power of the GODS! The power to Rule the World!"

Aaaand then this feels like it doesn't actually get a proper explanation or framing or anything to explain what that even MEANS. It's kind of nebulous to how things pan out and unfold. Also, just in general for movie 2, we didn't see enough of Rackham for him to make a proper impact or landing...

Like, for all the world aside the romance subplot, Rackham's presence in this movie is the MOST FORCED THING. He just feels... incomplete, or like something is missing. And then worse, obligatory. With next to no impact aside a few expressions that only lead to more internal confusion and screaming because WHAT DOES THIS EVEN MEAN?! What was meant to be going on here?

And that stupid, stupid line--

Makes me wonder if there was some other factor supposed to be at play with the collar. Since honestly-- Just the touch of gold doesn't really speak highly to "the power of the gods".

Rackham... in comparison to Max is just-- so empty.

And again...

The last thing that just drives my confusion(along with a conspiracy based on framing, set pieces and other things) is this expression, and specifically who it's aimed at.

Bonus Tiffany & The Archaeological Community

So...

Hot take but-- Movie 2's villain should have been Tiff. Well, halfway anyway... And I have... already mostly ranted on the topic-- But not really enough to truly kind of get over my TRUE frustration. Which has now combined into how nebulous and almost... overloaded movie 2 feels the more I rewatch the rest of it.

BUT LIKE--

If there is one rule that we see time and time again when discoveries are made that challenge things. THEY ARE NOT ACCEPTED. People just like to think, to believe that we know the most about the past already. That there's a strict timeline to everything that happened. And if mythology and stories come into it-- Just for crying out loud--

The issue persists.

People denying anything that challenges the view already established. Up to and including the mishandling of archaeological digs and finds. Destruction of artefacts and we all know that the ones who get the brunt of it are the younger folks, those who're out of the "default" and well... ladies.

Which yeah-- not really surprising because sexism still stands and rings strong... but here...

DESPITE THE PAPYRUS BEING FOUND-- We didn't actually get to see the end result of that... And how it was taken beyond a giant presentation. There would have been authenticators-- people going over every INCH of that thing and then more-- so, so many people who would STILL call it fake.

Since we all know! Magic isn't real, myths didn't happen. So this must be some exaggerated story as well right?

WHICH ALSO-- Arguably this whole angle, the potential of the plot being just-- Driven by this-- It's more in line with the motives that are set up for Tiffany. The BIGGEST DISCOVERY in recent history. And also again, I can talk about some incomplete arcs, because this actually gives EVERYONE that little bit more room to breath.

Also serves as a bit more of a move on from movie 1 for Tadeo, first his hero(Max), wasn't all he appeared, and now-- the villain is okay, not exactly defined so much, more abstract in the community decrying the evidence. Denying-- Quite likely mishandling the papyrus since it can't really be what it claims.

Actually make the papyrus relevant, along with Sara's journal of notes on the project for more than one scene... and POSSIBLY EXPLAIN THAT LINE FROM RACKHAM.

Power of the Gods... and the mystery of Sara's kind of echo/response line to it.

“There are too many signs that the power of Midas shouldn’t be trifled with, I’m just saying that maybe the collar shouldn’t see the daylight”

We could have even still had that climax, just with some alterations, and let Tiffany come full circle in the theming. Set up and payoff, with even the legend being mirrored. But anyway... yeah.

Just in general, the villains most effective here are the ones who give us more than just that surface level empty sense. That have presence that's felt and echoes throughout the whole MOVIE and story. Which is definitely Muntz and Max, without them something is fundamentally lost.

Meanwhile Rackham is there, but he feels obligatory, without a proper explanation and if you removed him--

Tiffany could have become a mirror to Muntz in a similar way to Max-- BUT also much closer. She's set up PERFECTLY for it as well. Her adoration and eagerness, that bright hope yet. And it would be so easy to still have the main beats be the same-- Without much of an issue of the plot push either.

Rackham's sense of presence in the movie is so... dismal anyway--

And as for that climax. Well, you have to prove every aspect right?

BUT then it wouldn't make sense for Tadeo to make any kind of sacrifice there. To come full circle, it would need to be Tiffany. And the collar ACTUALLY could be sacrificed like in the legend and Tad first assumed.

#THybrid Jones #Pixar #Up(Pixar) #Tadeo Jones #Max Mordon #Rackham(Tadeo Jones) #Tiffany(Tadeo Jones) #Charles Muntz #Villains #This is filled with salt tbh #Because I wanted to RANT #But also I got to expand a bit on some things that bothered me #BUT NOT ALL OF THEM #Because I need to finish a certain fic so I can frame some of my posts properly #There are two moments cherry picked in this post I want to rant further on especially #But only one I'm sort of halfway able to

[protego-et-servio]

(original post is below the cut. It was submitted to me.)

About kitbulls: 

I just went ahead and removed the post after this. Thank you for giving me posts and tumblr blogs to look into, as well.

Though, there is a discussion to be had here about allowing people the space to grow and time to come to terms with past problematic behavior. Especially as time passes between the problematic behavior and the current day. I can’t say whether this applies to kitbulls, since they haven’t spoken on the topic and I’m not really interested in scouring their blog.

As for the kink at pride discussion: 

I wasn’t specifically saying you were trying to allow it; it was a general discussion for the greater audience.

The link you provided about kink at Pride just rehashed the broken arguments to allow it. Let me just take the final reblog and bold the parts I’m talking about: 

The thing is this post is misleading. The pictures of the pop play folks aren’t from pride and the one with children carrying pride flags is photoshopped.

This is a problem that doesn’t exist. It’s just meant to devide the community and sow discord. That said, children are innocent. If a child saw that and asked you wouldn’t have to explain BDSM, just say they’re pretending to be doggies. It’s a grown up game. Let’s go over to the bounce castle for kids games.

That said, pup play is kink and people who aren’t comfortable with kink might not want to see it. It’s about sharing space and having boundaries that don’t cross over other people. One persons right to wear what they want vs another persons right to not see things that make them uncomfortable.

But where is the line where we can police how other people dress. Especially at pride where a big part of it is dressing how you want to dress.

They straight up say this isn’t a problem, when it is. This isn’t just about puppy play, but any sort of kink play being indulged in while in the public face of Pride, where minors are present. 

They talk about just simply explaining puppy play as adults pretending to be dogs, without critically acknowledging the fact that said adults do that as sexual play. And they’re trying to do that in front of minors, if not outright including minors. 

(Which is what happened to my kids when a man in a puppy mask approached them while acting like a puppy. Our Pride is relatively small, but I see puppy players do this a lot, specifically. If a puppy player just wants to walk around with a puppy mask, that’s fine; as soon as the puppy player begins acting like a puppy, especially to anyone underage, then it crosses a boundary.) 

This isn’t just a problem with LGBTQIA+ adults, but adults - as a whole - when it comes to interacting with minors in problematic ways. Especially when the adults refuse to take culpability and try to blame it on minors. 

(I’ve seen this recently in NSFW art communities. Like, there’s been grown adults commissioning 18+ art from minors and these adults try to turn around and say, “Well, the kid chose to be in an 18+ place!” They are literally trying to blame the minors for their bad actions.)

Going back to the post, they then marginalize people’s concerns as simply being about how people dress. Instead of about actions.

Yes, homophobic organizations are full of bullshit, but - in this case - they’ve highlighted a genuine problem at Pride. It’s like how conservatives accidentally post leftist sentiments when trying to argue against free healthcare. (ex: “Food should be free, because no one should starve” in response to “healthcare should be free, because no one should suffer.”)

hey I’m the anon who sent the ask about kitbulls

they were formerly known as gaypitbull and some other variations containing “gay”, “pitbull”, and “sjw”, and were a well known exclusionist at the height of discourse, and while they claim neutrality they still constantly engage with exclusionists and acephobic posts (“lol cringey aces” nonsense) like most people who claim to be “neutral”…. 

and for a long time palled around with a user named goblincourse who was cis and frequently spoke over trans people, in particular nonbinary people and saying terfy shit like that orientation is based on biological sex, not gender

but while they claim they have stopped doing that, kitbulls has been known to speak over nonbinary people on the issue of nonbinary attraction, claiming

- it is transphobic for bi people to not be attracted to men AND women, and that being attracted to men and nonbinary people or women and nonbinary people is transphobic,

- that only being attracted to nonbinary people is transphobic,

- the whole “women”/“men” lite nonsense such as that "if you are amab and attracted to women and fem-aligned nonbinary people you’re just straight and trying to sneak into the community"

- and that nonbinary people can’t call ourselves gay, etc etc sort of policing

https://yamchass.tumblr.com/tagged/cistrenders

this user’s tag talks about fuck-cistrenders, but it includes some of kitbulls shenanigans since the drama was related to them both, such as reblogging and supporting shit like this:

https://yamchass.tumblr.com/post/182766905515/can-i-have-sources-of-what-fuck-cistrenders-did-i#notes

As for the kink stuff, I didn’t say that shit never happens, what I said was that those specific pictures were from a staged event by homophobes. I can’t find the post that linked to the source, but it’s been debunked a few times in the notes (problem is that gets drowned in 100k notes). I’m not saying there should be kink or anything I’m just saying those specific pictures are faked.

https://cameoamalthea.tumblr.com/post/623655755711660032/someone-not-wanting-to-see-kink-shit-at-pride-is

And everywhere I go to find “real” pictures crops up massively homophobic sites, articles, etc.

#answered #pride #kink at pride #lgbtqia+ #submission

[cyrusxdukeofmaine]

Chateau du Maine | Planning

Parties: Members of the House of Maine

Summary: Rhett gets prickly and Asa gets grumpy but overall success in the planning of the direction of the House of Main for the first challenge!

Date: Sunday, January 26, 2022. Evening

Tagging: @susanna-gallou, @asmatamaji, @asa-le-pennec, @rhett-thomas, @henrixseznec, @theresponsiblefloch, @lianaromano-ofmaine

Cyrus was on hand to greet each arrival at the Chateau. As he looked over the room, most of the members of the House of Maine within, he felt a rush of pride. They may be small but they were mighty. Most importantly, they were good people and he only hoped he was worthy of them all. “Good evening everyone. Thank you for coming. I will not stand on ceremony. We are all too practical for that. We have been dealt quite a challenge. Event planning isn’t quite our forte. But I thought first I would ask what cause you believe we should advocate with our event. There are, quite literally, no wrong answers, but I would like it to tie, in some way, to the values and interests of our House.”

Jadon hadn’t been able to make it after all, but Javan had given his solemn promise that he would text regular updates as necessary to make sure the other man’s voice could still be heard. They often had similar enough opinions that it wouldn’t make too big a gap. With a glass in his hand, Javan listened carefully as the Duke began to speak, smiling slightly at the ceremony comment. “If we’re starting to throw out ideas, why not something based in the environment? There’s a lot of unfinished clean up initiatives or green energy tech we could push which would better protect the land long term.”

Henri set down the baby on a blanket spread out over the rug and let Lola attempt to keep herself sitting upright. She was very content to be in the centre of such a group of people, as was he. Frankly, he had been relying heavily on his house since Lola arrived and they had yet to let him down. “I like the idea of environment? Or food related in some way? Given how many farmers, gardeners and chefs we have in the family?” he sort of suggested, not precisely sure how he could help but wanting to try.

Susanna sat with her notebook in her lap, dutifully making notes as her family spoke. She could plan an event, but she wasn’t sure she could do it on this scale for this many people. She considered the question Cyrus posed before biting her lip. “A lot of our family is related to food,” she agreed with Henri. “Whether directly or indirectly. But then, a lot of our business also falls into hospitality and hominess thanks to our presence in the hotel industry?” She shrugged. “It’s difficult but the positive is that we can reach several types of avenues. I know we should stay away from the arts, as Anjou will have that covered.”

Liana looked up from where she sat cross-legged on the ground next to Lola. She didn’t know what she could do to help the House, especially since she was so new, but she would do whatever she could. This was her father’s house and they had been more than welcoming to her, so they had her devotion. “I like the idea of doing something with the environment, too. If not something with recycling or cleaning up the Vannes, maybe we could think about bringing more green space to the city? Or sustainable food growing resources. That could be especially beneficial to the lower-income residents in the area.” She liked the idea of giving back to those in need.

“Perhaps.” Asmata started after hearing the propositions of her house members. “There is a way to combine all of those.” She tapped her lip, thinking. “There is an opportunity here to undertake a project with long term benefits that other Houses would not be able to afford. There are already homeless shelters running entirely on solar energy in Mexico, New York, San Francisco. If our family funds half of such a project and raise the rest of the money it would only further show that House Maine is willing to invest in the future of Breton. Our family has a lot of ties in construction, the building of such shelters provides an opportunity to teach and employ the chronically homeless, and leave them with a skill that would make them employable in the future. 

Cyrus looked over with interest as each spoke. They were all good ideas and he felt a sense of bubbling excitement. They could pull this off. They really could. “I like this. If we could tie in some means of a community garden perhaps and put together sustainability, housing and food security … well I think we’re really onto something that would be good for Vannes and Breton. I would certainly put some of our House funds into such an endeavour that could sustain itself for many years. Once it is going we could have Abel … for anyone new in town.” Cyrus glanced at Liana, “He is our lawyer … put together some sort of foundation that could go far beyond this year. Asa? Can you think of any lot of land we could acquire that might be suitable?”

Rhett looked around as everyone talked, unsure really how he could contribute to the discussion. As everyone talked, his gaze flitted from person to person, silently agreeing with the proposals. It was only when Cyrus mentioned available land that he finally spoke up, not quite realizing it was out of turn. “Your Grace, there’s lots for sale just outside of the city proper, to the South. They were going to build a neighborhood there, but I think the developers overestimated the amount of luxury homes people wanted away from the city center. I got back a deposit we’d put down there about nine months ago - I’m sure they’re still available.”

Asa had been ready to speak when interrupted by the younger member of their family, giving a slightly annoyed look in Rhett's direction before forcing a polite one towards the Duke and remainder of the family. "Regardless of if those developers have overestimated their market or not, I think we should be focusing specifically on options closer to the heart of the city... Not outside of city proper," he countered, giving the submissive a pointed look before turning back towards Cyrus. He may have been drunk at the Gala, but he’d been sober enough still to remember Rhett’s annoyed responses when they’d interacted briefly during the event. The repeated disrespect irked him, intentional or not. "In response to your question, Your Grace, if we're focusing on low income individuals who may not have enough even for proper housing or food, we should be focusing on potential locations where they'd have easy access to things such as public transportation, assistance programs, and other community resources. I can do some research and ask around if you’d like, and get you a list of options sorted by price, location, and square footage by the end of next week."

Liana was especially pleased that the conversation seemed to have lingered on helping those less fortunate. It was an idea that she could latch onto and already feel herself becoming passionate about. After her uncle responded Liana nodded eagerly. “I like the idea of having something closer to the heart of the city. I think the need is all over, but if we focus on the city itself we can offer more resources and do more to support those that would be using what we create. Apart from that, it would also be more in the public eye. I’m sure that would be useful in the coming months.” She spoke quietly, but with determination.

Cyrus nodded thoughtfully. “All right then. I think we have a direction and I for one, am quite pleased with it. It is something that we can sustain, in an area we know well, and something we can continue in other areas around Breton once we have given it a first run through.” Then he let out a big breath, “So what kind of event shall we have? Any ideas?”

“We … could do some sort of fundraising party?” Henri offered up. He couldn’t contribute to land discussions or even how to grow and prepare food but he did know parties. Lots of parties. From high end to those decidedly less so. “We could auction stuff off? Like art  …. Or books ... “ Lola chose that moment to squeal and he paused, “Or like a bachelor auction?”

“Bachelor auction,” Susanna repeated with a wrinkle of her nose. She didn’t love the idea of auctioning off the family members and she could just see it getting dicey considering some of the personalities in House Maine. “I suppose that could work. Or we could do something a little bit more...” How did she say less like waving their Dominants around like pieces of meat? “Directly related to what we’re proposing here. We’re taking care of the homeless. Donations could be monatery, I suppose, or it could be something like donating things for the shelters outside of what we’re doing. In exchange, we could always do things like recognition for those donations. People love to see their names on plaques.”

Rhett faded into the background, his lips pursed into a frown. After getting his idea shot down, he wasn’t sure what else he had to offer to the conversation. He’d thought that maybe having a location on the outside of the town would best serve non-noble families, a cause making the House of Maine worthy of royalty, but conversation quickly deterred to the next topic with his idea gently brushed aside. There was absolutely nothing for him to offer up with this conversation. Instead, Rhett scoffed at the idea of a bachelor auction - if the idea passed, he would absolutely not participate. His relief was palpable that Susanna seemed to agree at least. He did agree with the idea of a donation drive. “I agree with Suze,” Rhett added in, just so it could be noted that he’d participated. “But plaques can get expensive. Do we really want to waste money on something masturbatory for rich donors when that money could be spent on actual people in need?”

“Cyrus could talk to the city officials, as well.” Asmata offered, voice calculated. Nice as helping those less fortunate was, all this was an exercise to prove Cyrus was fit to be King. To better highlight the Duke’s qualities: “Convince them to donate space in the more populated areas in Vannes. Our House can invest in real estate outside the city, as well – the community gardens would fit there quite well, so it’s a win – win for everyone.” As for the rest, she leaned into her chair, a little amused. “Let’s charge them for a plate then. Those are cheap.”

“Why not have multiple parts to it? We could do a donation drive and either before or after do a high end catered event featuring locally grown foods from all the different farmers as part of the family? Sort of showing off the quality and meals that would be provided to the people in this shelter, but it gives us a bracket for the highest donors to have an additional formal event but keeps it accessible to all tax brackets. Do the right kind of advertising, we could even get some of the tourists in on this so we���ve got multiple sources of money,” Javan threw out.

"Whoa whoa whoa," Asa interjected, motioning for one hand for everyone to calm down for a moment. "Bachelor auctions, engravings for donations... Is any of this honestly necessary? I'm pretty sure between everyone in the family, we could raise more than enough funds for at the very least the majority of what's needed. If we accept donations from the public, it should be accessible. Not an event that only appeals to singles or those with enough money to afford their name up on a wall or a plate at some dinner.... I'd rather we encourage the public to volunteer their time than their money, if anything. If donations come along as well, so be it. If we do delve into something with construction as well, perhaps Rhett has connections and could help us cut down the cost of any materials needed? Or assist in leading whatever work needs to be done by volunteers? Provided certain things don’t require professionals, of course.”

“If we’re seriously thinking of opening a place for the homeless or those with less-income, we could have an event where volunteers and donors could tour the place once it’s done. We could show them what we’ve done to make it sustainable and why it will be such an asset to the community.” Liana chewed on her bottom lip as she watched the people around her come up with their ideas. She liked them all, but found herself trying to combine them all together somehow. She looked over at her uncle and gave him a tentative smile, pleased to see how he was contributing.

“Rhett is a laborer at a construction site,” Rhett interjected, looking over at Asa, who’d suggested he had connections. “Duke Cyrus has better connections than I do on that front. Now if you want me to help out building the thing, I’d be glad to donate my time as well as Maeva’s money. This… whatever we’re doing, should be transparent and accessible, as Liana suggested, but you don’t want a hundred people who have no clue what they’re doing trying to work on it. You want cash to fund it with skilled contractors. Sir.”

Oh heaven forbid he try to be nice to the guy and include him, despite his annoyance. “I was referring more to the aspects of ideas like community gardens or I don’t know.. Building bird boxes, Rhett,” Asa replied giving the submissive a rather annoyed look. “Not that you’d know anything of the former. As I said-- certain things of course will require professionals, but I was thinking if we can we should offer opportunities for individuals who maybe don’t have the financial means to contribute, but do have the time and or experience. There are other laborers in this city for instance, who if interested in volunteering their time and effort alongside yours, could be of great use. But perhaps we should just circle back to the bachelor auction idea since you seem so enamored with that.” Not that Asa actually wanted that.. Even remotely.

Henri just looked around as the conversation grew heated. “As awesome as some of these ideas are … can we organize this in less than a year? I mean? Would the ground even be cleared and ready for construction that fast? The plans or whatever? I … I think we could have a concept but we won’t have a thing available for people to do or see that fast, will we?” He looked around the room, “I’m legit asking. I have zero idea.” Reaching over, he picked up Lola, “What I will say is that if I didn’t have money and I was left alone with Lola, I would have been fucked … so I like this idea a lot. I can help with planning a party … kind of? But construction stuff and all that, I have zero idea. I couldn’t hang a shelf. We need to raise money because that’s what the Arbiter said. We could … put together like packages of things … like the hotel does? You know? But this time, they are auctioned off? We could associate them with a person. Like his grace could be a yacht trip along the coast. And he doesn’t actually have to go. He’s just like … the face of the package?” He proposed, with a look around, “Liana could be a garden redo. Javan and Jadon could be like a food and alcohol tour or something? I have no idea what I’d be but we could come up with something?”

“It is doable” Asmata assured him. “Some of the city spaces are abandoned and merely in need of upkeep, equipping them with solar panels would not be much effort. And we don’t even have to be done with the project by the year’s mark, merely have a start, since something like this doesn’t have to end anytime soon. Hopefully, it would be just a step in a direction many other cities in Breton would take.” Asmata nodded, quite liking Henri’s idea. “The package sounds lovely, actually. Of course, I offer the hotel as a venue for the fundraiser.”

Asa nodded in agreement with Asmata's response. "As long as we're not building from scratch, we won't have to deal with a lot of the nitty gritty that would slow this type of process down. There's plenty of properties available out there that just need a facelift. I can pull up a list once I just have a more solid idea of what's needed. I'm not opposed to the idea of individuals offering up their own specialities as well though.

“Okay, let’s go back for a minute to the bird boxes. This is supposed to be a place for the homeless, right? Do we really want amateurs building homes for flying rats to shit everywhere they’re going to be hanging out?” Rhett asked, his brows raising. “I mean, respectfully, sir - I don’t think we’ll be missing the funds of those who can’t contribute financially. We need to meet with a contractor and get a proper budget. I know I can part with a good bit once the sale has gone through on Maeva’s condo, which should be soon.” So much for staying out of this conversation and being quiet. Rhett turned to Henri next. “It’s doable,” he repeated Asmata’s assessment. “But again, why waste money on prizes? The people we’ll be going after have the money to do that on their own time. Whatever money we raise should go to the people and I think we should be transparent about that. That will win the family favor not just with nobles, but with everyone.”

Asa sighed and turned towards Henri, annoyed with the fact that Rhett obviously couldn't take a joke. "Why don't you let Rhett go and babysit for you in the other room while the adults talk?"

“No need - I’m sure all of you very capable adults have this under control. Let me know when you need physical labor taken care of. Would hate for anyone to get a blister,” Rhett huffed, standing up to leave the room. Enough was enough.

“Rhett!” Cyrus called out. “That is quite enough. Take a seat. Now.” He wasn’t known for raising his voice but sometimes a situation called for it. Then he straightened, “We must do something for the other nobles to attend, including the Duke of Vaneti. He is, after all, the Arbiter. I like this project and would be pleased to do it without this challenge hanging over our heads. But we must also recognize that we are trying to cast a cohesive impression of the House of Maine. I will speak frankly, I need you. All of you. If I am to have the slightest chance of succeeding. Asa … I will ask you to look at buildings and locations. Perhaps Liana can assist to see what land would be suitable for sustaining gardens, capable of feeding people. We do need some sort of … thing for people to attend … Asmata, will you look at the hotel’s calendar and select some possibility availabilities for an event.”

Rhett sat back down as told, his expression a mixture between anger and annoyance, but he knew better than to open his mouth any further.

Asa nodded, expression calming in response to the Duke's words. He sent his niece a glance, nodding in agreement. “Of course, your Grace.” 

Asmata nodded, lips tight in a displeased expression. “Of course, your Grace. I will get back to you with dates.”

Liana nodded resolutely, happy to be given a task that could contribute. “I can do that, Your Grace. I’m sure between all of us we can find somewhere suitable that will thrive in Breton.” She then stood from where she had been sitting on the floor next to Lola and folded herself into a seat at the table, meeting the other’s eyes with a hopeful smile. They really had a chance of doing something great and she was eager to be a part of it.

Susanna narrowed her eyes before getting to her feet and moving over to sit beside Rhett, her heels clicking on the floor before she perched and reached out to take his hand so she could squeeze it hard. They would be having words. She sighed before humming a little nonsense tune to perk herself back up. She was too tired for the squabbling over nothing. “I only suggested the plaques because people don’t tend to want to do anything for nothing. That might be cynical, but it’s realistic. If they did, we wouldn’t have any causes to address.” She shook her head. “I think I can probably name on one hand the people who voluntarily check the box on their taxes to make charitable donations. People like credit. But given Cyrus’ charisma, I think that he could possibly demonstrate his way with the people--like Asmata implied--by convincing them. If you really think some kind of reward or recognition is too far.” She shrugged. “As for whether it’s doable… a year is an awfully long time. And as Asa said, we aren’t bad off.” 

She looked to the fellow submissive beside her, biting her lip. “Rhett… with the right hours and monetary incentives, could a construction crew do it? Realistically? Because I think we’ve decided they can, but you would know best of this group.” He could contribute without being a butt, if the right questions were asked.

Rhett sighed - he could expect a dressing down from Susanna for sure later, probably Cyrus too. But he could set that aside for the moment and get through this meeting. “Yes, realistically,” he answered. “But we need to have someone draw up plans and we need a firm budget in place first. The budget will tell us what we need to raise and allow a crew to start work as soon as possible. A year really isn’t that long. It’s already the end of January and it’ll take at least a month to finalize plans and determine a working budget. Assuming we move rapid pace through everything, I doubt ground could be realistically broken until at least April or May, and that’s if there’s an available crew.” There, he’d managed to keep his cool.

Now that it seemed like tempers had cooled off a little, Javan rolled his shoulders and spoke again. “In that case, it sounds like we’ll all need to pull our weight to get the ball rolling in time. I can’t do much on the building side, but since an event like this is going to take series planning, a couple of us can start to also work up the budget needed for our show to the nobles. Nothing says we can’t do a fundraising event at the hotel and also do a Grand Opening if we’ve got the right expertise and luck on our side. Jadon and I can work with Asmata on that part. Maybe Henri join in? I figure Susanna you’ll be running between all of us to make sure we’re on track.”

“That sounds amazing, between the four of us, we can do something great. We can pool the resources from the hotel and the restaurant to figure out the best way to staff and manage the event.” She nodded, looking at Henri. “And Lola can stay with child care services at the hotel while meet up, so she can be near.”

Cyrus was pleased to see everyone so invested in the House. Would he become King? It was up to the Arbiter. But at the end of the day, the House of Maine would put on a good showing and credit for itself. That was more than enough for him. “Wonderful. I am enjoying the progress of the matter and declare this preliminary meeting a success. Shall we all head into the dining room now? I’m sure the cook is pacing … she always likes to put on a good show when one of the Floches is here.” He nodded at Javan as he spoke. “Please…” He murmured, gesturing toward the door.

#google doc para #group para #house of maine

[megan-lovell-blog]

journal

Placing myself within contemporary art structures.

I think I have found it difficult to place myself within a contemporary art framework, I find myself in my work, as in all other aspects of my life, straying from the status quo and rejecting societal norms. To me there is an internal struggle between the bourgeouis of the art world and how out of touch this feels with my views of the world and my place within it. Nevertheless, I am very much a traditional maker, to me the only way I have felt justified in creating work, is to create work with a very high level of skill. I am disheartened, in many ways, by the switch in the art world of concept over skill and craftsmanship, and feel as though the latter must very much exist in order for the former to be relevant. Art often feels very capitalist to me and with that it loses it's sense of soul, however I also struggle to see the justification in making a piece of work that anybody could make. As an artist, as in all other fields of work, I feel as though one has to be skilled in their medium. I have also often found it difficult to really be confident in what it is, I want to say. The turmoil is again present in a feeling that I dont find myself wanting to preach or feel as though I am trying to make a comment on anything from a pedestal, as though the viewer would be entirely unable to come to this revelation on their own. Despite this, I find myself to be quite an opinionated person, with a huge amount of discontent in many aspects current society, as such I find myself living on the fringes, with a markable sense of disenfranchisement that inevitably feeds continuously into my  life and sense of identity. So paradoxically, I am attempting sometimes to keep the very essence of my being and belief system out of my work out of a sense of ego and pride that I don’t want to ram my views down the throats of others, whom I believe are largely blind to the system that they are playing into. I am also concerned that in trying to force political or societal commentary or meaning onto work, it will seem forced, convoluted and inevitably too loaded. Until now, I have immersed myself in what i have felt to be the most honest part of art, exploring materials, honing craft, justifying my existence in the art world based on my attention to detail and commitment to craftsmanship. I can not, however, deny the fact that there is subliminally some very specific imagery and themes that reoccur within my work. Thematically, there is a distinct air of the fantastical with a macabre and slightly unsettling undertone. For me, there is some very personal symbolism and meaning involved in each individual piece, that I have begun finding it really interesting to dissect as a tool of self-reflection and understanding... sometimes almost to the point of psychoanalysis. However, this is quite personal and actually not something, I find is necessary or relevant to share with a viewer. What I have begun to explore within the slightly fantasy nature of my work is an element of story telling, creating characters and stories that go with them. I have not yet decided whether or not I feel the need to display the story with the pieces or they can help influence my creation of the sculptures which can speak for themselves. I find the idea of characters as metaphors for elements of the human condition, particularly within our current societal structures, means that I can explore these themes that are so fascinating to me without feeling as though I am standing on a soapbox. I guess the slightly macabre element to my work is largely that I dont feel the need to work through or bring attention to the easy and light bits of life, the bits that nobody talks about but everybody struggles with consciously or not are far more interesting to me, I want to bring attention to the vulnerabilities, fears and laments of humankind. Currently, I am almost solely using children as my subject matter, I believe this is because of the innate vulnerability, fragility and innocence that they represent. They are also a blank canvas, for me they represent infinite possibilities and potential. When we are children we can be anything and we believe we can be anything, it's as we age that the effects of responsibility, fortune, courage, education etc constrain us and map our lives moving forwards. With regards to the showing of my work, I struggle with the idea of my work being solely for a gallery, or a private collection, it makes it again, for a particular kind of person to enjoy. I want my work to be viewed outside, in public, for as many people as possible to see and interact with. Moving forward I would really like my work to potentially take on an element of entertainment, potentially in the form of narration of puppet shows, or a sculpture trail that is guided and narrated maybe even in song. I would really like my work to be accessible to many and to evoke imagination, joy, sadness and thought, I want it to make people think and maybe relate the microcosms to their own lives and unique experiences. I have begun to make links with my own work and a mythical element, much of the anthropomorphisation and even choice of materials innately has metaphor and meaning. I have begun to draw out the subconscious meanings that are involved in the symbolism in my work. Many of these meanings for me are very personal to my own experience of life and probably a certain amount of trauma related to this. I do however, feel as though the symbolism and general themes are not unusual and are commonplace in the lives of many and thus can be easily identified with. I feel as though my work is definitely currently sitting within the realms of contemporary classicism with regards to my requirement to make work that is of high attention to detail and anatomically correct. I feeel as though this works really well alongside my use of a fantastical element, myths and legends, which often featured in the works of classical and neoclassical artists.

Myth-Science/ Fictioning Lecture with Simon Clarke

Simon Clarkes lecture on myth-science and fictioning was incredibly useful and inspriring as it discussed the use of fiction and myth-making to create alternative realities and concepts that are difficult to explain or would be difficult to get one's head around otherwise. Simon discussed the use of fictioning in explaining concepts that could bring about radical change, potentially in creating a new future society, dealing with capitalism and environmental issues. Simon also led a couple of exercises based around creating fiction as a group and another involving making sounds as a collective and trying to work together to organically grow the sounds. These were fascinating to me as it was a lesson in collaboration, connection, releasing inhibitions, and felt very thought provoking as we so infrequently come together in a group of people, particularly those we don't know well, and engage in something that feels vulnerable and exposing. Futhermore to this, infrequently do we work as a community without favour for anyone to create something that is of benefit to all of us, even if this is simply chanting, singing and stomping ones feet. The story we created with joint ownership, was about a newly hatched octopus treading water above inky depths, who upon hearing breathing above him remembered he was no longer a bowl of tulips and so jumped up out of the water to look for the tulips which were his former self, only to be sucked into a vacuum cleaner where he spent eternity cotinuing his search for himself in a world of dust particles. Initially, I felt as though much of the story was not as I would have liked to write it myself and seemed stupid, but on further examination it was actually quite beautiful, meaningful and very reminiscent of old fables or stories from many cultures around the world. To me it spoke of someone trying desperately to grasp at old aspects of themselves which they hold in reverence and thus never being able to fully actualise the person they have now become, which has a world of potential you are too scared to find out. This lecture spurred me on to look at the use of myths in art throughout history and looking at the relationship between myth and metaphor within art. 'Metaphor allows us to understand abstract or inherently unstructured subject matter in terms of a more concrete or at least more structured subject matter' (Lakoff 1993:228-229). Much like it was discussed in Simon's lecture, stories, metaphors and myths have all been used as vehicles for broaching much more complex and often contentious or loaded topics and ideas. I also came across the notion that the time in which many of the myths we still know today was very poignant in the creedance they were given as without science there was more validity in mysticism as genuine explanation. I would potentially argue that one may as well believe in the old gods and any number of other old wives tales, in fact if they did so with so much unquestioning vehemance as they do capitalist constructs, the world would probably at least be mostly nicer and a bit more fun, as this is just as much a made up concept as the tooth fairy but with a horrendous amount more greed, callousness and poverty.

Woodcutting collaborative Project

This has been a challenging project for me as I feel it doesn't really fit for where my work has been going recently. I felt resistant to it as it seemed not to showcase my strengths, but I have overall enjoyed the project and have found a way to make a piece of work that I feel is relevant to me. The woodcut is of a young girl being held up by nature, with which I have written a story that has actually been very challenging to write. For me it is quite poignant and very close to my heart, I am not sure if I feel they completely match as pieces of work, as the picture itself very much has more of a bite the hand that feeds element to it. To me it speaks of the idea that we are held up and kept alive by a natural world which we then abuse for our own satisfaction, greed or desire to own thebeauty of as opposed to just witness it. I am pleased with the image overall, and feel as though it is something I would like to pursue further potentially for a future sculpture. Unfortunately due to coronavirus, I was unable to print this picture using the facilities at university but I wanted to see it through to a final conclusion so I have managed to create a version of the print using oil paints and a wooden spoon method. For me, I don't feel as much connection to my own 2D work, it doesn't have as much movement or life in it.

Blacksmithing competition 20x20x150

During this term, I entered an open call blacksmithing competition run by Hereford College of Arts, for this, I made a sculpture of a forged steel person with a large 'spoonhead'. I wanted to enter this competition to have an opportunity to work to a brief, making something from a particular size of 20x20x150 square bar steel. It was also an opportunity to apply for something outside of university and look at the process of getting your work out there to be viewed on a larger scale. Unfortunately the forge at uni broke 2 weeks before deadline so I had only one day to produce a piece. I made my spoonhead person using someone elses forge outside of university and have written a story to go along with it. The piece itself, is a prototype I suppose, as having made it, I envision there being many of them all outside as an installation, in the woods or on a hillside. I have even considered maybe asking other people to make one each, with the idea maybe that they are all effigies of our egos, for which the spoonheads are a metaphor. Please read the story attached to the people if you would like more info. 

Forging has been a relatively new process this year but one that I have been fascinated by in terms of metallurgy, process and skill. It is truly alchemy in its changing of a solid object into something completely other. Next time I would like to look at making the head even larger and thinner and applying repousse techniques for adding features.

Storytelling within my work

This term, I began to run with the obvious fantastical element of my work, and attempt to get to know my characters, for a better understanding of where they come from within me and also as a way of better making their messages clear within the works. As a result of this, as the characters come to life through process, as does their story begin to reveal itself to me. I have been writing whort stories alongside the works to aide me, I am as yet unsure as to whether I will want my stories to be viewed as part of my work or if they are part of just my process in understanding my work and the characters that I create. I don't know yet if they are necessary as an addition that adds to the intrigue of the works or if they overexplain the works. Lots of the deeper meanings of my work, I have found, are rooted in my own experiences of life and relationships - which has been really interesting for me by way of self therapising and understanding where I come from as a person - however the minutia of my personal life are not particularly relevant to others when viewing my work. In making it less specific to me, it makes it more relatable to others.

Process Sculpturally and 2D

This term, I have decided to take the focus off of making 2D work, and only making work that I am genuinely interested in and proud of making. I haven’t been finding 2D work to be challenging or engaging currently and in this, it doesn't hold my attention or passion. For me there is a lack in impact with flat work, making work in 3D automatically brings it into being as an entity within the world that we can interract with and view from all angles. It's important for me to explore the use of materials to convey a greater depth of meaning within my work. Materials are an extra language to be used to evoke thoughts and feelings within the viewer without having to be overt. Having said this, I am also in love with working with metal, for me it's capabilities are endless, and the more one understands the metallurgy involved in metalwork, the more you are able to achieve. As the term has progressed, I have been researching artists and painters and have found some, such as Beth Carter and Kiki Smith, that have been making 2D work alongside their sculpture that is often heavily stylised and has an element of fantasy and macabre to them, I have continued to look into other artists making work that is flat. that is interesting to me and have found that I am actually quite attracted to developing my own drawing skills to make work with a style that is more interesting than my own, which can be seen within my sketchbook. I am also been motivated to have a go at painting for the first time as it has another element of process and layering material, as in my sculptures so far. I have been really intrigued and inspired particularly by Ruth Spear and Shaun Friend as contemporary artists that I have found through instagram. From this I have spurred off into looking at pre raphaelite artists such as Millais and Waterhouse as these also create very skilled work with an element of myth and storytelling involved. I feel this also adds in to my placing within the realms of contemporary classicism. Storytelling for Earthly Survival

Lisa Wright and Tom Piper - Future Forest

Despite feeling as though this work is slightly clumsy in terms of craftsmanship and not entirely to my taste, I feel as though it is a good example of work that is environmentally and perhaps almost a little politically charged in the direction of persuasion that I myself would subscribe to. It gives art a higher purpose than just being something that is beautiful to look at. It is also interesting to me as I would like to make work with the view of it being shown outdoors and existing therefore in both harmony and juxtaposition to the natural environment. I feel as though taking art out of the gallery and putting it into a place that has more of a soul, gives it more depth and an environment to interract with. It also makes the work more accessible to a larger population who may not so readily engage with showing their work in a gallery. As with my work there is the use of classicalesque poses and figures with a contemporary element, which brings the dialogue of past and present.

Kiki Smith

Kiki Smith makes use of a very stylised way of drawing that is reminiscent of old fashioned fairytale illustration with an almost childlike feel which, coupled with an often macabre subject matter with a heavy fairytale subtext, makes for an unsettling feel in her work. I feel like although her style is quite different from mine, her intent is similar in that it uses story to make comment on the world and the human condition. Often Smith also uses animals in her work similarly to myself. Her sculptures have similarity to my own in that often they use nude figures and animals, however, like her drawings - there is less of a focus on realism and more stylising than in my own. Her work generally focuses around the plight of women and equality, which is quite reminiscent of her time starting out within the art world. This has less relevance for me within my work at my time in history, however I feel there are similarities with the use of fantasy and imagery to allude to more serious, societal observations.

Tim Shaw

For me there is a great deal of confliction in my feelings about Tim Shaw's work as an artist. 'The rights of Dionyssus' is a piece that I love for the sense of movement and energy he has created within the installation, they feel crazed and a little depraved in their festivities, which I feel strikes a perfect amount of discomfort to go along with the awe. In terms of making, I am really inspired by the artistry and skill that has led to the making of this particular piece and I can definitely draw similarities with the anthropomorphic direct metal figures anfd they are very relevant to my love of narrative, legend and fantasy. Having said that, it has been drawn to my attention by some people that these and his bullfighter pieces also, have an element of cultural appropriation around them, this personally I can understand more with the bullfighter as myths from so long ago don't belong to one people necessarily in a europe that has seen so many invasions and decimation of the original civilisation, these myths belong to us all at this point. In many of Shaw's other pieces, however, I find that they are too overt. Often I feel they are too over sexualised, to a point of a reliance on shock factor and also not particularly respectful of women recently in his work strapping a woman covered in tar and feathers to a pole - a problematic decision from the privilege of a white middle aged man.

Beth Carter

Beth Carter's work is interesting to me as she has a real attention to detail and high level of aptitude in relation to her craft. Her work draws a lot of parrallels to mine with the heavy use of anthropomorphisation. She also regularly uses mythology, such as her minotour pieces. Her birdman is also reminiscent of a plague doctors mask. In her drawings she focuses on children and a juxtapose between innocence and a sense of uneasiness/ slightly macabre undertones. Evident from the drawing of the girl with the lion cub, she uses found imagery often as inspiration, this particular girl is one I recognise from a Sally Man photograph. I feel as though her work is also very related to fragility, awkwardness, sadness, apathy and the human condition. I feel as though her drawings particularly bring a fantasy element, her proportions and composition can occasionally be intentionally childish too, helping further to transport the viewer into a feeling of childhood and ones own experiences.

Phillip Wakeham

I became acquainted with the work of this artist in a gallery in St Ives and it stood out to me from the rest for the amount of movement and texture in the pieces, this coupled with a use of mythology and slight abjectivity makes for work that is considered and relevant in contemporary art, whilst also reminiscent of more classical sculpture.  

Jovana Tucovic

I was drawn to Jovana Tucovic largely for her use of materials with this series, I can draw a lot of parallels with regards to the texture and patina of the the steel and the patchwork like make up of her figures. I think she has also created an eery and uncomfortable deathmask type effect with her melancholic faces. The fractured, delicate feel of these pieces, despite the fact that they are made of a very hard material with a dark finish is a beautiful juxtaposition, as though they are just managing to keep their hard exteriors together. In terms, as well, of her work being figurative and quite clearly having links to vulnerability, I feel as though there are reasonable links between these pieces and my own work. Much of her other work also explores the use of materials, properties and textures to help allude to her meaning with subtlety and finesse. Similarly to myself, she makes work reminiscent of classical sculpture, in her use of poses and choosing to make busts and brings to that a contemporary element.

Grayson Perry

What I really love about Grayson Perry's work is the narrative, his work is so rich with story and life and comment on very everyday experience and society. Its intelligent, progressive and actually makes use of an incredibly old method of storyboarding. These are very reminiscent of old roman vases telling the tales of the gods. quite similarly to my own work, Perry makes use of classical craftsmanship and art practices to make work that has real contemporary relevance. He also creates a show with his work, everything has a rich sense of life and colour, including the way he often dresses himself. Conceptually, Grayson uses his work to make comment on societal issues in a lighthearted and more easy to digest way, which is something I am really intrigued by and hope I am finding a way slowly to emulate within my own work. I can find that work being too preachy, serious or loaded is often disregarded in a way that any sour medicine shoved down ones throat by an holier than thou do gooder almost inevitably is. Grayson's work sugarcoats the pill enough to make the message linger.

Emma Talboys

This artist is my own mother, so in a way there will no doubt be many ways in which she has influenced me as a person and thus my work generally. She works almost entirely in panting or print, using vibrant colour. Something, I have until now tried to avoid personally, potentially in an attempt to distance myself from my mother. Emma Talboys' work is by and large quite impressionist, but also has a high level of skill and mastery of the paint, she really focuses in on the pieces within the work that she feels she wants the attention to be drawn most to. Quite similarly to my own work there is a use of quite macabre undertones and heavy symbolism. Also quite similarly to my own work, she uses her artwork as a self therapising activity to help her work through her own trauma.

Sally Mann

I have chosen to include this artist as her photos play with vulnerability, relationships, discomfort, awkwardness and many more disquietening feelings around childhood and the human condition. Although contentious in many ways as the photos have been called exploitative of her children, there has also been enmity regarding the fact that the photos are staged and quite disingenuous and potentially therefore commodifying and glamourising of a lifestyle or themes that do not relate to her directly as a wealthy, white, western woman. Despite this, the photos are evocative and beautifully disquietening. They speak of elements of my own childhood and provoke memories for me from a very shaping part of my life. Sally Mann is also included as I have definitely used her photos as part of my own found imagery for reference during recent projects.

Lobster Claw boy

The Lobster Claw boy that I have created was again an idea that just came to me and has taken me until quite far into the process of making him to get to know him enough to understand his story. I felt as though I was constantly forcing a narrative on him and I didn't quite understand where he had come from for a long time. I thought maybe he was about the young hearted, whimsical, strong characters that I was attracted to, but I don't feel this is the case. As I have slowly pieced this boy together bit by bit, I have begun to realise that his armour like body is about defense and the patches like bandages show an idea of a wounded person who is putting up a defense mechanism. The steel in the body has been forged at high temperature giving scale and texture making him look worn and weathered but his skin also looks fragile and flesh-like, making it quite confusing to see softness in such a hard material, mirroring again the idea of vulnerability and strength.He originally was supposed to have a a head made from the same process but this hasn’t been possible due to the lack of facilities following coronavirus. The lobster claws which were originally supposed to be made from stained glass (but COVID_19 made this impossible) again represent this idea of strength, they were supposed to be made of glass, which is very delicate, reminiscent of fragile masculinity but also fragile defense mechanisms. The fact that lobsters mate for life is also poignant as one of the reference photos I used for this piece was of a young boy holding hands on the beach with other children, the idea that ones big shows of strength or heavy defenses, actually often make us totally unable to form intimacy or connection with others. I decided to make the feet out of clay for the below text. I feel as though these add another layer to my piece, the idea that from the outside one might seem perfect or revered for their strengths in whatever element, but there is a fundamental hidden flaw that causes a refered person to fall from their pedestal. I have made the feet but again due to COVID-19, I haven't been able to get them fired. The origins of the phrase "feet of clay" are biblical, but the words can also evoke the mythology of the Titan Prometheus, who sculpted humans out of clay. This photograph by the American Bruce Nauman (born 1941) is taken from the series Eleven ColorPhotographs—including the better-known Self Portraitas a Fountain––which explores the relationship between image and language, taking cues from popular puns and turns of phrase. To have "feet of clay" is to have a hidden flaw or character defect unbeknownst to those who admire you.

Magpie Girl sculpture

This character from very early on has been quite clearly a representation of my own flighty and discontented nature. It represents my desire to constantly be elsewhere, doing something else and my magnetism towards the next shiny thing. In the story associated with it, it also explains where I believe this came from, and my pain at the disillusionment, that the world was not as I had always been told it was. It also represents the idea of building my own wings to take me away to the life that I want to have, I feel as though I have been striving for years to forge myself an unconventional path to bring me fulfillment and happiness away from mundanity of what is expected of one in modern, capitalist society. This sculpture has been made of scrap copper and I have left on as much of the natural patina as possible as the aged tarnished look, I feel is not only beautiful but also representational or the tired and tarnished feeling of drudging through a world, in a way of life that you don't want to be a part of. I have decided to make it articulating, like a puppet or a doll and stitch it together to show the idea that she has been made to be manipulated. The sculpture was supposed to have a magpie costume made of separate materials, mostly leather and fabric, this difference in material is to compound the idea that these wings do not naturally belong to the girl and have been forged by her. the stitching on her body is also a metaphor for her being a little broken and her life being stitched together, it could also represent the idea that I have often felt as though I was a little stitched up to find out that adult life was really not at all as I had been led to believe.

Unfortunately this piece is not finished to the level I wanted as coronavirus meant I had not workshop access anymore, so I will hope to continue it to completion when I have facilities again

. This piece is actually made using very old traditional repousse techniques, which add a classicalesque feel and a very unique appearance to the sculpture within the context of modern art.

Magpie girl painting

This is my first attempt at oil painting. I decided to have a go as an experiment and given that I am currently unable to make my sculptural work due to COVID-19. I have found painting to be very difficult and there is a lot of new skills to learn. I have found that I am not entirely happy with the working product, the process is not to my taste, it is not personal enough and it lacks a tangibility which I find more and more to be integral in my work. The concept is based around the magpie girl story and character that has emerged. In this variation, she used the wings that she made to jump out over the water to be free so the painting sees her floating in the water in her costume.. 

Working with metal

  Metal must be understood on a structural level in order to make it move as you want it to, it also has a bit of a mind of it's own and thus there is a dialogue with the material, there has to be an element of allowing the material to come to life and to have it's own say in the direction of it's future form, which is something that I love. I also work with scrap metal largely, this is particularly important to me, as I don't feel comfortable with using finite materials or adding to the tat that is amassing in the world. I would much more happily give something already in existence, a new lease of life.

Things to explore moving forward

Can I bring an element of participation or putting on a show in order to try and bridge or work through the awkwardness/discomfort/ difficulty in finding and or engaging in human connection? Do I want my stories to be part of my process to help understand my work, or do I feel as though they would be of benefit to the viewer? Does this maybe overcrowd or overexplain my work, or does it add to intrigue?

COVID - 19

The shut down of university facilities has massively affected my ability to get much of my work finished to the level that I had previously envisioned. To begin with this really disheartened me as I have been incredibly tied to my vision for my work. My friend sent me a photo of a mixed media sculpture by Susanne Ussing of a woman in a greenhouse, this was largely made in chicken wire and paper mache with wood and sheet steel components, this has helped me to look into other avenues for finishing the work. Alongside a conversation with Lucy Willow about the fact that artists will always make art no matter what their facilities are, this has helped me to open up to other possibilities for making work. With the beginning of the coronavirus lockdown, I felt quite detached from my artwork and as though I was quite unable to see the point of making, I felt that growing a garden and building a chicken coop became my new priorities and that art was no longer so important. I also feel as though anything I'm interested in making work about now has slightly shifted and as though it's a bit of a shame this has come midway through the project as it kind of takes away from the cohesion of the body of work a little. I have started to make a few drawings, as I am unable to make much else currently, about the connection of people to the land. These maybe highlight a definite shift in perspective for me that has become evident even more so during this time, that we need to focus more heavily on bridging the gap of disconnection. Disconnection from each other individually, as cultural groups and disconnection from the planet. I have been particularly lucky during this trying time as I live in a community, so our lives have very much become about supporting each other, building better communal veg plots and becoming more self sufficient. Whilst mourning the loss of my summer plans, I have also become astutely aware of a sense of humbling and finding contentment in simpler things.

[dailytechnologynews]

The world is utterly unprepared for artificial intelligence in the near-term: "Media Synthesis", the phenomenon which includes deepfakes, is further along than almost anyone realizes and is prepared for, and this will result in a lot of fun and angst come the 2020s

I run the /r/MediaSynthesis subreddit, collecting links and discussions surrounding this technology. The other day, I asked /r/MachineLearning about a topic that I've been tossing about my head for almost a full decade now: when will we be able to use style transfer on audio reliably?

In the simplest possible terms, "style transfer" is when you make one thing like another using machine learning. You upload a picture of a sunny day as an input, upload a bunch of pictures of night time as variables, and then get the original picture but now it's night time. The algorithm didn't fetch a picture of the scene at a different time of day. It altered the very pixels, turning day into night.

Here's a few examples:

Color transfer

Video transfer, turning a street scene with trees into one with buildings or more trees, among other things

Musical transfer, changing instruments and genres.

All of which are from 2017 or 2018.

There's a lot more, and this includes deepfakes which I'm sure plenty of people are aware of. The potential of this technology over the next 5 years— and yes, I'm saying five years, not fifteen or twenty five or fifty— is going to lead to people with no skill in machine learning or artistry to be able to alter existing media almost completely as well as generate some kinds of new media.

Back specifically on the topic of audio style transfer, this includes being able to take a song, any song, and altering at your leisure in a variety of different ways ranging from adding or subtracting instruments, swapping the vocalist or removing them entirely, and perhaps even extending the song in an "intelligent" manner— meaning the algorithm can actually generate more sections of that song that didn't previously exist (within reason). You could turn any top 40 pop song into a 20-minute-long pop epic.

My classic desire is taking TLC's Waterfalls and turning it into a barbershop quartet, complete with the mustachioed men singing in tune with all the 1920s graininess you'd expect. Did you like Bohemian Rhapsody but could do without the heavy guitars? Why not transfer it into a polka song? That's indeed very possible. Covering songs in a different style is obviously a thing that you can already find on YouTube and "X Goes Pop" compilations whatnot, but that involves actual musicians and artists putting in the time and effort. We're not far away from having a theoretical "Audacity 2.0" where you could do the same thing with a few clicks of your mouse.

One of my more esoteric desires goes a step further, and it's also very much on the horizon. I love Witchfinder General, but they've always been a bit too amateurish. They were almost a great band, if only a few lyrics were changed and some instruments were tightened up. In the future, I could be able to "correct" these "mistakes", going in to change the lyrics myself so that Zeeb Parkes is singing something a bit different over a band that's even slower and doomier than they actually were. In some cases, that means adding lines where there weren't originally.

It would obviously still be a laborious process because vocals in songs can be complex and heavily individualized.

But that was only ever a problem for the old era of digital software, where things had to be cut up and easily able to fit into bits and pieces and then essentially standardized as if you're playing something on a synth. This new era is something entirely different and infinitely more capable. You couldn't replicate Bob Dylan's soul if you had his voice in a voice synthesis software program as might exist today.

There's no style nor soul that'll be beyond my fingers with the right neural networks.

For someone like me, who loves creating entire musical scenes and movements from playlists and imagination, that's a godsend. For an actual musician or any creative who prides themselves on their humanity, it sounds like the worst dystopia.

I'm not overselling this either. Audio is, fundamentally, a bunch of waves. If you can edit those waveforms, you can create any audio you wish. It's just that the way we edit those waveforms is usually by hitting drums, strumming guitars, pressing keyboards, and singing.

Of course, there are much darker applications of this technology. The very first thing to come to mind is putting words in someone else's mouth for political purposes, as can be demonstrated here:

Deepfakes on Obama, Putin, and others

Making Trump say new things

If the latter sounds too robotic, don't fret/relax. Making voices sound audiorealistic is just a matter of parameters and data, of which the likes of Google, Baidu, Facebook, OpenAI, and many others have no shortage. The crappy free text-to-speech programs you might find with a Google search or in a PDF file is as representative of the state of the art as a bottle rocket is of the military's explosive ordinance.

And that's literally just the tip of the iceberg. Just because I'm focusing on audio doesn't mean there's nothing for images and video, obviously. Just the opposite— everyone is so focused on deepfakes and image synthesis that we're overlooking audio synthesis.

It's not coming in stages, nor is it arriving slowly and at easily digestible and tolerable speeds as might be written in a shlock cyberpunk novel. We're not going to struggle with image synthesis for 20 years, then struggle with audio synthesis for 20 years, and so on until we reach a point in the distant future where you can't trust anything you see. We're developing them all simultaneously and seeing progress come at breakneck speeds, and we'll be well within that future this time next decade.

In fact, this time next decade we'll have entirely different zeitgeists when it comes to art, entertainment, and the news. There's no refuge in cartoons. Neural networks are in the early stages of learning how to do caricatures and exaggerations— the fundamental root of cartooning. Others can generate short animations from text alone. Even more can be used to remaster old video games and create games from scratch.

And no, you can't find refuge in writing either. Scarily enough, it's the text synthesis network that shows the most signs of general intelligence. It's not AGI by far, but it's most general AI ever created and it isn't even a very complex machine at that. But it's apparently too dangerous to be released.

If you have a passion for all of this and create art for art's sake or are willing to accept fewer (but likely much higher paid) commissions rather than a "career" as we understand it to be, you're fine. If you're someone who wants to become a career artist/model/voice actor/musician/animator/writer/comic artist/newscaster and expect to find consistent work for the next 50 years, (first, good luck regardless) make these next five to ten years count and/or try considering jumping into the former category.

We don't need AGI for any of this either, so don't think that we have to wait until we "solve intelligence" to see any of this. Nor should you expect it to cost a fortune to use. We only need GANs and most of this tech is open source.

The final and most sobering realization of all this is the cold fact that, ironically contrary to all those predictions of how automation would unfold, entertainment and the arts will be the first field to go. Everyone said that all the drudgery of the world would be automated first, freeing up workers to pursue the arts because "a machine could never write a poem, pen a song, or paint a work of art".

This is something so stupefyingly far from public conscious that there is virtually nothing being done or said about it. You might initially think that it doesn't warrant much discussion until it actually arrives, but when you really start looking at this in-depth, you have a tendency to grow a bit fatalistic. One of my future-shock angsts is about schooling and how public and private schools in their current form are utterly unable to prepare children for the future into which they will graduate (a future in which school itself may become obsolete because there will be little point for it besides social functions and raw education, which isn't what American schooling is for). This is related, but a bit different.

We have a technology that didn't exist 10 years ago and yet will almost certainly upend the entire entertainment industry within 10 years from now. Photoshops and photo manipulation, "dumbfakes" if you will, weren't even a pre-meal mint, let alone the appetizer. We ought to be having a dialog on this, but we aren't.

Many of us refuse to believe it exists at all, that it's just some schizophrenic pipe dreams found on /r/Futurology and /r/Singularity. Others so desperately want to leave a place for humans that they will deny that machines will be able to do these things competently despite being shown the evidence. And those who accept it can only say "So what?" Even though I eagerly await a world where I could generate a multimedia franchise (and the global reaction) in my bedroom on my laptop, there are still pertinent risks.

As /u/ksblur said:

Strange how we live in a world of trust-based security. It would be relatively easy for cryptography to solve that issue (your phone could automatically reject calls without proper signatures or encryption), but people grew up "trusting" the systems so there's not a lot of incentive to change it.

Could you imagine inventing the telephone in 2019 and either A) not encrypting the data (landlines) or B) using weak 64bit A5/1 encryption (GSM)?*

TLDR Skynet wants to become a singer and artist, and Dad (i.e. Humans) doesn't realize it yet.

#Futurology #Technology #Tech #Studies #Humanity #Development #New #Gadgets

[scifimagpie]

The Free Speech Fallacy

In the wake of the sudden and catastrophic announcement of Tumblr's new policy, I found myself startled by the collapse of something long-assumed in discussions of free speech. "Female-presenting nipples," "sex acts," and "depictions of genitalia" between consenting adults or adult characters are among those being banned, but erotica is still okay to write. Ostensibly, the purpose of all this is to protect the internet from child pornography - but as usual, the cure is almost worse than the crime. Plenty of artistic photos are getting annihilated in the purge.

Obviously, child pornography is Bad, but banning all depictions of sexuality has sent Tumblr's stock plummeting and already devastated the community. But is it even working?

Predictably, since an automated ban system is being used, both hilarious and troubling results have been reported - on my dash, a building with three windows, a lumpy slime shape, and pictures of black men smiling were all flagged as containing "sensitive content." Obviously, this is ridiculous, but more nefarious and concerning is that posts about activism and LGBTQ+ issues were also immediately flagged.

As we speak, the exodus from Tumblr to Newgrounds, which does protect NSFW content, has already begun. So have the floods of sarcastic (but very funny) memes. The rest of the users are panicking or trying not to panic, and often staggering between the two emotions haphazardly.

I'll have more honest and cutting thoughts about this below, but for the time being, here's a visual pun about free speech.

Yes, I did create this silly, mediocre art just for the blog post. Learning to make art is hard.

Censorship - like, actually

Hate speech and sexy speech - and art - are often thrown together, as if they were one and the same or shared the same traits. Anyone who wants to support pornographic or artistic works for their own sake - such as myself - is often forced to accept their nastier cousins, hate speech and violent speech, as part and parcel of the ban list.

There's been some caterwauling about liability in lawsuits, revenge porn, and other such things, but the answer to that is not blanket banning. It's lazy, ineffective, and tars consensual and voluntary work with the same brush as harmful acts. If it's hard to understand why that's a problem, please watch this video about consent.

Lessons from the Exodus

However, this event shows that all forms of controversial speech are not, in fact, created equal. This has long been an argument, but - given that hate speech is surviving this purge easily enough and that nipples, of all the ridiculous things, are not - we can now officially divorce the two. The one is being attacked without any impact on the other. As much as they have often been companions in the penalty box, they are not the same issue, and we ought to be more honest about this, rather than letting Nazis take shelter behind our protection of sex workers and sexy content.

Hate speech, which I personally do not believe should be protected, is visual, verbal, and written expressions encouraging violence towards and harm of marginalised groups. The impact of hate speech and discrimination is directly dependent on how much harm they cause towards people. So for instance, a Muslim woman is subjected to far more prejudice than a white man on a regular basis, so she might be more in need of protection than the white guy. BUT - that does not mean that the white man doesn't need protection from individual acts of violence, such as a mugging or domestic assault (because men are abused, too, and our lack of men's shelters is criminal).

However, advocating for acts of hate using coded language, such as the ((( ))) technique used by alt-righters to distinguish Jewish people, or references to the Fourteen Words and that sort of thing, can be harder to pick up on. Do we silence those too?

On one hand, people should be allowed to exist freely. On the other hand, if those people decide their existence is predicated on harming others, the conflict that arises does not need to be defended. It does not materially benefit or even defend, for instance, the European cultures being talked about. If one demands that the existence of presence of others be punished merely at their whim, that person is wrong.

I can see someone saying, "BUT SJWs OR NPCs [Social Justice Warriors, or our new nickname, non-player characters] DON'T PERMIT THE EXISTENCE OF PEOPLE THEY DISAGREE WITH!"

This is a fundamental misunderstanding of the position. What "we", broadly speaking, want, is to be tolerated and accepted as we are. We often have family members or friends who are or were centrists, right-wing, or even alt-right. It's their beliefs that are the problem. You might say, to put it in Christian terms, that we love the sinners and hate the sin.

But in all seriousness, "white pride" parades and groups have never done anything to actually preserve great works of art or literature. In fact, a lot of preservation work that's been done by various societies - such as by Muslims during the Golden Age of the Ottoman Empire - was done in a spirit of tolerance and sharing. In addition to that, questioning something is not the same as destroying it. I've talked about this stuff before, and it's a huge topic, so let's get back to Tumblr specifically and the future of the arts and queer community on it.

Where do we go now?

Well, Mastodon seems to be an option. I've heard Newgrounds, as mentioned, is a possible haven.

At this point, I think it's time for businesses to be more honest about sexual content compared to other banned content. This purge is timed to match with December 17th, the day to end violence against sex workers. I have gone on record many times as being in support of sex workers, and have occasionally tried to talk about the difference between trafficking myths and trafficking facts, as well as other related issues. Sex workers and creators of sexual content (including writers, artists, cam girls, photographers, and etc) are all being harmed by this foolish and ill-judged, puritanical move - and nobody is being saved from actual hate speech, things that could, in fact harm adults.

Maybe we can talk Tumblr down from its terrible, foolish decision. Maybe not. But I'm making a profile elsewhere just in case, and I'll keep posting and sharing there - and on Tumblr - for as long as they let me. Queer people are not a mistake, nor filthy.

"Filth" is not necessarily even harmful.

We don't deserve to be erased.

***Michelle Browne is a sci fi/fantasy writer. She lives in Lethbridge, AB with her partners-in-crime and their cat. Her days revolve around freelance editing, knitting, jewelry, and nightmares, as well as social justice issues. She is currently working on the next books in her series, other people's manuscripts, and drinking as much tea as humanly possible.

Find her all over the internet:

*** Michelle Browne is a sci fi/fantasy writer. She lives in Lethbridge, AB with her partners-in-crime and their cat. Her days revolve around freelance editing, knitting, jewelry, and nightmares, as well as social justice issues. She is currently working on the next books in her series, other people's manuscripts, and drinking as much tea as humanly possible. Find her all over the internet: The mailing list * Amazon * Medium * Twitter * Instagram * Facebook * Tumblr * OG Blog

#freeze peach #@staff #tumblr #free speech #nazi #mastodon #shut down

[hereitalkonandon]

And what about it.

I saw your "And what about it” post, you are so talented. I was being serious but then I remembered the quote "Oh clown you are so talented, please release us", I don't even watch that show, not because I think it's bad or anything, I have never tried it and I actually want to try it eventually, in a few years.

So I thought it could look like I was joking and I wasn't, but this also makes me think of the first two letters or so that I wrote to you. I would picture you thinking "Oh clown you are so talented, please release me" and I would laugh, I still think that but not as often.

I think I mostly listen to popular music too, but I thought I could end up just recommending you songs that you already knew of or that you would find sooner or later.

Back when I was so into Jaime and Cersei (and I would still be so into them if it weren't because I'm numb towards them, I don't want to maybe accept that he will murder her and all of that but I sort of feel like he will and gave up already, and you know all of this of course) A Strange Education made me think of them but it was mostly some imaginary version of what would happen after the fifth book or the very end if it were up to me.

Yeah I've seen your Spotify because of the ask, I don't have one, I just have an account to spy on my ex-girlfriend once in a while and see if she adds anything. I only found out about it because she made a playlist and posted it on Facebook when we broke up. So I saw you had Every night by Imagine Dragons, that one would make me think of the third book ever since I found it.

I found A Strange Education, most of the songs that I sent you, back in 2009, so, it used to make me think of my relationship probably. I tend to recycle songs and as long as they are vague enough they just make me think of the ship I currently like the most. Jaime and Cersei were at one point my favorite thing ever.

It's sad that actually I've never been entirely happy about any ship and the one time I was, I'm almost sure of how it will end. Oh, well, I've just noticed how I started talking about this again, guess it shows how it was a part of me. Since I haven't read a lot of books A Feast for Crows is still my favorite book, that will change if he murders her so I can't say which one will be my favorite, but it won't be one by George Martin if he does that.

I told you I was your age once or twice, but I turned 28 this November, I didn't want to be so specific and I knew I wasn't that much older either, so I always figured "I'm your age" wasn't technically a lie, but though I'm not hitting on you, since I'm talking about age gaps, I would never hit on anyone even two years younger if I were into hitting on people, so that's also why I didn't care about not saying my age at first, it doesn't actually make a difference.

Maybe that's exaggerating, but I would feel like a pig. That said I wouldn't judge a man for thinking differently. I actually always wished my ex-girlfriend could be a year or two older than me. Not that much older, so I didn't feel like she was going to die sooner but, just to go against this belief that a man should strive to be with someone younger.

I'm not disgusted when a 60 years old wants to marry a 20 year old, as long as he believes is true love. But I'm disgusted by men that keep jumping from one young girl to another, I know it's legal, but it makes me uncomfortable. For that reason I always find it a good thing when men are with older women and I enjoy that now it happens often.

I hope you don't feel like I lied to you but I also understand if you felt like I was a child and wanted to help me and now see that I'm stupid and you are done. In 2009, I was having all this drama with my ex-girlfriend already and you were an actual child, I often think of that.

We met in May or June of 2005 when she was 13 and I was 14, it took me about a month or three to fall in love with her, right after we met, now I don't know how much she ever got to love me but she's the one that told me she loved me first, some days after she turned 14 and I was 15.

We had a misunderstanding, I thought she was joking, I was pretty mean about it, I already loved her, of course, but I didn't say anything, I kept being rude for a week or two, I was frustrated. So, we avoided talking about it for over three years and we were best friends until she told me she loved me once again, by then I had spent all that time always jealous and angry, and sorry I didn't know how to handle it the first time so I told her everything and she knew I was telling the truth because it added up, I would get angry out of nowhere when she was telling me about men.

 I would throw tantrums but never say what it was about, it was really obvious. She left when I was 24, but the thing is I've felt like this ever since I was 14, half my age,  that's why I know your situation and mine are different and why I can actually feel hope that you will be alright.

My age was just because of this whole anonymity thing. Now I don't mind telling you everything because I figured that even if you somehow figured out who I am, not that you think about it or that there was anything remarkable about it and you have many memories of other things, you could just not acknowledge it if you don't want to, and that's actually what it is all about.

 And yes, I was thinking about my pride but I always do, in all sort of situations, what bothered me the most was putting you in some situation that could make you uncomfortable, I know you don't tend to enjoy when men talk to you online if you don't find them attractive because you've mentioned it often on your blog.

The point is that I can say whatever I want, really, you'll never magically be in that situation if I don't directly say who I am, the only reason I don't say my name, not that you need it, and even if I'm sure it wouldn't change anything.

But it's also the fact that I feel like eventually you won't have anything else to say to me and it will be less awkward for you this way when you suddenly stop or say goodbye to me, not that I'm implying that it would be awkward for you. It's just that, you didn't ask for this, I'm the one that kept cheeking on you even if I wasn't doing anything wrong, but the thing is, since it was all my doing, I feel responsible for avoiding that kind of situation for you.

And now just completely ignore all these parts about anonymity, I was just explaining why at first I was acting stupid and hiding things and now I don't care about it, and you don't even have to mention that you don't know who I am, I know you don't. I'm just saying I don't actually care.

I also feel that maybe you would enjoy having me not be an actual person and that the only reason you would feel like giving me a face and a name would be out of politeness, and if so, it doesn't bother me at all and I don't see why not keep it this way then, I just enjoy that we talk.

I understand what you mean, because I've been well aware that you have a sister for the longest time and she isn't real to me, your parents are, but somehow your sister isn't. But that's not just when it comes to you, whenever I haven't met someone's siblings, I can't see them as real people. I'm sure it's because I don't have any siblings, so it's so foreign to me. It's not the same, but I get what it's like to struggle to think of someone as real.

The craziest thing about siblings, is that I'm always so shocked that people have a whole life that has nothing to do with their siblings, because even when I think about my mom, how she has a whole life that I am not a part of, it seems so unreal.

I don't just cry reading your letters though, I cry when I'm writing to you too of course, but I sometimes find myself crying for no reason and I think it's because you are like art to me. Art sometimes makes me feel like crying, not always, but when it's really good. But another reason that you make me cry is that I have been feeling so many things that I kept pushing away these fours years or maybe I didn't even need to push them away, I don't think so. I couldn't even begin to understand, but I know a psychologist wasn't going to work on me.

Because I didn't even want to fix this, I'm still not sure I want to, I think I don't want to. I don't believe in them anyway. I know they work, but not for me, and of course that a lot of people would argue, but telling someone a lot about me for years even, someone that I can't relate to, no matter how much they have studied, no, I know myself too well, I'm sure it wouldn't work.

It’s the fact that I can relate to you somehow, that helped me, there are so many people so it's not crazy to think that some of them could do the same thing, but I've known hundreds anyway, as antisocial as I've been, and I have seen so many people talk on the internet. There's a reason I ended up checking on you and that I didn't do that with anyone else, it's the sort of thing that makes me truly feel how little I can relate to people. However briefly we will probably get to talk to each other.

So it's still something so meaningful. i just specify this to not look like an idiot and a liar saying that only you could help me, I don't know that, it would be crazy and I don't even want to help myself, it's just happening.

I saw your post once, "men that need a therapist" "me", they were sharks and she was touching them. And these days I've been feeling so stupid because that's exactly what I've been acting like, and in all honestly if I had been able to, back then I would have chosen to do the opposite and just pay attention to what you told me, and I do, and I try to focus on that, but when I answer you I end up talking about me anyway. Maybe it makes sense because I can't really use anyone else's experiences as an example. And because I like writing to you but can't think of any other topic but me as much as it annoys me that I always end up doing that.

What you said about my instincts, fighting them, I did for most of the days that we have been writing to each other, I was so uncomfortable feeling everything I was feeling, for years I haven't felt anything but romantic love, I think I'm feeling love towards my family once again, I never stopped feeling it towards animals, but I couldn't feel anything for people other than worry and pity, I was so damaged by my break up.

And I know I'm barely a person to you. But I was constantly thinking about what I was doing, that it was wrong, that I was well aware that I could only interact with the people that for better or for worse already knew me before my break up, and with my ex-girlfriend.

That I would hurt anyone else because I always put her first. And I knew it was so stupid, I spend a lot of time writing to you usually, and I'm thankful for the time you spend on me but I knew it wasn't the same, that there's no way I could hurt you. But I would still feel so bad, for pretending to be a person, everything I say is true and everything I feel, but I knew I wasn't a normal person anymore, normal people feel other things towards other people, their feelings towards mankind aren't reduced to romantic love towards one person and worry and pity towards the rest of people, the ones deserving those things, also, not just for anyone. But I love talking to you, so I wasn't going to stop as long as you kept doing it, and I've slowly started gaining as many as four feelings towards other people, the ones I used to love before she left.

And as I've said, I don't even know if it's what I want. I knew it wasn't a good thing, to barely feel anything towards them, but I knew it wasn't my fault so I have never felt bad about this. I just rarely think of it. I think a part of me, most of me, wants to stay shattered, so I never have to truly care about anyone other than her, I've been living being angered and hurt by her for half my life now, that it seems like something I have to live with forever.

But it's appealing to stay like that, to not have to feel other things that could hurt me on top of that. Nothing would hurt me as much as she does but when something bad happens to an animal I feel like dying, and why would I want to feel like dying when something bad happens to some people too.

But I just tell you this to better explain the kind of things I often end up rambling about, that I can't understand many things, that I've been feeling so many things. That I've always truly enjoyed isolation, that it has nothing to do with merely talking to anyone at all but with relating to someone for once, and it could suddenly stop, realize I don't relate to you any longer, though it wouldn't make much sense, but these days I have felt like that.

So I'd think ''why are you answering her, tell her, apologize" but I would sort of know I'm not doing anything wrong despite how uncomfortable it made me feel so I would say "And what about it" and each time it felt less uncomfortable. Not to share things, that never made me feel odd. But to get to know someone, to keep it going. It's not about not wanting to feel because I want to avoid being hurt, that's what people often do, I was saying it's a perk when you don't feel many things.

But I know that what caused this and what keeps causing it, is actually, that the feelings about losing my ex-girlfriend are so big that everything else became meaningless to the point of even being unable to feel anything for others but pity and worry. And even if you leave, now I know that if I ever want it back, it's still inside me, it's been coming back anyway, I don't push it away but I don't encourage it either. In a way I always knew, even if I never allowed myself to think about it. But now I'm sure, and even if I spend the rest of my life like this because I am a moron. I like knowing it’s my choice, that I am choosing to be trash, but that my feelings aren't forcing me to. That I am the one choosing to stay like this.

And this is why people pay a therapist but I have been getting better accidentally and as I've said that wouldn't work but I never actually wanted to fix that, and it's stupid to tell you all of this, because with what I've been saying, I know you can't relate to that. But it has to do with you so I don't feel as bad making you read everything. I know it's not like I can be as useful to you, but before this all I honestly would think was that it would be nice to be there and just let you talk about your things and problems. 

But I'm writing a letter so it's different, but also great because it probably makes it easier for me to just say whatever I feel and not hide it. I'm only saying that it has never been my intention to use you to whine, it's just sort of my main conversation but also that if you did the same I wouldn't mind and I enjoy whatever you say, just because I finally relate to someone.

What you say about becoming barren, ordinary, isn't it because you put up with some things that you shouldn't? Things that you would normally criticize on your blog. I'm not sure if you put up with things that you wouldn't if you were entirely free to do whatever you wanted without any consequences. And if so, I don't see why? I understand that you can't behave in certain ways around men because they are trash and you want to stay alive.

But I don't see why you should put up with things that aren't about life or death. So if I were you I would never keep anything to myself about disliking something, about not agreeing with something. Maybe you are already like that most of the time, but if you stop being that way two times out of nine, I don't see why not try to do it just one time out of ten.

So let's say a man that you are attracted to says something stupid, just don't keep it to yourself so he doesn't run away or so you don't lose points or something, say it, it doesn't matter if you are just meeting him and you are saving that for later, say it that same day, if they leave they are not worth it. I once saw a post that made me think of this. When men try to compliment you by saying you are more masculine, but implying that feminine is bad so you are good. And you said something like wishing you didn't have to put up with, it made me think that you could do that sometimes. 

I don't know what you actually do or don't but what I think you should do is to always be yourself but fully, it doesn't matter if you come across as rude, and to always say what you want and what you dislike. All of this as long as you are not putting your life at risk. 

And my point is that, while maybe most people would get away from you because you are a woman, the ones that approached you wouldn't be that ordinary. I say because you are a woman, because if you take Cersei Lannister, and I've already seen this on your blog too, it's something obvious, most people hate her, but if she were a man a lot of people would love her. 

But I'm just thinking of the worst case scenario, you are not murdering anyone so people have no reason to dislike you. I'm just saying all of this because I've seen that women that are the way that you express yourself on your blog when you are having an attitude, are disliked by most men and by some women. I'm just guessing, but as I said, if you are somehow trying to tone down who you are you shouldn't and everyone that doesn't like it should go to hell, you are a proud person and even if you are insecure in some ways, you can't be that proud without also really loving yourself. It doesn't matter if only four people like who you are in the end. And that's ridiculous, it wouldn't be just four people.

Or maybe you meant that it was because of your depression, that you never put up with anything but that you just don't have the motivation to do a lot of things. And then it still wouldn't be your fault. It's not who you are always going to be, but if that's how you feel now, it's who you are right now, and you are still an interesting person and a deep person, and you shouldn't be trying to show people that in order for them to see it.

I'm not saying that you do it, more that maybe you mean you should and it's your fault because you don't try. I think the problem is that you are a special person so obviously most people aren't and they don't notice it. But I understand that you mean that the people that you find special, you don't feel like they notice you, to that I would say such is life. I felt like that when it came to you, I still do. And it's just as I said, I love talking to you, but it's "and what about it" if you don't and if they don't when it comes to you. Someone will eventually, no matter how long it takes and at least you are able to fully feel love towards your friends and your family while that happens. 

I don't mean that you shouldn't complain about this, you should complain whenever you don't like something. What I mean is that you don't need anyone that doesn't need you. You don't need to be approached by anyone that doesn't want to approach you and if they don't notice you it's their loss and I know you know that. I do too, about me. People this proud are messed up. The difference is I don't really mind being alone and I know you do, but they are still not worth worrying about.

And it's not that you deserve to have that boyfriend, though he is probably an okay guy, is that you happen to enjoy his company, that there isn't anyone else you want to be with anyway, that you enjoy dating. So why shouldn't you. You just enjoy it for as long as it lasts.

Or maybe you would want to date the other guy if you could? I don't see what's stopping you and you already know he is interested. The only thing that worried me when I read about him on your blog, is that a lot of men often pretend to understand someone just to mostly have their company until they get tired but also to have sex a couple of times, to pretend they want something serious and they only want fun, even if their idea of fun is a year or two.

I don't know if that's what's stopping you, if so, then maybe you are right, I know most men are trash. So you shouldn't blame yourself for knowing something that it's so obvious even if you are wrong about him, you can't know that. But if that isn't what you worry about, then I don't see what's stopping you.

When you break up with your boyfriend, because obviously you are not going to stay with him forever if you don't feel like it regardless of how much you feel like maybe you wouldn't mind settling forever, he will suffer anyway. So, I don't see the difference in leaving him now or leaving him years later, if anything the sooner the better for him, that way he wouldn't suffer as much. And you could be unhappy if it ends to soon with the other guy, like you made a mistake, but if you do decide to leave your boyfriend, it's because you can afford that, like what happened with Victor.

I feel like some people would say what I'm telling you is wrong, your boyfriend likely too, but I truly don't see how it is a good thing for him even, a woman with less depth than you would obviously think the world of him. And it's probably all the same for him as long as he is loved back, but you know the difference, you know it would actually be better if the one who was with him thought he was the best man to ever live. 

Of course I told you all of that assuming that maybe that's the problem lately, but perhaps you don't care that much for the other guy, I just try to guess.

I also told you before that you wouldn't be able to stop yourself, if you were really meant to be with the other guy, so maybe you won't, maybe you are about to go for him, if it's just your boyfriend stopping you. The thing that made me hesitant about him, too, is that I felt like maybe he was somehow flirting with you, just him not you, suggesting you should date him. Things like that. And I felt that if he had good intentions he would feel bad about doing that. But I know nothing about him other than that and maybe he just subtly implied he likes you, I guess most men would do that and then I don't know what to make of it.

Of course that your ex-boyfriend leaving you changed so many things about you, but maybe it's also because you've been growing up, and the longer you live in this world, and at your age, you were obviously going to become a bit disenchanted as you turned into an adult. It doesn't mean the world is an ugly place, but most people change a lot and lose a lot of fantasies as they get older, when they know more about pain and injustice and all those things.

While I'm sure that it traumatized you, maybe it would be giving him too much credit to say he changed most things about you. This last year I've changed, probably for the best, but the thing is I don't think that had anything to do with her or with anyone, as obsessed as I am with her.

So to me it wouldn't be crazy that some of the things were taken away by the world and not by him, and that would be a good thing. That he didn't have that much power, I understand though that even if that were the case what happened with him damaged you. 

But what you said about me eventually looking for love, I'm just dumb and I don't find it romantic if I have to look for it. I know you do, that it doesn't matter how you find it. But being an idiot, it would feel that maybe I forced it to happen because I wanted to find it. Maybe I would wonder if I'm still meant to eventually meet someone else out of nowhere, as it was "supposed " to happen or to get back with my ex-girlfriend.

And the good thing about my views on looking for love, is that if my ex-girlfriend ever comes back, it's extremely likely that I'll be single and I won't have to make a mess to leave the other person. 

But if I do meet someone, if I get over her as unlikely as it sounds, it would mean I really was meant to. I can't imagine a stronger sign. Avoiding it, not looking for it, not even wanting to move on, and doing it anyway. That way I would be sure of it, never wonder if it was wishful thinking or if that wasn't really the love of my life and I should still wait for it.

I didn't notice anything odd with the spacing, but even if I did it wouldn't make your letters harder to read, the words are there just the same, so you shouldn't pay it any mind if you ever do, maybe just to practice your writing but not because of me.

I know what you mean about being too sleepy though even if I haven't slept properly in about two weeks now, not a single night, I remember this one time that I was falling asleep as I was editing a letter for you, almost ready to publish it, but I could barely open my eyes, it's a good memory, I don't remember ever doing that, because I've barely sent letters through my life even if I love it, so I never happened to be that tired while writing.

As a matter of fact the same thing ended up happening today after I was editing this though I didn’t know it would yet when I wrote the last part, so if it looks too stupid it’s because I’ve been falling asleep for over two hours.

[stimmyvillainarchive]

WHY does the android app gotta suck so much, when i click the faq link it just like refreshes the page,,,, this happens with all links in bios on the andoird app :[

NNNN lovin this broke ass app.

I’mma go ahead and paste the FAQ just under the cut, hopefully you should be able to read it now :’))

(FAQ is written by Mod Joker)

“Are requests open?”

We get this ask a lot. And while I don’t mind answering, it does get a lilll annoying sometimes since we’re essentially repeating ourselves constantly. Before you ask, please check our ask box! It will ALWAYS give our request status!

From now on if we receive requests when they’re closed, we’re going to delete the message entirely. You’re free to ask again when they’re open, but we need breaks!

“Can allistic/neurotypical people follow?”

Yes! So long as you’re respectful of stimming and understand it’s not an aesthetic or something to make fun of.

“It says there’s two mods, but I only really see Mod Joker post.”

There is! But Mod Boo is rather, well, shy. We both are, tbh. I’ve just gotten used to talking a lot on this blog. And to tell ya the truth I invited her to mod this with me because she considered making a blog but wasn’t sure how she’d do it, and was worried she’d be too awkward/quiet. But she actually tends to see your messages a lot! She just tends to let me handle things. But if you ever wanna talk to her, just say the message is specifically for her and I’m sure she’ll get back to you. She’s very friendly and tbh one of the best people to talk to!!

“How do you make gifs?”

I use the same method stimmybby uses! His tutorial’s right here!

“How do you make banners?”

I use photoshop and for backgrounds (depending on what type of background), I use paint tool SAI. I made a tutorial on how I do it here!

“Can we use your banners for posts that aren’t stim related?”

Absolutely! So long as credit is given and you’re not in our dni, then use it as you like! Discourse posts, art, vent posts, promo posts, whatever floats your boat!

“Can I use your gif/s?”

As long as there’s credit to us for the gif/s and you don’t apply to our dni, you’re free to!

“How can I credit you?”

There’s a few ways! Such as

- Including the credit in the post and/or under the cut (this is the best way people can access the original post and see the credit!

- Include the credit in the post’s captions

- Include the credit in the tags

- Include a link in the post to another post that has the credits in it

- Saying you got the gif/s from us in the post

“What are bad/wrong ways to ”“credit”“ you?”

- Saying “I don’t own these gifs”

- Saying “credit to the original owner(s)/gifmaker(s)

- Straight up not saying you took these gifs from people/including in no credits

- Claiming the gif/s are yours/you made them

If I see any of these I WILL publicly call you out on it and you WILL be blocked immediately thereafter. That block will not be lifted.

“What does REG mean?”

Reactionary Exclusionary Gatekeeper. Meaning people who try to exclude certain queer people from queer spaces. Such a biphobes, transphobes, aphobes, panphobes, and so on.

“What does TERF mean?”

Trans/Transgender Exclusionary Radical Feminist. Meaning radfems who are transphobic and are violent towards trans people (especially trans women).

“What does SWERF mean?”

Sex Worker Exclusionary Radical Feminist. They’re radfems who try to exclude sex worker from their feminism and often treat women attracted to men as less worthy.

“What’s the ADT community?”

ADT stands for “Actually Dysphoric Trans/Transgender” and was created by transmedicalists/truscum to break off from the trans community. It’s an insult to the trans community, an insult to the creator of the transgender pride flag (it’s removed the white that was there for people who ID as non-binary/outside the gender binary), and is there purely to start drama and create rifts in a community that’s already got enough enemies for simply existing in a transphobic world

“He/Him lesbians don’t exist/they’re transphobic towards trans men”

As a trans man who doesn’t think the world revolves around me and who understands that what lesbians decide to do it literally none of my goddamn business: get the fuck over yourself you whiny pissbaby

“What do you mean by people in the true crime community?”

People who sexualize, romanticize, excuse, and/or support serial killers and their actions/crimes. This doesn’t include people who are INTERESTED in the topic of crimes, serial killers, etc but acknowledging how these people are disgusting and their actions are unforgivable.

“Why are you anti-cgl?”

Cause we hate pedophiles and are decent human beings.

“You’re bigoted to kinksters just like homophobes are bigoted to gay people!”

I hate to break it to ya bud but I’m proudly kinkphobic and you’re a giant homophobe!!

“I’m a SFW cgl(re)/littlespace blog so I’m following/interacting uwu”

No the fuck you aren’t!! You’re a kink blog, there’s no such thing as a “sfw kink” even if you’re remaining two braincells are too busy fighting over the last pacifier to tell you some fuckin common sense. Your ass is getting blocked and I’ll also be using your blog to take a look at the people you interact and block them too just for safe measure! Eat a cactus, fuck nugget

“You hate lesbians if you hate TERFs”

You owe every lesbian an apology for assuming they’re all mysogynistic, LGBT+phobic pieces of horseshit like you are. Eat a dick.

“aces/aros aren’t LGBT uwu”

Wow… that’s so wrong Alexa play Fuck You by Lily Allen

“Me/Someone I know/(insert user/s) has been blocked. Why?”

There can be a number of reasons why you’re blocked, and I’m not afraid to block people as I want this place comfortable and safe for the mods and followers. So there’s several reasons as to why.

- You apply to our DNI (see BYF)

- You’re a (insert harmless children’s cartoon) critical blog (I tend to block those due to them saying LGBT+phobic things)

- You get into kin drama

- You’re an ace discourse, pan discourse, bi discourse, and/or overall REG discourse blog (this does not mean I block inherently block discourse blogs! I block the shitty ones)

- You’re a spam/porn/etc bot (if I’ve gotten this wrong, lemme know! I tend to block shady and empty blogs for this reason unless their desc/url/etc says it’s empty/weird for a reason)

- You’re a blog that frequently posts/centers around one or more of my triggers

- You’re an aesthetic blog (though I tend to soft block for them. But this is NOT an aesthetic blog and stimmy is NOT an aesthetic)

- You’re an “anyone can interact” stim blog

- You’re a stim blog that steals/doesn’t credit the gifs they use

- I feel you and I are going to argue and I’m just saving us the trouble of future unpleasant encounter/s

- You’ve been shitty to my friends or just been shitty to people in general and I’ve noticed it

HOWEVER I’ve made slip ups in the past! If you feel you don’t apply to any of these, you can contact me through my main and ask why. Sometimes I don’t always remember why I blocked somebody (sadly there’s a lot of shitheads on this site I’ve needed to block) or I’ve confused one blog for another person’s blog. Or maybe the person was more chill than I thought. Please contact me yourself rather than ask somebody else to do it though so I can get all the details! Even if I don’t lift the block, I won’t report you for block evading or anything.

“You used to be kidheart friendly and now you’re not, why’s that?”

Sadly, Raven (the creator of Kidhearts) has proven to be a bully sympathizer and feels it’s okay to compare agere to kinks/cgl and sides with regressionuncensored. She condones bullying/harassment/the sexualization of minors and I am not nor will ever be okay with that.

“But Raven sai-”

I don’t care what she says. She made it abundantly clear that she supports regressionuncensored and I don’t care that it came back to bite her in the ass. Bullies deserve no support, no sympathy, no nothing. And if you side with her than don’t come near this blog. This is agere safe and I will not allow people who support sexualizing it to interact. Kidhearts WILL be blocked on the spot, no questions asked.

“I’ve left a community on the dni list, can I follow/interact?”

Yes!

“Why are you anti-(insert thing on blacklist here)?”

Camp Camp: It’s racist + antisemitic

Dragon Maid: It’s pedophilic

Killing Stalking: It’s homophobic, ableist, sexist, perpetuates rape culture, and fetishizes abuse

Your Lie in April: It romanticizes child abuse and it literally starts off with a gross pedo joke when we meet the love interest in episode one

Split: It’s ableist

Hetalia: It’s antisemitic

Harry Potter/J.K. Rowling’s works: Actually there’s nothing inherently bad about the story. I just don’t like it. HOWEVER: I can’t stand J.K. Rowling as she’s a TERF/overall LGBT+phobe, and racist. So none of her creations will be featured here.

Sonic Boom: Nothing inherently problematic. I just can’t stand the show because it just fuckin sucks

13 Reasons Why: It romanticizes suicide and the creators refused to listen to actual mental health experts and have made the show potentially dangerous to anyone who even slightly deals with suicidal thoughts/urges

Detroit Become Human: It’s racist + antisemitic

Voltron: Legendary Defender: It queerbaits/it’s LGBT+phobic

“REG is a transphobic term”

I, Mod Joker, am trans. Try again.

“A-specs aren’t LG-”

*buzzer sound* wrong. So sad for you

“You’re not LGBT+ because you DARED disagree with me because you actually acknowledged that tumblr didn’t credit the community sweaty uwu”

We get this shit because a lot of you assume I’m ace or at the very least a-spec. And… Ya couldn’t be far from it. I’m a pan, genderfluid trans man. Even with all your gatekeeper (sorry, BULLSHIT) logic; I’d still be attracted to multiple genders and not be cis. I’m p queer. So no matter which way you slice it, I’m part of LGBT+. Die mad about it.

“You’re comparing aphobes to TERFs and SWERFs you fucking transphobe!”

Wow I didn’t realize setting boundaries meant that I viewed y'all in the EXACT same light. I’m so glad I have the lovely aphobes that have told my friends that they should kill themselves to set me straight.

Asking people not to interact doesn’t inherently mean I think they’re the EXACT same thing.

“Mod Joker is a gif-thief and reposts people’s content without properly crediting them!”

I have made this entire post explaining that’s wrong. Idrc if the post is too lengthy for you. Don’t talk shit if you don’t even have all the details.

Additionally, if you send me somethin about this in a negative light I’m IP blocking you. One strike and you’re out. If you want to believe people with false info and false accusations then that’s your baggage. Not mine.

HOWEVER if I’ve accidentally mis-credited, forgot to/messed up on crediting a person for their gif/video, or so on let me know! I’ll make mistakes, but I never do it intentionally.

#I realized the last link was a bit outdated anyway so whatever #this should help at least! #asks #anon #Mod Joker

[jocelynbass1991]

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