no more hierarchy

The Mythical Disabled Person Who’s So Much More Disabled Than You

Speaking out about your experience of disability can be an uncomfortable thing. I often find myself beset with the question, ‘am I disabled enough to advocate as a disabled person?’ ‘Am I qualified to speak here?’ ‘Maybe I’m a fraud. I was diagnosed so long ago, maybe I’m making excuses and not trying hard enough?’ And, the ever-annoying, ‘What about the Mythical Disabled Person Who’s So Much More Disabled Than Me?’

Just as disabled people face pressure to attain an abled ideal, we’re also often haunted by the Mythical Disabled Person Who’s So Much More Disabled Than You. You’re not that disabled, stop whining, just think about someone else who has all your difficulties plus this other one that you don’t have! Shut up about your amputation, what about the quadriplegics of the world! You should be grateful. It could be worse. Don’t ask for accommodations, that’s for REAL disabled people who are So Much More Disabled Than You. Don’t look into the disability benefit, that’s for Properly Disabled People Who Are So Much More Disabled Than You. Don’t park in the disability space, that’s for REAL PROPER disabled people! Yes I know you can’t walk further than 5 metres but YOU JUST NEED TO TRY HARDER.

These messages come from the outside, then, all too often, become our inner talk. We’re indoctrinated with an ‘ability hierarchy’. There are the abled people above you, people similar to you, and below you are the People More Disabled Than You. You figure you’re supposed to spend your life trying to become like the abled people above you, and in this eternal quest you’re supposed to think about how much easier you have it than the People More Disabled Than You and then feel guilty about every struggle you ever have. 

The problem is, this ability hierarchy has no basis in the lived realities of disabled people. It’s used against us in ways that harm us. Because we are all wedged in the awkward middle, where we don’t sail through the world like the normal folks but we’re made to  feel like any assistance, empathy or compassion should be reserved for the Real Disabled People Who Are So Much More Disabled. 

The ability hierarchy makes us feel ashamed to ask for services and accommodations that we need and qualify for. It alienates us from each other. And, like so many other disability myths, it frames disability as an inherent negative. You’re expected to feel grateful you’re not More Disabled. And since you’re not More Disabled, surely Normality is within reach? Maybe you’re not trying hard enough. Just THINK of the MYTHICAL DISABLED PERSON who’s SO MUCH MORE DISABLED THAN YOU!!! You should feel LUCKY!!!! 

The Mythical Disabled Person Who’s So Much More Disabled Than You actually doesn’t exist. There’s always going to be someone facing more challenges. Or different challenges. There is always the possibility of another difficulty cropping up. For every disabled person on the planet, there is that Mythical Disabled Person So Much More Disabled Than Them. It’s really just a myth used to dismiss the needs of disabled people. What right do you have to speak up about your needs, in light of this Mythical Disabled Person Who’s So Much More Disabled Than You? What right have you to argue that disability should be more accepted? What authority do you have? You’re not the Mythical Disabled Person Who’s So Much More Disabled Than You, so you’re just speaking from a place of whining. 

There is no real ‘ability hierarchy’-disability is diverse and complex. You might be able to get up on stage in front of thousands of people to tell jokes but have a panic attack over a cinnamon cookie (hi, that would be me). Your difficulties might not be easily condensed and summed up. There may be days when you’re completely ‘normal’ and days you’re completely not. None of this invalidates your struggles. Instead of thinking in terms of ‘more disabled’ or ‘less disabled’, try to think in terms of meeting people’s needs, taking them seriously, and banishing the stigma of disability. No disabled person is ever going to win this game-it’s time we all stopped playing.


no more ego! no more artistic hierarchy! no more pretending that anyone is worth less than you are! no more using your anxiety as an excuse to not form relationships with people that like and respect you! no time to act like you have some sort of dominance over others! no time to not bring up the people that you’ve surrounded yourself with! no more sucking up to people because you think they’re better than you! no time for false care! this is a nuclear age! the very verge of atomic destruction! the sun is going to devour the biosphere so what in gods name makes you feel like you are more than just a speck of dust on a freshly birthed blade of grass! prepare to die and stop making your peers feel worthless!

Five Favs: Books with LGBTQ Characters

What do you read if you love fantasy and representation? I highly recommend the following:

Six of Crows by Leigh Bardugo

A fantasy heist novel featuring a racially diverse cast of characters, including a bisexual gunslinger and a gay demolitions expert. Part of a duology (book two is called Crooked Kingdom).

A Darker Shade of Magic by V.E. Schwab

What’s the opposite of bisexual erasure? Because basically everyone in this series is bi. V.E. Schwab has stated that “it is a world that cares about magical hierarchy more than heteronormativity.

Every Heart a Doorway by Seanan McGuire

How many fantasy novels do you run across with an asexual main character? Not enough (and in fact, this one is technically a novella). Here you will also find a transgender character and explicit discussion about gender roles and nonconformity.

Magnus Chase and the Gods of Asgard by Rick Riordan

Each of Riordan’s novels is more inclusive than the last, but we don’t meet my favorite argyle-wearing pottery-making genderfluid einherji until book two (The Hammer of Thor). Book 1, of course, is still well worth the read (Muslim Valkyrie? Yes please.)

The Will of the Empress by Tamora Pierce

The Circle of Magic books were a staple of my childhood. Imagine my delight when one of the main characters comes out as a lesbian in book 9! Plus, in books 1- 8, we get Lark and Rosethorn, two ladies living together in domestic bliss who raise our main characters. Start this series with Sandry’s Book.

Happy Pride, and happy reading!

See more of Robin’s recs…

Ok but???

Jason Todd is such a middle child. He has so many traits of middle child like behavior and traits such as:

- doing his best to differentiate himself from the oldest sibling yet at the same time proving himself to be better
- having mostly friends like him (all anti heroes and people on the edge and many with horrible back stories)
- being really stubborn as hell
- having an awareness that the youngest and oldest children seem to matter more in the hierarchy (especially when it was him, Dick, and Tim)
- that whole “fuck you I’m going to be different and strike out on my own” thing that middle children seem to do very often, especially with an overachieving oldest child. (This is something I’ve read and seen irl)


Gem Heist (Steven Universe)

So after the intense “Adventures in Light Distortion”, we now come to the next part of the mission to save Greg and while this episode is a bit slower than the last two, it still has some great moments and also a new character!

Holly Blue Agate is Blue Diamond’s superior and is very loyal to those who are higher than her, especially Blue Diamond.

While I don’t really think too much of her character, as she seems to play the kind of kiss-up type characters that we normally see in media, especially in Star Wars with Governor Tarkin to Vader.

I’m hoping there will be more to her character soon, possibly in the future.

With Lauren Zuke and Hillary Florido’s writing, we get some pretty humorous moments like Steven being referred to as Esteban to which he should just Esteban it and Sapphire trying to warn and speak loudly to Steven, Pearl and Ruby about Holly coming back.

The Amethyst guards were pretty goofy, but it fits with Amethysts character, so it works.

I found it kind of creepy when Steven was entering the assimilation bay and getting inspected and having his clothes taken off and changed.

I’m glad to see Greg’s okay, but in a completely different attire. What could this all mean?

Overall, good episode and nice to learn more about Gem hierarchy!

Lauren and Hillary usually bring out the most quotable episodes of the show, I feel!

like in general, there’s no sexual graduation into different sex acts. there’s no hierarchy of “more” or “less” “real” “adult” “boring” “true” sex acts. having a dynamic experience with another person physically for sexual gratification is what makes something a sex act, and some sex acts are risky and unequal, and if it makes you uncomfortable no kind and caring partner will expect you to “perform” it. if they do expect it, or try to get you to do it, they’re being transparent as fuck what their priority is and that’s solely their own satisfaction. And it should tell you a lot about that person if part of their satisfaction comes from a disregard of their partner’s comfort. So any source asking you to be motivated into sex acts outside of “I want to feel pleasure and explore my desires with another person who is eager to do the same with me” it’s shitty and doesn’t care about you and just wants you to be a sex performer and we’re naturally sexual we don’t need to perform.

evergloriousoverlord  asked:

I've been thinking about this for a while, so I decided to find out your thoughts on the matter. How would you go about creating a good fantasy religion?

When it comes to building a religion, the key things to remember is that religion is tied very much to ethics, the nature of reality, the meaning of life (and anything that comes after), and other deep philosophical underpinnings of what it means to be alive, to be good or evil, what responsibilities do we have in life. Religion offered to the people of the past (and continues to offer to the people in the present) profound comfort, meaning, and purpose for the entire life. So, you have your work cut out for you. But this is not beyond the ability of the aspiring worldbuilder and fantasy writer. I’m going to caveat this: I’ve studied religions, but a lot of my studies were focused on western religions. Someone who has studied more Eastern, African, or Pacific religions feel free to add anything. I acknowledge my limitations and have done what I could be as inclusive as possible, but I am certain there was stuff I missed.

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I get how annoying showmances are but like also? I completely understand why they happen. All these people are thrown into a stressful situation with strangers. Having a person there with you who you trust makes the game a million times easier, not only strategically, but mentally too. And generally, a romantic relationship is the most honest relationship you could have with someone. And the fact that they’re spending 24/7 with these people. Like normally, when you date someone you see them like 5-12 hours out of the whole WEEK. Let alone every second of everyday, that makes all the bonds form much quicker and stronger than usual.
So yes, I’m just as annoyed as the next gay with all this hetero bullshit. But also, if I was in that situation, I probably couldn’t do it alone either and I’d probably do the same thing

There are so many things I want to read headcannons or aus about right now:

- How did Abby react when she found out that she had survived? When she realised she wouldn’t get to see Clarke for at least five years? Did she even know that Clarke survived? Maybe they talked over the walkie talkie? Would Niylah and Abby bond anything? How’s her relationship with Marcus?

- How did Clarke find Maddie? How young was she? How many other survivors has she found? None? Several? Maybe she found some others but for some reason they didn’t want to stay? What does she teach Maddie? For how long was Clarke alone? 

- How’s everyone in the ark? How are the dynamics? How will the group’s different relationships (romantic and platonic) evolve? Will they be this strange family? Or will they mostly just tolerate each other? Will Emori and Echo like space? Will Raven get to space-walk some more? 

- What will the hierarchy in the bunker look like? Octavia is on top with Indra as her second; but will she have a council, or advisors, or something? I’m guessing the leaders of the different clans will want to have some say in things, and they do have people with a lot of experience with surviving and leadership. 

- How will being in charge affect Octavia? Will she shut off? Or will she allow herself to feel, but use the people around her as support? Obviously Indra will be crucial to her, but who else will she rely on? Niylah? Abby? Kane? Jaha? Gaia? Miller? Someone else? (I don’t know, I’m just throwing out names at this point) Did Clarke manage to contact her and tell her that the others managed to get into space? (although she doesn’t know if they survived, she figures (hopes) they probably did because Raven)

- If Wells, or Anya, or Lincoln, or Maya, or other characters who are gone were still alive (or lived longer); Where would they be now in cannon? In space? In the bunker? Neither? What would their stories look like?

- Some aus/headcannons where; 

In some way or another Lexa is alive, and her and Clarke survive Praimfaya together, and they travel to find other survivors (if the nightbloods Lexa helped raise was still alive it would be amazing)

Luna didn’t get screwed over in every way (and preferably survived. Maybe even an au that’s about her and Clarke surviving Praimfaya or an au that’s about her joining Raven and Murphy and the others into space and how she would interact with them)

Raven somehow becomes a part of the Murphy and Emori relationship (because those last scenes, as well as Murphy helping Raven, and other scenes made me happy)

We get to see more of the Murphy and Monty relationship. I want them to be friends (or whatever) and I want to see how they would work on the ark. 

Bellamy and the others can hear Clarke (and can talk back?)

I mean…those Bellamy and Clarke hints weren’t even subtle… so it would be fun to read some stuff about how their relationship would’ve worked out if Clarke had been on the ark

Clarke got on to the ark with the others and she and Raven got together (Raven just looked so damn sad over Clarke you know)

I really liked how supportive Niylah was with Clarke and how safe she made her feel, so some stuff where they talk over the walkies, or where they meet up after Niylah’s able to be outside again (or even some stuff about the time Clarke was on her own after season two and met Niylah)

Octavia and Gaia somehow become closer since they both care for Indra (I’m thinking as siblings, but it’s also fun to imagine Indra seeing two people she love falling for and supporting each other)

Okay I need to stop or I’ll go on all day~ Feel free to add some more stuff, I would love to read it~

45 Things I Want to See More of in Stories (Post-Apocalyptic Edition)
  1. Leftover inconveniences (braces, casts, etc.)
  2. Renewable energy
  3. Creative attempts at fuel
  4. Cooperation
  5. Warlords
  6. Increased infant mortality
  7. Change in hierarchy (laborers more important than white-collar workers, etc.)
  8. New governmental structures
  9. Mercenary groups
  10. Formation of new states
  11. Formation of non-state groups
  12. Regrowth of land
  13. Lack of food security
  14. Reduction in gun usage (as ammunition runs out)
  15. Decrease in age of pregnancy and/or marriage (as life expectancy decreases)
  16. Direct effects of the apocalyptic event
  17. Increased multi-generational homes (as building houses becomes difficult again)
  18. Increased multi-family homes
  19. Attempts at sophisticated surgery with rudimentary tools
  20. Reduction in birth control
  21. General reduction in technology that requires sophisticated manufacturing
  22. Simple food
  23. Handmade clothing
  24. Clothing from animal products
  25. Houses built for natural lighting
  26. Attempted—and failed—swift adjustments to lack of technology
  27. Changes in views of morality
  28. Different types of law enforcement
  29. Changes in religion
  30. Attempted attachment to old societies
  31. Deliberate breakaways from old societies
  32. Attempts to cling on to old ideas of beauty despite changes in available beauty products
  33. Reduction in hygiene
  34. Increase in water-borne illnesses and parasites
  35. Lack of clean water
  36. Reduction in luxury goods
  37. Increase in homelessness
  38. Lack of communication capabilities
  39. Return to radio
  40. Lack of light pollution
  41. Attempted school systems
  42. Return to apprenticeship-style teaching
  43. Return to agricultural-style living
  44. Dealing with environmental fallout from apocalyptic event
  45. Dealing with environmental fallout from previous generations

Doodles from an RP with @weirdly-amazing . Also, I have the urge to make this into anOTHER ask blog, but I realized jeanryde already did something rly similar and so I would feel like a copycat. 

 In the Rp, Alfred is a 23 year old rouge vampire, physically 21 (I changed it to 19 for the ID bc canon aph things) who eventually becomes Arthur’s Supernatural aid.

 Arthur is a hunter who is hunting a coven of Vampires and awkwardly takes Alfred as his Aid. 

Both are extremely attracted to each other, but as the rules say; A Para aid and a Hunter must strictly be platonic, and as we all know Arthur is a stickler for the rules. Alfred could care less.

(The Para universe is not related to SPN, it obviously takes the same creatures and etc but follows a more strict hierarchy, similar to Ministry of Magic) 

anonymous asked:

Hi, considering the crap you've been dealing with, I want to clarify that I don't mean this as rude in any way. I'm just honestly curious what you consider to be Jaehee's bad character moments (since I can clearly see the problems in the others, but out of them, I find her to have the most stable, healthy personality).

Not rude at all, anon! And thank you for your consideration. I really do appreciate it.

Honestly, I agree with you. Jaehee is by far the least problematic member in the RFA. At least in so far as her behavior towards other characters is concerned, most of her issues are directed at herself. (which I’ll be getting to in a moment)

The main issue with Jaehee is her attitude towards Zen and his personal life. This is most apparent in Zen’s route with her interfering and deterring MC from pursuing him, but you can see it through any of the routes. It always felt she kinda dehumanizes him with the expectations she holds on him even in his personal life. Dehumanization between fan and idol is normal and not necessarily a bad thing. (as long as it’s not in extreme cases and/or leads to harassment) But my issue with it is that Jaehee sees Zen’s human side. She sees behind the scenes. She sees and knows the man behind the public image he puts up. So it always felt off and uncomfortable that she would force him to keep up the act even when he wasn’t on stage. That she would hold him to her exceptions of what she wanted her idol to be instead of what made him happy. Because Zen the idol/actor was more important than Zen the man.

The excuses she gives throughout Zen’s route is because it’ll ruin his career if he gets involved with a woman. Which sounds ridiculous, sure some fans would be upset, but to ruin one’s whole career? However Asian countries are much stricter about idols dating and can very well ruin careers (I’m not sure if this is idols specifically, or celebrities/actors/etc as well) so Jaehee’s concern might not be completely misplaced. Although I’ll admit idk if the same standard applies to men as it does women. Or the factor that Zen isn’t THAT popular so if such a thing would really affect him like Jaehee fears it would. But regardless she’s still putting Zen’s own comfort and happiness below what she believes a famous actor should do and represent. She’s putting the ability for women to fantasize about him above what he actually wants.

Personally, I also believe jealousy is another reasoning for her interfering. Although this is highly debatable and open to interpretation so I won’t really go into it.

Jaehee’s most detrimental behavior tho is her low self-esteem. Which her route is heavily centered around. She believes she has no self worth, she has gone through life doing what is expected of her and taking care of herself living in a toxic environment. The pressure and anxiety of being financially stable eats away at her. This could also be why Jaehee looks at Zen the way she does. Because she always puts career above personal desires.

And a personal pet peeve I have with Jaehee. She doesn’t communicate with Jumin about her work load. It’s been made clear that Jumin is not an emotional man. He values honesty. He has outright stated he just wants his employees to be truthful and frank with him. But Jaehee doesn’t tell him he works her to hard. Sure she complains about it, and others (typically Zen) complain to Jumin for her but Jaehee waves off the concern. (Which is one of the reasons Jumin doesn’t ease up on the workload) Saying she doesn’t want to get fired or saying that to a boss is overstepping. And yes, Korean work environments are much more strict with their hierarchies. But she’s been with Jumin for two years. She must know by now that Jumin isn’t talking out of his ass when he makes these claims. And this isn’t to say Jaehee is to blame for her workload or she deserves it. It’s just that miscommunication is a big pet peeve of mine. That things maybe wouldn’t be as bad if she just spoke up a little. Granted this also probably leads back to her low self worth.

I think that’s all I got. I apologize if this isn’t structured very well or feels rambly. I just got home from working a 14 hour shift on 2 hours of sleep so my brain is a bit fried.

Someone over on Ao3 asked about how much centaurs take from humans and how much comes from horses. I figured you guys might be interested in the answer too.

I only have a few things down on them so far. 

They’re omnivores, but they retain the ability to gain nutrients from things humans would starve eating. Able to survive is not the same as being fully healthy, though. Centaurs do best on a diet with variety.

They use different terms, but their social groups tend to be much more human in hierarchy than horse. 

They have human intelligence but they tend to panic easier than humans do. You may have noticed that Keith is a lot more skittish than his canon counterpart. That because he tends to be a lot more subject to his fight or flight instincts (fight: biting Shiro when he got scared and confused. Flight: trying to run because a human’s glass eye freaked him out). Of note, this difference in panic levels is one of the reasons the ranch hands use to call centaurs stupider than human. It isn’t related to intelligence, though.

And for all you perverts in the audience (<3 <3 <3), yeah, their privates are located in the same place and are the same size and makeup as a horse.

Comic Talk: Masquerade

Ok, Mun talk here.  Just read the latest comic and so here are some of my thoughts about the latest comic from Blizzard: 

~Talon agents have/had A LOT of freedom to do what they want. I’d thought Mondotta’s assassination was an actual mission, but apparently that was just Amelie taking initiative. Does that mean ALL Talon agents have freedom to do whatever so long as it helps The Cause or is that more of a hierarchy thing. The older/long-term agents have more freedom to do as they see fit? 

~Gabe’s good ol’ Blackwatch skills aren’t rusty, apparently. He knows a lot more of what’s going on then he lets on. (Watch your back, Sombra) 

~Apparently, while Gabe’s survival is a mystery to most of the world, that isn’t the case in Talon. Most/All of Talon seems to know who Reaper was. (Akande: “…Getting sentimental?” in regards to Ana&Jack) So now to wait and see if it’s because Gabe was always a double agent, or maybe Talon has some hand in Gabe’s survival. (Or something else. Yes Reaper was around before the fall of Overwatch, but maybe Talon’s responsible for that? Like brainwashing Amelie, maybe Gabe was made into a sleeper agent decades ago?) 

~Interesting how there’s conflict with the higher-ups about the purpose of Talon 

Anyway, very happy to see more of Talon’s inner workings and I’m very interested to see how it develops from here. 

anonymous asked:

I can't believe Henry VII had adjoining rooms with his mother, he was a married man, time to cut the apron stings, no?

I find it kind of endearing tbh. I really do think the ~love story~ of the early Tudor reign was theirs and if he adored anyone to pieces it was probably her.

Since people seem to think this of me (or at least I fear they do), I want to clarify: I don’t think Elizabeth of York hated Maggie B – indeed they probably had a fairly close relationship given the time they spent together (to be fair, I don’t think they were besties and Cecily seemed closer to her?) – but I do think it’s possible she may have resented the influence and power her mother-in-law had, which would be understandable.

If anything, the decision to let Margaret wield that (and give her far more deference than hierarchy dictated) came back to Henry. He was the monarch. No one implemented that but him. No one kept Elizabeth in debt, for that matter, but him. Whether she had a problem with the debt, we can’t definitively know. The latter wasn’t normal, was almost certainly motivated partially by a desire to curb any threat she might be capable of becoming against him (that, or he was just incredibly selfish/cheap??), and we have quite a lot to speculate she wasn’t perfectly content with her lot in life. None of these things are beyond reason to theorize, especially given what few sources we do have on her. Not does it necessitate her life or even marriage was absolutely miserable. She was a real person, and some of the stuff – namely the debt – was abnormal and concerning.

Ms. Holt’s Dragon Maid AU

Pidge didn’t ask for this, but she supposed that when you took it upon yourself to remove a “God Slayer” sword from a dying dragon’s back, actions speak much louder than words.

Her life was supposed to be normal. Work a good-paying programming job that paid the bills and let her have her apartment solo; after work, hang out with Lance and Hunk at the beachside bar they either frequented or cooked for; and on the weekends, go surfing, hiking, or visiting her parents and her brother.

Now she’s got the Princess of some far-off fantasy dimension at long, brutal war permanently pledging her loyalty and service to her as her personal maid (among other things), her personal dragon butler who is now also Pidge’s personal dragon butler by hierarchy; two more dragons trying to convince said Princess to come back; and an evil immortal emperor, his right hand sorceress, and his army of golems and loyal soldiers all gunning for her and causing chaos in the city.

Matt says she’s “living the dream,” but Pidge could seriously do without everything except the incredibly attractive dragon princess/maid with the alluring voice.

The Symbolic Use of Special Effects in Snowpiercer

written by K.K 


The use of special effects in film has long been a highly debated area in the film industry. Resentment for special effects largely stems from the idea that it distracts the audience from the narrative of the film and thus threatens the realism that the film presents. Therefore, digital technologies makes filmic images fraudulent by imposing the artificial on the real.

Snowpiercer is a 2013 science fiction film by South Korean director Boog Joon Ho. The film follows a self-sustaining train that circulates the Earth yearlong at a constant high speed. It was created and developed to withstand the extreme temperatures that inflict the Earth in this apocalyptic world. The last of humanity is situated on this train as the consequence of the Earth entering a world-wide ice age. This was caused by an experimental substance that was launched into the atmosphere 17 years ago in the hope to neutralise the Earth’s climate that had been destroyed by environmental damaged. Interestingly, the train embodies an even stricter and more apparent classist hierarchy that had been modelled from pre-apocalyptic times. The first few carriages of the train are for the 1% that managed to secure their spot through hefty initial payments. The end few carriages are reserved for the ‘free loaders’. They are required to give up their labour, skills, children and livelihood for the running and maintenance of the train. Upward mobility is strictly prohibited. The plot follows the uprising of the end carriage and their attempts to force their way to the first carriage. 

Upon first glance, Snowpiercer appears to be only about class struggles and the perils of capitalism. However, Snowpiercer also tackles notions of simulation, hyperreality and the relationship between the real and the artificial as defined by Baudrillard (1994). As a modern science fiction film, it also physically showcases a range of technologically advanced special effect features.

As a large quantity of the film is set inside the train, Snowpiercer displays incredibly advanced CGI to produce a seamless image of a constantly moving train. It is only half way through the film that the viewer catches a glimpse of the outside world through a window in the middle carriages. This glimpse is dramatised in two ways. As the story follows the members of the last carriage, the viewer is placed to directly experience the visual images of these characters. As the last carriage members push their way through the tight security driven nature of the carriages, a sudden drop in music occurs when they suddenly come across windows. The dusky tones of the dank, diseased driven and morbid last carriages in the first half of the film is contrasted with the icy and bright tones of the outside world. The dramatisation of this serves not only to visually and sensually please the viewer but also highlight the real and the artificial. For many of the characters in the film, they have not seen the outside or ‘real’ world for 17 years. Other characters do not even know the outside world as they were born on the train. The importance of this fact is emphasised through the constant referral to ‘train babies’ and the portrayal of their naivety. One such train baby character exclaims, “In the whole wide train?” in response to an adult bribing him for his protein snack. The train is a metaphor for the hyperreal. The realism of the hyperreal is only put into question when the characters are able to distinguish between the real and the artificial - the view of the outside world and the inside of the train. As this scene suggests, the real is realised only through the juxtaposition of the artificial. In this way the real is produced only through a pre-existed hyperreality.

Notions of the real and the artificial are explored further through the film. The aim of the tail carriage passengers is to reach the first carriage and demand equality within the train. They have no intentions of entering the ‘outside world’. The train, the copy of their pre-apocalyptic world, is their hyperreality. Their mission is very much linear. This is emphasised literally as their physical journey through the train is also linear. However, two characters, father and daughter, push past the linear mentality of all the passengers by seeking to exit the train, thereby exiting the artificial reality the creator of the train had produced and reinforced. 

The final scene is the biggest twist in the film; the train eventually fails and is destroyed by the upheaval caused by the passengers. Through a series of frantic events, the film ends with two train babies escaping the rumble of the train as the sole survivors. The daughter of the security technician and a little boy who was forcibly removed from the last carriage in order to physically provide his body to upkeep the movement of the train, are the survivors. To their shock, they entered the ‘real’ world and are not killed by the atmosphere and intense cold as described by the adults on the train. The ice is melting, the Earth has renewed. This twist in the film takes an interesting spin on the real and the artificial. Is the train really the artificial? Is the outside world really the real? The outside world does not resemble what it once was, nor do the two surviving characters have any knowledge of the outside world. As train babies, the real world to them was the supposed hyperreal. The real and the artificial do not have distinct set boundaries, they are undefinable.


As suggested above, Snowpiercer embodies the concept of the real and the artificial in its narrative. Interestingly, digital technologies are used to create special effects to aid the narrative. Both the outside world and the inside world uses CGI to enhance the images captured on camera. Therefore visually, both the real and the artificial are indistinguishable in terms of visual manipulation, thus symbolising that the real and the artificial are too indistinguishable. It is interesting to note however, that much of the outside world, as seen through the windows in the train, have been totally computerised. This encourages the viewer to challenge preconceived notions of the real and the artificial. The special effects in Snowpiercer do not detract from the narrative of the film, but in turn strengthens it.

Bong Joon Ho’s, Snowpiercer, cleverly showcases the way digital technologies have enabled filmmakers to explore powerful new forms of images through special effects. Most importantly, the rise of digital technologies and the subsequent debate surrounding the jeopardy of the ‘purity’ of film has enabled filmmakers, like Bong Joon Ho, to create powerful and artistic commentary on the notions of the real and the artificial.

I Really Want The Job

Prompt: “You think I’m nervous because you’re interviewing me for this high end job, but it’s actually because you’re stupidly hot.” AU

Pairing: Naruhina

Excuse the fluff.

It was only four fifteen, he was fifteen minutes early, his heartbeat was in sync with the clock, and he couldn’t contain his excitement. He still couldn’t believe that he is here, sitting in the lounge, waiting for his name to be called. Just two days ago, Uzumaki Naruto, a graphic designer, was unemployed. But a call he received from Konoha Animation was about to change that, they asked if he could come in for an interview. The young blonde said yes without a doubt in his mind, this was his dream job. His hands rubbing each other, he was eager to show off his skills, he knew his charisma would definitely get him this job.

“Uzumaki Naruto?” The secretary called, he stood up and straightened out his suit,

“Yep that’s me!” He put on a large grin on his face as the young lady blushed, he chuckled knowing he would charm the fuck out of whoever was interviewing him.

“Come in.”

“Thank you!”

He walked inside the office, it was humungous the space was ridiculous, he concluded. The enormous glass wall in front of him allowed him to get a good look at Konoha’s skyline. He got even more thrilled knowing that someday, he too would get an office like this.

“I have to go now, I’ll call you again tomorrow.” A feminine voice spoke, he didn’t see her since she was facing the glass wall, and the back of the chair was covering her entirely.

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To white people who are looking for something genuine, something cultural/spiritual that capitalism hasn’t tainted and commodified, something that doesn’t involve wholesale appropriation of historically-oppressed cultures (you know what I’m talking about – hipsters who go for warbonnets, bindis, Day of the Dead makeup, etc.) – you should totally focus on taking back indigenous European culture from white supremacists. 

My sister and I have had extensive conversations about how interesting indigenous Europe revitalization movements are, since they try to recapture something that’s pre-Christian and, more importantly, pre-widescale-imperialism/colonialism in European culture. Even so, we detest certain parts of the movements that unequivocally root themselves in fascism and/or exclusive nationalism. White people have pretty much sat at the top of the world hierarchy for centuries, owing it to conquest and bloodshed and just general douchebaggery. We need to come to terms with this fact, become aware of our white privilege, try to be the best allies we can be (by mainly shutting up and listening to others on the topic of race), and fight the normalized hegemony.

So, spiritual white people, in the meantime, oppose fascists who would seek to appropriate a genuine revitalization movement and morph it into more white supremacy, more disgusting hierarchy, more fucked-up gender roles, more militarism. And regarding flagrant hipster racism, I don’t know about you, but I don’t want to be that white guy who treads on other cultures because he doesn’t have a legit outlet for creative cultural expression. Wicca, Druidism, Neo-Paganism; Jul, Samhain, equinoxes/solstices; etc. – these should be ours, sincere avenues for cultural and spiritual expression; not fascists’, not more excuses to dominate others.

TL;DR: Fuck white supremacy, fuck imperialism, fuck capitalism, fuck cultural saturation.