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#relativ
wolquenlose · 3 months
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#gogreen
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das leben ist eine relative konstante.
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psychedelic-tribe · 1 year
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Protoculture - Impala (Relativ & V-Society Remix)
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hansschwab · 1 year
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❌er muss weg! #schiefbaum #relativ #kleiner #sturmschaden #amkleinenteich (hier: Hanover, Germany) https://www.instagram.com/p/CoRct7osJb6/?igshid=NGJjMDIxMWI=
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ladytabletop · 5 months
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game designers talking about what a game is/should be are really just the ancient greeks inventing philosophy again
"what is a game?" whatever i'm playing right now, and most of the things I'm not
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deko-ideen · 1 year
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5 relativ schnelle Pallet Board-Projekte
5 relativ schnelle Pallet Board-Projekte
Holzpalettenprojekte sind in der Heimwerkerwelt der letzte Schrei und das schon seit einiger Zeit. Manche Palettenprojekte können beeindruckend aufwändig sein, und die Tatsache, dass die meisten verwendeten Materialien (z. B. Palettenbretter) kostenlos erhältlich sind, macht das Ergebnis umso attraktiver. Viele von uns haben jedoch keine Zeit, Tage einem Palettenprojekt zu widmen, ob kostenlos…
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Wirrwarr im Kopf Illustration . . . #illustration #illustrationformagazine #illustrationformagazines #illustrationfürzeitschriften #zeitschriften #zeitschriftenillustration #gedankenspiel #wirrwarr #zeit #relativ #lisa_voigts #graphicarts #graphicartsstudio https://www.instagram.com/p/Ck0-5bBNujy/?igshid=NGJjMDIxMWI=
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theonehotnews · 2 years
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Contact-Tracing soll aufgestockt werden
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werkarniggel · 2 years
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#sprüche #Tag für Tag #2022 Bin zwar kein #Albert, es ist aber trotzdem #Montag. Das ist #relativ #unalbern. https://www.instagram.com/p/Ceu09feq-zr/?igshid=NGJjMDIxMWI=
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writingwithcolor · 3 months
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[Running Commentary] Zombies are Zombies: Cultural Relativism, Folklore, and Foreign Perspectives
She obviously started getting into media in Japan, and (from my research into Japanese media and culture), Japan’s movies about zombies are mostly comedic, since due to traditional funerary practices the idea of zombies bringing down society is ridiculous to a lot of Japanese people. 
Rina: OP, this you? https://www.tofugu.com/japan/japanese-zombies/
Marika: Counterpoint: Parasite Eve. Resident Evil. The Evil Within. 
Rina: Literally all the grody horror game franchises that people forget were developed and written by Japanese people because the characters have names like “Leon Kennedy” and “Sebastian Castellanos” 
~ ~ ~
Based on the reception we received the last time we did one of these, the Japanese moderator team returns with another running commentary. (They’re easier to answer this way) (Several of Marika’s answers may be troll answers)
Our question today pertains to foreign perspectives on folklore—that is, how people view folklore and stories that aren’t a part of their culture. CW: for anything you’d associate with zombies and a zombie apocalypse, really.
Keep reading for necromancy, horror games, debunking the Sapir-Whorf hypothesis, Hong Kong jiangshi films, Japanese disaster prep videos, and Vietnamese idol pop...
Essentially, in my story there’s an organization who wants to end the world. They think this one woman in particular, a woman of mixed Vietnamese (irreligious, Kinh) and Japanese descent who spent her formative years in Japan, is the person to do it because she’s (for lack of a better term) a necromancer; powers are semi-normal in this world. She prefers not to use her powers overall, but when she does she mostly talks to ghosts and spirits that are giving people issues. She could technically reanimate a corpse but she wouldn’t because she feels that would be morally wrong, not to mention she couldn’t start a zombie apocalypse in the traditional sense (plague, virus, etc.) in the first place. 
(Marika (M): Your local public health officials would like to assure necromancers that reviving the dead will not provoke a zombie apocalypse. This is because necromancy is a reanimation technique, and not a pathogenic vector. Assuming that the technique does not release spores, airborne viruses, gasses, or other related physical matter that can affect neighboring corpses in a similar way, there should be no issue. However, necromancers should comply with local regulations w/r to permitting and only raise the dead with the approval of the local municipality and surviving family.)
M: I think it makes sense for most people of E. Asian descent, including Japanese and Vietnamese people, to find it culturally reprehensible to reanimate the dead. I imagine the religious background of your character matters as well. What religion(s) are her family members from? How do they each regard death and the treatment of human remains? Depending on where she grew up, I’m curious on how she got opportunities to practice outside specialized settings like morgues.
M: It’s true, space in Japan is at a premium, even for the dead. You note that most of Japan cremates, but, surely, it must have occurred to you that if there aren’t that many bodies in Japan to raise…she doesn’t exactly have much opportunity to practice with her powers, does she? I yield to our Vietnamese followers on funerary customs in Vietnam, but you may want to better flesh out your world-building logic on how necromancy operates in your story (And maybe distinguish between necromancy v. channeling v. summoning v. exorcisms). 
She obviously started getting into media in Japan, and (from my research into Japanese media and culture), Japan’s movies about zombies are mostly comedic, since due to traditional funerary practices the idea of zombies bringing down society is ridiculous to a lot of Japanese people. 
Rina (R): OP, this you? https://www.tofugu.com/japan/japanese-zombies/
M: Counterpoint: Parasite Eve. Resident Evil. The Evil Within. 
R: Literally all the grody horror game franchises that people forget were developed and written by Japanese people because the characters have names like “Leon Kennedy” and “Sebastian Castellanos” 
R: And yes, the Tofugu article uses Resident Evil and those games to support its theory, with the reason that they are set in the West. But that only suggests that Japanese people consider zombies a Western thing, not that Japanese people consider zombies nonthreatening if they were to exist. 
M: Same with vampires - series like Castlevania also use Western/ European settings and not “Vampires in Japan '' because vampires just aren't part of our folklore.
(M: Also, realistically, these series deal with individuals who quickly perish after their bodies are used as hosts for the pathogen in question, rather than the pathogen reanimating a corpse. Although the victims are initially alive, they soon succumb to the pathogen/ parasite and their organic matter then becomes an infectious vector for the disease. It should be noted, infecting ordinary, living humans with viruses to grant them elevated powers, is not only a major violation of consent and defies all recommendations made by the Belmont Report (in addition to a number of articles in the Hague Convention w/r to the use of WMDs) and is unlikely to be approved by any reputable university’s IRB committee. This is why the Umbrella Corporation are naughty, naughty little children, and honestly, someone should have assassinated Wesker for the grant money.)
R: wwww
From what I know Vietnam didn’t have a zombie movie until 2022. 
R: Do you mean a domestically produced zombie movie? Because Vietnamese people have most certainly had access to zombie movies for a long time. The Hong Kong film Mr. Vampire (1985) was a gigantic hit in Southeast Asia; you can find a gazillion copies of this movie online with Viet subs, with people commenting on how nostalgic this movie is or how they loved it as a kid. 
M: “Didn’t have a [domestic] zombie movie” is not necessarily the same thing as “Would not have made one if the opportunity had arisen.” None of us here are personifications of the Vietnamese film industry, I think it’s safe to say we couldn’t know. Correlation is not causation. It’s important to do your research thoroughly, and not use minor facts to craft a narrative based on your own assumptions.
(R: …Also, I did find a 2017 music video for “Game Over” by the Vietnamese idol Thanh Duy which features… a zombie apocalypse.)
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(R: The MV has a very campy horror aesthetic and zombie backup dancers (which I love, everyone please watch this lol). But the scenes at the beginning and end where people are biting their fingers watching a threatening news report clearly establish that the zombies are considered a threat.)
So at one point, she laughs about the idea and remarks how ridiculous it is to think zombies could end the world. What I’m struggling with are other ways to show her attitude on the issue because I’d assume most non-Japanese readers wouldn’t get why she thinks like that. Are there any other ways to show why she thinks this way, especially ones that might resonate more with a Japanese reader?
R: The problem is this does not resonate in the first place. Your line of thinking is too Sapir-Whorf-adjacent. The Sapir-Whorf hypothesis, otherwise known as linguistic relativity theory, claims that language shapes cognition—that you can’t conceive of something if you can’t express it in your language. This is a very weak theory that you can easily bring evidence against: think of the last time you felt an emotion you had a hard time putting into words; just because you didn’t have the language for it doesn’t mean that you didn’t feel it, nor does it mean that you won’t be able to understand or recognize it if you feel it again. Similarly, it’s not a sound assumption to say that if some kind of subject matter does not exist in a culture, then people of that culture couldn't possibly conceive of it. This excerpt from linguist Laura Bailey sums it up quite well. 
M: Just because ghosts may be more culturally relevant doesn’t mean that zombies (or vampires, or whatever) are nonexistent in a Japanese or Vietnamese person’s imagination when it comes to horror and disaster.
R: Really,  if anything, Japanese people are much more attuned to how easily a society’s infrastructure can be destroyed by a disruptive force without adequate preparation. Japan is natural disaster central. A Japanese person would know better than anyone that if you aren’t prepared for a zombie epidemic—yeah it’s gonna be bad. 
M: Earthquakes, tsunami, typhoon, floods: Japan has robust disaster infrastructure out of necessity. 防災 or bousai, meaning disaster preparedness is a common part of daily life, including drills at workplaces, schools, and community organizations. Local government and community agencies are always looking for ways to make disaster and pandemic preparedness relevant to the public.
M: Might “zombie apocalypse prep as a proxy for disaster prep” be humorous in an ironic, self-deprecating way? Sure, but it’s not like Japanese people are innately different from non-Japanese people. Rather, by being a relatively well-off country practiced at disaster preparation with more experience than most parts of the world with many different types of disasters (and the accompanying infrastructure), it likely would seem more odd to most Japanese people within Japan to not handle a zombie apocalypse rather like might one handle a combination of a WMD/ chemical disaster+pandemic+civil unrest (all of which at least some part of Japan has experienced). Enjoy this very long, slightly dry video on COVID-19 safety procedures and preparedness using the framing device of surviving a zombie apocalypse.
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M: Living in Los Angeles, I’ve often experienced similar tactics. We do a fair amount of advance and rehearsed disaster prep here as well. In elementary school, the first and last days of class were always for packing and unpacking home-made disaster packs, and “zombie apocalypse” simulations have been around since I was in middle school for all kinds of drills, including active shooter drills, like the one shown in this LAT article. The line between “prepper” and “well prepared” really comes down to degree of anxiety and zeal. So, it wouldn’t be just Japanese people who might not be able to resonate with your scene. The same could be said for anyone who lives somewhere with a robust disaster prevention culture.
M: A zombie apocalypse is not “real” in the sense of being a tangible threat that the majority of the world lives in fear of waking up to (At least, for the mental health of most people, I hope so). Rather, zombie apocalypse narratives are compelling to people because of the feelings of vague, existential dread they provoke: of isolation, paranoia, dwindling resources, and a definite end to everything familiar. I encourage you to stop thinking of the way Japanese people and non-Japanese people think about vague, existential dread as incomprehensible to each other. What would you think about zombies if they actually had a chance of existing in your world? That’s probably how most Japanese people would feel about them, too.
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rubydubydoo122 · 2 months
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So, I’m like 90% sure my English Professor is a Jason Todd Variant.
First off, he’s an English professor, but you must be thinking, Dude, men being English professors isn’t really special
Well, he also has Red Hair, Blue eyes and is from New Jersey. (Okok, I believe in black hair white streak Jason Todd supremacy, but bear with me)
He’s kinda built, And sure, he’s a little on the short side… probably 5’8” but like… he didn’t have access to a Lazarus pit
But like, he uses fancy words in the same sentence as ‘fuck’ and if that is not the most Jason Todd thing to do, Idk what is.
Maybe I’ll ask him about his favorite book or something, but like… later in the semester.
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ilynpilled · 7 months
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GRRM on morality, heroism, villainy, and parallax in ASOIAF:
Time magazine wrote of you, “What really distinguishes Martin and what marks him as a major force for evolution in fantasy is his refusal to embrace a vision of the world as a struggle between good and evil.” Do you agree?
I think the struggle between good and evil is central to fantasy and, indeed, in some ways, central to most fiction. It's certainly a worthy subject for fiction. But I regard the struggle between good and evil as being waged within the individual human heart. […] You know, the greatest monsters of history, as we look back on them, thought they were the heroes of the story. You know, the villain is the hero of the other side, as sometimes said. That doesn't mean that it's all morally relative. That doesn't mean that all things are equally good and evil. I think there is good and there is evil in the world. But you know, it's sometimes a struggle to tell one from the other and to make the right choices. I've always been attracted to great characters, maybe because that's what I see when I look around the real world, whether I read about it in history books or the news or just people I meet. I mean, all of us have it within ourselves to be heroes. All of us have it within ourselves to be villains. We've all done good things in our lives, and most of us have also done selfish things, cowardly things, things that we're ashamed of in later years. And to my mind, that's, I don't know, the glory of the human race. We're such wonderfully contradictory, mixed-up creatures that we're endlessly fascinating to write about and read about.
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In your work, you have essentially captured Mikhail Bakhtin's concept of polyphonic fiction, where the characters are equal, and the reader can root for any of them. This has been impossible to convey on the TV series.
I wouldn't say all the characters are equal, but they have (hopefully) human traits, especially the viewpoint characters. I have seven viewpoint characters in the first book, and each book has a few more. So, by now, we're probably up to 12 or 13 viewpoint characters, and those are the ones where I go actually inside their skin, so you're seeing the world through their eyes. You're hearing their thoughts. You're feeling their emotions. And I try to paint over those viewpoint characters, and some of them are noble and just, and some of them are kind of selfish, and some of them are very intelligent, and some of them are less intelligent and even stupid. But they're all human, and I want to portray their humanity. […] I think the battle between good and evil is fought all over the world, every day, in the individual human heart, as we all struggle with the choices that define us and define our lives. And we have to choose what we are going to do, and sometimes the choice is not easy; it's not this absolute juxtaposition of the good guys and the bad guys. And I wanted to get to that with my characters, and show some of the difficulties that they face.
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Another element I liked about the series was the moral relativism of many of the characters. Too many Fantasies rely on the shorthand of truly evil villains in the absolute moral sense, but your characters, while they might commit terrible acts, generally do so either from short-sighted self-interest or because they truly believe they are acting for the best. Was this a deliberate decision, or is it just more interesting to write this way?
Both. I have always found grey characters more interesting than those who are pure black and white. I have no qualms with the way that Tolkien handled Sauron, but in some ways The Lord of the Rings set an unfortunate example for the writers who were to follow. […] Before you can fight the war between good and evil, you need to determine which is which, and that's not always as easy as some Fantasists would have you believe.
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Do you purposely start a character as bad so you can later kill them?
No. What is bad? Bad is a label. We are human beings with heroism and self-interest and avarice in us and any human is capable of great good or great wrong. In Poland a couple of weeks ago I was reading about the history of Auschwitz - there were startling interviews with the people there. The guards had done unthinkable atrocities, but these were ordinary people. What allowed them to do this kind of evil? Then you read accounts of acts of outrageous heroism, yet the people are criminals or swindlers, one crime or another, but when forced to make a choice they make a heroic choice. This is what fascinated me about the human animal.
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Martin's realm is not one of unambiguous heroes and villains. His characters, from royals to peasants, tend to be ethically mutable. So-called good people, like the noblemen Ned Stark, his son Robb Stark or the indomitable Daenerys Targaryen ("the Mother of Dragons"), make terrible mistakes - out of weakness, pride or an overly rigid sense of right and wrong. And horrible people, like Jaime Lannister, known as "the Kingslayer," do terrible things and then, over the course of several books, reveal themselves to be capable of heroism and sacrifice.
As we're discussing this in the theater, Martin quotes Shakespeare's "Julius Caesar" from memory: “The evil that men do lives after them ;/ The good is oft interred with their bones.” Then he adds his own version: “We shouldn't forget about the evil that good men do. But we shouldn't forget about the good either,” he says. “I do think a society needs heroes. They don't have to be flawless.”
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Your books have a very strong storyline associated with the atonement of sins. For example, the way of Jaime Lannister, do you yourself believe in karma?
I don’t believe in karma per se, although sometimes I have my doubts because sometimes I think I see things that could be explained by karma. But no, I don’t really have any beliefs in the supernatural. I do believe in the possibility of redemption. And I believe that human beings, all human beings, are grey. And I try to remember that when I write my characters. We are all heroes, we are all villains, we all have the capacity for great good and we all have the capacity to do things that are selfish and evil and wrong. Sometimes it’s hard to tell the difference. In your lifetime, you can be both. And it’s making choices that defines us as human beings. There’s this sensation of compartmentalism. This eagerness to judge everybody based on the worst thing they ever did, not the best thing they ever did. And you know, I think Shakespeare in "Julius Caesar" wrote “The evil that men do lives after them ;/ The good is oft interred with their bones.” And sadly that’s true. And I think it should be the reverse. We should remember the good things and the noble things that people did, and forgive them for their failures and moments of selfishness or wrongdoing because we all have them. When we forgive them, we are essentially forgiving ourselves. Redemption should be possible.
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Are there any characters that you've kind of fallen out of love with, that you just don't, you know, get excited about any more?
I still love all the characters. Even some of them who aren't very lovable. At least the viewpoint characters. When I'm writing in the viewpoint of one of these characters, I'm really inside their skin. So, you trying to see the world through their eyes to understand why they do the things they do. And we all have, even characters who are thought of to be bad guys, who are bad guys, in some objective sense, don't think of themselves as bad guys. […] “What evil can I do today?” Real people don't think that way. We all think we're heroes, we all think we're good guys. We have our rationalizations when we do bad things. “Well, I had no choice,” or “It's the best of several bad alternatives,” or “No it was actually good because God told me so,” or “I had to do it for my family.” We all have rationalizations for why we do shitty things or selfish things or cruel things. So when I'm writing from the viewpoint of one of my characters who has done these things, I try to have that in my head. And I do, so there's an empathy there that makes me love even people like Victarion Greyjoy, who is basically a dullard and a brute. But, he feels aggrieved and sees the world a certain way. And Jaime Lannister and Theon Greyjoy, they all have their own viewpoints. I love them all. Some I love more than others, I guess.
Who do you think to be the most important characters?
They're all important. I don't favor them, or I don't think of them in terms of importance. The viewpoint characters in the first book I have are Bran, Tyrion, Catelyn, Ned, Jon Snow, the two girls Arya and Sansa. There is the core of the Stark family plus Tyrion to represent the Lannister family. Then I have Dany on the other side of the sea, Daenerys Targaryen, whose story runs parallel and some ways doesn't connect to the others, but some day I'll eventually bring those two stories together. In each subsequent volume I drop some of my viewpoint characters and add new ones. Although the same core still dominates, the cast changes somewhat, and I like to do that. In the third volume which you haven't gotten to yet (he refers to me) I have a new viewpoint character. He's been a major character, but now you see things for the first time through his eyes. Which I think changes your perception of things somewhat. I like to play that kind of game, because we all have our own way of looking at the world. Something occurs and two people witness it. They might have very different versions of what happened, and very different explanations. I like to play with parallax in my fiction, and get different versions of the same thing.
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A Song of Ice and Fire has much of the complex texture of authentic history, both generally and in its specific echoes of actual historical episodes. What laws and principles (if any) in your view govern human history, and how has your understanding of historical processes shaped the series?
Historical processes have never much interested me, but history is full of stories, full of triumph and tragedy and battles won and lost. It is the people who speak to me, the men and women who once lived and loved and dreamed and grieved, just as we do. Though some may have had crowns on their heads or blood on their hands, in the end they were not so different from you and me, and therein lies their fascination. I suppose I am still a believer in the now unfashionable "heroic" school, which says that history is shaped by individual men and women and the choices that they make, by deeds glorious and terrible. That is certainly the approach I have taken in A Song of Ice and Fire.
A Song of Ice and Fire undergoes a very interesting progression over its first three volumes, from a relatively clear scenario of Good (the Starks) fighting Evil (the Lannisters) to a much more ambiguous one, in which the Lannisters are much better understood, and moral certainties are less easily attainable. Are you deliberately defying the conventions and assumptions of neo-Tolkienian Fantasy here?
Guilty as charged. The battle between good and evil is a legitimate theme for a Fantasy (or for any work of fiction, for that matter), but in real life that battle is fought chiefly in the individual human heart. Too many contemporary Fantasies take the easy way out by externalizing the struggle, so the heroic protagonists need only smite the evil minions of the dark power to win the day. And you can tell the evil minions, because they're inevitably ugly and they all wear black. I wanted to stand much of that on its head. In real life, the hardest aspect of the battle between good and evil is determining which is which.
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When you are writing the different conflicts in Westeros, do you personally pick a side? Or feel that one side fights for a more just cause than the other?
Yes, certainly. I mean, I’ve often said that I believe in grey characters, I don’t believe in black and white characters. But that’s not to say that all characters are equally grey. You know, some are very dark grey, and some are mostly white but they still have occasional flaws. I’ve always been fascinated by human beings and all of their complexity— even human beings that do appalling things, you know, the question is ‘Why?’ And it’s interesting to get inside their head and see why. Some of my viewpoint characters have done some incredibly reprehensible things: Theon, for example, or Victarion Greyjoy. Why? Were they born a monster? Weren’t they born like a cute little kid wanting to be loved and all that? We all start out that way, right? But things happen to us on the way that lead to junctures in our lives where we make decisions, and those decisions and the consequences of them color everything that comes after. You look at [historical figures] and what’s the verdict on these men? Are they heroes, are they villains? Are they great people, or people we should despise? I mean, they are fascinating characters because of their complexity.
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“I don't concern myself over whether my characters are “likeable” or “sympathetic.” (I had my fill of that in television). My interest is in trying to make them real and human. If I can create a fully-fleshed three-dimensional character, some of my readers will like him/her, or some won't, and that's fine with me. That's the way real people react to real people in the real world, after all. Look at the range of opinions we get on politicans and movie stars. If EVERYONE likes a certain character, or hates him, that probably means he's made of cardboard. So I will let my readers decide who they like, admire, hate, pity, sympathize with, etc. The fact that characters like Sansa, Catelyn, Jaime, and Theon provoke such a wide range of reactions suggests to me that I have achieved my goal in making them human.”
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“You want the reader to care about your characters — if they don’t, then there’s no emotional involvement. But at the same time, I want my characters to be nuanced, to be gray, to be human beings. I think human beings are all nuanced. There’s this tendency to want to make people into heroes and villains. And I think there are villains in real life and there are heroes in real life. But even the greatest heroes have flaws and do bad things, and even the greatest villains are capable of love and pain and occasionally have moments where you can feel sympathetic for them. As much as I love science fiction and fantasy and imaginative stuff, you always have to go back to real life as your touchstone and say, ‘What is the truth?’”
via
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A cultural ideology that is based on relativism must inevitably lead to mediocrity. Where there is no criticism, there is increasingly no excellence. For to "excel" is by definition to be distinguished in a positive way from other things. It is a declaration that one thing is preferable to another.
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stickynotebirds · 2 months
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251. Birds of the local pond
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liesmyth · 1 year
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friends. romans. countrymen. lend me your ear
listen. I know we joke that Ianthe is terrible but truly, is she really? No, she’s not. She’s not even in the top 5 worst people of the cast. Yeah, she did war crimes off page, and also did gaslight her crush for shit and giggles, and that is bad. But by canon standards, she's very far from The Worst, and yet we insist to treat her as such. This is injust.
inb4 what about Babs: WHAT about Babs, really? Ianthe killed someone she maybe liked a tiny bit but didn’t paticularly care about, and gained eternal life and immense powers. like, yeah, killing is Bad, but who hasn’t done a spot of killing in the Houses. She made an excellent bargaign, then she immediately fucked off to God Space Station to swoon at Augustine and invade Harrow’s personal space, and didn’t do any killing at all.*
*planets excluded
Meanwhile Corona went to Terrorist Bootcamp and then to Burning People Alive Compound and she got them to trust her, so you know hot girl has done shit (not judging! I think it’s hot of her! But we are sleeping on the Corona side of the war crimes tally, as a fandom)
anyway. I'm coming out as a Ianthe Apologist and starting 2023 with the type  of energy I wish to take into my future (cit. Ianthe). She did some things that were wrong! But not that many, tbh. She’s the only person getting shit done, and she does it with flair. I love and support her and always will <3
[this is 70% a shitpost, I am open to being dragged but do it lovingly. askbox is open if you want to fight <3 (affectionate) ]
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"Multiculturalism should not mean that we tolerate another culture's intolerance. If we do in fact support diversity, women's rights, and gay rights, then we cannot in good conscience give Islam a free pass on the grounds of multicultural sensitivity."
-- Ayaan Hirsi Ali
It would be one thing if those who posture the most on these topics went silent when the subject of Islam comes up. But it's worse than that. Instead, these same people are likely to scold you as a bigot and racist for even daring to suggest that Islam is a complete inversion of their purported values. Complete with obvious lies functioning as thought terminating cliches.
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