My personal space on tumblr. Subject to geekouts, random obsessions, and sudden changes of fandom.
Reblogged from darkpuck  1,330 notes

Romance writers do what they love, and they get paid for it. They hone their craft, like any other writer. They value their work, and they speak with an honest voice, telling the stories that they want to tell. I can’t imagine anything more feminist. By

Writing Romance Fiction Is A Feminist Act by Danielle Summers. (via therumpus)

I know a lot of romance writers, and they are amazing, hard-working people who are serious about their craft.  They are also serious about having fun!  Before you turn your nose up at romance writers and romance writing, get to know some of the people who work in this demanding field.  It covers nearly every other genre there is—mystery, horror, western, science fiction, historical (and just about every historical period), paranormal (and all of those subgenres), thriller, fantasy (all kinds).  Romance has come a long way from what my mother’s generation read!

(via darkpuck)

Reblogged from celescole  1,140 notes

2 years of All Things Linguistic


Thursday marked the second anniversary of All Things Linguistic. Since I post daily and so much has happened since then, I have a LOT of favourite posts! Here are some of them. 

Explaining things: 

Writing systems: 

More technical: 

Debunking myths: 

Accents and Dialects: 


General Fun:


Internet linguistics: 

Many things on because x: where it probably came from, why it’s not a preposition, when it won Word of the Year, and when I talked about it on CBC Spark

What makes an effective synonym for Benedict Cumberbatch? (my first article for The Toast)

The grammar of doge for The Toast, from which came this quote post (which currently has just over 13.7k notes, what?). The French doge example and why no one knows how to say “doge” were fun too, as of course was talking to the BBC about it

Assorted other internet linguistics:

Series: the protolinguist series was mostly last year, although the master post came up this year. This year I also started the linguistics jobs series, which is a still-ongoing collection of resources and interviews

Looking forward to another year with you all! 

Reblogged from theumbrellaseller  1,522 notes

My point, aside from remarking that both Tolkien and Le Guin are arguing that escape means hope, and hope is one of the great virtues of fantasy, is what Tolkien says at the end of the passage: they are confusing, not always by sincere error, the Escape of the Prisoner with the Flight of the Deserter. Because I think that’s exactly it. The denigration of “escapism” comes from an implicit belief that it is brave and necessary and heroic to face “reality,” where “reality” is grim and dark and nihilistic (“solitary, poor, nasty, brutish, and short,” as that tremendous pessimist Thomas Hobbes puts it), and that if you turn away from that “reality,” you are a deserter and therefore a coward. By

Katherine Addision (aka. Sarah Monette) on “Of Better Worlds and Worlds Gone Wrong (via adribbleofink)

oh, I like this - thank you for sharing.

And that, I think, is where hope comes in. If we understand “escapism” as the Escape of the Prisoner rather than the Flight of the Deserter, then surely what motivates it, more than anything else, is hope. The hope that the prison is not eternal. The hope of communicating with other prisoners. The hope that if you keep chipping away at the bars long enough, one of them will fall out. And I refuse utterly to classify that hope as weak or foolish.”

(via bluandorange)

Reblogged from stormingtheivory  81 notes

Open Letter to the Assassin’s Creed fandom






I like Assassin’s Creed a whole bunch. But the fandom here on Tumblr has been whining a lot because the four assassins currently revealed are all white men.

Now I don’t understand the widespread criticism of Unity. Yes, Ubisoft made up a dumb excuse for not having playable female characters, but you know what? AC is not a series that lacks great female characters. To name a few, there is Maria Thorpe, Caterina Sforza, Mary Read, and Aveline de Grandpré.

More than likely Unity will incorporate female characters into the story just like the other games. Not everything about the game has been revealed as of now.

I am requesting that the fans of the series just slow down with the criticism for now. We will get more information on the game’s characters with time, and with luck we’ll get the diversity we want.

I wasn’t planning on getting involved in all this (I haven’t even watched the freaking trailer yet), but if you can’t see how having diversity in protagonists is important, I just don’t know what you are doing in this conversation.

Having women in secondary roles isn’t what’s important because secondary roles are not agenty. In most stories (and even more so in games) it’s only the protagonists and the antagonists who have agency over the events of the game and it’s that agency that matters. It’s not just about going over your checklist and saying “At least 50% of the characters in this game are women —Check.” It doesn’t matter if 99% of your characters are women. What matters is who gets to be involved in making the plot happen, and if you don’t put any women in the game as protagonists, there’s a good chance there won’t be any women effecting the plot.

I don’t have a problem with men as protagonists in games, but what I do have a problem with is having “male” be the default or only options and game developers going out of their way to not include women as main characters.

Finally, diversity shouldn’t be about time and/or luck. Ubisoft fucked up on this and I see no problem acknowledging that.

Not to mention the fact that the criticism isn’t because of the design decision alone. It’s because Ubisoft made technical claims that were subsequently called out as flagrantly false by other designers, to prop up a design dogma that’s, frankly, so last century.

Like, this isn’t JUST about the reveal. It’s also about Ubisoft being incompetent liars, and if they’re being dragged to the guillotine for it, so be it. Eventually these companies are gonna learn that they can’t play by last century’s rules, and if it takes instituting the Terror to accomplish that, then I’m ready to storm the Bastille.

I really like Yxoque’s agency argument though. That’s an excellent way of looking at game narratives. I’ll have to think about where else I might apply that logic…

Looking at game narratives as a question of agency is so important though. That’s the whole reason videogames offer a level of immersion so much deeper than any other form of new media, and THAT is why representation matters so much. 

No matter how you try to swing it, Ubisoft fucked up hard here, but they aren’t the first, and they won’t be the last. All I hope for in this is that it draws attention to the lack of diversity in videogames and the need for that diversity as we move forward.

That’s what’s so interesting to me though: the agency of the player is such a big deal, but it’s usually discussed, in my admittedly limited experience, in terms of agency within gameplay, or agency to choose different narrative paths, not… uh… ah, I’m not even sure what language to use to distinguish the particular kind of narrative agency that I’m thinking about from just choosing alternate endings… It’s a more sort of… comprehensive agency, maybe comparable to the hero-centric morality that I’ve discussed in tv narratives where the narrative bends to accommodate the actions of the protagonist? It’s like a warping of the underlying structure.

Dialogue is not just quotation. It is grimaces, pauses, adjustments of blouses, doodles on a napkin, and crossings of legs. When people communicate, they communicate with their faces, their bodies, their timing, and the objects around them. Make this a full conversation. Not just the words part. By Jerome Stern, Making Shapely Fiction (via the-right-writing)