#but you need to understand how small of a community is over here vs twitter essentially being like. world internet hub

[toxiccaves]

I think what a lot of tumblr-only people are missing about twitter failing, is that it was always a better website when it came to small businesses, instant world event news, fact checking, having users from all over the world, being a source for disaster relief information or warnings, and anything else to keep people up to date with going ons.

Sure, tumblr has many users from all over, but the website is still largely english biased and not nearly as widespread as twitter. I know a lot of news and knowledge comes in on here too. I've learned a lot and see a lot of donation posts in regards to world events, but its nothing like twitter unless you know who to follow. Not to mention, half the news I got here, was days later and from twitter to begin with.

Seeing that being taken away in favor of hate speech and enabling abusers (with the recent potential of getting rid of the block feature over there) and pushing blue user comments to the top (aka elon's weird fans), drowning out anyone else on popular posts, sucks! It sucks for the world and small businesses. because there's really no alternative to it right now.

The site's running rampant with spam and scammers and its becoming more and more unusable by the day. And some people think it's silly to be upset over it or "you shouldn't have all your eggs in one basket" well there only is one basket! This is literally people's livelihoods people seem to be making fun of anytime a change happens that breaks the site and people post all their socials.

And everyone from every country is talking about different websites they're considering, and its splitting up our connection to the world. And surely he knew who this was hurting with every decision.

[nim-lock]

Art Career Tips, 2021 Edition

Here’s an edited version of my 2019 answered ask, because... this feels relevant. 

It is a problem of capitalism that folks equate their income as a judgement of their value as people; and let me preface. You are worth so much. You have inherent value in this world. Your income is not a judgement on who you are (plenty of billionaires are actively making the world worse). LARPing self-confidence will go a long way to helping you get paid more for your work, because clients will believe that you know what you are doing, and are a professional. 

& real quick—my own background is that I’ve been living off my art since 2018. I went to art school (Pratt Institute). I work in a publishing/educational materials sphere, and a quarter of my income is my shop. Not all of this information may apply to you, so it is up to you to look through everything with a critical eye, and spot pick what is relevant. 

So there are multiple ways of getting income as an artist; 

Working freelance or full-time on projects

Selling your stuff on a shop

Licensing (charging other companies to use your designs)

This post primarily covers the freelance part; if you’re interested in the other bits there is absolutely info out there on the internet. 

IF you are just starting (skip to next section if not applicable) dream big, draw often (practice helps you get better/more efficient), do your best to take "a bad piece” lightly. You’re gonna RNG this shit. At some point your rate of “good” works will get higher. Watch tutorial videos & read books. A base understanding of “the rules”; anatomy, perspective, composition, color helps you know what the rules are to break them. This adds sophistication to your work. One way you can learn this stuff is by doing “studies”—you’re picking apart things from life, or things other people have done, to see what works, and how it works. 

Trying to turn your interests into a viable career means that you are now a SMALL BUSINESS; it really helps to learn some basic marketing, graphic design, figure out how to write polite customer service emails; etc. You can learn some of this by looking it up, or taking skillshare (not sponsored) classes by qualified folks. Eventually some people may get agents to take care of this for them—however, I do recommend y’all get a basic understanding of what it takes to do it on your own, just so you can know if your agent is doing a good job. 

Making sure your portfolio fits the work you want to get

Here is a beginner portfolio post. 

Research the field you’d like to get into. The amount people work, the time commitment, the process of making the thing, the companies & people who work for them. 

Create work that could fit in to the industry you’re breaking into. For example, if you want to do book cover illustration, you draw a bunch of mockup book covers, that can either be stuff you make up, or redesigns of existing books. If you’re not 100% sure what sort of work is needed for the industry, loop back into the portfolios of artists in a similar line of work as whatever you’re interested in, and analyze the things they have in common. If something looks to be a common project (like a sequence of action images for storyboard artists), then it’s probably something useful for the job. 

CLIENTS HIRE BASED ON HOW WELL THEY THINK YOUR WORK FITS WHAT THEY WANT. If they’re hiring for picture books, they’re gonna want to see picture book art in your portfolio, otherwise they may not want to risk hiring you. Doesn’t have to be 100% the project, but stuff similar enough. If you aren’t hired, it doesn’t mean your work is bad, it just wasn’t the right fit for that specific client. 

If you have many interests, make a different section of your portfolio for each!

Making sure you’re relevant 

Have a social media that’s a little more public-facing, and follow people in the career field you’re interested in. Fellow artists, art directors, editors, social media managers; whoever. Post on your own schedule. 

Interact with their posts every so often, in a non-creepy way. 

If you’ve made any contacts, great! Email these artists, art directors, editors, former professors, etc occasional updates on your work to stay in touch AND make sure that they think about you every so often.

Show up to general art events every once in a while! If you keep showing up to ones in your area (when... not dying from a sneeze is a thing), folks will eventually start to remember you. 

Industry events & conferences can be pricey, so attend/save up for what makes sense for you. Industry meetups are important for networking in person! In addition to meeting people with hiring power, you also connect with your peers in the community. Always bring a portfolio & hand out business cards like candy. 

Active job hunting

Apply to job postings online.

If interested in working with specific people at specific companies, you could send an email “I’d love to work with you, here’s my portfolio/relevant experience”, even if they aren’t actively looking for new hires. Be concise, and include a link to your work AND attached images so the person reading the email can get a quick preview before clicking for more. 

Twitter job postings can be pretty underpaid! Get a copy of the Graphic Artists’ Guild Handbook Pricing & Ethical Guidelines to know your rate. I once had a twitter post job listing email me back saying that other illustrators were charging less, and I quote, “primarily because they’re less experienced and looking for their first commission”. This was not okay! For reference, this was a 64-illustration book. The industry rate of a children’s book (~36 pages) is $10k+, and this company’s budget was apparently $1k. For all of it. 

Congrats you got a job! Now what?

Ask for like, 10% more than they initially offer and see if they say yes. If they do, great! If not, and the price is still OK, great! Often company budgets are slightly higher than they first tell you, and if you get this extra secret money, all the better for you. 

Make sure you sign a contract and the terms aren’t terrible (re: GO GET THE  Graphic Artists’ Guild Handbook Pricing & Ethical Guidelines) 

Be pleasant and easy to work with (Think ‘do no harm but take no shit’)

Communicate with them as much as needed! If something’s going to be late, tell them as soon as you know so they aren’t left wondering or worse, reaching out to ask what’s up. 

And if all goes well, they’ll contact you about more jobs down the line, or refer you to other folks who may need an artist, etc. 

Quick note about online shops/licensing and why they’re so good

It’s work that you do once, that you continuously make money off of. Different products do well in different situations (conventions vs. online, and then further, based on how you market/the specific groups you are marketing to), so products that may not do well initially may get a surge later on. 

Start with things that have low minimum order quantity and are relatively cheap to produce, like prints and stickers. 

If you are not breaking even, go back to some of the earlier portions of this and think about how you could tweak things as a small business. Ease of access is also very important with this; for example, if you only take orders through direct messages, that immediately shuts off all customers who don’t like talking to strangers. 

Quick resource that you could look through; it’s the spreadsheet of project organizing that I made a while back 

Licensing is when people pay you for the right to use your work on stuff they need to make, like textbooks or greeting cards. This is generally work you’ve already made that they are paying the right to use for a specified time or limited run of products. This is great because you’ve already done the work. I am not the expert on this. Go find someone else’s info.

“I am not physically capable of working much”/ “I need to pay the bills”

Guess who got a hand injury Sept 2020 that messed me up that entire month! I had a couple jobs going at the time that I was terrified of losing, but they were quite understanding when I told them I needed to heal. So:  Express your needs as early as you know you need them. Also do lots of stretches and rest your hands whenever you feel anything off; this will save your health later. Like, the potential of a couple months of no income was preferable over losing use of my hands for the rest of my life.

This continues to apply if you have any other life situation. Ask for extra time. Ask for clarification. If you tell people ahead of time, folks are often quite understanding. Know how much you are capable of working and do your best not to overdo it. (I am.. bad at this)

Do what MAKES SENSE for your situation. If doing art currently earns you less money than organizing spreadsheets, then do that for now, and whenever you have the energy, break down some of the tips above into actionable tiny chunks, and slowly work at em. 

The original ask I got in 2019 mentioned ‘knowing you’re not good enough yet’. Most artists experience imposter syndrome & self-doubt—the important thing is to do your best, and if anything, attempt to channel the confidence of a mediocre white man. If he can apply to this job/charge hella money for Not Much, then so can you! 

Check out this Art Director tumblr for more advice!

Danichuatico’s Literary Agent guide

Kikidoodle’s Shop Shipping Tutorial

Best of luck!

–

Once again disclaimer this post is just the ramblings of a man procrastinating on other things that need to be done. I’ve Long Posted my own post so that it turns into mush in my brain if I try to read it, but I wrote this so I should know this content. If you got down here, congrats. Here’s a shrimp drawing.

Yee Ha. 

My reference post tag My tip jar

[eldritch-araneae]

A bit of social media vent.

After limiting my Twitter time, I feel better. I'm cleaning up my dash by unfollowing some ppl there, simply bc this site got so much worse with an algorithm that you can't follow many ppl without completely losing posts from big chunk of them!

Also, some big artists talk about how "social media is inheritly bad to artists, and it designed to punish us, so go join discord communities and interact a lot to have growing," which by itself is partly right.

I'm saying partly bc it wasn't like this before. All this stupid algorithm and punishing ppl for not making content every day is a thing of recent years! So this advice would work back then perfectly, but it's not really working now!

And this is what infuriates me, bc many ( who also white) big artists don't feel the effect of those changes. They have shit ton of engagement since they grew when this site was much less hostile, while small artists struggle so damn much right now. I can tell that past 2 years the situation on Twitter got from shitty to worse. Small artists keep talking about this, but big artists don't want to hear any of this. It feels like they're saying "shut up and accept your fate bc every platform is like this".

Which is not true, bc Tumblr doesn't hide my posts from my followers, KO-Fi also doesn't hide anything, Picarto doesn't hide posts as far as I can see. Only Twitter and Instagramm decided to screw ppl over that I have to cull my following list so I have higher chances of seeing art from ppl I really want!

Only on Twitter you will miss posts EVEN if you set your dash to "Latest Tweets" that supposed to show all tweets in chronological order. Twitter will hide your posts if you mention ANYTHING with money, words like commission, Patreon, sales etc. Twitters will hide tweets if it has a link in them. Twitter will hide your posts for tags. Twitter will hide your posts for nothing!

And playing by those rules is exhausting and discouraging, bc they constantly change! Your only chance in luck, like if a big artist RT your art, but with help the result won't stick since you start losing followers shortly after, so in order to grow consistently, you need this luck all the time. Which is not possible.

I know they try to help, but like they unknowingly play into "big vs small artist" Twitter culture too. Following number badly distorts the image how people see you.

So that why I want to be more active here now, while keep Twitter like some sort of hub? Like an official account or something. Idk how this gonna work, but I'm willing to try bc I'm stuck with no progress for a long time and shit got harder. Twitter became extremely hostile, esp for artists.

I'm just really curious what gonna happen if I put my attention on Tumblr for example.

I know that numbers aren't anything and they don't guarantee a lot of money, but they rise changes to get some business bc you have higher visibility and higher chance that someone will commission you or join your Patreon. It's extremely important for ppl like me, who do art, but live in a country where art means nothing and doesn't sell well. We can't go and network with peers outside of the internet.

Social media is the only source of income in our case, please understand this!

[king-litchi]

Picture source : @Mnine5 (Meijo) in Twitter

Note : actually, it’s not a request but I was bored and I wondered « what kind of person would the SNK characters on the social medias be » - soo here we go

Sorry for my english…I am french and I still learning - please forgive me and protect your eyes 🤧

Warning : (12+) social media can be dangerous

SHINGEKI NO KYOJIN ON SOCIAL MEDIA 💥

Eren

Instagram : friends, family, abs, outfits, travel….king of instagram, super popular on instagram, everyone follow him but he only follows his friends and instagram he finds interesting, over time it has become an influence, Eren has like a million followers on Insta @IamErenJaeger

Snapchat :  « who has a netflix account ? » in story, selfies with friends at all kinds of events, often takes pictures of Mikasa and Armin by surprise, never puts a filter on for him or for the people he snaps, everyone can watch his story and comment (public baby), already received nudes… @ErenJaegeeer

Whatsapp : he is in all group discussions but rarely answers, when he answers it is surely because the conversation becomes funny or because they talk about Jean and then it degenerates (when too far between Eren and Jean everyone leaves the group and they end up « wait…everyone is gone…? ») and a new groupe is created but the fight starts again (others are like « here we go again » )

Twitter :  can easily get upset in a debate, is not afraid to say what he thinks, it is blocked by a lot of people (please take away his twitter), has a large fanbase : Jaegerist (@CaptainFlochForster is the leader fanbase…best to avoid them.) it’s very simple : either you’re wrong or you’re not right @ErenJaeger

Tumblr :  He is not really known on tumblr, follow only his friends and is followed only by his friends. Does a lot of reblog tumblr he likes and post a lot kind of sick jokes like « What is the only dog you can eat? - A Hot Dog » (20 followers…)

Armin

Instagram : sharing photos of his travels around the world, a lot of ocean scenery, monuments like the Eifel Tower, does not put a photo of him or his friends, his instagram is public to share his beautiful photos with the world  (2,5K followers) @ArminVibe

Twitter : Sharing conspiracy theories with other twittos, if by misfortune a conspiracy ends up in TT you can be sure that it will tweet all evening, twitter reveals its dark side, It can deal with all subjects and he’s gonna take his time to make you understand that you’re WRONG @ArminArlett

Snapchat : he doesn’t know why he has a snapchat, if you send him a snap photo he will just look without answering but if you start a discussion he will probably lose your message if you have not recorded (his fault, but he really does not do it on purpose, he does not really drag on this social media)

Whatsapp : quite active on whatsapp, in groups it is the one that stays the longest active, uses a correct grammar, always has time for someone who needs to talk (a colossal heart…)

Tumblr : very popular on tumblr with his famous landscape photos, he also likes to share theories with whoever wants it, has created a discussion group of which Erwin and Hanji are part (these three are often found in several discussion groups…), is subscribed to Annie

Mikasa

Instagram : her account is private (like most of his social medias) if she does not know you be sure that she will never accept a subscription request (and she receives a lot of subscription requests), sometimes post photos of Eren and her, sometimes with Armin and a picture with the whole group together, has maximum 5 publications and has maximum 100 subscriptions and she subscribes to only 25 people (who are they?) and her favorite girl’s band @MikasaAckerman

Twitter : is fan of girl’s band, a twitter just to follow their news, she has already been on top tweet (never knew why and honestly she doesn’t care), her account is totally private but she receives a lot of follow requests (she declines) @MikasaAckerman

Snapchat : does not do a lot of selfie but she likes cute filters, often does black snap with dark quotes « the sun always shines after a dark night » , tends to reply 2 days after being sent a snap (🤡) yet she makes the flames with Eren (already 834 flames) so she just ignores snaps

Whatsapp : she is in full of group discussions, but always reads without answering (”Read”), she often ends up leaving the discussion groups (but there is always someone to add her to the group, often Sasha)

Tumblr : has a fake account, by the way she is super popular, she posts her covers of her favorite songs @Mikasong (fucking great voice), already has a small community

Reiner

Instagram : is totally subscribed to Emily Ratajkowski (but who is not?), was the first happy to know that the likes are hidden, kind to like a lot of ass and body fitness (…<.<) it’s sure Historia blocked him (probably deserved) @ReinerBraun

Twitter : profile photo of a football player, often mentions his friends, and ALWAYS mentions Conny for challenges « Dare or not to ring your neighbor’s door at 3:00am and ask him for sugar », the kind to tweets like « Nicki Minaj or Cardi b ? » @ReinerTheBigBrother

Snapchat : You see this guy who makes a lot of views on snap and who everyone asks for publicity? Yes, it’s Reiner. Become master of the screenshot (already found himself in a complicated situation because of it…this awkward moment where you catch something you shouldn’t capture…), also receives nudes (btw 🤡) he never watches stories @ReineerGg

Whatsapp : he often ends up being ejected from discussion groups for his dubious humour and is often the victim of Ymir’s blackmail (screenshots can be fatal…)

Tumblr : he doesn’t even know what it’s for

Bertholdt

Instagram : has two instagram accounts, the first is his real account, he only follows his friends and is only followed by his friends and the second is a (secret) fan account on Annie Leonhart @fannie-kickass

Snapchat : goes selfie on occasions like birthdays (party) or when he is with friends, likes animal filters, snap everyone and without warning, during the evenings with friends he often finds himself in the snap of everyone without his knowledge and discovers him the next day (sleeper pose) @Berth5

Whatsapp : the kind of person to share a lot of petitions like « Hi, Nolan still needs 300,000 signatures to be able to convince his parents to buy him ps5 » (he can’t refuse to share when asked…colossal heart - like Armin <.<), calm in group discussions (is not the type to get involved in an argument, always remains neutral when the situation degenerates), he often speaks with Reiner privately and gives him advice on how to approach Annie - but by the time he decided to send a message to Annie, she had already deleted the application… (legend says he’s still waiting for an answer)

Twitter : if you identify him in a tweet, it will probably not read it but will still like it (why not), he does definitely part of the commentators of entertainment shows or sports matches @Bertholdt

Tumblr : hesitates to create a tumblr but does not really know what he could talk about

Annie

Instagram : shares his training and does not hesitate to make demonstrations of his techniques, is quite popular on instagram, to a lot of publication, post a photo with his father just after each victory with a caption « It is God who gives » ; already has a good community (320K followers), account is certified

Snapchat : never goes on his account, totally professional use, it is his father who manages his snapchat to post in story the videos her training and his official matches with the caption « Little Rocky 🔥 »

Whatsapp : it ended up deleting the app because too much discussion that ends in spam (it will be for a next time Berth)

Tumblr : her little cocoon where she can be herself, the only social media that has her interest, her tumblr is dedicated to the cat, she is a fan @Kitty-Catnnie , the only person in the group to know her tumblr is Armin with whom she sometimes chat

Twitter : She is still on top tweet despite her « Mikasa vs Annie, who wins ??? », she never tweet but retweet a lot of things especially those of Conny, it happens to like the tweets of commentator Jean

Jean

Instagram : if you want to see his account you must first subscribe, generally accept all requests, send quite a lot of DM like « you wouldn’t have a bandage because I hurt myself by falling in love with you » sometimes succeeds other times it ends blocked ( or screenshots that end up on Twitter) @JeanOfficiel

Snapchat : He was blocked by Mikasa and Eren (not for the same reasons), made the flames with everyone (but the most with Marco), has already tried to snap Mikasa in secret (it is caught in the act), loves selfies @Ihateeren

Whatsapp : the kind who doesn’t look to whom he sends a message and always has the wrong discussion, so becomes panicked « DONT READ!!! » accidentally already sent a nude in a group discussion (unfortunately screenshots have been made) Eren laughed about this story for several months like « How is Jeanbo doing ? He’s grown up since last time? » (he doesn’t talk about Jean…you know…)

Tumblr : he created a popular mini series on tumblr « You prefer…? » and also « If you were… » (the concept is very cool and we can do it with all the subjects), made a lot reblog, reblog ALL covers of Mikasa

Twitter : has been blocked by half of the tweetos sphere after several heated debates, is one of the people who comment on the shows mainly reality TV (he does it with passion) « SANDRA LEAVES WITH ANTONIO W/O MONEY !!!! IT’S A FUCKIIIING JOKE ?????!!!!! #TheVillaOfBrokenHeart2 » or « I’m the only one who hates Mike ? #MonacoShore » , it’s that kind of tweet that Annie likes) @JeanKirschtein

Marco

Instagram : accepts only requests from friends, his account is private, sharing small moments of his life with friends and families, use many hashtag like #AllThatGlittersIsNotGoldEvenJean (but nobody understands what he means)

Snapchat : often comments his friends’ stories, is the kind to come talk to you if you put a dark snap like « cruel world »

Whatsapp : often receives private messages like « Marco, are you there? » it always ends in long discussions (« The confidant ») he knows how to find the right words, it is active and always “available” if someone needs it

Twitter : always makes Jean’s defense on twitter, the kind of person to be part of a fanbase (like HarryPotter), uses hastag LGBT+

Tumblr : super popular on tumblr, he makes headcanons and screenplays of his favorite books, series and movies, has a preference for Yaoi but he can make any request (2K followers) @HalfMan

Conny

Instagram : very very popular on instagram thanks to his account with Sacha where they share their farce and does not hesitate to challenge, they post the pranks they make to their friends (1M followers) they are not yet certified @TwoDummies , he has a second private account :  with just family and friends (arround 55 followers) @hismotherson

Snapchat : the kind of person who does a snap at 2H00 of the mat « who for the flames », has a lot of snap discussions, always makes stories that ends badly like « I’m going to ride a bike » and in his last snap he ends up in emergency… (true story)

Whatsapp : has an unimaginable number of “caption this” for ALL situations, it sometimes created discussion groups (it’s just that it prepares a stupidity) otherwise is not super active but will always answer if it has a message

Twitter : clash with everyone « Your mother was pregnant for 9 months of your big head but you can’t stand a joke ? SHAME » (blocked), king of challenges, makes all the challenges where it is mentioned, retweet all the « Dare or not… » of Reiner, uses a lot of abbreviation, he invented a lot of hastag like #AlphaLevi and people have fun with his hastag

Tumblr : his more than empty tumblr, has no profile photo, and compulsive liker, it’s literally a fake account for liking funny things @JustConny

Sasha

Instagram : receives many comments under the photos of his joint account with Conny like « POTAETOS GIRL WE LOVE U » and « POTAETOS POWER », often pranks and ends up in the account, has a second private instafood account and also post photos with Nikolo @MadamePatate

Snapchat : oh my dear, he gets into a lot of trouble (funny drama) so stay connected for his “Storytime” evenings (we often hear Ymir commenting in the background with sarcasm and Conny’s laugh)

Whatsapp : the kind of person to send in a « bbiad » discussion (I’ll be back in a bit) and never come back in the discussion, written in abbreviation, loves group conversations

Twitter : has disabled twitter because of a "caption” that Conny posted on it (potaetos girl exists thanks to a tweet) but there reactivated a week later, tweets like a dramaqueen « WHAAAAT @netflix SEASON TWO IS COMING OUT TOMORROW BUT NOT TODAY  ???? WHYYYYYYYYY ! I’m never gonna be able to wait till tomorrow to eat my popcorns frkrkellelrlrl BUY ME POPCORNS NETFLIX BUUUY », has already been on top tweet #potatoesgirl

Tumblr : victim of her reputation even on tumblr, reblog a lot of post food and potential future challenges from Conny, often finds “caption this” with her face and always reacts with a more than dramatic surprise « SHIT AGAIN ??! »

Historia

Instagram : receives a lot of DM from people she doesn’t know, never accept them, like all the photos of her friends, you can see her insta only if you subscribe…(15K followers) @RealHistoria

Snapchat : renames all her friends by cute nicknames, the kind that snaps the place where she is or her food with a « have a nice day », queen of selfie, likes the filters

Whatsapp : uses a lot of emoji, hearts have become a punctuation, in group discussions she often comments « Ymir !! » after a sarcastic comment, tries to temper when the situation becomes too stormy

Twitter : avoids twitter like the plague, has disabled her account, reactivates it on occasions before losing interest once again, in fact her account is a fake where she is named @christaLenz

Tumblr : pretty active, committed LGBT+ activist, reblog testimonials, lots of likes, reblog Mikasa covers a.k.a Mikasong

Ymir

Instagram : a lot of photos of Historia (it looks like a fan account), often comments the photos of her friends (unfortunately for them) @Ymir

Snapchat : a lot of selfie with Historia, if a fight or something awkward happens in front of her she will be the first to make a snap (and no scruple to put it in her story), if Reiner is the King of awkward screenshots then she is the Queen for INTENTIONAL screenshots, her memories are filled with compromising photos on EVERYONE

Whatsapp : Do you remember the screenshots on snap? Well it is on Whatsapp that they find their usefulness. Can send them to a discussion group as if nothing had happened but her specialty is a service for her silence (yes blackmail) it’s never anything bad, but enough to piss off the victim (who is often Reiner)

Tumblr : forgot her password and honestly she doesn’t want to find it, why did she tumblr ?

Twitter : she is often upset about debates, often sarcastic in her retweets, « Caption This », always the last word, she is very popular on Twitter, she’s already been on top tweet (because a drama with her identity) @LadyYmir

Levi

Instagram : does not really look at his newsline, Instagram in black and white and very orderly (#GrandArt), his account is public but no one can comment on his photos @LeviAckerman

Snapchat : a block Hanji (too many snap video that turned into spam), to rename all his contacts by nicknames like « Brat Number one », « Brat Number 2 » (etc.) and Zeke « shithead » nothing abnormal, It has already posted a snap of his head in front camera (had not done it on purpose) deleted after realizing…(especially after receiving plenty of notifications), he and Zeke attack each other by proxy story (no one understands…but it’s funny to read)

Whatsapp : is always “offline” or “busy” but will always respond if sent a message, probably blocked Zeke on all social medias

Tumblr : shares his passion for tea and cleanliness, loves the healthy atmosphere of tumblr, has quite a fan, reblog and subscribes to Armin @TeaWithLevi

Twitter : Tweet by accident (in the pocket >.<) like « jf’dyt’rimsjrdy’yfgi » but other thant he almost never tweets, but when he does it is to complain or creepy « today I learned that a lollipop breaks easily like the legs of a clown » (…we don’t want understand), he’s already been on top tweet with the #AlphaLevi like « #AlphaLevi can surround his ennemies. Alone. » ; « #AlphaLevi makes the onions cry » ; « #AlphaLevi can go up downstairs » (we thank Conny for this hashtag) @LeviAckerman

Hanji

Instagram : honestly if you want to do a search on someone you have to check with Hanji, FBI of the net (”the stalker”), its account is public : post photos with Levi (who has to be taken by surprise) mentions everyone on its posts, photo with Moblit during their experiences (like “Break”), its instagram looks cool @OfficerZoe

Snapchat : snap often its scientific experiments (and other) and we always hear Moblit screaming in the background « Hanji-san! Back ! » , they like to comment on the stories of Levi and Zeke, already tried to make the flames with Levi and Erwin (tried without success)

Whatsapp : spends its time doing focus groups before it degenerates, its favorite pairs are Eren/ Jean and Levi/ Zeke but never has a battery

Tumblr : strangely its tumblr is very serious, they share its hypotheses and theories on scientific subjects, they talk about its experiences and future scientific experiments, they post the results of its research, has its own focus group (Erwin is one of them) @DrHZoe

Twitter : @Dr.troublegirl everything is in the pseudo, will accumulate and then become spectator of a massacre, his catchphrase is « you’re implying… »

Erwin

Instagram : it is very orderly and pleasant to look at, post works of art that crosses his path, does not often check his actuality but when he does it everyone is happy…(always the little comment that makes a good mood and a little like)

Snapchat : his story is public but only his “friends” can comment, snap his visits to the museum and snap a lot the streetart but is not really active when he makes “snap discussion” @Eyebrow (account created by Hanji…)

Whatsapp : uses impeccable punctuation and grammar, often discusses with Armin on intellectual topics and confronts their assumption he is the only one who is not part of a discussion group with ALL the characters (just a few groups like Hanji/Levi/Mike), from time to time he receives family photos of Niail and talks about old times

Twitter : activist totally committed to good causes ( #blacklivesmatter) (#justicepourAdama ), retweet the political news, has already tweeted with the #AlphaLevi @ErwinSmitt

Tumblr : pretty active, post on subjects that fascinate him (like history), his tumblr is very interesting and orderly, proposes developed theories and some people (students like Conny) go there to find answers to their homework… @Sasageyo

Zeke / Sieg

Instagram : created an insta to talk with Eren but he got blocked after commenting on one of his photos « Beautiful sweetren, you grow up day by day, signed your beloved brother » didn’t understand why he couldn’t see his instagram after that ; his instagram is very neat : instafood & instabook but doesn’t have many followers because his instagram account is private (like 150 follower) @ZekeJaerger

Snapchat : made stories to address to Eren instead of sending him directly in private (didn’t really understand the concept) that’s how to start the attacks between him and Levi, Eren ended up deleting the app to him

Whatsapp : uses impeccable grammar (also blocked Livai on all its social medias), tends to read without answering « Read since two days »

Twitter :  tweets like « I am now on twitter. » or  « Good Morning Twitter. » and lots of  « Join me on Candy Crush » , he also likes to comment on his favorite culinary shows with a lot hastag, honestly he is one of the people who blocked Eren on Twitter but does not really assume it  « What ? Weird…I must have hit the wrong button… » yes of course… @ZekeJaeger

Tumblr : reblog Erwin’s posts which he finds very interesting, to himself his own theories which he confronts with Erwin in discussion groups, is part of a quite popular team on tumblr “GenshiKyojin”, (with leader Eren Kruger) #uses #too #much #hastag (#like #me) @KemenoNoKyojin

[bisexual-books]

Dustin’ off the ole blog (or why I don’t feel bad for Becky Albertali)

Hey guys.  Wow.  Its been like two years since anybody posted here and three since I wrote anything of substance?  In my defense I adopted a teen so life got super duper busy around that time, but now that I’ve (mostly) sorted out the day to day parenting stuff, I’m back.  At least for today.  Because whooo boy do I have A LOT thoughts and feelings about the situation with Becky Albertali.  

So let’s jump right in : I don’t feel bad for Becky Albertali .  Not at all.  I think she is wrong and am not moved by her medium post.  I think Gabby Dunn is on the right track to criticize her and I would like do so as well because I think she is wrong.  

What Albertali (and her twitter fans) seem to willfully ignore in her medium piece is that readers don’t side-eye straight authors without good reason.  We do it because over and over and over again, straight authors do a shit job of writing about queer issues, creating realistic queer characters, and discussing queer issues.  How does an author earn the ability to avoid that side-eye? How do they avoid questions, comments, and concerns about their ability to do those things in their writing?  By being an open and proud member of the queer community ie coming out.  Coming out is important and difficult work in a fundamentally heterosexist society, and hence is rewarded as such by our community.   If you don’t do that work, why exactly should I or any other queer person give you that cachet?  

Fundamentally I see Becky Albertali wanting the socio-emotional bennies of queer author status, without doing the work of coming out.  And I’m just not finding much sympathy for that. She is not owed the benefit of the doubt by readers, particularly queer readers.  She has to earn it.  Yes, it probably was difficult for her to be questioned about her orientation while questioning, but those questions are reasonable and legitimate.  

Queer readers don’t just sit around like a dragon hording legitimacy and saying ‘mwhahaha’ to poor little straight authors.  We do this as a self-protection mechanism with good reason. We’ve experienced characters that are just a grab bag of stereotypes.  We’ve been gutted when straight authors we trusted as allies say horribly offensive things.  We’ve read arguments about queer people that bear no resemblance to our real lives and we’ve literally cried ourselves to sleep over disappointing, nasty, rude, offensive, and heartbreaking books (at least I have).  

If Becky Albertali and her defenders want to make life easier on queer authors, then instead of blaming queer readers for asking those questions, they need to interrogate why those questions need to be asked and how to reduce that need.

Instead I see Albertali in her medium piece blaming queer readers for needing to protect themselves, for needing to side-eye, for needing the explicit power of #ownvoices and support of out authors.  I don’t see her piece putting rightful, blame on straight people and straight culture that created these situations in the first place.  Blaming queer readers for daring to question her is a pernicious type of victim blaming, and I have no time or patience for that.  We erect these walls to protect our own hearts and souls, not because we’re big meanies.  If you don’t want to be on the wrong side of the wall, then help dismantle the need for it.  Don’t blame us for its existence. 

I’ve seen some people on twitter say this is somehow gatekeeping or cutting people off from exploring/discovering their queerness in art.  And I think that argument is off base.  No one was preventing Alberteli from making her art.  She could have written in a notebook or on Smashwords for all the days of her life.  People can make a dozen deviantart accounts or twitter accounts or AO3 accounts or tumblr accounts or discord servers and post their queer art creations all over the internet while they work out their queer feelings.  It is easy and free and no one is stopping anyone else from doing so. 

However I think when you cross the line from creating your queer art to profiting off your queer art, something fundamentally changes.  The stakes go up.  Queer readers need to know so they can decide who to trust with their hard earned cash.  We live in capitalism, man.  If you think that sucks, help dismantle that too. 

Albertali looked back in her piece, so I also want to cast back to early 2015, when Albertali first published Simon vs the Homo Sapiens Agenda.  Bi YA author Corrine Duyvis woudn’t coin the term/hastag #ownvoices until September of that year.  And it was A LOT easier to get a YA book with LGBTQ characters published if you were straight.  How do I know that?  Because it was like pulling teeth to find queer authors writing queer characters outside of small queer presses.  I was hardcore book blogging at that time.  The mainstream publishing industry side-eyed YA/kidlit queer authors, especially those who were less polished due to poverty/educational attainment/systemic racism/disability, to favor straight white authors with post-graduate degrees along with a handful of token queer authors that were already a part of the publishing industry.  This was slowly changing but it hadn’t changed that much.  It was still easier to get a queer YA published as a straight person.

And Albertali knowingly entered into and profited off that system.   

She literally has cash in the bank off the publication of the book Simon vs the Homo Sapiens Agenda, the subsequent film that became Love Simon, the subsequent book reprints and merchandise under the name Love Simon and the subsequent Love Victor show on Hulu.  They sold Love Simon shirts at Hot Topic for $20 for crying out loud.  She was able to obtain that money, prominence, and influence because she presented herself as a straight woman.

There is no comparable story in queer authorland because queer authors are simply not given the opportunity to turn their queer novels into multimedia cash cow franchises.  The closest thing I can think of is Armistand Maupin’s ‘Tales of the City‘ and that took 20 years to be made into a tv miniseries with subsequent books.  That was 27 years ago and to my knowledge, no one sold shirts.  So for most of my/ Albertali’s lifetime, there has been no viable path to create a queer media empire as a queer author.  None. 

Until Albertali did it while pretending to be a straight girl.  

She says that she legitimately did not know she was queer when Simon vs the Homo Sapiens Agenda was published or when Leah on the Offbeat was written.  It does suck that she had to figure that out while living such a public life and I feel bad that it was hard.  But honestly it sucks for everyone to figure that out.  It sucks to figure that out as an isolated teen or a professional adult.  Its just an emotionally grueling process.  Wanna make it better for future people?  Again work to disable heterosexism and heterocentrism in wider society.  Blaming queer people for that heterosexism and heterocentrism, and chiding them for not giving you unearned benefits of the doubt doesn’t do anything to disable those systems.  No one forced you to sign a movie deal or do a ton of interviews, you did that all on your own.  Ignorance of the consequences of your own actions doesn’t exempt you from having to deal with them.  

Only very very recently has the publishing landscape shifted so #ownvoices is a selling point instead of a liability.  Only very very recently (and I would argue very minimally) has the publishing industry valued #ownvoices authors enough to nurture and polish their skills with open submissions and contests for people who don’t have grad degree levels of writing skills.  And Albertali is upset at being excluded from this?  When she literally has the educational privileges of a doctorate and significantly more money than the average queer author has made in my lifetime?  

The closet sucks but no one forced Albertali to stay in it and queer people didn’t create it.  She chose to publish and license her work to reap the benefits, and as such also reaps the consequences.  Apparently one such consequence was that it was personally difficult for her to understand her sexuality and her mental health was poor.  Well.... until we can disassemble heteropatriarchy that is the world we live in.  Get your queer house in order before you go pro and open yourself up to real reactions from queer readers.  But if like Albertali, you don’t do that while choosing more and more publicity and raking in wheelbarrows full of cash, well, don’t expect much sympathy from me.  

- Sarah 

[theexistentiallyqueer]

It’s been a while, what with me being being more active on Twitter these days, but I had some thoughts churning around in my brain and this felt like a better place to post them rather than threading them over there.

This is a post about Persona 5 and restorative justice. Before I go any further, though, a note: this is meta about restorative justice and prison abolition as ethical philosophies only, how it can be expressed/structured in works of fiction, i.e., Persona 5 and Persona 5 Royal, and what the importance of doing so is.

I should also note that I am not a philosopher, a legal scholar, or an activist, I just like to read, and I strongly encourage you to look into the topics I’m discussing in this essay. If you want specific recommendations you can DM me; again, this being meta about a video game, I think linking those titles here would diminish their importance regarding what they’re actually about.

Ready? Okay. Let’s get started.

what is restorative justice?

‘Restorative justice’ is a concept in ethical and legal philosophy that holds itself in contrast to two other kinds of justice: punitive and carceral. Punitive justice is justice as punishment, i.e., an eye for an eye, while carceral justice involves justice as the confinement of criminal offenders. While both have heavy overlaps with one another, they’re distinct in the generality vs the specificity of their outcome: punitive justice can involve the death penalty, property seizure, permanent loss of rights, etc., carceral justice refers strictly just to the incarceration of criminal offenders in institutional facilities (jails, prisons, etc.).

Restorative justice, in contrast, roots itself in the understanding of closing a circle: the best and most holistic way to heal harm one person inflicts on another is to have the person who inflicted the harm make reparations to the person they hurt in a tangible and meaningful way. This can take many forms, and if you’re passingly familiar with restorative justice already, you may have heard about it involving the offender and the victim meeting face-to-face. This does happen sometimes. Personal acknowledgement of the harm you’ve inflicted on someone is important, and direct apologies are important, but these need to also be coupled with actions. The person behind a drunk hit-and-run of a parent could help put their orphaned child through school, or a domestic abuser could be made to take counseling and go on to help deter domestic violence in other households, and so on. 

The vast majority of states across the world use punitive/carceral models, though small-scale community trials of restorative justice have been attempted, to varying degrees of success. No one is going to argue that it would be easy to implement, but it is important. Restorative justice is about recognizing that crime, specifically crimes against other people, are fundamentally still about two people: the perpetrator and the victim. And we have to look beyond the words perpetrator and victim to recognize that they are both human beings and challenge ourselves to build a society where our concept of justice means healing hurts instead of retaliation.

It’s not easy, but it is possible. It requires changing your own perceptions of justice and humanity and society and the big wide entire world to have the kind of mindset that allows it to be possible. But it is possible, and I know that from personal experience, because it’s my own mindset and I’ve been through trauma too.

prison abolition and the god of control

Persona 5 has an authority problem. By which I mean, Persona 5 has a problem challenging authority in any way that functionally matters.

The game is drenched in heavy-handed prison imagery, from jail cells to wardens to striped jumpsuits to cuffs and chains to an electric chair. Throughout the long build-up of the main storyline we’re treated to a confectionery delight of punitive justice, stick-it-to-the-man justice: the Thieves find a bad guy who coincidentally has personally hurt or is actively hurting one of their members, and they take it upon themselves to make the bad guy miserable and then send him off to jail. By the end of the arc you’re meant to feel like you accomplished something heroic, that by locking someone up you’re balancing the scales of justice. In the Kamoshida arc Ann even frames this in restorative justice terms, telling him he doesn’t deserve the easy way out of ending his own life and needs to live with his mistakes and repent, but he’s still sent off to jail regardless and Ann and Shiho are left to struggle through the trauma he put them through without anyone to really support them. This repeats itself, over and over: Madarame, Kaneshiro, Okumura, Shido--expose the bad guy, bring him low, publicly shame him, and then send him away (or, in Okumura’s case, watch him die on live TV to riotous cheers from the public).

And what does this all accomplish, in the end? You get to the Depths of Mementos on Christmas Eve to find the souls of humanity locked away in apathy, surrendered willingly to the control of the state, and your targets right there with them, thanking you for helping them return to a place where they don’t have to think of other people as people any more than they did before. In prison, they can forget that they are human beings and that all of the rest of the people in the world are too. The Phantom Thieves march upstairs and defeat the Gnostic manifestation of social control, that being that masquerades itself with lies as the true Biblical god. And then you go back home and the adults tell you that everything is okay now, the system itself isn’t rotten, and you just have to sit back, stop actively participating in the world, and let them take the reins.

It’s one of Persona 5′s most ironic conceits. “Prison abolition....good?” the player asks, and Atlus swats you on the hand and says, “Silly kids, prison abolition completely unnecessary because you can trust the state to not fuck up anyone’s lives anymore ever.” All while using prison imagery to present prisons as institutions inherently divorced from what might constitute actual justice.

Prisons exist because hierarchies exist, and so long as hierarchies exist, inequality will exist and people will commit harm who otherwise likely would not. But you can’t have your cake and eat it too, Atlus. You can’t frame prisons as an inherently unjust institution used to control people because you didn’t do anything to get rid of the hierarchy. You just gave the hydra a few new heads.

restorative justice and rehabilitation

Rehabilitation is Persona 5′s favorite buzz word, and for all that it’s used the game never really clearly defines what it’s supposed to mean. Yaldabaoth uses it as a euphemism to describe the process by which he creates his ideal puppet, but Yaldabaoth bad, and by the end of the game, Yaldabaoth dead. We get barely any time with Igor after that for Igor to define rehabilitation properly on his terms, which is notable in that Igor is the one who’s supposed to be the spiritual mentor of the wild card within the Persona universe. 

We can only infer from that that it’s the player who’s meant to define what rehabilitation is by the end of the game, but because the game fails to take any concrete stance on its themes that could in any way undermine the idea that society isn’t functionally broken, it’s hard to figure out what conclusion we’re supposed to draw. As I stated above, the game immediately walks back any insinuations that it’s the institutions themselves that are rotten by having Sae and Sojiro step in and assume responsibility for making the world just by continuing to operate within the rules society itself has created. If you can’t beat them....join them?

If anything the closest we can get to coming up with a definitive understanding of what the game wants us to understand rehabilitation as is when the protagonist is in juvie. During those months we’re treated to an extended cutscene of all of your maxed out confidants taking action to get you out of jail, but because you can trigger this scene even if you haven’t maxed out all of your confidants, and because the outcome (getting out of juvie) is the same even if you haven’t maxed out any besides Sae, then we’re right back where we started.

But that cutscene still has a sliver of meaning to it despite it being largely window-dressing, because the game does push, over and over, the argument that it’s through your bonds with others, through building a community, that you’ll rehabilitate yourself and find true justice.

And that’s what restorative justice is about: community.

the truth: uncovering it vs deciding it

I can’t find enough words to convey how infuriating it is that Atlus comes so close to telling a restorative justice narrative and then completely drops the ball on displaying it at all in Goro’s character arc.

Goro’s concept of justice is fundamentally punitive, the textbook “you hurt me so I’m going to hurt you back.” In doing so he goes on to hurt a whole bunch of other people: orphaning Futaba, orphaning Haru, triggering a mental shutdown in Ohya’s partner Kayo, and also killing countless millions other instances of mental shutdowns, psychotic breakdowns, bribery, and scandal that caused people material harm and, in a handful of cases, killed them.

Yes, Shido gave him the gun, but Goro pulled the trigger. And in a restorative justice framework, you don’t bypass that fact: you actively interrogate it.

There’s been a lot of really great meta about what the circumstances of Goro’s life were like, including the Japanese foster care system, the social stigma of bastardy in Japan and the impact it has on an illegitimate child’s outcomes, and the ways in which Shido groomed and manipulated Goro into being the tool of violence he made him into. These things aren’t excuses for what Goro does, however: they’re explanations for it. They are the complex social issues that create a situation where a child feels his best choice, indeed maybe his only choice, is to take the gun being offered to him and use it on other people. If you want to prevent more kids from slipping through cracks into those kinds of situations, you need to understand the social ills that made those cracks appear in the first place and you need to fix them. Otherwise there will always be another kid, and another recruiter, and another bad choice, and another gun. Systemic problems require systemic solutions.

Even so, none of that bypasses the fact that it was Goro’s hand on that gun, that it was Goro who performed the physical action of killing Wakaba’s and Okumura’s shadows, and that, as a result of Goro’s direct actions, Wakaba and Okumura died. You can say Okumura deserved it all you like, but Haru doesn’t deserve to be an orphan. Haru deserved to repair her relationship with her father. Okumura deserved the chance to learn and make direct, material amends to the employees he hurt and the families of those who died on his watch, and they deserved to have him give them a better way to heal.

But this isn’t about the loss of Okumura making amends to his family or his victims: this is about Goro Akechi, and the fact that even in Royal his fraught relationship with Haru and Futaba is never explored, barely even addressed. There’s not even any personal, direct acknowledgement from him of the pain he put them through.

You can say he doesn’t care, and that’s fine that he doesn’t care. And it is. He’s a fictional character, this is a video game, they are anime characters.

But Persona 5 flirts with the idea of restorative justice and never fully explores it, and it’s a weaker game for that.

the thin place, the veil between worlds, the line in the sand

This is the last part, I promise, and I’ll be short and brief here, because the truth is that none of this matters, at least not in the way that you think. Persona 5 is a story. It’s a lie that we buy. It’s all zeroes and ones and electrical signals and optical images on a blank black screen.

But art can be powerful. Art is like magic, the deepest magic, the oldest kind. We human beings are creatures of art and poetry, of images and patterns, of music and words. Good art, really good art, can allow us to explore new ideas and critique our internal assumptions about how the world works.

No, fiction doesn’t affect reality, not the way that you think it does.

But if you’ve gotten this far, I just got you to read an essay on restorative justice and prison abolition in regards to a Japanese role-playing game, and that is something to think about.

How do you define rehabilitation? What kind of justice do you believe in? Is the way you conceive those things really the best way?

And how much more interesting could a story that challenges those concepts be?

[opiatemasses]

The Truth Behind the Exploitation of Pacific Island Rugby

Anyone who follows international rugby will know of the Pacific Islands and the excitement they bring to the game. The Pacific Islands comprise Fiji, Samoa and Tonga. Rugby is the national sport and heart of the islands’ communities, produce some of the world most talented athletes. More than a quarter of the players in the global game come from the Islands, and yet they have a combined population of only 1.5 million people (less than the population of West Yorkshire).

This clip is a personal favourite of mine, illustrating some amazing skill, I could watch this all day.

This shows the other side of the Pacific Island players, the sheer brute force they possess.

And yet the Islands are being exploited in direct contradiction to World Rugby’s values. I’d like you to keep these values in mind as we explore these issues.

Power Imbalance

This inequality underpins the other issues. The Pacific Islands along with tier two and three nations have limited influence over decisions made for the global game.

There are 10 nations in tier one, each receiving three votes making up 60% of the World Rugby Council. In contrast, tier two and three comprise 120 nations and are allocated nine votes between them, and make up 20% of the Council. The other 20% is made up by regions, representatives of the continents.

How can the global game grow and develop when decision-making is skewed in the interests of tier one nations, at the expense of the other 120 nations?

 A system where votes are shared more evenly would be more representative of the global game. In an interview, Ben Gosper (CEO of World Rugby) shut the proposition of Pacific Island nations achieving a three-vote status down swiftly; laughing he said - “I can’t see this happening while I am here”.

This dismissive attitude isn’t in the best interests of the global game and needs to change for the game to move forward and to give these nations a chance to thrive.

This table illustrates how votes are allocated. Notably Japan have recently gained two-vote status, representing an improvement in their ability as they challenge the tier one nations (who can forget that South Africa game). However, it has coincided with an increase in the amount of Pacific Island players in their team with 10 of their 30-man squad at RWC2019 being of Pacific Island heritage including captain and Japanese rugby hero, Michael Leach. World Rugby are rewarding Japan for ‘poaching’ these players.

Importing Pacific Island Players – Eligibility Rules

Pacific Island players have to move abroad to earn a living, not only at club level but often to play for a different nation with no return to their home nation because of the “one nation for life rule”.

Over 600 players with Pacific Island heritage play in the European leagues and more in the Super League, including some of the world’s best like Billy Vunipola and Ardie Savea. This is because there are no pathways for young talents in the islands, with limited funding and no professional teams. The financial draw is huge as players are expected to pay back into their Islands economy and help their family and village, so much so that overseas rugby players contribute about 20% of national GDP to the Islands. This is more than tourism, hospitality and agriculture combined contribute to the UK’s GDP.  

Is it ethical to be taking these players - some as young as 13 - having them sign contracts and move to another county with massively different cultures? (which could have negative effects on players wellbeing). With players moving at such a young age they are eligible to play for the nation they now reside. This is understandable as other nations pay considerably more. An England player is paid £25,000 per international match, whilst a Tongan player earns £80.

This causes problems for the Pacific Island teams. Not only do they lose the majority of their best players but even when tier one nations discard them they are unable to return to play. A prime example of this is Charles Piatau. He has Tongan heritage but played for New Zealand 17 times, however is now surplus to requirements. He has stated “I’d love nothing more than to be able to represent Tonga.” A player such as him beneficial for Tonga’s development.  

Image from Charles Piatau’s Twitter (@CPiutau)

There is an obvious fix to this situation.  This would be to amend the eligibility laws, which would allow players to return to their heritage nation after a sufficient ‘cool-off period’ (for example, two years), where they haven’t played for their tier one nation.

This potential solution is currently blocked by World Rugby and its Council. Ben Gosper claimed that the Council, rejected the idea. Why? One possible explanation is because the Council is made up of 60% tier one nations and allowing tier two nations to grow in ability is not in their best interest. This brings us back to protectionism and clear disregard of their own values of ‘respect and integrity’.

Unevenly distributed funds

The issue here is the share of revenue from international fixtures. Currently the home nation takes all of the revenue from tickets and match day earnings, which is ordinarily payed back with a reverse fixture. However, the Pacific Island teams have drawn sell-out crowds against the home nations 12 times and had the favour returned only twice in the past 10 years. This would bring more exposure to rugby on the islands, but is not viable. In 2016 Samoa hosted New Zealand and made a loss of $1 million; because the host nation has to pay for the flights of the visiting nation and Samoa’s stadia are too small and tickets are priced at $4 each to ensure locals can watch, and therefore cannot support the inherent costs.

If we take a look at England vs Fiji in 2016, the game sold out. There was a total of £34 million earned from the game, each England player received £22,000 whilst each Fijian player was paid £400. The rest was kept by the RFU and nothing was given to Fiji’s union. Fijian rugby gained nothing from this game in terms of development or growth, barring some exposure to high level rugby for their team and supporters.

I suggest profit sharing, where Pacific Island teams play tier one nations but take home a share of the profits they help generate. If a model was put in place to share the profits 80/20, losing this 20% wouldn’t have a significant effect on tier one nations but would have a hugely positive effect for the Pacific Islands, who could grow the game in their region become a stronger team and a greater competitor.

Corruption within the islands

These issues are all important, however the corruption, poor governance and leadership within the islands must be addressed before anything meaningful can change.

Due to the lack of external funding and income from home games, Pacific Island rugby relies on their government and public funding for up to 60% of their finances. This means that politics and politicians retain a tight hold on the sport.

In preparation for the 2011 RWC the Samoan public raised 6 million Samoan Tala (£1.8 million), to pay for the players wages, accommodation and equipment. However, the players were the lowest paid at the tournament (£1000 a week), their accommodation was poor. Captain Seilala Mapusua reported they turned up to training to find there were no balls.

Where did this money go? An independent audit of their finances found that it went missing at the hands of the Board members who took the money for themselves. Even more astonishing is that the Prime Minister of the country is one of the Board members (for more information read here or  watch here).

Arguably more shocking is the governance of the Fiji Union where the President is Frank Bainimarama, who is also the Prime Minister and the Chairman of the Union is Francis Kean, Frank’s brother-in-law. This displays a corrupt path to power which more often than not leads to the wrong people running an organisation.

They were both involved in the coup of the Fijian government in 2000 and 2006. Francis Kean was also convicted of man slaughter in 2006 and served one week in jail before his bother-in-law released him, yet he remained the Chairman of Fiji Rugby and was even nominated for promotion to the World Rugby Executive Committee in early 2020. This nomination was withdrawn only after protests from players and fans, and he was stood down less than a month after his nomination, not on grounds of being a convicted killer but on homophobic allegations. World Rugby claimed they were unaware of his background. For more information on this click here

Image from Netani Talei’s Twitter (@NetaniTaleiE)

This governance leads to further issues for the players as many of them are scared to speak up and express their concerns; as C (former Fiji captain) said in an interview “Frank can make you fucking disappear”.

Politics runs deep in Fiji rugby, as Ben Ryan who led Fiji 7s team to an Olympic gold medal in 2016 said he would have the military come to the gym telling him what players to select and to not pick players because their parents weren’t supporting Franks political party.

Image from Ben Ryan’s Instagram (benryan7s)

These issues of governance need resolving, but if reform can’t come from within the Islands it must come from World Rugby. I suggest a programme from World Rugby to appoint specialist and leaders to the Pacific to, in the short-term aid in running their Unions and checking the finances but in the long run to train the next generation of leaders for the Union and set-in place the standards of governance that must be met, in order for them to start making progress on and off the field.  

What needs to be done?

There are 5 key actions:

We need to change the way we view these nations and give them a hand up to help them develop in the long-term instead of handouts to keep them afloat in the short-term.

World Rugby need to take responsibility for the governance of these nations.

World Rugby need to change their voting system and stop the blatant protectionism of tier one nations.

Pacific Island teams need to receive a fair share of revenue they help to generate.

A simple change to the eligibility laws, to give players freedom to play for their heritage nation.

Ask yourself, if you consider the RFU and WR values to be legitimate and worthy, why are they not being upheld in relation to the Pacific Islands?

Leave a comment below with your thoughts on this issue. I’d love to hear them.

What can you do to help?

Please share this blog post and help to spread awareness. 

Support Pacific Island Rugby Welfare– they are a charity that do great work in supporting Pacific Island rugby players and their families and are really the front line in battling these injustices.

Make sure to support their posts and petitions and stay up-to date on this issue by following them on twitter - @pacificwelfare.

Support them with whatever you can through Patreon.

I would also highly recommend you watch the documentary ‘Oceans Apart’ on Amazon Prime if you wish to educate yourself further on these issues. (Watch here).

There are links throughout the blog to articles which expand further on what we have covered here, so please read them and educate yourself further.

Remember to leave a comment and let me know your opinions on this issue.

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References

Kihl, L., Skinner, J., & Engelberg, T. (2016). Corruption in sport: understanding the complexity of corruption. European Sport Management Quarterly, 17(1), 1-5.

McDonald, B. (2014). Developing ‘Home-Grown’ Talent: Pacific Island Rugby Labour and the Victorian Rugby Union. The International Journal Of The History Of Sport, 31(11), 1332-1344.

Naha, S., & Hassan, D. (2017). Introduction: ethical concerns in sport governance. Sport In Society, 21(5), 721-723.

[fingaudioart]

Hill House, and Audio Horror vs Film Horror

I got to thinking about this when an audio producer on Twitter asked what people thought the scariest parts of Haunting of Hill House, other than the jump scares. What struck me while reading the responses were almost all things that depended on the visuals, and would be very hard to move into the realm of audio.

I feel like many/most people think of horror movies as a template to build off of for horror audio fiction...which is fair, because for many of us, horror audio fiction wasn’t a thing we could find to listen to until recently (myself included). And it’s not uncommon to hear a successful, talent audio producer say something along the lines of “An audio drama is like a movie, without needing a million dollar budget.”

I agree with the thought, generally: audio fiction does have many similarities to film, but if you stretch it too far, it can be a dangerous approach. And it can be especially dangerous for Horror.

Let’s think about how we could move the Bent Neck Lady into audio (spoilers ahead). Except for one scream, she is silent and unmoving. To move it into audio, we’d either need a narrator (or someone to tell us what’s happening), or to make Bent Neck Lady move around. The first option would keep the nature of the ghost intact, but we would be robbed of having it happen in front of us. The second option would change the nature of the ghost entirely. This is before we even talk about the twist, that hinges on Bent Neck Lady largely being a silhouette, which obscures information without feeling like anything.

Horror is a genre that is especially dependent on craftsmanship, regardless of the medium. It’s a genre where--and you’re going to murder me for saying this--you don’t need a good story to be scary. You need a scary situation/scene, told with skill, but even if the scenes/plot/characters around it are terrible, you can still make the audience feel afraid (Looking at you, Argento).

That’s not to say the story doesn’t matter. In fact, a large part of what makes Haunting of Hill House so good is that it’s part horror, but also part family melodrama (and it actually spends more time on the melodrama than the horror), blended together so the ghosts have meaning. Bent Neck Lady is disturbing the first time you see it, but it’s the story behind it that makes her stay with you long after you’ve finished the show.

But if we set aside the story, and focus on the scary moments...they are pure filmmaking. Every aspect is working to create fear: the sets and art direction, the creature design, the pacing, the blocking, the editing, the sound design.

The same way a horror movie uses every weapon of filmmaking, a horror audio drama should use every weapon of audio to create dread/fear/suspense. But the flip side is, just as Haunting of Hill House isn’t using the tools of horror literature, your audio drama shouldn’t try to be a movie.

But I think we also need to own up to something: many of us (most of us?) have more experience watching horror movies than listening to horror audio dramas. So let’s get analytical here. What are films strengths? Audio’s strengths? Weakness? And how do these work in service of horror? Any tips for the audio drama producer?

Filmmaking’s Unique Gifts

Before I get into the list, I want to be very clear: I’m not to saying you can’t do versions of this in an audio drama. In fact, when these are successfully used in audio, they can be outright amazing. But they take a lot more work, either by carefully setting up signature sounds*, or by having narration, or some other creative way no one has done yet. The point of this list is that film does these things easily.

There are some obvious things, like, ya know, visuals. I don't think there's any amount of words or sounds that would allow me to imagine Giger’s Xenomorph. Some things just need to be seen.

One of film's special talents is it gives the audience an understanding of a location without even trying. I don’t mean the layout of a house (that can be confusing), but present an audience with one shot of a bedroom, and they’ll instantly understand where the bed is, the window, the door, the closet, the bedside tables. Films communicate small spaces so easily, they don't even need to stop to do it…a character walks in the room doing whatever, and as long as the space is seen by the camera, the audience gets it.

In horror, this is vital when the fear you're trying to create is that of a physical threat. Where is the killer? Behind the bookcase? Walking towards you from across the lawn?

Related to this idea of a physical space, films also have the ability to makes things appear--and disappear--quickly and unexpectedly. This is moments like Mike Meyers appearing in the closet in Halloween, or later, when Dr. Loomis looks over the edge of the Balcony, and Michael Meyers has vanished.

Perhaps film’s most famous strength is the montage. You can easily cut between different scenes and settings, without the audience ever getting confused.

There is one tool of film that I am very frustrated won’t work in audio: the Title Card. I don’t mean the title of the show, I mean those cards that say things like “Burbank, CA” or “CIA Headquarters” or “3:23pm.” Text on screen is a painless way to give the audience information without tripping up the storytelling.

Finally, let’s talk about one of film’s most powerful tricks...patience.

A film can stretch moments out, sometimes with slomo, but often with editing between close-ups. You can also have moments where nothing happens, you just linger in the mood/ambience/characters reactions. 

A great example is the “Spielberg-Face”, those shots when the characters are reacting to something the audience hasn’t seen yet. In Jurassic Park, we spend a full 30 seconds watching jaws drop before we see the first dinosaur. This is pretty nuts, when you think about it. The true stars of the movie aren’t introduced with a speech, or a title card, or a curtain pulling back, but by the characters just staring in the distance for half a page.

Pausing the action, or even just stretching it out, is one of the fundamental tools of horror movies. It’s a way to create the mood: Show the spooky location, play the spooky ambience. It’s a way to create suspense in a scene, think of the long POV shot scanning the room for that noise. End the moment with something suddenly appearing, and you have the basic recipe for a jump scare. Even if you decide to be an artsy horror story, like Haunting of Hill House, silently drawing out the action is your primary weapon. Done well, the audience will be rapt, knowing that something could be about to happen any moment, even though as far as the plot goes, we haven’t moved much at all.

I’ll be honest, if I could go back in time and tell the younger version of me who hadn’t made an audio drama yet that you can’t draw out a moment the way you do in film, I probably would not have believed me. In my work as a TV Editor, it’s been one of the tricks that has really elevated my pieces...it feels like magic. But I’ll never forget editing my first audio piece, having a character fumble with a doorknob while trying to escape someone who was chasing them. They grunted at the door as the footsteps got closer and closer, and it was lousy. It felt like the manipulation it was.

Audio’s Unique Gifts

The thing that audio does better than any other media--and this is controversial--a narrator feels like they are talking directly to you, the listener (a narrator in a film feels more like they are talking to an auditorium). Now, here are people who find that narration is jarring and takes them out of the story. They aren’t wrong--you can’t argue someone’s experience--but that’s certainly not what happens to me. If you are one of these poor souls, I hope you take some time to listen to some narration and reprogram your brain, because you’re missing out on some magic.

The other great thing about sound is it activates the imagination. Films can also do this, of course, but audio does it be default.

Sound is also very good at evoking a sense of touch. Texture. Clothing. Almost anything you can feel in your hand.

While sounds is great at telling us about what’s very close, it also tells us about the world in the distance, i.e. ambiences. The sound of a forest transports us to a forest that exists in all directions. Distant traffic can tell us if the city is awake or asleep.

Audio also does an amazing plot twist that I’m gonna call the “Pull Back to Reveal” twist (yeah, that’s a film term). This is when, deep into a scene, something is revealed to the audience that the characters understood was there the whole time. While a movie can usually only sustain this for a minute or two, audio dramas can push this for a really long time. The Truth’s classic “The Dark End of the Mall” is a great example, as is the episode “Have You Seen My Mom?” It’s use in horror is more limited though...suspense works the best when the audience knows as much or more about the situation than characters (a.k.a. Audience Superior), and this is a twist that is Audience Inferior.

And, not for nothing: It’s way cheaper than a film. That’s not say the money doesn’t matter, but it doesn’t matter in the same way. 

Film’s Failings

The hardest part of film is the flip side of its strengths: it’s so easily grounded in reality, it’s very hard to step out of it. That’s more of a problem than you think.

Take the sentence, “Andy called his sister-in-law.” While it takes just four words to write in a book, in a movie, you are going to be contorting dialog or some other clever trick, to get the audience to understand “that’s his wife’s sister.” (Non-narrated audio dramas also have this problem with exposition.)

Same goes for backstory. In the middle of a scene, a book can say things like “She’d been working on this for ten hours now, and was ready to scream.” One sentence. A film would have to lay out exposition, or clues for the audience to put it together.

Film also has a hard time conveying senses other than sound or sight. During scenes where a character walks into a place and says “Ugh, what’s that smell!”, I never really imagine the smell, I just see an actor pretending to smell something.

Visuals can be too intense. Gore or nudity are the first things that come to mind in this category, and are often alluded to in a film for exactly that reason. But even if they are merely hinted at, the film audience may spend a scene wondering “Are they going to actually show it?”, which knocks you out the movie a little. 

Films are complicated to make, at every level. Casting is tougher---the actor needs to both sound and look the part. There’s the expense of sets and lighting, the effort of just getting a crew to a location can be monumental. And once it’s all shot, film editing is more complicated and time intensive than audio editing, and not just because it involves audio editing.

Audio's Weakness

The biggest: There's a big Blindspot right in front of the audience. Without some careful context, raw audio recording from real life is disorienting at best, intelligible at worst. Most sounds that come from the blank spot are descriptive, they generally tell us if someone’s shoes are wet, but they won’t tell who is walking around the room in wet shoes.

This blind spot can be especially dangerous to a producer, because in real life, our brain attaches sounds to the objects it sees, and when you understand what a sound is, it’s easy to place it. Because a producer knows what sound they are placing in the piece, it’s easy to think your sound design is intelligible. Sounds we don’t understand are also hard to place in the space. I personally find that while stereo and ambisonics can help make the sounds be more distinct from each other, they don’t really locate them precisely.

Another weakness of audio, characters are hard to tell apart. This can especially affect women's voices, who don't tend to have as much variation. This isn’t as true if the audience has seen the face of the actor talking, something about that seems to lock in our understanding of a voice (video though, not just a headshot). But without a face, it’s tough. EDIT: So I wasn’t very clear with that last point. To be clear, it’s not that you CAN’T cast people who sound different, or that you can’t direct people with similar voices to give different performances. It’s that you need to make a point of doing so. And while I have personally found that women’s voices are more likely to sound alike, that’s not the main idea. We remember face’s very easily, and names relatively easily (unless you’re me, I’m terrible at names). Voices without faces are easily confused.

This character confusion especially applies to large casts...I have a hard time imagining an audio only version of OCEAN’S ELEVEN, for example. Put twelve characters in a room for an audio drama, and it’s gets confusing for the listener really quickly.

If you aren't using a narrator, making time pass can be hard. A Rocky montage needs to be carefully setup.  "Cut To: Five Minutes Later" is damn near impossible without narration.

Sound Effects need to be more meticulous. THE AVENGERS can sweeten a superhero punch so it hardly sounds like a punch at all, and the visuals on screen will lock it into place. Without a picture to give a sound context, they need to be much more realistic for them to be understood correctly.

So let’s put this all together.

Lets turn it into an “approach,” and design some scenes that work easily in the medium. 

Ambiences are a strength, so we’ll pick a setting that has an interesting one, and avoid things like quiet rooms. We’ll have a small number of characters, let’s say four or less, and to make it easier for audience to remember who is who, we’ll cast actors with clearly different voices, and we can help on the script level by making sure they all have different motivations/goals/emotional states. To get that intimacy of the voice, we’ll have at least some of the characters close to each other (and the mics), and not shouting across the room.

The physical setup of the room will be straight forward, and our characters’ movements though the space will be clearly motivated and direct (“Does this key unlock this door?”), if a character has busy work that moves them through the space, the details won’t matter (like they are doing dishes). We’ll also want to have some moments that play on that sense of touch. Perhaps most importantly, we’ll want to paint some clear visuals for the listener to imagine.

For a horror scene, you really want to work your ambiences to make them add to the tension, vs just adding realism. We first want the monsters in the distance, say on the other side of a door or outside the house, or somewhere in the woods. Make our scared characters really close to the listener, play the sounds that you only hear when you are right next to them, like their breathing, swallows, adjusting the clothes or their make-shift weapon.

When the monster enters the room, have it spend as little time as possible in the blindspot, so avoid things like fist fights and fast-paced footchases. Instead get the monster right inside our character's personal bubble. If you’re aiming for a startle, instead of having it leap out in front of the hero like in a movie, you’d want to skip the blindspot, and have the monster pounce onto the hero--using those touch sounds that are so intense.

To me, that sounds like a scary scene.

It’s Not a Formula, and All of This is Nonsense

In fact, you probably wouldn’t want every scene in your piece to follow this, because a) it’ll get repetitive, and b) when you go against the medium, you’re more likely to make some magic (if you pull it off). But I do think it’s important to realize when the big moment of your piece is resting on some of the weaknesses. When this happens, you may want to make sure you’re leaning on something really strong to carry the weight. Other times, you may want to toss around some other ideas, make sure that it’s actually working, and to see if it could be improved.

Also, even though I’ve written a lot of words here, I fully expect someone has already proven every one of these rules wrong. But I also think it’s a good exercise to go through this and figure out why I’m wrong.

The medium matters. And I hate writing conclusions, so I’m ending it here.

*Signature Sound: A sound that the audience understands to mean something specific, such as a doorbell or a gunshot.

[swannkings]

Do I want to wade into the murky waters of Ye Old Fanfic Vs Original Fic wars? Yes.

I don’t know who amongst Twitter or Tumblr needs to hear this, but your edgy as fuck takes on whether fanfiction has value or not aren’t new or enlightened. I tend not to get public with my takes on writing, because I was there 10+ years ago doing this exact thing on Quizilla & Mibba, and an individual’s medium of writing and impetus is their own damn business. Any and all writing has value. Sometimes it’s meant for personal indulgence or for small communities or friend groups, other times it has to pass muster for professional publication (which is a whole other shit bag of contention) or mass public consumption.

These arguments (they are never discussions) are also exhausting and pointless. Nobody wins these things.

I agree that Cassandra Claire/Clare and E.L. James are poor examples of professional writers having begun their careers in fanfiction. But, I’d also point out that actual literary agents and publishing houses signed and printed them, and professional editors did at least skim over their works. The authors aren’t the only ones to get blame for shit writing. And let’s not forget Anne Rice, infamously unfriendly toward fanfiction, chucked professional editors out of her equation altogether because she didn’t like them having opinions on her work.

Not all writers want to be published nor want fame.

It does seem to baffle when those words enter the ears of pretentious writers, readers, and others who don’t write at all. Some people write because it’s fun, like a hobby. Sometimes those people, who write for fun, will edit their work and sometimes they let it go as is because it’s just for catharsis.

My big personal project is to track down all digital and hard copies of my writing and catalogue them. I’ve been doing it for 10 years now. I’ve been writing and sharing my writings for the last 18 years. I have a hard copy of the very first major piece of fiction I wrote (a Lord of the Rings fanfic from 2002/2003) and a hard copy of the last piece of fiction I worked on (an AU fic for a Japanese otome game) and a hard copy of my first original novel (a urban gothic from 2017). There is an absolute difference in my writing from age 11 to age 28. And looking at my catalogue of writing, most of it is fanfiction. Do I have original works in there? Yes. Are they good? I think they are, and my friend thinks they are, but whether or not those works are up to snuff for a book deal—that’s up to an agent I haven’t sought out.

Improvements to my writing can be attributed to age (I’ll be 29 in a little over a week), to a university education (a BA in Performance Art from a STEM based offshoot of a way more prestigious school is the most I could afford after 3 years of community college), and alternating writing fanfiction online with a built-in audience/community and sharing original works online (where they got much less attention) and with writing groups/friends.

The truest rule of any endeavor is: you get better with practice.

Does fanfiction enable bad habits? Sure, but so does being educated at an Ivy League school. There’s no shame in acknowledging our own shortcomings. I mean, fuck though, I’d take overusing the phrase “carded his fingers” or inexperienced writers with funky grammar over being a snob with a Linguistics degree and a podcast.

What makes me, an unknown writer, a maybe valuable voice in this here shitkicking?

Because I’ve been doing this for half of my life and because I love stories. I’m an advocate for education and reading, and libraries and accessible information. I’m all for kids (anyone really) picking up comics or graphic novels, or reading fanfiction or webcomics, reading whatever genre or medium floats their boat if it means they’re engaging their minds and imaginations. This extends to film and video games and podcasts and audiobooks too because not everyone has the same level of literacy or ability to physically read or stay engaged with written text.

I don’t have a lot of experience in many things, and I am by no means a fabulous writer, but I am old enough to recognize an old argument and threadbare talking points coming from the mouths of unhappy people.

But is there really merit to writing fanfiction? Yes.

It’s a great way for people new to writing to learn how and practice creating engaging narratives.

It’s a great way for young writers to deconstruct their favorite worlds and characters in order to better understand both the creation of fiction and the types of fiction they enjoy writing. (Heads up: published literary fiction also uses tropes and archetypes)

Fanfiction has a built-in audience. This is perfect for any writers who a) are unsure of their abilities and wish to get feedback, b) wish to remain anonymous for various reasons such as being made to feel embarrassed for writing fanfiction but want a modicum of acknowledgment, c) have rich and engaging lives and just want to share some raunchy fantasies because they most certainly aren’t alone, and d) simply enjoy writing things that make others happy.

Have you seen the goddamned news? Let people have some silly little pleasures.

But what about... you know... brain rot?

That’s a real thing. Twitter has it too (have the last 5 years shown us nothing?) And have you met A Dude From Film School?

Let’s be clear: age doesn’t negate brain rot, neither does only writing original fiction. Young people who are Extremely Online, y’all can have brain rot too, it isn’t just Fandom Olds or your Uncle on Facebook.

You should never let your age dictate whether you are able to engage in fandom or fanfiction, but absolutely should in the ways you engage. Not every piece of fic is meant for you to read and not everyone has to praise the things you write, not even your friends.

For the record: writing tropes, even squicky ones, isn’t brain rot. Not believing fandom is racist or gate keeps is though.

The big take away...

Listen.

If you are a writer who primarily writes fanfiction and you want to someday be a published author of real live books, you do need to create original works and engage with writers outside of AO3, Tumblr, Wattpad, or whatever site is still hosting fic when you read this. It’s imperative you see other parts of the creative world. Stretch your wings, experience other ways of doing. Allow yourself to grow beyond what you know.

There is no guarantee you’ll have a career in writing. There is no guarantee your magnum opus will get you a publishing deal, or will even make it out of the slush pile. Writing to a career endgame can be just as detrimental as writing to a trend.

None of this is even getting into the gate keeping that exists in publishing already and only allows in diverse voices when it’s profitable, making fanfiction and online communities all the more important to marginalized creatives.

It’s perfectly alright to just write because you like writing, and it’s perfectly alright if you like playing in other people’s sandboxes. No one but you gets to place value on your hobbies or take merit from you for not writing like you have a MFA in Creative Writin. Writing a 100k Slow Burn fic takes just as much dedication as writing a 60k original novel, they just stretch different muscles.

[doilooklikeiknoworcare]

I'm not gonna lie the whole Smokey Glow vs. Angelika Oles drama is so weird to me.

Like... I'm watching SG's video and she's so angry about this and I get a weird energy from her being like "she's not sincere because it took her so long to respond to this" - like 4 days is kind of ... short if you're getting a lot of backlash. Personally, I don't think AO taking that long to respond is bad because you want to get everything together so that it doesn't feel as bad. (she's said she doesn't like befriending other YouTubers and stuff and I believe her so I don't think she's friends with that Rich Lux gang).

Like, I believe the sincerity of Angelika's response to the communities she hurt. She sounds educated and informed. It isn't my place to accept, but the outrage that Twitter has had over it also doesn't seem relevant. Like, someone was really upset that she called people "white-passing" because that "implied they had privilege even though they face discrimination from both communities". Which... From my understanding, white-passing in that context means that by looking at their profile pictures, they looked like they could be white. Cause if you say racially ambiguous, that means they could still be termed BIPOC? I don't know, I might have misunderstood this.

But, I do think it was kind of rude of her to put SG out for her hypocrisy - but at the same time, I understand coming from a point of hurt from a friend. I had a really ROUGH break with a friend and I did have the serious impulse to just blast him. I didn't - but if I was on a platform of 100,000+ people and had them telling me I was a terrible person? I dunno I might have. She was almost in tears the entire video and that sucked.

I also understand SG's side. But I also don't think you can always say this person can't improve. (I'm gonna say it, AO is 19-20?? Like, she is young [6 years younger than SG]) and if you're privileged and young, you don't understand how to phrase things, how to do things so that it doesn't sound terrible. I don't know, I can really understand where she's coming from as a privileged white person who had to take such a long time to realize my privilege.

I just do not like Dustin, Nick, and Rich tbh. I don't argue with what SG had to say about them.

But I'm a fence sitter for this one y'all. I do think AO didn't do great here, but people were coming for her without receipts on Twitter and it was toxic as fuck.

Also lol at SG saying AO was liking shady tweets about her when she did the same thing. I dunno. This just needs to chill. If you want AO to learn and improve, you have to watch her move forward. People can always learn and improve, and I don't think people should be abandoned when they've done something relatively small on the scale of injustices.

Like... AO liking their tweets isn't approving their behavior and I don't think she'd send them private dms. I dunno. I'm a fence sitter over here

[isearchgoood]

Sharing what we learned on the first Virtual Webmaster Unconference

The first Virtual Webmaster Unconference successfully took place on August 26th and, as promised, we’d like to share the main findings and conclusions here.

How did the event go?

As communicated before, this event was a pilot, in which we wanted to test a) if there was an appetite for a very different type of event, and b) whether the community would actively engage in the discussions.

To the first question, we were overwhelmed with the interest to participate; it definitely exceeded our expectations and it gives us fuel to try out future iterations. Despite the frustration of many, who did not receive an invitation, we purposefully kept the event small. This brings us to our second point: it is by creating smaller venues that discussions can happen comfortably. Larger audiences are perfect for more conventional conferences, with keynotes and panels. The Virtual Webmaster Unconference, however, was created to hear the attendees’ voices. And we did.

What did we learn in the sessions?

In total, there were 17 sessions. We divided them into two blocks: half of them ran simultaneously on block 1, the other half on block 2. There were many good discussions and, while some teams took on a few suggestions from the community to improve their products and features, others used the session to bounce off ideas and for knowledge sharing.

What were the biggest realizations for our internal teams?

Core Web Vitals came up several times during the sessions. The teams realized that they still feel rather new to users, and that people are still getting used to them. Also, although Google has provided resources on them, many users still find them hard to understand and would like additional Google help docs for non-savvy users. Also, the Discover session shared its most recent documentation update.

The topic of findability of Google help docs was also a concern. Attendees mentioned that it should be easier for people to find the official search docs, in a more centralized way, especially for beginner users who aren't always sure what to search for.

Great feedback came out from the Search Console brainstorming session, around what features work very well (like the monthly performance emails) and others that don’t work as well for Search Console users (such as messaging cadence).

The Site Kit for WordPress session showed that users were confused about data discrepancies they see between Analytics and Search console. The Structured Data team realized that they still have to focus on clarifying some confusion between the Rich Results Test and the Structured Data Testing Tool.

The e-commerce session concluded that there is a lot of concern around the heavy competition that small businesses face in the online retail space. To get an edge over large retailers and marketplaces, e-commerce stores could try to focus their efforts on a single niche, thus driving all their ranking signals towards that specific topic. Additionally, small shops have the opportunity to add additional unique value through providing expertise, for example, by creating informative content on product-related topics and thus increasing relevance and trustworthiness for both their audience and Google.

What are the main technical findings for attendees?

The Java Script Issues session concluded that 3rd party script creep is an issue for developers. Also, during the session Fun with Scripts!, attendees saw how scripts can take data sets and turn them into actionable insights. Some of the resources shared were: Code Labs, best place to learn something quickly; Data Studio, if you’re interested in app scripts or building your own connector; a starting point to get inspired: https://developers.google.com/apps-script/guides/videos

Some myths were also busted...

There were sessions that busted some popular beliefs. For example, there is no inherent ranking advantage from mobile first indexing and making a site technically better doesn't mean that it's actually better, since the content is key.

The Ads and SEO Mythbusting session was able to bust the following false statements:

1) Ads that run on Google Ads rank higher & Sites that run Google Ads rank better (False)

2) Ads from other companies causing low dwell time/high bounce lower your Ranking (False)

3) Ads vs no ads on site affects SEO (False)

What can you expect in the future?

As we mentioned previously, the event was met with overwhelmingly positive responses from the community - we see there is a need and a format to make meaningful conversations between Googlers and the community happen, so we're happy to say: We will repeat this in the future!

Based on the feedback we got from you all, we are currently exploring options in terms of how we will run the future events in terms of timezones, languages and frequency. We've learned a lot from the pilot event and we're using these learnings to make the future Virtual Webmaster Unconference even more accessible and enjoyable.

On top of working on the next editions of this event format, we heard your voice and we will have more information about an online Webmaster Conference (the usual format) very soon, as well as other topics. In order to stay informed, make sure you follow us on Twitter, YouTube and this Blog so that you don’t miss any updates on future events or other news.

Thanks again for your fantastic support!

Posted by Aurora Morales & Martin Splitt, your Virtual Webmaster Unconference team

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