When Ferguson etc happened, we Europeans educated ourselves, we cried with you. When Charlie Hebdo and Germanwings happened, what do you do? You devalue our mourning by saying “blablabla white guy YOU’RE ALL ISLAMOPHOBIC”.
NO. STOP IT.
I am so fucking angry.
wut
When I see things like this, I sometimes wonder how Europe has a “dumb American” stereotype when people from Europe say shit like this.
“shit like this”. Wonderful. You know what? The only words of understanding I have seen the past few day on my dash were from Germans
and French people. I have gotten a few American asks expressing their
condolences after that rage post I made went viral.
This post
stems from the simple fact that 80 fucking percent of the posts about
the tragedy I saw were things like “Oh, they’re only checking for mental
illnesses bc he is white”
Not a single fucking word about the victims. 150 people were killed. An entire high school class, babies, people who were in that plane and were looking forward to see their loved ones again.
This tragedy has hit Germany so fucking hard. You know what many of us did? We have put flags outside. Half mast. With black ribbons. You
might not know it, but flags in Germany mean shit is getting serious.
We don’t put flags outside. This may seem weird to literally any other
country of the world, but, outside the world cup or really really bad
tragedies, you don’t see flags. You DON’T. Schools don’t have them, courts don’t have them, our fucking POLICE STATION does not have them. Normal people don’t have them. The
last time I remember that we have put some up was Winnenden. A student
went on a killing spree in his school and killed 16 people, including
himself. And let me tell you: Our country was paralized. So yeah. A
good method to measure the extent of shit going down here is to look at
the number of flags. The more flags. the worse. And let me tell you, I have been drowned in flags and black ribbon while walking the streets of my city. And what do we get? No ounce of sympathy. No one talks about the innocent victims.
Instead,
we get told that we’re islamophobic because we don’t say that that
pilot was a terrorist. Oh yeah, “because he was white.” The definition of terrorism is violence against civilians to achieve political, religious or ideological goals. Nope, nope, and nope. He did not want to achieve any goal beside killing himself. That he took all those innocents with him is so fucking awful, but this is not terrorism. So please, stop trying to make this a thing about terrorism or racism, because it is NOT.
Yes,
racism, islamophobia and sexism is awful. I, as a history/political
science major who actually really involved in fighting all this,
wholeheartedly agree. But it is a complete different area and has
nothing to do with this tragedy. (”fun” fact: The first thing that was
checked was whether he had any terrorist motives like Breivik (a
Christian terrorist btw)).
So yeah, I as someone from Europe, may
have not said “shit like this” if more people from outside here had
expressed a little sympathy, if
more people had grieved with us, if more people had actually thought
about the victims instead of trying to twist this tragedy into a thing
that it is not, just to fit their crusade.
Please, stop making this tragedy about yourselves. A few words of sympathy, a bit of empathy for a country that is SHOCKED. Is that to much to ask for? Maybe I wouldn’t write “shit like this” then.
Someone finally said it. And it’s horrible it’s taken such a horrible tragedy for it to finally be said.
Pando, also known as The Trembling Giant, is a clonal colony of a single quaking aspen (Populus tremuloides) determined to be a single living organism by identical
genetic markers and assumed to have one massive underground root system.
The plant is estimated to weigh collectively 6,000,000 kg (6,600 short
tons). The root system of Pando, at an estimated 80,000 years old, is
among the oldest known living organisms. Pando is located 1 mile
southwest of Fish Lake on Utah’s Route 25, in the Fremont River Ranger
District of the Fishlake National Forest, at the western edge of the
Colorado Plateau in South-Central Utah,
The world is weird when it comes to art because everyone expects there to always be music to listen to and movies to watch and video games to play and cartoons to plop their kids in front of and watercolor paintings on dentists’ walls and gaudy desktop wallpapers but? ? No one wants to? ? Pay? ? Artists? ? ? ? ?
I’ve got some bad news, writers. In comics, the artist works harder than we do. On a simple one to one basis, they just plain work harder. A writer can easily write a script a week (or at least, should be able to.) An artist has to spend an entire month on the art. That’s a 1:4 ratio. That means that when there’s money to be had, the artist deserves to be paid first. You, as a writer, can take other jobs. You can have a day job and still do your job. An artist, delivering on a monthly book, 99.9% of the time, can’t. It might be ‘your idea’ and you might have spent ‘months researching it’ but, this is a collaborative art. It’s a partnership. You and your artist are married, but, as unequal partners. You can sleep around with other artist, they’re stuck only with you.
And. They. Should. Be. Paid. For. That. Loyalty.
I’ve heard a few stories from a few friends who are in situations where there’s an advance or a page rate and the writer takes 50% leaving the artist with their ‘fair’ share, which is not enough money to actually live on AND execute the project. I was shocked BOTH times, but I suppose I shouldn’t be.
Everyone THINKS they work hard. Hell, I think I work hard. I’m writing 5 creator owned series, a work for hire comic series, plus working on a tv show and a cartoon series. And y’know what? I still have more free time than any of my collaborators.
Should everyone profit from the collaboration, absolutely, but, advances and page rates those are not profits. Those are costs. Those are the hard costs of the sacrifice your partners are making in order to complete the project. Do I wish I could get paid up front for my creator owned work? Absolutely. But you know what I prefer? My partners making a living wage that allows them to actually MAKE THE BOOKS.
Caveat, obviously, every situation is different, and in full disclosure, on one of my books, there is no page rate, and the profits are minimal, and the artist and I split that money 50/50, but it’s by agreement, not by greed. Y’see, we’ve always treated each other fairly, so when we saw what the financial outlook of the book is we had a conversation about it. I didn’t just decide to take that money.
Long story short. Don’t be an asshole. Appreciate that your partners are undoubtedly working as hard, more likely, harder than you are, and give them the support and love they deserve.
Pretty good breakdown of the hours/money artist/writer balance in comics. I write and draw comics, and I draw other people’s scripts (and now I’m writing one of my own for another artist to draw, a new challenge), and writing always takes me less time than drawing. That is not to say writing is less difficult (it certainly isn’t), but in terms of hours spent with my butt in a chair writing a comic vs. drawing it, I spend so much more time drawing.
It took me a month to write the script for Nameless City book 1. It took me a year to draw it. There’s a complicated page in the book that probably took me about 20 hours to draw, pencils to final inks. Writing it probably took … I dunno, like 10 minutes?
There is kind of a zen to drawing that writing doesn’t have. I can plug in an audiobook or podcast and draw for 12 hours straight. I think I’d go crazy if I wrote for 12 hours straight. Writing (for me) is done in short, quick bursts. I’m writing the script for Nameless City book 2 now. I worked for like 2 hours yesterday and got 17 pages scripted. There is no way on earth I could pencil 17 pages in two hours. But that’s the difficulty of writing: it’s so focused and intense in a way drawing isn’t (for me, at least). It’s exhausting in the brain, rather than the body (again, speaking from personal experience). I feel beat at the end of a long day of drawing, but I don’t feel wrung out the way I feel after writing for an unusually long period of time.
Anyway, I feel like this is an issue every comics writer should think about when collaborating with an artist. Think about the hours that artist is putting into your script, and how it may be four times as many hours as you spent writing. It’s something I’m thinking about while working on my very first script for another artist. I’m not the one paying her, but I hope she gets paid more than I do, because I know she’ll spend more hours with her butt in a chair, working away. :)
FACT OF THE DAY: the reason why you can’t dig a hole through the earth and come up on the other side is because your shovel would melt. that’s it. that’s the only reason.
what if you bring a second shovel that you put in the fridge beforehand to make it cold
I assume you’ve already seen this, but just in case you haven’t, they have this series of mildly passive aggressive politeness reminders on the trains in Japan. This one reads “your seat should only be as wide as your bottom, not the width of your spread legs.” Words to live by.
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A+ Japan
pay attention dudebros. this isn’t some Tumblr SJW shit.
Wait. Wait. The entire fandom has been arguing for years over whether to take the 40 students in Harry’s year and multiply by seven to get Hogwarts’ total student population (280) or trust Rowling’s estimate of the total (1000) and assume there are more students than 40 in Harry’s year, even though we have the list of all of them.
But. You guys. Harry was born during a war against Voldemort, who had no qualms killing infants, and who certainly had no problem killing the young people Harry’s parents’ age.
Harry’s year is unusually small, and maybe Ginny’s is, too. Things picked up again after the war, when there wasn’t that threat of death hanging over everyone’s heads and taking young soldiers away from their spouses or significant others. And it really didn’t start until the Marauders were adults or almost adults, so… it shouldn’t have been an issue shortly beforehand, either.
Harry’s year is 40 students, instead of the expected hundred-odd, because of Voldemort. “The” girls’ dorm, and “the” boys’ dorm, are the only two dorms used by students in Harry’s year, but of course there are closed-off rooms, maybe ones that have disappeared because they don’t exist unless they’re needed. You know those empty, unused classrooms that I seem to recall hearing mention of once or twice? They’re for splitting classes that would be too big. But that’s not needed for Harry’s year. (It might be needed for the year below Ginny’s, though.)
Imagine being a teacher, or one of the older students. You’ve seen sortings before— ones with a hundred kids, or two hundred, and that’s what you’re used to.
Then you sit down, and watch the children file in for a Sorting. And there are forty of them. And you count back in your head and realize— these are the children conceived during the war. And this year is small. And so is the next. And the next.
But then the post-war baby boom starts using all the closed-up dorms and classrooms, and Hogwarts is back to normal.
