#unstructured play

[fastlane-freedom]

A Balanced Approach: Nurturing Children Without Overscheduling

In the fast-paced world we live in, parents often find themselves caught in the struggle to provide their children with enriching experiences while avoiding the pitfalls of overscheduling. The pressure to enrol children in numerous extracurricular activities can be overwhelming, yet purposeful parents are increasingly recognizing the importance of a balanced approach to child development. This…

[tenth-sentence]

If kids can handle greater freedom outdoors, what about indoors?

"Humankind: A Hopeful History" - Rutger Bregman

[lilleluv]

Why play is important

Why play is important

Your child’s learning and development are greatly influenced by play. Your child can learn in a variety of ways and at different times when they are playing. Your child will benefit from play in the following ways: Create confidence Affection, joy, and safety Learn more about how the world functions Develop your communication, language, and social abilities. Learn about protecting the…

[temenosjournal]

Let's Pretend Is Actually What Matters?

Let’s Pretend Is Actually What Matters?

A few years back, I was listening to CBC Radio, and the guest on was speaking about unstructured play. His point was on how today we have children who don’t necessarily have the tools that equip them for today’s world. Unstructured play? What is that? Unstructured play*,†  happens when children follow their instincts, ideas, and interests without an imposed outcome. It may include challenging…

[spitblaze]

you guys GOTTA stop making incredible fandom art that captures my attention so well with its themes and color and composition and implications it makes me go 'woah, that's cool, I wonder what show/book/game this is for?' and then I go to check the source tags and it's for a minecraft youtuber

[wackpedion]

you seem like someone who plays zelda games

im sorry but that literally could not be farther from the truth ive played only one game it was BOTW and iii did not get far

[unproduciblesmackdown]

on that note had also been thinking about the hilarious classic maneuver of taking things i go "smh always doing that weird/wrong" & instead putting it in the context of like oh i dunno my life experiences. like going "smh once again in one millisecond i noticed something was about to fall & just sort of Tensed instead of instantly going to catch it & in the next milliseconds hash out like 'oh but could i catch it. oh but now it's in progress am i too late' etc" but like well hang on. first of all the Tense Up / Brace For Impact approach can have its strengths too. second of all like why just kick myself when Of Course the vastly more frequent & relevant experiences of having to stifle reactions & tense up to Brace For Impact / Weather The Situation means that's the standard approach. sure tends to be the case that like "okay test your reflex time :)" type things when i Know It's Coming, i.e. preemptively Tense Up, i turn out quite slow. throwback to a true classic [my roommate that said my cat was performative while their cat did things out of true emotion] at my doctor's appointment at like age thirteen when the ol Knee Bonk Reflex Test would make me Tense/Seize That Knee Up and Then kick. and then afterwards my "big fan of unprompted criticisms / declarations about your internal experiences or true intentions" mom was like you were faking those reflexes. i'm like well i wasn't. she was like yes you were. consider the camera jimmed

secondly i was also thinking like, always been the case that when Talking, often even if in writing format, i can't really avoid mirroring the characteristics of the other person's Style / Patterns lol. was thinking about it in my Relative ease of adopting pronunciations for different language's phonemes when it's like, i guess i do have experience in Doing Voices not b/c i really often Did Voices (sometimes lol, as like, direct quotes or whatever. echoing....) but b/c like i'll just be picking up all kinds of mannerisms / tendencies / ways of speaking, including accents slightly (my default accent being disney channel) not b/c i'm messing with anyone or trying to do anything, in fact trying Not to do this is generally unsuccessfully & This Is What Happens Naturally & always has & it's like yknow what i think it might have to do with the fact that i don't think Talking in general is oh so "natural" for me / a matter of "just being myself" (things virtually never are lol) like. i think that time i had that friend in second grade where i'm like ummm i'm not sure we spoke the same language b/c i'm not sure we spoke hardly ever? but we had fun & played & amused ourselves etc til the teacher as usual went Biggest Time Sicko Mode on our "not paying attention" like nobody else's got & then didn't give a fuck abt "intervening" again when we didn't feel like we were Allowed(tm) to interact at all. & like i'm pretty sure i'd be "supposed" to feel like omg we don't talk (almost) at all?? that's SO weirrrd i remember that soooo welllll

and when i Do talk most "naturally" / "just being myself" it's all at once, wordy, and Theatrical, and even then. i did it some the other day and was Sweating, literally, less so figuratively but it does still feel demanding, and of course even when it doesn't Feel thusly, doing a Lot a lot of verbalizing can really still be draining to Taxing. and i've noticed better like yeah sometimes i'm markedly struggling to speak when i'm already extra wearied. and another thing i put into context better was like "when i'm being put tf through it why do i tend to cry through interactions. b/c i'm being a PUSSY????" like lol just on principle was like okay well who cares, i'm sure you, by which i mean i, have my reasons b/c so too would i think someone else does, like. and i remember like, i tend to Not "directly" cry of stress or sadness virtually ever. while i Do tend to be simply keeping that shit contained but Exactly When i have to try to speak? is when i happen to start crying. hmm. Hmmmm. talking Always this performance that i may often not be up for. similar to [personal visual style / Look / clothes] like my default is "basic outfit i'd want to wear every day" & my ideal is "i do not want to be perceived" & (this &) everything else is performance / drag to me, Would That that always be on my terms

another banger is my till oh so recently kicking myself like "aah [pathologization time] i'm sooo slow to be at ease / comfortable around people even when they're surely being nice, what a hassle for others" like well it can be viewed as a hassle for me but it's also like, wait, i end up having stayed uncomfortable around people who weren't being That nice by putting in That much [any effort from any Consideration] and often turn out like. ultimately not that Safe. and i look at "oh right yeah and also i sure Can be like instantly quite comfortable / at ease around people, including people i literally just met. so" &/or my not being at ease either is still way less of a deal than having to literally/figuratively sweat it while i'd feel so much more Okay avoiding detection much less interaction

[technically-a-principality]

I just want to make an observation that I have as a kindergarten teacher.

I do tutoring for some kinder kids after school in my classroom and because that's a long day for them (they have an hour of club before that) I typically let them pick anything they want to do in my class.

90% of the time to pick to play pretend in my kitchen. The other 10% they will pick maybe the iPad, the Chromebook, or maybe blocks.

I will say the option of just watching YouTube videos and T.V. is taken away from them so who knows what they would pick if that was an option, but seeing kids play makes me so happy. I wish they could play more in school.

[why-bless-your-heart]

“How come in The Nightmare Before Christmas Jack hates Oogie Boogie,” well you see, Jack is a skelliton and Oogie Boogie is bugs and I can see there being a grudge there.

[brendathedoodler]

Lol once May 12 comes, Champ won't know what hit him

DKSNDKSNKDSNDK YEAH

I’m so excited! I digitally preordered the game and now I see the icon for it whenever I go to play Hyrule Warriors and I get hyped for it all over again!

Tbh I’ve been avoiding any stuff for it after I realized there was an official release date and haven’t seen anything past the second trailer. I’m goin’ in blind!

Botw was my first proper Zelda game and really what got me into the Zelda series as a whole. Granted, my family are all gamers so we owned a few Zelda games before this (OoT 3D, Phantom Hourglass, Spirit Tracks, Twilight Princess) but I never actually played any of them past the beginning. At least not until recently, where I’ve played (and finished) like 6 Zelda games, which is impressive because I leave games unfinished 90% of the time lmao

Anyway, I started rambling a bit but yeah, I’m def gonna make some adventure swap stuff for it!

[tenth-sentence]

When kids engage in this kind of play, they think for themselves.

"Humankind: A Hopeful History" - Rutger Bregman

[7ndipity]

Thinking about Jealous Yoongi

Yoongi x Reader

Warnings: none

A/N: Thanks to the lovely anon who requested this! We got into a mood with this one I'm not gonna lie. I really like working on little blurbs like this, they're a little more unstructured and fun to play around with, I definitely wanna do more of these.

Masterlist

Requests are open

°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•

Yoongi likes to believe that he's above jealousy, that he's mature and confident enough in his relationship with you to not feel bothered or threatened by someone else being the focus of your attention.

But sometimes, there's just something about seeing your smile directed at someone that isn't him, or hearing someone else earn one of your laughs, that causes a twisted, sinking feeling deep in his gut that he can't quite control.

Like now, as you sit talking excitedly with the maknae of the group. He knows it's irrational and petty, but he can't help feeling the vines of insecurity threaten to wind themselves around him. Because, deep down, he's still as terrified of losing you as when you first met, when he feared this was just a passing fling and you would grow tired of him and move on.

He can't help becoming just a bit clingy and possessive, needing to be closer to you. Shifting over next to you, not necessarily saying anything, but making himself known by proximity, and placing a hand on your waist or thigh or wherever, in an attempt to ground himself.

You always respond though, as soon as you feel his touch, turning to him and meeting his gaze with a look that makes him suddenly feel like he can breathe a little easier, vines unwinding and shrinking away as if burned by sunlight, knowing you save that look for only him.

He doesn't mind if you go back to your conversation or whatever it was you were doing, so long as he can feel you and know you're there, and you're his, he's content.

[cavegirlpoems]

Hey I found your blog through the animation post, and I've been having a lot of fun reading through your thoughts on ttrpgs. I played 3.5e in high school but I am admittedly very ignorant about the medium as a whole so it's really cool to see someone's much more knowledgeable takes. I've wanted to get into it more, but life seems to get it the way.

I will say I think there's one benefit of actual plays getting big that's worth taking about: the comparison to video games. Game breaking and exploiting design quirks is a major part of modern video games, see speedrunning or basically all of Minecraft, where the entire point is pushing the game past what it was meant for. Good (video) game design requires that to be accounted for, embraced or tactfully hidden, but regardless it's axiomatic that in a game involving free movement you *supposed* to dig through all the nooks and crannies, that's the point

Listening to some DND podcasts was what made me realize you're not actually supposed to play ttrpgs like that, that there's a fundamental principle of collaboration that exists within the medium that doesn't in video games. After all, you can have a successful tabletop session with the whole party trying to break the rules or find corners of the map that didn't get fill it. At a certain point they all have to buy in or the game doesn't work.

Or maybe I'm wrong, idk you're the expert. Anyway, I like your writing, keep it up

I think you're pretty spot on. A lot of toxic (or just sub-optimal) behaviours you see come from fundamentally forgetting that you're here to collaborate, or not buying into the basic premise of the game. Of course, the thing about ttrpgs are that there are a lot of different ways to have fun with them, and different players come to them for different reasons. Some people want an overarching story. Others like inhabiting a character in a more unstructured way. Others like exploring a setting. Others like the feeling of accomplishment from overcoming in-fiction challenges. Others want to be rewarded for using the game mechanics skillfully. Somebody who's here for a big epic story and somebody who's here to explore every space on a wilderness map are going to but heads every time "should we take a detour" comes up; this is why it's important to get that buy in for the game. And, I will say, I've played some games where mastering the game mechanics and playing tactically was the point! And had a lot of fun doing it, even. (I remain a big fan of D&D 4e). If everybody rocks up to a 4e table wanting to get into the minutiea of team synergies and character builds so they can beat really fucking hard encounters (and the GM enjoys running that sort of challenge game), you can have an absolute blast! But, the point is that even here everybody is collaborating for a particular experience, and a player who kept banging on about character arcs and refused to support their team-mates in combat because "it's what my character would do" is playing disruptively, and makes the game less fun for everybody else. It's a very varied medium, is the thing.

[barricadescon]

Barricades 2024 Final Schedule!

The time is near! Barricades 2024 is happening THIS WEEKEND, July 12-14 , all online!

We have the final schedule available on the website at barricadescon.com or right here, on this post! A more detailed schedule including descriptions is available in text under the Keep Reading break!

BarricadesCon 2024 Program

A full programming schedule of all the panels, their content, their presenters, their times, and whether they will be recorded. 

All times are in UTC, and can be converted to your local time zone at this link.

Key to types of Panels:

Convention Administration panels: Panels run by the Con Committee, to open and end the convention.

Guest of Honor: Special panels from our guests of honor. This year, our guests of honor are Jean Baptiste Hugo, a descendant of Victor Hugo who will discuss his project photograph his ancestor’s house; Christina Soontornvat, the author of the award-winning Les Mis retelling “A Wish in the Dark;” and Luciano Muriel, playwright of the 2018 musical play “Grantaire.” 

Fan/Academic Panel Presentations: Panels on history, fandom, or analysis of Les Mis. Scholars will share historical research, fans will share hobby projects, and the audience may get an opportunity to ask questions. 

Social Meetups: Casual unstructured time to meet up over video call and chat!

Social Games: Games and activities.

Friday, June 12th

Discord Server Opens: Friday Morning UTC

Read through the rules, explore the channels, and chat with other congoers.

Welcome Session 

Friday, 17:00-17:30 UTC

Session Type: Convention Administration

Presented by: Convention Committee 

Recorded: No

In this session, Concom 2024 will kick off BarricadesCon 2024 and welcome everyone. Concom will also walk everyone through some basic information and FAQs to help ensure a fun and interesting con for everyone.

The Cats of Les Misérables

Friday, 17:30-18:00 UTC 

Session Type: Social Meetup

Presented by: Melannen

Recorded: No

A laid-back social panel to meet your fellow attendees, share pictures of your pets (or have them join you in the panel!) and chat about pets and Les Mis fandom generally.

(Guest of Honor) From Paris to Bangkok: a Thai-inspired retelling of Les Misérables

Friday, 18:00-19:00 UTC

Session Type: Guest of Honor

Presented by: Christina Soontornvat

Recorded: Yes

Christina Soontornvat’s Newbery Honor-winning children’s novel, A Wish in the Dark, is a Les Misérables adaptation set in a magical Thai-inspired world. Christina will discuss the inspiration for the book, how she decided when to be faithful to the original, and how Hugo’s powerful themes of compassion and forgiveness resonate across age ranges and cultures.

Learn more about Christina’s work at soontornvat.com.

The Yellow Passport: Surveillance and Control in 19th Century France 

Friday, 19:00- 20:00 UTC

Session Type: Fan/Academic Panel Presentation

Presented by: David Montgomery, creator of the Siecle History Podcast

Recorded: Yes

Les Misérables takes place in a France of police spies, intercepted mail, travel restrictions and other elements of a 19th Century police state. What exactly were these ways French governments surveilled and controlled their citizens? How did they work? And how did people get around them? 

Meetup: Fan Creators

Friday, 19:00-20:00 UTC

Session Type: Social Meetup

Presented by: Eli

Recorded: No

Come meet fellow fan creators! Casual unstructured time to chat with other fans. A good place for people who spend a lot of time on Ao3.

Break 

20:00-21:00 UTC

Early Transformative Works: The First Les Miserables Fanart, Fanfics, and AUS

Friday, 21:00-22:00 UTC

Session Type: Fan/Academic Panel Presentation

Presented by: Psalm

Recorded: Yes

This presentation will give you an overview of the earliest works inspired by Les Misérables – including illustrations, comics, poems, pamphlets, and novels. Which ones will stand the test of time? And what can these works tell us about the book’s reception and impact? Come learn about the forgotten, but fascinating first transformative works about Les Misérables.

Black and Pink International

Friday, 21:00-22:00 UTC

Session Type: Panel Presentation

Presented by: Darryl Brown Jr. (he/him), Senior Director of Programs and Advocacy, Black and Pink National. Kenna Barnes (she/they), Advocacy Manager, Black and Pink National

Recorded: Yes

This year, Barricades Con is donating all profits to Black and Pink International.

Black & Pink National is a prison abolitionist organization dedicated to abolishing the criminal punishment system and liberating LGBTQIA2S+ people and people living with HIV/AIDS who are affected by that system through advocacy, support, and organizing. Programming includes wrap-around services for those coming out of the carceral system such as but not limited to workforce development, transitional housing, newsletters to inside members and penpal matching, nationwide Chapters, youth-led research about young people living with HIV, and programming for and by people who do sex work.

Sex work as an issue sits clearly at the intersection of reproductive justice, prison abolition, and trans and queer liberation. Black trans women who engage in sex work face some of the highest rates of policing and surveillance, directly interfering with their ability to access safety and autonomy. We know that when we center the needs of Black trans women, especially those who engage in sex work, we are inherently able to address the needs of other system-impacted people along the way.

The Sex Worker Liberation Project (SWLP) is a collaboration between Black and Pink National and a network of current and former LGBTQIA2S+ people who do sex work across the country. This sex worker led group moves with the intention of building community, providing resources, and cultivating self advocacy tools.The SWLP is on a mission to tackle the urgent and multifaceted issues confronting sex workers, with a specific emphasis on the challenges faced by Black and Brown LGBTQIA2S+ sex workers.

Meetup: Brick Readers 

Friday, 22:00-23:00 UTC 

Session Type: Social Meetup

Presented by: Mellow

Recorded: No

Come meet up and hang out with your fellow Brick readers! Let’s talk about weird nonsense from the book. 

Beat by Beat: a Les Mis 2012 Deconstruction

Friday, 22:00-23:00 UTC

Session Type: Fan/Academic Panel Presentation

Presented by: Eli

Recorded: Yes

To quote Eli: “As an avid Les Mis fan and also someone with an MFA in screenwriting, I find the script for the Les Mis 2012 movie absolutely fascinating. The choices they made, the added brick scenes, the added song, the pacing, the dialogue, the shots selection—all of it contributes to a very interesting adaptation that our fandom owes a huge debt of gratitude to (whether we like it or not 🥲). I would like to take an audience through the 9 major beats of a screenplay, apply it to Les Mis 2012, and share my thoughts on what the filmmakers did right for this adaptation and what they did wrong. I’ll compare it to the Les Mis musical (the direct source material) as well as the Brick (the secondary source material) for insight on the choices they made!”

History Researcher Meetup

Friday, 23:00-24:00 UTC

Session Type: Social Meetup

Presented by: David Montgomery

Recorded: No

A chance for history researchers to meet up and discuss their research!

Atonement: A Theatrical Piece for One Actor, Based on Segments from Hugo’s Les Miserables

Friday, 23:00-24:00 UTC

Session Type: Panel Presentation

Presented by: Alexiel de Ravenswood

Recorded: Yes

This theatrical piece is a dramatic adaptation of scenes from Book 1 of the novel, focusing on the Bishop of Digne. Following the piece, actor Alexiel de Ravenswood will engage in q&a on the creative process and the themes explored.

Saturday, June 13th

Guest of Honor: The Photography of Jean Baptiste Hugo

Saturday, 15:00-16:00 UTC

Session Type: Guest of Honor

Presented by: Jean Baptiste  Hugo

Recorded: yes

Jean Baptiste Hugo is the great-great-grandson of Victor Hugo. He has extensively photographed Hugo’s home in exile on Guernsey, which Victor Hugo decorated following his own aesthetic philosophies–in particular, the journey from darkness into light, which we see reflected throughout Hugo’s literary career. M. Hugo will share his photographs and discuss Hauteville House as a physical realization of his ancestor’s ideas.

Reflecting on Directing Les Mis

Saturday, 16:00-17:00 UTC

Session Type: Fan/Academic Panel Presentation

Presented by: Cait

Recorded: yes

In Cait’s words: “I directed an amateur production of Les Mis at the end of last year, and would love to talk about how that went and share snippets from the show and behind the scenes. This will include talking about adapting Les Mis for the space and budget, approaches to certain scenes, dual casting lead roles, and probably raving about my lovely cast.”

The Fallibility of History in Les Misérables 

Saturday, 16:00-17:00 UTC

Session Type: Fan/Academic Panel Presentation

Presented by: Syrup 

Recorded: yes

Throughout Les Misérables, Hugo often reminds readers that what they are reading is derived from some form of documentation or hearsay. While this serves to provide credibility to the tales he is sharing, there are certain moments where Hugo opts out of describing exact details, despite his efforts at a historically-accurate record. In this panel, I will take a look at these instances where Hugo either addresses or obfuscates these events, and how by doing so, he reveals the fallibility of history, and highlights how history documentations are not always as reliable as they seem. Thesis: By crafting Les Misérables as a form of historical documentation, Hugo reveals the fallibility of history, and readers are able to understand how history and history documentation are not always as reliable as they seem.

Break  

Saturday, 17:00-18:00 UTC

What Horizon: Tragedies, Time Loops, and the Hopefulness of Les Amis

Saturday, 18:00-18:30  UTC

Session Type: Fan/Academic Panel Presentation

Presented by: Percy

Recorded: yes

In Percy’s words: “I have directed a staged reading of the play and will have video clips to show! My play is focused on the rebellion and Les Amis; it aims to give the barricades the attention they often lack in adaptation and develop the individual characters of the insurgents. I’m working to make this episode of the Hugo novel and its historical context accessible to audience members who may not be familiar with the source material, while hopefully also bringing something new to the story for longtime fans.

One aspect of the story I’m particularly interested in examining is the persistent sense of hope associated with the barricades, despite the insurgents’ eventual defeat and the previous failure of the July Revolution. Linking the seemingly cyclical process of revolution and restoration, the metatheatrical tradition of tragedies aware of their own repetition in performance before the audience, and the nature of Les Misérables itself as a story that has been told and retold countless times, I hope to show the audience the worth of the insurgents’ struggle and the importance of their continued efforts. Many adaptations construe the rebellion as futile or as solely a tragic story, so I would like my adaptation to counter that idea, as Les Amis grapple with the meaning of their sacrifice and the impacts of their actions.

In a presentation, I would discuss these ideas with reference to Hugo’s original text and the ways in which the rebellion has been changed in adaptation, as well as other works that inspired me (namely Hadestown and Rosencrantz & Guildenstern Are Dead). I’d discuss the choices I made in my adaptation process and show clips from the staged reading, touching on the different characters and the historical setting as well as the overarching themes with which I engaged.”

Cosette: A Novel, The (Fanmade) Sequel to Les Misérables

Saturday, 18:30-19:00 UTC

Session Type: Fan/Academic Panel Presentation

Presented by: IMiserabili

Recorded: yes

This presentation is  a deep-dive into the 1995 fanfiction “Cosette” by Laura Kalpakian. It will include a short background on the author and the publication, a summary of the plot, an analysis of represented historical events in the work, character analyses and comparisons to the source material and other Les Mis adaptations, and memorable quotes. 

Musical Eponine and Grantaire in song and lyric edits: Personal research on their development

Saturday, 18:00-19:00 UTC

Session Type: Panel Presentation

Presented by: Ruth Kenyon

Recorded: yes

In Ruth’s words: “I’m an older musical Les Misérables fan who has watched the show develop from its beginnings at the Palace Theatre. I have a special interest in how the lyrics and the characters have changed over time. As plenty of people know now, I am also writing a book on the musical using these experiences. I’m working on Eponine’s chapter at the moment, and while I know fans have a lot of love for as she is now, I feel quite upset to see what happened to her as she was developed from the original French version of the musical. She seems to have lost quite a lot of emotional agency along the way. Grantaire has also changed over time; he was cut before the previews and there was a big re-write of his character when the show went to Broadway, but I really like what they have done with his character. I’ll provide examples of all this detail with material from my book and (trying) to sing bits of lyrics to explain what has happened to the characters.”

Barricades as a Tactic: How Do They Work?

Saturday, 19:00-20:00 UTC

Session Type: Fan/Academic Panel Presentation

Presented by: Lem

Recorded: No

This session will explore the tactical and strategic uses of barricades, with an eye towards what to consider when writing both canon-era fanfiction and modern AUs. After all, the strategic goals towards which the barricades were used in canon-era urban warfare were often quite different from the strategic goals of similar-looking tactics in contemporary protest movements. Core components of the session will be a map-based analysis of July 1830, a comparison with June 1832 highlighting strategic goals and considerations canon-era characters would have, and an exploration of various parallels among contemporary protest tactics (which may or may not *look* like barricades).

Meetup: Musical Fans

Saturday, 19:00-20:00 UTC

Session Type: Social Meetup

Presented by: Erin

Recorded: No

A casual place to meet up with other fans and discuss the musical!

Break

Saturday, 20:00-21:00 UTC

Why is There a Roller Coaster in Les Mis? The Strange History of the Russian Mountains

Saturday, 21:00-22:00 UTC

Session Type: Fan/Academic Panel Presentation

Presented by: Peyton Parker/Mellow

Recorded: Yes

In Les Miserables there is an actual canon scene where Fantine rides a roller coaster. How did a roller coaster end up in Paris in 1817? And why did this ride, one of the world's first wheeled Roller Coasters, make a cameo in Victor Hugo’s novel?

It’s “Les Mis Meets Defunctland.”

We’re going talk about the earliest origins of the Russian Mountains, the fascinating history behind how they came to France, their many connections to the political turmoil of the time period, what they felt like to ride, why they were shut down, how they fell into obscurity, and why Victor Hugo included them in Les Miserables. It’s time for a roller coaster digression.

Fanfic Round Robin

Saturday, 22:00-23:00 UTC

Session Type: Social Game

Presented by: Featheraly

Recorded: No

Participate in a round robin to help write a fic together!

Obscure(-ish) Les Mis Adaptations To Watch

Saturday, 23:00-23:30 UTC

Session Type: Fan/Academic Panel Presentation

Presented by: Pureanon

Recorded: Yes

Les Mis has been adapted many times over the years, and this means there’s a lot of adaptations to enjoy. Because of this, a lot of adaptations are underviewed or underappreciated. I’d like to use this panel to discuss some of my favorites/the most unique — 1925, 1948, 1967, and 1995. These are all very different, and aside from all being ones I enjoy, they’re fascinating looks at how different countries and different time periods adapt this story. 

The adaptations I’ve chosen are both some of the best and some of the worst out there, but they’re all unique. 1925 is one of the most faithful adaptations out there, and it uses the medium of silent film to full effect. 1948 has Valean get shot at multiple times in the opening minutes, and the revolutionaries fight with BARRELS in the barricade. 1967 is half one of the best Anglophone Les Mis adaptations ever, and half the drunkest. 1995 is more of an adaptation of how people react to Les Mis as a story than a straightforward adaptation, and it’s one of the most beautiful and unique versions out there. I intend to show a clip from each adaptation, so people can get a little taste of what each adaptation is like.

Recovery: a Fanfic Live Read

Saturday, 22:30-23:00

Session Type: Fan/Academic Panel Presentation

Presented by: Eli, Barri

Recorded: Yes

A full cast will live read a Les Mis fanfic written specifically for the con.

Compared to Some People Grantaire is Doing Just Fine (No, Really)

Saturday: 22:00-23:00

Session Type: Fan/Academic Panel Presentation

Presented by: Ellen Fremedon, Pilferingapples

Recorded: Yes

Grantaire and Marius are the two characters on the fringes of the Friends of the ABC, connected to the group by social ties rather than sincere political belief. In this panel, Pilf and Ellen will discuss the two characters as narrative foils, touching along the way on the problem with Great Men, bourgeois inaction, what it means to have the republic as a mother, and dying for love–plus those two pistols in Marius’s pocket.

Preliminary Gaities

23:00-24:00 UTC

Session Type: Social Game

Presented by: Rare, Percy, and ShitpostingFromTheBarricade

Recorded: No

Preliminary Gayeties is the chapter where Grantaire gets drunk with Joly and Bossuet before the barricades.  It is perfect for a drinking game. 

In keeping with personal tradition, Rare, Percy, and ShitpostingFromTheBarricade will bring you a second year of our dramatic reading of the “Preliminary Gayeties” chapter of the brick. all while following specified drinking game rules (including classics such as “drink for brick quotes that appear commonly in fanfiction,” “pretentious classical references,” and “drink/eat when characters drink/eat”), and enjoying snacks mentioned in the chapter as they are mentioned. Everyone is invited to participate by reading, eating, and drinking along with this activity!

Sunday, June 14th

Publishing, Podcasting, and Promotion

Saturday, 15:00-16:00 UTC

Session Type: Fan/Academic Panel Presentation

Presented by: David Mongomery, Alexiel de Ravenswood, Nemo Martin

Recorded: Yes

Whether it’s fanart, Tiktok videos or deep historical analysis, lots of us have THOUGHTS about Les Mis we’d like to share with the world. This panel discussion features creators sharing their advice on how to share your work with the world in a range of mediums.

Femme/butch: Dynamics of Gender and Attraction in Les Mis

Saturday, 15:00-15:30 UTC

Session Type: Fan/Academic Panel Presentation

Presented by: Eléna

Recorded: Yes

In Eléna’s words: “This is a presentation about parallels between femme/butch dynamics and les mis! The focus is on Marius, Cosette and Eponine and their individual gender presentation and attraction. There will be a focus on the original text, but I will also talk about headcanons & representation in the fandom space! I’m a femme myself, but I’ll try to incorporate butch and transmasculine viewpoints!”

Lee’s Misérables: Jean Valjean, Confederate Hero

Saturday, 15:30-16:00 UTC

Session Type: Fan/Academic Panel Presentation

Presented by: Sarah C. Maza

Recorded: Yes

Victor Hugo’s Les Misérables (1862) was as big a success in the United States as elsewhere in the world upon publication, hailed throughout the young nation as the commanding masterpiece of modern French literature. Why would a novel that celebrates violent insurrection and radical republican ideals be so warmly received in America? One of the (many) answers to that question is that the novel appeared in the midst of the Civil War, and that it provided engrossing reading to the many soldiers stuck in place for weeks or months in camp, hospitals, and prisons. Most surprising, though, is the evidence of Les Misérables’ appeal to Confederate soldiers (who jokingly called themselves “Lee’s Misérables”), as Hugo was on record as an ardent abolitionist. My paper will illustrate and explain the paradoxical appeal of Hugo’s novel in the South in two contexts: first, I will draw attention to the ways in which Confederate nationalists likened their cause to the European Revolutions of 1848; and second, I will explain the novel’s resonance within what Wolfgang Schievelbusch has called the “culture of defeat,” the emotional resonance, in some historical contexts, of narratives of doomed causes and heroic failure.

Guest of Honor: Luciano Muriel, playwright of “Grantaire”

Sunday, 16:00-17:00 UTC 

Session Type: Guest of Honor

Presented by: Luciano Muriel

Recorded: Yes

Panel about the details of the creative process behind the show Grantaire, from the discovery of the character during the playwright’s first reading of Victor Hugo’s Les Miserables to the opening night of the staging at the Teatro Pradillo of Madrid. Why Grantaire? Why a dramatic monologue? Why include Amaral songs? What did the awards and subventions entail? All the answers to these and many other questions.

Break

Sunday, 17:00-18:00 UTC

1848 in Chile: The Society of Equality and the Siege of La Serena

Sunday, 18:00-19:00 UTC

Session Type: Fan/Academc Presentation

Presented by: Duncan Riley

Recorded: Yes

While the Revolutions of 1848 are traditionally seen as a European event, they had a powerful influence in Latin America. In Chile in particular, university students who studied in France during the revolutions would lead a movement to oust the conservative dictatorship that had ruled the country since the 1830s. Inspired by the poetry of Alphonse de Lamartine and the ideals of utopian socialism, a group of Chilean intellectuals and artisans founded “The Society of Equality,” a cross-class political club dedicated to creating a democratic and participatory republic. Inspired by these ideals, in 1851 the citizens of La Serena, a mining town in northern Chile, declared their independence from the central government. Members of the Society of Equality transformed La Serena into the torchbearer of their vision of a new “democratic republic” that would restore civil liberties and grant greater autonomy to Chile’s provinces and municipalities. In defense of these principles, La Serena endured a months-long siege by government forces. The conflict inscribed itself within broader international dynamics of revolution and empire, as the British Royal Navy Intervened on the side of the government, while French immigrants built barricades to defend La Serena from invasion. Ultimately, then, La Serena and the Chilean Revolution of 1851 provide a fascinating window into the transatlantic exchanges of ideas that drove movements of democratic reform in both Europe and Latin America during the Revolutions of 1848.

The Unknown Light Examined

Sunday, 18:00-19:00 UTC

Session Type: Fan/Academic Presentation

Presented by: Madeleine

Recorded: Yes

In the tenth chapter of Les Misérables, Bishop Myriel sets out to perform the last rights of Conventionnel G, a man reviled by all of Digne for having served on the body that voted to execute the king during the French Revolution. The bishop and the dying man debate the nature of equality, divine authority, and resistance to oppression. G’s fierce defense of the French revolution and Myriel’s staunch condemnation of political violence represent diametrically opposed philosophies, but the two men have more in common than first appears. They are both men of faith, in their own way, called to serve by their profound love for humanity. Intensely shaken by this realization, the bishop kneels before the dying sinner and asks his blessing.

What does this role reversal signify? How do Myriel and G’s conceptualizations of God and morality compare, and why does Hugo seek to reconcile them? To answer these questions, this panel investigates the thematic implications of this chapter. We’ll dissect the characters’ debate, discussing the historical and religious context that informs their moral frameworks—and Hugo’s depiction of them. Drawing on analysis by literary scholars, we’ll situate Hugo’s portrayal of the bishop and the conventionnel within this same context, evaluating the extent to which G is based on the Abbé Grégoire. We’ll also examine the impact of this chapter on Bishop Myriel’s characterization and symbolic role in the novel. Lastly, we’ll explore how “The Bishop in the Presence of an Unknown Light" serves as a political and philosophical thesis for Les Misérables.

Revolutionary Rants: “Les Misérables” Onstage from an International Perspective

Sunday, 20:00-21:00 UTC

Session Type: Fan/Academic Presentation

Presented by: Tessa, Anne, Kaja, Marie, Apollon

Recorded: Yes

What started out as an open call online to gather fans from around the world to rant about the musical version of Les Mis has turned into a group of musical fans from four countries getting together to discuss our different perspectives of various international productions of the show. Topics include our favorite cast albums, how our favorite character interactions are staged in various productions we follow (including Enjoltaire), our favorite actors from the different productions, and our favorite memorable moments from the show. And we would be remiss if we didn’t mention the major impact the 2012 movie had on us as well!

Paint & Sip

Sunday, 20:00-21:00 UTC

Session Type: Social Game

Presented by: Psalm, Potatosonnet

Recorded: No

A short presentation on the artwork of Victor Hugo, his medium and subject matter, followed by crafting time inspired by Hugo’s work.

Les Mis Letters: Building a Book Club

Sunday, 21:00-22:00 UTC

Session Type: Fan/Academic presentation

Presented by: Mellow, Eccentrichat

Recorded: Yes

There are 365 chapters in Les Miserables. Les Mis Letters is an email subscription that sends you one chapter of Les Mis daily for a year.

Rachel and Mellow have been running the “Dracula-Daily” inspired Les Mis readalong since 2023! Mellow will speak to the behind the scenes process of setting up a Substack and discord server, while other readers will speak to the experience of reading Les Mis for the first time in this format or the small projects they’ve put together while following along.

Les Mis Singalong

Sunday, 21:00-22:00 UTC

Session Type: Social Game

Presented by: Megan

Recorded: No

Let’s let loose by belting out our favorite Les Mis songs together! All singing abilities welcome and encouraged, it’s virtual after all 😀 It will be musical-heavy but we’ll be sure to throw in some other fan favorites!

Closing Session 

Sunday, 22:00-22:30 UTC

Session Type: Convention Administration

Presented by: Convention Committee

Recorded: No

Closing remarks by the convention committee, marking the official end of the convention.

Dead Dog

Sunday, 22:30-24:00

Session Type: Convention Administration

Presented by: Convention Committee

Recorded: No

 “Dead Dog” is a fandom slang term for a laidback “afterparty” that happens when a convention has officially ended. 

[comicaurora]

Hello! I wanted to send my appreciation to you as a longtime fan of OSP and Auroura! I am an English Major with ADHD and your content always makes me inspired and my English Lit. Brain very happy with how good your storytelling is.

My question is what stories inspire you to write or make you want to sit down and tell a story? Your content makes me want to work on my projects, but my Adhd only last as long as I am not disturbed (i.e. need to eat or get up and move). You have always been upfront about your Adhd so my second question is how do you keep focused on your story and not burn out? (Talking as someone who is writing a novel as their thesis)

You have been a great inspiration over the years and someone I look up to as a storyteller! I wish you focus and luck! => 💝

Woo! Interesting questions!

When it comes to inspiration, I haven't really found a pattern for what works and what doesn't. The majority of the time, only new experiences/stories I haven't seen or read before work for me - rewatches and re-reads, while much more comfortable for my brain, don't tend to translate into creative inspiration for me - but it's not like a specific genre, or even a specific kind of relaxation, consistently work for me.

The way my brain works is a bit "no take only throw", as it were. I want to just sit down and make solid, steady progress in a predictable environment with a routine, but what I need is to try new things, go outside, take risks - because all those things give me new material to work with and refill the creative gas tank. When I'm stuck, I can't just hit the gas and punch through the block - I need to back up and try a new angle.

The good part of all this is that whatever engine that's running my subconscious is actually pretty good at signaling what it needs. The ADHD brain will be repelled by activities that aren't working for it and drawn to the things it needs at the time, whether that's creative energy or exercise or cleaning or doodling or listening to music or suddenly binge-watching a show that's not even all that great, and once it's got what it needs out of it - whatever that is - it'll be repelled again, either spitting out a sudden burst of creative energy or retreating to its den to chew on whatever it got out of the experience for a more slow-building reward. Little bursts of motivation and creativity pop up all throughout the day, and if you can pivot to the activity in question - or at least note down the idea you just had - you'll be able to harness that pretty nicely.

This "system" really only works for me because I have an extremely unstructured schedule and nobody relying on me to be consistent moment-to-moment. If I'm following the creative needs of my inscrutable Better Writer In The Back Of My Head, I can't be worrying about things like a consistent lunchtime or classes or a 9-to-5. All of my observations are caveat'd by the fact that I am ridiculously lucky to have the kind of freedom of movement and schedule that I can focus entirely on getting to know my brain better.

When it comes to staying focused on any one project, I've reluctantly concluded that the only way to win is not to play. Creativity needs time and diversity to recharge, and when you stall out in any given work session, it's usually because you're out of gas. This is why I maintain several projects in varying stages of "for my eyes only"-ness - a sketchbook, private writing projects, patreon doodles, music practice; even in the large-scale projects like the channel and the comic I have multiple angles of attack at any given time, where I can as needed switch between scripting, research, drawing frames, storyboarding more plot onto the end of the comic's current draft and lining/coloring/background-ing the finalized pages of the comic chapters earlier. This lets me maintain semi-steady progress on average, even if any one facet of the process is left by the wayside for potentially even weeks at a time.

If you're working on one writing project, one novel, I'd recommend giving yourself some time to do small-scale side-hobbies. It won't feel like they're helping, but they are.

I've started to think of inspiration rather similarly to the way I think about nutrition and digestion. It's a somewhat arcane process that, despite being a part of me, I don't exactly understand what's going on under the hood. If you eat only one thing, no matter what that one thing is, you're going to end up sick because you're lacking all sorts of niche micronutrients. If you parcel out a specific space of the only things you're allowed to eat, you might not get sick (as quickly) but you're likely going to become increasingly miserable as you think of the things you're not allowing yourself to try, or slowly build up highly specific forms of malnourishment by avoiding certain things entirely. But if you start listening to your body and try eating what it says it needs at any given time - oh, I could go for a rice bowl right now, oh I don't think I'm feeling something sugary today, man I could really go for some grapes - you're likely to hit a broadly good balance of health because you're hitting a broad range of things your body needs, even if you don't know all of their names or calorie counts, and your body is putting those resources to good use without your conscious input. Between my brain and my stomach, I only trust one of those to actually understand what a stomach needs to do its thing - and between me and my creative brain, most of the time it feels like I just work here.

I hope there was something helpful in all this!

[umbralstars]

Kemetic Influences on Fire Emblem Three Houses (Part 1)

I know I have made a more unstructured post regarding this before; however, I am certain in my assessments that the influence of Ancient Egyptian mythology had on 3H is vast and more varied then I, personally, have seen people discuss. Yes, we know of the etymology behind Sothis and Seiros' names, but I believe these connections go much deeper than the surface level. This will be structured with me discussing what I am most sure in to what is more interpolation on my part. This part about Sothis is so long that it needs to be it's own post entirely. Sothis is based on Hellenistic/Roman period worship of Lady Isis

As we know, Sothis' name can be traced to one of the names of Sirius, specifically the Hellenized name of Sopdet the goddess of said star. However, this is surface level. Sopdet was often syncretized with Isis during the Hellenistic period and in Lady Isis, I believe, there are more clear allusions to Sothis and how she acts as a deity within 3H's world. Lady Isis is an Egyptian deity who was worshiped across the Mediterranean during the Hellenistic and Roman period. Sothis in her mythology, actions, and how she is depicted in-game shares remarkable similarities to Isis. The images and sources I will be using as a reference come from Dr. Andrew M. Henry's (ReligionForBreakfast) video on the topic and FEDatamine for everything regarding 3H.

Sothis and Isis are both "great mother" deities who act as supreme goddesses to their followers.

Even before coming to supreme status in the Mediterranean, Isis was an incredibly important goddess within Egypt. She was the bringer of magic, a guardian of women, a compassionate goddess who wished to relieve all human suffering, and much much more. All of these traits are extremely close if not direct parallels to Sothis. We know that magic within Fodlan is directly connected to Sothis through the visual of all the magic circles (save for Agarthan dark magic) and it can be postulated that, like Isis, Sothis magic was beyond the capabilities of other humans or other deities. Faith magic in particular is directly correlated with the ability to heal and protect, which is one of the main domains of Lady Isis in antiquity and modern day. She was the healer of the sick and injured, so much so that she often traveled in human form so that she could aid those who called out to her. I don't believe it is a coincidence that healing magic was reskinned as faith in this game given that context. And the connections continue beyond that. Consider this text from a temple to Isis in Cyrene:

During the Hellenistic period, Isis' power and prominence grew to wear she became a supreme goddess within these polytheistic societies. She was believed to be the ruler of time and fate itself, and, as stated here, one of the creators of the cosmos who first set time to course. She was often depicted holding a steering rudder or with the planet beneath her very feet as the goddess through which all fate flows.

Next, take this quote from Lucius Apuleius: The Golden Ass a text from a satirist, but nonetheless believed to hold elements of truth to Isis' worship during the Roman period.

Once again, we see the language that would describe a supreme, cosmic deity. Compare to similar wording in The Book of Seiros Part 1: "The goddess is all things. She is heaven above and the land below. She is eternity incarnate. She is the present, the past, and the future. Her eyes see all. Her ears hear all. Her hands receive all."

Due to this language, it is believed by some religious scholars, and presented within the video, that within the mysteries of Isis there was an element of henotheism at play. A philosophy within religious practices where one god is worshiped a supreme deity whilst not denying the existence of other gods, and such a system of worship is what I believe to be happening within Fodlan's religious context. Other gods are known to exist, they are spoken of in the Book of Seiros; however, Sothis is supreme goddess of Fodlan.

Now, I ask, what is Sothis' primary characteristics within the Church of Seiros and as depicted in game? She is the supreme Goddess of Fodlan, who's depicted with having control over time and fate itself (literally divine pulse), spoken of as a savior not only in the past but also through the actions of her vessel Byleth, who created all life (or at least the Nabateans) as "The Beginning", and the arbiter of souls as an explicitly afterlife related deity.

All of these traits are direct parallels to Lady Isis, and I am not even finished listing all the similarities. First take this quote from The Book of Seiros Part 2: "In the beginning, amid the great cloudless ocean, Fódlan came to be. At the end of a long journey, the goddess glimpsed that land and there alighted. Upon that sacred ground, she breathed life into the world and created all of the creatures upon it.

By the goddess's hand, plants took root, birds took to the sky, and animals roamed the land. Last of all, she created humanity." Within multiple Egyptian creation myths one of the prevalent and constant features is the primordial ocean of Nun. It was place of nothingness and chaos all at once, a "cloudless ocean" if you will. And from that ocean came the first land, the benben, and from there any number of gods created all life. This includes Isis, who within the inscriptions at Philae, is described to have created all life and the cosmos itself (Žabkar 1988, pp. 134.): "Indeed, she is the Lady of Heaven, Earth, and the Nether World, having brought them into existence through what her heart conceived and her hands created..." Both of them are related to the afterlife and are explicitly called out as deities of fate. Once again from the story of Apuleius:

Lady Isis' connection to the afterlife as she who guides the soul to it's fate goes back even further in Egyptian texts and she has been a funerary deity all the way back in Old Kingdom Pyramid Texts. Take that in context with Rhea's line of Sothis being the "arbiter of souls" and much of her cosmology in-universe revolving around the afterlife you have another link between them. Isis was said to be able to prolong a person's life if they were to follow her mysteries as she knew the lifespan of all people and could manipulate it with her magics. She also typically interacted with her followers via dreams. This is something Sothis is shown to do constantly with her appearing in Byleth's near death moments, within their dreams (at the beginning of the game and later during her speech regarding Fodlan's plight. And can I say, Sothis being aware of the blood being split and awakening Byleth to explicitly put it to an end is a very much like a savior goddess). Then, in Rhea's backstory, she said that she heard Sothis' voice within the Holy Tomb (or within Enbarr) and that is what lead her to take up the name of Seiros and begin to fight against Nemesis. Sothis inspiring the creation of the Adrestian Empire through Seiros, and Byleth's place to chose the fate of Fodlan, directly correlates to Lady Isis' role as a goddess of kingship. Her protection was explicitly called upon both during the defense of Egypt and during campaigns of military conquest, and that she alone was comparable of armies of soldiers. Isis and Sothis both are also transparently related to nature. They are callers of the rains (cited in the Philae Hymns for elsewhere and in-game for Sothis) and related to bounties of the harvest. In this way, Sothis may also cross into the sphere of Osiris who was more explicitly a fertility god and the ruler of the dead/judge of souls. An interesting similarity can be called to the myth of Osiris' death and dismemberment at the betrayal of his brother Set, Isis' incomplete resurrection of her husband, and Horus' becoming king of Egypt after contending with his uncle where he avenged his father; with how Sothis herself was killed and dismembered for her power, then Seiros' creation of Adrestia (where he also chose the first king) to avenge her mother, and her inability to resurrect her due to Sothis' body being scattered and incomplete (at least, until her ib/Creststone was placed within the intact khet of Byleth). But that is an aside for now. I want to finish this off with a look of the physical similarities between depictions of Isis and Sothis. Once again from Apuleius:

"Firstly her long thick hair in tapering ringlets was loosely spread over her divine neck and shoulders, and her head was crowned with a complex garland of interwoven flowers of every kind. At the centre, over her brow, a flat disc like a mirror or rather a moon-symbol shone with brilliant light. Coiled vipers reared from the right and left of her coronet which was bristling with erect ears of corn. Her multi-coloured robe was of finest linen, gleaming here pure white, here a saffron yellow, there flaming rose-red, with a woven border flowing with flowers and fruit, and what dazzled me most of all was her jet-black cloak with its full sheen, wrapped gleaming about her, slung from the left shoulder, knotted at the breast, and sweeping over her right hip. It hung in sweetly undulating complex folds down to a tasselled fringe, and along its borders and over its surface fell a scatter of glittering stars, round a full moon at the centre breathing fiery rays. And she bore a host of emblems." To me, there are some similarities between this and the depiction of Sothis plus how Rhea dressed and Byleth's Immaculate One outfit. The floral motifs of lotus flowers, the crisp white of Sothis' mural appearance and those of Rhea and Byleth, the crowns of flowers and star motfis, the way Isis bears many emblems around her, much of it bears some similarities to Sothis. But this is not the only depiction of Isis, let me show you some visual representations. Let us compare this mural of Sothis to some depictions of Isis:

Here are two of Isis from Pompeii with one being a mural and another a famous reconstruction of a statue:

Again, while not 1:1 there are some visual similarities in design. The white linen of her dress and the cut of it are fair similar, as are the wings that are associated with nearly every depiction of Isis. To show and example from Egypt:

The fact that Sothis is shown with feathered wings in particular feels important given her other similarities with Lady Isis. Plus the throne hieroglyph that represents Isis and often often seen above her head looks exactly like the throne of Sothis as seen in the Holy Tomb. Lady Isis is also known as the "Lady of the Throne" just like how Sothis is called the "Girl on the Throne." The amount of connections between them does not feel like coincidence to me. If you want to take the Romance into account as well, both Sothis and Isis are associated with floods in that case, especially with floods that are said to be caused by their sorrow. Sothis is a savoir deity who protected and saved from Fodlan from the destruction of the Agarthans; she is said to have caused a flood in the one, possible, Agarthan account we have. Her name is Sothis, transcribed from Sopdet, lady of the blue star, who was syncretized with Isis who also became manifest within Sirius. I think I will make one more note: the Rite of the Goddess' Rebirth is transparently related to Wep Ronpet, the cosmological new year in Kemetic religious practice. Both take palace in late July (or into early August for some dates of Wep Ronpet), both are related to the rising of a particular star (the Blue Sea Star is based on Sirius, this fact), both are related to the rebirth of the world and the gods, and both are a day of celebration with family and friends. As one final aside: in Kemetic practice, worship of the gods has always been an intimate and close affair, both in antiquity and in modern practice. Gods are active and immediate presences within the world, and they are presently felt within physical parts of the world. Ra, Aten, and other solar deities are all the sun, Nut the sky, Shu the air and wind. Various "truths" about natural phenomenon could all be true at once and created a multi-facted view of existence. So Sothis having the Blue Sea Star as her "home" are acting as her spiritual double entirely makes sense within this framework. Sothis' laws are also fairly similar to the Laws and philosophical underpinnings of Ma'at; however, delving into that is outside the scope of this post. So I will need to leave things off here.