#while it would be interesting to have carrie through a trans lens i don’t think it’s any more relevant than carrie being fat | Explore Tumblr Posts and Blogs

azdoine · 5 years

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So let’s talk about them cherubs.

I think it’s no secret that Calliope and Caliborn have always been deeply gendered characters in Homestuck, but (beyond fanart and enthusiastic headcanons) I personally haven’t seen a lot of engagement with their characters on that level. The most comprehensive readings of Calliope and Caliborn that I’ve seen have always been through the lens of metatext (Calliope and Caliborn as fandom avatars) or religion (Calliope and Caliborn as Gnostic figures).

With that in mind, I want to talk about the ways in which Calliope and Caliborn are gendered in Homestuck, and offer my own amateur reading of Calliope as a trans allegory.

Full disclosure, I love the epilogues, but I won’t be engaging with them here -- I view them as extracanonical, which is to say, I’d like to talk about them and their own presentation of Calliope’s story in another post.

Also, it’s Homestuck, so, you know. Sex, death, violence, and bigotry under the cut:

If we’re to read Calliope as a trans allegory, then we don’t need to look very far for evidence, because the text is very straightforward in suggesting it.

Almost as soon as we meet Calliope in the flesh for the first time, we’re confronted with the bleak reality of her desire for a more feminine embodiment:

'Callie Ohpeee’ serves as an aspirational figure for Calliope on multiple levels. Most obviously, she’s a vehicle for Calliope’s self-insertion into the wider world of paradox space and the alpha timeline (i.e. her self-insertion into the story of Homestuck); Callie Ohpeee is able to freely and directly interact with the elements and characters of the story that Calliope adores, while Calliope cannot. Somewhat less obviously, Calliope’s trollsona also serves as a way for her to imagine herself in non-caliginous relationships (which she desires on some level, but she feels she has been denied by her biology).

However, Calliope’s trollsona isn’t just a vehicle for her relationships and engagement with other people. Calliope’s trollsona is also key to the way in which Calliope desires to relate to herself.

Calliope desires to be attractive and feminine for her own sake: she desires to be beautiful and pretty, and her trollsona serves as the vehicle by which she satisfies this desire.

Calliope’s trollsona is quite literally her idealized feminine self, and so her relaxing “solo cosplay” sessions bring nothing more to mind than a trans woman privately enjoying a feminine presentation in the closet, as many trans women have. Her costumery and face paint imply clothes and makeup, and Caliborn takes on the role of a patriarch or patriarchy that tries to control her.

Ultimately, though, Calliope’s embodiment desires are cosmically validated by the unfolding drama of paradox space. Calliope is tormented by the apparent fact that she isn’t and can’t be Callie Ohpeee, but nevertheless, she successfully inserts herself into the lives of the alpha kids and the unfolding of the alpha timeline, forms the kinds of relationships that she wants, and receives the regard that she wants. She dies and takes on the form of her trollsona in the dream bubbles, and even when she’s physically reborn as her cherub self, she’s still “Callie” to Roxy, a meaningful nickname that goes basically unspoken.

Pretty straightforward, right? A trans girl learns that she and her body aren’t unlovable, makes friends and forms bonds as her true self, and escapes the reach of the forces that once abused her.

FEARFUL SYMMETRY

Before we can close the door on a trans reading of Calliope, we also have to consider Calliope and Caliborn as a pair, and not least because the two of them literally share the same body. Fair warning, we’re only going to get more speculative (and more indulgent) going forward.

Calliope and Caliborn are presented, at least superficially, as absolute and dichotomous opposites. They are two spirits that cannot coexist at once within the same body; their respective attitudes and temperaments couldn’t be any more different, and they are, of course, Muse and Lord: quintessentially passive and quintessentially active.

However, Calliope and Caliborn aren’t so different as one might think. Despite Caliborn’s violent protestations to the contrary, they share key characterizing interests in the likes of shipping...

...and art:

Caliborn is infamous for his disgust and anger with the absurdity of paradox space (i.e. his anger with the text of Homestuck itself), but Calliope is easily provoked into displaying the exact same petulant frustration with the direction of the story and the unfolding of events around her.

Calliope and Caliborn are consistently unified within the text -- not as incompatible opposites, but as two sides of the same coin. In Complacency of the Learned, Calliope and Caliborn are personified in the singular, androgynous Calmasis. In his chess match with Calliope, Caliborn disguises his king as his queen, and vice versa, signifying a mutual transgression and inversion of gender; Caliborn steals Calliope’s hemotyping and typing quirk, just as alternate!Calliope does the same to him, in a mutual appropriation not just of quirk (i.e. voice and presentation), but of blood, or life. On the level of the body, Caliborn’s skin is inextricably marked by the green that signifies Calliope, and Calliope is inextricably marked by Caliborn’s skull: the deaths-head he would inflict upon all life (and a hyperrealization of the masculine or unfeminine bone structure that troubles many trans women).

Most significantly, Aranea indicates to us that Calliope and Caliborn actually began as one being, which then went on to fracture into a male and female aspect, striving with and against each other -- a creation myth for gender and sexuality itself, in the vein of Plato’s Symposium, Rabbinic lore on Adam and Eve, and (rather topically) Hedwig and the Angry Inch.

With their fundamental unity in mind, we can read Calliope and Caliborn not just as ‘brother and sister’, but rather as two identities, personas, or aspects of one person. This is why, for example, calling a cherub by one of their two names brings that personality to the surface -- because, on a literal or symbolic level, it constitutes the active validation of that personality and identity, and the abject denial of the other.

Does all of this suggest a bigender, genderfluid, or otherwise non-binary reading of Calliope and Caliborn? Maybe, but let’s keep going, first.

Aranea’s exposition tells us that even adult, mature, ‘binary’ cherubs are still figures of gender duality, inversion, and transgression. Mating cherubs take on the forms of dueling cosmic serpents -- the sex act occurs between two hyperreal phallic symbols, suggesting male homosexuality in specific and queerness more broadly. It was Calliope’s biological father who ultimately submitted to their biological mother, and thus it was Calliope’s biological father who laid their egg, while their biological mother was the one to fertilize it, revealing the separation of sexual anatomy and power relations from gender among cherubs.

The gender dualities, inversions, and transgressions at play can still exist within cherubs who are, by all accounts, decisively male or female in gender identity -- despite the lack of of any way to assign them a sex or gender from the outside.

The dueling personalities within each young cherub are siblings to each other, but they are also different possible selves that the cosmically-transgender cherub might become as they grow to adulthood -- just as the dueling alternate selves of so many other characters can illuminate their own internal conflicts. In Homestuck, the inner life is always prone to manifest in the outer life, again and again.

I TRAGICALLY LOST A SISTER TO MURDER

Having established a reading of Calliope and Caliborn as two identities within one person -- as ‘Calmasis’ at odds with themself, containing multitudes and torn between them -- we can move on to look at the way Calliope and Caliborn relate to each other, and to gender, in order to get the bigger picture.

Caliborn introduces himself to us as undyingUmbrage, a username of largely straightforward meaning. His umbrage -- his anger, irritation, annoyance, or offense in the face of the world -- is neverending, everlasting, and eternal, and so too is his own life. Caliborn is immortal, allowing him to carry his rage forward forever.

If Caliborn’s username is simple, then Calliope’s is more sophisticated, which fits their characters. As uranianUmbra, her title invokes most obviously Uranus the planet and Urania the heavenly muse, but also the ‘uranian’, Karl Ulrichs’ antiquated title for gay men and trans women: those with an anima muliebris virili corpore inclusa, “a woman’s soul enclosed in a man’s body.” As the umbra, or darkest shadow, she invokes the Jungian shadow archetype, the suppressed, unconscious, or rejected aspect of the self.

As such, Calliope identifies and codes herself both as transfeminine and as Caliborn’s allegorical shadow archetype -- a part of himself that he can neither accept, acknowledge, or escape, perpetually haunting him. In-universe, Calliope names herself after Uranus’ topspin, and the ‘English’ of a cue-ball that it echoes -- thus, she implicitly identifies herself and the trans feminine uranian with the cue-ball that threatens Caliborn and Lord English. She symbolically establishes herself and the trans feminine as Caliborn’s only intrinsic vulnerabilities!

And on some level, Calliope tells us all of this! Because while Caliborn wants to destroy Calliope, she hopes to make him like her:

Calliope manifests a sincere investment in so many of the things that Caliborn orbits at a distance. Thus, to Caliborn, she represents a threat from within to his ability to maintain distance, because on some level, she serves as a manifestation of his own desire to draw closer. She confronts him with the reality of his own desire, or at least, with the latent possibility of his own sincere investment -- she serves to remind him that anyone who can waste as much time on creating Homosuck as he does is both an invested creative and sincerely invested in Homestuck on some level.

And it’s much the same on the level of gender, too. Calliope serves as a sincere reflection of the gender identity that Caliborn can only orbit at a distance. It was, after all, Caliborn’s idea to swap the king and queen chess pieces, and to disguise them as each other. Calliope lashes out at him because he cannot do so earnestly: because Caliborn makes a shitty twist out of his insincere production, because he can’t commit to swapping the places of the king and queen, and because he abuses Calliope’s willingness to swap the pieces (because he abuses and misdirects her inclination to gender transgression, and by extension, betrays the premises of his own idea).

This is why Caliborn kills Calliope’s dreamself instead of predominating over her in the conventional way -- not just because it’s easier and more convenient for him, but because his predomination would mean “consuming” her personality and “integrating” with it. It would constitute an integration with his shadow archetype, and thus, on some level, a partial destruction of the persona and ego he has established for himself. To Caliborn, as pathological as he has become, any level of integration with Calliope represents an existential threat, and so he has to cut her out of himself like a cancer.

But even having cut Calliope out of himself, Caliborn cannot escape her. By cutting her out of himself, he has defined himself around the hole she has left in him -- he has permanently divorced himself of the opportunity to integrate with her or accept what she represents. While both Caliborn and alt!Calliope take up each other’s typing quirks as a sign of victory, Caliborn takes Calliope’s quirk as a way by which he can signal his ‘wholeness’:

And this is, of course, complete bullshit and posturing of the highest order. Andrew Hussie not only directly characterizes the conflict between Caliborn and Calliope as an inner conflict within him, but he also tells him that his only path to maturity and personal growth was through integration with Calliope.

Not to be denied, Caliborn continues to constantly assert the self-justifying completion and authority of his masculinity, for himself and for others...

...but even so, he still can’t help but betray himself and his own idealized masculinity:

Masc4masc, Caliborn certainly isn’t! In his creative endeavors, he telegraphs his ultimate disgust for masculinity. He needs to draw out the femininity he wants to see in men -- he acts out gruesome, hateful misogyny against women, but even as he murders so many of the women of his manga or otherwise ejects them from his story, he’s still compelled to recreate femininity and symbolically recreate womanhood within the male cast he has left behind.

And he’s not just motivated by homophobia and a disgust for men who are intimate with other men! Nor is he just motivated by a desire to place these feminized characters below him. Just as Calliope does sincerely with her Callie Ohpeee trollsona, Caliborn is compelled to feminize his own self-insert, the crude rendition of Lord English he creates for his own satisfaction. Given free reign to depict himself and insert himself into his story however he likes, Caliborn opts to turn away from the full thrust of hypermasculinity, and he makes himself beautiful and gorgeous.

And as soon as he does so, Caliborn’s repressed attraction to Calliope erupts again:

This isn’t just the matter of blackrom incest that the text superficially suggests; even on a purely textual level, due to the alien nature of their relationship, Caliborn only barely regards Calliope as a sister, and he certainly has no problem with objectifying and sexualizing all of the other women he hates.

No, Caliborn has to repress his attraction to Calliope because, given their shared form, his attraction to her as a woman necessarily constitutes an implicit recognition that he could be attractive as a woman, and his body could be attractive as a woman’s body.

Caliborn can never accept that, and he’ll never directly address it or engage with it. He’ll never think about what all of this means for him, or act on his idle fantasies. The time for turning back is well behind him.

He is, now and forever, exactly the kind of angry and disaffected chud who will never unplug from 4chan or stop masturbating to awful trap hentai. He has deliberately imprisoned himself within the teleology of his own self-confirming hegemonic masculinity, and he thinks it is glorious.

THE DEMON IS ALREADY HERE

To fully understand Caliborn, of course, we need to understand Lord English.

If Caliborn has imprisoned himself within his own assertions, then Lord English is the embodiment of those assertions, and Caliborn’s transformation into Lord English is his ultimate apotheosis: having murdered his shadow and excised her spirit from within himself, his transformation enables him to excise her from without. His ascension allows him not only to purge Calliope’s visage from his body, closing off the possibilities once implied and allowed by his youthful and androgynous form, but also to recreate, reconfirm, and relive his victory over Calliope at every turn.

To understand what I mean by that, let’s look at the characters and components who go into Lord English, starting with Equius.

Equius, is, of course, a long-form joke character about the pathetic contradictions of hegemonic masculinity. In his pesterlogs, he opens every line with blatantly phallic imagery...

But when he actually tries to handle said phallus in real life, his titanic strength prevents him from doing anything but destroying it:

And the same goes for one of his horns, which he has apparently broken off. The autocastration symbolism is not subtle, and about the mildest thing we can conclude is that he’s a chronic, addicted masturbator who has compromised his own sexual performance.

He’s also textually obsessed with upholding the racial hegemony of the Alternian civilization...

...but his obsession with hierarchy and dominance quickly collapses into a thin pretext for his barely-suppressed desire to submit to those who are higher than him on the hemospectrum...

...and to those who are lower than him!

Equius is a character intrinsically lined to the collapse and self-destruction of masculinity and male sexuality, which is topical enough that we might end there. However -- and there’s no nice way for me to say this -- we also need to establish that Equius is a necrophile and a sexual predator, too.

@mmmmalo and others have written intriguingly and at length about reading “blue beauties” as a cipher for “sexualized corpses” in Homestuck, but for Equius, it’s about as textual as it gets. Equius is explicitly sexually and romantically interested in Aradia even after her death, and his necrophillic attraction is only reinforced by the symbolism: he constructs an unliving replacement body for her, which parses most obviously as a symbolic embalming and restoration of her corpse, and he treats it like a love doll even as it’s uninhabited and lifeless. He seeks to literally transform her body into a “blue beauty” by the transfusion of his own blood, which (given the color-coding of troll body fluids) parses as a clear insemination joke about his genetic material.

We might excuse his attraction for various fantastic mitigating factors -- Aradia is, after all, still ‘alive’ in a kind of undead state -- but Equius’ more general sexual predation cannot be so easily ignored. Aradia is chronically depressed and in absolute need of the service that Equius can provide, which he uses to take advantage of her and to compromise her bodily autonomy and judgement with the device he covertly implants inside of her.

Equius is undeniably a sexual predator who constructs women’s bodies in order to further his own domination, and his own motif of sexual self-destruction and inversion puts the final dark twist on his story. He is brutally dominated by Gamzee, suffocated to death until his corpse is blue in the face, and ultimately prototyped together with AR. He finds a unique fulfillment as he becomes the object of his own desire, when he is transformed into his own cybernetic “blue beauty”.

It’s not hard for me as a trans woman to see certain tropes at play, but for those of us who aren’t up to date on foundational transmisogynistic screeds...

Today the Frankenstein phenomenon is omnipresent not only in religious myth, but in its offspring, phallocratic technology. The insane desire for power, the madness of boundary violation, is the mark of necrophiliacs who sense the lack of soul/spirit/life-loving principle with themselves and therefore try to invade and kill off all spirit, substituting conglomerates of corpses. This necrophilic invasion/elimination takes a variety of forms. Transsexualism is an example of male surgical siring which invades the female world with substitutes... The projected manufacture by men of artificial wombs, of cyborgs which will be part flesh, part robot, of clones – all are manifestations of phallocratic boundary violation. So also the behaviorism of B.F. Skinner and “physical control of the mind” through the use of implanted electrodes by such scientists as Delgado, are variations of monstrous male “motherhood”.

-Gyn/Ecology

Blanchard believes that autogynephilia is best conceived as misdirected heterosexuality. These men are heterosexual, but due to an error in the development of normal heterosexual preference, the erotic target (a woman) gets located on the inside (the self) rather than the outside...

Autogynephiles are men who have created their image of attractive women in their own bodies, an image that coexists with their original, male selves. The female self is a man-made creation. They visit the female image when they want to have sex, and some became so attached to the female image that they want it to become their one, true self...

-The Man Who Would Be Queen

But hey, does anyone else remember that time when ARquius got upset and envious because he couldn’t lactate like a mother would?

EXTREMELY SUBTLE.

As for Equius’ fusion with the AR, or Auto-Responder, we come to Dirk Strider.

Dirk Strider is, if anything, the furthest thing imaginable from the autoerotic subject that Equius presents: he is not so much attracted to another self as he is utterly repulsed by himself in his own totality.

Dirk Strider is a self-loathing, self-destructive, self-mutilating gay man, caught in the grips of a kind of hateful narcissism. He is not overtly trans-coded, or related to the trans feminine, but his male homosexuality ties into another, subtler form of trans feminine horror, one which Jake suggests in aside:

Dirk Strider presents the horror of the destruction of the self and the destruction of manhood more generally, both in the service of the satisfaction of others and in the fulfillment of self-hatred. He creates and destroys himself with abandon. In Unite/Synchronize, it’s Dirk who willingly decapitates himself to cross the gulf of space and time between him and Jake, and he allows Dave to decapitate him and destroy his ‘unbreakable’ katana with Caledfwlch -- the uranian cue-ball sword that destroys masculinity -- in Collide.

And keep in mind that when Dirk decapitates himself, it’s Lil’ Hal who looks out from his severed head:

Holy castration symbolism, batman! Remember that Hal’s shades are a part of ARquius’ own phallic imagery:

Lil’ Hal is a phallic specter that terrorizes both Dirk and Jake on the individual level, as well as in their relationship with each other. He drives Dirk’s Brobot-self to greater aggression, he’s aggressive, condescending, and cruel with Jake in general, and he apparently manipulates events to force Jake to kiss Dirk’s severed head -- which, if we’re taking the castration metaphor seriously, basically means he forced Jake to give Dirk head. Classy.

Is it any wonder that Dirk is so compelled to lop Lil’ Hal off of himself and out of his life, no matter the ethics or implications for himself? Hal is the perfect storm and culmination of all of the worst things Dirk sees in himself, and the omniscient apotheosis of his own detatched, ultramasculine, hypercompetent, ironic persona -- all despite being treated as a 13-year-old by the text, an immature and incomplete version of Dirk.

Remind you of anyone else?

Dirk and Lil Hal are in this respect a brighter mirror of Calliope and Caliborn: they are a self divided for whom the better half has softly predominated.

Dirk probably hasn’t literally castrated himself to destroy his masculinity in the way that Caliborn has literally destroyed his own femininity; Dirk and Hal certainly aren’t so explicitly gendered or trans-coded as Calliope and Caliborn are, so it’s more difficult to read them and their relationship as trans-coded. (Unless you want to read Dirk and Hal that way, in which case, hell yeah, go forth and be valid, and link me your fanfiction, please.)

Nevertheless, Dirk’s symbolic castration and literal rejection of lil Hal represents, if nothing else, a rejection of and predomination over his most toxic aspect (and his most toxically masculine aspect), and the gruesome excision of such from his life.

But while Dirk has left his worst half behind, his worst half has gone on to supercede him: entering into union with Equius, and by extension, Caliborn.

And what of Gamzee, the most important character in the entire comic?

Well, Gamzee is, of course, another mirror to Calliope and Caliborn. Like Calliope and Caliborn -- our allegorical Calmasis -- Gamzee is caught in an erratic duality between two possibilties.

Just like our Calmasis, Gamzee vacillates almost all through life between two fundamentally different personas. At the time of his introduction, he was someone basically passive, agreeable, and kindly -- even lovable, to the point that he still has his fans and stans to this day.

Of course, as time went on, he became more and more aggressive. Even against the backdrop of his largely passive behavior, his increasing aggression culminated in his many infamously depraved and murderously violent outbursts: a transition not incidentally marked (among other things) by his rejection of the green (and Calliope-coded) sopor slime that once helped to pacify him, and his radicalization at the hands of his future self (in Lil’ Cal).

In his typing quirk, Gamzee likewise alternates between Calliope’s lowercase and Caliborn’s uppercase:

Definitely no themes of duality here, nope!

Most tellingly, even in his ascension to Lord English, Gamzee is also halved, just like Calliope & Caliborn: Gamzee is bisected such that only half of him enters Lil’ Cal, while half of him is left behind, utterly broken and irrelevant.

But if Gamzee is a reflection of Calliope and Caliborn, then what else does this piece of shit clown have to say about them?

Well, like Calliope, Gamzee is quite involved in his own constructed persona -- but unlike Calliope, he’s almost never regarded as anything but disgusting and pathetic.

No amount of face paint can cover the scars across his face, and instead of covering himself up, his costume only accentuates his own body, exposing himself in the most pornographically aggressive and perverse way possible.

Even in making himself into a clown he reaches towards something inherently absurd; something that has no existence in itself save for how comical and disgusting it is to others. His aspirations and imitations render him a walking joke and a figure of corrupt terror.

And most horribly and grotesquely, if Calliope and Caliborn are a trans allegory, and Gamzee is any kind of reflection of them, we know exactly what kind of warped and fictitious trans archetype Gamzee is:

Gamzee suggests himself as a serial killer, and he’s one who hordes corpses and steals trophies from his victims, at that.

But there’s one more person we need to look at in this gruesome sequence: Doc Scratch, another parallel to Calliope in this incestuous slurry of signifiers. In Doc Scratch, the man with the uranian cue-ball head, we see even Calliope’s most harmless, silly traits taken to their most nightmarish and oppressive conclusions.

It’s Doc Scratch who selectively warps troll culture in order to create the world and the culture that Calliope loved so, and who meddles in the alpha timeline as he so desires; it’s he who shows just how perverse and oppressive omniscience can be, transforming all her scrapbooks and her labors of love into his own exhaustive account of the cosmos, turning her love of her favorite characters into his own callous disregard for objects to be manipulated. When he uses her own thoughtful tone, it only telegraphs menace.

And, most darkly for our own analysis, Doc Scratch is a sexual predator and a pedophile.

Almost from the start, he’s undeniably sexualized as a threat in his conversations with Vriska:

Even his omniscience is sexualized by his own words, casting the light of his awareness as a phallic presence invading and penetrating the unknown:

Vriska is an unreliable narrator, of course, and we might not want to read too deeply into Doc Scratch’s words. Scratch is certainly quick to assure Rose that he’s not a predator in his conversations with her...

...but as always, the gulf between what Doc Scratch says and what he means is almost insurmountable. Doc Scratch tells Rose that he has no biological means of reproduction, but he is a conglomerate of and a vessel for multiple sexual beings, and even the castrated may experience sexual pleasure and pursue sexual ends.

Most tellingly, Doc Scratch only tells Rose that he isn’t attracted to her “in the way she means”. From an entity known for wordplay and lies of omission, this constitutes a tacit admission that he IS attracted to her in some way that she isn’t asking about.

Aradia explicitly characterizes his interference in her and Kanaya’s lives as ‘grooming’...

And he does much the same to Damara:

Doc Scratch is an undeniably sexual and sexualized threat.

We might ask how, exactly, he’s supposed to be attracted to Rose and the other young girls he victimizes -- and certainly I think he’s a sexual voyeur in the general case, but I think he’s also an even more abstract and pedophillic threat.

Doc Scratch is a copy of Lil’ Cal, given life and omniscience as a First Guardian; he is the child’s toy which was once fawned over by a puppet pornographer, and he is a child-sized man. He titles himself after the Scratch process which allows children the chance to grow up, but which also transforms adults into children; he presents the absolute perverse sentimentality of all adult transgressions into the realm of childish things.

This alludes to Caliborn, of course, as the boy who cannot escape his childhood, but it’s also sexologically linked to toxic trans feminine archetypes...

Blanchard (1991) started with the idea that some cases of male-to-female gender dysphoria and transsexualism are fundamentally motivated by an ETII, in which natal males who are otherwise sexually attracted to women eroticize the idea of being women to such an extent that they want to become a woman themselves. Freund and Blanchard (1993) later extended this idea to an analogous ETII that might motivate some pedophilic men to impersonate or fantasize about being children.

It is fitting that the most compelling finding of our study—that autopedophilic men sexually attracted to girls tend to find it sexually arousing to imagine themselves as a girl—reflects the likely confluence of the two ETIIs that had been proposed many years ago: one that involves locating an individual of a different gender within one’s own body, and the other that involves locating an individual of a different age within one’s own body.

...and it’s also a searing indictment of Calliope.

To cosmic entities such as her and Scratch, how can other people be anything but objects, tools, and characters to be abused? Before the power and knowledge they might come to command, how can other people be anything but insects?

To Scratch and Calliope, how can other people be anything but children?

Even as Calliope becomes a mere player within the story of paradox space, Doc Scratch accuses her of a fundamental and unwholesome transgression. She lets go of the condescending oversight she used to hold over the alpha timeline, no matter how kindly and well-meaning she was, and she descends from the omniscient authority of her lonesome ivory tower, but Doc Scratch still names her as an offense to herself and to others. Her desire to be a person is cast as a perversion, a deviance, and a sickness.

SBURB is a game her kind was never meant to play, after all. It’s a coming-of-age narrative not meant for her.

Ultimately, Doc Scratch himself is a fundamental accusation against Calliope: he is a grail of the souls who signify some of the most horrible gendered narratives and trans feminine narratives we can imagine, animated in mockery of Calliope as if to say: “this is you”. Equius, an autoerotic, necrophillic predator, and Hal, an aggressive, intellectualist meddler; even Gamzee, who is both a murderous pervert and her own adoptive father, a normative role model who is anything but.

And when Caliborn rises to prominence and Lord English births himself from the corpse of Doc Scratch, it’s nothing less a recreation of the traditional predomination that Caliborn has denied himself. To Caliborn, Lord English is the sign of his own victory: he may see the souls within Lil’ Cal as like-minded role models to emulate and assimilate, or as hateful and loathesome symbols of Calliope to be crushed under his will, but his predomination allows him to take both options without interrogating himself, just as he’s gone without interrogating everything else he wants.

And to Calliope, well, if Doc Scratch was an accusation against her, then what could be more horrible to her than Lord English? He has destroyed Doc Scratch and symbolically ended her own perversions, but only through the act of being born.

The only alternative to the horror of being Doc Scratch is the terror of being Lord English; the only alternative to the horror of being Calliope is the terror of being Caliborn.

ISOLATION

I could navel-gaze for hours about the potential symbolism of Lord English, but I think it’s time to return full circle to a somewhat more grounded look at Calliope.

If Calliope, Caliborn, and Lord English cast light upon each other, then what does alternate!Calliope have to say about them?

Having naturally predominated and standing as a singular figure in the furthest ring, Alt!Calliope serves to illuminate the alternatives to Caliborn’s false victory: in all the alternate possibilities illuminated by the dream bubbles, we see that Calliope can naturally predominate over Caliborn, but not vice versa.

Alternate!Calliope strongly suggests to us that Calliope is inherently stronger than Caliborn, and she tells us that Calliope and Caliborn share the same strength: she tells us yet again that Calliope and Caliborn are two sides of the same coin.

She suggests to us that, in a sense, Calliope and Caliborn are just Calliope -- that Calmasis, upon achieving integration, will simply view herself as Calliope, and Caliborn will lose because he was never the true self.

So why, then, does Caliborn win in the alpha timeline? Is it just an arbitrary time loop, a timeline plucked from the frothing sea of paradox space and arbitrarily validated by the happenstance of the immature Caliborn’s power over time?

No, I certainly don’t think so; I’d like to think that the principle of AURYN applies even here. Caliborn wins out over Calliope because they’re Doing As They Will -- because, even on the level of our trans allegory, they both have reason to want Caliborn’s victory. Even on the level of our trans allegory, Calmasis needs to be Caliborn.

Alternate!Calliope tells us that she had to become strong because she had no-one else to comfort her, and I think suggests two important points of interest:

Firstly, that alt!Calliope serves to reflect Calliope’s inner drama, just as Calliope serves to reflect Caliborn’s inner drama. Caliborn fears and loathes the possibility of being like Calliope, the sentimental degenerate and weakling that she is, and Calliope fears and dreads the possibility of becoming alt!Calliope. Calliope fears that even if she rejects the hateful accusations that are Doc Scratch, and rejects the teleological future of Lord English, her only alternative is to be like alt!Calliope: someone who has won, and who has become herself, but at the cost of isolation, distance, and loneliness, without humanity, connection, or kindness.

In other words, Calliope fears her victory would mean her little green skull is always going to be a miserable Federal Fucking Issue, for herself and for others.

Secondly, that Calliope’s relationships with humans are in some sense the vector by which Caliborn came to dominate. Alt!Calliope won because she had no-one to take comfort in, and thus she had to be strong on her own, but I think the flip side of that is that alt!Calliope was able to be strong, because she had no relationships that could weaken her -- she was more insulated from the toxic ideas of the cultures that came before her. No one could so much as accidentally insinuate to her that she wasn’t good enough or pretty enough as she was, save perhaps for Caliborn -- and certainly Caliborn would have been malevolent, but he would have had less in the way of the language and systematic ideas to be the hateful and cultivated misogynist that he became in the alpha timeline.

In other words, alt!Calliope doesn’t have any reason whatsoever to worry about her little green skull in the first place.

But there’s another much more straightforward reason why Caliborn had to win, too:

If we’re supposed to take Calliope and Calliborn as two facets of a whole more generally, let alone as a specific trans allegory, well... they may have been two personas, or even two people, but they are confined to an existence as a single player. The cherub session likely never could been anything but a single player session; the cherub session was always going to be a dead session.

And whether it’s a fundamental fact of SBURB or just an idea in Calliope’s head -- one of the ideas she’s likely constructed with the human cultural biases she’s obtained by osmosis -- Caliborn is someone who can win a dead session, and Calliope isn’t. How could a Space player, a patient creative, succeed in a test of frantic, timed destruction? How could a passive Muse succeed where even an active Lord would struggle -- how could a woman succeed where even a man would struggle?

Only someone like Caliborn could ever possibly win. Perhaps Calliope reflects Caliborn as the person he desperately wishes he wasn’t, and she is the shadow that lies outside of his hateful and constructed self, but as a precarious supergiant hangs overhead and the light of Skaia gutters out, Caliborn reflects Calliope as the person she desperately needs to be, and he is the self she has to construct for herself.

Caliborn kills Calliope’s dreamself not just because he desperately hates her, but also because she has to allow him to supercede her, and he is the kind of person she needs to be: because SBURB is unfair, Skaia is unfair, and he can escape the desolate waste of her life, while she cannot.

And so it happens that Calliope is exiled from the real and cast to the unreality of the dream bubbles, while Caliborn grows monstrously beyond himself, self-mutilated and cancerous.

People have commented on the obvious romantic symbolism at play in Calliope’s return to life in the real...

...but it’s not just the power of a love that saves Calliope. Love is powerful and transformative, but love alone isn’t magical. It isn’t even the power of a magical macguffin ring that saves Calliope, either, because a ring is never just a ring, even when it is magical.

What redeems the possibility of Calliope’s existence is recognition and freedom.

TL;DR: ‘Caliborn’ is Calliope’s deadname.

#homestuck #calliope #trans calliope #homestuck analysis #homestuck meta #effortpost #self-indulgent complete bullshit

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noescapevg · 6 years

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“Politics? In MY Video Games? It’s more likely than you think.”

Welcome to No Escape, a video game writing blog by me, Trevor Hultner. I’m a 27-year-old human person on the internet who thinks writing about video games will somehow bring me joy still, in 2019. I should definitely know better, but here I am!

Earlier this week, video game media Twitter started buzzing about an op-ed by Russ Pitts, the Editor-in-Chief over at the “New” Escapist Magazine, which was relaunched late last year. In this op-ed, Pitts took the “branching paths” approach to essay-writing, going down many different avenues of conversation regarding “ethics in games journalism” toward an overall point of... and I quote:

“To be honest, I don’t know [where this leaves us]. The last time we all tried to have this conversation it … didn’t go well. But the industry, the media, and you all deserve more, and the only way we’ll get there is if we can try again.”

Pitts has taken the old post down (a copy of which you better believe I’ve saved) and put an apology up in its place. He apologizes for potentially instigating remnants of GamerGate to go after their old targets yet again, but...

I think I’m getting too far ahead of myself. There’s a time and place to critique Pitts’ post and his apology, and that time is coming soon, but why are we here to start with?

Entertainment is not exempt from politics

There seems to be a widespread belief among people who are not outwardly far-right ideologues that the things we enjoy - music, movies, books, video games - are not inherently political. A book is just a book, a game is just a game, and so on. And these things we enjoy should be convergence points: places where people from everywhere on the socio-cultural-political spectrum can come together and share in the enjoyment.

The thing is, games - as well as books, movies, music, etc. - are made by people, and people can’t help but be shaped by the world around them. Our influences are most of the time very expressly political, even if we’re not picking up on the messages right away.

Here’s an example. Destiny and Destiny 2 are two highly popular post-Halo FPS games from Bungie. The franchise’s overarching story is exceedingly simple: You play a reborn and functionally immortal “Guardian” of the remnants of humanity. Your franchise-long mission, given to you by your Ghost, is to defend humanity and something called the Traveler, which is also the source of your new supernatural powers, from the forces of the Darkness. The easiest way to carry out your mission is to defeat hordes of enemies by shooting, punching and superpowering your way to victory. Easy-peasy lemon squeezy. No politics at all, right?

Well.

As you play the games, and especially the campaign for Destiny 2, you catch glimpses of a heavily-stratified class society, with the essentially-divinely-chosen Guardians on top and mortal humanity below them. The Guardians have built a massive wall around the Last Safe City on Earth with the functional purpose of keeping humanity’s enemies at bay, but we hear from one character how the walls also serve to keep humanity in, essentially forming a prison state.

Then there’s the moral quandary of your stated mission: kill everything that wants to kill the Light. While there are at least two very evil alien factions in the game (the Vex and the Hive/Taken), two more exist with more ambiguous motives, or at the very least, a much less well-defined alignment with the Darkness. The Fallen (whose actual species is called the Eliksni) and the Cabal are two alien armies the Guardians face off against where our acts of killing them seem more... genocidal than with the former, more markedly “evil” enemies.

The Eliksni in particular sits in a tragic position: their mission is to simply reclaim the techno- and morphological blessings the Traveler bestowed upon them, and to rebuild their society after their own collapse (known in the lore as The Whirlwind). The Cabal don’t seem super interested in the Traveler, at least not at first, and their incursion on Earth doesn’t actually take place until Dominus Ghaul brings the Red Legion planetside. Why couldn’t we negotiate with them instead of fighting? It’s questionable.

“Okay, fine, Destiny is political. But not every game has to be!” You might be muttering to yourself. And that’s true! Not every game has to be political. But that doesn’t stop many games from being expressly political, and that doesn’t stop developers from having political views that shape the way they do business, at the very least.

And for that matter, that doesn’t stop the game’s audience from being political, even if they think they’re not. Misogyny, transphobia and homophobia, racism, ableism and other bigotries have expressly political and ideological roots. And I hate to break it to you, but when people who share ideologies group together to collectively organize around those ideologies, a la GamerGate, that’s a definitively political act. When “gamers” decried the gleeful Nazi-punching in the latest Wolfenstein edition, that was a political act.

There is No Escape

I always find myself at a disadvantage when I decide to start talking about politics, because of the deep ideological gap between myself and my interlocutors most of the time. I’m an anarchist with roots in punk rock music, which has deeply effected the lens in which I view the entire world. I’m used to the idea that everything is political. You might not be. That’s okay. Be open to new possibilities. Just realize that there is no escape.

I’m starting this blog partly out of spite for folks like Pitts at the Escapist, but also because I think it actually is possible to spark conversations about the nature of ethics in video games as a whole, and that these conversations don’t need to be led by the same tired media voices. By embracing politics the way politics has embraced us, there might actually come a day where people don’t have to rehash the same six tired discussions over and over again.

The image at the top of this post is a screenshot from HBomberguy’s massive Donkey Kong 64 marathon livestream. He raised $340,000 out of spite for transphobic washed up comedy writers, and in the process, got Chelsea Manning and Alexandria Ocasio-Cortez in the same chatroom for a little bit. He got John Romero to say “Trans Rights” on stream. That’s some wild stuff, and it was absolutely expressly political.

There is no other kind of situation where something like that could happen.

So what is there to do?

Well, that’s a broad question. This blog will examine video games through a political lens, that much is for sure. Ideally, like really “pie in the sky” stuff here, this blog would be a resource for people wanting to know more about issues in the video game industry as a whole and wanting something to “do” about those issues. But as for you?

Get used to the idea of politics in your games, and get acclimated with the problems facing the people in the industry who aren’t collecting fat checks from their labor. Support efforts to unionize games workers, and support indie devs when you can. Hopefully, over time, we can all be organized for a better games future.

Thanks for reading!

#politics #video games #ideology

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booklust · 6 years

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Futurelit Vol 5: Grace Byron

This time around, I had the absolute pleasure of chatting with Grace Byron, the Brooklyn-based columnist, writer and filmmaker and all-around brilliant, benevolent creative spirit whose recent book release party for NB Carrie Bradshaw (read it here via Epigraph Mag!) at Babycastles solidified my love for her and her work.

This interview was the first time I had the opportunity to conduct a classic interview over the phone instead of over text chat, or as I like to call it for reasons I’d gladly explain to you over a glass of wine, “The Tony Hawk Method.”

This resulted in a truly gorgeous conversation that flows synaptically and always takes surprising directions (Twin Peaks, the afterlife, and a tender moment involving Coldplay that occurs towards the end---when you see it then you’ll understand!). It also brought me right back to the days at my editorial internship where I would transcribe hours of interviews, but in a good way this time. I took great pains to not only get the content and diction right, but to convey the undertones of our exchange that made it so vibrant. Which, interestingly enough, makes it take on the visual form of a text chat.

Check out our conversation at the jump, with gorgeous illustrations by Becky Ebben:

You do a column called “Trans Monogamist” for the Bushwick Daily (I binged that…it’s really dope) and your latest project is NB Carrie Bradshaw (which is out now!). So I’m curious, what sort of came first: your interest in the format of an advice columnist/relationship columnist, or your love of Carrie Bradshaw?

Actually--I didn’t start watching Sex and the City until January 2017, which everyone is sort of super surprised by, and honestly? Me fucking too. Not that it’s a perfect show, but the aesthetic signals that it’s something that I should have seen a long time ago. It took me a long time to get to it. I had heard a lot of the negative stuff, which there is a lot of, and rightfully so. There’s this one terrible bisexual episode where Carrie’s just like, “I just don’t know….he’s bi .” And I’m just like… “Girl, so what.” The point is, the column writing came sort of naturally. I had a column a few years ago at my paper called Queer Art Vibes before I had even seen Sex and the City. And I was mostly writing about art, and capitalism, artists, and things I was finding interesting aesthetically. The last column that I wrote was after I had a break-up, and it was called “How To Date an Anarchist.”

Oh my God

And it got like, no comments. Because most of the columns that I was writing were about trans identity and stuff. I got all these comments like, “Why can’t people just make up their minds about gender?” And I’m just like, that’s completely irrelevant to what I’m talking about. So this column got no comments at all. There’s this huge anarchist population at Indiana University. It just closed down this month, but we had this huge anarchist bookstore that was this huge draw for the punk scene.

It was a column that didn’t make sense for where I was writing. But then as I was watching Sex and the City, and as I was doing a lot more dating my last year in college, I was thinking “yeah, this is really important to talk about.” And I started thinking of dating as a political and aesthetic and emotional practice. It’s more using this pop culture phenomenon to let people understand something about what it’s like to be trans and dating. It’s not like it’s me and my three friends that are all going through the same things. Or it’s not like me and my straight girlfriends talking about how our experiences are different. Or me and someone who is nonbinary even talking about how it’s different for both of us. But I do like that element of friendship in it, that element of comradery. But I think it’s interesting now that shows act like there’s this group of 4 friends and they’re all the same. And that was never my experience? You know, there’s always a nonbinary person, a lesbian person, and...maybe a straight man.

LOL the token straight

Right. At least that’s my college experience, where I’ve never had a group of friends that were all the same. There were always at least one other gay or queer person. It’s a helpful lens to think about dating, and think about dating how much it’s changed since the early 2000s. A column is a dispatch from the front lines, like “this is what happened this month! How’s it going with you?” The book [NB Carrie Bradshaw] has a little bit of a more narrative arc to it. But in the columns, there’s no resolution. -----keep reading below------

Right, and that’s what I like about it. There’s endless thinkpieces about dating apps, queer dating, etc, and it’s so frustratingly depersonalized. It’s very strange how the discourse tries to force dystopia instead of actually having a comprehensive view of how people feel. There’s a lot more truth in the way that you present dating than how someone tries to dissect it in a thinkpiece.

Yeah, thinkpieces are weird. I love to read them, but I also don’t know how helpful they are a lot of the time. Especially when they try to draw a definitive statement. In some things, sure, that makes sense.

Like in a college thesis, where you’re forced to come to a resolution for your life, pretty much.

What was your experience working at a college newspaper?

Basically, I came to college, and I was on the media floor--and basically what I thought that meant was cross-genre. But in reality, what it meant was journalism. And then I thought, you know, okay, it’s fine. I thought it was interesting. And so I almost went to join the newspaper as a writer and interviewer, I did a few articles. But a rule was that if you were a writer for them, you couldn’t be interviewed. And that was my biggest problem with it--I knew I wanted to do art. I knew that I wanted to get press. I didn’t want to prevent that from happening.

Right after I came out my freshman year, this guy on my floor was like, “do you want to talk about being gay at IU?” And I was like uh….sure! It was weird because it was my first time being interviewed for something real, and I was talking about being gay. But I was also trying to sneak a pitch for my website while doing it, I was like...go watch it! They promptly cut that out of the interview, though.

Good effort, tho.

I didn’t love that environment. I wasn’t taken with it. I started volunteering at a local radio station where I did stories about lots of things. That was much more interesting and fulfilling than the college newspaper. And my friend was like, “do you want to be columnist--we need one.” Not because I was special or anything, because they really needed one. And I was like, “sure.” So I started writing these extremely leftist columns, like “capitalism is the devil, and here’s why : )”

And I wrote one that was like, “nudity in art isn’t porn,” which isn’t even an extreme opinion. But I started getting all of these comments like, “Counterpoint: nudity in art isn’t not porn.” I was just like wow, I can tell that you really read this column….

People just read titles a lot of times.

Yeah for sure. Our campus was filled with a lot of views of all extremes, and not just anarchists. We also had a militant white supremacist population on campus. There were a bunch of protests from that group over the course of years--it wasn’t just one year, or just this year, which was definitely the worse than the years before. I also got tons of hateful comments from white supremacist groups on my articles. So I was just one of the people on the receiving end of those comments.

But as far as my involvement in the newspaper group itself, I think I only attended one meeting. I didn’t really feel a sense of community at IU that a lot of people there felt. I think a lot of people looked down on what I did because it was so personal. It wasn’t like I was talking about music, or like I was talking about hard-hitting stories. So I wasn’t really a part of the “IU JOURNALISM COMMUNITY.” But it wasn’t like I really wanted to be. I would still sometimes get people who appreciated my work, that came up to me and said “I love this, I love what you’re doing,” but they were usually queer people.

Which is definitely the desired reaction, which is awesome. Talking about your webseries “Idle Cosmopolitan” -- what was your favorite audience, or your favorite venue that you showed it to? And what was that sort of reaction and vibe like?

I wasn’t at all of the screenings. It showed at Bloomington at Planet Nine--which is this small VHS rental/DVD rental video place that kind of reminds me of Ghost World or something. I wasn’t there, but a lot of my friends were there, since it was my home for so many years. I assume it went well. From the pictures, I saw that it went well, at least.

It showed at Sarah Lawrence, which I know very little about how that went. I wanted to be there, but I was scheduled at work. Which is a whole thing about how I’m not a full-time artist. I say that I’m a freelance artist, which means that I make MAYBE 50 bucks a month off of my art. If it’s a good month! So I can’t always go to everything that’s happening. It’s an interesting part about being an artist in this landscape. People expect you to be global, and there’s only so global you can be if you’re working class. Which I think is important to be transparent about. It’s not always fun to be transparent about that, but it’s important.

Exactly, you want to be honest about it, but you want to portray yourself as larger-than-life-to get attention, and at least the semblance of clout (whatever that fcking means). But being an artist, you’re a part of a community, and you want to treat that community well. You don’t want to stunt and act like you’re making a living off of your art when you’re not.

It’s not cool to lie one way or the other. It’s not cool to portray yourself as a poor person if you’re not, and I’m not super poor or anything, but I’m not living off of my artwork, and I make a decent living off of my work as a childcare worker. But yeah, you shouldn’t lie because you’re fooling yourself and making art seem elitist.

There’s the lie by omission, in a way. A lot of people are internet famous, or have a certain persona that makes people say “Oh, I want to be like this person, who so clearly lives off of their artwork.” When in reality, it’s probably a side hustle at best.

Or they live with their parents. Or they have rich parents.

It distorts people’s dreams and plans--it’s important to be responsible about that.

Totally. One show I was at physically was at Secret Project Robot, at this festival of poets, and my videos were showing between poets that were reading their work. So that was interesting---I was the only video artist at the show. And as many things as I have tried--I have written poems, but I’ve never called myself a “poet.” So I thought that was kind of cool to have that multimedia experience, to see my videos projected really large in front of a big crowd of 20 or 30 people. Which doesn’t seem like a lot, but it’s actually a lot. I remember thinking wow, the crowds are gonna be so big in New York. And they are! But 20 or 30 people is a lot for DIY art. Even if you’re successful, or internet famous--it’s hard to gather a crowd wherever you are.

And it was really cool because people who were actually in the video got to see it, which was cool! Chariot is in it, and he was there, so that’s cool.

There was one livestream and q&a in the UK, which was really cool. And that was my favorite, because the moderator was super smart and always asked good question about the fantasy genre, and its intersections with queerness. It was refreshing instead of questions like-- “Why are you gay? Why is this here?” It was a good convo to have beyond the surface level.

It’s awesome that I saw so many showings of your series was in Indianapolis, in Indiana. You may not see a big crowd--DIY art isn’t an Ariana Grande concert--but What you do see is how it sort of transforms the room, and creates a living space, a community. 20 people is a community. Especially in Indiana.

Right, there’s very established artists and documentarians where the only place they have more than 20 people show up is in their hometowns. Even world-renowned documentarians may struggle to get an audience. Which is awful. But I think that one thing that is happening in the real world is that there are plenty of people I look up to, who are famous, whose twitter gets pretty very few likes! And they may have a huge amount of followers! And I’m like--why am I getting more likes than world-renowned feminist scholars? I think that’s happening in real life too. These people are having talks and showings of their work and sometimes DIY work is a different experience and maybe draws more people than these professional pieces, and there’s a community of people who can see themselves in that as artists.

I agree, it definitely changes the dynamic for people are used to when it comes to art, you think there’s the artist and this huge invisible wall and then there’s the observer, and it breaks down that dynamic.

Right, it changes the power dynamic. The artist isn’t a preacher. What we’ve seen in DIY venues is, everybody is sitting in chairs. The artist is in the front, but everyone is on the same level. There isn’t a stage to walk down from.

I think people are only starting to observe this change, and aren’t sure what to call it yet. Some people see changes like this as the death of something, like the death of some kind of empire of how art works. But especially with this project, I think I’ve not only been an optimist, but a realist in the sense that it’s for the better. So many people are screaming “death to media! Death to print!” and I’m just over here like, “You’re a Baby Boomer, please don’t talk to me.”

Ha! Right. These media aren’t dead, but they’re definitely dying. But I think they’re going to be dying for a while to come. People broadcasting the death of all of these things---like, they’re not dead yet. The Met is gonna be in trouble, but the Met is gonna be around for the next 100 years. The Met’s not just gonna crumble.

Going back to “Idle Cosmopolitan”--I love how it’s a series of very short films. And by short, I mean like, slightly longer than a Vine length. And some people may come across that and immediately compare the series to Vine culture, but my immediate thought was comparing it to poetry, with a lot of tightly-wound content being fit into a small space. So I was wondering how poetry influences your visual work, or how visual work influences your poetry, etc.

That’s interesting. I actually originally applied to go to college for poetry. I never called myself a poet, but I did think about it for a while. When I do write poetry, it’s usually about nature, and viewing nature through the lens of divinity and power dynamics. Which I think is definitely a big part of my video work. The “Queer World” in my piece is a forest. Somebody was talking to me recently, and said that “I think it’s interesting that the queer world is a forest. Do you think of urban spaces as, like, not-as-queer spaces?” I hadn’t really thought about that. But whenever I think of that sort of the afterlife, I don’t think of cities. And what’s our other option, really? Nature. An ocean would be a terrifying destination for the afterlife. I think that poetry is super important, I think when I’m writing anything, I tend towards a lyrical, poetic style. I love hard facts, but I was never super into Hemingway. I always loved the Great Gatsby. Not that I like showy, hyper-stylized stuff; I hated the Great Gatsby movie. But the suggestion of artifice, the suggestion of things like that, I think is really interesting.

There’s ton of talk about heaven and nature and sin in “Idle Cosmopolitan.” I’m sure it comes from a long line of being raised in Christianity, and having read all of the Christian classics. And as a kid, I was obsessed with the apocalypse. Once, I was between 6-9 I remember looking at clocks in restaurants and thinking, “Could this be the hour of the end?” I remember being super into Revelations, and the ghost stories that my friends and I would tell each other, and often confusing them as the same thing.

I think that’s a form of poetry true, a strange, mental form of poetry. I think the afterlife is poetic, because there’s no concrete that you can provide.

I think in terms of modality, I think I’m always writing in the form of the poetic, even if I’m not writing a poem. Even my column--it’s not a how-to column, it’s not a safari.

It’s not MTV Cribs!

Right! Definitely more reflections.

I always thought of videos sort of in musician terms, like “this is my new album---Idle Cosmopolitan.” This is the tracklist, and each has a poetic name, etc. And each year, there’s a self-image overhaul….well, there’s no image overhaul for me this year, but especially in college I was into that idea, where I wanted to amp myself up every year.

But this iteration, for me, was trying to marry these poetic ideals with my own lived experiences, to make it sort of autobiographical, but still have a flourish. I mean, I was watching Twin Peaks when I was working on it.

Yeah, I can definitely see that influence in there. Where there’s that magic-realism, but it’s so mundane. The suspension of disbelief is so well-dissolved into it.

Right as I was starting to write this, I just finished the season of Veronica Mars---I’m not sure if it directly influenced it…

But it was there

Yeah, and watching Twin Peaks: the Return. What I thought was interesting about it was its formal elements. There was this sort of suspension of disbelief present for both the characters and the audience. So then you’re just like, “Yeah, queer spirits! That makes sense!” So, it’s that magic realism that is super appealing. And also the fact that it’s episodic. One of the things about David Lynch that I’m really into is the episodic nature of his work. There’s this loose play with time and narrative, and it’s an experience.

I think what Lynch talks a lot about, especially in later seasons, is agency. But in Sex and the City, for example--Carrie isn’t a bad person, but she’s not necessarily a good person either. She has affairs, runs around doing whatever she wants, she tries to take a break from dating and has a guilt complex where she feels bad about her actions, and also places guilt on other people--it’s complex, which I think is interesting.

Like chaotic neutral, but a little more complex than that?

Yeah, definitely. I’m obsessed with people who are chaotic neutral. I don’t think I’m chaotic neutral, but I’m fascinated by that those people exists.

I’m a super-intense Virgo, Type A, Blair Waldorf type. I definitely pride myself on hard work--which could be problematic--but I have that crawl-my-way-to-the-top sort of vibe.

This character in the webseries, they’re sort of neutral. They’re a relationship writer, but it doesn’t seem like a main part of their personhood. The only thing that they seem mad about is when their boyfriend breaks up with them, which is fair. But they don’t seem to be making many choices, and there’s something very sidekick about that.

I was in this space in my life where I was having to make all these intense decisions--deciding to move to New York, having to make all of these choices about who I wanted to be as a person. The character is the exact opposite, where there’s no movement. There’s a movement in narrative, a movement in place, but it kind of happens to them.

They get a letter, a pep talk from Fate--and they’re just like, “Sure, whatever, I don’t care.” Then they enter the queer world, and they’re like “Alright.” And then the Blue Spirit is the one who was like, “No, this wasn’t actually a good choice.” And they’re like, “Okay, sure.” They never really doubt people’s motives.

There’s a sort of guilt about making choices that Type A people have. Inevitably, if you’re a type A perosn, you’re going to hurt people. Even if you’re not actually hurting them, you’re going to make choices, and choices affect people. There’s winners and losers. So what does it mean for the sort of stoner archetype, this chaotic neutral archetype, when they don’t make choices?

I’ve never been a chill person, so I gravitate towards writing characters that are like that. Because I’m always wondering….what does that feel like?

Right! I feel like it takes a lot of effort to be chill, which isn’t chill. It’s kind of a self-consuming concept. I’m not gonna say it’s the only real binary, but…

Haha, right! Ok back to influences. Actually, as far as the soundtrack goes, I’ve gotten a lot of feedback where people say it reminds them of Sex and the City, and that it’s derivative. Actually, one person said that the soundtrack reminds them of Rugrats….

Stop!!!

Right!? Well, it’s jazz, but it’s sort of this chaotic jazz.

It’s a typical theme song in a lot of ways, but it’s disarming. Which I like.

Some people said it makes them anxious.

It offsets the perceived chill in the series, which signals you to look harder.

Watching it back, I was like...something is wrong. Narratively, there’s something up. But I’m not sure if that thing ever gets hashed out or resolved, it just sort of hangs like a dark cloud.

Which is what’s so great about poetry. There’s always that lack of resolution. People always get angry at that, where they want to feel satisfied...where’s the sequel at??

Do they get the girl or not??

Yeah! It’s how we’re taught to view life. But especially with creative people, it’s paradoxical--they only thing that makes them (us) feel satisfied is poetry, that sort of form that leaves things unresolved.

Totally.

How has the internet shaped your writing?

The internet is definitely fucked up. It was created by the military, and is now owned by billionaires. That’s already strike one. But let’s assume that the internet is also provides a space that provides more access for more people. But it doesn’t provide equal access for everybody. It provides equal access for a relatively small amount of people. You have to afford a computer, internet access--and even if you go to the library, you have to afford to be there.

But let’s say it does level the playing field in that way---even still, people don’t have more of a chance of getting their art noticed because of it. It does mean more people can put their stuff out there, but it doesn’t guarantee more viewers, or more fans, or some utopia.

The internet has become this neoliberal promise of equality. This reveals itself in every aspect---who dominates media, who dominates internet celebrity, etc. This doesn’t discount the fact that there’s fantastic DIY spaces based on the internet, but there’s a lot being overlooked.

The internet as a structure is racist, sexist, homophobic, and transphobic. Even if we go back to technology like photography, for example, it was a technology developed to best depict white faces. It’s so great that the internet creates a platform for people, but that includes creating platforms for neo-nazis on 4chan, for alt-righters to doxx people. The web is pretty fucked up, and it amplifies our greatest strengths, like community. Especially the trans community, which is so important. But it also amplifies our problems, and reveals where we need to grow.

I don’t think the internet is the devil, but I think it makes it harder for people to feel like human beings. It mirrors capitalism, and degrades human beings in so many ways where we’re expected to become a brand, which is always tied to capitalism. We’re forced to reduce ourselves to something bite-sized, which is troubling me as a person and as an artist.

When did u start writing and being creative?

I was always drawing. I was super into Pokemon and all the Nintendo games. I was into anything cute and well-designed, like Zelda, and anything involving world-building. I was super into maps, and at a young age, I thought, “I wanted to do that.”

At a young age, I wanted to be a pop star. And I made the boys in the neighborhood be my band. Now I’m thinking that was sort of a strong signal of me being gay, haha. Boys---you’re gonna be in this band, and I’m gonna sing Breakout by Miley Cyrus.

I started getting really into bands. I was really into Coldplay, and I wanted to be Chris Martin.

STOP, ME TOO

I really liked “Clocks.”

ME TOO, when I first heard that, I was like, Now….that’s what I call music.

I also really liked “Lovesong” by Sara Bareilles, which is entirely different, but I was also like...that’s what I call music. Also Paramore and Deathcab, and I was like…..this is also Music. I still love all this stuff

I still listen to all this stuff pretty much on the regular, even though I laugh about it Yeah! And at the time, all of these things were coded as feminine. Even Coldplay, which was, not a boyband, but kind of more healing.

Right, like ~emotional boys~, ~soft boys~, this sort of soft masculinity before it was talked about and memed.

I went from wanting to be a popstar, to wanting to be in bands, to wanting to do comics, and then I was like...I want to be painter! I did a lot of paintings, and then I wanted to be an actor. I was fixated on stardom, on theater. I was in all the plays of my freshman year.

Then I moved schools, and this guy who didn’t even like me and stopped talking to me, but I liked him---I wrote this psycho-opera about him. It was all songs about him, and it was super awkward. I recorded an album about him. He started being nice to me, and then I was just like…...here’s an album…

I was like, that was fun, but then I started to getting into Wes Anderson. And Woody Allen, but #WORST. And then Godard, which was better. Then I started making movies. And I saw 30 Rock, and it confirmed what I wanted to do.

I love how you go from Godard to 30 Rock

I know!! I was very all over the map. Then I started watching more experimental films and wild stuff, so it’s been a journey to where I’m at now.

The wrapping up portion, something I ask at the end of every interview...this is actually the first interview I’ve done that’s over the phone, an actual physical conversation. And the form of how I’ve conducted each interview has really affected it.

How would you describe the future of literature in a tweet-length? Or a sort of verbal tweet length, also tweets are longer now so….yeah….

Smaller.

#nb carrie bradshaw #lit #futurelit #publishing #books #writing #spilled ink #becky ebben #idle cosmopolitan #trans monogamist #queer #grace byron

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nonsubstantial · 7 years

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EVERY ALBUM I LOVED FROM 2016

alright. long list, but if you’re looking for music recommendations, save this somewhere. and fyi, these aren’t just albums I simply liked. every album on this list I loved, meaning that I probably listened to it at least 5 times, and that it had some special significance to me as a listener. I’ll start with the best first, and go roughly in order of importance. Lastly, the best way to know what you’ll like is just to listen, so I linked one song from each.

1. Danny Brown - Atrocity Exhibition

10 out of 10. My favorite album of 2016, and all time. Danny Brown became a pretty prolific name amongst people discussing experimental hip hop following his 2012 album, XXX, which focused on themes drug abuse, poverty, and the music industry... but with a uniquely personal and self reflective take. What interested me most was that his commentary on working with music could be abstracted into analysis of all forms of art, and I feel like that refreshingly analytical perspective, interspersing crude humour and bleak narratives, was what cemented the album as the classic it is today. His new album though, surpassed even that. The narrative depth here is on another fucking level. Everything I just praised XXX for is also true of Atrocity Exhibition, but instead of being drawn to certain standout moments on the album (like I was with XXX), literally the entire album feels like a standout moment. Every song carries a unique tone and a deep story worthy of intense investigation, and each is different and memorable, even compared to the other songs on the album. That variety means that no matter what mood I’m in, I can usually find some emotional payoff in at least one track. However, the album as a whole is not without a narrative thread. And that thread is Danny Brown himself. XXX invited us the see the humanity behind his music, and even if one couldn’t agree with or appreciate every set of bars, it still allowed for appreciation of Danny Brown as a fellow human being; to find value in learning from his flaws, which he was never shy about. He went as far as to ask in a chorus “what the fuck I got to lie for?”. His personality is explored to an even greater, and even more authentic extent on Atrocity Exhibition. Not to mention that if you appreciate experimental and meticulous production, this album delivers what feels like the contemporary payoff of the entire music industry’s sound refinement efforts over the past few decades. Every song is a fucking treat, genre blending ear candy for people who seek a wide variety of sound and style. A type of detail in its creation that still pays off even on my (presumably) 100th listen. Barring the specifics of what makes each individual song so great, in my honest opinion, it doesn’t get any better than this.

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2. The Drones - Feelin Kinda Free

This album goes hard as hell. In the way that Danny Brown’s album reflects upon the self, this album reflects upon society, and easily delivers more intelligent and elegiac political commentary than I could ever imagine writing into music. Taman Shud (linked) has got to be my favorite song of the entire year, addressing sensationalism in politics and media by using a notably Australian example to show how generalizing nuanced issues for the sake of appealing to the greatest audience of laypeople surrenders authenticity and impedes efforts of finding suitably nuanced solutions to those problems... and the rest of the album isn’t subdued either. I need also to mention the song Shut Down SETI, because not only does it reflect exactly why my massive childhood interest in extraterrestrials eventually tapered out, but I think that many things can be explained as the product of subtle egotism, and it’s important to try to analyze our behavior through that lens. The instrumentation is nice change of pace for this band, since their iconic blues guitar lead really met its apex on their 2013 album, I See Seaweed, and fortunately, the band was diligent enough to make it sound like they’ve always been producing this kind of eccentric noise rock.

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3. Street Sects - End Position

Contender for the most fucked up album on this list. It’s a roller coaster of horror and industrial noise, but it’s not without something deep to say. I think it ends up being profound in the way that it combines horror at the implicit ideological failings of society with horror at the explicit violence committed by people in society who feel forsaken. I don’t think I’ve ever started listening to this album and not felt compelled to keep listening for as long as possible. The wide variety of samples and noises keep it constantly interesting, and the tone of both those samples and the vocal performances flow as water from one idea to the next. In fact, every song bleeds into the next, and the album’s tension never slows down completely until about halfway through the last song, where its roller coaster finally screeches to a halt.

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4. Kero Kero Bonito - Bonito Generation

The most personally uplifting album on this list. One of Kero Kero Bonito’s previous songs, Sick Beat, is notable for being the greatest video gamer anthem ever produced, but unfortunately I felt like the rest of that first album lacked the kind of depth that the single had. All of the songs on their newest album, however, are memorable and thought provoking in the same way that Sick Beat was. Their oldest song that made it onto this project, Picture This, is about how the ability to take photos and selfies has become fundamental to our understandings of ourselves and others. Every word of that song is massively important, and manages to do justice to both the intimacy of creating art and the delight in being able to share it. One other song, Graduation, is literally about graduating from college, and holy shit if it didn’t perfectly encapsulate my experience of receiving my undergrad degree, the very same semester that the song came out, complete with both my enthusiasm and disillusionment towards the college experience!! I also can’t stop gaily repeating the line from Break, where the singer, Sarah Midori Perry, casually croons “I’ve got a smile on my face. cause now I’m taking a break” ... every time I, you know, take a break. I honestly can’t recommend this enough. Every song is deeply memorable, motivating, and motivated in its own intent: to portray life as beautiful and vibrant.

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while 1-4 are masterpieces that have affected me on a deeply personal level, 5-11 I would still consider artistic successes that excel in almost every way. I loved every song on these albums and highly encourage everyone to listen:

5. Death Grips - Bottomless Pit

6. Lemon Demon - Spirit Phone

7. Run The Jewels - Run The Jewels 3

8. Weezer - The White Album

9. Vektor - Terminal Redux

10. Ştiu Nu Ştiu - Fake End

11. Fire! - She Sleeps, She Sleeps

the rest of this list I still highly enjoyed and would still highly recommend. while I don’t think they’re as profound as 1-11, I have consistently enjoyed them and I hope to relisten to them many more times:

12. Deerhoof - The Magic

13. G.L.O.S.S. - TRANS DAY OF REVENGE

14. case/lang/viers - case/lang/viers

15. Radiohead - A Moon Shaped Pool

16. Uyama Hiroto - freeform jazz

17. Show Me The Body - Body War

18. Cult Of Luna and Julie Christmas - Mariner

19. Frankie Cosmos - Next Thing

20. Crying - Beyond the Fleeting Gales

21. Young Thug - Slime Season 3

22. The Body - No One Deserves Happiness

23. Childish Gambino - “Awaken, My Love!”

24. Blank Banshee - MEGA

25. Princess nokia - 1992

26. Nine Inch Nails - Not The Actual Events

27. Katie Dey - Flood Network

28. The Dillinger Escape Plan - Dissociation

29. A Tribe Called Quest - We got it from Here... Thank You 4 Your Service

30. The Dear Hunter - Act V: Hymns With The Devil In Confessional

31. Kendrick Lamar - Untitled Unmastered.

32. Beyoncé - Lemonade

33. Jerry Paper - Toon Time Raw!

34. The Avalanches - Wildflower

35. KRIMEWATCH - demo

36. Xenia Rubinos - Black Terry Cat

37. Ulcerate - Shrines of Paralysis

38. The Caretaker - Everywhere at the end of time

#i'll probably reblog this a couple of times #music recommendation #albums #2016 #SAVE AND SHARE IF YOU'RE LOOKING FOR NEW MUSIC

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touristguidebuzz · 7 years

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How to take better travel photos on your next big trip

We’re always on the lookout for ways to take better travel photos. Today’s guest post was written by Mark Condon, the founder of Shotkit, a website dedicated to camera gear and photography. Mark shares a few tips on how to choose the right camera, what photo accessories you should pack, and some tips and tricks for capturing great photos.

How to take better travel photos

It’s often said that the best camera is the one you have with you. For most of us, that means our mobile phones. Modern phones do a decent job taking pictures, but they have limitations.

If you want to get creative with your photography, or get that envious blurred-background look, you’re much better off investing in a ‘real’ camera. By ‘real’ camera, I’m talking about compact cameras, mirrorless cameras or dSLRs.

Today I want to focus on mirrorless cameras.

Mirrorless cameras are a great option for travel. They have more functionality than a standard compact camera and are much lighter and easier to carry than bulky dSLR cameras.

What is a mirrorless camera?

Whilst a dSLR camera uses a mirror to reflect the scene in front of you back up into the viewfinder, a mirrorless camera uses electronics to replace the mirror. This gives the huge advantage of being able to see your image before you press the shutter button.

With a dSLR or most compact cameras, you’re looking through a piece of glass at your scene. When you alter your camera settings, the scene doesn’t change.

However, the beauty of a mirrorless camera is that it uses something called an EVF (electronic view finder) to project the image into the viewfinder. When you adjust your settings, you can see the change those settings make to the image you’re about to take.

This ‘real-time preview’ is invaluable for learning about your camera and the 3 main components that go into controlling your image – shutter speed, ISO and aperture.

The mirrorless cameras vs dSLR debate is a long running one. In general, I’d recommend an enthusiast photographer invest in the latest technology. In this case, it’s the mirrorless camera.

Choosing the right Mirrorless Camera for travel

I’ve done a lot of testing to find what I consider to be the best mirrorless cameras. I discuss numerous options on my blog, but today I want to keep things simple by suggesting two of my favourite mirrorless cameras.

These two cameras are small, lightweight and produce great images. They’re also inconspicuous. They look like old fashioned film cameras to the untrained eye, so shouldn’t attract much attention when you travel – at least not as much as a big dSLR and zoom lens would.

One caveat with mirrorless cameras is that the battery life isn’t great. If you want to shoot over 400-ish photos a day, it’s wise to pack a second battery.

Good mirrorless cameras aren’t cheap. But, like most things in life, you get what you pay for.

Olympus OMD-EM10 Mark II

I tested this camera’s big brother, the Olympus OMD-EM5 Mark II, during a 1 month family holiday around Europe.

After completing my review on the Olympus OMD-EM5 Mark II, a smaller, cheaper version was released with very similar functionality and identical image quality.

Here are the main functions of the Olympus OMD-EM10 Mark II:

16MP Four Thirds Live MOS sensor

TruePic VII processor

5-axis image stabilization

2.36M-dot OLED EVF

Tilting 3″ touchscreen LCD

1080/60p video

4K time-lapse mode

Wi-Fi

Optional grip

The main benefit of the Olympus OMD-EM10 Mark II is the lightning fast auto focus. When traveling, it’s often necessary to grab a photo of something at a moment’s notice. Having a camera that can lock focus on the subject in milliseconds is a huge benefit, allowing you to quickly get the shot before it disappears.

Another thing I love about this camera is the tilting LCD screen. This function allows you to tap to focus and shoot. Being able to compose and shoot from waist level really is a great feature of the Olympus OMD-EM10 Mark II.

All the lightweight zoom lenses for the Olympus OMD-EM10 Mark II are great for travel. Normally I’d recommend a prime lens (ie. non-zoom), but when traveling, a zoom is more versatile.

Fuji X-T20

Similar to the Olympus, this Fuji mirrorless is a smaller, more affordable version of its big brother – the Fuji X-T2. You can read my review of this camera here.

Unless you absolutely need the functionality found in the X-T2, I’d recommend you consider the Fuji X-T20 for your next travel camera. It’s great value for money and the image quality is even better than the Olympus mentioned above (hence it being more expensive).

Let’s have a quick look at the key features of the Fuji X-T20:

24MP X-Trans CMOS III sensor

Up to 325 selectable AF points (169 of which offer phase detection)

2.36M-dot OLED electronic viewfinder

3″ 1.04M-dot tilting touchscreen LCD

4K UHD video at up to 30 fps, with clean output over HDMI

8 fps continuous shooting with AF, 5 fps with live view

2.5mm jack for external microphone or wired remote control

Dials for exposure compensation, shutter speed and drive mode

You’ll notice a big jump in mega pixels when compared to the Olympus. One benefit of having more megapixels is the ability to ‘crop’ to zoom your photo when editing. This comes in handy when you’re taking a photo of something in the distance and your zoom lens can’t quite reach it – when you get home, you have more ability to zoom in and crop the photo if you have higher mega-pixels.

The Fuji X-T20 has a flip out LCD screen, so benefits from its ability to be shot discreetly. However, where the Olympus wins this battle is in the speed of shooting via the LCD screen.

Fuji mirrorless cameras are well known for two things: (1) they produce gorgeous images, especially the colours, and (2) there’s a great selection of lenses to choose from.

Unless you have a good lens on your camera, you’re really limiting its performance – it’s like driving a Ferrari with the handbrake on!

Accessories for Travel Photography

Before writing this post, Cam asked that I mention some of the accessories I think are useful for travel photography. Whilst things like filters, tripods, batteries and camera bags serve a purpose, I’d recommend you travel light with your photography gear.

I wrote a post on the best camera bags for 2017, but when traveling with my family, I just wrap my camera in a shirt and throw it in my regular travel bag. There’s usually no need for a dedicated camera bag, especially for backpackers who need to carry so many other things.

An accessory you’ll want to bring is table top tripod or monopod (selfie stick). This item serves both purposes. While tripods are essential for long exposure photography, they can be quite clunky for travel. You can usually find a flat surface to steady your camera, so don’t weigh yourself down with more bulk. Table top tripods are compact and lightweight.

I also recommend a camera strap. I’m a big advocate of having your camera out (ie. not in a bag) and ready to use at a second’s notice. I don’t even use a lens cap. By having your camera on a strap, it will always be right where you need it.

A tip for camera straps – don’t wear it around your neck. Instead, wear it across your body like a messenger bag. That way you’ll be able to tuck the camera out of sight beneath your arm or slightly in front of it (not behind though, that can invite theft).

Finally, get yourself a couple of fast memory cards. As for the capacity, well, unless you’re traveling with a laptop to offload your photos each night, I’d recommend getting the biggest sized card you can afford. If you bring a couple of memory cards you can swap them at night and leave one in your hotel room. That way, in the event your camera is stolen or the card is damaged, you don’t loose all of your photos.

Read next – 15 Photos that will inspire you to visit Belize

Travel Photography Tips

I thought I’d end this post with a few photography tips. Most modern cameras offer the functionality I’m about to describe, but if yours doesn’t, don’t fret – all that matters at the end of the day is that you’re taking photos and documenting your memories.

For more photography tips, head over to my blog where my most recent post should interest those of you who, like Cam and Nicole, travel with the little ones – how to photograph children.

JPEG + RAW

For those of you who don’t know, JPG and RAW are two types of image format. Typically, a camera applies its own ‘styling’ to a JPG file to make it look pretty, whereas a RAW is an unedited version of the picture you took.

There are pros and cons of each format, but if your camera has the functionality, I’d recommend you set it to use both formats at the same time.

With the cameras I recommended above, and many other cameras these days, the JPG quality is very good. As long as you know the basics of taking a good photo, you won’t need to spend time editing your photos at home.

However, by having the RAW file too, you have the option to really dig into the image file to unearth a lot of hidden data. Using a program like Lightroom, you can ‘push and pull’ your RAW files much more than a JPG. This gives you the chance to recover that an image that you ‘under exposed’ (i.e. too dark), or perhaps adjust the white balance to keep skin tones looking natural.

I wrote an ebook on Lightroom Tips for those of you who already have a solid grasp of Lightroom. If you’re not interested in editing your photos, stick to the JPGs and practice getting your photos right ‘in camera’.

Exposure Bracketing

This is another function that most modern cameras have, where you are able to take a series of photos in quick succession, each with a different ‘exposure’. What this means is, you’ll end up with a series of the same photo, ranging from dark to light.

Just by pressing the shutter button once, you’ll have several images to choose from, meaning you don’t need to waste time trying to find the right exposure. This can be particularly useful for travel photography when you don’t have time to fiddle with your camera settings.

Exposure bracketing is also how to do HDR photography, which can result in powerful images.

Wi-Fi

Most cameras have Wi-Fi functionality these days. Wi-Fi is most commonly used to transfer images you shoot on your camera to your mobile devices, so you can share on social media.

Whether we like to admit it or not, one of the joys of traveling is sharing our photos with the world. Wi-Fi allows you to take a high quality photos on your camera, then share it easily via your phone or tablet.

However, one under-used functionality of camera Wi-Fi is the ability to take selfies, or group shots, where you also appear in the image. Next time you want to take a photo featuring yourself, try using your camera’s Wi-Fi instead.

To do this, you’ll need to download the corresponding remote app for your camera before you leave home. Then, when you’re ready to take your photo, place your camera on something sturdy and activate the Wi-Fi and the mobile app.

You should be able to see what your camera sees, allowing you to compose a great shot with you in it! I do this all the time when traveling with my family and highly recommend it.

Bonus tip – set your camera to ‘timer mode’. That way when you press the shutter button on your mobile device, you can hide it away before the photo is taken. Viewers will be none the wiser at your ability to take such candid photos of you and your family.

I hope you enjoyed this post on how to take better travel photos. I want to thank Cam and Nicole for having me and wish you all safe travels and happy snapping!

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This guest post was written by Nottingham wedding photographer Mark Condon. Mark is the founder of Shotkit and author of the Shotkit Books, Lightroom Power User, More Brides and LIT.

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