#art is a conversation between the audience and the artist and sometimes even the most compelling smart cool badass convo topic

[lycanthropicture]

"people have got to learn the difference between i liked it and it was good" how about. people should just learn to understand why they like something and what they liked about it. and often that will lead to you saying "oh actually it WAS good. and here's why". or vice versa, if you understand why you dislike something you can say "it WAS bad and heres why". and bc those are opinions theres no objective or technical way to judge art as good or bad. you can say the lighting or editing or music is bad but like. someone somewhere is gonna disagree with you babe. are they wrong?? what if i thought the hunger games used the appropriate amount of shaky cam. then what.

[comicaurora]

Lighting critique of a recent panel ! Dark ambient lighting is a favorite art subject of mine, so i figured this would be a good time to give some input ! ii say as if we havent been in the undergroound chapter for like a month in which it didnt occur to me to pay attention to lighting Oh well loool here it is nowwwwwwww hope you dont mind the input

Huh.

Okay, so first off, thanks - this is cool and your lighting looks very nice. I look forward to seeing what you make!

Second - I really hope sending this kind of ask isn't a habit of yours, because unsolicited artistic criticism comes across as remarkably rude.

Art criticism for the purposes of improvement is a social contract entered between two artists, typically in a scholastic environment. An artist presents their work to other artists whose opinions they trust and value, and those artists weigh in with their thoughts. Critical to the process is that the presenting artist is showing their art for the purpose of improvement, and they're prepared to receive that input because they're actively asking for it.

In contrast, I make this comic so people can read it, and while I certainly don't mind if they take it apart to analyze it or find ways the writing and art could be improved, I, the creator, am not asking for that and - more importantly - will not really benefit from it.

For instance, in this case, my style of background lighting and shading is optimized most specifically to accommodate for the fact that I need to make a lot of these pages quickly, and correspondingly cannot give everything 110%. Any individual panel could absolutely be more polished, but I often shade these backgrounds in batches of ten pages or more, each page with an average of six panels that need individual shading. So that's sixty individual backgrounds I need to shade in one go. It doesn't make your advice wrong, or even unhelpful for an artist setting out to learn this kind of technique - but it does make it unhelpful for me. This is something you realistically had no way of knowing, and I don't hold it against you! But this is why I have a short list of artists and writers whose input I actually ask for sometimes, and that list is composed of people who know me, my creative priorities, and how my process works. Because they know what I'm working with, their advice stands a much better chance of being actually helpful to me.

Criticism, like all art, has an audience it is designed for. In art school environments or artistic coworker situations, the audience for the criticism is the artist being critiqued and the other artists who are learning from the communal experience they are all agreeing to share. This is the exception and not the rule, however. Outside of this space, the audience for criticism of a work of art is typically the subset of the audience for that work of art that are trying to learn something from the experience or understand what did and didn't work for them. This group can discuss what they did and didn't like, what they would have changed, what parts worked for them that may not have worked for other members of the audience, etc. This space of critical analysis forms the backbone of most fandoms and can be incredibly interesting and rewarding to play around in.

The audience for that kind of criticism is not the creator of the art. In the same way a creator can never be fully immersed in their own fandom audience, this form of communal critique from the audience side of things does not work when directed at the creator. In the context of this work of art, we exist in very different spaces and operate under different parameters. If there's one thing I learned from back when I used to check in on the fan discord community, it's that most conversation in this space operates under the assumption that the creator will not see it or take it personally. I cannot be in the audience of my own audience.

All that to say, thanks for the thought, but please be careful doing this in the future - tumblr is the land of kneejerk hostility and poor reading comprehension, and I don't want to see you getting shredded for a kind intention. And I hope some people find this impromptu tutorial helpful!

[tater-tot-jr]

I think I should put in my two cents considering the Hazbin hotel leaked Angel Dust clip. I’ll say that this post should be one absolutely massive trigger warning. If you’re sensitive please don’t read this, I’m pretty blunt. Also I’m only talking about a small leak but SPOILERS!!!

So before I make any points I’ll start by saying that I’m not an inherent fan of vivziepop, this isn’t meat riding, it’s a genuine attempt at open conversation and discussion. I’ll also say I’m a survivor myself and while I don’t claim to speak for anyone else I have some ground to stand on here. I completely understand that people can be triggered by this type of imagery and will at least skip this particular scene or episode, I promise I’m not talking about you guys.

You wanna know who I am talking about though? The weird ass moral police I’ve been watching mobilize. It’s crazy how people are making a big deal out of this. I’ve seen three arguments and all of them are terrible in themselves and being used to justify terrible behavior.

I’ve only seen people claim three major things, this is a bad depiction of a s/a survivor and situation, this is something that’s too graphic and immoral to put in a TV show, the fact that the singing and dancing lightens the tone in a way people find distasteful. I’m going to be trying to prove why I find these arguments mostly ridiculous and unfounded.

As for argument one, s/a survivors come in all shapes and sizes and hyper sexuality happens to be an incredibly common reaction to sexual trauma. I haven’t watched episode one and two but even if I had I’d still have too small of a sample size to determine the entire tone of an incredibly messed up complex dynamic between too incredibly interesting and layered characters. It’s ridiculous to have so many assumptions and expectations of an *11 second leaked clip.*

Secondly. Creative freedom is possible the most important thing in art. If we didn’t have the freedom to put what we wanted on paper or on screen then we wouldn’t have had so much societal change recently. Just because you might find something distasteful and immoral doesn’t mean it absolutely has to be hated on and removed. It’s okay to not like things because you find them gross, it’s okay to not enjoy graphic depictions of serious subjects, it’s not okay to start internet wars over moral bullshit. It’s okay to be mad in silence sometimes, guys.

Thirdly. I kinda get this one, I don’t agree with it but I do understand the point. The idea you don’t want a serious subject framed with a sexy pop song is not inherently bad, it’s just something that makes me think you wouldn’t have liked Hazbin Hotel anyway. I actually appreciate the fact they are using the creative medium to make bold and shocking decisions but I get some people are sensitive to new things, that’s fine. Where this argument gets ridiculous is when people act like this is very out of line for a show like this. This isn’t a Saturday morning kids cartoon it’s and adult animated show about people in hell. It’s highly likely that this won’t be the worst thing we see, you either need to heed the trigger warnings at the beginning of each episode or get over it.

You’ll notice that I didn’t bring up anything about the merchandise pins or the storyboard artist, I did this because they aren’t arguments but barely related attempts at character assassinations. When you spend five minutes thinking about them critically you come to realize that there is nothing substantial to those arguments.

I’d like to finish up talking about how I think this scene is doing more good than harm. It’s important to make people uncomfortable when you’re talking about things so horrible like s/a and rape. It shouldn’t be meek and palatable for a general audience, it should upset you. I remember hearing something in a video game once that stuck with me. There was a character who said that when you’re sick you need strong medicine and that the strongest medication is very bitter.

I think episode four will be some very bitter medicine.

[schismusic]

THE DISCOGRAPHY PRINCIPLE, Episode 1: Autechre - or, Into Battle with the Art of Noise

The discography principle may be defined as an objective way to determine whether or not you're worthy of calling a band or artist "your favorite" or "one of your favorites". A possible enunciation of it goes as follows:

"Let u ≝ some asshole, B ≝ {b|b is a band}, n ≝ #({x|x is a record by b}); let p = #({y|y is a record by b in u's possession}) = p1 + p2 wherein p1 ≝ number of physical records by b you own in any format and p2 ≝ number of records by b you have downloaded. If p ≥ n ∨ p2 = n (for n → +∞), then ∃b∈B such that b is one of u's favorite bands."

When u = me, this subset of B (which we might call Bf) is comprised of six bands, off the top of my head: Autechre, Godflesh, Shellac, Kraftwerk, Fugazi and Coil, listed in no particular order.

If you want to read the prologue to this series, go here. Otherwise, let's get going.

The concept of usefulness in the context of art criticism is very slippery and, one could argue, absolutely toxic and painful to the development of artistic expressions of all kinds. I have, in the past, been one of the leading proponents of it, but you have to understand: I routinely dealt with people who would add Arctic Monkeys and late-era Caparezza to their end-of-year lists. Drastic measures were in order, I'm sure you guys get it. In virtually all other instances, defining a record "useless" falls into one of the earliest trappings of retrograde art criticism, which is the supposed non-functionality of bad art, or more punctually the quality of non-functionality as inherently bad - wherein I am rather ready to assure you all that most of my favourite records of the past six or seven years fall into the category of absolutely unapproachable crocks of shit OR are records absolutely no one felt the need for except me (and even then, sometimes I didn't even know I'd love them, see Yellow Eyes' recent neofolk foray Master's Murmur).

A similar argument could be made for the concept of incomprehensibility. There are records that are just cryptic for the hell of it - and it would be unfair to label power electronics as such, in that power electronics is usually very direct with what it is about and how it takes it across, but early Brandt Brauer Frick records might very easily fit the bill: who, really, feels the need for live-played techno with classically trained interpreters except for people who like to groove but also have to pretend they know their shit about music and don't want any of that fake computer shit? Or even, why would anyone legitimately give a shit about a Stephen O'Malley record without guitars? - but Autechre I think are simply a different beast. Wherein the vulgata concerning their production essentially revolves around the idea that their first three are the best, then it's all noises and "self-serving experimentation", whatever the fuck that means, and for as many autism jokes people like to make about their music because they simply don't want to even try to give their music a fair chance to stand on its own and just pretend like "wow these guys sure are making computer farts haha", one of the best conversations about music I've had in a while revolves around something that binds Autechre and another dearly-beloved of all obnoxious music people, and later also featured in this series: Coil. And I'm not talking about the (very openly stated) relationship of most-likely-mutual influence between the two groups, but it does stem from that, or more specifically from the aborted collaborative record they toyed with in the early 2000s. This aforementioned collaborative record (which, in the early 2000s, would have probably sold like pre-sliced and pre-Nutella-coated bread to the admittedly very specific audiences the two projects had, regardless of its actual outcome) was shelved, and I quote verbatim, for "not being good enough", which is simply something that you do not do in electronic music unless you are really, really good at what you do - the best at what you do, even. Which would explain why no one ever shuts the fuck up in that particular world and everyone has like a full record and three splits/EPs out every year.

Autechre is something you have to want to waste a lot of time (and money, if you're an obsessive like me) into. There's a number of very cute cheat codes to getting Autechre but the gist of it is that just about nobody I know actually followed the advice literally everyone hands out - i.e. to start with Incunabula. I know I absolutely didn't. The first Autechre record I listened to was Confield, which I later purchased at a certain particularly well-known record shop in my city: my first thought was I really didn't know what to make of it. In retrospect, it's no surprise: literally any other Autechre record would have been better. There are more accessible ones and more inaccessible ones, but either of these options probably would have given me a different shock that would probably have hit me harder. Had I picked up a record like Amber, or Tri Repetae, I probably would have been like "damn this is very '90s but at the same time it still sounds very futuristic in terms of approach and arrangement choices, there's like a billion albums-of-the-month on Pitchfork that sound exactly like any one of these tracks but stretched to forty minutes to one hour" and maybe give it another listen, and then two, and then before I know it Rsdio becomes my most played track of the year (unfortunately, as you might have guessed, this isn't autobiographical, but that's because I ultimately got Tri Repetae on vinyl and mostly play it from there - it's "incomplete without surface noise", after all). If I had picked elseq, or - God forbid - the NTS Sessions, which at that point had been out for like a year or something, you know for a fact I would have tried to get absolutely fucked up by listening to the full four-hour thing while doing something really stupid, like taking a walk around in a blizzard or while in sleep deprivation or while studying linear algebra hoping that my brain would increase in mass all of a sudden. I would not have gotten it, obviously, because I was and to a massive extent still am an idiot who got lucky. Anyway, the point is that Confield felt and in part still feels to me like it's unexpressed potential, but not in the way a record like Radioactivity by Kraftwerk is: Confield looks at you, the listener, and goes "there's a whole other world where we already are. Too bad you can't see any of this shit, because we most definitely do!". Its second half gets noticeably more focused if you listen to the whole thing in sequence, though.

My second attempt was with Oversteps, bought on the same day as Confield, and again - at that point I was already kind of expecting Autechre to just fucking smoke me right then and there. Of course it did not happen, because Oversteps is a fundamentally easier record to approach than Confield is - and in buying it, I also missed the chance to buy Exai, which promptly disappeared from the record shop the very second I managed to go back there, and which would have probably gotten me in a whole ass elseq loop, but let's not dwell on the past, what the fuck did I know then? It's not like anyone has the idea to start with a two-hour-and-a-half impenetrable wall of glitching after all. Whatever. Oversteps is pretty cool though, because it gave me a pretty neat access into a number of other Autechre factory-seals like their stark sense of melody and a style of compositionl development recalling more the idea of a place than it would an actual track (and not even in the Ambient 4: On Land way, where it's "music that describes environments" inspired by the anything-goes bombastic mnemonic approach of Federico Fellini's Amarcord, but rather in its own way of "music that is the environment it describes": spatially organized arrangements, something meant for you to explore, and as such something that you need to spend time in, perhaps repeatedly). Obviously articulating this train of thought was absolutely out of the question and I therefore kept saying "damn, I need to get to this record and listen to it in full", which I later found out doesn't fly more often than not. Autechre is something you want to get back to and waste a shit ton of time on, every track approached like a little world or some sort of escape room even, where all the clues are there and everything you need to do is look (listen) more intently than you did before. I like to think of Autechre as a challenge and I'm assuming that Sean Booth and Rob Brown kinda see it like that too, but not as a challenge to the listener as much as they do it to challenge themselves.

There are absolutely going to be Autechre records you like more than others, some are not gonna speak to you at all, some might be more approachable or just more stylistically in line with what you do (and the best part is that you're gonna find it changes from person to person), but the best part is that there is never an Autechre record that feels thrown out for a quick buck or rushed or forced to develop old ideas and intuitions - for better or for worse, that is. At the same time there definitely is a form of continuity that makes it especially rewarding to listen to Autechre sequentially, the way some people like to watch and rank a director's filmography.

After the pandemic ended, and as people were beginning to go out again albeit maybe wearing masks and gloves, I dropped out of Mathematics and started watching a ton of movies. I fell in love with Nicolas Winding Refn, a director that makes it really easy to put on a movie and let it slide over your skin bathing you in thrills and aesthetics, but is pretentious enough to make that stuff at least try to have something to say (some people argue that it's detrimental to Refn's work, and to an extent I agree; I, for one, simply can't help but appreciate a man who very gleefully declares that the female experience is a mystery to him and at the same time that there's a sixteen-year-old girl within him and that he plays dolls with his daughters and that he never had a girlfriend until he met his current wife Lia Corfixen. The Neon Demon feels like it'd be just one step away from being a male-gaze-glorifying flick if it wasn't for its inherent absurdity and absolute lack of understanding of human relationships that makes it that bit less relatable and more forcefully estranging). Anyway as I was fixating on Refn's movies and downloaded all of them to watch and rewatch them, I also found myself back onto Autechre and decided to take a step back. This time I picked Amber - Incunabula being described as their masterpiece still sort of intimidated me. In retrospect, if I had heard Incunabula without a clear picture of what Autechre would evolve into, I'd have had a hearty laugh and thought something like "man, this aged horribly". Amber has a bit of an edge to it, despite what Booth & Brown say about it, and the elements left over from Incunabula are turned into a less rigid, more impalpable version of themselves that isn't afraid to, for instance, remove all drums and toy with the listener's sense of rhythm in a way something like Kalpol Introl never really did (see: Nine) or face a horrifying creeping darkness that Incunabula's more clearly urban/cyberpunk sensitivities more swiftly dealt with, for instance on tracks like Teartear.

Not one to be easily discouraged (at least when I feel like it), at the first opportunity I decided to buy a record I didn't already know: the choice fell on Tri Repetae, in that it was the next step in the Autechre canon (EPs notwithstanding) and I knew it'd be a step closer to Confield. I wanted to see what the story went like, on its own terms, because the key to this whole ordeal was that I needed to let the record do the talking before I had an opinion on it. And Tri Repetae really did talk to me, because it was exactly what I expected: it had the more discernible elements of early Autechre but also, again, an edge. It's that edge for me: that's the point of interest I end up into, the sort of liminal in-fieri elements that all Autechre releases imply to an extent, and the fact that something as fundamentally ungraspable as C/Pach or Rsdio feeling like it got back home after a whole sleepless night out walking in the cold could coexist with a veritable banger like Eutow (still the one track from Tri Repetae that elicits the most powerful emotional/elated reactions from me) simply blew my mind. Dancing to Eutow in my room and immediately finding myself bobbing my head to, of course, C/Pach and then Gnit led to the next realization in a long series: after everything that's been said about them, the being a four-dimensional object, the being famously impenetrable to all but the most dedicated nerds, the truth about Autechre is that they are a band about rhythm.

I don't exactly expect anyone to be surprised by this, really, but the conscious realization that what I had read on Wikipedia in passing (that Sean and Rob actually met up in the '80s while in the tagging/hip-hop/electro scene in London) actually had bearing on the duo's production was the key to unlocking the rest of their music. Every single thing Autechre have ever done has a form of pulse in it and it takes movement for it to be fully tapped into. Some hacks have recommended listening to Autechre on headphones (deep cuts on YouTube, I see you!) but as for me, I recommend speakers, possibly big, possibly hi-fi, possibly equalized for techno/dance music, and I recommend listening to them with a lot of free space around you. The inherent exploration of space that dancing entails very easily translates into an exploration of the underlying structures in Autechre's (whatchamacallit) songwriting, and from there the rest follows. Even Incunabula, which I finally tackled in summer 2023 and appreciated for what it is: provided you can deal with outdated sound palettes, an excellent record that stands as a true high mark in the exploration of analog instrumentation possibilities, a true forward-looking and forward-pushing debut outing on whose shoulders all future Autechre releases stand, even the most radical. But Autechre could never stand still and simply replicate Incunabula all over n billion times; that's simply not the cloth they're cut from, and if that was the case I'd be very hard-pressed to think they'd feel as relevant as they do with every subsequent release. That they could drop, in sequence, Exai, the whole five records of elseq and the NTS Sessions boxset and still elicit the electrified reactions they did, both positive and negative.

One of the first serious conversations about music that I had with my old band's bassist was about electronic music, which was actually somewhat foundational to my appreciation of this particular art form (I was a die-hard Daft Punk/Justice guy, Waters of Nazareth and Genesis were to me what Metallica or System of a Down to a number of other people I know: a show of force that made me conscious of the physical impact of sound on a human's body, not just pleasant vibrations to the ears). She told me - and I'm willing to bet that was an old idea that she has since discarded - that she really didn't feel like electronic music was alive, and with music being "life" to her that was a true oxymoron that rendered her incapable of objectively judging electronica. At the time I would have never showed her Autechre, if anything because I did not know them if not by name, but my current understanding of them makes them the most serious counterargument to that affirmation. Autechre's music doesn't try to measure up to the feel of live band jamming because it doesn't need to, despite it often being (according to Booth and Brown) the result of lengthy, additive improvisations that the duo trade back and forth. It simply takes a step sideways, making all analysis on those terms essentially unserviceable and useless. And if it wasn't as massively pretentious as it is, this shit simply wouldn't fly: any tension to a conventionally-imaginable sense of humanity would make it clear that the duo aren't into it really, and ironically it ends up feeling less believable; it starts breathing weird, it turns into a captatio benevolentiae to the listener. And Autechre is meant to challenge us, or rather it's meant to challenge me, and Sean Booth and Rob Brown.

Ironically enough, Autechre's records feel more and more rewarding the more you get familiar with them, and therefore it turns into its own peculiar brand of process music, so to speak. And it's a hell of a process, granted, but it definitely has something to say to you as a listener, if you're willing to give it a shot. Autechre's music is incomprehensible and useless, if you don't know what to make of it, but the only way to know what to make of it is engage in it and make up your own mind about it.

[ellie-bygrave]

Reader

Anable, A. (2018). Playing with feelings: Video games and affect. U of Minnesota Press.

In this text, Anable explores the use of affect in games as a tool to provide connection and individualisation of the player. They focus on multiple ways games relate to affect, describing how they can be both a frivolous distraction and create some of the most meaningful moments in our lives. Their initial dive into the historical context of affect provides a base for the reader to build upon when they later discuss some more complicated conceptual ideas. They critique other theories and provide alternative ideas, relating them to the works of others and tangible examples from modern games. Though some concepts are complex, Anable’s work provides a different perspective to other discussions of affect. The specific focus on video games allowed me to apply other ideas of affect to games more easily, developing my understanding of affect as a whole.

Atkinson, P., & Parsayi, F. (2021). Video Games and Aesthetic Contemplation. Games and Culture, 16(5), 519-537. https://doi.org/10.1177/1555412020914726

This paper takes a different approach to the typical “are video games art?” question. They instead provide thoughts on the aesthetic experience, arguing that the effects of art and aesthetics within games depend highly upon the audience and their willingness or ability to engage with it. Although some terms and assertions are complex, their frequent use of examples from well-known games creates links that allows the reader to better understand the principles presented here. A point they discuss at length is the use of the environment to drive navigation and how different aesthetics can signal a change in pace or expectation for the player. As a game artist, aesthetics are essential to consider, so the authors’ discussions on aesthetic principles, such as “foregrounding” and purposefully creating disinteresting areas, have given me new things to think about when creating environments.

Berger, J. (1972). Ways of Seeing. Penguin Books. ISBN 0-14-013515-4

This book, adapted from a BBC television show, features topics relating to the nature of art and representation. Berger touches upon how time and context can drastically alter the way we view art, urging audiences to be sceptical of even those images he presents within this work. He discusses the representation of women and the male gaze, a topic which interests me, particularly in relation to video games. He includes conversations from women, who provide relevant and useful contributions to the subject, providing insight into the portrayal of women as passive objects in media. Though there is lots of further discussion on different topics, I found the conversations surrounding the context of art and the portrayal of women to be the most enlightening in relation to my own work. Whilst the television series is slightly outdated now, the theories it discusses are, and likely will always be, still relevant today.

Buorgonjon, J., Vandermeersche, G., Rutten, K., Quinten, N. (2017). Perspectives on Video Games as Art. LCWeb: Comparative Literature and Culture 19.4. https://doi.org/10.7771/1481-4374.3024

Though video games as art is sometimes a controversial conversation, the authors bring together many different critical arguments from both sides, evaluating the strengths and flaws in the theories. The paper discusses the more superficial visual aspect of art in video games and the deeper emotional elements that are often discussed in relation to other art forms. They explore the relationships between the purpose of art and how video games can fulfil that purpose. As my primary focus is on the creation of art for video games, I have great interest in the debates seen here. The conclusions drawn by the authors about the unique opportunities for expression that video games allow over other art forms, especially regarding interactivity, are something I will consider in my work moving forward.

Cairney, T. (1990). Intertextuality: Infectious Echoes from the Past. The Reading Teacher, 43(7), 478–484. http://www.jstor.org/stable/20200444

In this paper, Cairney explores the different theories presented about intertextuality by a variety of prominent authors on the subject and specifically the ways that children apply and understand intertextuality. They discuss the unavoidable influence that the books we read have on our own writings and, whilst this paper focuses primarily on the way intertextuality influences writing, the theories are applicable to all forms of media. Cairney writes that, whilst there is often awareness of intertextuality, it tends to be regarding story and plot rather than the more conceptual ideas of characterisation and genre. They add that their study found that often writings were created from personal experiences, not just by drawing inspiration from other works. Although some of the principles were devised 30+ years ago, they are still relevant and are evident in my own art, where I am constantly inspired by other works.

Dalila Forni. (2019). Horizon Zero Dawn: The Educational Influence of Video Games in Counteracting Gender Stereotypes. Transactions of the Digital Games Research Association, December 2019, Vol. 5 No. 1, pp. 77-105. ISSN 2328-9422

This paper discusses gender stereotypes in video games and the way they can influence their audiences. Forni references other works on similar subjects to reinforce their assertions, taking into account statistics and facts as well as opinions. They take an in-depth look at a specific game, allowing them to relate many of their points to a well-known example, enabling the reader to contemplate Forni’s points contextually. The author leans into controversial discussion rather than shying away from it, resulting in a stronger argument overall for gender diversity in games. Gender plays an important part in video game art in many ways, but most relevant to me is the way environments can tell stories about the characters themselves. Forni’s discussions on the importance of accurate and diverse representation will undoubtedly influence my implementation of this in my own work.

Green, Amy M. (2017). Storytelling in video games: the art of the digital narrative. McFarland

In their book, Green analyses how the unique features of video games influence the narratives we find in video games. Their discussion takes into account differences in genre, length, and the forms the narratives can take in order to consider many informing factors on this topic. They begin with discussion on historical storytelling of “the human experience”, reinforcing this with other works by experts in their field, before linking their ideas with examples from games. Green’s writing is accessible and interesting, providing some excellent analysis of narrative and what it means in the context of video games. This book gave me an overall wider understanding of narrative as a concept and has allowed me to actively identify different techniques used by some of my favourite games.

Juul, J. (2011) Half-Real: Video Games between Real Rules and Fictional Worlds. MIT Press.

Juul explores the complex concept of how video games utilise real rules in a fictional world to play off what audiences already know. The author begins with a history of games, discussing how rules have governed traditional games for thousands of years all the way to modern-day digital games. Drawing from commonalities across many games, they find that a set of rules is essential for establishing something as a game. As well as mattering to gameplay, rules also define the environments games take place in – they must make sense for the story they are trying to tell. Juul makes the point that throwing a ball in a field makes more sense than in an empty space, a principle which influences my decisions when creating an environment all the time – whatever the intention for the gameplay, the environment must abide by rules that make sense to the audience.

Koenitz, H. (2019). Narrative in Video Games. Amsterdam, Informatics Institute. 10.1007/978-3-319-08234-9_154-1.

This paper aims to compare different lines of thinking that other theorists have presented about the role of narrative within video games. It discusses the ideas behind Narratology and Ludology and the differences between them, as well as discussing theories that seek to stray from those models or that combine parts from each of those theories. The author also discusses the way that the use of narrative can affect a game’s design and the idea that the narrative can become part of the player’s experience. Koenitz effectively presents multiple points of view from different texts, picking out the key points that each theory is based upon, explaining both the merits and weaknesses to allow the reader to draw their own conclusions. This paper helped me further understand the role of narrative in games and how adapting different theories can change the overall player experience.

Morris, P. (2003). Realism. London, Routledge. https://books.google.co.uk/books?id=ROSAAgAAQBAJ&lpg=PP1&pg=PP1#v=onepage&q&f=false

In this book, Morris discusses theories of realism and how we can apply it to fictional media. Despite there being no one agreed upon theory of realism, Morris compares the way we talk about realism in everyday life compared to in fiction and how the boundaries between the two are often blurred, critiquing certain texts that have aspects of realism and non-realism. A subject the authors discusses is whether fiction can and should portray the harshness of reality, or if it is indeed even possible to do so, using a comparison of written word to a mirror to show that even text which purports itself to be reality cannot really come close. This provided me with a new perspective, showing that the emphasis in my own work should be on representing reality with the emotions it creates rather than trying to visually signify reality.

Perreault, M. F., Perreault, G., & Suarez, A. (2022). What Does it Mean to be a Female Character in “Indie” Game Storytelling? Narrative Framing and Humanization in Independently Developed Video Games. Games and Culture, 17(2), 244-261. https://doi.org/10.1177/15554120211026279

This article provides a research-based view on multiple different narrative frameworks, with emphasis on the way in which women are represented within the narrative. It focuses on how narrative can be used to create deep characterisations and interactions to present a story that appeals to a female audience. The authors also touch upon how video games are changing to include more female-driven narratives, highlighting that women have been typically used as secondary characters in games, existing only to further the narrative for a male character. The research presented in this article allows the reader to achieve a greater understanding of the ways narrative and interactivity can be used simultaneously to drive the characters’ stories and provide a sense of development to the player themselves. This gave me a different lens through which I could critically analyse texts, focusing on aspects of narrative relating to the portrayal of women.

Piper, A., Algee-Hewitt, M., Sinha, K., Ruths, D. and Vala, H., 2017. Studying Literary Characters and Character Networks. Digital Humanities Conference.

This paper succinctly summarises and discusses different theories of characterisation and archetypes within media. The authors use mathematical principles to show how character dynamics have changed throughout history, with focus becoming more on central characters as those in the peripheries diminish. Their application of statistical analysis allows them to further develop some of the more outdated and shallow theories they discuss, finding a deeper understanding of characterisation that can be applied to all media, not just the literary examples they use. Their theories have allowed me to further understand some of the archetypes presented by others and to apply newer ideas to my own reading on characterisation.

Summers, T. (2016). Understanding video game music. Cambridge University Press.

In their book, Summers presents many different ideas about the use of music in video games. Their discussions in Part II on the functions and effects of music was critical in furthering my understanding of semiotics in music and the use of music to convey meaning. They delve into the way particular musical phrases can become associated with certain feelings early on in a game and can even be affected by the player’s own choices, using specific examples to further iterate the point. They also discuss another interesting point that games can create their own semiotics within games as well as using already-established musical “rules” from real life, a point which can be applied to semiotics in other forms, not just music. The creation of new semiotic connections is something I’m eager to explore more within the context of art and design in the future.

Tarasti, E. (2018). Musical Semiotics – a Discipline, its History and Theories, Past and Present. Recherches sémiotiques. https://doi.org/10.7202/1051395ar

Tarasti combines music history with the general theories of semiotics, exploring several questions relating to how the music sounds, the context, and its relation to Peirce’s theories of semiotics. They aim to bridge the gap between general semiotics and music, outlining some modifications that must be made to the principles to apply them effectively. They reference classical music pieces and explain the way semiotics are used, describing how music can become “absolute” in the way expressions or motifs gain meaning. I often include music in my digital artworks, so understanding the way semiotics can influence audience perception is essential in conveying the right message. As Tarasti explains, musicians and listeners already have an idea of what certain musical expressions signify, so applying this is essential in creating meaning.

Ward, L, M & Grower, P. (2020). Media and the Development of Gender Role Stereotypes. University of Michigan, Michigan.

Ward and Grower’s paper discusses the wide range of ways gender stereotypes are present in the media and how they can affect audiences. They analyse the differences between male and female stereotypes and the potential reasons behind these, including a lack of recognition for female stories and a lack of respect for them. Whilst the focus is on the negative portrayal of women and girls, they also discuss the harm that male stereotypes can have, furthering the toxic masculinity that is so prevalent in society today. They relate their analyses to several different theories, discussing where they align or stray from each other, using up-to-date research to emphasise their points. I was able to apply their discussion to my own analysis of texts, looking deeper into different characters to see how their theories matched up with the media I was looking at.

[starfriday]

Teamwork Arts presents Mumbai Preview of Jaipur Literature Festival 2024 at The Quorum, Mumbai

Unveiled key themes and highlight sessions for the upcoming Festival

14th December 2023 – Anticipation is building for the 17th edition of the iconic Jaipur Literature Festival, scheduled to take place from 1st to 5th of February 2024 at Hotel Clarks Amer in the vibrant Pink City of Jaipur. Teamwork Arts, the producer of the iconic Festival, hosted a celebratory evening at The Quorum, Mumbai yesterday and brought together the city’s dignitaries, Festival speakers and audiences. The Festival also announced the official bookstore for the 2024 edition – Crossword Bookstores.

Apart from talking about the much-awaited Festival programme and offerings, the evening featured a dialogue between Amish, bestselling author, diplomat and Director of the Nehru Centre in London, and Sanjoy K. Roy, Festival Producer and Managing Director at Teamwork Arts. They delved into the significant role that myth plays as a mediator of memory. There was also an exciting jazz performance by percussionist Vladimir Taravos and saxophonist Liudas Mockuinas at the event.

William Dalrymple, writer, historian, and Festival Co-director, said, "Every year we try and raise the bar at the Jaipur Literature Festival, but 2024 will be our finest festival yet. It is going to be utterly extraordinary and should on no account be missed!"

Sanjoy K. Roy, Managing Director of Teamwork Arts, producer of the Jaipur Literature Festival, said, “At the Jaipur Literature Festival, we inspire people through the power of stories. It is an opportunity to be engage with a cross section of the arts, knowledge and innovation An experience you definitely do not want to miss – a celebration of the joy of literature.”

Aakash Gupta, CEO, Crossword Bookstores, said, “Crossword is very proud to be the bookstore partner at JLF. We are on a mission to grow the readership in India. The Festival is at a pinnacle of celebrating the joy and importance of good books. This partnership between the Festival & Crossword is a perfect match and aligns with our shared visions. Watch out for an exciting bookstore experience at JLF 2024!”

Saloni Puri, Director of Programming at The Quorum, “I am a Jaipur Literature Festival patron from 2006 - since it was founded. Their highly versatile programming has been instrumental in adding to the cultural conversation in the country. Quorum and the Jaipur Literature Festival share a DNA - curiosity and passion for ideas and imagination, thought leadership and conversation. It gives us great pleasure to partner with them for the Mumbai Preview of the 2024 edition.”

The evening also revealed some of the key themes for the 17th edition of the ‘Kumbh’ of literature. Art & culture are key themes and will have interesting sessions such as one exploring the artistic genius of our country’s foremost modern artist, Raja Ravi Varma with Ganesh V. Shivaswamy, two of whose six-volume series, Raja Ravi Varma: An Everlasting Imprint, navigates the life, artistic style, and everlasting impact of Raja Ravi Varma's creative journey. In another session, museum curator, art historian and Director of the Fitzwilliam Museum at the University of Cambridge, Luke Syson, will talk of Leonardo da Vinci's reputation as an inventor and scientist, and the complexity of his creativity and personality that have sometimes almost overshadowed the importance of his aims and techniques as a painter. Syson’s highly acclaimed Leonardo da Vinci – Painter at the Court of Milan exhibit attempts to understand the complex nature of one of the most sought-after artists of the Renaissance period.

The biographies theme includes a session on the book Irrfan: A Life in Movies by film critic and writer Shubhra Gupta. The book is a collection of conversations with the late actor’s contemporaries and their memories of their time with the legend. In conversation with Irrfan Khan’s beloved wife and theatre actor Sutapa Sikdar and filmmaker Vishal Bhardwaj, the session will dive into the art, craft, and life of Irrfan.

Pulitzer Prize winning writer Kai Bird will speak at another session on his writing life and literary journey. Famously co-authored with the late Martin J. Sherwin, Bird wrote, American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer, which acted as the inspiration for the Chirstopher Nolan film, Oppenheimer.

Sharmistha Mukherjee’s remarkable biography Pranab My Father: A Daughter Remembers offers a fascinating glimpse into the illustrious life of Pranab Mukherjee, former politician and the thirteenth President of India. In this session, Sharmistha will talk about her workaholic and devoutly religious Baba who narrated events in the spirit of adda at the dinner-table and who never tried to impose his faith or beliefs on her.

The poet who wins every heart - Gulzar Saab - continues to create magic with each new poetry collection, interweaving the allure of old favourites through verse. Translated by award-winning translator and writer, Rakhshanda Jalil, Baal O-Par is a definitive collection of Gulzar Saab's poetry comprising the complete text of six volumes of poems. Together they will take us through this masterpiece, offering a kaleidoscopic view of history, human experience, and poetic expression.

The Festival will also feature Fashion Designer Tarun Tahiliani. His creations navigate sartorial histories, from the lens of the impact of globalisation and colonisation on attire to the revival of long-forgotten techniques. His book, Journey to India Modern, written with investigative journalist Alia Allana, reveals the paths he takes for his craft, and the significance of his luxury design studio in today's world. In conversation with television anchor and fashion consultant Ambika Anand, Tahiliani will share insights into his explorations in fashion around the globe, his efforts to merge stories across time and space, and the questions he seeks to pose through his designs.

The Festival will also delve into spiritual histories. The sacred terrain of the high Himalaya has a timeless tradition of spiritual and mystic quests. How do enlightened masters become an enduring and living presence for religious and spiritual communities? Celebrated academic and writer Andrew Quintman has written extensively on the Tibetan master and spiritual poet, Milarepa. Actor and writer Kelly Dorji is a practising Buddhist. His book, The Hidden Rainbow, makes an attempt to take us on a spiritual journey through Buddhist symbolism in the quest for inner peace and acceptance. Together, they will discuss the literary representations of Milarepa's life and consider the manifold ways in which these life stories move beyond the written page into artistic, ritual and lived dimensions. This session will also include the launch of the Hindi edition of Mystics and Sceptics: In Search of Himalayan Masters.

Leading classicist and cultural commentator Mary Beard’s recent book, Twelve Caesars: Images of Power from the Ancient World to the Modern, explores how Roman art has shaped the Western world’s understanding of power for over two millennia. Examining the relationship between ancient imperial imagery and the modern visual imagination, Beard will take us through the images of Roman emperors, especially the ‘Twelve Caesars’, from the ruthless Julius Caesar to the fly-torturing Domitian, to understand their modern significance. In conversation with historian, writer and podcaster Tom Holland, she will discuss changing identities, deliberate misidentifications and the often-uncertain representations of authority.

This year too, the Festival offers an exclusive Friend of the Festival (FOF) package which promises an unparalleled experience. FOFs gain access to a private Festival Lounge, where they can unwind and network, occasionally mingling with Festival speakers. The package includes lunches and dinners on Festival days, priority access at select sessions, and entry to the live music performances at the Jaipur Music Stage. In addition, FOFs will be invited to a cultural evening at the majestic Amer Fort as well as an evening of cocktails at the Festival Lounge. They will also get access to the coveted Writers’ Ball that concludes the spectacular literary show.

‘Friend of the Festival’ packages can be booked using this link: https://jaipurliteraturefestival.org/friendsofthefestival-registration.

For further information on the Festival, please visit:

https://jaipurliteraturefestival.org/

[fmp2halimekaraca]

Promoting Myself

Since I am starting university next year, I have to also start thinking of ways to promote my art in order to reach the right people and make the right connections.

I have found this extremely helpful site that offers a lot of great advice and goes over details that I have never seen mentioned on other sites.

Portofolios

Websites/ Online portfolios are a very good way of showcasing your art and letting people know how you work and what your demands are. Based on my research, a lot of people use sites such as Squarespace or Canava to create their online portfolios.

However, it is sometimes hard for people to discover a website which is why social media and art agencies are so important.

Social Media

Almost everyone around the world uses at least one social media platform. Over the years I have found that some are very artist friendly and some are not. Instagram, Twitter and Tumblr are good for exposure and are a great way of promoting an online portfolio or a selling website.

A perk of having Instagram is that you can use hashtags to expand your audience and get more reach. When you use a hashtag, you use a keyword (such as ''butterfly''), that automatically puts your post together with other relevant posts. The more more popular the hashtag, the more people will see it.

Art Agencies

Art Agencies usually represent a multitude of artists that they consider are a good investment and will most likely get picked for projects. They usually are the ones to find work opportunities and offer the exposure needed to reach certain people. In return, the agency will get around 20-40 percent of the profit.

I have found this online agency and while it looks like they are doing a good job at showcasing the artists that they have, I am noticing that a lot of the artists here have very similar styles.

Art agencies can refuse any artists they don't believe would make them a profit, or just isn't worth investing in. This makes the fact that they chose so many artists with such similar styles seem a bit margining and likely to affect the amount of people they reach. Different people need different styles for different projects, and while there is nothing wrong with this particular style(s), it is still a problem when there is nothing else for those with different preferences.

Showcasing a multitude of style (cartoonish, realism, semi-realism, vector, etc) means that a lot more people would be interested.

Art Competitions

Art Competitions are a surprisingly good way of promoting yourself since it not only offers you a chance to meet other artists (which could then mean more opportunities and collaborations) but it is also a good way of finding out what the population considers to be in trend at the moment and weather you win or lose could then be used as an indicator to change/adapt your own work to fit in with what the people want.

They are also a great and (usually) cheap way of winning money, exposure and art related prizes that could help you to grow as an artist even more.

Selling Art

Selling merchandise (t-shirts, prints, pins, mugs, stickers, figurines, etc) is a very good way to make extra money and it offers a lot of exposure in the long run.

Since T-shirts are considered to be one of the most successful kinds of merch, this could easily be brought in a conversation between two people, which can then be passed to others and so on.

From what I understand, RedBubble is one of the biggest art selling websites out there. I personally very much consider opening an online shop the moment I start my art career since I think it would help me a lot.

Another good site to consider is Art Station since it combines the aspect of posting and presenting your art with the aspects of selling merch/characters/3D assets and finding jobs (studios, specific artists, etc)

[raghibkhan]

Don’t Let The Web Development Fraudsters Trick You! An Interview With Raghib Khan

Are you new to the digital marketing domain? You need a well-designed and adequately maintained website to execute a much-anticipated business operation. Web development plays a crucial role in driving the attention of your potential audience toward your brand. But with the rise of the digital marketing era, there has been a significant rise in the number of scammers ready with their scam design to defraud you without letting you notice anything.

We had a chance to discuss the matter of scams and fraud with Raghib Khan, RNF Technologies' co-founder. Through our discussion with the web development expert, we discovered how detrimental hiring a shady or under-experienced developer could be. Unfortunately, it is even more challenging for entrepreneurs, who are just taking baby steps in the market, to distinguish between a web spam artist and a genuine developer.

But you have nothing to worry about as this article has your back; here, you will find a comprehensive guide to understanding website scams and being aware of them. Keep reading to find some unknown facts!

Most Common Web Development Frauds

If you are a business person, you know how significant a website can be to establish your brand online and generate the befitting ROI. Due to new and established businesses' sheer need for websites, web development has grown in popularity, profession-wise. But, bad actors work in various deceptive ways using several tactics to keep up with their fraudulent activities to take advantage of the growing demand. 

So as Raghib Khan suggested, in order to fight spam, you need to understand it thoroughly! Let’s check out some of the standard web development frauds prevalent in the marketing sector:

Back-End Is Inaccessible

This one has to be the most rampant web development scam! In such a scenario, if scammers send you a design, you will approve it and release the payment, but at last, you won’t be able to access the website virtually. However, you might require some ID and password to access the website, and when you ask for it, scammers play their ace card and tell you to pay a fee to access the information. 

The Company Wants Upfront Payment

Another red flag to look out for would be the designer wanting a more significant payment upfront to secure your project. It is not unusual if someone asks for a deposit before starting the work, but you need to be skeptical if the developer asks for more than one-third of the overall sum. 

Meager Services In Exchange For Larger Amount

If you are paying someone to do a job, expecting it to be as per your specifications is right. In our conversation with Raghib Khan, we found out that this isn’t the case with fraud developers, as all they want is money from you in exchange for a meager service. Web development is an art that involves a whole lot of planned structures and processes, which makes it even more challenging to find a genuine professional to do the job for you!

A list of fraudulent activities carried out by bad actors is impossible to cover in one page, but the good news is it can be avoided! So, if you need a website for your business, you must try harder until you find a genuine developer. The thought of getting scammed can be pretty dreadful, but don’t let it interfere with your beliefs, as many trustworthy and talented web developers are willing to provide their best services. It is okay to take risks, sometimes!

[from-our-boxes]

Artist Revive – Hsieh Muqi

by Jessica Chen

If it is said that painting is to return to itself and see the essence of life, it is also to nestle in the veins and reflect the land poured on me. In 2019, Hsieh Muqi's solo exhibition, through dialogues with the previous painters, stirs up the deficiencies from the inside to the outside and settles the issues owed to himself and his paintings over the years. Responding to Taiwan's identity and asking for help from the previous painters

There are always issues in everyone's life that they cannot choose and must face. The exhibition’s title, "What I Owe You," is a self-consciousness of Hsieh Muqi, who asks himself, "As a Taiwanese artist, what is it that you cannot leave behind and must deal with? Of these painting tasks to be dealt with, Hsieh believes that the first and foremost is the identity of "Taiwan.” Therefore, he looks back to the past and asks for advice from his predecessors, who were also Taiwanese artists.

"In those days, someone said, "If you have never painted Guanyin Mountain and Danshui River, you are not worthy of being called a Taiwanese painter. I think that's an exciting statement. Although the former painters' use of landscapes is partly a response to the official exhibition mechanism, for Hsieh, it is also a natural one: "Guanyin Mountain, coconut trees or banana trees are all parts of our daily life. These things keep appearing in my works, and I should say that they have always existed," says Hsieh. I create my works in this time and space, and it serves as a timeline as if the contents here can establish a relationship that can be contrasted or cross-referenced through Taiwan's art history.

"In the early authoritarian era, most works were to avoid disasters, not wanting danger to happen, and sometimes the artists had to hide or alter their works.” With "Landscape on the Way Back,” Hsieh combines Lin Yu-shan's painting with "The Horseman,” which was reworked to avoid a disaster, reflecting on the motivation to use an image to respond to the environment and remember the times.

When the audience walks past the gourd-shaped incense sticker in the exhibition hall, they will hear the human voice, which speaks the keywords that Hsieh has used in his search for information and conversations with previous artists. "The combination of matte paintings and human voices is a bit like I am facing the ghost of my painting, which is the baggage or prejudice I have accumulated over time. When I was a student, painting could be done with enthusiasm and vigor alone, but it becomes heavier and heavier when it becomes a professional or even a lifelong career. "My first solo exhibition in 2006, A Staggering Event - A Place Without Beginning, was the beginning of my exploration of painting. said Hsieh Muqi. "That time, he started to do conceptual manipulation and no longer faced the blank canvas alone. Since then, he has worked around the periphery of painting, exploring the issue of art industrialization through projects and collaborations. Although his creative direction became more and more enriched, his hesitation and anxiety about painting were hidden inside: "The target of criticism and denigration at that time was the status of 'brush painter,’ that is, the painter did not need much skill and could become an artist through substitution or various means. The truth is that I encountered a bottleneck in painting with a brush, so I abandoned the immediate future and looked for another way, "but after developing in that direction, it did not solve the problems I encountered on the canvas.

The "Mountain Road Sketching" project in 2012 was the inception of the "I owe you a painting" project. "At that time, I used mountains as the theme, writing about Yangming Mountain and Wuzhishan Mountain, and I also thought about running away from Guanyin Mountain, which previous painters often painted. He sometimes went to the field to compare the similarities and differences between his paintings and those of today and sometimes copied the brushwork techniques of his predecessors or imitated the characteristics of their styles. "It is a bit like sketching from a landscape painting and gradually writing into the paintings of the predecessors. As for the meaning of painting now, Hsieh says, "I wouldn’t know what will be left in Taiwan's art history or what will be evaluated by doing these things, but I can turn around and incorporate that time and space into my works.

Facing the same scenery as his predecessors, Hsieh expected that he would be able to paint his splendid paintings, and even if he quoted from them, he used his brushwork and style as the central theme and tried his best to take their connotations and create them again. In the face of the changing times, he also hopes to reflect on the generational problems of the painting experience; for example, the depiction of images as mosaics in a grid, and the lack of resolution of the simulated images, is an expression of the experience of reading through the Internet, which is close to the actual image nowadays.

Accessing experiences from the past is gradually becoming a guideline for practice and a resource for drawing materials. I am thinking now about how to "create my style and reassemble the present moment" through these "fragments of time.” Hsieh says that the first two solo exhibitions were more like a learning tongue. But now, slowly, he seems to be talking to himself.

[cutelanguagestuff]

My Favourite Youtube Channels for Studying Languages 🌷

 - innerFrench -

innerFrench is a channel ran by Hugo Cotton, a French teacher situated in Poland. Hugo is a native French speaker and speaks only in this language on his channel - you will never hear a word of English! Even when he explains the meanings of more obscure French words, he still uses French to both convey the word’s meaning, and enable his viewers to continue practicing their comprehension skills. The French Hugo uses is slow, clear and easy to understand for intermediate speakers. Begginners will also find this channel useful as a way to immerse themselves in the language. Hugo focuses on explaining different aspects of French culture in his videos, with a foreign target audience in mind. Since he is both a French teacher, and has had to learn Polish, it’s fair to say that Hugo understands the struggles of learning a foreign language and so is able to help his viewers improve their French skills in a suitable way. This is by far my favourite channel for learning French and I truly believe it has helped me a lot over the years!

- The Purple Palace -

The Purple Palace is a channel ran by Shayna Klee, an artist from the US who moved to Paris for art school. She makes videos in both English and French, often combining the two. When she speaks in French, she always includes English subtitles so that beginners don’t feel lost. Most of Shayna’s videos are vlogs in which she talks about art (which is incredible btw), fashion, French lifestyle / culture and her own personal life. She is quite open about her personal life which definitely makes her viewers feel more close to her as a person. What makes Shayna’s channel so unique is her artwork. I have never seen anything like it before! Seeing her creations makes learning French so much more enjoyable. If you love art or French culture you must explore this channel!

- Easy German -

This is my favourite channel to use for learning German. The hosts of Easy German just seem so sweet and every video puts me in such a positive mood. The Easy Languages network make videos on a range of languages (German, Spanish, French, Italian, Catalan, Polish, Greek, English, Russian, Turkish and many more) and the main premise of their videos is to “learn from the streets”. Most of their videos consist of street interviews with native speakers on various topics. This, of course, is a great way of learning because you get to hear conversational phrases, different accents and see different parts of the world. What makes Easy German so special is definetely the hosts. The channel has several hosts but the two main ones seem to be Cari and Janusz who just seem so lovely. Idk why but it seems like everyone they interview is always so friendly and sweet. It definetly breaks the stereotype that Germans are cold and distant. Easy German also make videos about grammar, vocab and any other things about German which they feel are important to point out. Another thing about this channel is that they don’t just focus on Germany - they also have videos situated in Austria and videos that talk about Swiss German and Austrian German.

- Spanish After Hours -

This channel reminds me of innerFrench as the host (Laura) speaks only in Spanish. Like Hugo from innerFrench, Laura uses a clear, slow register that makes it very easy for intermediate speakers to comprehend. Laura is a native Spanish speaker from Spain and so, if you are looking to speak Castilian Spanish, her accent is perfect to take inspiration from. Her videos are usually shorter than those at innerFrench which might help viewers who find it hard to concentrate for long periods of time. Laura’s videos are very diverse. In some she reads Spanish children’s stories, in others she does ASMR and sometimes she focuses on vocabulary. Nevertheless, her videos are always enjoyable and have definetly helped me with my Spanish listening skills recently.

- Parpalhon Blau -

This channel focuses on the Occitan language which is definetly a language which has very few learning resources. Occitan is a minority language, referring to several dialects spoken in Southern France, Monaco, Northern Spain and Western Italy. It is a romance language which has very close ties to Catalan. On Parpalhon Blau (which means blue butterfly), Gabrièu teaches his viewers how to pronounce Occitan words and helps them to improve their listening skills, catering for both beginners and intermediate learners. Before finding this channel, I had never even heard of Occitan but after hearing how beautiful it sounds, I just had to subscribe. Often with smaller languages like Occitan, the learning resources are very limited and the ones that do exist aren’t really the best quality. Parpalhon Blau however, is a great channel and the perfect introduction to the language.

- Langfocus -

On Langfocus, Paul makes videos surrounding an incredible range of languages. He has videos on almost every language I can think of! the chances are, if you are studying a language, Paul will have made a video about it. I genuinely cannot understand how one person can know so much about so many languages. Most of his videos focus on individual languages or dialects, however, he also has some very interesting ones in where he compares two languages together, highlighting the differences and similarities between them, whilst also explaining the reasons behind this. In each video, Paul aims to give a good overview of the language, discussing it’s origins, pronounciation, alphabet and grammar. Sometimes these videos can be a bit overwhelming if you don’t know anything at all about the language so I mostly use his videos to learn more about languages I am already studying or as an introduction to a language I want to study in the future. 

- JuLingo -

This channel is quite similar to Langfocus in the way that Julie mostly focuses on a different language per video, offering a general overview of it. Julie tends to focus on smaller languages, like Ainu and Basque that people may not know a lot about rather than more popular languages like Spanish and French. Julie’s channel is a great way of exploring new languages that you may have never thought to learn before. Like Paul from Langfocus, she doesn’t just talk about grammar and sentence structure, she also includes information on the language’s origins, which I personally find fascinating. 

- Ecolinguist -

On Ecolinguist, Norbert challenges native speakers of different languages to try and understand a language foreign to them. Through these experiments, he reveals how similar and how different languages are to one another. Usually, he chooses speakers of the same language family as the language which they are listening to and, being a viewer, you are invited to test yourself too. As a native English speaker, I particularly enjoyed discovering how much Old English I could decipher but also since I speak intermediate French and Spanish, I was able to test myself against Latin, Italian, Romanian and Lombard too. Since Norbert is Polish, he also makes videos focused on learning Polish, mostly regarding speaking and listening. Another series Norbet has is his guess the language challenge, in which a guest is presented with audios of language from anywhere in the world and has to guess it. Although I am very bad at these theyre always fun to watch. Its incredible how skilled his guests are!

[uomo-accattivante]

Excellent article about bringing a re-make of Ingmar Bergman’s Scenes from a Marriage to fruition, and the twenty-year friendship that Oscar Isaac and Jessica Chastain share:

There were days on the shoot for “Scenes From a Marriage,” a five-episode limited series that premieres Sept. 12 on HBO, when Oscar Isaac resented the crew.

The problem wasn’t the crew members themselves, he told me on a video call in March. But the work required of him and his co-star, Jessica Chastain, was so unsparingly intimate — “And difficult!” Chastain added from a neighboring Zoom window — that every time a camera operator or a makeup artist appeared, it felt like an intrusion.

On his other projects, Isaac had felt comfortably distant from the characters and their circumstances — interplanetary intrigue, rogue A.I. But “Scenes” surveys monogamy and parenthood, familiar territory. Sometimes Isaac would film a bedtime scene with his onscreen child (Lily Jane) and then go home and tuck his own child into the same model of bed as the one used onset, accessorized with the same bunny lamp, and not know exactly where art ended and life began.

“It was just a lot,” he said.

Chastain agreed, though she put it more strongly. “I mean, I cried every day for four months,” she said.

Isaac, 42, and Chastain, 44, have known each other since their days at the Juilliard School. And they have channeled two decades of friendship, admiration and a shared and obsessional devotion to craft into what Michael Ellenberg, one of the series’s executive producers, called “five hours of naked, raw performance.” (That nudity is metaphorical, mostly.)

“For me it definitely felt incredibly personal,” Chastain said on the call in the spring, about a month after filming had ended. “That’s why I don’t know if I have another one like this in me. Yeah, I can’t decide that. I can’t even talk about it without. …” She turned away from the screen. (It was one of several times during the call that I felt as if I were intruding, too.)

The original “Scenes From a Marriage,” created by Ingmar Bergman, debuted on Swedish television in 1973. Bergman’s first television series, its six episodes trace the dissolution of a middle-class marriage. Starring Liv Ullmann, Bergman’s ex, it drew on his own past relationships, though not always directly.

“When it comes to Bergman, the relationship between autobiography and fiction is extremely complicated,” said Jan Holmberg, the chief executive of the Ingmar Bergman Foundation.

A sensation in Sweden, it was seen by most of the adult population. And yes, sure, correlation does not imply causation, but after its debut, Swedish divorce were rumored to have doubled. Holmberg remembers watching a rerun as a 10-year-old.

“It was a rude awakening to adult life,” he said.

The writer and director Hagai Levi saw it as a teenager, on Israeli public television, during a stint on a kibbutz. “I was shocked,” he said. The series taught him that a television series could be radical, that it could be art. When he created “BeTipul,” the Israeli precursor to “In Treatment,” he used “Scenes” as proof of the concept “that two people can talk for an hour and it can work,” Levi said. (Strangely, “Scenes” also inspired the prime-time soap “Dallas.”)

So when Daniel Bergman, Ingmar Bergman’s youngest son, approached Levi about a remake, he was immediately interested.

But the project languished, in part because loving a show isn’t reason enough to adapt it. Divorce is common now — in Sweden, and elsewhere — and the relationship politics of the original series, in which the male character deserts his wife and young children for an academic post, haven’t aged particularly well.

Then about two years ago, Levi had a revelation. He would swap the gender roles. A woman who leaves her marriage and child in pursuit of freedom (with a very hot Israeli entrepreneur in place of a visiting professorship) might still provoke conversation and interest.

So the Marianne and Johan of the original became Mira and Jonathan, with a Boston suburb (re-created in a warehouse just north of New York City), stepping in for the Stockholm of the original. Jonathan remains an academic though Mira, a lawyer in the original, is now a businesswoman who out-earns him.

Casting began in early 2020. After Isaac met with Levi, he wrote to Chastain to tell her about the project. She wasn’t available. The producers cast Michelle Williams. But the pandemic reshuffled everyone’s schedules. When production was ready to resume, Williams was no longer free. Chastain was. “That was for me the most amazing miracle,” Levi said.

Isaac and Chastain met in the early 2000s at Juilliard. He was in his first year; she, in her third. He first saw her in a scene from a classical tragedy, slapping men in the face as Helen of Troy. He was friendly with her then-boyfriend, and they soon became friends themselves, bonding through the shared trauma of an acting curriculum designed to break its students down and then build them back up again. Isaac remembered her as “a real force of nature and solid, completely solid, with an incredible amount of integrity,” he said.

In the next window, Chastain blushed. “He was super talented,” she said. “But talented in a way that wasn’t expected, that’s challenging and pushing against constructs and ideas.” She introduced him to her manager, and they celebrated each other’s early successes and went to each other’s premieres. (A few of those photos are used in “Scenes From a Marriage” as set dressing.)

In 2013, Chastain was cast in J.C. Chandor’s “A Most Violent Year,”opposite Javier Bardem. When Bardem dropped out, Chastain campaigned for Isaac to have the role. Weeks before shooting, they began to meet, fleshing out the back story of their characters — a husband and wife trying to corner the heating oil market in 1981 New York — the details of the marriage, business, life.

It was their first time working together, and each felt a bond that went deeper than a parallel education and approach. “Something connects us that’s stronger than any ideas of character or story or any of that,” Isaac said. “There’s something else that’s more about like, a shared existence.”

Chandor noticed how they would support each other on set, and challenge each other, too, giving each other the freedom to take the characters’ relationship to dark and dangerous places. “They have this innate trust with each other,” Chandor said.

That trust eliminated the need for actorly tricks or shortcuts, in part because they know each other’s tricks too well. Their motto, Isaac said, was, “Let’s figure this [expletive] out together and see what’s the most honest thing we can do.”

Moni Yakim, Juilliard’s celebrated movement instructor, has followed their careers closely and he noted what he called the “magnetism and spiritual connection” that they suggested onscreen in the film.

“It’s a kind of chemistry,” Yakim said. “They can read each other’s mind and you as an audience, you can sense it.”

Telepathy takes work. When they knew that shooting “Scenes From a Marriage” could begin, Chastain bought a copy of “All About Us,” a guided journal for couples, and filled in her sections in character as Mira. Isaac brought it home and showed it to his wife, the filmmaker Elvira Lind.

“She was like, ‘You finally found your match,’” Isaac recalled. “’Someone that is as big of a nerd as you are.’”

The actors rehearsed, with Levi and on their own, talking their way through each long scene, helping each other through the anguished parts. When production had to halt for two weeks, they rehearsed then, too.

Watching these actors work reminded Amy Herzog, a writer and executive producer on the series, of race horses in full gallop. “These are two people who have so much training and skill,” she said. “Because it’s an athletic feat, what they were being asked to do.”

But training and skill and the “All About Us” book hadn’t really prepared them for the emotional impact of actually shooting “Scenes From a Marriage.” Both actors normally compartmentalize when they work, putting up psychic partitions between their roles and themselves. But this time, the partitions weren’t up to code.

“I knew I was in trouble the very first week,” Chastain said.

She couldn’t hide how the scripts affected her, especially from someone who knows her as well as Isaac does. “I just felt so exposed,” she said. “This to me, more than anything I’ve ever worked on, was definitely the most open I’ve ever been.”

“It felt so dangerous,” she said.

I visited the set in February (after multiple Covid-19 tests and health screenings) during a final day of filming. It was the quietest set I had ever seen: The atmosphere was subdued, reverent almost, a crew and a studio space stripped down to only what two actors would need to do the most passionate and demanding work of their careers.

Isaac didn’t know if he would watch the completed series. “It really is the first time ever, where I’ve done something where I’m totally fine never seeing this thing,” he said. “Because I’ve really lived through it. And in some ways I don’t want whatever they decide to put together to change my experience of it, which was just so intense.”

The cameras captured that intensity. Though Chastain isn’t Mira and Isaac isn’t Jonathan, each drew on personal experience — their parents’ marriages, past relationships — in ways they never had. Sometimes work on the show felt like acting, and sometimes the work wasn’t even conscious. There’s a scene in the harrowing fourth episode in which they both lie crumpled on the floor, an identical stress vein bulging in each forehead.

“It’s my go-to move, the throbbing forehead vein,” Isaac said on a follow-up video call last month. Chastain riffed on the joke: “That was our third year at Juilliard, the throb.”

By then, it had been five months since the shoot wrapped. Life had returned to something like normal. Jokes were possible again. Both of them seemed looser, more relaxed. (Isaac had already poured himself one tequila shot and was ready for another.) No one cried.

Chastain had watched the show with her husband. And Isaac, despite his initial reluctance, had watched it, too. It didn’t seem to have changed his experience.

“I’ve never done anything like it,” he said. “And I can’t imagine doing anything like it again.”

###

[littlemixnet]

To me, a good ally is someone who is consistent in their efforts – there’s a difference between popping on a pride playlist or sprinkling yourself in rainbow glitter once a year and actually defending LGBT+ people against discrimination. It means showing my LGBT+ fans that I support them wholeheartedly and am making a conscious effort to educate myself, raise awareness and show up whenever they need me to. It would be wrong of me to benefit from the community as a musician without actually standing up and doing what I can to support. As someone in the public eye, it’s important to make sure your efforts are not performative or opportunistic. I’m always working on my allyship and am very much aware that I’ve still got a lot of unlearning and learning to do. There are too many what I call ‘dormant allies’, believing in equality but not really doing more than liking or reposting your LGBT+ mate’s content now and again. Imagine if that friend then saw you at the next march, or signing your name on the next petition fighting for their rights? Being an ally is also about making a conscious effort to use the right language and pronouns, and I recently read a book by Glennon Doyle who spoke of her annoyance and disappointment of those who come out and are met with ‘We love you…no matter what’. I’d never thought of that expression like that before and it really struck a chord with me. ‘No matter what’ suggests you are flawed. Being LGBT+ is not a flaw. Altering your language and being conscious of creating a more comfortable environment for your LGBT+ family and friends is a good start. Nobody is expecting you to suddenly know it all, I don’t think there’s such a thing as a perfect ally. I’m still very much learning. Even recently, after our Confetti music video I was confronted with the fact that although we made sure our video was incredibly inclusive, we hadn’t brought in any actual drag kings. Some were frustrated, and they had every right to be. You can have the right intentions and still fall short. As an open ally I should have thought about that, and I hadn’t, and for that I apologise. Since then I’ve been doing more research on drag king culture, because it’s definitely something I didn’t know enough about, whether that was because it isn’t as mainstream yet mixed with my own ignorance. But the point is we mess up, we apologise, we learn from it and we move forward with that knowledge. Don’t let the fear of f**king up scare you off. And make sure you are speaking alongside the community, not for the community. Growing up in a small Northern working-class town, some views were, and probably still are, quite ‘old fashioned’ and small-minded. I witnessed homophobia at an early age. It was a common thought particularly among men that it was wrong to be anything but heterosexual. I knew very early on I didn’t agree with this, but wasn’t educated or aware enough on how to combat it. I did a lot of performing arts growing up and within that space I had many LGBT+ (mainly gay) friends. I’ve been a beard many a time let me tell you! But it was infuriating to see friends not feel like they could truly be themselves. When I moved to London I felt incredibly lonely and like I didn’t fit in. It was my gay friends (mainly my friend and hairstylist, Aaron Carlo) who took me under their wing and into their world. Walking into those gay bars or events like Sink The Pink, it was probably the first time I felt like I was in a space where everyone in that room was celebrated exactly as they are. It was like walking into a magical wonderland. I got it. I clicked with everyone. My whole life I struggled with identity – being mixed race for me meant not feeling white enough, or black enough, or Arab enough. I was a ‘tomboy’ and very nerdy. I suppose on a personal level that maybe played a part in why I felt such a connection or understanding of why those spaces for the LGBT+ community are so important. One of the most obvious examples of first realising Little Mix was having an effect in the community was that I couldn’t enter a gay bar without hearing a Little Mix song and watching numerous people break out into full choreo from our videos! I spent the first few years of our career seeing this unfold and knowing the LGBT+ fan base were there, but it wasn’t until I got my own Instagram or started properly going through Twitter DMs that I realised a lot of our LGBT+ fans were reaching out to us on a daily basis saying how much our music meant to them. I received a message from a boy in the Middle East who hadn’t come out because in his country homosexuality is illegal. His partner tragically took their own life and he said our music not only helped him get through it, but gave him the courage to start a new life somewhere else where he could be out and proud. There are countless other stories like theirs, which kind of kickstarted me into being a better ally. Another standout moment would be when we performed in Dubai in 2019. We were told numerous times to ‘abide by the rules’, which meant not promoting anything LGBT+ or too female-empowering (cut to us serving a four-part harmony to Salute). In my mind, we either didn’t go or we’d go and make a point. When Secret Love Song came on, we performed it with the LGBT+ flag taking up the whole screen behind us. The crowd went wild, I could see fans crying and singing along in the audience and when we returned it was everywhere in the press. I saw so many positive tweets and messages from the community. It made laying in our hotel rooms s**tting ourselves that we’d get arrested that night more than worth it. It was through our fans and through my friends I realised I need to be doing more in my allyship. One of the first steps in this was meeting with the team at Stonewall to help with my ally education and discussing how I could be using my platform to help them and in turn the community. Right now, and during lockdown, I’d say my ally journey has been a lot of reading on LGBT+ history, donating to the right charities and raising awareness on current issues such as the conversion therapy ban and the fight for equality of trans lives. Stonewall is facing media attacks for its trans-inclusive strategies and there is an alarming amount of seemingly increasing transphobia in the UK today and we need to be doing more to stand with the trans community. Still, there is definitely a pressure I feel as someone in the public eye to constantly be saying and doing the right things, especially with cancel culture becoming more popular. I s**t myself before most interviews now, on edge that the interviewer might be waiting for me to ‘slip up’ or I might say something that can be misconstrued. Sometimes what can be well understood talking to a journalist or a friend doesn’t always translate as well written down, which has definitely happened to me before. There’ve been moments where I’ve (though well intentioned) said the wrong thing and had an army of Twitter warriors come at me. Don’t get me wrong, there are obviously more serious levels of f**king up that are worthy of a cancelling. But it was quite daunting to me to think that all of my previous allyship could be forgotten for not getting something right once. When that’s happened to me before I’ve scared myself into thinking I should STFU and not say anything, but I have to remember that I am human, I’m going to f**k up now and again and as long as I’m continuing to educate myself to do better next time then that’s OK. I’m never going to stop being an ally so I need to accept that there’ll be trickier moments along the way. I think that might be how some people may feel, like they’re scared to speak up as an ally in case they say the wrong thing and face backlash. Just apologise to the people who need to be apologised to, and show that you’re doing what you can to do better and continue the good fight. Don’t burden the community with your guilt. When it comes to the music industry, I’m definitely seeing a lot more LGBT+ artists come through and thrive, which is amazing. Labels, managements, distributors and so forth need to make sure they’re not just benefiting from LGBT+ artists but show they’re doing more to actually stand with them and create environments where those artists and their fans feel safe. A lot of feedback I see from the community when coming to our shows is that they’re in a space where they feel completely free and accepted, which I love. I get offered so many opportunities to do with LGBT+ based shows or deals and while it’s obviously flattering, I turn most of them down and suggest they give the gig to someone more worthy of that role. But really, I shouldn’t have to say that in the first place. The fee for any job I do take that feels right for me but has come in as part of the community goes to LGBT+ charities. That’s not me blowing smoke up my own arse, I just think the more of us and big companies that do that, the better. We need more artists, more visibility, more LGBT+ mainstream shows, more shows on LGBT+ history and more artists standing up as allies. We have huge platforms and such an influence on our fans – show them you’re standing by them. I’ve seen insanely talented LGBT+ artist friends in the industry who are only recently getting the credit they deserve. It’s amazing but it’s telling that it takes so long. It’s almost expected that it will be a tougher ride. We also need more understanding and action on the intersectionality between being LGBT+ and BAME. Racism exists in and out of the community and it would be great to see more and more companies in the industry doing more to combat that. The more we see these shows like Drag Race on our screens, the more we can celebrate difference. Ever since I was a little girl, my family would go to Benidorm and we’d watch these glamorous, hilarious Queens onstage; I was hooked. I grew up listening to and loving the big divas – Diana Ross (my fave), Cher, Shirley Bassey, and all the queens would emulate them. I was amazed at their big wigs, glittery overdrawn make-up and fabulous outfits. They were like big dolls. Most importantly, they were unapologetically whoever the f**k they wanted to be. As a shy girl who didn’t really understand why the world was telling me all the things I should be, I almost envied the queens but more than anything I adored them. Drag truly is an art form, and how incredible that every queen is different; there are so many different styles of drag and to me they symbolise courage and freedom of expression. Everything you envisioned your imaginary best friend to be, but it’s always been you. There’s a reason why the younger generation are loving shows like Drag Race. These kids can watch this show and not only be thoroughly entertained, but be inspired by these incredible people who are unapologetically themselves, sharing their touching stories and who create their own support systems and drag families around them. Now and again I think of when I’d see those Queens in Benidorm, and at the end they’d always sing I Am What I Am as they removed their wigs and smudged their make up off, and all the dads would be up on their feet cheering for them, some emotional, like they were proud. But that love would stop when they’d go back home, back to their conditioned life where toxic heteronormative behaviour is the status quo. Maybe if those same men saw drag culture on their screens they’d be more open to it becoming a part of their everyday life. I’ll never forget marching with Stonewall at Manchester Pride. I joined them as part of their young campaigners programme, and beforehand we sat and talked about allyship and all the young people there asked me questions while sharing some of their stories. We then began the march and I can’t explain the feeling and emotion watching these young people with so much passion, chanting and being cheered by the people they passed. All of these kids had their own personal struggles and stories but in this environment, they felt safe and completely proud to just be them. I knew the history of Pride and why we were marching, but it was something else seeing what Pride really means first hand. My advice for those who want to use their voice but aren’t sure how is, just do it hun. It’s really not a difficult task to stand up for communities that need you. Change can happen quicker with allyship.

Jade Thirlwall on the power, and pressures, of being an LGBT ally: ‘I’m gonna f**k up now and again’

[comicaurora]

Question, from one aspiring writer to another: how do you manage to maintain the drive to keep writing and how do you not lose interest in what you've created before it's done? Asking because I need advice.

Tricky question. I don't think it has a single answer.

For me personally, there are a few things that buoy up my enthusiasm:

Rabbit Holes - random deep-dives into topics I find incredibly interesting. Because I have so many outlets for my rants about highly specific cool things, I don't need to stifle any random hyperfixations because almost all of them can be turned into scripts or worldbuilding concepts. If I feel the enthusiasm strike, I chase it down as far as I can and take as many notes as possible along the way. However, these things work like lightning strikes and I can't just get randomly super interested in any one thing. Almost all of my longform videos start out as these.

Comedic Reframing - the bread and butter of the channel and the lifehack that let my poor brain actually focus on extremely long and boring books through college. It's easier for me to retain information and enthusiasm if I can find humor in what I'm dealing with on a smaller scale. When working on illustrating videos, for instance, the way I avoid burning out on individual frames is by making sure they have witty dialogue or fun character moments, because I genuinely enjoy drawing those a lot more than just "character moves into position" or "scene change" shots. Same goes for the comic - the more dynamic or interesting the pose, the more interesting the panel is to draw and the easier it is for me to stay jazzed.

Audience Feedback - I feel like this part is simultaneously understated and overstated in different ways. Creating art solely for the accolades it might garner is seen as generally both gauche and inefficient - it'll turn into an existentially draining losing battle like all pursuit of fame for fame's sake does - but any writer or artist will tell you that people losing their minds over their art is the number one way to guarantee they want to make more art. When drawing the comic, even when I'm lower energy, I'll often think to myself "oh man, they're gonna be yelling about this panel" and that'll help give me a boost. Early on in the comic I read through the discord discussions almost every day, but now I'm mostly sustained just from people yelling in my askbox.

Letting The Characters Run Wild - I've mentioned this elsewhere, but one of the most fun parts of writing for me is when the characters kinda tap me on the shoulder and say "hey boss, I really wanna do this". Their character-moment is almost always spicier, more complicated and more interesting than whatever plot-serving guideline it's replacing. Making the characters act as automatons that solely move the plot forward is less interesting for me as a writer than turning them loose and seeing the havoc they cause. Before I ever put pen to paper for this story, half my fun would just be playing out extremely fraught conversations and encounters between characters - no script, no plan, just "here's the premise and GO." Lots of stories start out as daydreams, and daydreams are like the purest form of energizing creation, existing only for the joy of the creator and thus flowing almost effortlessly; I think it's important to retain the heart of that when the daydreams start being set down on paper. If it's not a little self-indulgent it's not gonna be too much fun, and sometimes all it takes is letting the characters do the wild thing with consequences you haven't fully worked out yet.

In my experience, the thing I enjoy most as a creator is solving puzzles. I have more fun writing my story when I only mostly know where it's going, and I have to work out the most interesting consequences to my characters' unexpected actions. I have more fun drawing out a joke if the punchline didn't even occur to me before I started the frame, because the idea is fresh and fun and hasn't gone stale from sitting in my head too long. And my enthusiasm for my older work is reinvigorated when I see how other people respond to it, because it lets me almost see my own work through fresh eyes, which is a rare treat for any creator.

And when I get really worn down, I treat that like a sign that something needs readjusting. I don't force it when I'm worn out or can't bear to look at my tablet - I step back, take a break, take a walk, indulge in Floor Time, watch a movie, buy a coffee, do something that isn't trying to floor the accelerator when I'm stuck in a creative snowdrift. Sometimes that means putting a project down for months. Sometimes that means realizing I wouldn't actually be able to make a project happen because it'd be draining my will to live the whole time.

I sometimes use the metaphor that a creator's mind is like a garden. Its works need to be cultivated, but sometimes they also need to be left alone, or maybe the soil needs to be actively left fallow for a while. It may look like the project isn't doing anything, when in actuality it's spreading its roots and developing a much more solid foundation where you can't see it. Maybe two concepts cross-pollinate in an unexpected way and you get a new third thing to cultivate. But the most important part of this metaphor is that the well-being of every individual thing growing in the garden is heavily dependent on the heart of the garden overall. If you aren't doing okay, your art isn't going to be okay either. If it's feeling like a fruitless and nothing is growing, you might just need rain. Or nitrogen-fixers.

[justepilepsy]

Just don't engage

It means a lot to me, when my friends give me headsups and reviews on strobes and intense effects in films and series'. One of the popular rebuttals to complaining about photosensitive effects, seems to be the

"why are you watching it then / engaging in the media?" and "Can't you watch something else then?" And I will be honest. Yes. I could just. Not watch it. I could just decide to quit video games. Or certain video game genres altogether.

And to be honest, when it comes to games, I have decided to avoid first and third person shooters like the plague. As well as VR Games and most Rythm Games.

The thing is, sometimes I don't have a choice in wether I engage with a certain media or not. I work with and in media creation. I am absolutely illiterate when it comes to knowing popular Movie Franchises or classics. This is unrelated to my epilepsy, but let me continue. I want to learn more about classic movies, old anime, old 1920s cinema and historic film. I want to induldge myself in popular franchises and see why people love Jurassic Park or Star Wars. It is generally known, that cinemas tend to be in dark rooms, because it has been shown to have a more immersive effect for viewers attenidng the movie. Movies with a lot photosensitive content, are inaccessible to watch in the theater for me. I could watch them at home. So what is my set up for these movies, on which many great actors, artists and people worked on? How do I pay respect and tribute to their historic work? I put the movie on on my phone. I have a 19'' TV Screen. I turn on all my lights in the room. I watch the movie in bright daylight, just to compensate the intenseness of stroboscopic effects or gunfire. I hardly ever put on movies or fancy shows on my TV-Screen, despite the screen not even being large for a modern TV. I turn up all the lights. I watch the movie on my phone. and by watching i mean: I put the movie on, sometimes with a bluetooth speaker, i put my phone somewhere while i work and listen to the movie. I sometimes glance at it, so i can see characters. Then i look away. Back at my work. or Art. Or at my jigsaw puzzle. I avoid focussing on the screen. I keep distance to the screen. And ultimately i don't end up being engaged or captivated by the show or movie. I barely recognise characters. I remember lines, but could not tell you how good the acting or cinematography truly was. I end up disrespecting the movie. The artists and actors. Because I am tired of having to randomly look away or cover my eyes. To be ripped out of my immersion. So I end up not being immersed at all, while knowing what happened. I'd like to watch Neon Genesis Evangelion. But the show is old and has been made before general rules for safety and photosensitivity applied in Japanese Anime Production.

Telling me or anyone to just not participate in movies or media in general is short sighted. What if you love Spiderman Comics and cartoons? What if you are excited about the adaptation of a specific adventure or franchise? Just don't bother with it. You love this thing, it might even be a hyperfixation or special interest. But you can't even participate in modern fandom culture, because you can't keep up with the media without risking your health. I know it is unrealistic to never have strobes or gunfire in movies. But we need a different way of creating media, editing it or giving viewing options. A photosensitive safe cut perhaps? turning of Thunder and lightning effects in games should be standard and not an option i happen to discover by accident! "Oh did you watch XY thing? IT WAS SO GOOD!" And then I say "well it was rated 10/10 flashing lights. So no. I guess i'll pass this one" It's a conversation killer. And not fun. Not every media is for everyone. That's okay. But I think there is a difference between "Hey this deals with heavy subjects and themes, that may be triggering for some parts of the audience" vs. "Hey this media, which was made for a wide audience for as many people to enjoy as possible, contains effects that can kill a person."

[castielle-deanna]

Destiel fanfic masterlist

My Destiel fanfics in decreasing word count order:

Hold me tight or don't (Explicit, words: 37,677)

Tags: Canon Compliant up to 15x13 // First Kiss // Domesticity in the Men of Letters Bunker // Conversations in the Impala // falling!Castiel // New Relationship // First Time // Castiel is Jack Kline's Parent // Castiel and Dean Winchester in Love //Art Embedded //soundtrack

Summary: With Jack’s soul now back, the four inhabitants of the Bunker are working on establishing a new routine. Between hunts, God’s wrath hanging over their heads and Castiel’s dwindling grace, the angel is not particularly eager to mention his deal to the Winchesters. With everything that’s going on, allowing himself to be happy sounds impossible anyway, right? Wrong…

With art by the fantastic @lizleeships

“Why now?” The angel asked quietly, taking a small step back.

Dean's fingers tightened on the tie he'd been holding onto as if it was a lifeline. “You said we were real. I want to believe it.”

“Even if it ends in pain?”

“Cas, everything I do ends there, eventually. There is always a bigger, heavier, smellier shoe waiting to drop. Holding back in fear of it doesn't make it any smaller, lighter or... or... “

“Less odoriferous?” Cas offered.

“Is that even a real word?”

“It is, indeed.”

“Sometimes you sound like you eat dictionaries and Victorian novels for breakfast,” Dean shook his head, grinning.

My unintended (Explicit, words:10,202)

Tags: Angst with a Happy Ending // Post-Episode: s15e20 Carry On // FUCK CANON! // Saving Dean Winchester - Retconning the finale - The fangirl business // Castiel/Dean Winchester First Kiss // Castiel/Dean Winchester First Time Having Sex // Slow and Romantic Sex // Bottom Castiel/Top Dean Winchester

Summary: At first, Castiel is ready to honour his part of the deal with the Empty, but then Jack shows up with distressing news...

With art by the fantastic @jeanne-de-valois

Cas heaves Dean into a bridal carry, struggling under his weight, but still he shifts slightly when Sam moves closer to help. He knows he needs to stop keeping Sam away, because it’s not fair, and it’s not what Dean wants anyway, but Sam accepts it and simply hangs back with a nod before he speaks again.

“I also know it’s not my business, but… do you think you could talk to Dean once he’s up for it? I’m not blind, or stupid. You two have to stop only holding each other like that when one of you is hurt or dead.”

Love me right (Explicit, words: 2,436)

Tags: Established Castiel/Dean Winchester // Porn with Feelings // Dean Winchester Wears Panties // Light Bondage // Panty Kink // Wing Kink // Top Castiel/Bottom Dean Winchester // Light Dom/sub // Dom Castiel/Sub Dean Winchester // Light BDSM // Dean and Castiel watch porn then recreate it

Summary: Dean asks to be tied up - who's Cas to say no to that? Written for a prompt by @winchester-reload on Patreon: "Thee Pink Panties"

“I want you to tie me up,” Dean blurts out one morning, closer to being asleep than awake still. He has no idea if Cas is even in the bedroom with him - for once, the angel is not curled around Dean with his whole body, their limbs entwined to the point where they can’t tell where one of them ends and the other begins, cliché as it is.

There’s no reply, so Dean lifts his head and blinks the grogginess away to look around. Cas is in the room, sitting cross-legged on the green couch by the wall with an open book in his lap but he’s staring at Dean with eyes so comically wide Dean would think it humanly impossible if he wasn’t seeing it with his own eyes.

“For fun,” Dean adds in hopes that Cas catches his meaning. The angel looks slightly less taken aback at that, but he still appears confused and tilts his head as if a slightly different angle would help with unraveling the mystery of Dean's words. “During sex, Cas.”

Rewind the exit (Teen And Up Audiences, words: 2,408)

Tags: Post-Episode: s15e18 Despair // Fix-It // Grief/Mourning // Angst with a Happy Ending // Castiel and Dean Winchester in Love // Grieving Dean Winchester // Grieving Sam Winchester

Summary: "Rewinding the exit wound, I'm holding on to you 'Cause I need words like anyone, and I need love like everyone With those words I'm strong enough, and I need love like everyone." (Rewind the exit by Volbeat) Obligatory 15x18 fix-it.

The Bunker is haunted. It's haunted by two faint apparitions of humanity who mostly pass each other by in the corridors like ships in the night, silent and distant.

Dean prays. Every morning, every evening, and most waking hours between the two, he prays. He doesn't know if Cas can hear him, but the faith that he can is all Dean has, so it has to be enough.

It's not enough. Yet Dean clings to it, because if he doesn't have that, he doesn't have anything.

Bite me (Mature, words: 1,407)

Tags: Alternate Universe - Canon Divergence // Vampire Dean Winchester // Mild Blood!Kink (comes with the territory) // Castiel/Dean Winchester First Kiss

Summary: After Dean gets turned into a vampire during S06E05 - Live Free or Twi-hard, instead of going to Lisa's, he prays to Cas. Written for a prompt by winchester-reload on Patreon: "Vampire!Dean having a Cas snack"

“I can get you through this, and then we’ll burn any other bridges as we get to them,” Cas says earnestly.

“That’s not how the saying… you know what, never mind. I don’t want to get through this! I told you to kill me!” Dean pushes Cas away, but the angel holds onto both of his shoulders to stabilise him until Dean shakes him off in defiance. “Fucking stubborn angel, why can’t you just do as you’re told?”

“Because I’ve decided to disregard stupid orders!” Cas shoots back, and his previous stoicism is gone entirely. His eyes flare faintly with the light of his grace as he shrugs off his trenchcoat and goes to work on loosening his tie.

I wanna get you back again (Mature, words: 1,176)

Tags: Post-Episode: s15e18 Despair // Canon Divergence // Castiel/Dean Winchester First Kiss

Summary: Dean breaks into the Empty to save Cas. Written for a prompt by winchester-reload on Patreon: "Come on and lay it down/I've always been with you/Here and now/Give all that's within you/Be my Savior"

“Am I wrong in assuming that our friend who has the fashion sense of a flasher wasn’t the only one in love?” Balthazar smirked.

“Huh?”

Balthazar rolled his eyes. “Bit slow on the uptake, aren’t we? You know what, don’t answer that,” he shrugged, rolling right over Dean’s indignant splutter. “I’m talking about Castiel.”

“I know!”

“So which part of my question was confusing then?”

“Fuck you, Feather Boa, the Empty is trying to push me out and you want to chat?” Dean scoffed, trying to stomp his way past him.

“Your trenchcoated boyfriend is that way,” Balthazar said dryly, pointing to his left.

Forward is just the way ahead (General Audiences, words: 1,091)

Tags: Alternate Universe - Tattoo Parlor // Baby Jack Kline // Castiel is Jack Kline's Parent // Tattoo Artist Dean Winchester // Single Parent Castiel

Summary: Tattoo artist Dean falls for client. Written for a prompt by winchester-reload on Patreon: "Cas getting tattooed by Dean (or the other way around)"

“So,” Dean began, “It’s a simple black design, correct? Four rows of symbols?”

“Yes. It’s actually a warding-slash-protection spell in Enochian, the language of Biblical angels. There’s… well, there’s a story to it,” Cas chuckled.

“Is part of that story that you were named after an angel?”

Cas’ chuckle changed into full-blown laughter. “Yes. I have to say I wasn’t expecting you to know that. In fact, all my siblings have angel names, except for Luke, but only because they wouldn’t allow my parents to officially name him Lucifer…”

Waffles or kisses (Mature, words:1,026)

Tags: Domestic Fluff // Domestic Castiel/Dean Winchester // Established Castiel/Dean Winchester // Domesticity in the Men of Letters Bunker (Supernatural)

Summary: Cas tries to make breakfast for Dean - it doesn't quite work out... Written for a prompt by winchester-reload on Patreon: "Great British Bake Off contestants with fewer clothes and lots of flour!" I have nefariously tweaked the prompt to allow me to play in the canon!verse.

“You look like one of the Great British Bake Off contestants, but with fewer clothes... and lots of flour, what the hell are you even doing?” Dean guffaws.

“Is that Dean?” A slightly tinny female voice comes from somewhere underneath the bowls, and it takes a moment for Dean to recognise it.

“Hi Jody!”

“Am I on speaker?”

“Yes,” Cas says, rolling his eyes. Dean finds that his behaviour is not unlike Miracle’s after the dog got caught chewing Sam’s 3rd pair of slippers to shreds, and the comparison draws another laugh out of him.

“Hi, Dean,” Jody says warmly. “Nice to hear your voice, though it would be even nicer if you were the one calling, rather than hijacking a conversation between Cas and I…”

Dean ducks his head as Jody’s “mom voice” tries to work its magic on him. “I’m not hijacking anything! Can someone explain why my kitchen and my… Cas are head-to-toe covered in flour?”

“I was trying to make waffles for breakfast,” Cas replies barely audibly, looking down, shoulders drooping.

With those words I'm strong enough (Mature, words: 703)

Tags: Dean Winchester Deserves to be Happy // Dean Winchester's Birthday // Established Castiel/Dean Winchester // Non-Explicit Sex // Castiel and Dean Winchester in Love // Dean Winchester Says "I Love You" // Pillow Talk // Dean Winchester Lives // fuck 15x20

Summary: It's Dean's birthday and Castiel doesn't waste a single second to wish him a happy one (Utter finale denial and slight sap below.)

“Where did you go, my love?” Cas asks, ruffling Dean’s hair, curling a longer-than-usual strand of it around his index finger.

“Thinking.”

“Uh-oh, that’s never a good thing,” Cas deadpans and Dean whacks his upper arm with very little force. “Ow.”

“Sarcastic asshole in one moment, drama queen the next,” Dean grumbles, and he fully intends to kiss it better, but before he could get around to it, he’s pushed onto his back and there’s a former angel of the Lord straddling him with a grin on his face.

Domestic (General Audiences, words: 462)

Tags: Domestic Fluff // Established Castiel/Dean Winchester // Fallen Angel Castiel // Suptober 2020

Summary: Middle-of-the-night Destiel chat. Just a lightning-quick ficlet as my first and possibly only entry to Suptober 2020. The prompt was 'domestic'

“Of all the human things, the constant need to urinate is the worst,” Castiel complained as he slid under the covers with a yawn.

“The worst?” Dean huffed in sleepy amusement. “Being shot is worse. Broken bones. A toothache…”

“They are worse, but they are temporary. Urinating is permanent. I will have to put up with it for the rest of my life.”

[comedicreliefonlyworkswhenfunny]

I am against the "Americanization" of fandoms.

What this applies to

Holding non American characters (and sometimes even fans) to an American moral standard. This includes

Refusing to take into account that, first things first, America is NOT the target audience, so certain tropes that would or would not pass in the west are different in Japan.

Like seriously, quite a few of the jokes are just not going to pass or hit, because they require background information that is not universal.

Assuming all American experience is standard. (This could mean watering down just how much pressure is placed on Japanese youth irl by saying that sort of thing is universal (while it is, to a degree, Japanese suicide rates are pretty fucking high because of how fast paced and work heavy some of their loads tend to be), and it's really annoying and rude when someone is trying to speak out about how heavy and harsh the standards are placed on them to succeed just for some American whose mom occasionally yells at them to do their homework dropping by to say "it's like that everywhere")

Demonizing (or wubbifying) a character using American morals, including and up to harassing fans over their interpretations or gatekeeping whether or not a character "should" get development (while you shouldn't do that fucking period, it's rude and annoying- this is specifically for the people who use American standards without acknowledging the cultural gap between them and, you know, the fucking target audience) ((Like seriously, saying "It's different in Japan" is not the end all be all excusing someone's actions, but sometimes the author didn't immediately think that maybe (insert vaguely universal thing) was that bad or that heavy of a topic before they put it into their media. If you don't want to see things like that? Pick a different series and stop harassing the fans))

Getting mad at or making fun of Japan's attempts to satirize their own culture. (A good example is Ace Attorney! To most of us, it's just a funny laugh can you imagine if courts were actually like that- guess what? Japan's are! (Not that America's are actually that much better, they just look good on paper))

Making America/American issues the center of your fan spaces

(Usually without sharing or bringing light to the issues that other countries are going through)

Your

Experiences

Are

Not

Univseral!

Seriously, very few things across America, even, are universal. Texas things the hundreds are nothing while Minnesota's like "oh it's only thirty degrees below zero"- so for fucks sake, stop assuming that all other countries work in ways similar to America.

It's good and important to share Ameican issues with your American followers, but guess what? America isn't the only country out there, and it's certainly not the only one going through bullshit. Don't pull shit like "why's no one reblogging this?" or "why should I care about what's happening in (X country)?"

Don't assume everyone lives in America.

Stop assuming everyone lives in America.

America is not and has never been the target audience for anime, and it's certainly not the only country outside of Japan that enjoys it.

Like I said above, sometimes Japan attempts to satirize its own culture. We can't tell what is and isn't meant as satire, because it's not our culture.

Social media activism can be tiring and maybe you don't have the energy to focus on things that are out of your control, but, if someone tells you about the shit they're going through, don't bring American politics up.

For the neurodivergent crowd out there thinking, "But why?" it's because a lot of social media, especially, is very heavily Americanized- sometimes to the point where people assume that everyone is American. Not to mention, it's disheartening. I'm sorry to say, but you're not actually relating to the conversation, you're often diverting the focus away from the topic at hand. Even if you mean well, America is heavily pedestaled and talked about frequently, and people from other countries are tired of America taking precedent over their own issues.

Don't divert non-American issues into American ones. Seriously. It's not your place. Please just support the original issue or move on.

Racist Bullshit

This especially goes for islanders and South Asian characters, as well as poc characters (because, yes, Japan DOES have black people)

Making "funny" racist headcanons. Not fucking cool.

Changing the canon interpretation of an explicit character of color in order to fit racist stereotypes.

Whitewashing or color draining characters. Different artistic skill sets can be hard, yes, but are you seriously going to look at someone and say "I don't feel like accurately portraying you or people that look like you, because it's difficult for me." If someone tries to correct you on your cultural depiction of a character and/or their life style, don't be an ass. (If possible, it would be nice for those that do the corrections to be polite as well, but it does get really frustrating).

Seriously, no offense guys, but, if you want to persue art, you're going to need to learn to depict different body types, skin colors, and/or ethnic features.

On that note, purposefully, willingly, or consistently inaccurately portraying people or characters of color (especially if someone in the fandom has "called you out" or specifically told you that what you're doing comes across as racist and you continue to do it). If you need help or suck at looking things up, there are references for you! Ask your followers if they have tutorials on poc (issue that you're having), whether it be bodily portrayal, facial proportions, or coloring and shading. Art is so much more fun when you can depict a wider variety, and guess what? Before you drew the same skinny, basic, white character over and over, you couldn't even draw that!

Attempting or claiming to DEPECT CULTURAL ACCURACY within a work or meta, while being completely fucking wrong. ESPECIALLY and specifically if someone calls you out, and you refuse to fix, correct, or change anything.

*little side note that the discussion revolving art is a very multilayered conversation, and it has quite a few technical potholes, which I'll bring up again farther into this post.

Fucking history

Stop demonizing or for absolute fucks sake wubbifying Japanese history because UwU Japan ♡0♡ or bringing up shit like "you know they sided with Nazis, right?" It's good to recognize poor past decisions, but literally it's not your country keep your nose out of it. And? A lot of decisions made by countries were not made by their general peoples. Even those that were, often involved heavy propaganda that made them think what they were doing was right.

Seriously, it's not your country, not your history. Unless you have some sort of higher education (but honestly even then a lot of those contain heavy bias), just don't butt in.

^^^ this also goes to all countries that are NOT Japan (specifically when people from non American countries talk about their history while in fandoms and someone wants to Amerisplain to them why "well, actually-"). When we said, "question your sources," we didn't mean "question the people who know better than you, while blindly accepting the (more than likely biased) education you were given in the past."

What this does NOT include:

Fanfiction

FANfiction

FanFICTION

FANFICTION.

Seriously, fanfiction is literally UNPAID WORK from RANDOM FANS- a lot of which who are or have started as kids. ((No, I'm not trying to excuse racist depictions of people just because they're free, please see above where I talk about learning to grow a skill and how it's possible tone bad and get good, on top of the fact that some inaccuracies are not just willful ignorance))

"Looking it up" doesn't work

"Looking it up" almost never works

Please, for fucks sake, you know that most all online search engines are heavily biased, right? Not to mention, not everything is universal across the entirety of Japan. You want to look up how the school system works in Hokkaido? Well it's different from the ones in Osaka!

Most fanfiction is meant to be an idealized version of the world. Homophobia, transphobia, misogyny, ableism, and racism are very prevalent and heavy topics that some fan authors would prefer to avoid. (Keep in mind, this is also used by some people in those minorities often because thinking about how relevant those kinds of things are is to them every day).

A lot of shit that happens in writing is purely because it's an ideal setting. I've seen a few arguments recently about how fan authors portray Japanese schools wrong- listen, I can't tell you how many random school systems I have pulled from my ass purely because (I need them to interact at these points, in these ways). Sometimes the only compliment I can think of is 'I like your shirt' or sometimes I need character A to realize that character B likes the same thing as they do, so I might ignore the fact that most all Japanese schools require uniforms, so that I can put my character in a shirt that will get someone else's attention.

Sometimes it's difficult to find information on different types of systems, and sometimes when you DO know those things, they directly rule out a plot point that needs to happen (like back on the topic of schools (from what I've seen/heard/read- which guess what? Despite being from multiple sources, might still be inaccurate!) Japanese schools don't have mandatory elective classes (outside of like gym and most of them usually learn English or another language- I've seen stuff about art classes? But the information across the board varies.), but, if I need my character to walk in and see someone completely in their element, I'm probably not going to try and gun for accuracy or make up a million and two reasons as to why this (non elective) person would possibly need something from (elective teacher) after school of all things.)

Some experiences ARE universal- or at least overlap American and Japanese norms! Like friends going to fast food places after school doesn't /sound Japanese/ or whatever, but it's not like a horrible inaccuracy to say that your characters ate at McDonald's because they were hungry. Especially when you consider that the Japanese idolization of American "culture" is also a thing.

Also I saw someone complaining about how, in December, a lot of (usually westerners) write Christmas fics! Well, not only are quite a few of those often gift fics, with it being the season if giving and all, but Japanese people do celebrate Christmas! Not as "the birth of Christ," but rather as a popularized holiday about gift giving (also pst: America isn't the only place that celebrates Christmas)

But, on that note, sometimes things like Holidays are "willfully ignorant" of what actually happens (I've made this point several times, but (also this does by no means excuse actual racism)), because, again: plot convenience! Hey what IF they celebrated Halloween by Trick or Treating? What if Easter was a thing and they got to watch their kids or younger siblings crawl around on the ground looking for tiny plastic eggs?

Fanfiction authors can put in hours of work for one or two thousand words- let alone ten thousand words, fifty thousand words, a hundred thousand words. And all of these are free. There is absolutely no (legal) way to make money off of their fanworks, but they spent hours, days, weeks, months- sometimes even years- writing. It is so unnecessary to EXPECT or REQUIRE them to spend even more hours looking up shit that, no offense, almost no one is going to notice. No one is going go care that all of my combini prices are accurate or that I wrote a fic with a Japanese map of a train station that I had to backwards search three times to find an English version that I could read.

Not everyone has the attention span or ability to spend hours of research before writing a single word. Neurodivergent people are literally a thing yall. Instead of producing the perfectly pretty accurate version of Japan that people want to happen, what ACTUALLY happens is that the writer reads and reads and reads and either never finds the information they need or they lose the motivation to write.

^^^ (This does NOT apply to indigenous or native peoples, like Pacific Islanders or tribes that exist in real life. Please make sure that you portray tribal minorities accurately. If you can't find the information you need (assuming that the content of the series is not specifically about a tribe), please just make one up (and for fucks sake, recognize that a lot of what you've been taught about tribal practices, such as shit like human sacrifices or godly worship, is actually just propaganda.)

Not to mention, it often puts a wall in front of readers who would then need to pull up their OWN information (that may or may not be biased) just in order to interact with the fic ((okay, this one has a little bit of arguability when it comes to things like measurements and currency, because Americans don't know what a meter is and no one else knows what a foot is- either way, one of yall is going to have to look up measurements if they want to get a better understanding of the fic)). However, a lot of Americans who do write using 'feet, Fahrenheit, dollars,' also write for their American followers or friends (which really could go both ways).

On a less easily arguable side, most fic readers aren't going to open up a new tab just to search everything that the author has written (re the whole deep topics, not everyone wants to read about those sorts of things, either). Not only are you making it more difficult on the writer, but you're also making it more difficult for the reader who's now wondering why you decided to add in Grandma's Katsudon recipe, and whether or not the details you have added are accurate.

Some series, themselves, ignore Japanese norms! Piercings, hair dye, and incorrectly wearing ones uniform are frowns upon in Japanese schools- sometimes up to inflicting punishment on those students because of it. However, some anime characters still have naturally or dyed blond hair some of them still have piercings or wear their uniforms wrong. Some series aren't set specifically in Japan, but rather in a vague based-off-real-life Japan that's just slightly different (like Haikyuu and all of its different prefectures). Sometimes they're based on real places, but real places that have gone through major changes (like the Hero Academia series with its quirks and shit).

Fandom is not a full time job. Please stop treating it like it is one. Most people in fandoms have to engage in other things like school or work that most definitely take precident over frantically Googling the cultural implications of dying your hair pink in Japan.

Art is also meant to be a creative freedom and is almost always a hobby, so there are a few cracks that tend to spark debate. Like I said, it is still a hobby, something that's meant to be fun (on this note!)

If trying new things and expanding your portfolio is genuinely making you upset, it's okay to take a break from it. You're not going to get it right on the first try and please, please to everyone out there critiquing artists' works, please take this into account before you post things.

I'm sorry to say, but, while it gets frustrating to see the same things done wrong over and over again, some people are genuinely trying. If it matters enough for you to point out, please offer solutions or resources that would possibly help the artist do better (honestly this could be said about a lot of online activism). I get that they should "want" to do better (and maybe they don't and your annoyance towards them is completely justified- again, as I said, if this becomes a repeated offense and they don't listen to or care about the people trying to help them, yeah you can be a bitch if it helps you feel better- just please don't assume that everyone is willfully ignorant of how hurtful/upsetting/annoying a certain way of portraying things is), but also WANTING to do better and ACTUALLY doing better are two different things.

Maybe they didn't realize what they were doing was inaccurate. Maybe they didn't have the right tutorials. Maybe they tried to look it up, but that failed them. Either way, to some- especially neurodivergent artists- just being told that their work is bad or racist or awful isn't going to make them want to search for better resources in order to be more accurate, it's just going to make them give up.

Also! In fic and in writing, no one is going to get it right on the first try. Especially at the stage where we creators ARE merely in fan spaces is a great time to "fuck around and find out", before we bring our willfully or accidentally racist shit into monetized media. Absolutely hold your fan creators to higher standards, but literally fan work has so little actual impact on popular media (and this goes for just about every debate about fan spaces), and constructive criticism as well as routine practice can mean worlds for representation in future media. NOT allowing for mistakes in micro spaces like fandoms is how you get genuinely harmful or just... bad... portrayals of minorities in popularized media that DOES have an impact on the greater public. OR you get a bunch of creators who are too afraid to walk out of their own little bubbles, because what if they get it wrong and everyone turns against them. It's better to just "stick with what they know" (hobbies are something that you are meant to get better at, even if that is a slow road- for all of my writers and artists out there, it does take time, but you will get it. To everyone else, please do speak up about things that are wrong, but don't make it all about what's wrong and please don't be rude. It's frustrating on both ends, so, if you can, please try not to escalate the situation more.)

Anyways, I'm tired of everyone holding fictional characters to American Puritanical standards, but I'm also tired of seeing every "stop Americanizing fandom" somehow loop into fanfiction and how all authors who don't make their fics as accurate as possible are actually just racist and perpetuating or enabling America's take over of the world or some shit.

Fan interpretation of published media is different than fan creation of mon monetized media. Americans dominating or monopolizing spaces meant for all fans (especially in a fandom that was never meant for them to begin with) is annoying and can be harmful sometimes. Americans writing out their own personal experience using random fictional characters (more often than not) isn't.