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paulagnewart · 5 months

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Morganic Musings

20th November 1998 saw the 65th issue of Archie's Sonic the Hedgehog comic escape its continental cargo confines and reach the hands of Australian retailers. For us then-avid readers, it meant hopping on a bike after school to make that traditional end-of-month pledge over to the local newsagent, ready to swap a hard-earned $3.95 (and any extra loose change for an ice block when possible) for another enthralling escape to Mobius.

And yet it all felt different this time.

In the aptly titled The Fellowship of the Rings, audiences were introduced to the story of Nate Morgan. Having cameoed in the previous issue (released here on 22nd October '98 for the curious), this humble human sheltered the battered Sonic and Tails into his isolated tundra abode, while giving that nuisance Ixis Naugus a well-deserved booting out. The small, seemingly insignificant old man would prove anything but, as the issue recounted his adventures and adversities over the decades; from creating and refining the Power Rings, serving as key member of Royal Acorn court, even establishing how the Lake of Rings operated while visiting the future Knothole Village and Freedom Fighters' underground HQ

The road from concept to completion for this character was far from easy, and for years looked as though he'd never see the light of day. Morgan's origins can be traced all the way back to early 1992 during DiC's initial development of their Sonic the Hedgehog cartoons, where he was depicted in their story bible as a 110 year old black human with flowing white beard living in Knothole. A former environmental advisor now proud Freedom Fighter, he was a friend to all animals, offering advice/support and boosting morale where he could with the occasional magic trick. Two rough sketches accompanied his profile, with the choice of tall or short designs.

By the time 1997 rolled around, a copy of that story bible and designs made their way into Archie's office. Having combed through its contents, editor Justin Gabrie decided the character deserved a second chance and ordered his inclusion in the comic. The task fell on newly-minted head writer Karl Bollers to breathe life into the character opting to go with the shorter model, which artist Patrick Spaziante imbued with his Midas touch. And lo, the old man was reborn a new old man.

I genuinely liked Nate Morgan (or as my younger self used to mispronounce him, "Mor-Gain". Hey, we all do stupid things from time to time) as a character. His appearance in the comic was something of a revelation, especially in a pre-Adventure era where the idea of other humans let alone a whole city of them living on Mobius was pretty farfetched. It added intriguing new layers to the series' lore, nor could I say no to another kindly father figure at a time when the likes of King Max and Locke were anything but. His backstory of seeking acceptance only to find hate and deception at every turn really touched a nerve, and was saddened to pick up and see his demise years later in issue 105's Touch of Evil.

Unfortunately that same hatred manifested in the real-world, and it felt more than a few times that I was the only person who cared.

How disheartening it was to boot up the 25.5kph modem, peruse the message groups and see fellow readers' reactions. Whether it be through dislike of change or some underlying racial prejudice (which he sadly was a target of more than once), fans certainly didn't hold back when voicing their displeasure over the character. A chaotic chorus which only grew as the millennium drew to a close; some hated his sudden importance to the history of Power Rings and the Acorn Kingdom, others thought he'd outright steal the spotlight from Uncle Chuck and Rotor as the residential techspert, the shameless self-insert of Karl Bollers (or Ken Penders depending on which fan you asked), and of course the ever-present decries of "Mr. Walking Plot Device". In that light, early Mina Mongoose fans got off lucky. It would be nice to see Nate Morgan resurrected or even reevaluated in some form or other in future media, but like the rest of the cast, this series had its time and its day. New ideas and characters have since stepped up to fill their void, even if it's quite the pickle finding a similar substitute for him.

But stranger things have happened. His appearance in the first place being the best one.

#Sonic the Hedgehog #Archie Sonic #Karl Bollers #Nate Morgan #Ixis Naugus #Sonic SatAM #DiC #Australia #1998 #Archie Comics #Sonic the Hedgehog Comics #Comic Books #Musings

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unproductive-software-blog · 1 year

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I Quit Persona 5 Strikers 29 Minutes In, and I Don’t Care if it “Gets Better”.

I am a major Shin Megami Tensei and Persona fan of 9 years at this point. Persona 5 is, to me, an unquestionably great game, as evidenced by the gamer-level-mainstream status it somehow managed to rise to through the power of supreme recommendability. Despite its flaws, Persona 5’s unique style and refreshing honesty made it feel like the first truly modern RPG experience to come out in a long time (in 2016/2017). With its release, Atlus managed to finally and definitively prove to the world that their more artistic approach to game creation was not inherently inaccessible to a wide audience, they had simply yet to strike the proper balance of strangeness, approachable mechanics, and the flourish necessary to make a turn-based game feel like an action game.

P5S is not, however, an Atlus game. However involved Atlus may have been, it is an ω-Force game, you know, those otaku that convince big IP-holders like Nintendo to let them play action figures with their most beloved characters?

Atlus sent Toru Yorogi, a living embodiment of the company’s above-average treatment of its staff (the man went from QA on P4A, to planner/writer for its sequel (too bad P4AU’s story was such a disappointment compared to P4A though)), and Yusuke Nitta (a planner on P5 very difficult to find more info on, he might be the same guy who wrote the light novel “If The RPG World Had Social Media”, which is very P5S) to assist ω-Force’s Takaaki Ogata (one of the guys they typically have in a game design role in one of their Warriors games with essentially copy-pasted design) in writing the game’s script. Now, most people may think it’s silly to focus on the script in an ω-Force game, and yes, it is. However, the first two words of this game’s title are “Persona 5”, you know, that masterpiece gamer-bros put down their NG+7 runs of Dark Souls III so they could “actually play just for the story”? The Phatom Theives are the current standard that the current generation of game-enjoyers will likely be comparing all future JRPG parties to. They are powerful modern archetypes that managed to resonate with players their own age. While not the brightest or most tactful group of misfits, the Phatom Theives live on in our hearts because of their honesty and sincerity, despite the cynicism and toxic adultism of the society they were born into. It is, therefore, not unfair to say a large portion of the audience for P5S, as with any Persona spin-off, plays the game as little more than an excuse to see these characters again, and experience the next chapter of their story. Such is the case for myself and literally everyone I know who has played the game.

It was incredibly warm and inviting at first. Excellent opening theme by Lotus Juice and Lyn (with great work from the ω-Force staff as well), followed by 20 minutes of that ooey-gooey Persona 5 slice of life. Just seeing Ann again made me nearly cry, and I yelled at my character to “huge her!!”, platonically (Ann is my P5 bestie). When my character said “I missed you” to these people, it felt, more than any dialogue option in P5, like something I was saying myself, through the character.

However, after we’ve finished our hellos, the first thing The Phantom Thieves do is download an AI assistant and agree to buy everything it tells them to for their camping trip… At least they do their shopping at real in-person stores, but come on. This whole “Emma” thing is so stupid. Like, I know the Phantom Theives are goofs, but you’re seriously telling me they went from exposing/combatting the evils of capitalism to this? Not only is it out of character, it’s outside the spirit of the original. I saved and quit at 29 minutes and proceeded to watch the excellent documentary on the making of the game’s opening theme instead.

I was sure the game was only setting up Emma to somehow subvert it later on, mind you, I just didn’t want to see that story play out. I didn’t want to see the heroes fall for some stupid fad and have a shocking reveal that actually, it wasn’t that simple - not after everything we learned together, from eachother, in the past.

My own friends, however, really let me down here. Refusing to teach me anything, or even level with me, they hardly acknowledged my opinion:

This is a different guy:

And my irl friend just kind of laughed or whatever (he’s kind of shy). Seriously, what the hell is this? All these people willingly start conversations with me, and have more experience with this game, they should be willing to talk about this! I’ll give you my impressions:

First guy is poor so he watches Let’s Plays of games like this. His life is kind of rough; he lives in a small town in Texas that doesn’t see his intelligence through his blunt honesty, and it’s cost him jobs. Pretty much all this corpo media stuff is a very important escape to him, and he will vehemently defend even the stupidest aspects of games he hasn’t played, but is a fan of, because video games are the light of his life. Dude should just get offline and emulate one of the hundreds of games he’d be able to form a proper opinion on, and have a more genuine experience with.

Second guy is a sad, all too common story. He bought the game at launch, and got a ways into it, but has had the thing sitting on his shelf for a lomg time now, unbeaten. He’s paid his $60, and the greater price that comes with it, real life investment in a video game. Now, sunk-cost fallacy dictates he must beat the game some day, in order to ensure he gets his money’s worth, even though there are hundreds of games he could have more fun emulating for free. He doesn’t want to talk about the game, because he doesn’t want to think about the game. He doesn’t want to have to decide whether to sell it or finish it, so he says he’ll finish it, but puts it off, and would much rather continue our conversation about Pokémon Unbound, a well-made ROM hack that he’d much rather play than fork over another stupid $60 for Scarlet or Violet versions.

And like I said, third guy is kind of shy and awkward; we’re still leveling up our social-link.

Anyway, the moral of the story is, don’t be like these people. Don’t buy everything your phone (or Amazon Echo, throw that garbage out and learn to flick a light switch yourself!) tells you to. Don’t shill out to these stupid companies. Don’t pay grown men $60 to play with action figures on your tv. Don’t waste your breath defending people that don’t care about you. Emulate that old classic game you’ve heard of, and if you don’t like it, emulate the next one. Or like, watch an anime or go for a walk or volunteer or something, just don’t give away your money/power for the vaporware we call video games.

Merry Christmas, everyone. Peace and love.

#defund gaming #game analysis #analysis #persona 5 #persona #persona 5 strikers

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myfavebandfizz · 7 months

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DIY Magazine Interview

FIZZ: “WE’RE REALLY BIG ON STORYTELLING BEYOND SONGS”

An effervescent mix of personality and pizazz, meet the supergroup pushing pop music into a whole new universe, quite literally.

Words: Ims Taylor 20th September 2023

Sitting down to speak with FIZZ - the supergroup comprised of besties Dodie Clark, Orla Gartland, Greta Isaac and Martin Luke Brown - they seem almost out of breath. “We just did an interview where we tried to slip words into the whole thing,” Greta says, showing a post-it note that lists, among other things, ‘milk’ and ‘cell (brain/blood)’. “It was so stressful. We are not doing that again!” Safe in the knowledge that our chat isn’t going to be punctuated by out-of-context dairy goods, their cheeky anecdote actually provides the perfect introduction to FIZZ.

Formed from a magical cocktail of long-term best friends, various combinations of roommates over the years, and four musicians in their own right, each with very distinct styles and sounds, FIZZ is a project that could only have been dreamed up by these four. “We wanted to call the band Housemates at one point, because that felt so at the core of it,” nods Orla, “but we wanted something a bit more fantastical in the end.” So FIZZ journeyed into their outlandish world and built it on the foundations of trust and friendship: “The bigness around the concept of FIZZ feels so ambitious in a way that could only really be carried out with three other people, and we’re digging each other up and pushing each other to the front,” explains Martin. “Like a delicious cake!” Greta adds.

Enter FizzVille: the backdrop for the immersive musical melodrama of debut album ‘The Secret To Life’, where all the action takes place. “We’re really big on storytelling beyond songs,” continues Greta, “and we always knew we wanted to mirror the theatrical tone of the album. FizzVille was conceptualised by all of us when we realised that making the album was like a retreat from our normal ways of working in music, and that idea of a retreat, or a holiday, or a day out at a theme park just influenced the entire campaign. We made this place called FizzVille, like a theme park or a beach town, and the way we imagine it is that every song on the album has its own designated ride or attraction, and it shows up in different ways.

“It feels really natural for us to present it in that way - like when you’re a kid and you put on a show for your parents, and there’s the spotlight, and it’s made out of bedsheets and you’re just presenting it to people that you want to be proud of you.”

“We’re really big on storytelling beyond songs, and we always knew we wanted to mirror the theatrical, fantastical tone of the album.” - Greta Isaac

FIZZ and everything about them sparkles with natural, effortless energy; from the way they finish each other's sentences to the grandiose, effervescent sonics of ‘The Secret to Life’, which sits a world away from the musical output that its members have released independently. This flowed out of a hyper-conscious effort the group made to “leave our artist projects at the door,” Martin says. “We went in, and we were doing music in a way that none of us had ever done it before. It was inverting everything we’d ever done with our own projects, and making it all about play and having fun. It was pure play - like, if someone said let’s have a key change in the second verse, then yeah, sure!”

"For me personally, I don’t write with a lot of people,” adds Dodie. “It was a whole new way of writing. And I was like, 'Oh, this is how a writer’s room could and should feel'. It’s so interesting how, despite us saying yes to everything, a story can still be built.”

On ‘The Secret to Life’, the group strive to capture something unique and pure that could only be the product of those four, in that room at Devon’s Middle Farm, at exactly that moment. By extension, their producer Pete Miles was instrumental in encouraging the group to avoid overthinking things. “He would make the space very inspiring,” explains Greta. “He would never allow us to grovel over a vocal stem! He would just be like, we captured something beautiful.”

“The illusion of perfection is really a trap,” Martin picks up. “You can sing through all the different vocal takes, or want the drums to be a bit more in time, and just want to tune that there. And this was a real exercise in just letting go and just letting it be. And that was pretty new for all of us.”

“It’s definitely easier to romanticise in hindsight, but when I think about the album making process, I don’t feel like it’s romanticised - it actually did feel genuinely very magical,” Orla adds. “When we describe it it feels like a dream we all had, or a trip, it felt very otherworldly.”

Operating at the perfect meeting point between passion, trust and imagination, now, they’re kindly extending an invitation to us; it’s time to feel a little of FizzVille’s magic for ourselves.

'The Secret To Life' is out on 27th October via Decca Records.

#fizz #yourfavebandfizz #fizz band #all #interview #diy magazine #diy magazine interview

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dearweirdme · 10 months

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Hi! I was wondering what you think about this book coming out. Do you think you’ll read it? I honestly don’t think it’s going to have much in it that we don’t already know, just stuff that we’ve heard but with some more detail to it. I think it’s just a money grab for the company during solo era. A way to keep ARMY’s attention.

I guess I think if we ever want to get some real exclusive, in depth stuff, it’s going to come from books BTS write themselves years from now and probably when the band isn’t really actively doing as much together if at all.

I could see Namjoon writing a book someday, probably a long time from now, with all the real stuff we never knew. Yoongi too. I could also see Taehyung writing a book and maybe even Jungkook. Maybe they’d even write one together about their relationship while in the band. I know that’s a long shot but it’s clear already that this book avoids any talk of Jungkook and Taehyung at all. Not that I expected it to.

Is it bad that I think very little of this book actually comes from the guys themselves? I’m not a company anti or anything but I just have this feeling the guys signed off on this book, answered some questions for a ghost writer and the book was made. I haven’t read it so maybe I’m making a judgement call but there’s just something that feels so generic based on what I’ve read.

I apologize for the rant but I know you’ll have some excellent insight 😊

Hi anon!

Yeah, I am going to read it. I’m gonna but the e-book version though, way cheaper 🙈. I’m interested in reading what they want us to read. It might not be the whole picture, but it is still a picture. I don’t think it is designed to mislead, I just think a lot will be left out.

It is a bit of a moneygrab in my opinion yeah. It’s not really a big deal that that’s what it is. It’s part of business, every artist does it. I agree with the more real, honest stuff coming years from now and even then it will probably only be parts of it. Taekook will probably never be mentioned much, unless they themselves feel like doing a book one day. Namjoon and Yoongi for instance won’t be writing about Tae and Jk’s situation, that’s not really their story to tell. I can see Tae do it though. I feel he has more of a drive to show the real him. I feel like Jk loves keeping his business his business though.

Ofcourse it isn’t bad to think like that. Objectively speaking, it is a way for Hybe to make money. I doubt there’s going to be really new stuff in it, so yeah… we’re basically paying for stuff we already know. But, it is a weird year for fandom and BTS themselves. It’s their ten year anniversary and they aren’t even able to spend it together as a group with army. That must s*ck hard and maybe this book is their way to just.. do something. I have to read it first to be able to make a judgement on how much members themselves were involved. It does have quotes we haven’t seen before, so I do think there have been quite a few interviews with everyone, but I also feel the outline had been decided on and possibly the interviews were steared in a certain direction.

The book will be out the 12th in my country, so I won’t be able to say much until a few days later 😊. But i’ll make sure to give you my insights when I finish.

#book spoilers #taekook

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drabsyo · 3 years

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Drabs, I know that you usually draw Fleur with slightly darker blonde hair than Narcissa. Was it a choice so that it’s easier to distinguish them from each other or was your Fleur maybe slightly influenced by the actress from the movie who had darker hair?

In the books Fleur didn’t seem to have much description other than having long silvery hair (waist length?) and having this glow around her. So like with Narcissa, what works have influenced your design of Fleur?

It’s fascinating sometimes to read the artist’s perspective and your previous reply to the anon about Narcissa has been very interesting.

Thank you!!! 🥺

I was actually pretty embarrassed over how enthusiastic I got over the whole hair thing, but I'm glad it made some sense at least 😂 And now that I've been given even more reason to talk about it... (Let's face it, I shouldn't even be allowed on this website to begin with, ya'll have been way too nice to me.)

Only click on keep reading if you want to read Some Nonsense.

I did consider Fleur's actress when I thought about her hair color. Though I pictured it to be something of a mix between movie Fleur and Elsa’s (from Frozen) hair. But the way I drew Fleur's hair, the way it falls across her shoulders, that was more of... well, I imagined Fleur to have effortlessly perfect hair, like she doesn't seem to need to style it so much because it's already whimsical as it is, what with her being part-Veela. There were a lot of fanfictions that helped me to sort of see a better image of Fleur in my head so really, I owe it to all the talented writers out there!

It's also the same with Narcissa's case. Though I decided to give her paler hair, compared to Fleur's, because I wanted to emphasize that air of vulnerability Narcissa has—this image she conjures, like she's this fragile thing made of glass, which typically in fanfiction is what Narcissa uses so that Voldemort would overlook her a lot, hence why she wasn't given any "missions" or "tasks" while Voldemort was in Malfoy Manor. Slytherin preservation. This "fragile" image was something Narcissa capitalized on and maintained perfectly, but in post-war Cissamione fanfictions, she no longer has to put on that façade—she starts living for herself, but the quiet sadness about her never really goes away.

I really did struggle at first, I had to find a way where I could draw them without confusing people and myself.

So, again, I sifted through a lot of canon and non canon material about these two characters which funnily enough made me see some kind of parallel going on between them. I know. Fleur Delacour and Narcissa Black. Parallels?! It's nuts. But again, this is only within Fleurmione and Cissamione fanfiction, and it really helped me to draw them better. (At least in a way that made them distinguishable from one other at first glance, I’d like to think.)

These 'hair scenes' are mostly the bits where Hermione "first" sees Fleur. Hermione is entranced, a little curious, sometimes she feels indifferent, but the general theme is Hermione immediately finds Fleur beautiful—which probably explains why Hermione in fanfiction sometimes thinks Narcissa could be part-Veela like Fleur. And as you can imagine, that's where my struggle began.

You'll see what I mean in a minute. And just like last time, remember that this part comes with spoilers.

🔹 In Fighting is our form of Flirting by InsomniacAndBi in Chapter 2 Hermione sees Fleur for the first time. This is the first Fleurmione fanfiction I've ever read, and also the first time I've encountered Fleur's character. Tall, bright blonde hair, won the genetic lottery, aristocratic features, face held in a scowl, floats into the room with effortless poise, immediately starts demanding things out of people... Sounds vaguely familiar, doesn't it. Like some other blonde we know.

"Non!" A voice from the doorway said. "This is not what was agreed."

For a moment, Hermione thought about ignoring it but turned to glance over there if only to quell her curiosity. A girl stepped into the room and Hermione's phone call was forgotten in a moment. She knew that it wasn't nice to stare but Hermione couldn't help but do it because, in all honesty, this was the prettiest girl she had ever seen. She was definitely taller than Hermione was, with bright blonde hair and...clearly she had won the genetic lottery.

Her skin practically glowed and it looked so smooth and soft. It made Hermione wonder if she used those fancy beautification charms or had a very lengthy skincare routine. Or maybe, just maybe, this is what being rich did to people's faces. There was no doubt in Hermione's mind that this girl was rich - like extremely rich, like even rich people thought she was rich. That kind of rich. That was the type of rich that this girl was.

Also, only super rich people curled up their lip like this girl was doing.

She breezed into the room like she was floating and Hermione hastily ended her phone call and promised to call back later.

"This is not what was agreed," The girl said again and Hermione felt incredibly small sitting in front of her. Not to mention, the girl's clothes screamed 'I'm rich and I know it' and Hermione's screamed 'I'm so out of place that I might as well be a bull in a China shop'.

"I have no idea what you're talking about," Hermione managed to get out when it became apparent that the girl was waiting for her response.

"You are English." The girl looked shock for a moment at Hermione's accent before shaking her head angrily. "This is not what was agreed."

🔹 In Oath of Silver by i_shall_wear_midnight immediately in the first chapter, when Witcher Hermione first meets Fleur, it's something Hermione quickly notices. Vivid sapphire eyes. Silvery blonde hair that shimmered in the torchlight. And once again, right off the bat, Fleur is pushy. She wants things done her way. It’s just so cute how she doesn’t even let the fact that Hermione is a Witcher, an extremely dangerous outcast in society, get in the way of that.

(I'm sorry for this but I just have to gush about Oath of Silver. Hermione as a witcher is just so fitting for her character; she possesses that natural eye for detail that remarkable witchers have, witchers like Geralt and Vesimir (a skill that gets even more honed through the Witcher Trials). Hermione even has Geralt's dry sense of humor, a bit rough around the edges, brilliant, snippy without really meaning to (because she asks a lot of questions and would rather get to the point), but has a good heart.)

The witcher figured that would be the end of her human interactions for the evening, but only a few minutes later, the stunning newcomer from before appeared before her. Upon closer inspection, Hermione couldn’t imagine she wouldn’t be conspicuous in any group of people she happened to find herself immersed in. The woman was looking back at her with vivid sapphire eyes, and silvery blonde hair that shimmered even in torchlight. Her attire was travel-ready, but elegant.

“Bonsoir. You are a witcher, oui? Or perhaps a ‘witcheress’ is more accurate? I am not familiar with all the terms…” She watched the beautiful stranger patiently while she fumbled through Hermione’s professional title. As if the distinctive, amber colored cat-eyes hadn’t given her away, the brunette mused wryly. Eventually, the blonde gave up and sat herself down at Hermione’s table, her medallion twitching faintly as the stranger got settled. Hermione filed that away for later. Her new dinner buddy seemed to be oblivious to the curious and concerned looks now being thrown her way at boldly taking a seat at a mutant’s table.

“I came from Ellander,” she began in a non sequitur. “The temple, and spoke to the priestess Nenneke, who told me about you.” Hermione continued eating her second serving of stew and waited for her to get to the point. “I would like to hire you as an escort as I travel back to Toussaint.” The witcher finally put her spoon down.

“Sounds like you ought to be asking some mercenaries to be your bodyguards,” she responded, eyeing the bow the woman was carrying on her pack meaningfully.

“A pair seems doable, and I’d prefer you.”

“I’m not a bodyguard.”

“Yes, technically, I am aware,” she replied, beginning to show signs of impatience.

“Then why are you soliciting a monster-slayer?”

🔹 Witnessed here in Time and Blood by whistle.the.silver is probably the most interesting one because it uses the concept of Veela hair as a wand core brilliantly. Again, this comes with huge 🛑spoilers🛑. Read the italicized words at your own risk. I can't add the entire clip here, as the topic of Fleur's hair is littered throughout several other chapters. But this story shows us a Fleur who is willing to do anything in order to protect Hermione during the course of the war.

My memory is a bit foggy, I haven't read this story in months, but here's what I remember:

This takes place during the time of Shell Cottage, where Fleur is married to Bill and takes care of Hermione. Fleur didn't expect to fall in love with the young brunette and, as the Golden Trio's time in Shell Cottage comes to an end, she worries over Hermione's safety. Fleur, using magic only known to the Veela tribes, does her best to offer Hermione protection in any way that she can--even going as far as to study what Lily Potter did so Harry could live. At one point, Fleur cuts her own hair with a length now roughly above her shoulders to give Hermione a new wand. But this isn't the only bridge Fleur is willing to cross to make sure Hermione survives the incoming battle. Fleur's grandmother, Ron, and even Bill himself, is a little sceptic over the propriety of Fleur's actions, but Fleur is determined to do whatever it takes to make sure Hermione makes it out of the war safe and alive.

So that was a lot to wade through, I know.

But if you've skipped all those parts for the sake of missing spoilers then let me go ahead and explain why the parallel between Fleur and Narcissa are there. Sure, it's plain to see that they have similar physical characteristics, but they're also similar in other ways.

In Witnessed here in Time and Blood, Fleur is willing to do whatever it takes to protect Hermione during the war: sacrifice the secrets of the Veela, make Hermione a wand, make her marriage and friendship with Bill suffer, be scrutinized by her Veela tribe, etc. And didn't Narcissa do the exact same thing during the war to make sure Draco made it out alive? They both chose to 'betray' everyone else for the sake of this one person. Not to mention, in Extinction by rubikanon Narcissa even makes Hermione a wand. (I’m telling you, there are so many parallels between these two ships and I can probably list more but I'd rather not make this post longer.)

Here, I’m just going to go ahead and say it—it’s almost like Fleur and Narcissa in fanfiction have the same love language.

A glaringly obvious difference between them is their upbringing, and we could argue that this why Fleur tends to be more open with her emotions while Narcissa tends to be more carefully guarded with hers. And I don't know if writers realize these parallels but as someone who's a huge fan of both characters and as someone who makes the occasional fanart of them, it's a pretty difficult detail to ignore. This crazy conspiracy all started because I had to find a way to make both characters look distinct from one another... It's just so interesting that writers from two different ships unknowingly make these parallels with two completely separate characters who are often at the opposite ends of the seesaw.

But again, let's take a look at Extinction by rubikanon. (I know. Extinction?! AGAIN?! Always.)

Spoiler warning!

🔹 Extinction by rubikanon has a marvelous take on this, as it turns out Fleur and Narcissa are actually good friends, and if I remember correctly, occasionally exchange letters (I’m unsure about this bit, I might have read it in a different story). They just get along remarkably well; I imagine they both share a kind of mutual respect for each other, a quiet understanding for the way the other woman carries herself: poised, meticulous, they pride themselves in their work, they both know how to handle an Ocean Of Secrets™, they're both accustomed to being under the spotlight of the public eye, and they’re both dedicated to their loved ones. Needless to say, Fleur and Narcissa are both giddy over the prospect of being with someone they love and adore, and end up meticulously planning numerous (I think it was hinted) double dates (Fleur with Bill, and Narcissa with Hermione) with the same kind of endearing enthusiasm that leave Hermione and Bill with no choice but to agree to the whims of their respective lovers.

(Scene seen in Chapter 23: Build Up Your Defense 2 of 2)

Narcissa and (Hermione) I were sitting together on one of the couches when Bill and Fleur arrived later. They showered Teddy with kisses on his little cheeks. He'd gotten past his clingy phase and adored us all, struggling to walk around the room by bracing himself on everyone's knees.

Suddenly Narcissa reached up and grabbed onto someone's wrist behind her head. "Don't even think about it," she said.

"That's just scary. How did you know I was there?" George stood up from behind the couch, a toy spider dangling from his hand. Teddy shrieked with laughter.

"She has eyes in the back of her head," Draco said.

"Mothers," George grumbled, sitting down close to Angelina. "Dump her, Hermione. I need you to date someone more prankable."

Fleur looked in surprise at the two of us on the couch. "Oh, la vache! How did I not know zees? You are lovers?"

"We're dating," I said mildly, though we really were lovers. In every sense. I glanced at Narcissa and bit my lip as heat spread through me. My imagination started planning a middle-of-the-night rendezvous.

"No wonder she (Narcissa) was so adamant about healing that curse," Bill said thoughtfully.

"Adorable! Simply adorable!" Fleur exclaimed, sitting down on Narcissa's other side. "We must go out for a double date next week, all four of us. We'll dine at L'Escargot!"

Narcissa's eyes lit up.

"Oh, no," I said.

"You won't have to eat snails," Narcissa said. "Please, mon amour?"

"French doesn't work on me."

"Please?" She kissed my cheek again and again. "Please? Please?"

Laughing now, I pulled her in for a kiss on the lips and said, "Yes, alright. But only because I have fond memories of trying new foods with you."

"As do I," she agreed.

Then we realized everyone was staring. Narcissa cleared her throat and straightened up, blushing. Draco made a face. Ginny looked a little more favorable. Harry held in laughter, and Andromeda hid her camera.

"Adorable!" Fleur declared again.

🔹 Also, I just have to add Sugar and Spice by waltzlikeits1698 because Chapter 4: Happy Birthday, Harry is absolutely hysterical. During Harry's birthday party, Hermione sulks in a corner because Fleur has apparently been avoiding her. Ginny decides to do something barking mad, something Hermione typically falls for.

“Ooh, someone’s grouchy,” Ginny teased, retracting her arm and facing Hermione fully. “What’s wrong with you?”

“Nothing,” Hermione insisted, although even she could hear the pout in her voice.

“Sure seems like it,” she snarked, summoning two shots and offering one to Hermione with a waggle of her eyebrows. Hermione pulled a face and Ginny shrugged before downing both, one after the other. (...) “You know, I spotted a tall, blonde drink of water hanging around the stairs.”

“What!?” Hermione exclaimed, whirling around and leaning out of the room to look at the staircase. Sure enough, standing at the bottom and resting a slender hand on the bannister was a tall, blonde witch who made Hermione’s heart stop with her mere presence. She had started forward before she knew it, her heart taking up an even quicker beat as she crossed the few steps and reached out a hand to clasp her elbow. The woman turned, that beautiful blonde hair catching the candlelight as it moved in one long sheet.

Hermione retracted her hand in horror, her eyes widening. “Mrs Malfoy!?”

Narcissa Malfoy raised an eyebrow at the witch who had practically accosted her. “Miss Granger. Can I help?”

What was she even doing here?

“Uh,” Hermione said dumbly, “sorry, I just… need the loo. Can I-?”

She gestured lamely to the staircase. Both women stared at the perfectly reasonable gap that Hermione could easily pass through. The moment stretched on.

Slowly, Narcissa returned her inscrutable gaze to Hermione, who squirmed uncomfortably in response. She then took a small step to the side and gestured for Hermione to pass. She did so and, as she turned the corner of the staircase, sent a deadly glare at Ginny, who was practically pissing herself with laughter.

(...)

Fleur had arrived. Hermione couldn’t explain exactly how she could tell, considering she had been in the duplicated bathroom for the last ten minutes after humiliating herself in front of Narcissa, but she knew it like she knew that it was levi-O-sa.

(...) (Hermione) She tried to avoid eye contact with Narcissa on the way back down and was thoroughly unsuccessful: the witch had physically reached out and laid her own hand over Hermione’s on the bannister, forcing her to stop and look up. Then, with an intention behind her eyes that Hermione had neither the brain capacity nor the energy to delve into, she said “It’s Ms Black now.”

Then she had released Hermione’s hand and turned back to her conversation with Andromeda and two wizards Hermione didn’t recognise.

Come to think of it, there were a lot of people Hermione didn’t recognise.

Anyway, long story short, this is the result of reading both Fleurmione and Cissamione—

But RIGHT. At the end of the day, again, these are just some crazy little things I picked up on and I may or may not be right, no one has to agree with me, everyone can disagree with me. Actually, yes feel free to disagree with me. I need to get out of this damn site and you know, touch grass.

Okay. Well. I'm gonna stop here now. So. Bye. But thank you anon for this lovely ask!! I’m really touched that you wanted to know what inspired the way I drew Fleur 🥺💕💖 But still. So sorry for this massive word vomit!! 😂

#fleurmione #cissamione #fleur delacour #narcissa black #narcissa malfoy #hermione granger #stupid rants #drabstuff #yall im telling you im the mad scientist but remove all the science

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cyndavilachase · 4 years

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I’m Looking Forward Now 💖Thank you and good bye

So, it’s been a little over a week since Steven Universe Future ended…

I’ve been hesitant to write this, honestly, but I’m tired of holding myself back from properly expressing myself in fear of appearing overly invested in the media I consume, even in private. Writing helps me organize my thoughts and feelings, and I feel like these thoughts in particular may resonate with many, so I want to share them. I want to talk about what Steven Universe has done for me personally, both as an artist, and as a person.

I’ve been around since the day the first episode of the original series aired. I actually remember when Steven Universe was just a logo on Wikipedia’s “List of Upcoming Cartoon Network Shows” list, back when I was a freshman in high school. It piqued my interest, but when commercials finally dropped for it, I thought it was going to be bad because of the way marketing handled introducing Steven as a likeable character. There was still something about it that made me want to give it a chance though, so I went online and watched the pilot before the first episode's release. I was hooked immediately. I knew I was going to love it, and I did. I fell so absolutely in love with Steven as a character, and the world that he and the gems lived in. I became obsessed. I was always so excited for new episodes to come out. Little did I know what else it would do for me as I went through my adolescence alongside it.

As the show progressed, it was evident that what I wanted out of a western animated childrens’ cartoon was finally coming into fruition: this show was becoming serialized. There was continuity, there was plot, there was character development-- it was getting deep. It was pushing the groundwork that Adventure Time laid out even further (thank you, Adventure Time).

I will give credit where credit is due: earlier western childrens’ cartoons I grew up with like Hey Arnold, and Rugrats, among others, also touched on heavy topics, but Steven Universe was able to take similar ideas (and even more complex ones, concerning mental health and relationships) and expand on them outside of contained episodes and/or short arcs. These themes, which were a part of the show’s overarching story, spanned across its entirety. Continuity was rampant.

What did this mean? It meant kids cartoons didn’t have to be silly and fun all the time and characters weren’t just actors playing a part in 11-minute skits. Steven and the gems would remember things that happened to them, and it affected them and how they would function and play a part in their story. This was a huge deal to me as a teenager. I always wanted the cartoons I grew up with featuring kid characters to feel more. In my own work, I often felt discouraged when combining a fun, cutesy western art style with themes as dark or layered as anime would cover. I always thought it had to be one or the other because an audience wouldn’t take a combination of the two seriously enough, based on discussions I had with classmates, friends, and online analysis I read at the time. Steven Universe proved to me otherwise. This show was opening the door for future cartoons exploring in-depth, adult concepts. I felt so seen as a kid, and was inspired to stick with what I love doing.

I was actually very worried about the show’s survival. It was in fact immensely underrated and the fandom was miniscule. Then in 2014, JailBreak dropped, and it’s popularity exploded. Part of it was because of the complex plot and the themes it was covering like I mentioned, but also because of its representation.

I remember when fandom theorized that Garnet was a fusion due to grand, tragic reasons. Turns out, she’s simply a metaphor for a very loving w|w relationship. This was huge. I cannot stress how important it is that we continue to normalize healthy canon queer relationships in childens’ media, and Steven Universe finally was the first to do that proper. Introducing these themes offers the chance for a kid to sit there and ask themselves, “Why is this demonized by so many people?” I asked myself exactly that. Ruby and Sapphire were my cartoon LGBT rep. They were the first LGBT couple I ever ecstatically drew fanart of. I was dealing with a lot of internalized homophobia at the time, and they showed me that I was allowed to love women and feel normal about it. The process of overcoming this was a long one, but they played a part in my very first steps into becoming comfortable with my sexuality. I could go on and on about it’s representation in general-- how it breaks the mold when it comes to showcasing a diverse set of characters in design, in casting, and in breaking gender roles. It’s focus on love and empathy. Steven himself is a big boy, but he's the protagonist, and the show never once makes fun of his weight, or any other bigger characters for that matter. It wasn’t hard to see why the fandom had grown so large.

Fandom was always a joy for me. It was a hobby I picked up when I was in middle school, like many of us here did. I would always cater my experience to fun, and fun only. I only started getting more deeply involved in SU’s fandom when I had just turned into an adult. During the summer of 2016, between my first and second year of college, I drew for the show almost every day non-stop when the Summer of Steven event was going on and posted them online. This was a form of practice for me in order to become not just more comfortable with experimenting with my art, but also to meet new artists, make new friends, and learn to interact with strangers without fear. I dealt with a ton of anxiety when I was in high school. When I was a senior applying to art school for animation, I decided I was going to overcome that anxiety. I made plans to take baby steps to improve myself over the course of my 4 years of college. Joining the fandom, while unforeseen, was definitely a part of that process. I started feeling more confident in sharing my ideas, even if they were fan-made. I fell in love with storyboarding after that summer, when I took my first storyboarding class, and genuinely felt like I was actually getting somewhere with all of this. I remember finally coming to a point in my classes where I could pitch and not feel hopelessly insecure about it. I was opening up more to my friends and peers.

But this process, unfortunately, came to a screeching halt.

My life completely, utterly crumbled under me in the Fall of 2017 due to a series of blows in my personal life that happened in the span of just a couple weeks. My mental health and sense of identity were completely destroyed. All of that confidence I had worked for-- completely ruined. I was alone. I nearly died. My stay at college was extended to 4 and half years, instead of the 4 I had intended. I lost my love for animation-- making it, and watching it. I could no longer watch Steven Universe with the same love I had for it beforehand. It’s a terrible thing, trying to give your attention to something you don’t love anymore, and wanting so desperately to love again. I dropped so many things I loved in my life, including the fandom.

Healing was a long and complicated road. I continued to watch the show all the way up until Change Your Mind aired in the beginning of 2019, and while I still felt empty, that was definitely a turning point for me with it’s encapsulation of self-love. I was hoping James Baxter would get to work on Steven Universe since he guest-animated on Adventure Time, and it was incredible seeing that wish actually come true. The movie came out and while I enjoyed it and thought highly of it, I was still having issues letting myself genuinely love things again, old and new. It was especially difficult because cartoons were my solace as a kid, when things got rough at home. I remember feeling sad because the show ended, and not getting the chance to love it again like I used to while it was still going.

By the time Steven Universe Future was announced, I was finally coming around. I was genuinely starting to feel excitement for art and animation again. I wasn’t expecting there to be a whole new epilogue series, but happily ever after, there we were! Prickly Pear aired, and the implications it left in terms of where the story was going did it. I was finally ready to let myself take the dive back into fandom in January of this year. My art blew up, something I wasn’t expecting considering my 2-year hiatus. Following this, I was invited into a discord server containing some of the biggest writers, artists, editors, and analysts in the fandom. I had no idea there were so many talented people in the fandom, some already with degrees, some getting their degrees-- creating stuff for it on the side just for fun. The amount of passion and productivity level here is insane, and so is the amount of discussion that has come out of it.

I didn’t realize it at first, but it was actually helping me gain back the courage to share ideas. I lost my confidence in pitching while I was taking the time to heal, and graduating meant there would no longer be a classroom setting I could practice in. This group helped immensely.

I have made so many friends through this wonderful series, and I have so many fond memories talking to like-minded creatives, getting feedback and a myriad of sources for inspiration, as well as all of the memes and jokes and weekly theorizations that came about as we all waited on the edges of our seats for episodes to air. I needed this so badly, I needed to get back in touch with my roots, when I would go absolutely hog-wild over a cartoon I loved with people who loved it as much I did. Future has been a blessing for me in this way. I graduated feeling like I was back at square-one, but now I feel like I’m on my way again.

It’s 2020 and while I’m doing great right now, I am honestly still recovering from the total exhaustion that followed after graduating a few months ago, and finally leaving the campus where my life fell apart behind. Needless to say, watching Future was like looking into a mirror. Watching one of my favorite characters of all time-- one that grew up with me-- go through so many of the same things I went through not too long ago was absolutely insane to watch unfold. It’s such an important thing too, to show a character go through the process of breaking down over trauma and all the nasty things that come with it, and to have them go on the road to healing. Steven got that therapy. He wasn’t blamed. The gems were called out. The finale was everything I could have ever hoped for. The catharsis I experienced watching it was out of this world.

As I continue my own healing journey, I will always look up to the storyboard artists, revisionists, and designers that I have been following over these past 7 years, as well as the new ones introduced in Future. It's been such a joy watching these artists release their promo art for episodes, talk about their experiences working on the show, and post the work they've done for it alongside episodes airing.

Thank you Rebecca Sugar, the Crewniverse, and the fans, for making this such a truly wonderful and unique experience. Thank you for reminding me that I am, and always will be, an artist, a cartoonist, and a fan. Thank you, my followers, for the overwhelmingly positive response to my artwork. I have had so much fun interacting and discussing the show with you all again over these past few months. Steven Universe and it’s fandom will always have a special place in my heart, and it will always be a classic that I will return to for comfort and inspiration for decades to come. I am sad that the cartoon renaissance is over, but so many doors have been opened thanks to this show. I am so, so excited to see what this show will inspire in the future, and I hope one day I get the opportunity to be a part of that.

Goodbye Steven, thank you for everything. I wish you healing, and I wish Rebecca and the team a well-deserved rest. ♥️

-Cynthia D.

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duckprintspress · 2 years

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"And Seek (Not) to Alter Me" Story Teasers: Adrian Harley and Sanjita Jain

Presenting And Seek (Not) to Alter Me: Queer Fanworks Inspired by William Shakespeare's "Much Ado About Nothing"

Duck Prints Press has launched our second Kickstarter, running now through April 14th, 2022 - And Seek (Not) to Alter Me, a gorgeous collection featuring the work of 16 authors and 16 artists in a full-color, A4 size soft cover size-style book!

Today, we're highlighting 2 more of our authors...

Author Spotlight: Adrian Harley

Biography: Adrian Harley is an almost-lifelong North Carolinian and a fantasy fiction aficionado who didn’t start delving deep into fandom until adulthood. They are an editor of research by day and an aspiring novelist, also by day. They go to bed early. They have short stories forthcoming in OFIC Magazine and future Duck Prints Press anthologies. They live with their husband and a perfectly reasonable number of cats.

Link: Twitter

Story Title: Some Sparks That Are Like Wit

Tags: coming out, found family, modern setting, trans character

Teaser:

He lost count of the articles he read on transmasculinity. He joined a Reddit group. He checked out books from the library. He spent so long on name websites that diaper and baby store ads stalked him throughout the internet. Early in the haze of this process, he picked the name Ben, but he still went to four different name sites just to be sure. Just to be sure! He’d never been indecisive in his life! No, he picked a stance or food or outfit or bar and stuck with it. And if people made fun of him or looked down on him for it, he made a joke out of the whole enterprise but, crucially, did not budge a fraction of an inch. That was his way.

With all the pep talks he was giving himself about decisiveness, he should have known that he’d end up coming out by accident.

Author Spotlight: Sanjita Jain

Biography: Hi! I’m Sanjita (she/they). I’ve been a writer since I was 12 years old, which is when I started reading fanfiction and almost immediately felt compelled to write some, too. I started in the Percy Jackson fandom, then moved through various medias until my stories started becoming so AU they were practically my own. While I’ve never published original fiction before, I’ve been publishing fanfiction steadily over the last decade across various usernames, and have published articles under my given name for multiple genres: interview, research, and more. I’ve also begun songwriting, and recently had one of my songs incorporated into a video game!

My fiction writing tends towards introspective, character-driven short stories, often laden with metaphor and double meanings. I love flowery imagery and poetic prose, and making characters suffer in the name of growth. More than that, I love using fiction as a way to connect with others: both through the text and through the process of writing. I’ve been running a fandom server for the past two years to build community and support other fanfic writers. I’ve also run two to three prompt months per year, and I’m excited to take on the beta and co-head mod role for a current zine!

When I’m not writing, I’m studying (for grad school, for a future medical school, for research work). Any time after that goes into reading as much as possible, or recently, graphic design, as I start creating graphics to enhance the quality of my events. I love talking to people who want to talk to me, and I will sleep anytime I’m presented with a soft surface to lay on (and sometimes even without). I can’t wait to share my work with you, thank you for taking the time to read it!

Links: Archive of Our Own | Tumblr (fandomsilhouette) | Tumblr (nottesilhouette)

Story Title: find ourselves unstuck

Tags: character growth, modern setting, panic attacks, self-destructive behavior

Teaser:

“That’s fucking different. I could’ve made better choices; you had no other choices to make. This was my fault.”

You can’t take my mistakes away.

But Hero can take herself away. She flees, retreating to a rooftop where the air is thin enough to breathe past the terror in her chest, and somehow this surrender feels like a victory.

***

Learn more about this project by checking out our Kickstarter! Running now through April 14th, 2022!

#duck prints press #our titles #and seek not to alter me

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felassan · 3 years

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Dragon Age II and Dragon Age: Inquisition concept art & assets from a 2016 talk/presentation by Matt Rhodes, titled “The World of Concept Art” [watch link & source]

It’s an interesting and insightful talk which I recommend watching, especially if you have an interest in concept art and related things like character design and how it fits into the overall game dev process. It’s also interesting to see a bit about how the DA team’s art direction/process has changed over time between games, and hear a bit about how they’ve been doing things going forwards for the next game.

This is Part 1. [Link to Part 2]

(Some notes on the commentary given on the images and in general in the presentation under the cut due to length.)

On image 2: DAII had a fast, hot production period where decisions were made very quickly. The devs knew that the central hub, Kirkwall, had been a center of an old slavery-based empire in the past, and wanted to have indications of this [in its art direction]. There were going to be giant statues that the PC eventually fought - on the right is the design for the statues as they originally were. In the top left, this is all they had for the location [owing to the intensive prod period]. They also had a general idea that they wanted to have tableaus that came to life, shown in the bottom left.

On image 3: Going back to the design of the giant statues, the beautiful golden clockwork version of the design doesn’t really say ‘tool of an ancient slavery-based empire’, so they took the model and tried to come up with something that had more of the kinds of shapes that get into the back of your head and say things like ‘aggressive, hard, simple’.

On image 4: So here they had started doing concepts trying to find some of the right poses, accessories etc that these things would have. One of the hearts of the internal ‘DA art [direction] codex’ is “gray and pointy”; if they give a concept like this to [then] Art Director Matthew Goldman he instinctively wants to go “Yes! Approve!”, and so has to kind of reign himself in a little bit.

On image 5: This is where they ended up getting to and how the concept art turned out in terms of the model, with some negotiation back and forth. This is an example of how their art direction process now tries to tell a story with the art (i.e. it tries to support the story through art aspects of the setting and the environment). Historically, they would have just thrown the French-looking, Baroque clockwork version of the statue into the game and gone with it. They are getting more and more intentional with this sort of thing.

On this image: This was an internal image made for internal discussion. The characters in it aren’t ones that exist or that became other characters, with the exception of the Warden, who kind of became Blackwall. In this image, they were trying to think about visual separation among members of a group at the most basic level (simple graphic design principles, like different shapes and colors). This image is part of trying to solve the design problem of having 4 different characters on-screen in the party at once in their games - as in, players of course need to be able to easily tell who is doing what and where.

A general comment: At BioWare, the concept artists nowadays involve themselves in the character design process much earlier than they used to. Historically, as in earlier games, the writers would write up a bunch of characters and then concept artists would be brought in to draw them. Through negotiation and back-and-forth they would then come up with something. Nowadays though, the concept artists are involved from Day 1. The writers now write down 2 words to describe a character and the artists do sketches based on that. The writers then will write a sentence and the artists will do more drawings based on that. Then it progresses to a paragraph and drawings based on that and so on. In this way it goes back and forth and they build it up so that the visual aspects and the writeup/content of the character are developed completely in tandem, complimentary to one another. This is their goal. They aren’t quite there yet, but this is what they’re trying to strive for in this area.

On image 6: These are Dorian concepts. His initial 2-word writeup was “rockstar mage”. They had different artists take different swings at him. The middle concept is Matt’s. The third concept is by Casper Konefal. Everyone was very excited about it and so it was then taken up to a more final stage (image 7).

On image 8: Casper is one of Matt’s favorite concept artists because he goes in and lovingly details absolutely everything - all the pieces of jewelry etc. Each ring has a story. This attention and level of detail and thought behind it adds authenticity and verisimilitude.

On image 9: In game development, there is an effect on character design that can happen during review meetings. The concept/character artist will know what they need visually from a particular character’s design in order to visually tell the story and to help the character support that. Oftentimes, people who aren’t artists don’t have the language to describe this or realize that’s what’s going on in a character’s design, and instead they just see imperfections in the presented faces. What this can lead to is that unintentionally a group review meeting can slowly trim away all the features of a character that make them interesting or distinct. This is why, for many characters across the game industry, if they were shaved and had their facial decorations etc removed, it would be kind of hard to tell many of them apart, as they have all been subjected to this sort of “council sandblasting” process. Casper figured out an idea to help with this; annotating concept drawings with artistic knowledge that artists know intuitively, as has been done here. Artists know, for instance, that certain shapes and angles can allow for certain assumptions about the character to be made (for example, think about Cassandra’s personality and then consider the angular, straight strong lines that make up her face). Annotating like this and then presenting both versions alongside one another helps these aspects of character design be recognized in the review process, and helps characters remain more distinct.

On image 10: They knew that in DAI there was going to be a character who would be with the PC for the whole game - the humble little hermit, non-intrusive, someone quite closed off who the player wouldn’t know much about. “[quote] And at the very end of the game you’d basically find out that he’s Loki himself, or the embodiment of this ancient god that had been tricking you and basically manipulating you the whole time, characterized by a wolf.” And so Nick Thornborrow hung a wolf’s jaw bone off his neck and it was just there in plain sight the whole game. Because this detail was in the drawings at an early stage, it sparked conversations with the audio department, and the audio department could add touches from their end like having wolves howling when he walked into a new area. They could then get all of these different elements and things that could be hinted at, so that when you play the game a second time it’s like ‘They weren’t even hiding it!! It was there the whole time!!’ He loves that.

A general comment: Any one of BioWare’s 3D modelled characters standing in-game talking or animating probably ends up costing them something in the 40,000 - 60,000 dollar range (they calculated this).

A general comment: For DAI, the concept artists also started to get heavily involved in the storytelling side of things at a deeper level, doing things like quick’n’dirty storyboards for the cinematic designers and spending more time with the writers talking about what emotions they were trying to convey at different points and so forth. Since starting doing this, this has become a built-in part of their process.

A comment in the context of giving advice to up-and-coming and student artists, on the subject of how concepts and ideas are naturally thrown out during the process of iterating on ideas etc: “[quote] Right now, the project that I’m working on that I can’t talk about, I have 3 versions of the story in the garbage, and it’s awesome. Because now I’m working on the fourth with our lead writer and it’s so much better than it would have been otherwise and we’re doing it so much earlier so that we can actually change things up.” Said project could be DA4 or something else. (Please remember these comments were made in November 2016. MEA came out in 2017 and DA4 has been rebooted)

[source]

#dragon age 4 #the dread wolf rises #dragon age #bioware #solas #cole #cassandra pentaghast #slavery cw #spirit boy #my lady paladin #long post #longpost #da4 tag for the insight into post-DAI era art direction/design process #& for the reference to the project which may or may not be da4 #highlights compiled in case the talk as-is isn't accessible to someone

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unwhitewashthebadbatch · 3 years

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Disney Email Draft 2

(going under a cut because it's much longer. Here is the Google Doc link for anyone who would like to comment directly)

Reminder that we are encouraging critiques and comments regarding this email!

To Bob Iger, Kathleen Kennedy, Dave Filoni, Jennifer Corbett, and the creative team of Star Wars: The Bad Batch:

We hope this email finds you all well. We are fans of color, disabled fans, neurodivergent fans, and Jewish fans writing out of concern for the portrayal of our communities in the Disney+ series Star Wars: The Bad Batch. For several months now, we have been campaigning on social media to spread awareness about these concerns through #UnwhitewashTBB, a movement we began to raise awareness about the ways in which the series has poorly represented several minoritized groups of people.

Just like the creators of Star Wars: The Bad Batch, all of the creators of #UnwhitewashTBB grew up with Star Wars as the backbones of their childhoods, and for many of us, Star Wars: The Clone Wars was crucial to our development as artists, writers, creators, and lifelong Star Wars fans. We are all firm believers in the phrase “Star Wars is for everyone”, and we would like to see Disney support that message by hearing our plea.

As fans of color, as disabled fans, as neurodivergent fans, and as Jewish fans, we’ve seen ourselves on screen in both good and bad ways, but recently it has been more the latter than the former. One such reason is Star Wars: The Bad Batch, a show whose premise piqued many fans’ interest, but whose main cast has left an increasingly sour taste in the mouths of those who watched.

The series follows an elite squad of clone troopers who have named themselves The Bad Batch, due in part to their series of mutations that gives them an edge over regular clones on the battlefield. These mutations drastically altered the appearance of each of the members to a generally lighter, more Caucasian appearance--one that is inconsistent with how the original Jango Fett actor Temuera Morisson looks. Fans take issue with the implications in the writing and design of The Bad Batch: that in order to be elite, special, and better than one’s contemporaries--in order to have a story worth telling--one must also be white or as close as possible.

Merriam-Webster defines whitewashing as “to alter (something) in a way that favors, features, or caters to white people: such as to alter (an original story) by casting a white performer in a role based on a nonwhite person or fictional character” The #UnwhitewashTBB movement comes with two carrds explaining the grievances of the fans. A summary for each character is given below:

Sergeant Hunter, the leader, closely resembles Sylvester Stallone’s Rambo character, despite being a clone of a man of color. The importance of his character, the fatherliness he has with Omega, and his centrality to both their Season 7 appearance in The Clone Wars and the series itself sends the message that important people look

Wrecker is the demolitions expert, and he’s the only member of The Bad Batch with features similar to that of a Maori man’s, like Temuera Morrison/Jango Fett. He’s large with broad features, brown skin, and is a stereotype of men of color. His personality as first introduced to the audience was that of a loud, aggressive, impatient, slow man who called frequently for violence/destruction. He falls into the “Loveable Brute” trope, an observation that is supported by statements from supervising director Brad Rau and voice actor Dee Bradely Baker that Wrecker is like a little boy and has a heart of gold.

Crosshair is the sniper on the team, and he’s the most derisive of the “regs”--the regular clone troopers. Taken in conjunction with his appearance (inspired by Clint Eastwood), the various messages being sent by the writing and appearance of the other team members, and his comment about the regular troopers--the he and the Batch are superior and thus should join the Empire--his character pushes forth a message that there is superiority inherent in whitened or fully white features.

Tech, the technology specialist, has incredibly light skin and hair compared to the regular clones. His mutation made him a genius, with an IQ that outpaces that of any other clone in the Republic. Fans of color are upset that Tech’s genius mutation apparently also affected his skin color, as now this creates a direct link between intelligence and appearance/race. Contrast Tech with Wrecker, who is the exact opposite in every way, and this harm becomes only more apparent. In addition to this, many Autistic fans of The Bad Batch have noted that Tech, being “on the spectrum” (according to Dee Bradley Baker) is a popular stereotype of Autistic people: a nerdy-looking white man with a formal way of speaking who’s a genius but dismissive of others’ feelings. Baker also plays Tech with a British accent, further cementing the harmful message that intelligence is in some way connected to ethnicity.

Omega is the newest member of The Bad Batch. Despite being a pure Jango clone, she’s come out looking nothing like Boba Fett--she has lighter skin than he does, as well as blonde hair. Fans are concerned about the connection between genetic purity and light skin/blonde hair, as this is directly harmful to the people of color who don’t sport those features.

Echo is the ARC Trooper of the team, but many fans--disabled fans especially--fear that his series of disabilities have reduced him to the “droid sidekick”. Echo does not have a prosthetic, instead sporting a scomp-arm attachment that allows him to plug into computers but would otherwise hinder him greatly in daily tasks. He rarely is the focus of an episode, and the series has not given him as much attention as it has given characters like Hunter and Omega. Disabled fans worry about the lack of attention given to his medical trauma, and fans of color note that his skin color goes beyond what a brown man who’s been without sunlight for a few months would look like.

The issues do not stop here. Asian fans noticed and were harmed by a Tiananmen Square parallel in 1x10, “Common Ground”--a recreation that was led by an Eastern Asian-coded woman. Jewish fans are hurt by the antisemitic stereotype in Cid the broker, a greedy lizard woman who speaks with an accent commonly associated with New York Jews--and who is played by Jewish actress Rhea Perlman. Black fans were harmed by the whitewashing in Saw Gererra and the one other Black character in The Bad Batch being a Black woman who works for the Empire and burns civilians alive.

The full analyses can be found in the official #UnwhitewashTBB carrd: unwhitewashthebadbatch.carrd.co. We respectfully ask that you read this carrd and give a public statement in response to these criticisms.

Our movement has only gained traction since its inception on March 30th, 2021. A few months later, we wrote and released an open letter on Change.org to be signed by supporters of #UnwhitewashTBB, and every day it gains new signatures and draws nearer to the next milestone. A survey we released over a month ago has received over 1,100 responses and also continues to climb. The latter displays a range of opinions regarding The Bad Batch, but one sentiment stands out: Hunter, Crosshair, Tech, Wrecker, Omega, and Echo are written in stereotypical and actively harmful ways. Respondents were shocked at outdated portrayals of Autism, sickened by antisemitic stereotypes, and confused at how, in this current social and political climate, a family-friendly corporation like Disney could greenlight a series that sends a message that is the complete opposite of “Star Wars is for Everyone”. Some sample responses are below:

“I would just like to elaborate on the ableism aspect. As a amputee myself, I don’t like how Echo’s trauma has been ignored. The whole reason he is with the BB is because of what he went through. Losing one limb, never mind multiple, it’s extremely difficult. They made it seem like just because his prosthetic can be of use on missions, that means he isn’t grieving the loss of his actual hand. There is no healing or evolution. It also feels wrong to only address the fact that echo uses prosthetics for the sake of hacking into machinery. Prosthetics are so personal and become a real part of who you are as a person.” - Respondent 130

“...I can't believe Star Wars is still doing this, and that an entire team of animators with a huge budget can't get skin tone right. I didn't even know the clones were supposed to have a NZ Māori accent until a friend told me. That's a big deal, since I live in NZ and hear it every day…” - Respondent 209

“As someone who is neurodivergent myself, Tech and Wrecker just. sting, you know? in a “is that really what you think of us” kind of way. I grew up in an environment where intersectional equality was heavily discussed, and I can still miss things. Having Jewish friends does not mean that Cid’s antisemitic implications can’t go right over my head until someone points them out (thank you).” - Respondent 87

“As a fan of color, its irritating and painful to watch and be brushed off as "lighting issues" and see justifications made by white fans and producers...It also feels very bad to me that TCW spent 7 seasons with several arcs emphasizing that the clones were all as individual as a 'normal' person, but then undo all that with TBB, which centers a group of "special" clones (who are suspiciously white) and have them treat the "regs" as a homogeneous group who are lesser than them, and then expect us to find it within ourselves to put that aside to enjoy the MCs. The way the treat "regs" is very offputting and it made me dislike them since their introduction...Star Wars is no stranger to racist and antisemitic media, but I must say, the blantancy of Sid, a greedy lizard who essentially financially enslaves the protaganists, being Jewish-coded and being protrayed by a Jewish voice actress is really next-level even for Star Wars. As a Jewish fan, it really grates on me.” - Respondent 40

“I’m disabled and autistic, and the ableism is appalling to watch. Watching Echo be treated as subhuman for needing machinery to survive makes me feel like having implants to keep my spine from breaking itself would have me be the pitied member of any group. I am disgusted by the blatant antisemitism, as a fair number of my friends are Jewish and it hurts me to think that people can so easily hate others based on internalized stereotypes. Me and my friends have also critically analyzed the fact that, despite being clones of a character portrayed by Temuera Morrison, for some reason the bad batch look nothing like him in any way. No resemblance in any way: just a bunch of someone’s badly worked characters fraught with disgusting writing decisions and design choices that make no sense. It makes me angry to think that the writers for this show, and to an extent any modern writer, would believe that using harmful tropes to make a story is acceptable and someone brings in profit. I tried to watch it out of fact that my family likes Star Wars and we all grew up watching it, but all of these unhealthy assumptions and terrible choices in terms of writing and design leave a bitter and nauseating feeling.” - Respondent 605

In the survey, various questions were asked about fans’ feelings about The Bad Batch. Before reading the carrd, 34.7% of fans answered that writing was their least favorite aspect of the series, with the next being the main characters. Elaborations in the following free write made clear that the whitewashing and stereotypical writing were huge factors of these opinions. One a 1 to 5 satisfaction scale, 68.1% of respondents rated their satisfaction at a 3 or lower--again, due to the whitewashing and other issues respondents perceived in The Bad Batch. When asked to analyze pre-post carrd-reading feelings regarding the above issues, every category saw a marked increase in awareness of the issue at hand. The perceived prominence of the whitewashing went from 81.3% to 91.4% in respondents. The awareness of ableism jumped almost 30%, from 52.6% to 84.4%. The majority of respondents (59%) were not aware of the antisemitism in the series, but after reading the carrd, that statistic flipped to 80.5%, a near 60% increase from the original 26.7%. Regarding the other racist issues, the respondents went from 63.1% to 83.7%.

Fans of color, neurodivergent fans, disabled fans, and Jewish fans have been waiting for the day where we can see ourselves on screen a level of attention and care that makes us feel even more at home in the Star Wars community . If Disney’s message is truly family-friendly, if Star Wars is for everyone, then Disney needs to support these views with not just words, but with actions. Resolve the racism in Star Wars: The Bad Batch, take out the antisemitism, and treat your nonwhite, disabled, and neurodivergent characters--and fans--with the respect and dignity they deserve.

This will not be a benefit solely to the fans who are asking to be represented properly. In today’s time, popular media is facing a reckoning; media that is inclusive of and respectful towards minoritized groups ends up with leagues more popularity, high ratings, and good reviews than those that don’t. A recent and prominent example is Shang-Chi and the Legend of the Ten Rings, a movie for which the inclusion of Asian-Americans at nearly all levels of production boosted its image and aided in its successful box office release. Black Panther is another prominent example--a movie spearheaded by Black people that completed its box office run at more than five times its initial budget in total revenue. The proper representation of people of color is a two-fold benefit.

Star Wars: The Bad Batch already has beautiful animation that reminds many longtime Star Wars: The Clone Wars fans of their childhood.

It is our hope that you will take our concerns as well as the concerns of others into account, and address the issues that we have outlined in order to better reflect the Walt Disney Company’s commitment to inclusive, diverse entertainment for audiences of all ages. Thank you for your attention to this issue.

Respectfully,

Fans of The Bad Batch

#mod CH #email #disney #star wars #the clone wars #the bad batch #unwhitewashtbb #swtbb #racism #antisemitism

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architectuul · 3 years

Text

Emblem Of A Better Germany?

In 2014, at the 14th Venice Architecture Biennial, Alex Lehnerer and Savvas Ciriacidis placed the armoured limousine once used by then Federal Chancellor Helmut Kohl in front of the German Pavilion.

Read also “The Invisible Church”, “What Fundamentals? Revisiting Treasures in Disguise: The Ominous Ruins of Montenegrin Modernism” and “The Greek Experiment”

It was a black Mercedes-Benz car with its famous star that added the air of a different era, the Federal Republic of Germany before the fall of the Wall, when its capital was Bonn on the Rhine River in West Germany, and not Berlin. Placed before the steps of the monumental façade of the German pavilion, once build as the Bavarian pavilion and then decisively altered by Nazi Germany in 1938, every German visitor would read this car as a sign, an emblem of what came to be known as “Made in Germany”, high quality cars, machines, and other industrial goods that were seen as responsible for the so-called “Wirtschaftswunder” (economic miracle) after WWII, the economic rebuilding of West Germany.

On the one hand, this car is a desirable object, vintage and expensive. In my family, you knew you had made it when you could afford a Mercedes-Benz. You could tell, when my parents bought their first Mercedes-Benz, they were full of pride. And they still drive the same car and feel the same way about it, although now it’s a rather old car.

On the other hand, you could also read the continuities of 20th century German history into this juxtaposition of car and pavilion. Because what is the link between the Nazi façade and the later car? You might answer this question with the seamless integration of Nazis in German politics and business and the financial gains of many German companies (including Daimler-Benz) during the Nazi period thanks to forced labor, expropriation, and simple opportunism. The juxtaposition places you, at least as a German, between guilt and pride, haunting memories and desire.

Adjacent to the left of the big front door of the German pavilion in Venice, the visitor was greeted by an elegant section of a roof jutting out above a much smaller door. It was a hint that the interior of the pavilion was taken over by another structure, a partial replica of the former Chancellor’s residence in the former capital of the country formerly known as West Germany. A somewhat nostalgic remnant of a bygone past, a country and political system that were fundamentally altered by the fall of the Berlin Wall and the reunification of Germany. It was the Germany I was born into, with Bonn being the capital until 1999 and the Chancellor’s residence – or Kanzlerbungalow (‘Chancellor’s bungalow’) – constantly in the news. As much as it was nostalgic, Lehnerer and Ciriacidis’ pavilion had an uncanny feeling to it. Inside and outside were suddenly called into question, different times collapsed into each other, with the democratic bungalow inserted into the Nazi pavilion. Or was the story told more complex than that, as with the car parked in front of the pavilion? The story was, for sure, one about architectural representation.

The Chancellor’s bungalow was built in 1964 by the architect Sep Ruf for Ludwig Erhard, the second Chancellor of West Germany. Erhard was the German politician who stood like no other for the ‘economic miracle’ of West Germany after WWII. As the Federal Minister of Economic Affairs under Chancellor Konrad Adenauer from 1949 until 1963, when he became Chancellor himself for three rather unlucky years, he promoted what he termed the social market economy and gained widespread popularity with this economic concept. Although Erhard worked for the German state as an economist during the war, he rejected Nazism and was in contact with members of German resistance groups. It seems fitting therefore that as Chancellor he hired the fellow Bavarian Sep Ruf to design the new Chancellors residence in Bonn. Ruf was known for his functional designs in the tradition of the Bauhaus and older modern architects, who had mostly emigrated during the 1930s, like Ludwig Mies van der Rohe. Ruf’s elegant bungalow in Bonn payed homage to designs of the Bauhaus and Mies in particular. The latter’s Barcelona Pavilion, the German Pavilion at the 1929 International Exposition in Barcelona, has often been mentioned as a reference.

Dining room of the bungalow of the Chancellor in Bonn.

By 1964, Ruf had already worked for the federal government several times. Together with another modernist architect of the postwar period, Egon Eiermann, he had for example built the German pavilion for the world fair in Brussels in 1958. He was, thus, well informed about West Germany’s representational needs. The Chancellor’s bungalow spoke not only of the Bauhaus and the better, modern Germany that was supposed to be represented by buildings in its tradition like those of Ruf, Eiermann and others, but it also established a clear link to modern architecture internationally. Looking at the bungalow, some might be reminded of the famous Case Study Houses at the West Coast of the USA. After all, it was the declared aim of West German politicians to make the Federal Republic part of the Western political sphere (‘Westbindung’, or policy of the alignment with the West). I would guess that these two aspects, the tradition of a better, modern Germany and the alignment with the West, were first and foremost represented by Ruf’s bungalow in Bonn.

The second Chancellor of Germany, Ludwig Erhard.

The third Chancellor, Kurt Georg Kiesinger, took over from Ludwig Erhard in 1966. He was a former member of the NSDAP and disliked the Chancellor’s bungalow for its functional, ‘cold’ design. He had many things altered before he moved in and brought with him antique furniture pieces in stark contrast with Ruf’s modern architecture. Most of the other Chancellor’s after him agreed with Kiesinger’s view on their official residence. They were looking for something more comfortable and cosy (gemütlich). Under Chancellor Helmut Kohl the interiors had changed so fundamentally that it was hard to still see Ruf’s designs behind thick layers of carpet and bulky sofas and chairs. Not to speak of the new 1980s glittery lighting. Although partly preserved in the original building in Bonn, these alterations, additions and layers were not present in Venice.

Prince Philip, Queen Elizabeth II and the ex-Chancellor of Germany Helmut Kohl front of the bungalow of the Chancellor in Bonn.

It was a clearer picture or juxtaposition that Lehnerer and Ciriacidis drew. Only the brief blaze of fire in the Chancellor’s fireplace could have been something of a reminiscence to the other, the not-so-modern, not-so-open, cosy Germany that gathered around home-and-hearth. The Germany I grew up in. Just like the Mercedes-Benz, a fireplace was something quite desirable for the generation of my parents. You had to have one. And now, decades later, my parents even installed a new one. As if you couldn’t or wouldn’t want to live without it. Herman Miller’s Eames Collection that Erhard chose for his initial version of the bungalow at the River Rhine might have always been too expensive for most Germans, but they also represented a certain idea of Germany, like the whole bungalow an internationally oriented, better Germany – and not necessarily the real one. I wonder, does the real, and not the ideal, ever get represented? It might be an interesting task for a future German pavilion at the VAB.

The bungalow of the Chancellor in Bonn.

West Germany claimed the Bauhaus as its heritage since the 1950s, through the founding of the Bauhaus-Archiv in Darmstadt in 1960, countless exhibitions and books and buildings seemingly in its tradition (there were similar efforts in the GDR a little later). 2019, the year of the centenary of its founding, saw the Bauhaus at the height of its representational instrumentalization, it had become a major part of German cultural diplomacy. Yet, the Bauhaus has oscillated between national claims and International Style even before it was closed by the Nazis. This oscillating reception of the Bauhaus was crucial in making sure that the Bauhaus would continue to be productive until today. Looking back in 2020, the German Pavilion at the 14th VAB is also a vivid illustration of the complicated history of the Bauhaus and Germany.

***

VAB 06: Florian Strob

Florian Strob is an author and curator in the fields of architecture, literature and contemporary art. He holds a B.Sc. in Architecture from the Technical University in Berlin and a PhD in Medieval and Modern Languages from the University of Oxford. His main research interests are modern architecture, modern poetry and experimental prose, and the connections between built spaces and text. Florian currently works at the Bauhaus Dessau Foundation, where he curated the exhibit “Bauhaus Buildings Dessau: Originals retold”. For this, Dessau’s Bauhaus buildings, facades and interiors are on exhibit. They have been given a new and coherent narrative through an exclusive series of video clips which set historical images in motion using 2.5D animation. He also organized the international conference “Collecting Bauhaus” in December 2019. He is the head and curator for the Bauhaus residency programme 2020-2022, which invites artists and writers to live, work and exhibit in the historic Masters’ Houses in Dessau. The most recent exhibition in this series, “Gropius House || Fictional. Inge Mahn and Sujata Bhatt”, is on show until 20 September 2020. Most recently, Florian published “Bauhaus Dessau Architecture” (Hirmer 2019), including new photographs by Ostkreuz photographer Thomas Meyer. He is author, editor and contributor of several other books, including “Hiatus. Architekturen für die gebrauchte Stadt” (Birkhäuser 2017) and “Schreiben und Lesen im Zeichen des Todes. Zur späten Prosa von Nelly Sachs” (Winter 2016).

#vab #venice architecture biennial #cold cases

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king-mera · 3 years

Note

What’s your opinion on Extreme Ghostbusters?

Ooh, that’s a good one. I haven’t watched XGB in a while, so my memory of some details may be rusty~

The things I like: all the ghost designs for this show and how they pushed for more dark and grotesque looking monsters. Previous villains in the franchise were certainly spooky, but these had a distinct look thanks to Fil Barlow. He was the concept artist who also worked on Godzilla The Animated Series (Another great show!). I appreciate the nods to classic horror as well as the original creatures he came up with. The more diverse cast was also a welcome addition. Not to mention, all the new gear the Ghostsbusters got. Overall very creative art direction and ideas!

The things I don’t like: The setup feels odd at this point in the franchise history. I feel like the whole “going out of business and starting up again” works for Afterlife’s premise because we’ve been waiting 30+ years for new content, but unfortunately the franchise already did it twice with GB2 and in XGB. I don’t think it works here because, again, it’s a repeat of GB2 and not enough time has passed in or out of universe. I can forgive that, but there’s some other stuff that feels off too. This team didn’t seem to have the same camaraderie that the OGs had, feeling less like a group of close friends and more like just students/coworkers. Egon and Janine’s relationship is also awkward. I don’t even ship Janegon that strongly, and yet I think they should have just gone ahead and made them a couple. Otherwise, just make it clear the two were only friends and leave it at that. I found it silly the writers kept teasing viewers with Janine’s unrequited crush all those years later (romance isn’t handled well in the canon of ANY GB media IMHO). Theres some other stuff that bothers me too, like how they portray Egon as being in bad shape and acting older than he really is, or the disrespect towards Ray in the series finale (becoming a car salesman? Really? The man is a scientist).

Now, I realize that my list of issues came out longer than my list of good points, but I don’t want to give the impression that I hate the show or anything. I think it’s got a lot of fun stories and great characters, it’s just held back by a few questionable decisions. I don’t rewatch it for fun like I do with RGB, but I do dig the aesthetic. I’d love to see Kyle, Eduardo, Roland, and Garrett come back in some future spinoff!

#ask #letterfromtherefuge #blithering nonsense #extreme ghostbusters #ghostbusters #hey thanks for the ask!#I'm always happy to talk GB #sorry this came out so long haha #I could've written even more but then we'd be here all night

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weaverofthreads · 3 years

Text

On the process of writing a novel...

Ok, so this began as a DM to a very dear friend who had said they were super excited to work on a novel of theirs that they'd abandoned for years, but they felt a bit lost when looking at the project again. They had "too many characters, too many intrigues" and they didn't "know how to create order" for all their ideas. They didn't know "what to keep, what to remove, what to change" and wanted to know if I had any tips.

I began to reply in messages and then realised I needed to make a whole post out of it, so here it is! All 3k words of it. This is for you, darling! I hope it helps.

Things I found extremely helpful when planning my novel for NaNoWriMo this year, after also taking some time off from it.

Most of this comes from Alicia Lidwina’s Four-Part article on her NaNoWriMo prep process, and setting up a writer’s notebook, for 2018. You can find the link to the first part here and I highly recommend you check out the whole series of articles for a more in-depth read.

Content of this ‘essay’:

Preparation, Groundwork, and Materials

Project 'Stats' & Overview

Mood, Moodboards, and Key Imagery

Things to Consider, and Important Bullet Points

Get to Know Your Characters

Chronological Order

Tangential and Preceding Events

Basic Premise, Plot Definition, Sub Plot Ideas

List of Locations

Scenes

Chapter Outline

NaNo Plan

Additional Notes and Tips for Writing

Ok. Let's begin.

First of all, I'm not saying that this is the only way to write or organise a novel. It can be tackled in as many ways as there are writers in the universe. This is just the method I used to get my ideas crystallised and organised.

Preparation, Groundwork, and Materials.

Take your preparation seriously. I bought a cheap but still nice A4 sketchbook with blank paper for maybe £2 at the local hobby store, and used it solely for the purposes of being my Novel Notebook. It doesn’t have to be a pretty, perfect, Aesthetic(TM) journal at all. Its function is to act as a route-guide through the process.

I bought a cute sticker from Etsy and used it as the front cover design so that I liked the book and that it felt a little bit special, without being too intimidating to put a mark in. Then I left the very first page blank, and opened it to the first double page. On the left, I wrote ‘Contents’ and then moved on to the right and wrote ‘Project Stats and Overview’.

I used a pen that was comfortable to write with, which for me was important. I’m a very tactile person, and having nice paper and pens (not necessarily fancy), made the process feel good.

Project Stats and Overview

This is the bare bones of the book, and includes details such as:

Project Working Title: (in my case it’s Weaver of Threads)

Targeted Wordcount: (to give yourself an idea of the scope, but it’s not necessary. For me it’s 50-100k)

Genre: (for me, fantasy)

Series: (will it be one book or more? For me, probably more than one, and at least two).

Inspiration: (here you can jot down all sorts of things which inspire your world and your writing, and it can be anything. In my case, I began with “density and lore, and feeling of being grounded in a real world from LOTR and Tolkien.” And I went on to include other writers and novels in the fantasy genre, as well as elements from our own world, such as Mongolian herding communities and way of life, the history of the Persian Empire, and Renaissance Florence!).

Project Timeline: Give yourself a structure, and be realistic. If you know you’re a slow writer who’s prone to distractions, be generous, but if you’re someone who responds well to short deadlines, tighten the time frame up a bit. I said “November 2020 - November 2021 for the whole manuscript” because I know I’m a procrastinator who gets dejected if they shoot past intense deadlines….

Editing Deadline: December 2021-January 2022. I know I can edit fairly quickly, so I made this one much shorter.

Main Requirements Prior to Starting: What do you need to get sorted before you can get going? It could be purchasing a laptop or figuring out a magic system. In my case, it was the latter.

What Happens in your novel?: This is not ‘what do your characters do?’, but what, in one sentence, actually happens in the book. For Fellowship of the Ring, you could say ‘a diverse group of people assemble and set off together with the goal of destroying the Ring’. LOADS more stuff actually takes place, obviously, but that’s probably the key thing that happens in that book. So, write the same thing for yours. I’m not going to tell you what happens in mine, because that would spoil it :).

That took up the first A4 page of my writer’s notebook, and after that, I moved on to Mood and Key Imagery.

Mood, Moodboards, and Key Imagery

On the left hand side of the page, I wrote down the words and concepts that sprang to mind when I thought of the novel itself. These were in no particular order or placement — just a random cloud of ideas in a rough column on the left hand side of the page — and they included: history, mystery, love, friendship, betrayal, nostalgic, homesick, sense of belonging, sense of place, searching, closeness, secrets… etc. etc.

Then on the right hand side, I wrote down five key words that I wanted to associate with the novel. These would form the ‘visual aesthetic’ in the background of my mind, and could be very easily expressed with a moodboard.

This same process (writing down words and creating a moodboard) could be achieved on a website like Pinterest. Take your time with it, find the right visual clues that really match the essence of your story, and create a final mood board with a limited number of panels that will be your novel’s ‘true north’ when it comes to feelings. If you're artistically inclined too, you could draw sketches of things relevant to your world too.

While this stage is really important for solidifying the feeling and mood of the novel, don’t get stuck here and spend forever procrastinating on Pinterest or whatever. Once you’ve crystallised that ambiance, it’s time to move on. It’s also perfectly fine to come back to this at a later stage if you find yourself running out of inspiration or drifting a bit. Daydreaming, drawing, mood-board-ing are all great ways to work on your novel on days when you don’t feel like writing.

Things to Consider:

Alicia Lidwina asked herself some questions which helped me get past the ‘block’ that I’d created when thinking about the novel, and those were:

What scares me about this story? (in my case it was the scope of it - it was easy for me to get lost in over-thinking tiny details and get too overwhelmed to handle the big picture)

What will readers take away from it? (in my case, I hoped that it was a sense of friendship, people from desperate cultures finding common ground, and a sense of being grounded in a real, tangible world.

What is its selling point? (essentially, why would an agent/publisher choose yours over the next one in the pile?). Don’t be bashful about this. This is your notebook, so if you’re proud of a feature or aspect of the story, write it down. In my case, there is no ‘Big Bad come to destroy the world’, no Chosen One who is the only one who can stop it. There is an antagonist, but it’s on a personal scale, and that’s the selling point. It’s about two people going on a personal journey to uncover a lost piece of knowledge that’s arguably not all that world-changing on its own, but which means the world to them.

What will be the three biggest issues in writing the first draft? Identify the three biggest roadblocks, and then take a bulldozer to them. For me, it was time management, getting mentally stuck, and the sheer darned effort of it becoming overwhelming!

Important Bullet Points

These are five key facts about your novel, distilled from the sections above. They include: What’s at the heart of the story? How long is the story? What’s the narrative focus of the story? What are the maximum number of main characters? And the maximum number of supporting characters (this obviously doesn’t mean you can’t have other, less important characters too!)?

Relationship between the two main characters is forefront

50-100k words

The novel’s focus is on the characters’ main goal (had to be more vague here so I didn't give it away)

2 main characters

3 supporting characters

If you find you’ve got too many main characters (not necessarily a bad thing to have a lot of characters - look at A Song of Ice and Fire after all!), then figure out whose story you want to tell here. You can always write another story with other characters in a connected novel, or a sequel. You don’t have to tell everything all at the same time.

Speaking of characters…

…Get to Know Your Main Characters:

Here you can write character sheets for each of your main characters and cast. There are hundreds of these templates available on the internet, asking questions like ‘how would your character react to [insert event]?’ etc. to get to know your character. If this isn’t your thing (it isn’t mine) then at least write down some useful information about them. Rough height and weight, hair, eye and skin colour, general temperament, and any other defining physical or mental traits.

Next came the Chronological Order

This does not have to represent the final order of the novel’s structure, nor the order in which you write the manuscript, but you need to know what happened within the timeline, and when, in order to be really clear when you’re telling the story. You can write the manuscript out of order, and you can tell the story with flashbacks or in a different order, but you need to have the underlying chronology securely in place so that your writing makes sense and so that you don’t confuse yourself or the readers in the process.

Preceding and Tangential Events

These don’t need to be in the novel itself, but it may be important to define the sequence of events that also led up to the moment where we pick up your story, and what is happening elsewhere so that you can be sure of these too. In my case, I defined the events that concerned one of the supporting characters’ lives so that I knew how and why they were at the point they are in the story. It relates directly to - and heavily influences - the events of the novel, so I needed to have this person’s history nailed down as well, even though I don't tell it all explicitly in the book (because that would be unnecessary and a bit dull).

Basic Premise, Plot Definition, and Sub-Plot Ideas (plus writing a synopsis)

Alicia Lidwina defined the story premise helpfully with the following formula:

Story Premise = Main Character + Desire + Obstacle

Pick a different colour for each of these components, and write a short paragraph to explain them in the context of the novel. Alicia Lidwina used the following:

[Main Character] “Harry, an orphan who didn’t know that he’s a wizard, [Desire] got invited into Hogwarts School of Witchcraft and Wizardry and wanted to live his school life to its fullest, [Obstacle] but a certain Dark Lord who killed his parents is trying to rise into powers again and kill him in revenge.

Do this for your novel, and keep it really short.

Plot Definition: This is even shorter than that! It’s a single sentence!! It’s most closely tied to the desire of the character, and lies at the heart of the story. It’s most likely a distilled version of the ‘what happens in the story’ from the Project Stats page, so check that to see what you wrote there.

Sub Plot Ideas

Five bullet points (no more) for things that are happening concurrently and which are related in some way to the main story. For me, Kae and Tomas are doing their research, so that’s the main theme, but beneath that there are a few other related incidents.

Writing a Synopsis - developed out of the points in this section, and includes:

Who the main character is

What the stakes are (the story premise is your guideline)

What the main plot line is

How the MC resolves the problem in the main plot line

How the book ends.

List of Locations

Start with the main ones and add to it as you go on. Write a little bit of information about them so that you have something to refer back to. I also drew a big old map which I found very helpful and also really fun to do.

List of Scenes

It’s very important to map out every single scene that happens in the novel. Use your timeline to help with this, but remember a scene is not necessarily a chapter. You can have more than one scene within a chapter, but try not to have too many.

I used small post-it notes (sticky notes) and wrote down things like “M joins K’s clan at the fire and K learns about magic” and “K studies at Citadel, intro to Citadel, magic, and characters” as separate scenes. Once you’ve written down everything that is going to happen (this will take some time! Get a drink and some snacks ready, and go slow), you can stick them into your notebook in the order you’d like to tell the story. Some chapters may have just one scene, while others may have two or three. I didn’t have more than two in any of my chapters, and actually ended up splitting some scenes that I’d made too vague in this section into more chapters. It doesn’t have to be set in stone, but it will form a road map.

Additions and Notes:

I left a section of the Scene Outline bit of the notebook blank for things to add in as I went along. I haven’t used it yet, but I might.

Chapter Outline

I arranged the scenes into the chapters already by sticking them in order, but you could do a chapter outline separately after this. It’s up to you.

NaNoWriMo plan:

I did this back in October, and wrote down the main goal for nanoprep, which was to finish the background info. Breaking that down further, I listed - magic (how does it work exactly), geography, and politics.

After that, it was just a case of writing the 1667 words a day. *spoilers, I got distracted and didn’t do NaNo this year* . What I should have done, was break it up into chunks and write down my goals so that I had something tangible to use as a road map, and I will be doing that now for the novel as I take it up again outside of NaNo. Having check boxes and manageable goals really works for me. Find what will work for you, and if it turns out not to, adapt!

Some final pointers and tips:

Set regular goals for yourself. Whether you work by saying ‘I’ll write 1000 words a day’ or ‘I’ll write something every day’, make a structure for yourself. If you slip and miss a day, week, or month (I didn’t meet NaNo this year because I chose to work on another project instead *slaps forehead*), don’t beat yourself up. Writing is a craft and it takes a long time and a lot of discipline to master a craft.

Your first draft does not have to be good. At all. Your first draft is just words on paper. A first draft is the block of marble taken from the quarry, and subsequent edits and reworking is the process of carving the sculpture itself. The editing that is done by the publisher or the professional you employ to edit it for you later, is the final polishing. Don’t be demoralised if the block of marble seems very rough when it first lands in your studio. That’s ok!

Take regular breaks. Writing is hard work, and most people can’t concentrate on something successfully for longer than 55 min's, and if you’re doing that, you’re already doing really well. Personally, I’m at 15-20 on a good day. Write in little sprints of ten minutes or so, and then get up and stretch, look out the window, maybe leave the room, come back in with a fresh approach.

Stretch your hands, and wear wrist braces when you work. Seriously. I gave myself tendinitis on my first major project, and couldn’t use either hand properly for weeks. The ones I have are these, and they allow me to work safely for much longer.

Keep hydrated. Have a bottle of water on the desk in front of you between your arms as you type and sip it, otherwise you’ll forget. 2 litres a day is usually recommended, but know your body and drink accordingly.

Treat yourself. Whether that’s something as simple as a decadent hot chocolate after your first chapter/chunk/sprint is done, or a new notebook or a pen or that sticker set you wanted on Etsy or literally anything nice, reward yourself for the hard work you’ve put in, with tangible things you can look at or experience and say ‘I have that because I did the work’. It’ll help with your sense of achievement, especially if the project is a long one.

Join a local writer’s group for feedback. With the current Covid-19 chaos, this is probably not possible right now, but getting constructive feedback on your work from someone who hasn’t been cocooned in the project in the way you are, but who respects you as a writer and wants to help you grow, will be invaluable. It’s too easy to exist in a little isolated bubble and think you’re doing ok, when in reality you could be creating bad habits which will be difficult to break later. By these, I mean things like ‘filler words’ you don’t realise you use, or other pit-falls it’s easy to tumble into when you can’t see the wood for the trees…It’s intimidating, and it might take some courage to work up and do, but I promise it’ll help you grow. You don’t have to do what the people suggest, but it’s great to get outside opinions all the same.

Submit work to writing competitions. This will help with showing agents and publishers later down the line that you’re not only committed, but hopefully talented, and will help you to push yourself. Use the world of your novel for the setting, and get to know it by writing short stories on the competition’s theme set there.

Read. Read the writers you admire, and read them ‘actively’ - figure out exactly what it is about ‘that’ sentence that made you shiver, and use the same techniques in your own work (don’t plagiarise, obviously, but if it was alliteration that made the sentence work so well, use it yourself! Perhaps it was the metre of the line? Great, now you know a rhythm that will drive a sentence forward or slow it down etc.)

Enjoy it. If you’re not enjoying what you’re doing, it’ll show in the work. Take a step back if you start floundering, and ‘interview’ yourself about why it’s not fun any more. Refer back to the sections in the notebook that helped to clarify the plot/process, and see if you’ve wandered away from them. Make yourself answer questions like: ‘What is the main reason I don’t want to do this?’ ‘What is the character’s motivation?’ ‘Should I scrap this section?’ (don’t delete it, but cut and paste it into another ‘scraps’ document, and then start afresh from the last place you were happy with. Nothing is wasted - it all goes into building the world and getting to know the characters, even if it doesn’t get explicitly told in the finished product, so don’t be afraid to do that last bit).

Good luck!

I hope you found this helpful, and if you have any questions or things you’d like to add to this, please feel free to send me an ask here on Tumblr.

If you’re a new writer hoping to get an agent or publisher, you might also find this post on ‘talking to a published author’ helpful or interesting.

If you would like to keep up to date with my own novel’s progress, you can follow me here on Tumblr, as well as on my writing Instagram @rnpeacock

#writing #writeblr #writing process #how to write a novel #novel writing #nanowrimo #national novel writing month #writing a book #writing advice #author #authors on tumblr #how to structure a book #long post

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kemifatoba · 3 years

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C/O Berlin Magazine | It’s a space for everyone, and everyone can come in — Thoughts for the future

“I cringe when I hear words like ‘diversity’ and ‘inclusion.” To quote the civil rights activist, philosopher, and writer Angela Davis, “diversity” and “inclusion” are terms that you, dear reader, might have also stumbled across in recent months, whether you wanted to or not. Inspired by global Black Lives Matter protests, mainstream media, corporations, and other institutions finally realized – in some cases as it seems overnight – that racism is also an intractable problem in Germany. Unfortunately, we need more than just hollow words and empty promises to solve this problem. You might be thinking to yourself: “But didn’t people take to the streets or write opinion pieces in newspapers to protest structural racism? And didn’t major institutions promise to offer diversity and inclusion workshops in discussion after discussion on television?” Perhaps, but don’t be fooled. Instead of critically questioning the role that white decision-makers play in perpetuating systemic racism, “society” was blamed. Over and over again, Black* people were asked to answer if they had really experienced racism through scrutiny of their real-life stories, while predominantly white “experts” were invited onto talk shows to discuss the so-called “racism debate”. Profound, structural changes are still lacking, at least as of the time this text goes to print.

Presence equals power. This brings us to the current moment where you are reading these words about British photographer Nadine Ijewere’s solo show at C/O Berlin. Nadine Ijewere is the first Black woman to be given a space that has previously been occupied almost exclusively by white men. As such, this exhibition is significant not only for Black photographers, but for everyone more used to being treated as the object than the artist or curator in spaces like this where many people don’t feel welcome or simply don’t exist. As trivial as it may sound, visibility comes from being able to hang pictures on a wall—or write these lines.

Joy as an act of resistance. Nadine Ijewere belongs to a generation of artists and creatives who have realized that there are more options than simply following the traditional path. Knowing that society has long since changed—even if many gatekeepers in fashion, art, and the media still cling to the status quo—this DIY generation is creating its own platforms to elevate their own role models with an army of loyal followers. In their work, representatives of this generation create worlds that rarely center Eurocentric beauty norms. The same goes for this young British artist, whose work shows people in all their beauty and uniqueness. Her photographs regularly appear on the pages of British, American and Italian Vogue, i-D, or Garage, and she has collaborated with brands such as Nina Ricci and Stella McCartney. Ijewere proves that beauty is multifaceted and that fashion is fun and for everyone.

More than a seat at the table. When artists like Ijewere make it to the top, it’s not because of nepotism, tokenism, or diversity as a trend, but despite all the obstacles that have been put in their way. And instead of assimilating after being accepted by the old guard, they continue to write their own rules. In Ijewere’s case, this means not only working with diverse models and teams, but also passing her knowledge on as a mentor to keep the proverbial door open. She’s less driven by the desire to stand out from the mainstream than she is to give back by inspiring younger generations, who are able to see themselves in magazines. “Within the time I have, I’ll use every opportunity I get and every space I can get into to expand the horizon of others.”

Representation matters. Celebrating Black people and people of color in a traditionally white space was also the goal of “Visibility is key – #RepresentationMatters,” a watershed moment for the German lifestyle magazine industry when it launched on vogue.de in spring 2019. The goal was to take first steps toward a forward-thinking future where inclusion and diversity would no longer be mere buzzwords, but lived practices. Part of that effort meant ensuring representation in front of as well as behind the camera. The results weren’t perfect and they might not have led to social change, but we proved that there isn’t a lack of creative talent among Black and Brown people in Germany. If anything, we proved that these talents are often denied the space to develop their full potential.

Ideas for the future. As you see, dear reader, it takes teamwork to bring about long-term change, and for the first time the doors are open a bit. Nadine Ijewere's exhibition shows this, as does being able to write these very words in the C/O Berlin Newspaper. In the statements below, we asked German and international artists and creatives to envision a future where representation and inclusion are lived practices instead of rare exceptions. The results are ideas for a future that is reachable—as long as we all keep working towards it every day. Together.

Nadine Ijewere, artist Art is about art. It’s not about you personally. That’s why artists need to be seen as artists. We all get stereotyped and put into the same box—but we have our own identity. We are put into the same space just because we are Black, but we are all very different people.

Edward Enninful, OBE, Editor-in-Chief of British Vogue Nadine is one of the leading fashion photographers of her generation. She’s not only inherently British in her work, she’s also Black British. She really understands the complex mix of culture, fashion, beauty, and the inner working of a woman, so when you see her images, it’s never just a photograph. There’s also a story and a narrative behind it.

Benjamin Alexander Huseby & Serhat Işık, designers for the label GmbH Our work has always been about wanting to show our community and culture to tell our stories as authentically as we can. It was never about “diversity”, but about being seen. We want to create a world where not only exceptional Black and Brown talents no longer have to be truly exceptional to get recognition for their work, a world where we no longer are the only non-white person in the room because we built the motherfucking house ourselves.

Mohamed Amjahid, freelance journalist and author, whose book Der weiße Fleck will be published by Piper Verlag on March 1, 2021. It's time that Black women become bosses. Gay Arabs should get to call the shots. Refugees belong on the executive boards of big corporations. Children of so-called “guest workers” should move into management positions too. People with disabilities should not just have a say, they should make the decisions. Vulnerable groups deserve to put their talents and ideas to work in the service of the whole society. Not every person of color is automatically a good leader by virtue of their background, but all-white, cis-male executive boards are certainly incapable of making decisions that are right for everyone. That’s why we need more representation at the very top, where the decisions are made.

Melisa Karakuş, founder of renk., the first German-Turkish magazine For a better future, I demand that we educate our children to be anti-racist and to resist when others or when they themselves are subjected to racism. I demand that discrimination is understood through the lens of intersectionality and solidarity! I demand that even those who are not affected by racism stand up against it! This fight is not one that we as Black people and people of color fight alone—for a better future, we all have to work together.

Tarik Tesfu, host of shows including the NDR talk show deep und deutlich When I look in the mirror, I see someone who grew up in the Ruhr region and loves currywurst with French fries as much as Whitney Houston. I see a person who has his pros and cons and who is so much more than his skin color. I see a subject. But the German media and cultural system seem to see it differently because far too often, Black people are degraded and made into objects for the reproduction of racist bullshit. I'm tired of explaining racism to Annette and Thomas because I really have better things to do (for example, my job). So get out of my light and let me shine.

Ronan Mckenzie, photographer The future of our industry needs to be one with more consideration for those that are within it. One that isn’t shrouded in burnout and the stresses of late payments, and one that doesn’t make anyone question whether they have been booked for the quality of their work or to be tokenized for the color of their skin. The future of our industry needs to go beyond the performative Instagram posts and mean-nothing awards, to truly sharing resources and lifting up one another. Our industry needs to put its money where its mouth is when words like “support”, “community” or “diversity” slip out, instead of using buzzwords that create an illusion of championing us. How there can be so much money in this industry yet so many struggle to keep up with their rent, feed themselves, or just rest without worrying about money is truly a travesty. If this industry is to survive then we who make it what it is need to be able to thrive.

Ferda Ataman, journalist and chair of Neue deutsche Medienmacher*innen A recent survey of the country's most important editors-in-chief revealed that many of them think diversity is good, but they don't want to do anything about it. This is based on the assumption that everyone good will succeed. Unfortunately, that’s not true. It’s not just a person’s qualifications that are decisive, but other criteria as well, such as similarity and habit (“XY fits in with us”). It's high time that all of us—everywhere—demand a serious commitment to openness and diversity. Something is seriously wrong in pure white spaces that can’t be explained by people’s professional qualifications alone. Or to put it differently: a good diversity strategy always has an anti-racist effect.

Nana Addison, founder of CURL CON and CURL Agency Being sustainable and inclusive means thinking about all skin tones, all hair textures, and all body shapes—in the beauty industry, in marketing communications, as well as in the media landscape. These three industries work hand in hand in shaping people’s perceptions of themselves and others. It’s important to take responsibility and be proactive and progressive to ensure inclusivity.

Dogukan Nesanir, stylist The current system is not designed to help minorities. By giving advantages to certain people and groups, it automatically deprives others of the chance to attain certain positions in the first place. That's why I don't even ask myself the question "What if?" anymore. My work is not about advancing a fake worldview, but about highlighting all the real in the good and the bad. I strongly believe that if some powerful gatekeepers gave in, if representation and diversity happened behind the scenes and we had the chance to show what the world REALLY looks like, we wouldn't be having these discussions at all. I don't just want an invitation to the table, I want to own the table and change things.

Arpana Aischa Berndt & Raquel Dukpa, editors of the catalog I See You – Thoughts on the Film “Futur drei” In the German film and television industry, production teams and casting directors are increasingly looking for a “diverse” cast. Casting calls are almost exclusively formulated by white people who profit from telling stories of people of color and Black people by using them, but without changing their own structures in the process. Application requirements and selection processes in film schools even shut out marginalized people by denying them the opportunities that come with being in these institutions. People of color and migrants as well as Black, indigenous, Jewish, queer, and disabled people can all tell stories, too. Production companies need to understand that expertise doesn’t necessarily come with a film degree.

Vanessa Vu & Minh Thu Tran, hosts of the podcast Rice and Shine It may be convenient to ignore entire groups, but we are and have been so much more for a very long time. We contribute to culture by making films or plays and bring new perspectives to science, politics, and journalism. We’re Olympic athletes, curators, artists, singers, dancers, and inventors. We dazzle and shine despite not always being seen. Because we have each other and we’ve created opportunities to do the things we love. We’ve created platforms for each other and built communities. Slowly but surely we are finally getting applause and recognition for the fact that we exist. That's nice. But what we really need is not just the opportunity to exist, but the opportunity to continue to grow and to stop basing our work primarily on self-exploitation. We need security, reliability, and money. That's the hard currency of recognition. That would mean being truly seen.

*Black is a political self-designation and is capitalized to indicate that being Black is about connectedness due to shared experiences of racism.

Written by: Alexandra Bondi de Antoni & Kemi Fatoba C/O Berlin Magazine April 2021

#editorial #coberlin

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