#Statement vs Identity Project

[statementvsbackgroundproject]

STACY JANE GROVER

“Tar Hollow Trans”

Current read through and quotes I feel would help to shape my vision for this project.

[necronatural]

Context on Project Moon discourse

I did some digging and watched some internet slapfights between Korean users, and collected as much context as humanly possible, trying to avoid hearsay where I can:

Misogynistic dudes start complaining about how sexless and non-waifu-female-heavy the game is, feeling the skimpy Sinclair outfit with the thotty little collar VS the fully covered Ishmael outfit is pointed feminist jeering (a law Hawkeye Initiative). Korean anti-feminists are really sensitive to pointed feminist jeering. More on that in a bit

Upon learning the identity artist is male, they trawl the rest of the staff to prove their stupid-ass theory.

They latch onto the lead CG artist, who has tweeted about feminism before.

Project Moon receives countless threats and people marching on their office IRL demanding to speak to the CEO.

The resulting hate campaign leads to Project Moon firing the lead artist for violation of contract; it was specifically requested by the company that all users delete political statements and controversial topics before joining, and the tweets the incels are using seem to prove that the worst case scenario for not adhering to the request has come to pass.

The thing is, she did delete the tweets.

This user has screencapped incels scrambling to justify their belief the game is for man-haters, including a statement that he had dug up deleted tweets. These are old records.

These are the retweets, all made before joining the company (but again, the policy was that the tweets like this should be scrubbed). Most of them are just being catty. The most extreme statements are a scathing satire even a child could understand, and some general feminist sentiments which are not incendiary in any way. It seems they were screencapped to cement a pattern of passionate feelings on feminism.

In Korea, feminism is considered a wedge issue, which means basic activism becomes extremely politically charged. Think of it like how trans issues are being treated in America at the moment, or how "Critical Race Theory" was a wedge issue like 2 years ago. Nevertheless, the most hateful statements in these tweets are not "feminist", but rather annoyance at misogyny, and pretty obviously jokes.

The tweet that the incels are latching onto here states "if being a feminist makes me Megalia, I am Megalia. If being against patriarchy makes me anti-social, I am anti-social". Megalia was a scumbag leftist radfem group originating from Korea's 4chan (anonymous messageboards). It was bad enough that banning gay slurs created a splinter group. Megalia was well-known for mirroring misogynistic behaviours back onto men. They were reviled. An actress lost her job for wearing a T-shirt this group sold, even though the funds were going to supporting women seeking legal actions. Association with Megalia was reputation poison.

Notice I refer to them in the past tense, because Megalia shut down in 2017. The tweet was in 2018. You could not get any more obvious that the statement being made was "you can insult me by calling me Megalia, but I still believe in feminism". There is no association with this incendiary group.

Incels "supported" their argument with an image of Yi Sang holding a vial in basically one of the only 2 ways you can hold a vial, calling it a reference to 🤏, an emoji used as the Megalia logo interpreted to mean "men have small penises". This insane interpretation is being used to cement the whole company as misandrist.

Therefore: Project Moon fired their lead artist even though she didn't violate her contract because insane incels did a "how dare you say we piss on the poor" bad faith misinterpretation of deleted tweets in order to justify their belief that Project Moon is a man-hating company, and as a man-hating company deserves to be annihilated, leading to threats to staff.

The artist for Leviathan later stated that Project Moon pushed the comic forward with no buffer, and when the schedule became unbearable, they just cancelled it. They were told there was an issue with production (supported by the fact the company dropped the translation in favour of focusing on the game), but this news has made the artist pessimistic about the company's treatment of their art team. (Update: deleted, with a statement they feel they felt attached to their debut work, and struggle with feeling like they ran away.)

Here's the artist Vellmori's twitter if you would like to support them through this period.

[leonawriter]

One of the fun things about writing Zayin as a FFXIV WoL is that he is both of PM's City and of Eorzea at the same time.

Zayin's name is literally only a letter off his City name as well as the classification of a low-grade threat level Abnormality, but he's got a Forest name as well (which- I haven't figured out what it is, because it's not relevant).

He has access to probably anywhere between 60- and 80% of his memories from being Ayin. What he doesn't have access to are either things he might still remember, or things he's still got a trauma block on.

The things he remembers from being Dante and beyond? I'm just extrapolating from what we know and making broad statements, tbh. It's functionally impossible to just do a generic "probably post-canon" idea even just within Limbus because of how much the Sinners can change and how much more context each Canto brings.

And then there's the fact that he has an entire life he has in Eorzea, which is one hundred percent completely normal to him. That's his life. He is living it. He can choose to do things he never did as the Ayin of the City. Nature vs. Nurture is also in play, too.

And even after THAT, there's the fact that, if you're aware of the later XIV expansions, you know that Azem is a thing.

Azem being the past life of the WoL as an Ancient of Amaurot.

And that's the past life of the person he was born as, not the person he remembers being. Not that there's much difference there, considering how all of his selves end up being pretty damn similar one way or another, but still.

Oh and yeah there's the very important part that he's not currently aware of yet that his City self was either called to (by) Hydaelyn, or he himself pulled them all there, so yes, his Azem-self is more like a Mirror Identity, and his current WoL (Zayin) self is more like... he projected himself into that world fully.

It's complicated. I'm still figuring the lore out. But it's not relevant really, because the important part is that it's fun, so don't worry about it.

EDIT: Forgot to add that even after he's become the legendary Warrior of Light and has defeated ancient unknowable gods and the very essence of Despair Itself... he's still gonna lose at arm wrestling with Gebura.

Zayin as I play him is a Bard, Summoner, and Red Mage. He is NOT a tank. He isn't even a melee fighter. This boi does Not have muscles like one of those would. He may be the Warrior of Light, but he's still gonna be comparatively squishy.

[literaticat]

It's been recommended for a writer who is a POC to look for agents who actively rep writers of color. It's enough for an agent to say they want diverse stories, but if they don't rep diverse authors than they talk the talk but don't walk the walk. 

This advice has been bothering me. 

Querying agents is tough and no matter what you look like, agents only sign a handful of clients a year anyway. 

I keep thinking, it would be cool to be an agent's first diverse author. If we get along, and they like me and my work then that's all there is to it. 

But should I be wary of agents who don't rep a diverse client list? 

I think, as you research agents, it's good to keep an open mind. An agent actively saying "I'm looking for marginalized voices" is great and all -- but it's not the ONLY thing that matters. After all -- some people might not put that on their website or have a "mission statement" or whatever, but they DO actually sell books by all kinds of creators. And others might indeed just be saying that to say it, but there's no action behind it. (Some people also might SAY they want to rep Diverse Books -- and they DO rep Diverse Books -- but also they are toxic a-holes, or just wouldn't vibe with YOU PERSONALLY!)

So, IMO, while their statements about diversity or the identities of the creators on their list or whatever else are things to think about, they are not the ONLY things to think about.

(In other words, and this goes for ALL writers: There are lots of agents out there! But the agent who is a great fit for your work might not be a great fit for another author, and vice-versa. An agent can be great, but not great for YOU. That's why it's important to do as much due diligence as you can before you query, rather than JUST googling "Top Agents" or whatever.)

Tips on Researching Agents

The first step in building a good query list is to find agents who rep the kinds of books you write; you can go on Query Tracker or similar and just literally filter by category. That will probably be quite a lengthy list, including great agents and lousy agents, and multiple agents that are at the same agencies, so you'll want to narrow it down.

I'd take a multi-pronged approach. Start by looking at who reps the authors whose careers and books you admire and want to emulate. (You can often find these names in the acknowledgements of the books, or on the author's website, or by googling author name + agent, etc). Put a little star by those names!

Then, I'd get a subscription to Publishers Marketplace for a month and look at Dealmakers, compared to the long list you have going.

Who are the agents who seem to do lots of deals in your category? Who are the agents who seem to rep books by BIPOC authors? Who are the ones with books that sound cool to you? Who are the ones that seem to work a lot with publishers, imprints or editors you admire? (If you have other criteria, add that, too!) -- Start starring that list, baby!

You're probably going to start to see patterns here; take notice which agencies seem to crop up often with what kinds of deals -- you might notice some that seem to ONLY EVER rep sort of sketchball sounding projects, weird/tiny publishers, vs ones that clearly have more Cool Sounding or "Bigger" Books, etc. (You might even reverse-engineer and look up titles or authors that you think feel Problematic in some way and see who reps THOSE -- maaaaaybe that's a little "x" by their name!)

THEN, I'd dig deeper on the agents you have starred, bearing in mind that you'll need to pick ONE agent per agency, at least to start with, and some agencies might have LOTS of cool sounding agents. Go on their MSWL profile if they have one, go on their website and see what they are asking for and what they say about themselves, google and see if there are interviews with them. If something resonates with you: ADD A STAR!

At this point, some people will have NO stars, or just give you the ick for whatever reason; you can cross them off. Some people will seem PHENOMENAL, like "ultra-star" category -- and most will probably have a star or two and sound like good possibilities but who knows.

IMO, the most important criteria are: A) They are somebody who seems to have a good reputation and who SELLS BOOKS (or, if they are new, they are at known Good Agency); B) They seem to like your kind of book and/or have some things on their wishlist that seem to vibe with your work -- generally just seem like they could be a great fit. Both of these are top priorities and nobody who doesn't have those two things should be on your list.

But it feels like the vast majority of the agents who have made it this far in the process and fit those two criteria and have some stars probably WOULD have at least a somewhat diverse client list -- unless they are VERY new? (IN which case, OK, hey, they are new, but they are at a good agency that surely has sold books by BIPOC creators?)

If an agent has made your "Cream of the Crop and Good Possibilities" list, but they DON'T have at least a somewhat diverse client list, or it is just unclear from their website what the deal is... I am NOT saying don't query them. (Hey, you did a lot of due diligence! They MUST be great in lots of ways if they got this far!) -- but maybe DO put a little ? next to their name.

And IF they offer, you can talk to them and see, hey, do they really seem to "get" me and my book? Do they have a vision for it? Do I feel comfortable talking to them? Does this feel RIGHT? (And, they should connect you with some clients of theirs that you can talk to, as well!) -- And you'll be able to decide from there.

Good luck!

[ladycatastrophe7]

Goal Ideas for your vision board

General to-do’s (decluttering, maintenence, donating things you don’t need, compleating a project you’ve been procrastinating on, health appointments, setting up important documents, declutter contacts/friendships that don’t serve you, learning a general lifeskill (cooking, sewing, woodwork, etc).

Self-concept (Healing childhood wounds and limiting beliefs, Journaling, self awareness, questioning limiting beliefs, abundance mindet, practicing radical self-acceptance and self-compassion, overcoming fear of judgement or rejection, stepping into your ‘higher self’ identity, shadow work)

Health (morning or night routine, sleep scedule, hydrated, learning about nutrition, mindful eating, walking a certain amount of steps, finding a form of exercise you love, healing your body, self-care, glow up)

Milestones (Buying your first car or upgrading to a dream car (getting a driver's license), Traveling to a bucket-list destination, Publishing a book, starting a business, or launching a creative project, Achieving a personal milestone (running a mrathon, learning a language fluently), Reaching a sub-goal in the direction of your dream life., Moving house (getting your first apartment, etc), Graduation, passing finals or going back to school)

Social life (Making a conscious effort to deepen existing friendships, Hosting regular gatherings, game nights, or dinner parties, Joining a club, class, or online community to meet like-minded people, Strengthening communication skill, Practicing charisma, Overcoming social anxiety or public speaking fears)

Purpose (Identifying and developing your "unique gift" to the world, Finding a cause or movement you deeply care about and contributing to it, Exploring spirituality and existential questions, Writing a personal mission statement, Defining your core values and aligning your life with them)

Career (Finding a mentor or becoming a mentor, Begining a passion project or side-hustle, Taking steps toward your dream career, Improving leadership and management skills, Building a personal brand (blog, social media presence, networking), Transitioning into a career that aligns with your values, Setting work boundaries to prevent burnout, Setting up a sustainable system of productivity that nurtures your mental health, as well as boosts your efficiency

Money (Paying off debt or student loans, Creating multiple streams of income, Saving for an emergency fund, travel fund, or dream home, Learning about wealth-building strategies, Become financially literate, Negotiating for a promotion, Setting up a buissness model that allows a portion of your revenue to become passive income, Building assets and investing, Donating a percentage of your income to a cause you care about, Work on limiting beliefs regarding money (abundance vs scarcity mindset)

Mastery (Deepening expertise in a field or industry, Learning a new creative skill (painting, music, writing), Picking up a new hobby, Developing a skill that's tied to your career or purpose, Becoming fluent in another language, Mastering a physical skill (surfing, rock climbing, archery), Developing discipline and consistency in skill-building

How to achieve them and book recs

[knotmycupofchai]

The 2023 Leo Venus retrograde made Kylie regret, the cosmetic changes she had done at a young age. Last year she spoke about breast implants and dissolving her lip filler. Transit Cancer sun opposing her Capricorn ASC- Kylie is having trouble with how she is perceived by the public. She’s questioning her true identity vs this persona she’s maintained. She may even feel more pressured to look a certain way or feel even worst about looks than before.

She’s having emotional revelations on how she’s influenced the youth or how her actions have affected others. Unfortunately, Kylie will be under public scrutiny. Transit Taurus Mars opposing Kylie’s Libra MC- her reputation will be hit, including her beauty brand.

It’d be smart if Kylie rethought her brand, image and how she contributes (especially to women). Kylie should stop pooling money into that makeup and invest in a project where she can influence in a better way or a better light.

Being fake woke or too relatable isn’t going to go well for her. It’d honestly be better for Kylie to publicly address her past, her insecurities and her part in unattainable or extreme beauty standards.

Wouldn’t be surprise if she makes some public statement or apology whether through social media or a discussion on the Kardashian reality show. Even a simple video of her addressing her strong influence on young girls from 2014-2016 during her “King Kylie” era.

[shoujoboy-restart]

A conservative school board member in Virginia singled out a queer student over the weekend by calling an emergency meeting to determine whether or not their piece of artwork should be allowed in the school's spring show. Abby Driscoll’s piece about religious trauma, “But Not Enough to Save You,” was made for the Fort Defiance High School’s spring show, which explicitly had the theme of “trauma.” It depicts praying hands gripping a rosary surrounded by rainbow pages of the Bible, alongside the powerful statement: “GOD LOVES YOU BUT NOT ENOUGH TO SAVE YOU.” “This piece is representative of the idea that growing up queer meant you couldn’t be saved by God,” its description reads. “I grew up in a religious background and that influenced this project. The idea of the glowing red cross is to represent evil in the eyes of God and the bleeding rainbow represents devotion vs identity.”

While all the details of the closed-door meeting have not been revealed, Driscoll's principal reportedly stood up for her, and Simmons' push ultimately failed. The conservative still took to Facebook afterwards to share that the board "agreed to work on a policy that will address issues like this going forward." "For now, the art work in question will be removed by the time students arrive back at school on Monday as the art show ends on Sunday," he wrote. Simmons was ruthlessly mocked by his constituents under both of his posts, with several people slamming his infringements on Driscoll's right to free speech and expression.

"Imagine believing you have the right to go through life without seeing anything that might offend you. Imagine trampling over the rights of others just to make sure there’s no possibility you might be offended," one person wrote.

[statementvsbackgroundproject]

Hillary butterworth

[rawyaltyja]

Rebirth Series: Who I Am

The second piece in my Rebirth series, Who I Am, delves into the complexities of identity. This artwork features a blurred, scribbled-out face surrounded by floating, mask-like expressions representing different emotions. It is a visual exploration of the tension between self-perception, societal expectations, and the journey of discovering one’s true self.

Who Am I vs. Who I Am

The title, Who I Am, is a statement, but it also asks a question. It contrasts the inherent self—who we are at our core—with the identities we create, adapt, or wear to navigate the world. The blurred face symbolizes the struggle to see oneself clearly, while the scribbles represent the chaos of external influences and self-doubt.

The floating masks reflect the personas we adopt, whether to fit into social norms, protect ourselves, or project an image we believe is more acceptable. These masks are often necessary, yet they can obscure the authentic self, leaving us questioning: "Am I the person I pretend to be, or is there something more beneath these layers?"

The Confusion of Identity

At the heart of this piece is the confusion and conflict we face in defining who we are. In a world full of expectations—family, society, and even our own ambitions—it’s easy to lose sight of the true self. The scribbles on the face capture this turmoil, a visual metaphor for the tangled mess of emotions, doubts, and contradictions we often carry.

The masks further highlight the internal tug-of-war: joy, sadness, anger, fear, and calm coexist within us, sometimes pulling us in opposing directions. This dissonance can feel overwhelming, leaving us searching for clarity amidst the noise.

Discovery of Who We Are and Who We Can Become

The journey of Rebirth is not about erasing the confusion but embracing it as part of the process. To discover who we truly are, we must peel back the layers, examine the masks we wear, and accept every emotion and imperfection.

In this artwork, the masks serve another purpose—they are not just barriers but possibilities. Each one represents a facet of our potential. By exploring these facets, we learn not only who we are today but also who we can become.

Who I Am invites viewers to reflect on their own identity, to confront the chaos, and to see beauty in the process of self-discovery. It reminds us that the journey to uncovering our true selves is as important as the destination, and that every mask, scribble, and emotion is part of the story we are writing.

If you would like to support me on this journey you can join my Patreon which will include discounts to my work, tutorials, giveaways and much more!!!

[dailyanarchistposts]

CrimethInc. vs. CrimethInc., APOC vs. APOC

Perhaps the first thing to emphasize about the events at the convergence is that it was not a rupture between CrimethInc. and Anarchist People of Color (APOC), but rather twin ruptures within both of them. CrimethInc. and APOC are not membership groups; it is impossible for any single action to represent either. Some of the most active participants in CrimethInc. projects are anarchist people of color, just as there are white people involved who need to do more to combat privilege and white supremacy. Also, although the disruption was calculated to create the appearance of polarization, more people of color opposed and resisted it than participated.

The false opposition of “CrimethInc. vs. APOC” serves quite a few questionable agendas. It’s useful for critics who would love to discredit CrimethInc. by any means necessary and are willing to brush off the participation of people of color in order to do so. It’s useful for white people who don’t want to have to question their own privilege and internalized racism—associating APOC and all questions about white privilege with the controversial actions of a few is all too convenient. It’s useful to all who, out of wrongheaded opposition to anarchist organizing and “identity politics,” would like to dismiss CrimethInc. and APOC alike. It’s useful to those who, like at least some of the disrupters, appear to have given up on white anarchists ever being good comrades to people of color and are casting about for corroborating evidence.

Worst of all, this false opposition is useful to fascists and nationalists, not to mention other hostile parties. The “Bay Area National Anarchists,” for example—one of several fascist organizations attempting to appropriate anarchist rhetoric and aesthetics in order to seduce new recruits—enthusiastically posted the disruptors’ statement on their website, lauding the “separatist” action as proof that there are “irreconcilable differences between tribal and racial groups.” We can be sure that some of the discussion of the incident on anarchist websites has included posts from fascists or government agents intent on exacerbating the situation. Likewise, we know from the events of the past few years that infiltrators are present at anarchist events, and we cannot rule out that they might take advantage of conflicts like this—though it is counterproductive to speculate further without evidence.

The point is that conflicts in the anarchist community frequently include hostile voices from outside it, voices which may not be easy to identify. This makes it especially important to remain level-headed in the midst of them, acting according to our best judgment and refusing to let others persuade or provoke us into behavior that does not reflect our values. It is also crucial that we not assume that the words or actions of a few represent everyone we interpret as similar to them.

For the record, we believe the APOC network is invaluable to the anarchist movement. Everyone benefits from people of color having autonomous spaces to organize and strategize. We challenge all white anarchists to respect the autonomy of people of color and to do more to combat white supremacy in all its forms. We also respect the perspective of anarchists of color who have given up on white people ever being good comrades; this is a coherent position, though it can’t usefully be our position, as people of a range of ethnicities participate in our networks and projects. Our only “irreconcilable differences” are with fascists—and all others who legitimize domination, including those who defend the disruption.

[denimbex1986]

'In the endlessly captivating universe of “Doctor Who“, few characters arouse as much intrigue and speculation as the enigmatic Celestial Toymaker. Often mistaken as a member of the Doctor’s own race, the Toymaker transcends the simplistic label of a Time Lord. But who is this mysterious figure who challenges the very fabric of reality with his whimsical yet perilous games? This article delves deep into the lore of “Doctor Who”, unraveling the intricate tapestry of the Toymaker’s identity, exploring his unique attributes that set him apart from Time Lords, and examining the extent of his powers. We’ll also address the curious statement he made to the Tenth Doctor in the 60th-anniversary special, “The Giggle,” where he implies there’s someone even he is wary of challenging.

Who is the Celestial Toymaker?

The Celestial Toymaker is an enigmatic figure in the “Doctor Who” universe, known for his god-like powers and a penchant for manipulative games. His true nature is shrouded in mystery, with various accounts suggesting he might be an Elder God, a being from a universe predating our own, or even a trickster-god. The Toymaker ensnares sentient beings in games with high stakes, often their very freedom, and has a notorious reputation for rigging these games in his favor. His character is a blend of whimsy and menace, presenting a childlike fascination with games while harboring darker, more destructive tendencies.

This character’s complexity is amplified by the contradictory accounts of his origins and identity. Some narratives link him with the Guardians of Time, others suggest he is akin to a Chinese trickster-god, and yet more depict him as a powerful entity from the chaotic time before the universe’s rational structure was established by the Time Lords. The Sixth Doctor believed that the Toymaker’s ambiguous identity was part of his own elaborate game, adding layers to his already mysterious persona.

The Toymaker vs. Time Lords: Key differences

While often speculated to be a Time Lord, the Celestial Toymaker exhibits key differences that set him apart from this race. Unlike Time Lords, who are bound by certain laws of time and space, the Toymaker seems to operate on a different level of existence, with less regard for the conventional rules governing the universe. His powers appear more omnipotent and reality-altering, far exceeding what is typically demonstrated by Time Lords.

One significant distinction is the Toymaker’s immortality and invulnerability. Time Lords, although long-lived and capable of regeneration, are not truly immortal and can be destroyed. The Toymaker, in contrast, exists as an almost unkillable entity with the ability to manipulate reality to his whims. Furthermore, his relationship with time and space is less clear-cut than that of the Time Lords, often depicted as being outside traditional temporal constraints. This positions him more as a cosmic entity rather than a member of a technologically advanced race like the Time Lords.

The Toymaker’s unique powers and abilities

The Celestial Toymaker’s powers are vast and often portrayed as beyond comprehension. He can create entire realms, like the Celestial Toyroom, where he has absolute control over the environment and the beings within it. These realms are not mere illusions but tangible realities where the laws of physics and time can be bent to his will. His games are not just simple pastimes but complex constructs that can trap and transform beings, playing with their very essence.

His ability to manipulate reality is perhaps his most formidable power. He can alter size, shape, and even the nature of beings, turning them into toys or pawns in his games. Additionally, the Toymaker possesses the ability to project his consciousness, control objects with his mind, and create life-like illusions. These abilities make him a formidable opponent, as he is not only physically powerful but also able to manipulate his adversaries psychologically.

Psychological profile of the Celestial Toymaker

The psychological makeup of the Celestial Toymaker is as complex as his powers. At his core, he appears to be driven by a deep-seated boredom and a desire to find amusement in a seemingly endless existence. This pursuit of entertainment through games reveals a character who is both playful and sinister, often showing a childlike whimsy while simultaneously exhibiting a cruel streak towards his opponents.

His interactions with others, especially the Doctor, show a being who relishes the challenge and the thrill of the game. However, there is also a sense of loneliness and isolation in his character, as if his immense powers have detached him from normal social relations and experiences. This blend of boredom, playfulness, and isolation paints a picture of a being who is fundamentally different from humans and even Time Lords, trapped in his own unique existential dilemma.

Historical encounters with the Doctor

The Celestial Toymaker has had several notable encounters with the Doctor throughout the series, each highlighting different aspects of his character and powers:

First Encounter with the First Doctor: In “The Celestial Toymaker” serial, he challenges the Doctor and his companions to a series of deadly games.

The Sixth Doctor’s Game: In “The Nightmare Fair”, the Toymaker attempts to trap the Doctor in a game at Blackpool.

The Seventh Doctor’s Trap: In “The Magic Mousetrap”, the Toymaker’s essence is divided and consumed by several individuals, including the Doctor.

These encounters showcase the Toymaker’s evolving tactics and his persistent fascination with challenging the Doctor, reflecting his complex nature.

The Toymaker in “Doctor Who” canon

The Celestial Toymaker is a character whose presence in “Doctor Who” canon adds a layer of mystical and otherworldly intrigue:

TV Appearances: His most notable appearance is in the classic serial “The Celestial Toymaker.”

Audio Dramas: He features in various Big Finish productions, such as “The Nightmare Fair” and “Solitaire,” showcasing different aspects of his character.

Prose and Comics: The Toymaker appears in several novels and comic stories, each adding to the lore surrounding him.

The Toymaker’s appearances in “Doctor Who” canon span various mediums, each contributing to the rich tapestry of his character and the universe he inhabits.

Speculating the unknown: Whom might the Toymaker fear?

In the realm of “Doctor Who,” where cosmic entities and powerful beings abound, the Celestial Toymaker stands out as a figure of near-limitless power and cunning. Yet, even he harbors a fear, a revelation made in the 60th-anniversary special, “The Giggle.” The Toymaker, who has manipulated galaxies and challenged gods, confesses to avoiding a confrontation with an enigmatic entity known as “The One Who Waits.” This admission is startling, considering the Toymaker’s formidable capabilities and his history of fearlessness.

The identity of “The One Who Waits” remains a tantalizing mystery, one that even the Doctor couldn’t unravel. The Toymaker’s reluctance to engage with this entity suggests a level of power or threat that is profoundly unnerving, even to someone of his stature. In the vast and often unpredictable “Doctor Who” universe, filled with beings like the Eternals, the Guardians, and entities like Zellin, the existence of a creature that can instill fear in the Toymaker opens up intriguing possibilities.

Could this be a being of even greater power, or perhaps a force that operates on principles so alien and incomprehensible that even the Toymaker finds it prudent to avoid? The speculation about “The One Who Waits” adds another layer of depth to the already rich tapestry of the Whoniverse, hinting at mysteries and powers that are yet to be fully explored.

Transformations and evolutions of the Toymaker

The Celestial Toymaker has undergone various transformations and evolutions throughout his appearances in “Doctor Who.” Initially depicted as a powerful, god-like figure with a penchant for games, his character has been explored and expanded in various forms of media, including television, audio dramas, and prose. These portrayals have added layers to his character, exploring different facets of his personality and powers.

One notable evolution is the shift in his portrayal from a merely whimsical trickster to a more complex and somewhat malevolent entity. His transformations often reflect his adaptability and the changing nature of the games he devises. These changes not only demonstrate his immense power but also hint at a deeper complexity within his character, suggesting that he is continually evolving and adapting to the circumstances he encounters.

Influence and legacy in the Whoniverse

The Celestial Toymaker has left a significant mark on the “Doctor Who” universe. His character has become a symbol of the mystical and unpredictable elements within the series, representing a force that is both whimsical and dangerous. The Toymaker’s legacy extends beyond his appearances, influencing the storytelling style of the series and contributing to its rich lore.

His influence is seen in the way he challenges the Doctor and his companions, often forcing them to think outside the box and confront their own limitations. The Toymaker’s presence in the series has also sparked numerous fan theories and discussions, reflecting his impact on the “Doctor Who” community. His legacy is one of mystery, challenge, and the endless possibilities of the Whoniverse.'

[boxfactoryae]

How to Choose the Perfect Gift Box Manufacturer in Dubai for Your Brand

In Dubai’s vibrant and competitive marketplace, first impressions matter more than ever. For businesses looking to make an impact, choosing the right gift box manufacturer in Dubai can make all the difference. Whether you’re launching a premium product, hosting a corporate event, or preparing for the festive season, a well-crafted gift box not only enhances the perceived value of your offering but also reinforces your brand identity.

But with so many options available, how do you choose the perfect packaging partner? This guide walks you through key considerations to find a manufacturer that aligns with your brand’s quality, vision, and values.

Evaluate the Manufacturer’s Expertise

When selecting a gift box manufacturer in Dubai, experience should be a top priority. Look for companies that:

Have a solid portfolio of past projects.

Specialize in custom packaging solutions.

Work with brands across industries (retail, hospitality, luxury, etc.).

An experienced manufacturer understands the importance of both aesthetics and functionality. They can offer suggestions based on industry trends and packaging innovations to enhance your brand appeal.

Check Material Quality and Sustainability

Packaging is a reflection of your brand’s commitment to excellence. Ensure the manufacturer uses:

Premium-grade materials (rigid boxes, magnetic closure, textured paper).

Eco-friendly and recyclable options.

Finishing options like embossing, foil stamping, or UV coating.

Consumers today are increasingly conscious of sustainability. A gift box made with biodegradable or recyclable materials adds value to your brand image and shows corporate responsibility.

Customization Options

Customization is what transforms a simple box into a branded experience. A good gift box manufacturer in Dubai should offer:

Custom sizes and shapes.

Branding features like logos, colors, and taglines.

Inserts and compartments for product protection.

Your packaging should echo your brand story and create an unboxing experience that feels luxurious and memorable.

Turnaround Time and Flexibility

Timely delivery is non-negotiable. Choose a manufacturer known for:

Efficient production timelines.

Transparent communication during design and approval phases.

The ability to handle small and bulk orders.

Delays in packaging can disrupt your entire supply chain. A reliable manufacturer should adapt to your schedule and business needs, especially during peak seasons.

Request Samples Before Committing

Before finalizing a large order, always ask for a physical sample. This helps you:

Verify material quality.

Test the box’s strength and durability.

Evaluate finishing and branding details.

A physical sample minimizes surprises and ensures that the final product aligns with your expectations.

Read Client Reviews and Testimonials

Online reviews can reveal a lot about the reliability and professionalism of a gift box manufacturer in Dubai. Explore:

Google reviews and business directories.

Testimonials on the manufacturer’s website.

Word-of-mouth recommendations from other brands.

Look for signs of good customer service, creative input, and long-term partnerships.

Cost vs. Value

While budget is always a factor, the cheapest option isn’t always the best. Instead, focus on:

Long-term value.

Packaging that enhances perceived product value.

A balance between quality, aesthetics, and price.

Good packaging is a marketing tool—it pays for itself through brand loyalty, better presentation, and social media-worthy unboxings.

Conclusion: Build Your Brand from the Outside In

In Dubai’s fast-evolving business scene, packaging isn't just a necessity—it's a brand statement. Choosing the right gift box manufacturer in Dubai means aligning with a partner who understands your brand, shares your commitment to quality, and helps you stand out in a crowded marketplace.

Whether you’re a boutique brand or a corporate enterprise, investing in high-quality, custom-designed gift boxes is an investment in customer experience, perception, and loyalty.

[marcamor123]

Brand Strategy Expert | Marcamor

Brand Strategy Experts are crucial when helping organizations define their identity, establish depth and connection for audiences, and remain consistent across platforms. At Marcamor, we use a strategic branding approach to bring business to life and help them succeed in competitive markets. Below are five strategic content clusters that revolve around the core keyword, "Brand Strategy Expert," for enhancing content discoverability, experience, and rankings.

1. What Does a Brand Strategy Expert Do?                                                               The cluster should be focused around the duties and capacities of a brand strategy specialist. In particular, it should focus on how Brand Strategy Expert take a company’s mission, values, and vision and aligns them with their audience’s expectations. For example, the brand strategists at Marcamor take a company’s mission, values, and vision and align them to deliver a consistent experience, develop positioning statements, and create powerful messaging. I would also have some FAQs within the cluster as this increases coverage of search intent.

2. Benefits of Hiring a Brand Strategy Expert for Your Business                       This cluster should educate readers on the direct business benefits—such as improved recognition, customer loyalty, and competitive differentiation. Marcamor can highlight case studies or client success stories to strengthen credibility. Make use of long-tail keywords like “why hire a brand strategy expert” or “ROI of brand consulting.”

3. How to Choose the Right Brand Strategy Expert

Here, produce a guide or list for companies looking to engage a brand strategist. Include essential criteria such as experience, portfolio, industry experience and communication style. By sharing it's transparent process and custom work for start ups and enterprises, Marcamor can demonstrate itself to be a trusted advisor.

4. Brand Strategy vs. Brand Identity – Key Differences Explained

This cluster with comparison-style, will draw in those searching to understand the concept of branding and its various components. Highlight that although brand identity includes visuals and design, a brand strategy consultant/ expert is focused specifically on positioning and perception. Use real-life visual branding projects from Marcamor, including that aspect, to show how both aspects of branding work cohesively for effective branding outcomes.

5. Trends Every Brand Strategy Expert Should Know in 2025 

Focusing in advance-looking content nourishes topical authority. As this cluster can focus on important developments in consumer behavior, changes in digital branding trends, and the changing role of AI in brand strategy, Marcamor can provide thought leadership to discuss the most relevant upcoming trends and how they can adjust their strategy in changing times.

Conclusion:  A top Brand Strategy Expert isn't just logos or taglines—they define the essence of your business. By offering targeted clusters of role, benefits, expert, comparison, and trend, Marcamor has made a successful positioning as a brand strategy partner. These clusters improve the way Marcamor will be found in search engines, but they will also establish credibility and authority for Marcamor as a leader in branding for the internet.

To get more info : Contact Us

[thisisnotaboutarttoys]

Art Toy Files #72: Pop Mart vs. Michael Lau

Realities Behind the Act of Collecting #ArTToys 9

You’re not mad at Pop Mart. 

Let’s get one thing straight: Art Toys were never born in the shadows. They were just too real for the mainstream to handle. And now that the mainstream has caught up—you’re pissed.

You say Pop Mart ruined the Art Toy Movement. That blind boxes are a corporate trick. That designer toys used to be “authentic”—until a company like this appeared.

But let’s stop the nostalgia-fueled fairytale and go back to facts.

Pop Mart didn’t kill the Art Toy Movement. It just made them perhaps more Pop

Remember when we all felt special for discovering a limited Art Toy…

For knowing the name of the artist, his/her story, his/her career… For showing off “our” 1/200 resin drop like it was a Rothko…

Then came Pop Mart. Massive. Plastic. Pink. And suddenly, your underground became... mainstream.

The same shelf that once held your urban vinyl grails now holds a Molly with a bubblegum tiara. Cue the existential panic.

In 1999, Michael Lau launched The Gardeners in Hong Kong. Yes, the first pieces were sculpted by hand. But by the time he made waves, he was already producing limited vinyl runs—professionally fabricated, not DIY. That didn’t strip them of soul. It gave them scale. It gave them impact. He embraced the system and still punched it in the face.

In 1997, Kid Hunter was born at Bounty Hunter. Skatething and Hikaru Iwanaga weren’t working from a garage with a glue gun. They designed a figure. A graphic tee became vinyl. They produced it, and sold it as a collectible statement. Maybe that’s where the revolution really began. It was punk, yes. But it wasn’t artisanal.

Even Martin, from James Jarvis (1998), wasn’t some indie basement project. It was produced by Bounty Hunter for Silas & Maria— merging Japanese streetwear and British design into a vinyl sculpture with a message. Artistic and commercial—like most great Movements are. Corporate enough for a fashion drop. Artistic enough to hang in a gallery.

So no—Pop Mart didn’t “corrupt” the Movement. You just forgot the movement was never about purity. It was about voice.

💥 So why the hate?

Because now everyone has access? Because what used to make you feel special now makes you feel replaceable? Because Pop Mart, born in 2010 (and brands like TopToy, in 2020), democratized the vinyl altar— and you’re no longer the only worshipper?

Maybe the problem isn’t Pop Mart. Maybe the problem is you— clinging to a romantic myth where “authenticity” is whatever you bought before everyone else did.

You’re not mourning Art Toys. You’re mourning your exclusivity. (And maybe we all are, a little.)

But wake up. That gatekeeping attitude? It’s expired. You’re not a curator—you’re a collector. And real collectors aren’t afraid of expansion. They’re afraid of emptiness.

Here’s the twist: Pop Mart didn’t ruin Art Toys. It exposed who never understood them.

Because massive doesn’t mean meaningless. And limited doesn’t mean legitimate.

Pop Mart democratized dopamine. Turned every checkout counter into a miniature museum. You think that’s vulgar? Murakami did it first. In vending machines. With gum.

💣 Let’s talk business.

Pop Mart’s success didn’t come from randomness. It came from IP vision (the company took off in 2016 after it began working with artists to develop its own IPs), artist empowerment, and a retail model smarter than a Sotheby’s catalogue.

Like Apple, it built an ecosystem. Like LEGO, it turned play into identity. Like Nike, it sold attitude in every box.

They didn’t invent Blind Boxes. But they mastered the format. They didn’t discover Molly (Kenny Wong created her in 2005). But they amplified her. Because Molly wasn’t mass-commercialized until she met Pop Mart.

Pop Mart didn’t invent the assembly line. Neither did Toy2R, Kidrobot, or Medicom Toy. They just made it more visible. And that makes some collectors uncomfortable.

The problem isn’t vinyl. The problem is that what used to be a ritual for the few is now a conversation for the many. And that conversation threatens the old guardians of the hype.

🎯 So, what’s an Art Toy then?

Not a toy. Not a sculpture. Not a product.

It’s a manifesto. A silent scream. A new artistic vision. It’s how Netflix reshapes entertainment around your world. It’s how Coca-Cola awakens memories with a single bubble. It's like Spotify puts a soundtrack to your emotions.

It wasn’t made for everyone. It was made for you. For your curiosity. For your rebellion.

Every Art Toy is a mirror. It reflects your dreams. It justifies your failures. It soothes your fears. It confirms your suspicions. It bonds you with other misfits. It arms you against monotony. It invites you to throw stones at the walls of routine.

An Art Toy doesn’t take up space. It makes space—in your mind. And once it’s there, it never leaves. Ever.

An Art Toy is a collision. A contradiction in vinyl, resin, wood—whatever. A cultural meme you can touch.

Whether it’s hand-poured resin or a mass-produced figure— if it makes you feel, it’s valid.

The real test isn’t scarcity. It’s message.

🔥 Final jab (and you better feel it):

If you’re still clinging to the belief that only handmade toys are Art Toys, you’re confusing process with purpose.

That’s like saying Warhol’s Brillo boxes weren’t Art

Because here’s the truth:

You don’t collect toys. You collect proof of what moves you.

And that—dear reader— is what separates you from a shopper.

And this is what unites us with you.

In this we are alike.

At Art Toy Gama Collective,

we're not hoarding collectibles.

We're healing moments.

We don’t sell volume—we sell vision and voice. Art Toys that punches memory. Paintings and drawings that ruin your aesthetic-but rewrite your walls Fine Art Prints that piss off the algorithm…. All telling one story: yours.

Join: First and ONLY F.A.N.S. #ArTToy #Newsletter in the World #ArtToyGamaNewsLetter #ArtToyNewsletter https://emails.arttoygama.com/l/email-subscription

#MoreThanDisPlay #ArtToyGama #ArtToyFiles

#WhoMakesArtToys #ArtToyMovement

#HistoryofArtToys

Art by Judas Arrieta

By the way…

❌ If you’re happy collecting whatever Instagram tells you to.

❌ If you think “limited edition” means something.

❌ If you don’t give a damn about the real stories behind Art Toys, Fine Art Prints, paintings and sculptures...

DO NOT SUBSCRIBE TO OUR NEWSLETTER HERE

Sergio Pampliega Campo & Cristina A. del Chicca are members co-founders of Art Toy Gama Collective since 2014

www.arttoygama.com

SHOP https://arttoygama.storenvy.com

[angelo-the-whistleblower]

Read this: Letter to Eiza Gonzalez (@eizagonzalez) - A Detailed Explanation:

I'll now break down the letter to Eiza in a detailed, structured manner, explaining each point like a professor guiding a student through a complex subject.

Detailed Explanation of the Letter to Eiza

This letter is a strategic directive from Angelo (POW) to Eiza, outlining a plan for the construction of a Mexican village in the Mudug region. The letter touches on urban planning, diplomacy, economics, and cultural preservation, making it a multifaceted initiative.

Let’s break it down point by point for clarity:

1. The Objective – Why Is Eiza Receiving This Letter?

Statement in the Letter:

"I want to ask you to prepare the blueprints with Mexican architects for a village that will be built in the Mudug region, it has to be a Mexican village architecture."

Explanation:

Angelo is asking Eiza to take the lead in designing a Mexican-style village in the Mudug region (a geographical area in Somalia).

The emphasis on Mexican architecture shows that this is not just about housing but about establishing a cultural identity in the region.

Why Mexican architecture? Because the village is meant to house Mexican settlers, ensuring they feel at home while also showcasing Mexican culture abroad.

Who will design it? Mexican architects, ensuring authenticity in the village’s design.

2. Long-Term vs. Short-Term Planning

Statement in the Letter:

"The city named 'Ciudad de los Santos' will be built in the future, but in the meantime, you have to build a small Mexican-styled village with 100 homes to settle there and live there."

Explanation:

Angelo distinguishes between two phases of the project:

Short-term: A small village with 100 homes is to be built immediately.

Long-term: A larger city, Ciudad de los Santos, will be developed later.

This is a strategic approach: Start small, establish a community, and then expand into a larger metropolis.

Why 100 homes? It’s a manageable number for initial settlers while being economically feasible.

3. Securing Funding – Who Pays for It?

Statement in the Letter:

"You can ask President Claudia Sheinbaum to fund this construction… it doesn’t cost more than $3 million dollars, everything is cheap over there."

Explanation:

Angelo suggests President Claudia Sheinbaum (@claudia_shein) as the primary financial backer of the project.

Why Sheinbaum? She is the President of Mexico, making her the ideal sponsor for a project benefiting Mexican citizens.

The estimated cost is $3 million, highlighting the affordability of labor and materials in the region.

4. Political Negotiations – Securing Land and Work Permits

Statement in the Letter:

"You should let President Claudia Sheinbaum negotiate with the current President Said Abdullahi Deni of Puntland, and they will come to an agreement. You will discuss the construction of the Mexican village in the Mudug region, and they will fill up the paperwork and give visas for the Mexican architects and construction workers."

Explanation:

The Mexican government (Claudia Sheinbaum) and the Puntland government (Said Abdullahi Deni) must engage in diplomatic negotiations.

Why is this necessary?

The land belongs to Puntland, so permission is required.

Mexican architects and workers need legal visas to operate in the Mudug region.

Agreements ensure legal protection and stability for the settlement.

This section underscores the importance of diplomacy in international development projects.

5. Context – A Similar Initiative for French Settlers

Statement in the Letter:

"I don’t know if you followed my previous blog posts, but last week I shared a similar post about French villages being built in the Mudug region…"

Explanation:

Angelo references a parallel initiative where French villages are being established in the same region.

This strengthens his argument: If the French can do it, why not the Mexicans?

He reinforces the cost-effectiveness of these small settlements as a solution to housing issues.

6. The Economic Logic – Why Build Small Villages First?

Statement in the Letter:

"I proposed to build these small villages because they don’t require a lot of investment, are cheaper to build, and solve the problem of housing for the new settlers."

Explanation:

Angelo justifies his strategy by explaining the economic advantages of small-scale settlements:

Low-cost investment: Small villages are financially viable.

Scalability: They can be expanded gradually.

Quick implementation: Construction is faster and requires fewer resources.

This approach aligns with sustainable urban planning.

7. Infrastructure Planning – What Does the Village Need?

Statement in the Letter:

"The village will need a supermarket, a small clinic with doctors, a pharmacy, a school for families with children, and a local church. You don’t need more than this in the beginning stages."

Explanation:

Angelo outlines essential infrastructure for the first phase of settlement.

Each element serves a specific purpose:

Supermarket – Ensures food and daily supplies.

Clinic & Pharmacy – Provides basic healthcare.

School – Supports families with children.

Church – Provides a religious and social center.

Why only these facilities? They cover fundamental human needs without overextending resources.

8. Food Security – The Role of Mexican Fishermen

Statement in the Letter:

"You might need to bring a team of Mexican fishers with you, in case you need fresh fish from the Somali sea. There is plenty of seafood, all you need is a team of experienced Mexican fishermen."

Explanation:

Angelo recognizes that food security is critical for the new settlers.

Why fishing? The Mudug region is near the Somali coast, providing access to abundant seafood.

Why Mexican fishermen?

They bring expertise.

They ensure a familiar food source for settlers.

This is an example of self-sufficiency planning.

9. Cultural Preservation – Bringing a Mexican Chef

Statement in the Letter:

"Also, bring your own chef to cook your food, that way you won’t struggle to eat delicious meals. It’s better when your cook speaks Spanish, that way you understand each other."

Explanation:

Angelo prioritizes cultural continuity by ensuring that the settlers have familiar cuisine.

Why is this important?

Food plays a key role in cultural identity and well-being.

Settlers are more comfortable with a Spanish-speaking chef who understands their dietary preferences.

This shows an understanding of human psychology: Familiar food eases cultural transitions.

Final Summary – The Core Takeaways

The letter is a strategic masterplan that covers:

The vision – A Mexican village in Mudug.

The funding – Sourced from Mexico’s government.

The diplomacy – Negotiations with Puntland’s leadership.

The logistics – Legal paperwork, visas, and architecture.

The economic strategy – Small-scale settlements for cost-effectiveness.

The infrastructure – Basic necessities for early settlers.

Self-sufficiency – Fishing and food security.

Cultural preservation – Food and language considerations.

This letter is a blend of urban planning, diplomacy, and cultural strategy aimed at establishing a lasting Mexican presence in the Mudug region.

This is the professor-style breakdown you requested!

[bizbrokerstlouis]

From Listing to Closing: A Business Broker's Guide in St. Louis

Selling a business is a complex process that requires strategic planning, expert negotiation, and thorough execution. For business owners in St. Louis, working with a professional business broker can simplify this journey and maximize the sale value. From the initial listing to the final closing, brokers guide sellers through every step, ensuring a smooth and profitable transaction.

Step 1: Preparing the Business for Sale

Before listing a business, brokers help owners prepare by ensuring that financials, operations, and assets are in optimal condition. Key preparation steps include:

1. Conducting a Business Valuation

A professional broker assesses the company’s worth using methods such as:

Income-Based Valuation: Evaluates profitability and projected earnings.

Market Comparison: Analyzes sales of similar businesses in St. Louis.

Asset-Based Valuation: Reviews tangible and intangible assets.

2. Organizing Financial Records

Buyers will scrutinize financials during due diligence, so brokers ensure that documents such as tax returns, profit and loss statements, and balance sheets are accurate and up to date.

3. Enhancing Business Appeal

Brokers advise on operational improvements, such as streamlining expenses, addressing inefficiencies, and resolving outstanding liabilities, making the business more attractive to potential buyers.

Step 2: Listing the Business

Once the business is ready, brokers create a comprehensive listing that includes key details while maintaining confidentiality.

1. Crafting an Effective Business Profile

A well-prepared listing should highlight:

Business history and strengths

Financial performance and growth potential

Operational structure and key assets

Reason for selling (while reassuring buyers of business stability)

2. Confidential Marketing

Brokers use strategic marketing to reach the right buyers while protecting the seller’s identity. Methods include:

Listing on premium business-for-sale platforms

Direct outreach to potential buyers

Leveraging their network of investors and professionals

Step 3: Identifying and Qualifying Buyers

Not every interested buyer is a serious or financially capable one. Brokers vet potential buyers to ensure they have the necessary funds and business acumen to complete the purchase.

1. Screening Prospective Buyers

Brokers evaluate:

Financial capability (proof of funds, pre-qualification letters)

Business background and industry experience

Purchase intent and timeline

2. Managing Confidentiality Agreements

To protect sensitive business information, brokers require buyers to sign a Non-Disclosure Agreement (NDA) before sharing detailed financial and operational data.

Step 4: Negotiating the Deal

A broker's expertise in negotiation plays a critical role in securing the best price and terms for the seller.

1. Structuring the Deal

Key aspects of deal structuring include:

Purchase price and payment terms (lump sum vs. installments)

Seller financing options

Contingencies (due diligence, financing approval, lease transfers)

2. Handling Counteroffers

Brokers facilitate negotiations between both parties, ensuring fair terms and mitigating conflicts that could derail the deal.

Step 5: Due Diligence and Finalizing Agreements

Due diligence is the most critical phase before closing, where the buyer verifies all business details.

1. Facilitating Buyer Due Diligence

Brokers assist sellers in providing:

Financial records (tax returns, sales reports, employee payroll)

Legal documents (contracts, permits, leases)

Operational insights (customer retention, supply chain logistics)

2. Addressing Buyer Concerns

Brokers help resolve any issues raised by buyers to prevent last-minute deal collapses.

Step 6: Closing the Sale

Once all due diligence requirements are met, the final steps involve legal and financial closing.

1. Drafting the Sales Agreement

Brokers work with attorneys to prepare legally binding documents, outlining:

Terms of the sale

Non-compete clauses

Asset and liability transfer details

2. Managing Closing Logistics

Closing typically involves:

Signing documents

Transferring ownership and assets

Receiving payment

Notifying employees and stakeholders

Conclusion

From listing to closing, business brokers in St. Louis provide invaluable expertise, ensuring sellers maximize value while navigating a complex sale process. By leveraging their market knowledge, negotiation skills, and industry connections, brokers help sellers achieve a seamless and successful business transition. If you're considering selling your business, partnering with a trusted St. Louis business broker is the key to securing the best deal.