#helpful critics welcome

[iwoll]

The Intersectionality of Queer Identity & Punk Rock

A Zine?

Yes, zine! Zines are like little pockets of subculture just waiting to be discovered. For me, they've been a constant source of fascination since my middle school emo days, when I first read Perks of Being a Wallflower. It was like finding a secret language, a way to express myself outside the mainstream. The Rocky Horror Picture Show and alternative music were my jam back then (and still are!) and discovering that zines could blend both worlds was utterly mind-blowing. 

I delved deep into zine archives, soaking up inspiration from creators who came before me. I researched tirelessly, learning the ins and outs of zine-making, and honing my writing skills for the chance to contribute my own voice to this brilliant community. Suddenly, I had this platform where I could talk about everything I loved in one place. It wasn't just about sharing passions; it was about connecting with others who felt the same way, building a community of like-minded souls bound together by ink and paper. It was liberating!

Why did I choose this mode?

As stated before, zines bring together important conversations that people are passionate about. I am pulling from Perks of Being a Wallflower in the sense that I am bridging two concepts that are very close to my heart. As an as a self-described alternative queer man, I believe it is very important to remember where we came from, who came before us. This zine serves as an homage to the queer/alternative voices that came before me; however, this is not just for other queer or alternative individuals. This is for everyone. Regardless of politics, identity, or location, this zine is for you.

Where does Zine culture come from?

Zine culture, with its raw, unfiltered expression and grassroots ethos, finds its roots intertwined with the rise of punk music in the mid-1970s but can be traced all the way back to the early 1930s. Emerging as a response to the commercialization and homogenization of mainstream media, zines served as DIY platforms for individuals to share their thoughts, ideas, and creations in a tangible, accessible format.[x]

The DIY ethos embedded within zine culture finds its parallel in the punk movement. While previous musical genres such as skiffle and rock and roll also embraced DIY elements, it was punk that elevated the concept to a central tenet of its cultural and musical identity.[x] Punk rejected the polished, corporate-driven sound of mainstream music in favor of a raw, do-it-yourself approach that prioritized authenticity and individuality over commercial success.

In the face of state intervention and commercialization within the music industry, participants in alternative music scenes often embraced DIY as a form of resistance. By creating and disseminating their own zines, bands, artists, and activists asserted their independence from mainstream institutions and asserted their right to self-expression. This resistance was not merely a rejection of external forces but also a reclaiming of cultural autonomy and a celebration of DIY values.

Zine culture, therefore, emerges as a direct response to the limitations and shortcomings of mainstream media and culture. It represents a space where creativity knows no bounds, where voices that are often marginalized or silenced can find resonance and solidarity. In its simplicity and accessibility, zine culture embodies the spirit of punk's DIY ethic, offering a platform for self-expression and community-building that continues to thrive and evolve in the digital age.

Why are zines important?

Zines are vital conduits for self-expression, community building, and the preservation of alternative voices. Rooted in a rich history of resistance and creativity, zines offer a platform for individuals to share their thoughts, ideas, and creations outside the constraints of mainstream media. Emerging as a response to the homogenization and commercialization of traditional publishing, zines embody a rebellious spirit that champions authenticity and individuality.

Unlike glossy, corporate publications, zines are often cheaply made and readily accessible, democratizing the process of expression and inviting participation from individuals of all backgrounds. This accessibility not only empowers creators to share their stories but also fosters a sense of connection and camaraderie among like-minded individuals who share common interests and passions.

At its core, zine culture is about more than just printing; it's about building community and amplifying marginalized voices. By creating and sharing zines, creators forge connections with readers, sparking conversations and collaborations that transcend geographical boundaries. Zines serve as historical and cultural artifacts, documenting the experiences and perspectives of diverse communities, ensuring that alternative narratives are preserved and celebrated. In a world where mainstream media often overlooks or silences marginalized voices, zines offer a space for these voices to be heard, valued, and embraced.

The Basics

A subculture refers to a distinct group within a larger society that shares a set of beliefs, values, practices, and interests that deviate from mainstream culture. Subcultures are born out of a variety of social, cultural, and historical factors, often as a response to the perceived limitations or inadequacies of mainstream society. Dissatisfaction with societal norms and values can lead individuals or groups to seek out alternative spaces where they can express themselves authentically and find like-minded peers.

Subcultural groups often draw inspiration from existing cultural forms, such as music, fashion, art, and literature, which they reinterpret and repurpose to reflect their own distinct identities and sensibilities. This process of reclamation allows subcultures to create new meanings and symbols that resonate with their members, contributing to the evolution and diversification of subcultural identities.

Why punk?

In "Visual Vitriol" by David A. Ensminger, the author encapsulates the essence of punk rock as a refuge for those seeking a space to express themselves authentically. He reflects on the allure of punk, suggesting that many are drawn to it for the opportunity it provides to embrace a queer or unconventional identity comfortably. The quote from "INSIDE FRONT #13" captures this sentiment, highlighting punk as a haven for those who feel alienated from mainstream culture, offering a platform for self-expression without judgment.

Ensminger also acknowledges the significant influence of the LGBTQ+ community within punk. He asserts that "Gays shaped both the looks typifying punk and the history of punk music," recognizing the pivotal role of LGBTQ+ individuals in defining punk's aesthetic and its evolution as a cultural movement. This acknowledgment underscores the profound impact of queer individuals on the visual and musical elements that have become synonymous with punk. In essence, Ensminger's summary portrays punk not only as a musical genre but also as a cultural space shaped by and for those who seek to challenge societal norms and celebrate their identities openly.[x]

Punk 101

Punk rock emerged in the mid-1970s as a raw, energetic, and rebellious response to the perceived stagnation and commercialization of mainstream rock music. Its roots can be traced back to earlier musical movements such as garage rock, protopunk, and glam rock, which laid the groundwork for the aggressive, stripped-down sound that would later define punk. Bands like The Velvet Underground, The Stooges, MC5, and New York Dolls contributed to the development of this new musical aesthetic, characterized by its simplicity, urgency, and confrontational lyrics.

The early punk scene in New York City, centered around clubs like CBGB and Max's Kansas City, saw the emergence of pioneering bands like Ramones, Blondie, Talking Heads, and Patti Smith. These artists rejected the polished, virtuosic style of mainstream rock in favor of a do-it-yourself (DIY) ethos and a more direct, unfiltered approach to music. Meanwhile, across the Atlantic, a parallel punk movement was taking shape in the United Kingdom, spearheaded by bands like Sex Pistols, The Clash, The Damned, and Buzzcocks. Fuelled by a sense of disillusionment with the social and political climate of the time, UK punk bands captured the attention of disaffected youth with their raw energy and provocative lyrics.

Ensminger’s analysis that highlights the significant influence of the LGBTQ+ community within punk, recognizing their pivotal role in shaping the genre's aesthetic and cultural evolution. Punk provided a refuge for those seeking to express themselves authentically, including queer and unconventional identities. This acknowledgment underscores punk's broader significance as not just a musical genre but a cultural space where individuals could challenge societal norms and celebrate their identities openly.

Punk rock had a profound impact on music, fashion, and culture at large. Its influence can be seen in subsequent genres like hardcore punk, post-punk, and alternative rock. Punk's DIY ethic and spirit of rebellion continue to inspire artists and activists around the world, reminding us of the power of music to challenge the status quo and amplify marginalized voices.

What about Riot Grrl?

Isaacson's analysis reveals Riot Grrrl's enduring legacy of empowerment and activism, demonstrating how its in-fluence resonated across subsequent generations of punk and Queercore artists. Riot Grrrl's ethos of self-expression and collective action inspired a new wave of feminist and queer activism within punk and beyond, shaping the cultural landscape and providing a voice for marginalized communities.

The problematic past of punk history

The problematic past of punk, as explored in "Cultural Criminology" by Jeff Ferrell and Clinton R. Sanders, sheds light on the complex relationship between subcultures, societal norms, and the criminal justice system. While punk emerged as a form of resistance against societal constraints, it also harbored elements of extremism and prejudice, particularly evident in its association with neo-Nazi skinheads.[“Subculture, Style, and Crime.” Cultural Criminology, 1995]

The evolution of punk, like many other musical genres, began as a grassroots expression of resistance by marginalized groups within the political-economic system. Ferrell and Sanders emphasize that punk's origins lie in the struggles of young people with limited resources, echoing a sentiment of rebellion against societal oppression. However, as punk gained mainstream attention, certain factions within the subculture, such as neo-Nazi skinheads, emerged, espousing inflammatory and prejudiced ideologies.

Moreover, Ferrell and Sanders note the paradoxical nature of punk's evolution, where expressions of resistance can become sanitized and marketable to mainstream audiences over time. While punk initially served as a platform for marginalized voices to challenge societal norms, its commodification and mainstream success have sometimes diluted its original rebellious spirit.

What is “Queercore?”

Viva la resistance!

"Queercore: How to Punk a Revolution," directed by Yony Leyser and featuring performances by notable figures such as John Waters, Kim Gordon, and Bruce La Bruce, is a documentary that delves into the history and ethos of the Queercore movement. Released in 2017, the film provides a comprehensive look at this subculture that emerged within the punk rock scene as a form of queer ex-pression and resistance. [Leyser, Yony, director. Queercore: How to Punk a Revolution. Totho Productions, 2017]

The documentary explores how Queercore arose in the 1980s as a response to the lack of representation and visibility of LGBTQ+ individuals within both mainstream society and the punk scene itself. It showcases interviews with key figures who were instrumental in shaping Queercore, shedding light on their motivations, struggles, and achievements. Through their stories, the film captures the spirit of defiance and creativity that defined Queercore, challenging societal norms and advocating for queer liberation. [x]

D. R. DeChaine's article "Mapping subversion: Queercore music’s playful discourse of resistance" provides an insightful exploration into the world of Queercore, shedding light on its history, identity politics, and subversive nature within the punk rock scene. The article delves into how Queercore emerges as a fusion of punk rock music and queer politics, embodying punk's rejection of mainstream commercialism with its fast, raw sound and DIY ethos. It emphasizes the politically charged nature of Queercore, where artists use sexually explicit and often vulgar lyrics to challenge societal norms and express a culture that defies mainstream conventions.[x]

A key theme is the role of “play” within Queercore, offering participants a space to resist and subvert dominant cultural narratives. This play is not just recreational but empowering, providing temporary liberation from the oppressive ideologies of mainstream culture. DeChaine highlights the historical silence around homosexuality in music, pointing to the challenge of connecting queer and punk discourses due to this silence.

In Ambrosch's exploration of gender, feminism, and queer identity within punk culture, "'Refusing to Be a Man': Gender, Feminism and Queer Identity in the Punk Culture" delves into the subversive nature of punk as a reaction to the 'rock machismo' prevalent in the 1970s. From its inception, punk has challenged heteronormative notions of gender and sexuality, with first-wave artists intentionally blurring boundaries. Ambrosch highlights bands like Bikini Kill and Crass as exemplifying an intersectionality and blurring of gender boundaries by first-wave punk artists and their exploration of nonmainstream gender identities.[x]

The author explores the evolution of the term 'punk,' tracing its origins from Shakespearean times to its later connotations of 'young male delinquent.' This linguistic history mirrors punk's rebellious spirit and its embrace of non-mainstream identities. Punk, according to Ambrosch, fosters an environment for challenging established norms, including gender and sexuality, with bands since the late 1970s addressing these issues.

However, Ambrosch also critiques punk's gender dynamics. Drawing on Sharon Cheslow's insights from Chalk Circle, the author discusses how male anger is often romanticized in punk, while female anger is viewed as threatening. Men tend to dominate cultural spaces within punk, making it challenging for women and LGBTQ individuals to fully participate.

Queercore Bands

"QUEER AS PUNK: Queercore and the Production of an Anti-Normative Media Subculture" by C. Nault, published by Routledge in 2013, offers a comprehensive examination of the Queercore movement and its role in creating an anti-normative media subculture. This book delves into the origins, development, and significance of Queercore as a subversive force within both the punk rock scene and broader LGBTQ+ culture.[x]

Nault's work highlights how Queercore emerged in the 1980s as a response to the marginalization of LGBTQ+ individuals within punk and mainstream media. The book explores the ways in which Queercore artists used music, zines, and other forms of media to challenge heteronormativity and traditional gender roles. By rejecting assimilation and embracing radical self-expression, Queercore became a platform for marginalized voices to be heard.

The author discusses key figures and bands within the Queercore movement, such as Tribe 8 and Pansy Division, who used their music and performances to confront societal norms and address issues of sexuality, gender identity, and politics. Nault also examines the impact of Queercore beyond its music, delving into its influence on art, literature, and activism.

Problematic Queercore Bands

Without naming any specific bands or groups, I think it is important to acknowledge the problematic side of Queercore. Just like punk rock, Queercore has its controversial and horrific sides. I believe it is crucial to acknowledge problematic Queercore bands as their actions and behavior can have significant consequences for the LGBTQ+ community and the broader punk scene. By shining a light on these issues, we can address harmful behaviors, challenge oppressive attitudes, and work towards creating safer and more inclusive spaces within the scene.

Acknowledging problematic behavior within Queercore bands helps hold them accountable for their actions. These bands may espouse values of inclusivity and acceptance, but if their actions contradict these principles or perpetuate harm, it's essential to call attention to it. Holding individuals and groups accountable for harmful behavior sends a message that such actions will not be tolerated and helps protect vulnerable members of the community. This allows for conversations about power dynamics, privilege, and accountability within the LGBTQ+ community itself. Just because someone identifies as queer does not absolve them of responsibility for harmful actions.

Being queer does not inherently make you anti-racist. Being queer does not inherently make you anti-fascist. Being queer does not inherently make you a feminist. Being queer does not inherently make you a person with good values.

Into the Mainstream

Despite the flaws of individual figures within the movement, Queercore's presence in the mainstream contributes to greater visibility and acceptance of LGBTQ+ identities. Just as Oscar Wilde's contributions to queer literature remain significant despite his personal flaws, Queercore bands play a vital role in amplifying queer voices and experiences. Their presence challenges mainstream narratives and provides a platform for LGBTQ+ individuals to express themselves authentically.

Queercore as Resistance

Queercore embodies a defiant rejection of mainstream expectations and norms regarding gender and sexuality. Its very existence challenges the notion that queer identities should be hidden or marginalized, instead asserting the right to visibility and self-expression.

At its core, Queercore disrupts dominant narratives by amplifying queer voices and experiences. Through music, zines, art, and DIY activism, it provides a platform for individuals to express their identities authentically, free from societal constraints. This radical self-expression is inherently political, challenging the status quo and demanding recognition and acceptance for all sexual orientations and gender identities.

Queercore's resistance is multifaceted, extending beyond the realm of culture and art to encompass social and political activism. It confronts discrimination and violence against LGBTQ+ individuals, advocating for equal rights and protections under the law. Through grassroots organizing and community building, Queercore fosters solidarity among marginalized communities, amplifying their collective voices in the fight for justice and liberation.

Moreover, Queercore serves as a form of cultural resistance, reclaiming spaces traditionally dominated by heteronormative and cisnormative narratives. By creating inclusive and welcoming environments within the punk and DIY scenes, it challenges exclusionary practices and fosters a sense of belonging for queer individuals. In doing so, Queercore disrupts hegemonic power structures and asserts the right to exist unapologetically in all spaces.

Queercore's resistance is both personal and collective, challenging oppression at individual, societal, and systemic levels. By embracing radical self-expression, advocating for social change, and reclaiming cultural spaces, Queercore stands as a defiant assertion of queer identity and autonomy in the face of adversity.

What’s in it for me?

Haha, get it? Ah, it’s a Queercore joke. Pansy Division? Anyways… Queercore extends further than just the queer community, it embraces feminist and BIPOC intersectionality while providing a platform for marginalized voices. In the face of ongoing discrimination and violence against LGBTQ+ individuals in America, Queercore serves as a beacon of resistance, advocating for social change and celebrating diversity.

At its core, Queercore challenges the heteronormative and cisnormative structures pervasive in society. It disrupts traditional narratives of gender and sexuality, offering a space for individuals to explore and express their identities freely. This liberation extends to feminist and BIPOC perspectives, acknowledging the intersecting struggles faced by marginalized communities. By amplifying diverse voices, Queercore dismantles oppressive systems and paves the way for intersectional solidarity.

In America, anti-LGBT sentiment remains a pervasive force, manifesting in various forms of discrimination, violence, and legislative attacks on queer rights. Queercore confronts this hostility head-on, advocating for LGBTQ+ visibility and empowerment. Through music, zines, and DIY activism, it challenges societal norms and demands recognition and acceptance for all sexual orientations and gender identities. By rejecting assimilationist tendencies and embracing radical self-expression, Queercore asserts the right to exist unapologetically in a hostile environment.

Furthermore, Queercore serves as a bridge between queer and straight/cis communities, fostering understanding and empathy across divides. It invites allies to participate in the struggle for LGBTQ+ rights, recognizing that liberation requires collective action. By creating spaces that welcome individuals of all identities, Queercore promotes dialogue and mutual support, challenging stereotypes and fostering solidarity. Queercore isn't just for queer people; it's for everyone committed to building a more inclusive and equitable society.

[caramelcove]

I'm not satisfied with my coloring or shading 😭

Here's my attempt at throwing anything on the canvas

If there's anything you like or dislike in these PLEASEJDG tell me

And you have any tutorials please do not be shy 🤲 share

[entguarde]

Unimaginable, unimaginable

[Image ID: A digital bust painting of a wood duck against a dark background. The duck depicted is a drake in breeding plumage, his head an iridescent dark green with white stripes. His neck is reddish-brown, leading to white spotting which then becomes the white feathers of his belly. His wings are tucked behind himself, and the body feathers covering his wings are golden. His beak and eye are both red.

He is shown in a warm, golden lighting with high contrast, as if he were standing near a sunset. The light reflects off his feathers slightly, giving him the appearance of glowing against the dark background. He is staring at the viewer. End description.]

[pallanophblargh]

Lost in thoughts, endure a little more word vomit (emotional) if you will.

I received the news that a much beloved instructor of mine from the institute that won't be named passed away recently. I had the honor of taking her intaglio and relief/monotype/woodcut printmaking classes. They were the bright spark in a fog of dread, stress, and overwhelming feelings of inadequacy. They were what I looked forward to every week.

You really don't understand how much an impact someone has had on you until they're gone, sometimes.

I may not have the tools at my disposal to do a proper intaglio piece, but I can still make a book or a linocut, in her honor.

Jody, you left a bright spot in the heart of a jaded cynic who had no real business going to school for art. You were a real one. And everyone who ever met you knew it.

[bueris]

okay maybe I should seriously reconsider my path in life and sell my soul to marketing or journalism instead

[citizendetective]

YELLOWJACKETS ALIGNMENT CHART

[rawliverandgoronspice]

"And I genuinely don’t think either of you understand HOW Zelda turns back to a Hylian at the end of the game.

I’m sorry but these are exceptionally poor analysis and criticisms of the game and it’s cut scenes." As the anon who wrote the ask who started this, I'll just say... nah. Also, pro-tip, don’t be angry, eat a banany. 🍌 You say that all the elements give a lot of insight into Zelda, her relationship, and all that… and then just explain it in the most barebones accusatory way possible, instead of just giving a polite counter and constructively explaining WHY you disagree. Since you apparently just wanna be angy that someone doesn’t like what you likes, and explains why they criticise it, I don’t think there really is a point to argue.   Honestly, my best tip is: Eat nanner, shhhhhhh, touch grass, go sleep. Move on. Ps: Banana’s are the worst.

Also, lemme add, add some spice to your salt: “It reveals Zelda’s feelings for Link which have clearly significantly changed since Breath of the Wild.” I did not feel like they changed much at all, Zelda still feels like she’s simping for Link hard, it's just a few years later now. 😜 Extra bonus: Yeah we know why Zelda got turned back into a Hylian with no repercussions. Bc it had to happen, bc reasons-McGuffin.

Hey!

Yeah, sorry this thing escalated on your ask anon. It got significantly worse after that, so I did block the person because at some point it becomes clear they were having an argument with someone who was simply not in this virtual room and might probably not exist at all anywhere, so there was no point in engaging with a brick wall who was hurling insults based on half a paragraph taken out of context. Pretty sad way to use your free time or deploy love for the media you enjoy, but! To each their own I suppose.

But yeah, I did look it over to see if I missed something, because somebody's tone being inacceptable doesn't mean their arguments also are, but. Yeah. Zelda had her arc of going from being cold and angry with Link to learning to rely on him in Breath of the Wild already, and then literally holds the fort for a hundred years just holding on to the desperate trust that he will arise and become a hero and be capable of defeating the scourge if only she can buy him as much time as she can, which is *crazy* devotion-wise (and also active! in TotK she mostly talks about how much she trusts Link --I guess she turns into a dragon to restore the Master Sword for him, but again I don't believe she really has any other choice and it's not a struggle she must maintain over a hundred years always relying on her own resolve all the way through, so it doesn't translate as hard in my opinion). It's literally her affection for Link and her urge to protect him that awakens her powers! This arc worked great in Breath of the Wild! But TotK loves nothing more than to rethread every character's arc, except again, but less compelling and complicated and without emotional rises or character changes.

Also: a kind tumblr user out there who did not play any game but TotK, believing the marketing that you could basically jump in blind, pointed out to me that there is *no way* to catch onto any of that complexity of their relationship if you haven't played BotW (not that I think it particularly helps). Same deal with the parental thing: they did not bring up the relationship between Zelda and her dad at any point, which makes it a non-information for newcomers. While it is fine to lose some degree of nuance and be a little confused if you jump in a second videogame after the first videogame, you still need to provide something for people to hang onto, and, as I feared, the refusals to expand on BotW backstory didn't seem to help the newcomers familiarize themselves with Hyrule particularly well. Even in extremely well known IPs, it is important to re-establish the bases: jedis are sensitive with the Force, the Ring corrupts its bearer, etc etc. And this was not particularly well done here (for example: it is never explained that Ganondorf is a sorcerer on top of being a Huge Guy that will break your spine with a punch, which makes the appearance of Puppet Zelda *before* he grabs the stone extremely confusing --this relies on pre-assumptions about Ganondorf and a familiarity with the series and its tropes to make any sense, and this is yet another example of what I mean by: this game is awfully self-referential while not really standing on its own two feet).

As for the argument that Zelda was returned to a hylian because of Rauru's arm, Rauru again but ghost (??? hello again?) and Sonia (??? WHY are you here) are actually using recall on the Secret Stone? It's a cool headcanon, and honestly that would have been great and made sense (I mean, a little empty thematically again but at least a cool setup and payoff), but I see nothing that supports that in practice beyond that the power deployed is the color of gold, which, yes, is the color of Recall, buuuut it's also the color of Light and good things and the Triforce and divinity and a billion other things.

If this was what we were meant to take away, then: 1) the actual particles and sound effect of Recall should have been used instead of a vague halo of magical sparkles and 2) the Secret Stone should have hovered and glowed above her chest Laputa-style (thinking of Sheeta from Castle in the Sky, which I'm 99,9% sure was the visual inspiration anyway).

This does not happen. If them using Recall was the intent, then it's badly conveyed. But I see no textual reason to believe this is what's going on.

[wackus-bonkus-maximus]

odnlb writing process/workshop

this is mainly for my own reference. however, if this post ends up helping you with yours, then even better! 😊

most of you know, i wrote this fic as a practice for using save the cat (aka snyder) structure, and so now that it's complete i have the outline to come back to in a way that i understand and can use in future wips! did i deviate from this structure? yes. a lot. did i still follow all the beats though? i think so! check out how i formatted my outline!

my starting point: marinette 🐞

want: revenge against monarque

need: replace hate with love

this gave me a very clear picture of the emotional journey she would undergo. once i figured out her emotional need and decided what she would do to fulfill that need, i was able to pretty much plot out the entire fic. we needed a hero (in her case, an anti-hero) we could follow through an entire 45 chapter fic, and odnlb marinette gave us a reason to care about her and root for her right off the bat!

here's what save the cat's 15-beat structure looks like at a glance:

(isn't it just beautiful? 😍)

for odnlb, i combined this structure with the 3-act, 9-block, 27-chapter method:

lol so i did not exactly stick to this, as was my plan (my huge cast of characters wanted more from me.) however, i did stick with the proper beats...it just ended up expanding into 5 acts.

this is how my outline ended up looking (orange = save the cat, purple = 3 act 9 block 27 chapters):

act 1 - ladybug meets the villains

block 1

opening image - marinette leaves a rose at chat noir's statue. her eyes are dead (like him)

introductions/setup - 6 years later, marinette works for chloe. adrien still models for gabriel & is estranged from her and his old friends

theme stated - alya says, "you're getting better." (marinette has not been focused on hatred, but her personal growth)

catalyst/ inciting incident - bunnyx steals the rabbit miraculous & draws out the villain team

debate/ immediate reaction / fallout - villain team decides to abandon plan to use rabbit miraculous & get ladybug's miraculous instead. marinette decides to get cat walker's miraculous & kill monarque with it.

block 2

actions - ladybug interrogates adrien agreste bc he is close to lila, chloe, and felix (primary suspects). he doesn't give her any information, but reassures her he is on her side.

consequences - volpina attacks ladybug, villain team overpower her

block 3

pressure - ladybug is outnumbered, cannot stand against all the holders & their power-ups. villain side: ladybug is onto them. ladybug needs an ally & turns to kagami (also close to felix), but kagami turns ladybug down (but why?).

pinch/plot twist - cat walker contacts ladybug: tells her monarque is going to resume akuma attacks unless lb gives her miraculous

break into act 2 - monarque attempts to akumatize ladybug, but cat walker saves her. realizes villains' motivations are split.

act 2 - rise of monarque

block 4

new world - luka and zoe come to town. adrien is in trouble but felix stands by him. su han abandons marinette; he cannot teach her bc she has too much hatred.

fun and games/ b story/ies - felix and adrien switch so adrien can meet his friends for drinks. chloe sneaks snake miraculous back to luka. felix and lila threaten each other. felix likes kagami.

bad guys close in - monarque akumatizes nino to punish adrien. marinette finds out cat walker is a sentimonster

juxtaposition/ old vs new - luka/aspik shows up & joins marinette's side (she's not alone anymore). adrien realizes he has to be alone bc of what happened to nino. kagami confronts felix and gets the dragon miraculous (war begins)

act 3 - adrien identity reveal

block 5

build-up - luka and marinette plot to find the sentimonster. luka confronts adrien indirectly, suspects monarque is gabriel. marinette sleuths on felix (suspected peacock holder) only to discover adrien is a sentimonster/cat walker. kagami finds ladybug & offers to spy on felix & the villain team for her. monarque akumatizes zoe to punish chloe. ryuko gets her felix's amok in the fight, but gets it back when ladybug uses it against him. to stop ladybug harming argos & ryuko, luka reveals chat noir is still alive.

midpoint - montparnasse scene: ladybug confronts cat walker, he admits the truth. stand off with monarque until aspik & mellona rescue ladybug.

reversal - marinette is no longer hate driven, but driven by love to save adrien

act 4 - angrybug reversal

block 6

reaction - due to big emotional distress, ladybug goes into the avatar state (foreshadowing 👀). luka and chloe calm her down. feligami get together. adrien pleads to his father not to harm ladybug.

action/trials (raise the stakes) - the more adrien breaks his amok, the more he breaks his miraculous. marinette is set up to "spy" on adrien for the villain team. villain team plot to corner ladybug at dj wifi wedding.

dedication - adrinette kiss scene. adrien promsies himself he will harm himself before he lets harm come to ladybug. marinette promises no more harm will come to him.

block 7

calm before the storm - lila flashback: she killed nathalie and has been akumatized/transformed for 6 years. balcony scene: marinette tries to keep adrien close to no avail.

pinch/plot twist - volpina and monarque attack chloe, luka, and zoe. vesperia and carapace get their miraculous back. ladybug tries to heal cat walker & free him with her power, but his miraculous is too broken. she can only save him by getting his amok.

everything goes wrong/ dark night of the soul/ all is lost - lila & felix flashback: lila is monarque reveal. ladybug confronts gabriel agreste & tries to kill him, but can't (bc she is no longer full of hate). realizes monarque is lila. monarque takes felix, but kagami takes the other miraculous back to ladybug.

act 5 - fall of monarque

block 8 - finale

power within - team assemble. chloe uses mouse miraculous to activate other holders. lila finds marinette's identity.

action - monarque attacks. luka sacrifices himself to get the upper hand. alya gets the fox miraculous off lila, all her illusions drop. lila akumatizes timetagger, bunnyx shows up to get him. team fights argos and his sentimonster, red moon, to the death. chloe incapacitates argos.

converge - monarque takes the senti-twins and runs. remainder of the team follow her to agreste mansion.

block 9

final confrontation/final battle - monarque tries to make felix fix her miraculous. ladybug and team show up. monarque morphs into monster and attacks. gabriel sacrifices himself to save lb, but monarque still gets the upper hand. chat noir cataclysms monarque with a broken miraculous.

climax - the broken cataclysm destroys the world, but carapace's shield protects remainder of team. with adrien gone, felix is free and emilie is awake. ladybug goes toe-to-toe with broken miraculous final form chat noir, but her power is too weak compared to his untethered destruction. then felix gives her the peacock miraculous and she uses it to create a new bond for adrien, tethering him to life with her love.

resolution/denouement - all of paris knows chat noir is alive! big parade for heroes. ladybug and chat noir do a william and kate kiss. alya shoos off su han. felix gives gabriel to chloe and decides to work for tsurugi tech so he can stay with kagami. zoe and luka decide to go back home for a bit then come to stay too. emilie wants to be close to felix and adrien, but she is def not the priority for them atm. marinette takes the butterfly miraculous back from emilie. adrinette go off on a honeymoon vacation. adrien practices his proposal on a beach.

final image - adrien and marinette playing in the water on a beach on la reunion. “camera” pans away from their silhouettes running around on the sand, back to their stuff on the beach. shows a ring box in adrien’s bag with plagg & tikki chilling.

if this helped you out, i'm so glad! it definitely helped me see how to organize a story. i think if i ever do a fic like odnlb again, i will definitely do this for it.

[blood-market]

Ok so I need some help over here. I got my concept but I need some fresh eyes to look at the layout and composition of this drawing.

Anything I can add/remove to make it look better or is it fine the way it is. Maybe its just me

(I'm gonna make a poster out of this and I need to know if its needs something)

Draw overs recommended cause I'm not good at words. I'm a visual learner aknkern

Personally it feels a bit cluttered? I guess??

Edit: *Rubs hands together* Y e s Thank you for the advice. This is helping out a TON

[human-still-developing]

Constructive Criticism: A Guide

Hey everyone :)) Here's a quick guide that I've created for giving others constructive criticism. This is by no means 'all inclusive' and you should of course use your own judgment before sending anyone feedback of any kind, but here a few general rules that I use when writing con crit (as a professional editor) <3

For those wondering, don't worry, I'm still working on another SoC rant and some more poetry but this is just an interesting aside I thought I might post :DD

So without any further ado, the concrit rules:

Firstly and most importantly, don't provide constructive criticism unless the writer has explicitly asked for feedback. If you're asked by a friend to 'let me know what you think' -- this is generally an opening for support, rather than concrit

Be sure to read the text as an objective piece of work, with a clear frame of mind. These may seem like obvious stipulations, but avoid reading anything for the couple of hours before you read the work to prevent your mind being swayed to a particular judgment (e.g. reading a famous poet's work might make you more critical of a novice writer's first poetry). On that point, remember:

You are not here to give judgement! Avoid stating any terms like "Overall, this piece of work is good enough for ...." or "I think that I would rate this work a ../10". Your job is to provide an analysis of the text in front of you, not its value or worth

Okay, so now to the actual concrit. Lets say you've read this person's work and you're ready to give your feedback:

Always open up with your interpretation of the work so that the writer can see what exactly you are thinking as you are analysing. This statement could be something as simple as "The poem that you've sent me was an evocative teenage love story intersected with romantic poetry to show the everlasting nature of love". In the case that you have mis-interpreted the text, this allows the writer to take your further evaluations with a grain of salt and also gives them a subtle nudge to perhaps improve the clarity of their message :)

List your points in size order. What I mean by that is start with the easiest thing that the writer can fix (e.g. your basic line edit including spelling, punctation, grammar, word choice, etc.) and then slowly work down your edit as you reach the bigger ideas (e.g. major themes, overarching concepts, etc). There are a few benefits for doing it this way. Firstly, as a reader, it makes logical sense to evaluate the themes of a text after you have finished reading the entire work; this way you have a greater appreciation for the text as a whole (which is required for a concept) rather than the text as a collection of small parts. Secondly, for a writer who may be using your edit like a checklist, they can quickly 'tick-off' the easy fixes and then work the bones of their text more thoroughly (also its often hard to start editing your work and simple fixes are a good early motivator).

Afterwards, I always like to go for the 'one for one' rule. For every one feature you 'criticise', give one place where the writer as done well. These should generally be linked if possible. I'll give an example, say my friend who is writing the teenage love story has a really compelling plot that falls short due to flat characters....you'd state something like "You create a touching story that could be enhanced through better characterisation." So this way, you acknowledge the work the writer has done and also introduce your feedback. Notice how instead of criticising, I posed the above statement like an improvement. Give the person something concrete to work on!

Expand! Apart from the judgemental trope, the other trap that editors often fall into is writing wishy-washy statements that don't really have a solution. I'm sure we've all been in that english class with that one teacher who circles entire paragraphs with the overly descriptive term 'vague' and not had a clue about what to fix. Don't be that teacher! Try and list as many clear examples of what the author could touch up on and fix (without sounding too domineering of course). For example: "The characterisation of your protagonist Sue falls a little flat because it's hard to have empathy for her. You portray her as an extremely beautiful young woman who is bullied for her good looks but is still really popular....I'd suggest reconsidering how realistic this may be. You have an amazing connection built up between Sue and Alex however, perhaps a greater focus on that rather than so much description about Sue might be more effective :)"

Finally, wrap everything up with a nice (generally uplifting) conclusion. My advice is that no matter how terrible the text you have just read, the writer has taken the steps to go out and send you their work! This is much more difficult that it seems! Congratulate them for their effort, perhaps point out some of the nicest parts of their work. I like to add short quotes from the work that I found particularly interesting at the end. This not only leaves them on a happier note but also makes them feel comfortable and safe about sharing their work and moving to improve it! Remember, you have had plenty of time to talk about the flaws, this is the time to build up their morale and let them work through everything.

Okay, so now you've written out your concrit. Here are a few things you should do before sending it to the person:

Give the text another read! I cannot emphasise how important this point is!!! Often themes or concepts that might not have made too much sense the first time become a lot clearer now that you are in the world of the text. Also you can make sure that your critiques actually match the work :)

Give your concrit a read. Try and avoid basic spelling and grammar mistakes and make sure you don't sound too patronising or rude. Perhaps sprinkle some other nice things in there too :)

Remember, a piece of writing is often someone's baby! It can be personal and vulnerable for someone to hear its criticism. Be kind and supportive in your work!

If everything is good, send through your concrit to the person. Generally I like to wait a few days or until the person themselves reaches out to me again before talking about the text anymore. Give them some time to process; allow them the space to decide what they want to do with their work.

Sometimes, your writer might not take all of your edits on board. That is perfectly okay! You, like any other human being, can be flawed and have opinions that don't align with someone else. At the end of the day, it is not your work that you are giving concrit to and it is entirely the writer's decision of how they want to shape their work. Try not to take ignored concrit too personally :)

So there you have it; a relatively comprehensive guide to giving concrit. Whether it be for the next literary journal you edit or for that fanfiction you've read (with a writer specifically asking for concrit ofc), I hope some of these tips and tricks help you in your editing work :) If you have any questions, feel free to ask me (I love asks, comments and DMs) :))) I might consider doing beta reading here in the future and if you have requests you can also contact me as above!

Concrit is welcome for this article (ironic, isn't it?) cos I've literally written it all in one sitting and not even had a glance over it before posting (terrible writing advice...don't do that) :) Reblogs and likes are also extremely appreciated!!! Anyways, happy editing out there folks :)

Until next time,

Hics <3

[katsuko-rp-blog]

Open Starter from here

It seems it connected to a ancient camera Katsuko was holding and looking into with Interest.

"I wonder who this person is in the lens is...They don't look like anyone i know or anyone from around here..."

Katsuko mumbles to herself before seeing if the person in the lens responds to her.

"Hello outsider!!"

Katsuko says cheerfully

[iwoll]

The Rhetoric of @LibsOfTikTok: Unveiling the Tactics of Online Influence

Just like any other modern 19-year-old, I often find myself doom-scrolling Twitter. It's a bizarre mix of tweets that goes something like this: a cute cat with a funny caption, then a complaint about the current political climate, a tragic story of the murder of yet another transgender individual, then a meme about something I'm sure is very relatable, anti-LGBTQ+ propaganda, then another cute cat, a horribly transphobic headline, and then—of course—another cute cat. However, in this vast sea of tweets and retweets, there's one account that stands out to me: @LibsOfTikTok.

Chaya Raichik, the mastermind behind this account, wields a potent arsenal of tactics to captivate her 2.9 million followers. She employs specific names of people and institutions, a sarcastic—almost hate-mongering—tone, and fear as tools to persuade her audience to attack LGBTQ+ individuals and their allies.

In the social media sphere, where a tweet can reach millions of people in seconds, the power of influence is undeniable. However, in the wise words of Spider-Man, with this great power comes great responsibility, a responsibility that @LibsOfTikTok often seems to disregard. Raichik's tweets are not merely expressions of personal opinions but calculated attempts to stoke fear, anger, and prejudice among her followers.

A prime example is the situation that occurred between Raichik and ItGetsBetter. ItGetsBetter is a non-profit organization that helps uplift LGBTQ+ youth around the world. The “50 States, 50 Grants, 5,000 Voices” initiative gives $10,000 to elected schools, the grantees, to improve the lives local queer students (itgetsbetter.org). This initiative gained wide media coverage after Columbia’s Rock Bridge High School’s GSA (gender and sexuality alliance) received this money for a project titled “Coming Out of the Closet in Style Clothing Closet” which would allow students to change into gender-affirming clothing in school to better express themselves (Muñoz, 2022). When Chaya Raichik found out about this initiative, she took to her Twitter account and posted the following:

“This org [ItGetsBetter] is giving grants to teachers so they can get more LGBTQ+ books and make “gender affirming closets” in schools. The closets usually offer “trans” and “nonbinary” kids clothing, tucking tape, and chest binders to use in school and typically is kept secret from parents. These are the people teaching your kids” [@LibsOfTikTok]

This tweet employs loaded language to create a negative image of the situation. Phrases like "typically kept secret from parents" suggest a nefarious intent, insinuating that schools, teachers, and organizations are hiding something from parents. The use of scare quotes around "trans" and "nonbinary" implies skepticism or disdain for these identities, furthering the negative tone.

Raichik does not only target children and schools, she also targets fully grown adults. Mark Bryan is a 61-year-old grandfather of four and has been happily married to his wife for over 10 years. Bryan works in robotics engineering and coaches a local soccer team along with having an Instagram with over half a million followers. According to Interview Magazine, he “loves cycling, fast cars, and beautiful women” (Katz, 2021). The only main difference between him, and let’s say, your grandfather, is that Mark Bryan wears skirts and heels to work nearly every day. Bryan makes it very clear in all his Instagram posts that he is a cisgender, heterosexual man, and his audience has no reason to doubt him. His posts are in no way lewd, sexual, or suggestive; however, Chaya Raichik seems to disagree.

“This man [Mark Bryan] is being celebrated for flaunting his f*tish [sic] for wearing women’s clothing to work. Would you hire someone like this?” [@LibsOfTikTok]

The tweet uses a rhetorical question to prompt a response from the audience, implying that Bryan's choice of clothing is a fetish. This choice of words aims to cast Bryan's actions in a negative light, appealing to societal prejudices and stereotypes. By suggesting that simply wearing clothes that do not align with traditional gender norms is a fetish, Raichik perpetuates the harmful idea that clothing determines gender and gender determines sex. This stereotype not only affects transgender individuals but also impacts gender non-conforming cisgender people. The tweet is designed to provoke a negative emotional response, painting Bryan's behavior as derogatory and judgmental. It seeks to discredit him without offering any substantial evidence, relying instead on societal biases against those who challenge gender norms.

It is understandable why one might be confused when it comes to gender expansive people, fear comes from a place of ignorance. But that is why the Trans Youth Equality Foundation exists! The Trans Youth Equality Foundation (TYEF) is a non-profit organization that provides essential education, advocacy, and support for transgender, nonbinary, and gender non-conforming youth and their families. Their website hosts a wealth of information on crucial topics such as chest binding, tucking, gender-affirming surgery, queer sexual education, protesting, transitioning to college, and coming out (transyouthequality.org). These resources are invaluable for individuals navigating their gender identities, offering answers to often uncomfortable and uncommon questions. It is vital to recognize that queer children deserve the same level of knowledge, comfort, and support as cisgender/heterosexual children, especially when they feel unable to confide in their parents. However, this message of support seems to have fallen on deaf ears, as Chaya Raichik tweeted a troubling accusation against TYEF.

“BREAKING: LGBTQ youth advocacy organization @TYEFofficial offers to secretly send 13-year-old a chest binder behind her parents’ backs. We posed as a teen girl and they encouraged her to choose another family, get a job to pay for s*x [sic] change surgery, and bashed her Trump supporter parents as “brainwashed.” This is grooming 101. Cut out the parents, isolate the child, and coax the kid into turning against their parents. How many kids has this organization already harmed?!” [@LibsOfTikTok]

Here, Raichik falsely accuses TYEF of encouraging a 13-year-old to get a job to pay for "s*x change surgery." This claim is entirely baseless, as no such discussion of surgery occurred in this so-called interview. Raichik's narrative of "grooming" and "cutting out the parents" is not only unfounded but also dangerous. It demonizes organizations like TYEF that work tirelessly to support LGBTQ+ youth and creates a harmful narrative of victimhood and conspiracy. This misleading rhetoric from Raichik encourages her followers to distrust reputable organizations like TYEF, despite their critical work in providing safe and affirming spaces for young individuals. Following the publication of her tweet, Susan Maasch, the director of TYEF, became the target of doxxes, bomb threats, and death threats. These threats not only put Maasch's safety at risk but also undermined the vital work that TYEF does in supporting vulnerable youth.

Raichik seems to have no issue undermining the hard work of a non-profit organization, but it did not stop after TYEF. The #pridebelongsinpreschools initiative emerged in June of 2021 from a small organization—approximately 200 followers in total—called Resilience Together (also known as Rise to Resilience). This organization shared infographics expressing their belief that pronouns and gender identities should be supported by teachers and administration. Somehow, New York native, Chaya Raichik, discovered this initiative and tweeted:

“SCOOP: This resource called “Pride Belongs in Preschool” was part of a teacher training in Providence Schools in RI. It encourages teachers to discuss gender neutral pronouns, gender norms, and explore gender identity with toddlers. They’re after your kids.” [@LibsOfTikTok]

For context, the Resilience Together infographic states the following:

“Children begin to be able to stereotypical gender groups between 18 and 24 months. Children can often categorize their own gender by age 3. Children may begin to “perform” their gender based on adult expectations, despite their authentic gender identity. Educators and school staff are responsible to support children’s health development. Healthy development is supported by children seeing their identities represented.” [@resiliencetogether]

As mentioned previously, this organization has a small following, so the likelihood of an entire school district adopting this "training" is minuscule. Therefore, not only is Raichik's tweet factually incorrect, but it is also misguided in its reasoning. If this information is indeed backed by science and social psychology, then what is the issue with implementing these practices in a classroom setting?

The final line, “They’re after your kids,” is a prime example of exploiting parental fears. Raichik insinuates that the teacher training program encourages discussing gender identity with toddlers, framing it as a threat to children. By preying on the fears of parents who may not fully understand or be comfortable with these discussions, she aims to incite panic and resistance to progressive educational initiatives.

Finally, and most outrageously, Raichik targeted Boston’s Childrens’ Hospital. Why, you may ask? Because, on their website, there was a picture of a young child under the “gender affirming cares” tab. So Raichik took to Twitter, stating:

“If a hospital has the words “gender affirming care” with a picture of a 3-year-old, that’s a sign to run the other way as fast as possible. Why would a doctor need to “affirm” a 3-year-old’s gender? Boston’s Children’s Hospital chemically castrates and mutilates children.” [@LibsOfTikTok]

Raichik uses extreme language, accusing doctors of "chemically castrating and mutilating children," which aims to evoke horror and disgust. Raichik suggests that if a hospital promotes "gender-affirming care" using an image of a 3-year-old, it is a reason to avoid the hospital entirely. She questions why a doctor would need to affirm a 3-year-old's gender and accuses Boston's Children's Hospital of performing hysterectomies on minors. This inflammatory rhetoric not only misrepresents the hospital's practices but also contributes to a climate of fear and misunderstanding around gender-affirming care.

These baseless accusations led to harassment campaigns, including bomb threats. In February 2024, NBC News reported that at least 33 instances of bomb threats were made against organizations that Raichik had previously targeted in her posts. Alarmingly, in at least 3 instances, these bomb threats resulted in criminal charges against at least 9 individuals (Brochstein, 2024). This demonstrates the dangerous real-world consequences of spreading false information and using social media platforms to target organizations and individuals.

In conclusion, the rhetoric of @LibsOfTikTok is not just about expressing opinions; it's a strategic campaign to manipulate and radicalize followers against the LGBTQ+ community and its allies. Raichik's use of targeted tweets, misinformation, character assassination, and fearmongering is a dangerous cocktail that can and do have real-world consequences, as stated previously. It fosters a climate of intolerance, division, and hostility, undermining efforts for inclusivity and acceptance. As responsible consumers of social media, it is crucial to approach such content with critical thinking and awareness of the rhetorical tactics at play. By understanding the strategies used by influencers like @LibsOfTikTok, we can better navigate the online landscape and work towards a more well-rounded, informed, and empathetic society. It is not just about exposing the tactics of online influence; it's about actively resisting and countering the harmful narratives that seek to divide us.

[boxwinebaddie]

IT'S KYLE WEEK!!!! <3

hello everyone and happy kyle pile week to all that celebrate! in honor of my fave orange and green son, i am hoping to spend the week primarily answering kyle-related asks! that goes for all my kyles across the ncu, feel free to use my weird pinterest as a frame of reference if you so wish! please send in any kyle qs that you want and if you've already asked me a question i haven't gotten around to answering, feel free to send me another ask! i'm a busy lady with a lot of dumb adult lady tasks, but i'm gonna try and do as many as i can!

-uncle nina, kyle broflovski enthusiast <3

[ghostofgraywalls]

Excited for her morning drugs ♡

[thatguykaboom]

Screenshot redraws

With old oc

Beta designs

Hair crisis bc he just looks like kevin

I have no name ideas for him…

[cursedclimate37]

Gold fish that I drew with soft oil pastels.

I feel like there is more that I could do with the background but I'm not sure what.

(the camera on my phone is bad, the blending is much better in real life.)