I’m actually concerned for boys who complain about how different girls look without makeup. Like did you think eyeshadow permanently alters a girls eyelid? Are you frightened when people change clothes
The word decision has roots in the Latin decidere, which means to cut off or kill off. You can see it in the word homicide, for instance, to kill a man. A decision, you see, amounts to cutting off all the options but one. And it is not because the decision is inherently complex that we allow time to step in and take charge of making the decision but because addressing ourselves to the decision to be made fills us with anxieties or distress. When we make a good decision we may enjoy the satisfaction of having made a good decision, or at least the satisfaction of having made a decision at all. But when we let time make the decision for us, we are denied such satisfactions. Instead what we feel is relief, and if we stand to consider this feeling, we see that it is the relief that comes from knowing that we are now freed from having ever to endure the anxiety of confronting that decision. It is only relief. That is what time does to us all. It kills all the lives we might have had, destroys all the worlds we might have known. And that is why a man may commit suicide and never take his own life.
“Stories work well for brands because of what they reveal about those who tell them. The content of your content is really the content of your character. That’s why brands with the most meaningful stories win.”—Chad Cipoletti. “Three Questions Every Brand’s Story Must Answer.” (via peterspear)
Strategy is a creative product, and our job as strategists is to create new worlds. How that comes to life is really a creative expression of the strategic platform. The two are interdependent — cannot really live without each other. Or if they do, the campaign usually fails to drive a movement, which is really what we are trying to do here in this world, move people.
For all intents and purposes, strategy is a fairly new thing. And often it’s not well defined, as far as its role in the creative process. The best campaigns come from deep strategy-creative partnerships. It’s my belief lead strategists and ECDs should sit together, not apart (but I know that’s not a shared vision always).
“Elliot Rodger earned the fame and infamy he wished for through his act of violence, and now everyone can read about his grotesque ideas. #YesAllWomen offers a counter-testimony, demonstrating that Rodger’s hate of women grew out of attitudes that are all around us.”—Sasha Weiss on the power of #YesAllWomen: http://nyr.kr/1joFv6t (via newyorker)
"Reading #YesAllWomen, and participating in it, is the opposite of warily watching a man masturbate and being unable to confront him with language. #YesAllWomen is the vibrant revenge of women who have been gagged and silenced."
“Brand is just a perception, and perception will match reality over time. Sometimes it will be ahead, other times it will be behind. But brand is simply a collective impression some have about a product.”—
“One U.S. Supreme Court justice referred to Netflix as “Netflick.” Another seemed not to know that HBO is a cable channel. A third appeared to think most software coding could be tossed off in a mere weekend.”—The people ultimately responsible for making legal rulings in the modern world are often dangerously out-of-touch with it. [via Lawrence Hurley @ Business Insider] (via huffpostpolitics)
“We may ‘consume’ vastly different media in vastly different ways nowadays. But the principles of great communication don’t change, because people essentially don’t change – possibly the most important lesson of all.”—Sarah Carter “Timeless lessons for planners" warc sub req’d (via peterspear)
What about our fans? Are they privileged? Let me tell you about Anders. He was one of two male love interests in Dragon Age II, and the only one of the two that would actually make his intentions known to the player without the player expressing interest first. If you were nice to him, he would make a pass at you, and you could turn him down, and that would be the end of it. And some fans REALLY did not like that.
Some of them asked for a gay toggle; because in a game where there’s mature themes, slavery, death, and none of which we offer toggles for, encountering a gay character? OOH, beyond the pale. They didn’t want to be exposed to homosexuality.
And this one fan on our forums posted that he felt too much attention had been spent on women and gays and not enough on straight male gamers. For all of whom he personally spoke, of course. ‘It’s ridiculous that I even have to use a term like Straight Male Gamers, when in the past I would only have to say fans.’ The purpose of the romances in Dragon Age II was to give each type of fan an equal content. Two romances whether you’re male or female, straight or gay.
How upsetting for this particular Straight Male Gamer to realize he wasn’t being catered to. This was not equality to him, but an imbalance; an imbalance of the natural order. He did not want equality, he’s not interested in equality. To him, from his perspective, equality means he’s getting less. Less options? Actually, no, the number of options we had in that game was actually the same number of options that he would have received earlier. What was his issue was the idea that there was attention being spent on other groups, which SHOULD have rightly gone to him.
Do ALL straight male gamers feel exactly the same as he does? Absolutely not. In the thread where this came up in fact, there was quite a few guys who came in and identified themselves as straight male gamers and said ‘I actually don’t have an issue with that, as long as I receive an experience I enjoy, I think other people should be able to enjoy that too.’ But if you think that Straight Male Gamer Dude is an outlier among our fanbase, you were not paying attention.
This is Anita Sarkeesian, she’s the author of the Feminist Frequency, a blog which examines tropes in the depiction of women in popular culture. You’ve probably all heard about this, it’s a matter of public record, she announced a Kickstarter to start a web series to look at the tropes in video games and she was subjected to a campaign of vicious abuse and harassment by male gamers. Why? Well, because she represents to these guys the loss of their coveted place in the gaming audience. Never mind that well all know Goddamn well that they’re still at the top of the totem pole. What they see themselves losing is sole proprietorship over their domain. That’s what it is.
Everything that is changing about the gaming industry to accommodate these players, to them, is diluting the purity of gaming which has belonged solely to them. That’s what this is all about. And here’s the thing, I’m pretty certain that our industry fears the scrutiny of those guys way more than the scrutiny of everyone else. Because those are the guys that scream at the top of their lungs, they spend their time on every internet forum, they spend their time making Metacritic reviews. Infuriate them, and you become a target. It’s so much easier to say “Well, that’s what our fans are like. There’s nothing we can do.” And that’s bullshit.
They didn’t set the tone, did they? We set the tone. What we put out there, what we permit, whether it’s on our forums, whether it’s on Xbox Live, the things that we permit we are in effect condoning. What happened to Anita, we the industry, are partly responsible for. We’re in part to blame. And if the idea of moral responsibility doesn’t phase you, consider the idea that the time will probably soon come that this will also amount to legal responsibility.
“One of the things Eliot sought explicitly to do in her fiction was to induce a reader to move beyond simple identification with people who are easy to comprehend because they are like us, and instead to feel with someone who is entirely unlike ourselves.”—Rebecca Mead on how George Eliot, who never bore children herself, knew so well what becoming a mother was like: http://nyr.kr/1s7TGS8 (via newyorker)
“In a print advert for a Betty Crocker pie, a version with the fork placed on the right triggered a 20% higher “purchase intent” than one with the fork on the left (because most people eat with their right hands).”—“Nothing more than feelings" Economist. via misentropy (via peterspear)
“The disappointment of the ‘True Detective’ finale suggests how we are entering a confusing and precarious time in television’s evolution: we approach a show as an artistic achievement with all the privileges and responsibilities that this brings, when we may have done better to embrace it instead as pleasurable genre trash.”—Rachel Syme on the art of the television finale: http://nyr.kr/1i8iffw (via newyorker)
Have you ever found it frustrating having to do something you don't want to (as in, doesn't tickle your fancy) but it helps pay the bills?
So, let me tell you a quick story:
My grandpa on my dad’s side came over from China when he was pretty young— grew up in Chicago. He was in high school when World War 2 broke out; he joined up, and was put in the 407th Air Service Squadron. It was part of the famed Flying Tigers fighter group, and one of the first all Chinese-American units in the military. He fixed planes. He also shot at them when they strafed the airfield. With a pistol.
He was there when the Japanese officially signed the surrender, and was honorably discharged soon after. The very first thing that he bought with his stashed up pay was a sterling silver bracelet with his serial number on it.
I keep it within sight of my desk at all times.
After the war, he went back to Chicago, but his father was already housing too many Chinese immigrant workers (up to this point, most Chinese immigrants were single men because of strict immigration laws and quotas), so he had to move to Detroit to live with an uncle and finish high school.
One of his high school teachers noted his artistic abilities, and recommended that he use his GI Bill to go to art school. Of course, his dad wouldn’t have it. So, he worked in laundromats, owned his own grocery, and later worked as an insurance salesman instead.
70 years later, I’m the graduate of an art school, and I’m taking a break from drawing to write this out.
I guess my point is this: the time that you use to pursue art has to come from somewhere. At some point, a sacrifice was made by you, or others, to allow you to have that time. Illustrators try to make a living in that intersection of art and commerce in an effort to lessen that sacrifice. There are some that are doing quite well at that. There are many, many more that are not.
Even those artists who we view as extremely successful have to sacrifice time. It just comes from other places: relationships, health, or family, etc. The real struggle then, is to find that balance on how you are spending your time.
If you know that a life spent making art is your ultimate goal, then doing things you don’t like aren’t really frustrations. They are necessities that must be done to give yourself time.
I think this is why I cringe every time I hear someone say that self-righteous creed of the “creative class”: “Do what you love, and you’ll never work a day in your life.” That statement discounts all the hard work and sacrifices that you or others have made to be in that situation—what on Earth would entitle us to only work jobs that we love?
I don’t do this because I love it. I do it because I must.