Hello, if you are reaching out to me with donation requests or requests to share your fundraiser, here are a few quick things:
I do not have a credit card. Both Chuffed and GoFundMe fundraisers often require you to have a creditcard, sometimes even if there is a PayPal option. If this is the case for your fundraiser, I will not be able to donate.
I only share vetted fundraisers. My apologies to anyone with a non-vetted fundraiser, I know it is difficult to get vetted nowadays. However, I am not equipped to judge the legitimacy of fundraisers myself, so I rely on this vetting process.
If I get a lot of asks, I will spread them out over a period of days to avoid overwhelming people and hopefully increase the chance of people donating.
I try to keep up with the asks I get, but I may get tired/overwhelmed, which may mean I don't respond. Apologies for that.
I do not respond to mentions in the comments of an unrelated post.
If you are here to inform me all the Gaza fundraisers are scams: I have read the arguments and found them utterly unconvincing. All of the actual 'evidence' people use to argue against the validity of these fundraisers (non-Gazan organisers, large and perpetually shifting goals, multiple accounts, etc) are easily explainable if you've bothered to pay any kind of attention to how Gaza fundraising works. The other arguments (stock asks, asks with similar wording, similar names/stories, etc) boil down to nothing more than vibes, and are also easily explainable.
The vetting process for fundraisers is extensive. Arguments discrediting it fall apart if you know even the slightest bit about it, and realize that the prominent vetters for Gazan fundraisers have been on this site for years and years. The idea that these vetters are 'in league' with the scammers is nothing more than a racist conspiracy born out of annoyance at being asked for money.
If you don't trust a fundraiser, simply ignore it. If you wish to donate to grassroots kitchens/aid in Gaza rather than individual fundraisers, do so. If you only feel secure donating to established international orgs, that is your choice, but remember that none of that aid is getting into Gaza. There is no need to spread rumors of scams based on pretty much nothing but vibes and a lack of knowledge.
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Tutu polyphon
Around 40 characters are represented. Translations and more close-ups under the cut.
To fit with the episode 14 character Nyājinsky (after Vaslav Nijinsky), the other real-life names are animalized as well (mostly in Japanese or English, like Gutenberg to Goosenberg, Taglioni to Toraglioni, etc.), so I included them with the German translations. And I don’t speak German, so feel free to correct me on anything.
Blumenwalzer = Waltz of the Flowers
Nussknacker und Mausekönig = The Nutcracker and the Mouse King
E. T. A. Hooffmann = E. T. A. Hoffmann
D. D. Druckerpresse = D. D. + printing press
Schwanensee Quellenforschung = Swan Lake Sources and Influences
Der geraubte Schleir = The Stolen Veil
Johane Kārl Auspist Musäugurs = Johann Karl August Musäus (hane = feather, kā = crow sound/ auspice and augur [bird omens] might be hard to pick out of the others)
Die weiße Ente = The White Duck
Alewander Arfaunasyip = Alexander Afanasyev (wan = dog sound)
Schwanenjungfrau Folklore-Traditionen = Swan Maiden Folklore Traditions
Umazurakōmorinosuke (episode 21 bat. His name in the credits is pretty funny, as he’s a hammer-headed bat, so he’s umazura [horse-faced], kōmori [bat], then nosuke, a suffix that gives off an assistant/administrative/old-timey vibe [it was originally a title used for samurai working as government officials in the Edo era], hence him being an assistant at the library circulation desk).
Der Märchenkönig: Ludcyg II. Biografie = The Fairy Tale King: Ludwig II Biography (cyg = cygnus [swan]. This influence is partially debatable, as some claims of it are due to Ludwig II’s 1886 lake drowning, which was after Swan Lake’s 1877 premiere [but to complicate things, the most common ending is from 1895 libretto, so it remains a possibility with any after]. But Tchaikovsky’s contemporaries did say he was inspired by Ludwig II, who was also known as the Swan King and an infamous Wagner fan and patron. Leading to Swan Lake’s many Wagner/medieval Germanic legend similarities, like the Siegfrieds in both the Ring Cycle and Swan Lake falsely confess their love to another woman due to the enemy’s magical deception and their unintentional betrayal of Brünnhilde/Odette causes all their deaths, Brünnhilde’s immolation and return of the ring to the Rhine’s waters lifting its curse compared with Odette and Siegfried drowning in the lake lifting the swan maidens’ curse [in later versions], Lohengrin being the Knight of the Swan, Gottfried enchanted into a swan by Ortrud, the relationship between swan maidens and either valkyrie or the Knight of the Swan in folklore, etc. Then, the swan theme is pretty undeniably derived from Lohengrin’s forbidden question leitmotif, and both represent impending tragedy as well).
Eichenbaum von Goldkrone = Oak tree of Kinkan/Goldkrone
Buchleute verboten = Bookpeople-banned (I’ve mostly seen them translated as “bookmen,” but they’re 図書の者 / tosho no mono, which doesn’t specify gender).
Pike Lilie
Trilby; oder Die Fee von Argyll = Trilby; or, The Fairy of Argyll (La Sylphide basis)
Charles Tsunodier = Charles Nodier (tsuno = horns or antlers)
Vorwort = Foreword
Ein Rezept für „Bravo!“ Spitzenschuh-Frikassee = A Recipe for “Bravo!” Pointe Shoe Fricassee (Rue mentions the legend of Marie Taglioni’s fans eating her shoes in episode 9. Tutu’s costume is also partially inspired by Taglioni’s in La Sylphide).
Marie Toraglioni = Marie Taglioni (tora = tiger)
Nachwort = Afterword
Schottenstoff pas de chat: die Grundlagen für ein haarfrei Kilt = Tartan pas de chat: The Fundamentals for a (Cat) Hair-free Kilt (pas de chat is a ballet leap meant to look like a cat [chat]).
Nyājinsky
Scheherausgabe = Scheherazade + publishing (herausgabe)
Das hässliche Entlein = The Ugly Duckling
Honks Chriswigeon Gandersen = Hans Christian Andersen
Goosenberg = (Johannes) Gutenberg
The next part (library checkout card on the right) can only be read on the unskewed version attached at the end.
Buch-Nr. = Book number / P22 / 16.08.2002 / 26.AKT (Akt = ballet act or scene. Used in Tutu’s episode titles)
Verfasser = Author / D. D. Drosselmeyer
Titel = Title / Prinz und Rabe = The Prince and the Raven
Ausgeliehen = Borrowed / Leser = Reader / Zurückgegeben = Returned
Uzura! (Fakir is correcting her writing)
15.AKT Autor 26.AKT (he’s testing out author’s signatures for his future tragic masterpiece)
10.AKT Waniko 26.AKT / 15.AKT Armajirō 26.AKT / 18.AKT Boayo 18.AKT / 17.AKT Montand 17.AKT / 9.AKT Yagiko-sensei 26.AKT / 19.AKT Lysander 26.AKT
21.AKT Marie und Clara 21.AKT (Two extras listed in the credits. Marie is the main character of The Nutcracker and the Mouse King, while Clara is usually her name in the ballet adaptation)
1.AKT Fakir 26.AKT (It’s supposed to look like his handwriting in episode 23. A cool detail in the show is that when he’s possessed by Drosselmeyer in 25, his handwriting looks different and much more sophisticated)
Schwanz (Uzura drew a picture of Ahiru as a duck and tried to write the word for “tail” [Schwanz], but instead wrote the word for “swan” [Schwan], so Fakir added in the Z)
“i love this black woman in this show i watch! i just want her to be alone all the time because no one else is good enough for her and she doesn’t need a man!” very quickly can you tell me anything about her or are you just repackaging black stereotypes so you don’t have do engage with black characters
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I'm almost done with Pokemon Moon and tbh I think Sun and Moon is a game whose story actively suffers due to being a pokemon game instead if its own pokemon story. There are glimpses of a good story and ideas an Hau and Lillie feel like actual main characters, but it all feels moot and unearned because all the cool and aurafarming moments go to the player who... doesn't actually do much in the plot. I kinda want an adaptation of Sun and Moon without the player/Elio/Selene.
RIP I thought I'd already answered this, sorry!! Anyway I don't really engage with any aspect of the pokemon franchise other than the games, so I can't really say if Sun/Moon's plot would've worked better as a pokemon anime or something else. But yeah you are right that the game's insistence on providing a blank slate outsider protag for the player to project on hurts the plot. The player character is wholly supurfluous in Sun/Moon's plot and actively hinders it at several points. Their complete lack of personality clashes with especially the original Sun/Moon's emotional story. It's super jarring and very annoying. During the part where Lillie gives me Nebby I desperately wanted an option to give it back to her. That is NOT my pokemon and I do NOT want it!!!
I also think the 'outsider new kid who just moved here' angle also hurts the games, mostly because it makes a lot of stuff.... kinda uncomfortable. This is not an issue in other pokemon games bc they are set in either Japan-inspired or European/American-inspired places, but in Sun/Moon's Hawaii-inspired Alola, a lot of common series tropes are suddenly really loaded. Like, I don't think some kid who just moved here should catch the native protective gods. Considering Hawaii's history with colonization and the associated suppression of native religion and culture, that's really, really uncomfortable, even if it's also a bog standard pokemon trope. In general, the games present Alola from an outsider's perspective, constantly emphasizing how 'exotic' it is in ways that does not happen in, say, Hoenn or Unova. The fact that the protag is an outsider makes this easier to do.
Anyway that's why Hau should've been the protag, thanks for coming to my TED talk.
Don't know if it's appropriate to put my white opinion on the 'fandom etiquette and its rule against unsollicited criticism is the reason racism thrives in fandom' post so new post it is. But sooooooooooo many ppl in the tags and comments are talking about how 'no unsollicited criticism' doesn't apply to 'outright bigotry' and is about prose, technical writing aspects, ship preference, headcanons, etc. And it boils my blood because, hey! Those things are affected by bigotry!
'You can call out bigotry but not someone's prose,' so how do you point out that the descriptors used for the Black character bring to mind slavery and savagery without bringing up the prose? 'Just don't critique technical aspects,' the mechanics of character writing are a technical issue, how is someone supposed to avoid them when critiquing a character of color's characterization?
'Fandom etiquette is about not bashing ships, you can call out bigotry,' ship preference can reflect bigotry, famously so, it's no coincidence Black characters are left out of ships so often. 'Fandom etiquette is about being nice about headcanons, you can call out bigotry,' because racism never manifests in someone's headcanons. Be serious.
'Personal preference' is often racist and should not be protected against all criticism. 'Technical writing issues' are often racist and should not be protected against all criticism. Proving the OP's fucking point by flocking to the replies to talk about how of course people can call out racism, just not any of the things in which racism manifests.
I've seen a bunch of "fandom etiquette" posts on my dash today and I'm going to say something that is maybe going to be unpopular but;
The absolutely pervasive mentality that unwanted criticism or critique shouldn't be given and should be ignored is why fans of color don't stay in fan spaces.
And I am not going to mince words here:
A lot of you are racist. A lot of your fan works are racist.
That might have been difficult to hear. And if it was, you should probably reflect on why that was.
"Fandom etiquette" has created a space where fans of color either bite our tongues and eventually leave or say something, get dogged on, and then eventually leave.
So much of "fandom etiquette" seems to be about insulating creatives from Feeling Bad and hostility to any kind of negative feedback is a pretty big contributor to why bigotry festers in these spaces.
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[ID: Mixed media headshot of a Black person with an afro. The piece is made out of recycled pieces of technology most from the 2000s and 2010s. The person is depicted with blue and purple skin and black hair, the background is green.
The first image is a photo of the artist, Michael Aguw, standing next to his piece. Aguw is a Black man in a red hoodie. The piece is on the ground leaning against a chain link fence and reaches about to his chest. The second image is the full art work. The last four images are all closeups, showcasing the TV remotes, digital cameras, computer mice, video game controllers, calculators, cell phones, and other tech that make up the art. End ID]