Hello everyone I am so unbelievably pissed about the NaNoWriMo situation that i'm going to take my massive stack of writing and craft books and my English degree and channel all my rage into making an email newsletter to send craft-oriented writing prompts and tips during the month of November. Say No to NaNoWriMo, but yes to WriMo. You get it.
I'm not going to make this have the same goals as Nanowrimo-- I'm not reskinning it but less ableist, I just really think having a whole month where people focused on their work is pretty cool and I want to keep up that spirit. This is going to be informal and run by Just Me, though I'll make a discord server if it's clear there's interest. Direct questions to @nowrimomo , which I literally just made and so will look like a skeleton currently.
I'm going to include prompts from various professional sources with options for Fiction, Nonfiction, Poetry, and Fanfic, so everybody can get in on this. It doesn't matter what you write, but we should all Write More.
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I guess this might be why the UK seemed to go so antisemitic so quickly
I'm researching the 1947 pogroms in the UK. (Actually, I'm researching all the pogroms and massacres of Jews in the past 200 years. Which today led me to discover that there were pogroms in the UK in 1947.)
From an article on "The Postwar Revival of British Fascism," all emphasis mine:
Given the rising antisemitism and widespread ignorance about Zionism [in the UK in 1947], fascists were easily able to conflate Zionist paramilitary attacks with Judaism in their speeches, meaning British Jews came to be seen as complicit in violence in Palestine.
Bertrand Duke Pile, a key member of Hamm’s League, informed a cheering crowd that “the Jews have no right to Palestine and the Jews have no right to the power which they hold in this country of ours.” Denouncing Zionism as a way to introduce a wider domestic antisemitic stance was common to many speakers at fascist events and rallies. Fascists hid their ideology and ideological antisemitism behind the rhetorical facade of preaching against paramilitary violence in Palestine.
One of the league’s speakers called for retribution against “the Jews” for the death of British soldiers in Palestine. This was, he told his audience, hardly an antisemitic expression. “Is it antisemitism to denounce the murderers of your own flesh and blood in Palestine?” he asked his audience. Many audience members, fascist or not, may well have felt the speaker had a point.
...[The photo of two British sergeants hanged by the Irgun in retaliation for the Brits hanging three of their members] promptly made numerous appearances at fascist meetings, often attached to the speaker’s platform. In at least one meeting, several British soldiers on leave from serving in Palestine attended Hamm’s speech, giving further legitimacy to his remarks. And with soldiers and policemen in Palestine showing increasing signs of overt antisemitism as a result of their experiences, the director of public prosecutions warned that the fascists might receive a steady stream of new recruits.
MI5, the U.K. domestic security service, noted with some alarm that “as a general rule, the crowd is now sympathetic and even spontaneously enthusiastic.” Opposition, it was noted in the same Home Office Bulletin of 1947, “is only met when there is an organized group of Jews or Communists in the audience.”
The major opposition came from the 43 Group, formed by the British-Jewish ex-paratrooper Gerry Flamberg and his friends in September 1946 to fight the fascists using the only language they felt fascists understood — violence.
The group disrupted fascist meetings for two purposes: to get them shut down by the police for disorder, and to discourage attendance in the future by doling out beatings with fists and blunt instruments. By the summer of 1947, the group had around 500 active members who took part in such activities. Among these was a young hairdresser by the name of Vidal Sassoon, who would often turn up armed with his hairdressing scissors.
The 43 Group had considerable success with these actions, but public anger was spreading faster than they could counter the hate that accompanied it. The deaths of Martin and Paice had touched a nerve with the populace.
On Aug. 1, 1947, the beginning of the bank holiday weekend and two days after the deaths of the sergeants, anti-Jewish rioting began in Liverpool. The violence lasted for five days. Across the country, the scene was repeated: London, Manchester, Hull, Brighton and Glasgow all saw widespread violence. Isolated instances were also recorded in Plymouth, Birmingham, Cardiff, Swansea, Newcastle and Davenport.
Elsewhere, antisemitic graffiti and threatening phone calls to Jewish places of worship stood in for physical violence. Jewish-owned shops had their windows smashed, Jewish homes were targeted, an attempt was made to burn down Liverpool Crown Street Synagogue while a wooden synagogue in Glasgow was set alight.
In a handful of cases, individuals were personally intimidated or assaulted. A Jewish man was threatened with a pistol in Northampton and an empty mine was placed in a Jewish-owned tailor shop in Davenport.
And an important addendum:
I've read a whole bunch of articles about the pogroms in Liverpool, Manchester, Salford, Eccles, Glasgow, etc.
Not one of them has mentioned that the Irgun, though clearly a terrorist group, was formed in response to 18 years of openly antisemitic terrorism, including multiple incredibly violent massacres. Or that it consistently acted in response to the murders of Jewish civilians, not on the offensive. Or that at this point, militant Arab Nationalist groups with volunteers and arms from the Arab League countries had been attacking Jewish and mixed Arab-Jewish neighborhoods for months.
I just think the "Jewish militants had been attacking the British occupiers" angle is incredibly Anglocentric.
Yeah, they were attacking the British occupiers. But also, that's barely the tip of the iceberg.
Everyone involved hated the Brits at this point. If only al-Husseini and his ilk had hated the Brits more than they hated the Jews, Britain could at least have united them by giving them a common enemy.
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Voice actors are NOT the same as actors.
It takes a specific kind of skill-set and training to be able to warp and meld the voice. It takes a certain kind of talent and dedication to hone that talent into the ability to meld the voice and invoke emotion with one's voice alone. Actors are used to using their voice secondarily to their body language and their facial expressions. It's all mirrored back on camera. They do have nuance. But it's a different kind of nuance and a different kind of training to produce that nuance.
Voice actors might get their likeness transposed on their character's design, and maybe their mannerisms might seep into the character's animation. But when it's all said and done: their presence is in their voice. They are bringing a character to life, showing that emotion in their voice, trying to keep a specific accent, drawl, pitch, tone in that voice and keep it consistent for their recording sessions.
The voice actor is like a classically trained musician who can play first chair in a competitive, world-renown orchestra. The actor (who fills the voice actor's role) is like a moot who played violin in beginner and intermediate high school orchestra and thinks they can get into Juilliard with that 2-4 years of experience.
This doesn't mean that the HS orchestra moot can't play. They can even be really good at it. Maybe they won competitions and sat first chair. But they are not in the same league as the person who's been training their whole lives and lives and breathes to hone their craft using the instrument and all of the training they've ever acquired to perfect it. They are not meant for the same roles. They are not in the same caliber. You do not hire the HS equivalent when you want to play complex music in a competitive orchestra.
Actors are not the same as voice actors.
And furthermore, actors - especially big name actors - taking the roles of animated characters for big budget films or TV pilots makes no sense anyways when - at least in the case of TV pilots - there's not a point to hiring a big budget actors anyways. That money could be used elsewhere (like paying your animators), and the talent that is brought onto the screen for X character could then be hired on to voice said character no recasting required.
I wouldn't say voice acting as a profession is in danger exactly, but it's certainly being disrespected and overlooked for celebrity clout, and this has ALWAYS been an issue. Shoot, even Robin Williams knew that much - which is why he tried so hard not to be used as a marketing chess piece for Aladdin and got royally pissed off when it happened anyways. People shouldn't go to any movie (but especially not animated films) because "oh famous actor is in it". People should go because it's a good movie and the voice acting is good.
People who honest to god think that voice actors are replaceable because "oh well anyone can voice act" or "I like xyz celebrity so naturally it'll be good" ... Honestly I just wish you'd reassess your priorities because you're missing the point and are part of the problem.
Voice Actors ≠ Actors.
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some more interesting stuff that stood out to me from the IGN video!
(previous post)
this set of dialogue options makes me think "spite" is the demon that is possessing lucanis! that's definitely not one we've seen before yet!
this looks like a red lyrium ogre, but it's also possible it could be a qunari based on the qamekmaster we see later and the fact that this is in treviso (based on the surroundings and the crow's road rooftops location tag). i'm sticking to ogre though as it just looks more like one! it's interesting that it has a name though...
the qamekmaster in question ^^ qamek is a qunari poison used on mages. this qamekmaster must've been a qunari 👀 i talked about this more in detail here if anyone is interested.
sticking to treviso for a bit, these symbols - which i assume belong to the antaam? not even sure what they're supposed to be honestly. but the top really looks like ghil's head shape.
there's also one in the crows hideout here. maybe taken as a trophy? and hey that statue looks so cool??? i wonder who it is...
viagooooo!! and "the butcher" was mentioned before in the short story as we fly!
it seems that the antaam managed to invade so quickly because a traitor let them in 👀
beloveds mentioned <3
moving on from antiva, the way i audibly gasped when i saw this 😭 i've seen theories about it being the regret demon and i agree!! i think the boss itself is a revenant (as mentioned in the video), which are corpses possessed by demons - in this case the regret demon probably, but who was the corpse?
at a different point in the video you can see this, it looks like a tear in the veil like in the prologue but red? and it looks like there's tentacles on the other side
this statue in the hossberg wetlands is elven, and judging by the map marker i'm guessing it's either a fast travel point or party select point. it's blurry so hard to make out, but the crown looks like it could either be mythal's or the "nib" evanuris head shape (which i think is dirthamen). also is that a hand in the top left wtf
had to include this because 💀💀 lmao yikes
this line from harding was used in promo for her vows & vengeance episode last week!!
who or what is a rathera 👀
this seems like it could be a personal quest for neve!! or maybe a sidequest you can help her with
elgar'nan symbol above the bookshelf in the lighthouse library :) it's right in front of the elgarmythal mural in fact.
pics aren't very good, but you can see two more of what i assume are the "regrets" murals. the second one looks particularly interesting, though i can't make anything specific out
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