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popopretty · 4 months

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[Translation] Asagiri Kafka's afterwords for The Day I Picked up Dazai novel

Normally, afterwords would be the last thing I read in a novel, but as there are not many changes to the published novel this time compared to the movie bonus version, I was able to skim through the text quickly and get to this. And to be honest, despite not being a writer myself, I was so moved by Asagiri's views about writing and his characters that he shared in the afterwords, that I had to sit down and translate it right away.

This is just my crappy translation, as usual, but I hope it gave you a short, interesting look into the author and the characters. And please do not forget to buy the novel if you have the chance.

The translation is under the cut, thank you!

It has been a while. This is Asagiri Kafka.

Have you been enjoying Bungou Stray Dogs?

This novel, “The Day I Picked up Dazai”, is a compilation of the first week’s bonus novel “The Day I Picked up Dazai – Side A” and the second week’s bonus novel “The Day I Picked up Dazai – Side B” for the screening of “Bungou Stray Dogs BEAST” movie (hereinafter referred to as “BEAST”).

Normally, it is difficult to publish a bonus like this, but since "BEAST” and “Fifteen” that were published earlier by BEANS Bunko were originally bonus novels too, "The Day I Picked up Dazai” was also published in the same way, thanks to the efforts of all parties involved in the Bungou Stray Dogs series.

It is the story of Dazai and Odasaku’s first meeting, where Dazai who wants to die, collapsed in front of Odasaku’s place, who is neither a mafioso nor a hit man.

Why are there two different stores, Side A and Sode B? Regarding this question, please read the novel and see for yourself. If you keep in mind that this is the bonus for the BEAST movie, I think you will be able to understand it better.

Let me reminisce a little bit here.

This story was actually suggested to me by Igarashi Takuya, Director of the Bungou Stray Dogs anime.

Shortly before BEAST movie premiered, I was struggling. It was because I was asked to write a bonus novel for movie-goers again. I said “again” because, as I mentioned earlier, BEAST itself was a bonus novel for the Bungou Stray Dogs DEAD APPLE movie. I remembered having a hard time writing it, because I let myself run wild and wrote a total of 190 pages instead of 50 pages as requested.

But I had learnt my lesson after the last rampage. I can’t just write whatever I want anymore. I have to wrap the story in a reasonable length, like a pro should do.

A proper, professional story.

Huh?

My pen stopped right there. I stopped, looked around, feeling lost.

What is a proper story?

The act of writing novel is quite different in character compared to other types of media such as writing manga, anime scripts, or game scenarios. You can say it is almost a different thing. Writing novels, rather than narrating an event, is more like putting the flow of emotions into specific sentences. You use the sequence of letters to create rhythms, create flows, and create emotions. If anything, it might be closer to composing a song than writing a story.

Therefore, you have to decide “what kind of emotion will be put in this novel” from the very beginning, or you can’t start writing. That is the only and absolute rule.

Now, however, that is where the condition of a “proper story” hung over me.

A proper novel, of a proper volume, with a proper content for a bonus.

In other words, a proper emotion.

I searched through the drawers inside my head. For a proper emotion that is waiting to be brought out.

There was nothing but emptiness there.

A professional story teller is one with the skill to move the readers’ emotions. When people find the chance to move their own emotions, they will happily be paying for it. Human-being is that kind of creature.

And writers are ones who create and sell those kinds of emotions: the fear, the excitement, the heart throb etc., those that make you think. It is that kind of job.

It is supposed to be that kind of job.

Yet I became unable to move forward.

A good story is a story that moves people. I know that. Then what kind of emotion I should put in the story to make it "proper"?

How do I find that emotion?

I mean, how did I even write novels until now?

I stood still. My legs stiffened, my knees froze, unable to take even a step forward.

I then tried to at least pretend that I was moving forward, by listening to music, by taking a walk around the neighborhood at night. But as good as the night breeze felt, I didn’t manage to reach a single story that I needed to write.

What if I stayed like this forever, what would I do?

I felt a chill plunging into my back.

Then I realized, that stories, or probably emotions too, are not things you can search for or come up with. You have no choice but to patiently wait for it to come your way. You have no choice but to humbly and earnestly sit and wait for the story’s visit.

I got that, but the "proper 50-page story” still refused to come.

It was not long before one week passed. Then two weeks.

I was doing other work, while keeping my heart’s door open, waiting for the story to come to me.

At that time, I had an online meeting with the anime staff. I casually asked Director Igarashi, “Do you have any story you want to see?”

The Director gave it a little thought then told me, "I want to see the story of Dazai and Oda’s encounter”.

At that very moment, the story rushed in through my door, like a bang. I could hear that sound very clearly.

Two stories. Odasaku, and the two Dazais. A story where they met, and a story where they couldn’t meet. A story of gain and a story of loss. If I can portray the gain and loss side by side, the amplitude of the heart will be doubled and rise up in front of us.

That was a momentary event. Rather than pushing my way forward, I felt as if something was pulling my hand. Before I noticed, I have already finished the stories.

I came to realize.

It is not the writer who searches for the story. It is the story that chooses its writer, and at some point it will come our way. A professional writer is no more than someone with the ability to catch that call.

Also, this is the most important thing: there is no such thing as a “proper emotion”. Because after all, the feelings of other people belong to them only. That is why there is no guarantee that a novel can move others “properly”. However, you can move your own emotions. You know what kind of novel can and how it will move you. If you do, you can write just that. That’s the only way. That is the truly professional attitude. That’s what I thought.

Well then.

It is a little bit off topic, but as we are talking about “stories that come our way”, let’s talk about Odasaku’s first-person narrative.

Odasaku is a special character. For me, he is exclusively a novel character, and I have never portrayed him in the manga.

He first appeared as the narrator in “Dazai Osamu and The Dark Era”, then “BEAST” and now this “The Day I Picked up Dazai”. All are novels. That’s why for me, Odasaku doesn’t live inside the pictures, he lives inside the first-person narrative passages.

He is an eccentric guy. Even if you prepare the place and tell him to speak, he won’t speak to you that easily. His way of thinking is rather unique, that if I write his narrative after writing other characters’ first-person narrative, I would stumble for sure. Odasaku doesn’t speak. He just sits there in silence, while I can do nothing but sitting in front of my blank manuscript paper, trying to talk to him, like “What’s up?”, “Here, here”. However, he is a guy who won’t speak when it is not necessary. Sometimes it goes days or even weeks without him saying a word. Why did such a character come to me...?

During such time, there is only one thing I can do. That is, of course, to stay with him, sit patiently, and simply wait.

Finally he will start speaking. In his unique rhythm, word by word. His words have the power to cut through the world from a certain angle. That special cross-section is full of things I have never seen before and it never fails to surprise me.

And then when he finishes telling his story, he will swiftly disappear. To a dark and quiet place somewhere – probably, I can only imagine, somewhere like a bar. He will sit there calmly and keep his own time to himself. After that, it will be hard to call him again. It is a backbreaking task to me, but in the end, that is the type of guy Odasaku is, and if I am allowed to sound self-conscious, that is Odasaku's charm.

This story was written in such a way. There is a chance that he will come back again. And when he does, I will patiently listen to his voice again.

This story was completed and published thanks to the help of many people: in the Bungou Stray Dogs BEAST movie’s Production Committee, the anime staff, Young Ace’s Editorial Department, BEANS Bunko’s Editorial Department, and the many people who were involved in the publication of the book. Thank you very much. It is all thanks to you that the book was published without any problem this time as well.

Well then, see you in the next story.

Asagiri Kafka.

#bsd #bungou stray dogs #the day i picked up dazai #traánlation

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pixiecaps · 3 months

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so as luzu is dungeoning he finds “radioroca” which is like radioactive rock and starts mining it. he says he has a bad feeling but keeps digging further until he finds acid. he finds uranium and starts mining it. saying he isnt sure if hes even meant to touch it but he cant look away. he gets radioactive poisoning. he starts crafting buckets and gets buckets of the acid. qluzu says he knows he shouldnt be there but theres something telling him to go back there, to return. he starts crafting blocks of uranium. he questions what would happen if he falls into the acid. he then says “hereinafter i only have one master. the brightness of this cave. i only want the shine of this cave.” as he grabs more acid in buckets. which for those unaware the acid shines a bright green. he says he never wants to leave and he wants to stay in the radioactive cave forever. he goes on to say he feels a little weird. he questions if he truly wants to stay there because he likes it or if this is a trap of sorts warping his mind to believe he likes it so that he stays and dies? after contemplating this he jumps into the acid and starts dying and screaming that he cant get out of the acid. the screen cuts to luzus end screen and he says “no hay ningún sitio del que salir” which means “there is nowhere to go” or “there is nowhere to leave”

#liveblogging #qsmp #luzu

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platanosconlechera · 2 years

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#immolation #actsofgood #atonement #majestyanddecay #kingdomofconspiracy #hereinafter #failuresforgods #dawnofpossession #deathmetal #marylanddeathfest2022 #marylanddeathfest (en Ottobar) https://www.instagram.com/p/CeAlLO6ur9N/?igshid=NGJjMDIxMWI=

#immolation #actsofgood #atonement #majestyanddecay #kingdomofconspiracy #hereinafter #failuresforgods #dawnofpossession #deathmetal #marylanddeathfest2022 #marylanddeathfest

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exoluxionlove · 11 months

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[INFO] EXO Chen, Baekhyun, and Xiumin file lawsuit to terminate exclusive contract with SM.

Rough translation via Papago:

"◆ The full text of the group EXO's members Baekhyun, Xiumin, and Chen (Byun Baekhyun, Kim Minseok, and Kim Jongdae)'s notice of termination of the exclusive contract against SM Entertainment.

━

This is Lee Jae-hak, a lawyer for Lin, a law firm that acted as legal representatives for Baekhyun, Xiumin, and Chen (Byun Baek-hyun, Kim Min-seok, Kim Jong-dae, hereinafter referred to as "artists"). In the following, the legal representative would like to share the artist's position on the exclusive contract between the artists and SM Entertainment Co., Ltd. (hereinafter referred to as "SM"). Artists have previously sent content certificates to SM seven times from March 21 to recently through our legal representative, and through this, we have repeatedly requested transparent settlement data and copies of settlement grounds.

It is the artist's minimum right to request an accurate and transparent basis for settlement of accounts that have been unclear, and SM is also an obligation to comply with the exclusive contract and the Pop Culture and Arts Industry Development Act. However, SM maintained its unfair position that it could not provide a copy of the data.

At the same time, SM has repeatedly committed extremely unfair tyranny, claiming a long contract period of at least 17 or 18 years by signing a long-term contract with artists for more than 12 to 13 years and then having them sign a follow-up exclusive contract again.

Artists feel that SM is forcing artists to sign so-called slave contracts based on their superior status for more than 20 years, including a considerable amount of training.

I would like to convey the various injustices that artists have not been able to tell you through the position below.

<1> Artists' position on activities so far and SM's refusal to provide settlement data

1. Artists have previously signed a long-term exclusive contract with SM for more than 12 to 13 years and have been working diligently as members of EXO.

2. During the long-term exclusive contract period as above, artists have only trusted SM's explanation of the settlement amount that is settled every time, and have received the settlement amount by looking at the data unilaterally prepared by SM without specific and objective evidence. In response, artists have recently formally requested copies of settlement data and settlement grounds several times through their agents, but SM replied that they cannot provide copies of the data.

3. SM is obligated to provide artists with settlement data and settlement grounds, including total income details, expenses subject to deduction, and amount subject to deduction, under the existing exclusive contract, under the Pop Culture and Arts Industry Development Act. In addition, the settlement cycle under the above exclusive contract arrives twice a year, so the above settlement data and settlement basis must also be provided twice a year. However, during the exclusive contract period of 12 or 13 years, SM has not properly provided such settlement data and settlement grounds to artists.

4. According to the precedent, the exclusive contract is based on a high degree of trust. If the agency fails to fulfill its obligation to provide settlement data, the celebrity will not be properly guaranteed the right to review and dispute the profit settlement. In addition, despite several requests through an agent's lawyer, SM has already failed to comply with the obligation to provide data, resulting in a reason for termination of the existing exclusive contract.

5. Despite the artists' earnest request to provide a copy of the settlement data by May 31st through several proofs of contents, SM was forced to notify SM that the existing exclusive contract would be terminated on June 1st.

6. If SM paid the artist the settlement money accurately, there would be no reason not to provide the settlement data and settlement basis. SM's failure to provide these settlement data and settlement grounds is a strong proof that SM did not pay the artists properly, and the artists will take all civil and criminal legal actions against SM, including filing a settlement claim.

7. Also, if you haven't provided settlement data and settlement basis to other SM artists, as in the case of artists (Baekhyun, Xiumin, Chen), this may not just be a problem for Baekhyun, Xiumin, and Chen, but for all SM artists in the end.

8. In fact, it is very difficult for Baekhyun, Xiumin, and Chen to file a legal dispute against SM, a large company, but they started with the heart and courage to replace the various doubts that many SM artists have.

<2 > Artist's position on unreasonably long-term contracts and further extension attempts

1. Previously, artists have signed exclusive contracts with SM for more than 12 to 13 years. This is too different from the standard contract for pop culture artists (singer-centered) announced by the Fair Trade Commission based on the seven-year contract period, and it is unilaterally disadvantageous to artists beyond the minimum reasonable extent.

2. SM already has 13 years of contract, including an extended period in the provisional disposition of the TVXQ case, and the reasonable violation of the Seoul Central Law is that SM uses its superior position to exercise unfair control and excessively violate its economic freedom and basic rights. In the case, the court again pointed out that it is very difficult for idol stars, such as applicants (TVX members), to continue their popularity in their 30s and beyond.

3. As such, the existing exclusive contract seriously restricts personal rights for an excessively long period of time and constitutes "an act of unfairly using the position of the transaction" in Article 45 (1) 6 of the Monopoly Regulation and Fair Trade Act. In addition, due to the type of unfair trade practices in attached Table 2 of the Enforcement Decree of the same Act, such a long-term compulsion corresponds to "compelling profit provision" or "providing disadvantages (setting unfavorable transaction conditions)" in the above attached Table.

4. Furthermore, SM made artists sign an exclusive contract to extend their debut date by 7 years and an additional 3 years if they are overseas. However, in the case of K-pop artists in Korea, it takes at least months and years to make their debut, and overseas activities are a natural premise. Furthermore, even though Xiumin and Chen were members who planned to work in China from the beginning, the exclusive contract, which adds three years if they work abroad, forced them to sign a long-term contract of more than 10 years based on the date of the exclusive contract from the beginning.

5. On the other hand, SM is trying to claim a minimum contract period of 17 years or 18 years by having artists sign a follow-up exclusive contract again, not even enough to sign an exclusive contract for 12 to 13 years as above. This is SM's repeatedly committing extremely unjust tyranny against artists.

6. In the process of sealing a subsequent exclusive contract, the artists were unable to negotiate properly under the existing exclusive contract, and it was difficult to set the terms of the contract or reflect their wishes on an equal footing. In the case of a provisional disposition in the TVXQ case, the court should have been able to stop the existing negotiations and negotiate with other entertainment agencies other than SM if the applicants (TV TVXQ members) only passively signed the exclusive contract form presented by SM, Even if an extension agreement was reached after the applicants (TVXI members) established their position as entertainers, applicants who were already bound by the existing exclusive contract could not strengthen their bargaining power. (Refer to the Seoul Central District Court on February 15, 2011).

7. It is also pointed out that such subsequent signing of exclusive contracts constitutes "an act of unfairly using the status of the transaction" in Article 45 (1) 6 of the Monopoly Regulation and Fair Trade Act. As such, the long-term compulsion using a subsequent exclusive contract is considered to correspond separately to the "compulsory provision of profits" or "unprofitable provision of transaction conditions" in attached Table 2 of the Enforcement Decree of the same Act.

8. Also, I understand that this long-term exclusive contract is in a similar situation not only for Baekhyun, Xiumin, and Chen, but also for most artists from SM.

9. Baekhyun, Xiumin, and Chen are seriously considering filing a lawsuit against the Fair Trade Commission for the long-term signing of existing exclusive contracts and subsequent exclusive contracts.

<3> A message to the fans

1. I'm sorry for causing so much concern to the fans about this, and I can't help but feel sorry.

2. Due to the difference in position with SM, we are inevitably pushing for legal action, but we will do our best to find wise measures so that fans do not worry too much and resolve the dispute well.

3. In fact, we are very scared and scared of this moment because we want to make a small voice about injustice that we have not been able to tell you before.

4. We hope you will be interested in our words and our hard courage. Once again, we sincerely thank our fans for supporting us for a long time."

Source

#Baekhyun #Jongdae #Xiumin #Exo #Chen #Minseok #Exo CBX #CBX Lawsuit

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badhabitscollection · 1 year

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So Much (For) Blitz —An exclusive reveal of the star of Fall Out Boy’s latest album cover

Fall Out Boy’s latest effort So Much (For) Stardust) has been critically acclaimed and lauded by fans as some of their best work to date. The album artwork, prominently featuring a doberman, has left some puzzled and looking for additional context as to the dog’s identity and how the artwork came to be. The Bad Habits Collection is proud to bring you the exclusive reveal of the dog featured on the cover of their eighth studio album alongside the full story of how they were discovered.

—

When Fall Out Boy officially announced their eighth studio album on January 18th, 2023 and unveiled the album artwork for So Much (For) Stardust, there were a lot of opinions to be had. Some of the fans immediately felt connected and claimed it as their own, some compared it to Fiona Apple’s 2020 release Fetch the Bolt Cutters, and some downright found it revolting. Overall, most agreed that it was polarizing to say the least. Donned in an all black background, the front cover features both the name of the band and the album itself in the work of Omar Mroz (hereinafter referred to by his online moniker Mr.Oz). The text is covered in glitter and written out in the same style featured earlier in the rollout of FOB8’s album cycle with A Claymation Fall Out Boy Celebration, dropped as a surprise present from the band on Christmas one month earlier. The headlining attraction of this sideshow was in fact just a simple square box, containing a swirling artistic depiction of a doberman barking in the presence of a froth of bubbles.

From the moment I first laid eyes on the iconography of Fall Out Boy’s new era, I had just two questions in mind: Who is the dog? & Why choose the dog? A few obvious possibilities were immediately ruled out. Solely based on what’s been posted to social media, this dog did not belong to Pete, Joe, or Andy. Patrick has remained dormant online for years at this point, but still the odds felt slim. I did my best to brush it off, but ultimately I kept coming back to the thought of WHY? If you’re familiar with my previous work on the history of Take This To Your Grave’s album cover, you already know this type of sentiment means a lot to me. After a while of waiting for the band to bring up the topic in an interview or statement, I had essentially given up hope on any type of official explanation. It was at this moment, just 3 days before the release of the record, that I accepted the reality of the situation. This wasn’t a hot topic within the fandom. And no one was going to provide me with the answers I was looking for. If I wanted to know more, it was solely up to me. So… I got to work. —

To take a step back, the artwork for So Much (For) Stardust first hit the internet on January 11th, seven days before the official reveal. Posted alongside the name of the first single Love From The Other Side, our barking pup friend was featured on the home feed of FILTER | NEWs on VK, a Russian social media site that I’ve been told is comparable to Facebook. The artwork was watermarked with a subtle, transparent white logo for FILTER in the background. Despite this post being up for five days (a millennia on the worldwide web), it wasn’t until the 16th that the fandom at large made this discovery, with many claiming it was an outright fake.

However, the *stars* started to align proving this leak to have a dose or two of authenticity. Mr.Oz’s claymation video from earlier in the rollout followed the story of a similar looking doberman, who just so happened to pose in the final frame in a style strongly resembling the leaked cover.

Beyond that, a post from lyricist and bassist Pete Wentz’s Instagram dating back just two days earlier was quickly dug up. On the 4th slide of the carousel, there it was: a selfie of Pete with a Santa hat on and propped up on the shelf behind him... the physical painting of the doberman seen on the leaked cover.

All but confirmed at this point, one last clue presented itself online. The freshly created Twitter account “@muchstardust” popped up out of nowhere, making itself known by following myself and a few other notable hardcore fans in this space. @muchstardust made just one single tweet before being suspended (for reasons unknown).

The post featured three images, the watermarked cover, Pete’s selfie, and notably, a compressed form of the actual photo taken of man’s best friend —the same one the leaked cover features an oil painting rendition of.

— As we all know now, this leak was indeed real and confirmed as the album artwork just a few days later by Fall Out Boy themselves. But that’s when the trail went cold. Later promotional photos featuring the band and taken by their long time collaborator Pamela Littky included another doberman, but clearly not the same one once examined a bit closer. On March 21st, the Chicago rock group posted “What do you think the dog’s name is? 🫧”, but never followed up with the answer. It’s as if they were taunting me specifically with how vocal I had been about wanting to solve this mystery. Just before the album’s official release, I was tipped off by someone with an early copy of the CD that the liner notes of So Much (For) Stardust credit Safia Latif for the cover painting and Jen Patterson for the photograph the cover painting was based on. With new pieces of the puzzle in play, my search for the dog in question was reignited. However, my leads proved of little to no help. I could not get in touch with Safia and could not properly identify Jen Patterson online for the life of me. Taking the hunt back to the drawing board, I reverse image searched the photo @muchstardust had originally provided, which even at this point, months later, was our only source of the actual photograph. Littered with results of the album artwork naturally, I did come across one potential connection. Once again, I found myself on the public timeline of someone’s VK.com profile. “dextromethorpan 3” had included the same photograph in a gallery of different doberman puppies posted on December 21st, 2020. This was…something. Sure, this photo likely did not originate from the VK profile I had unearthed, but at least now I knew it had been around the web for a few years. Scratching my head, I wondered how Fall Out Boy had originally come across this image. Was it something that came up on one of their feeds? Or perhaps just a keyword search? Taking it to different forms of social media, I found a potential match on the /r/doberman subreddit posted 10 months ago. Titled “Cool pic of us playing with bubbles”, the dobie in question featured strikingly similar features and color patterns, and was of course, playing with bubbles.

So I did what any other sane fan would do… and sent a private message to the Redditor the night before the album dropped with Jen’s photograph. “/u/drc55555” responded Saturday morning agreeing that the dog did look a lot like their own, but that they didn’t recognize the photograph. I woke up in a cold sweat seeing the glimpse of the Reddit notification on my iPhone and replied informing them of the cover of Fall Out Boy’s brand new release and asking if the user was the Jen Patterson credited in the album’s booklet. A day later, they replied once again noting that they weren’t Jen, but that this has sparked a memory of another DM they had received in the fall of last year from an Elektra Records personnel, Fueled By Ramen’s distributor who Fall Out Boy had publicly rejoined the roster of just this January. Indeed, 200 days ago from this very conversation, a marketing representative from the label had reached out to the Redditor through the same platform letting them know that an artist they work with had come across the very same photo I myself found and that the artist had fallen in love with it, hoping to use it as part of the artwork for an upcoming project. /u/drc55555 had conceded that they regretted not responding at the thought of how their dog could have become famous. This is when I knew, I was HOT on the trail. Either a member of FOB discovered this photo of their dog while scrolling Reddit or had specifically sought out the same search terms as me, which meant the actual photograph used on the cover could have potentially been found through the very same method. My search accelerated and within a few hours I had run a variety of similar terms by Twitter, TikTok, Facebook, really any social media site I could get my hands on. Nothing had come up, but I hadn’t called it a day quite yet as one of the more obvious sites remained: Instagram. Heading to the explore page I have barely used in my own time on the platform, I typed in the same keywords that brought me to the pup’s uncanny match on Reddit: “doberman bubbles”. And there it was, exactly 60 rows down, right in the center, the original image of the dog I had been looking for all along along with an alternate photo of the same dog in the next slide in the same setting captioned “BUBBLES!!!!!”, posted —you guessed it, in 2020.

— With this case officially closed, I’m beyond stoked to introduce Blitz the Doberman to other fans of Fall Out Boy. At the time of publication, Blitz has 12.8k followers on his public Instagram account, which lead me to question how this match hadn’t already been made. Blitz’s bio reveals he was born on February 27th, 2019 and lives in Las Vegas with his human, one Jen Patterson.

In a beautiful twist of fate, within the hour of finishing the final draft of this piece, Blitz’s humans responded to my inquiry from earlier in the week. I spoke with Jen at length who was happy to share her story exclusively with The Bad Habits Collection. Similarly to the Redditor from earlier, a marketing rep from Elektra Records had reached out to her through Instagram on September 20th, 2022 inquiring about using a picture of her pup for one of their artists’ work, a message she initially regarded as spam. Eventually, she came to an agreement with Elektra, however, this story ended there for her. Up until Jen read the direct message I sent to Blitz’s account, she had not the slightest idea that he was featured on the cover of the new album of one of the biggest modern rock bands left in the world. I was shocked to hear this, but Jen on the other hand was incredibly excited to learn of the breaking news. I shared a photo with her of her name printed in the liner notes of So Much (For) Stardust, a cool moment for us both. Jen told me “I never considered myself a photographer, but that’s amazing!” When I asked about how Blitz already had such a huge following on Instagram, she told me all about how she’s networked with others in a doberman group and has kept a steady stream of posts coming on the daily. In discussion of what she’d like for others to take away from this article, Jen simply hoped others would get to know Blitz’s name —my entire goal of this investigation all along. Half-joking, she expressed that she’d also love to have gotten her hands on some merchandise with his face on it. Infinitely grateful for her responding to my DM and taking the time to talk with me, I’ve personally sent Jen physical copies of So Much (For) Stardust in both vinyl and CD format. I’ll be sure to update this write-up with a photo of FOB’s newest mascot posing with his album cover when they arrive! Closing out our conversation, Jen let me know that she “felt like if you hadn’t reached out, we would not have known.” To be honest, there were times in this journey that I thought it might be for the best if I gave up the search for this pup as to not invade anyone’s privacy. I figured if Blitz hadn’t already made himself known publicly, maybe there was a specific reason behind not doing so. I would have never guessed that reason was because his family were simply unaware of his new-found fame. I feel honored to have been the one to share this discovery with Blitz’s owners and again want to thank them for their contributions to this piece. Jen has also graciously shared the original photograph of Blitz the cover was based on in its full resolution, uncropped:

—

After scouring the internet to to uncover this story, it all leads me to just one final question: Why Blitz? What’s the connection? Moreover, what’s the intended meaning here? Jen let me know that she herself was unaware of how and why the photograph was found and selected, but we can naturally draw our own conclusions. Discussing this topic with other longtime fans of the band, all have come to the same conclusion that Fall Out Boy’s latest effort features some of Pete’s bleakest lyrics in a long time paired somehow ever so perfectly with some of Patrick’s most uplifting and dance-worthy melodies to date. As my partner pointed out, the album artwork depicts a breed known for their usage as guard dogs with a tough exterior, but shown playing lightheartedly with what’s usually associated as a child’s toy. In the words of fellow Fall Out Boy historian and Bad Habits Collection collaborator Tommy McPhail, the cover displays “the epitome of boundless joy and simplified bliss amongst chaos”, a phrase that perfectly sums up the entire feeling artistically and masterfully expressed in So Much (For) Stardust in my own eyes. Fall Out Boy’s newest full-length studio record So Much (For) Stardust, produced by the legendary Neal Avron, is one of their strongest statement pieces in years and is now available everywhere music is streamed or sold. You can follow Blitz’s adventures on Instagram: @blitzdoberman — “The kind of pain you feel to get good in the end. Inscribed like stone and faded by the rain: ‘Give up what you love before it does you in.’” Written by Alex Toor for The Bad Habits Collection

#Fall Out Boy #FOB #FOB8 #So Much (For) Stardust #So Much For Stardust #SMFS #2023 #Pete Wentz #Patrick Stump #Joe Trohman #Andy Hurley #Blitz #Blitz Doberman #Blitz The Doberman #Doberman #Fueled By Ramen #Alex Toor #Live On Toor #LiveOnToor

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yours-trudy · 3 months

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Here we are at the three hundred comic mark! It's still pretty insane how I managed to keep this going.

And you would also have noticed the new logo, which is now more than just some standard font that took me over two years to figure that it lacked a certain something.

The old logo's done away with now. We have the new fun one, now on every subsequent comic from hereinafter.

Thank you for reading! There's plenty more adventures planned.

#yours trudy #300th comic #comics on tumblr #artists on tumblr #webcomic #art break #trudy lin #sandra tang

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katrinthecat · 6 months

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In purple tones the sea lord and the main music lover in hell - Leviathan (hereinafter Levth for short) arrived to us.

In charge of the circle of envy, as well as them own theater. Polyglot, independently writes and performs his compositions, strict, striving for perfection and order, Levth is extremely demanding to his employees. They does not hesitate to resort to more radical measures when it comes to art, therefore, the descendants of them circle are often arrogant, not seeing any obstacles in their way music lovers.

Androgynous asexual, Levth isn't used to thinking about something outside of his circle, even if at times he is consumed by boredom. They is helped to cope with it by Katra(my old HH OC), they have a platonic, almost friendly relationship with the ruler of the sea.

And I also want to get them unrequitedly hooked up with the green jester

#helluva boss leviathan #helluva boss mammon #leviathan #mammon #helluva boss #my ocs #helluva boss oc #katra #hazbin hotel oc #hazbin hotel katra

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qedart · 1 year

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Time Warp AU - #12

I got this little scene stuck in my head and had to get it out before moving on to anything with a bit more plot. Just the boys actually behaving like normal teenagers for once (well, perhaps with a dash more danger than most teens go for) and pestering Ice for permission to get motorcycle licences (they assume Mav’s a shoe-in. They are mistaken. He’s by far the more hesitant of the two of them).

It’s an opportunity for both Ice and Tom to flex their negotiation muscles. By the end of talks they’ve got a written agreement (signed by all parties and witnessed by an utterly bemused Cyclone) outlining that:

Thomas Lev Kazansky (II) (hereinafter referred to as TK) and Pete Michael Mitchell (II) (hereinafter referred to as PM) will receive permission and blessing to get motorcycle permits/licences under the condition that:

California Relevant state road rules will be abided by.

Permit limitations will be followed until PM and TK are eligible for licence upgrade

Protective gear (read: helmet, gloves, jacket, boots as a minimum) to be worn at all times (Addition: Cpt Pete ‘Maverick’ Mitchell (I) will provide a good example by wearing a helmet and gloves at a bare minimum going forward).

Motorcycles will be roadworthy upon purchase. (Note: PM’s confidence in his abilities to make them so will not suffice.)

Motorcycles will be appropriately maintained (with quarterly check-ups conducted by Cpt Pete ‘Maverick’ Mitchell (I) for the first 12 months or until satisfied with PM and TK’s skillset to carry on solo).

Before first solo ride/s - PM and TK are to accompany Cpt Pete ‘Maverick’ Mitchell (I) and Admiral Thomas ‘Iceman’ Kazansky on no less than six group rides to build up seat time and skillset in various conditions.

Any accidents, minor or major, that occur will be reported to Cpt Pete ‘Maverick’ Mitchell (I) and Admiral Thomas ‘Iceman’ Kazansky (note: i: Cpt Pete ‘Maverick’ Mitchell (I) and Admiral Thomas ‘Iceman’ Kazansky acknowledge that accidents happen and are often a part of learning and promise not to overreact in the case of an honest mistake. ii: PM and TK agree that further instruction will be provided and accepted with minimal protest to avoid future accidents).

…

It goes on for about 5 pages. (If the fighter-pilot thing doesn’t work out, Tom’s got a very bright future in law and/or politics it would seem).

In other news, waaaay more research into California road law went into the background of this comic than was really necessary. (I would have had my bike soooooo many years earlier if I was born american 😭)

#icemav #tom iceman kazansky #pete maverick mitchell #Time Warp AU #art #top gun

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happykjd · 11 months

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Chen, Baekhyun and Xiumin’s full statement through their legal representative.

This is lawyer Lee Jae Hak of the law firm LIN, representing EXO members Baekhyun, Xiumin, and Chen (Byun Baek Hyun, Kim Min Seok, Kim Jong Dae, hereafter “artists”). Hereinafter, our legal representative would like to express the position of the artists regarding the exclusive contracts between the artists and SM Entertainment (hereafter “SM”).

Previously, the artists sent certifications of contents to SM seven times through their legal representative from March 21 until recently, and through this, they repeatedly requested copies of transparent settlement reports and settlement grounds.

It is the bare minimum and legitimate right of the artists to request accurate and transparent basis for settlements that have not been clear until now, and SM is also obliged to comply in accordance with the exclusive contracts and the Popular Culture and Arts Industry Development Act. However, SM eventually maintained an unjust position stating that they cannot provide copies of the reports.

In addition, after SM signed long-term contracts with the artists that span over 12 to 13 years in the past, they pushed for the artists to sign subsequent exclusive contracts once again, resulting in long-term contracts that span over at least 17 to 18 years or more. SM has been repeatedly committing unjust use of power such as this.

Regarding this, the artists feel that SM is using their superior position to force artists to sign so-called slave contracts that span over almost 20 years including their training periods, which are also far from being short. The artists would like to convey the various injustices that they have not been able to speak of through the statement below.

1. The artists’ positions regarding their activities and SM’s refusal to provide settlement reports

1. The artists signed long-term exclusive contracts with SM for more than 12 to 13 years and have faithfully carried out entertainment activities as members of EXO.

2. During the period of long-term exclusive contracts mentioned above, the artists only believed SM’s explanation about the settlement amount and received their shares only by referring to the reports unilaterally made by SM, which had no specific and objective evidence. Regarding this, the artists have recently officially requested copies of the settlement reports and the basis for their settlement several times through the legal representative, but SM responded that they cannot provide copies of the reports in the end.

3. SM has an obligation to provide settlement reports and settlement basis including details of total income, details of expenses subject to deduction, and details of amount subject to deduction according to the existing exclusive contracts and the Popular Culture and Arts Industry Development Act. Moreover, since the above exclusive contracts state that the settlement cycle comes twice a year, the above settlement reports and settlement basis must also be provided twice a year. However, during those 12 to 13 years of the exclusive contract period, SM has not properly provided such settlement reports and settlement basis to the artists.

4. According to a judicial precedent, an exclusive contract is based on a high degree of trust. Thus, if the agency does not fulfill its obligation to provide settlement reports, the artists’ rights to review the settlement of profits and file an objection against the agency are not properly guaranteed, resulting in failure to provide settlement reports to be a reason for terminating the exclusive contract (refer to Seoul High Court order from 2019Na2034976 on January 31, 2020). Despite numerous requests made through the artists’ legal representative in the meantime, SM has failed to fulfill its obligation to provide reports, and as a result, grounds for termination of the existing exclusive contracts have arisen.

5. Although the artists earnestly requested that copies of the settlement reports be provided by May 31 through certifications of contents on several occasions, [SM] refused to provide the basis for their settlement, so it was inevitable that they have come to notify SM of the termination of the existing exclusive contracts as of June 1.

6. If SM had accurately paid the settlement to the artists, there would have been no reason why they could not provide the settlement reports and settlement basis. The fact that SM is unable to provide such settlement reports and settlement grounds is strong counter-evidence that SM did not properly pay the settlement to the artists. Thus, the artists plan to take all civil and criminal legal action including a lawsuit for settlement payment against SM in order to check the exact details of the settlement.

7. Furthermore, as in the case of the artists (Baekhyun, Xiumin, and Chen), if settlement reports and settlement basis have not been provided to other SM artists, this is not just a problem for Baekhyun, Xiumin, and Chen but a potential issue for all artists under SM.

8. In fact, it is very difficult for Baekhyun, Xiumin, and Chen to file a legal lawsuit against a large enterprise like SM, but they undertook it with the thought and courage that this is also for [clarifying] various doubts that many SM artists have.

2. Artists’ positions regarding the unjust long-term contracts and attempts to extend them further

1. The artists have signed exclusive contracts that are over 12 or 13 years with SM. This is far beyond the seven years determined by the Fair Trade Commission for the Standard Exclusive Contract Form for Entertainers, and it is unilaterally disadvantageous to the artists as it exceeds a reasonable limit at the very least.

2. Previously, regarding the 13-year contract period, which includes the extended period from the provisional injunction decision at TVXQ’s case, SM received the judgment that it is an excessively long-term exclusive contract that is unilateral in structure and that it is a contract that excessively infringes on the economic freedom and basic rights of the applicants (TVXQ members) by imposing excessive quid pro quo (benefit in return) or an unreasonable burden on them, exercising unfair control using their superior position. As it is a legal act that violates good moral and other social order, it was judged that there is considerable room to consider that all or part of the contents of the contract are invalid or that its validity has expired due to the expiration of the reasonable duration (refer to the Seoul Central District Court order from 2009KaHap2869 on October 27, 2009). In addition, in the case of provisional injunction in the above case, the court once again pointed out that it is very difficult for idol stars such as the applicants (TVXQ members) who have teenagers as their main fanbase to maintain their existing popularity in the same field until or after they are in their 30s. Thus the exclusive contracts with unreasonably long contract periods deprive the artists of the opportunity to acquire appropriate compensation for their exceptional talent and constant efforts they put in to succeed in the entertainment industry, and in fact, they may perform the same function as lifelong contracts (refer to the Seoul Central District Court order from 2010KaHap1245 on February 15, 2011).

3. The existing exclusive contracts have contract validity periods that severely bind personal rights for a long period of time, which is applicable to “making transactions with the other party to the transaction by unfairly taking advantage of the bargaining position of the business entity itself” from Article 45 Paragraph 1 (6) of the Monopoly Regulation And Fair Trade Act. In addition, according to the types of unfair trade practices from Table 2 of this act’s decree, enforcement of a long time period like this applies to “coercive provision of benefits” or “provision of disadvantages.”

4. Moreover, SM made the artists sign exclusive contracts for seven years based on their debut date and an extension of additional three years in the case [they do] overseas activities. However, in the case of K-pop artists, it takes at least a few months and up to several years to debut after signing an exclusive contract, and overseas activities are presupposed. Furthermore, even though Xiumin and Chen are the members who [SM] planned from the start to be active in China, they were forced from the beginning to sign long-term contracts which span over 10 years or more from the date of their exclusive contracts.

5. Meanwhile, as if a 12 to 13-year-long contract period is not enough for them, SM is trying to claim a contract period of at least 17 to 18 years by having the artists sign the subsequent exclusive contracts again. This is SM repeatedly perpetrating extremely unjust use of power against their artists.

6. In the process of sealing the subsequent exclusive contracts, the artists were unable to negotiate properly, and it was difficult to reflect their wishes or set the terms of the contract on equal footing. Even in the case of the provisional disposition for TVXQ, the court determined that the applicants (TVXQ members) only passively signed a fixed exclusive contract presented by SM, and they were not involved in determining the contents of the contract through negotiations with SM. In the case that an agreement was not drawn between the applicants (TVXQ members), it should have been possible to stop existing negotiations and start negotiations with entertainment agencies other than SM, but no choices were guaranteed, and therefore, no negotiations in the true sense of the word could occur between the applicants (TVXQ members) and SM. Even if there was an annex agreement after the applicants (TVXQ members) became established as celebrities, as applicants who were already bound to the pre-existing contract, they could not link their elevated status to strengthening their negotiating power. It was determined by the court that subsequent contracts are unfairly signed contracts with defects due to the difference in bargaining power (refer to the Seoul Central District Court order from 2010KaHap1245 on February 15, 2011).

7. Furthermore, regarding the act of signing a subsequent exclusive contract, we criticize that it falls under Article 45 Paragraph 1 (6) of the Monopoly Regulation and Fair Trade Act under “making transactions with the other party to the transaction by unfairly taking advantage of the bargaining position of the business entity itself.” Compulsory long-term periods such as this using subsequent exclusive contracts applies separately to the “coercive provision of benefits” or “provision of disadvantages” of attachment 2 of Table 2 of the act’s decree.

8. Furthermore, we are aware that long-term exclusive contracts such as these are the similar cases for the majority of SM artists and not only just Baekhyun, Xiumin, and Chen.

9. Regarding the act of signing a long-term existing exclusive contract as well as a subsequent exclusive contract, Baekhyun, Xiumin, and Chen are sincerely considering filing a complaint to the Korea Fair Trade Commission.

3. Words to fans

1. We apologize for causing great concern to fans through this issue, and there is no way to fully express our apology.

2. Although legal action is inevitable due to a difference in our position with SM, we will do our best to find a wise way to resolve this dispute so that we do not cause fans too much concern.

3. As we try to speak up with our small voices regarding the unfairness we couldn’t speak of until now, we are actually very frightened and fearful of this moment right now.

4. We hope that you take interest in what we are saying as well as our difficult courage. We once again sincerely thank our fans who have supported us for a long time.

source

#insane i;m going to sleep now because this is exhausting my little brain #kim jongdae #chen #jongdae #exo #info

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