Blogs in progress
So, here's a pretty interesting art topic that I seldom find to be discussed.
Basically, there's this idea that the art industry just absolutely needs a tsunami of tutorials from everyone and their mother. Not just from the masters of their craft, but anyone who yesterday held a pencil in their hand. Everyone is in a fervor to EDUCATE, it seems. Unfortunately, without the credentials to do so.
Yesterday I saw a tutorial on the front page, on how to draw flames and fire. What struck me was how abysmal it was - not only the presentation of the process looked bad, but the result, which the author toted as a "flame", сame out to be very, very poor. This prompted me to reflect back on all the previous shit-tutorials I've seen, and how they're not only unhelpful, but damaging to other, young artists. There recently had been a flood of them - how to draw water, how to draw this, how to draw anime eyes, etc - pathetic in quality, utterly unhelpful and presenting a result that is anything, but competent.
To be honest, I am as guilty of that as any other from this point of view. I've done about 2 tutorials on how to paint, one on coloring and one materials (not counting one where I just showed my process), and looking back on it I realize shit is really pretty horrid. On top, there's also a sense of pride and euphoria clouding your better judgement. You think "oh my god! I'm so totally good at this, look at those FUCKING HYPERREALISTIC REFLECTIONS MAN! I need to share with everyone how to do this, and not only is it an altruistic thing to do, but there's also EXPOSURE MOFUKA!"
That line of thinking, though, is a delusion. Mostly because at any given moment, especially after finishing a big complex piece, as an artist, no matter how self-aware you are, you think that you are at the pinnacle of your skill. But - if you strive for improvement - that is no so. You're in a PROCESS. And what today seems totally fine and dandy and the only conceivable way to paint, tomorrow becomes outdated. Me, personally? I cringe at my "how to draw metal" tutorial, because not only is the technique dubious in it's effeciency as I see it now, the execution of it is shaky at best.
Point is - TODAY I would've given different pointers how to paint metal. And most likely, in a few months, those would change too. That's why I don't do any more tutorials or don't plan on doing them in the forceeable future: I'm a consumer of knowledge, not an educator. I don't yet know enough about art or handle it to the point where I could make it helpful to anybody.
Being able to dish out advice requires a high degree of skill and self-awareness. The reason we have so much incompetence flowing around is because artists are not self-aware - they often don't see the limitations of their skill and therefore, cannot assess if the technique they like, or skillset they have, provides a satisfactory result in a finished artwork to begin with.
There's also the conceitedness and social-media fueled desire for constant loop of exposure-feedback gratification. Many of the "artists" use tutorial-making as an extension of their grab for popularity and monetary refunds. That, by itself, isn't bad - as far as I understand, is done in the professional art industry - but at least there you KNOW what you pay, when it's a Massive Black studio director teaching you how to paint on a 9hr DVD walkthrough sections. Not some kid who just yesterday traced their first Naruto screenshot and now takes a bite at doing "anatomy tuts".
So, you get incompetence. Critiques, for example, are arguably less tied to the critic's manual skill in the chosen field. If we go with the analogy that "it doesn't take a chef to know that the steak was burned", a restaurant critic doesn't need to be a good cook himself - he needs to have the ability to decipher what his tastebuds tell him, and then put it into words.
But giving out actual technical advice and education in the forms of tutorials is a different beast all-together. It implies that one is so good at what he does, that he is able to teach others. If we continue the previous analogy, a person who cannot make scrambled eggs to save their life, shouldn't start a "How to cook with style" show.
Being able to teach a process is a skill like any other. There are a lot of professional industry artists that make absolutely mindblowing works, but that cannot relegate their knowledge in any comprehensible form - simply because it's not their thing. So when you look out for a good tutorial, it's about this rare combination of a talent in teaching and an artistic skill developed enough to be universal and not prone to growth problems and development fluctuations that I've talked about before. You need someone who has "solidified", so to speak. And more often than not, those are older, or at least, vastly experienced people, who's knowledge had been tested by time and clientelle.
If that doesn't happen... Well, then you just have what happens here on dA, what I observe: sharing and spread of incompetence, when people don't take the time to think about their skill, and just rush to share their techniques with bystanders. Or get some "street cred". I can't even count the times when I had seen "redlines" that were more messed up than the original product, yet the both parties were totally satisfied by the outcome - one feeling that they gained some knowledge on how to improve, and the other - that they're good at helping people.
Of course, it's all good intentions. And I'm absolutely sure that such internet tools, in form of various art-sites and all, and the fact that a lot of people got access to art and to tutorial-making, made people improve leaps and bounds faster than they could have without them. But as with ANYTHING ELSE, there should be self-awareness and drive for quality. Don't do stuff because everyone does it. Think - "do I have credentials to educate? Why do I think I do? What's to back it up? Am I finished in developing the technique that I want to share the process for? Is the technique GOOD? Is my understanding of art principles FULL and encompassing to a degree that I'm not constrained by glaring problems in my work?"
Then, the level of competence will rise out of a sea of sludge.
Blogs in progress
Damn, it's summer already. Hopefully less workload soon, and more free time.
So, first and foremost I want to express my gratitude to the anonymous deviant who donated me 300 points that I opened a donation pool for. It was for no silly reason, but to purchase awesome urban landscape photo-stock here on dA to use in my future cyberpunk works. Whoever you are - you rock, and I'm certain something good comes your way as well.
Speaking of art, yeah, that's mostly what's going on - I'm still trying to find my footing in post-cyberpunk aesthetics, toying with techniques and ideas and all of that. I've mentioned a few times that the artwork and concepting I'm doing now is for my own IP and novel - well, that's true. You might ask - well, the hell you're not releasing it, if you're talking about? I really want to make a solid literary work in English, and at this point I feel that leaking it online in an incomplete form might hinder my processes. I debated the idea of partial releases on speciliazed literature-centric sites, but then argued against it, since it would be hard to protect as intellectual property. But building hype is always necessary) Kidding, there's nothing to be hyped for, it's just gonna be some chump's eBook.
Arting, at this point, really helps to rest from writing and visualize the setting, blow the excessive creative steam off, so to say. So stuff it cool.
Also, some of you may noticed the changes that happened to my page here on dA. I'm going to briefly address that. Overall, I'm currently trying to pinpoint a niche for myself where I can work with tighter focus - the aforementioned stuff here. I did some gallery cleanup, putting in storage works that I think don't reflect fully my qualifications as an artist. It's no embarresment, but I wish a more streamlined experience for any viewer - before it was really a mess of everything. Journal design elements and icon, and in future - profile description, ID, and so on - need to reflect this new status. What I had, I've outgrown, and that's a natural process, that's exciting as hell.
However, what happened at this point, is that Watch_Dogs were realeased, and damn, are my weekends ruined because of it! Actually, despite what some critics say, awesome game (and that coming from a person who could never get into GTA), with an awesome style and attention to detail, demonstration of next-gen capabilities and all. A media experience to be savored. Awesome cyberpunk inspiration as well.
And on the movie front, we got the Edge of Tomorrow, which quite impressed me with a really impeccable cinematography, gripping pace and overall, a breather of relative originality (as much as an original a manga-based movie can be anyway) in the unrelenting, shitty tidewave of Marvel/DC faggotry. So, recommend it to any sci-fi lover to go and see it. It might be not actually as "smart" as some critics tout it, but it's enjoyable and never boring, to say the least. It even, gasp, has character development beyond the comic "i iz angsty cuz parents dead" and "i haz to save gurlfran" and "how will i live with these uberhuman powers, baw, I wannuh be ordinary agen".
I was also pretty excited for Transcendence (AI, duh!), but seems like the movie flopped, so probably would just buy a DVD.
And what sci-fi book or manga adaptation (western comics need not apply) do YOU think require a live-action, big-budget glory?
Blogs in progress
Historically, in any epoch, the battles the "oppressed" fought against the "oppressors" never had anything to do with justice, equality or some universal sense of truth, liberty and the like.
It's always the struggle to crawl from the bottom of the pyramid, to the top - always including the inevitable dumpIng of severed heads of the losers down its blood-soaked steps.
It's a battle of substitution and re-distribution of power if the challenger comes out victorious, and the yesterdays slave always, I repeat, ALWAYS in that becomes the today's master.
There is never a "good" side in these dynamics. There is just the RIGHT side - the one that is yours, and laregly, biologically and genetically predetermined. The modern west has a severe masochist complex, an infatuation with suIcide - but it's all fun and games untill you have your nails pulled out, or watch your family raped and burned alive.
Remember, that is what happens when you lose.
The important part to remember, is that no victor has a capacity for mercy, especially if he's persuaded in his victim complex and seeks revenge - which, ultimately, is the modus operandi of a victim complex sufferer.
Revenge is the key word. When you lose, don't expect a happy, chilins-of-the-earth-unite kumbayah.
If you give your power up, nobody will say "thank you" and offer you a suite in the "retirement home for oppressor scum". They dont want your apologies and understanding, despite the similar claims. In reality, they want your blood, suffering and wealth. They want an inversion of the current situation, where they are at the helm and you are collared down. Not justice. Not truth. Not "equality" - those are their weapons to make the threat duller to your dazed, fogged eyes. Dont be tricked into thinking otherwise.
If you dont cling to that top of the pyramid, it is your head that will lay at the bottom, make no mistake.
Realize that. It's either you - or you cease to exist as a human being. Dont give up your power.
Blogs in progress
Giger's biomechanics were that visual hook that caught me into painting on my own - at first I started with pure plagiarism, but that helped me evolved my art, the high standard and unbriddled imagination that denotes his works. It's weird to feel gratitude to a person you've never met, but that's what transpired.
I rarely feel saddened by the deaths of people I don't know, but if I ever had an artist to aspire to, an idol, H.R. Giger was one of them. The world of surreal and sci-fi art has lost an outstanding visionary. On the other hand, it was a life worth living.
Blogs in progress
The fact how important stuff in my life and opinions are to people who live on different continents.
Now, I'm not actually that arrogant to believe it. But you make me think it, people. My brains would never rise to that level of extravagance.
"Oh no, TD, how dare you denounce white pride world wide for yourself, didn't you sign a declaration of "Nevar gonna give you up, never gonna let you down?"?" "Oh no, I'm so disappointed in you, u iz no frand no more!"." I thought you're a Nazi4Lief, HOW DARE YOU BETRAY MY TRUST!". Then they proceed to call me a dirty Ruskie.
I've briefly mused about the fact. It continues to escape me, this frail feeling of reason. I suppose to some it will feel empowering, having well, this power over people - that surely is just a knapsack of bullshit - but ya know, I really don't feel the groove. Couldn't even bring myself, among the awesomeness of current happenings, amongst the biz, to answer to every one of those people.
But you know - you, the person who's opinion REALLY MATTERS - what they all mean is really "how dare you evolving from your beliefs and growing as a person, while I'm still here stuck in my 18 years old mentality, with my shitty skills for art I've had for almost a decade. How fucking dare you grow a few more hairs on the balls and get interested in tits, cars, money and being an UPSTANDING CITIZEN OH GAWD EWWW, when we both sat in the shitter and played with plastic figurines, which I'm continuing to do? How dare you decide you want to have nice clothes while I still run around in my LARP costume?".
Eh. I'm too harsh, you know.
No, no, don't misunderstand me. Of course it's not important. It's just public. Post away, all the freedomz' there.
I get the jist tho, I think, now. It's like when Justin Bieber was driving drunk and under drugs, or what was it? Made global news. Everyone was like OMG, NOT THAT SWEET JUSTIN!
I wanna drive drunk too. Oh, and drugs!
Thug life, people. Gonna get a car soon.
Guess that's the first and last philo musing of this sort. More art, more experiments, less old shit clinging to my sneakers.
Blogs in progress
After what had transpired yesterday in Odessa, Ukraine - when over 30 people were burned alived in an entrapped building, their bodies looted, displayed and humiliated - I'm ashamed to have called myself a "nationalist". Because the act had been done by those that had donned the same ideology, at least in words, and marred an otherwise proud, right ideal with their savagery.
I have many times espoused radical, extremist views. I've argued the fact that sometimes you need to weed out the "fifth columns", that people that do harm to your state, should be exterminated. But I've talked of these things when the subjects of the debacles were of different racial origin. That terror against a different enemy is plausible. What happens in Ukraine, though, is not about ethnicity even, or a survival of one of the white nations. It's about greed of the pro-Western Bandera thieves, that try to sell their people to the EU, like a pimp sells his beaten, bruised whore, and about the so-called "nationalists" that are used as a blunt weapon in this deal. These nationalists are nothing, but human scum - looters and destroyers of their own nation, the worst phlegm that this land had bourne.
If this is nationalism - I have no part in it. If nationalism today means sending your nation into a crash course, if it means to be a delusional, sellable, worthless muscle, if it means being a murdering thug with no discern - I'm no nationalist.
Yes, I always had been an idealistic person. I believed in the ideals of the old, of ethnical supremacy, of the idea od the Nation. As a fromer soldier, I accepted loss and cruelty in the name of an ideal. But I never had been for mindless cruelty, for cruelty that backfires on your own people, on those who depend on you. I don't think I can hold to discredited ideals anymore, though. I'm not blind, nor a fool. And it's natural for a person to re-evaluate their mindset when faced with a new reality.
I need to be honest - I now see what much of a bogus the whole "pan-white" movement is. There is no "white". There is only Russian, Ukranian, Polish, Spanish, English. We are as splintered as African tribes, and as hostile to each other. Idealistic people like me tend to think better of their peers. White thinkers and intelligentsia love to fantasize about the powerful unions of white men all over the world, but when geopolitics come in play, we will gladly kill each other.
And I accept that. I accept all of it. And therefore, I shed all the bullshit. I'm nothing but a Russian patriot, a Russian - a Russian for whom only Russia is "uber alles", only ethnic Russians are worth of anything, only those loyal to this state and its People are deserving of protection and life. Call it ethno-egocentrism. Does not matter. War changes everything.
Am I ashamed of my previous views? Not really. They were formed by other circumstances and experiences, and held in such experiences. Now they crumble apart. That's how life goes.
In the light of the current happenings, I'm not sure what I'm going to do with this account. As Ive stated previously, I went to move onto my own sci-fi projects and cyberpunk IP. But now, in addition, some questions are raised. I don't think I should isolate, but then, to be engaged on a site hosted, created and inhabited by denizens of a, factually, enemy state seems a bit well, dissonant. Hopefully, the situation rules itself out.
Not the kind of a "thank you for 700 000 views" journal that wouldve been planned. Thank you, I guess. Go express your condolences to the Odessa victims, better.
Blogs in progress
Recently, on my piece I got into an interesting discussion that I find would be of importance to some of my watchers, despite the person being helpless in said discussion and just looking to waste their time.
Basically, I encountered yet another person who cannot grasp the difference between concept and visual aesthetic, and is quick to brand any widespread concept as similar to some popular piece of media that utilized such a concept.
I personally define visual aesthetic in concept art as series of image elements, art techniques and stylistic patterns that unify an array of objects in art into a single, wholesome, stand-out microcosm which is recognized by these elements. It's what allows us to relate a piece of art to a certain time period ("that's so 80's!"), a culture ("typically oriental stuff!") or movement ("absolutely baroque!").
A concept, on the other hand, is a concept – an idea made into flesh. The concept might have a definitive visual aesthetic, or it could be generic. Therefore, the concept is WHAT, and aesthetic is HOW.
However, many people seem to greatly mix the two, or mistake visual aesthetic for style and technique, which are components of the aesthetic, but not it’s contenders.
Here is what I mean under a visual aesthetic. I want you too look at these screenshots of very popular media, game and film, and get a hang of what I’m talking.
Since this blog entry was spurred by Deus Ex: Human Revolution, which I’m sure many of you played, let’s look at it first:
The most glaring visual aesthetic motifs for DE:HR is the color pallete, which falls into black and yellow/gold/orange. Most of the interface is coded in those two colors. The light and bloom effects, that tinge the games "atmosphere" is in most environments, yellow as well. Such a strict color coding immediately sets a major visual aesthetic theme. Second thing – triangles. Triangles are repeated in most of the environment, deco and character designs, along with pronounced edges in environment and object design. While the exposition may vary, the triangles and angled surfaces find their way in most of the game. And lastly, another big visual aesthetic component of DE:HR – is a use of gloss and glow atop victorian-esque setups, which clashes modernity with classicism for a truly cyberpunk feel.
Dead Space, and it’s subsequent iterations have a defined visual aesthetic as well. It doesn’t just go sci-fy – again, it creates a set of visual rules that all of the game’s elements follow, and as seen on this screenshot, the most evident rule is ribbing. Ribbing is repeated in nearly every non-necromorph object in the game, starting with Isaac Clarke’s s suit, and continuing on with Ishimura’s design, the environments, interface and object. What does that achieve? Unity of space and manufacturer. The Ishimura is feeling solid, made by one company, and existing in a real world.
And the movie Oblivion, which is color-coded, and shape-coded as well. Most of the movie objects are stark white, including the protagonists suit, his hub, the drones and so on. The drones and the hero’s method of transportation share a similair, spherical contemporary design awfully reminiscent in its cleanness and simplicity Apple’s industrial design, and it manages to convey to the viewere that this is high-tech shit. It’s not just a single design, but a similair design theme running through the movie’s art production that once again ups the degree of believability.
The problem I have with a lot of modern concept art and modern art appreciators – when we’re talking about large industrial projects - is that they’re more focused on the concept, but don’t care much about upholding a unified, natural visual aesthetic.
In concept art this translates into the what I call "generic fantasy cancer", ie "everything and a sink, too!"
Why I call it generic fantasy cancer? Because most of the time, when making a fantasy concept, the artist doesn’t think about a wholesome visual aesthetic, but throws in everything in their visual library that’s about armor and medieval times. Since most of the time the visual libraries are not so big, it translates into a mish-mash of discordant and generic elements, as seen in this example:
There’s no feeling of unification and believability. In art production, say, in games, the difference between simple concepting and creating a visual aesthetic, in my opinion, is most vividly seen in the Dragon Age series. While many people hate on Dragon Age 2, I hold it in much higher regard than the first installment, Dragon Age: Origins/Awakening, both in story – but most importantly, in art.
DA: O has absolutely unremarkable visual aesthetics, indiscernable from a myriad of other fantasy RPGs. What set this game apart of it’s competition, was a compelling role-playing experience, gameplay and story arch, as also a wide set of character customization options. But the game design seems ragtag, and feels like being done by different people in different places. From the beautifully stylized Orzammar (which I think of as one of the most successful visual languages found for a fantasy race) it drops to the pits of well, this:
It’s an cutscene screenshot, demonstrating dark-spawn in all their generic, reptiloid glory with what looks like celtic knotwork patterning slapped for no reason on their generically spiky-toothy bad guy armor. The difference between character and environmental and even interface design, the disjointment of it that is demonstrated in DA: O, for me, at least takes away immersion in the game, my belief in it and the satisfaction of playing.
But with Dragon Age 2, the studio went another route, and created a whole new, standalone visual aesthetic and narrative to the game universe, which enabled to solidify its mythos, and present the game universe as something that is wholesome, and not a series of maps and battleground – a REAL place.
Now, look at the dark-spawn design for DA 2 and compare it to the DA 2 design of the main character. Firstly, while it has the same concept (ie, undeadly looking bad-guy goon), the new dark-spawn is visually different from the predecessor, and yet, related to the main character. Certain elements keep them grounded in the same space, signify they share a same reality. But the studio went further. It created environments, interface elements, loading screens, maps:
All with the same overall visual aesthetic, and that, in my opinion, was a great success. It was done through a specific color pallete, use of fonts, patterns and repeating uniform elements, while adding enough variety and sub-aesthetics to keep the thing lively.
That’s why I feel that it’s important to keep a unified, competent visual aesthetic in concept art. Unfortunately, that is largely depended on research, reference and a big inner visual library, which many artists don’t find necessary to develop or limit by not consuming enough media and art per se, because as seen in the abovementioned examples, the correct thing might be found anywhere in our lives – in architecture, in fine art, in historic pieces, in home appliances and etc. Not just in other media.
I constantly try to keep this in mind when I design characters, outfits and other objects. I try not to delve in disjointed ragtagness and keep the relationship between concept and aesthetic as organic as possible. Doesn’t work at times – maybe, but that’s not a detractor. Because I believe that a concept art’s impact lies 90% in solid visual aesthetic, and only 10% - in the concept on it’s own, and its just a matter of practice and determination to create you own either from scratch or through inspiration in your whole life experience of observing the world around/
Blogs in progress
As a nationalist, a national-socialist and Russian patriot, I feel that I need to move in my 2 kopeikas about the situation in Ukraine.
I'll start off with denouncing the so-called "Right Sector", the Bandera, the "ukranian ultra-nationalists". They're not right-wing. They're not NS. They're not nationalists. They're nothing but ass-clowns and thugs covering under those names. And I'll tell you why.
No "ultra-nationalist" would turn the capital of their state, a city with a 2 thousand year history, into a smoldering trash-pit.
No "ultra-nationalist" would kill, mutilate, torture and humiliate their nation's military and betray it in the end.
No "ultra-nationalist" would seek help amongst the enemies of their state on the anti-national EU, inviting non-slavic military and threatening the integrity of their state.
I advise and warn all my fellow NS who might read this - DONT BUY INTO RIGHT-SECTORS RHETORIC! You don't know the history of Western Ukraine and Bandera! You have no idea what these people are!
But I'll tell you. The so-called "Western Ukranians" which now push for "independence" (that, might I point out, they had for 20+ years already), are not native to what is called Ukraine at all! They're mongrels, mix-breed mercenary and criminal trash that poured into the region back during Russian-Polish-Lituanian wars, with much Turkish admixture. They have no claims to Kiev, and everything to the East - these lands were historically RUSSIAN, and only in 1917 did Lenin, this piece of shit, hand it over to be an "independent" state. There was no real Ukrain before the 20th century, and no Ukranian nationalism, therefore, can exist in separation to Russian nationalism.
Now, the "western ukranians", the zapadenniki. I'll cause many hurt feelings to my watchers who Im sure probably belong to that category, but I must speak out. They are genetically bred traitors. They fought for Germans in WW2 - and betrayed them. They fought for Soviets in WW2 - and betrayed them. They fought for Chechens in Chechnya, killed and mutilated Russian soldiers.
Moreover, they have a deep-seated inferiority complex. Due to their nature as mongrels, they cannot decide what they are. They think they're the West, they try to prove they're not "slaves" but the West doesnt care about them, only the geopolitics. The Orange Revolution back in early 00s was made on this wave of pseudo-nationalism, but the westerners proved that they cannot build a viable, economically capable state without the help of Russia and the industrial, russian-populated Eastern Ukraine regions.
The only thing they can offer Western Europe, only thing they could EVER have offered, are worse plumbers than the Polish, and sluts.
These you call the new face of strong nation? This is the "example and pride for nationalists"? Jesus fuck, these people are WHORES, they'll change their colors in order to suit their interest in a zippy. For a second, consider this: the leader of these so-called right-wingers had been fighting amongst the Chechen terrorists in Russia, aiding in killing Russian federal troops. That's your nationalist Jesus? I myself am getting updates from aquaintances in Ukrain, that people FLEE because bandits come to their houses and threaten to kill them, if they don't move out. An ethnic war is brewing, but guess it doesnt matter when one side yells FREEDOMZ and DOWN WIT CORUPTION.
See, I place more emphasis on actions and real standing of a person, than the armbands and flags.
You can wear the same symbols as I do, espouse the same ideals as I do - but if you're against me and my people, if you wish my people harm, that shit doesnt matter - I will make sure to bury you. Any anti-russian "nationalist", "NS" or "fascist", is as much of an enemy to me, as a rabid antifa dog.
Oh? What's that, you say? "Right for self-determination"? Me being intellectually dishonest? No-no-no. Western Ukranians have all the right for self-determination. As do Eastern Ukranians, then. They all want to self-determine, but for some reason, only one side gets to? I'm all for the western khohols to move out of Kiev, announce Lvov the capital of some Nezalezhny Protectorate, and self-contain in the Western regions, and procede to whore themselves out to the highest bidder. And we take back the East, or leave it independent and free of Bandera thugs.
And of course, the western right-wingers have an insta-hard-on for this scum, just because they need to stick it to the "soviets" and our "imperial ambitions". This proves to solidify my recent realization that a pan-white resistance is absolutely utopic. I'm all for personal growth. And I grew up during the last years. Coming to a clear understanding that white Anglo-Saxon world should perish or be forced into splintering as we have back in the 90s. The greatest danger to my people now, it seems, are the US and UK right, not even the gay-mongering, feminazi multicult western libs. No, it's the right, that thinks that Brittania still rules the sea (say Allah Akbar to the millions of muslims, britfags), the McCainist american Tea-partiers - all as ignorant, russophobic and dishonest as a jewish democrat.
One second they yell "Russia is the white race's saviour!", but the second you poke a self-appointed khohol shithead they go "Only good ruskie is dead ruskie, shoulda bombed them back in 1940s along with japs".
So no. Shove your "white race" where the sun doesn't shine, sellouts. I wouldnt even sit to SHIT near a "Right Sector" Ukranian or any of the western "nationalists" that deny Russian ethnic or territorial interests. I'm loyal only to my blood, and my people, and my state.
But on the other hand, I should thank them. The villification of my nation and state had reached such ridiculous, despicable proportions, that it made us - and thankfully, even our not-so-competent government - totally indifferent and immune to the squeals of these pigs. We don't give a fuck. We didn't give a fuck during the Olympics, we didnt give a fuck in Georgia.
Why, really, should we? USA can attack sovereign states on ANOTHER continent, and we cant protect our people over the border? There is no legitimacy here, no international law in act - only the right of might, and right now, the might is OURS. Deal with it.
Crimea will seceede and be free. Eastern Ukraine will split off. We will help it. We will take back everything what's ours. What, trade blockade? Economic santions? Yo Europe, watch that gas faucet go shut. Stock market falls, so what? No one is panicking. This is historical justice, one helping of it, and the second spoon will arrive soon. This is real nationalism, when our blood and soil are not left for rats to feast on, but protected and uplifted.
So if you're for Ukranian "nationalism", but against Russian nationalism - go suck a dick, pigs. The butcher will arrive soon enough.
Blogs in progress
I just had the best idea of a story-driven FPS vidyagaem.
The year is 2030. America has fallen and split into two independent states. Down south it's the AAU - the AfroAmerican Union, a shambled anclave run by blacks. It's in a constant state of war with Mexico, that had bit off the few of the former US states in the south, but no power can make a definite claim to the disputed land. All the northern states + Canada had transformed into United American Federation - run exclusively by women. Biogenetics finally allowed for human parthenogenesis, and all the male population was promptly displaced and deported, to be replaced for vat-grown fabricated women in all ranks and walks of life. The two states teeter on the edge of conflict, but a dark, sinister plot brews in UAF to use the resources of the AAU to support them in the expansion over the ocean.
So it's up to our team of heroes from Russia, Europe and China (yes, we'd want to be inclusive, no?) to infiltrate the enemy territory as a spec ops team and put the stop to the impending doom of all humanity!
It's gonna be a tactical FPS with switchable heroes - sort of like ME, but with a severly downplayed RPG element. Lotss of locations, types of warfare (including naval and aerial warfare)
I even have some monsters, weapons and bosses fleshed out. The Sherilla tank, the MuhDik-9000 cannon, twisted feminazi experimental bio-borgs like the RedHead Bitch and Dworkinstein, the sadistic UAF black ops "Privilege Checking Unit" and the AAU's misshapened, but numerous Thugbots made from scrap and chinese iPhone knockoffs.
That's gonna be nextgen gaming, ppl. Should I go to Kickstarter with this project, whaddya think?
Blogs in progress
What's up, friends and lurkers?
Shiet, so much stuff happening. Ukranians going all crazy (always knew they were the retarded brothers in the family) over not getting on their knees for EU to buttfuck them, we getting our first legit school shooter, Samsung possibly unveiling the Galaxy S5 with retinal scanner on WMC! Fuck-ass February is upon us, so I'm personally stashing on cold medicine and headache pills.
Winter this year was LAME. There was zero to none snow, freezing temps at a point, and therefore, I can't enjoy skiing as I used to. Too little snow, and too cold (or warm). Had a chance of going to the Sochi Olympics games, but declined - Olympics are sorta lame. Yeah, I know, show and event of such a scale, but whatever. Can't leave my job in the hands of less competent coworkers.
The beginning of the year started slow for me, buuuut, I'm already kicking into second gear! I'm going further down in perfecting my skills, and if most 2013 felt a bit stagnant from me, in terms of artistic growth, 2014 looks swell. I got more busy, and that drives me to achieve better visuals with less time and effort. And dunno about you, I think it works! So I'm pretty excited.
I'm also marvelling at a new-found ability to create personal stuff and get inspired by sources other than Warhammer. Only now I realized how much of my creativity was sucked towards that outlet at the loss of others. And I'm overwhelmed at the amount of positive feedback at my horror and Cyberpunk stuff that I've been uploading lately! Glad that some people lived through that change and came to support my new pieces.
So, the main point is this - my new IP project is up and running. It's a novel, a chunk of which I'll post on various fiction sites, and maybe dA. It's realistic, short-range cyberpunk (title still pending), and the story itself will be accompanied, for the continuation of the year, with concept art, illustrations and etc. I'm fairly certain that my skill will match the vision, and the vision will drive the skill, as a result.
Also, I'm on the last stage of conceptualizing a horror-sci videogame setting.
So, guess that's the most of it. Have a "distored"-style Torturer as a consolation for the unapologetic optimism of this blawg)
Blogs in progress
"So, Mr. Twumbly, you know why you’re here?"
John Twumbly was nervous. He clutched his tablet close to him, glancing over the gathered members of the review association. There was four of them – three women, one man. The three women looked distinctly non-white, while the man was white, but clearly gay – the feather boa gave it away immediately, and John mentally cringed at himself that he noticed it.
"Yeah. Well, I think I do. This is the National Media Review Association for Forwarding Appreciative Perspectives?"
The black woman checked something on her tablet, and then rose an eyebrow over her Glass, staring right at Twumbly. Her double chin bobbed up and down affirmatively.
"Yes. You’ve submitted a screenplay to Mr. Schielburg’s new IMAX project, and as per routine, we have checked it, as Mr. Schielburg, according to the studio, is planning to go along with it and you were hired in the film crew. That’s correct?"
"Uhuh. So, if the summary is right, it’s about aliens attacking Earth and a group of ordinary civilians awaken their dormant supernatural powers to fight off the invaders?"
John tried to beam up.
"That’s the jist of it".
"Well, not really", The redhead asian-looking women pipped in. "Your screenplay did rise a few red flags with the NMRA FAP, hence why we want to spend this time to work out the problems?
"Let’s see, the first is obviously the cast", the black board member snapped. "You don’t describe the physical attributes of the characters well, but judging by you, it’s a matter of utmost concern. Equal representation"
"It was for the casting director to deci-?"
"No. It has to be physically written out. We recommend full diversity", the hispanic review board member cut him off. "We don’t want to find out in the midst of the movie’s production that Mr. Schielburg, all due respect to him, smuggled in white actors".
"He can keep the scientist villains as white, tho?" her colleage argued.
"I think he can... He can make them Iranian. Or Russian."
"Iranian would be islamophobic, dear".
"But, m’am, eh... Lucy, the photographer? I kinda did write that she has amazing blue eyes, it’s relevant to the plot, but that should mean that-" Twumbly struggled to get a word.
The black member’s tone dropped to a dangerous low rasp.
"Mean what? That the FX team can spend some budget on contact lenses?"
"Good", The gay board member took the lead, flipping through pages on his tablet. "Now, very important. Your cast is roughly 50 percent male, 50 percent female. You’ll have to change a few characters to female. We can’t have so much screen time devoted to male figures".
"But I was following the equality rule guideline?"
"Mr. Twumbly, your male characters are already overwhelming in the action scenes, which we will also discuss further, it’s actively taking of power away from the female half and erasing their identity in the human collective. We recommend an 80 to 20 partition, and when I say recommend, you realize what it means?"
"I... I do."
"Them, the female cast will be expanded, as will their roles in the story. They should be independent and strong, with their actions emphasizing that outstanding femininity. What I want to know, Mr. Twumbly, is why your dialogue is so shallow?"
"It’s an action flick, I’m sure a lot of words ain’t necessary".
"Like hell it is", the Latina squinted her eyes. "You’re to have at least 30 minutes of immersive female on female dialogue, pertaining to various social problematics, and not containing mentions of men, in any motion picture running above 1 hour. We don’t see this included in your piece".
"Now, let’s discuss the powers. Jake Thorn’s – she’ll be Jessica Thorn from now on, Mr. Twumbly – has a power to throw ice spikes. That is disgustingly offensive. Vile, I'd even say".
"Natural that you don’t see it. First, spikes are phallic. They’re PENETRATING the enemy – that’s a trigger to rape victims everywhere. Totally unacceptable PIV-narrative. Second of all, it’s ICE. You know what ice is associated with?"
"Not really following you there, m’am. I was basing the power of natural elements and that..."
"With North and ergo, white people. So, Mr. Twumbly, you have a white-priviledged rapist power given to your character."
"No, it was natura-"
"Jessica Thorn will have an absorbing power. The power to absorb the damage men rain upon earth. No ice spikes. I’m thinking, maybe her vagina would suck in air and create a tornado?"
"The necessary LGBTQ scene is completely butchered, also. Mr. Twumbly, you are CIS, correct?"
John gulped loudly.
"Then, why didn’t you hire an LGBTQ-certified consultant, if you wish to include this scene in your screenplay?"
Twumbly gritted his teeth.
"First off, I was obliged to include it by the "LGBQT Character Act 8", and secondly-"
"It completely sexualizes the queer-identifying individualities", the gay board reviewer scoffed. "Offensive. You don’t even include a kiss, not a single genitalia shot, though, and that just stigmatizes the whole group. We will assign a consultant to you, Mr. Twumbly, as soon as we can".
"I personally have a problem with the whole piece. First off, this whole concept of "saving"... the Latina made air quote-marks with her fingers. "So patriarchial. Who said the earth needs saving from aliens? Why does the whole project emit this male-centric hero complex? Why don’t they try to get in touch with the aliens, and not fight them, in the common male expression of violence?"
"It’s an action film, Ms. Gomez".
"You’ve already said that. Maybe the aliens are in the right? Maybe they want to educate people, especially people like you, Mr. Twumbly. Maybe they seek to escape oppression on Earth, only to find it thriving here? Your screenplay is unacceptable in it’s theme, the whole idea that one needs to protect themselves from the "aliens". It’s absolutely bigoted. You may as well made "The Triumph of Will" here".
John didn’t know what to say by that point.
"The aliens are described as "blob-like, ooze-emitting creatures that remind the viewer of vicious-jellyfish". I dunno, Shawayquiesha, is that permittable? I have tingles that this is fatphobic and body-shaming?"
The black board member nodded solemnly.
"It absolutely is. I also have to point out, that there’s no evident POC culture being highlighted relevant to the plot".
"It’s about Earth uniting against an outside thread, I wanted to-"
"Mr. Twumbly, your characters would perform Native American and Kenyan hunter rituals to draw on their powers", the board member pressed on.
"And might I add, no guns or blood, Mr. Twumbly", the asian redhead added. "We can’t have victimized people triggered by any gratuitous display of human suffering. Or alien suffering, for that matter".
The black board member waved her hand dismissively at John.
"We understand that you, by your nature, do not have the refinement and experience to deal with such fragile topics and subjects, so the recommendations voiced here, and additional ones, are listed in the reviewed copy of your screenplay".
Twumbly’s head hung low.
"It will be a great, tolerance-inspiring piece about aliens educating humans on the wrongdoings of earthmen, as we see it – coupled with Mr. Schielburg’s talent, I see it as a box office hit. You may go, Mr. Twumbly, and we do expect the corrected version on our next meeting. Along with the diversity-offending fine for your first attempt".
And Twumbly did pay.
Blogs in progress
Yes, it's the 21st century, and everyone's got an iPad. The hectic rhythm of modern life sweeps a person in a totally unneccessary storm of tweets, statues and instagrams, workplace seeps into your home through the abhorrent concept of BYOD (bring your own device), and you're an artist, stuck in the middle of it all.
You need a tool to utilize every precious moment to do your arting, and let's be honest – the comfort of sitting hours before a screen with your trusty Wacom Intous is not for everybody. Certainly not for the working man – maybe for a NEET or student, but not when you need to show off that fat KPI to your boss.
So, the realization hits you. You understand you need a portable artistic device for quick sketching, concepting and serious artistic chops when needed, on the go – and it better be a mobile computer too. You gotta forge steel when it's hot, and you think that with the overabundance of tech on the market, it's an easy feet to go and grab the lastest and greates there is.
Most likely an iPaaaa-.... ho, hold your goddamn horses right there.
You look at that lovely aluminum body, and you maybe even buy it – and then feel horribly cheated by artsy hipsters, because it doesn't have an active digitizer, and you're confined to an array of clunky crayon-shaped styli and child-like painting programs that would make Nintendo DS users reel in disgust.
The horror, the horror! Nothing to satisfy a power-user concept-artist of the mobile, smartass generation.
Never fear, though. I'm here to briefly, and more importantly – concisely – guide you through the wondrous world of productivity digitizer tablets. Or maybe not so wondrous, because the selection is limited and in most cases, severely handicapped.
But it's a guide you'll never read anywhere else. I never reviewed these devices before, though I have had hands-on experiences, so I'll be posting 1-2 short reviews a day for this week.
First off, there's a few important points to be made.
We'll be looking at 10"+ tablets ONLY. While smaller form-factors might seem handier, for any serious work you need screen real estate. So Samsung Galaxy Note 3, Tegra Note and Asus MemoPad fall off this race.
Secondly. Platform is important. Full-fledged Windows 8 machines allow for installation of your favorite PC art programs, like Photoshop and Painter – but, because most often then not, the hardware is tablet- or ultrabook-grade, don't expect stellar software performance from them. These programs usually require graphical horsepower and RAM chops from the system, aaand that's not the case with these devices. So you trade the possibility of installing these programs for the actual performance of the device.
On the other hand, with Android tablets, you'll have to stick to more exotic and undercut software like say, Autodesk Sketchbook and Infinity artist, but the lack of familiarity and complexity of such software is rewarded by higher hardware optimization. Sketchbook will run virtually on ANYTHING – and won't eat through your battery like a fat chick through a box of chicken wings.
Thirdly: There are currently two main active digitizers systems utilized by tablet vendors. Wacom – DUH, and N-trig. The latter was mostly dropped due to performance issues, and none of the models we'll be looking at utilize N-Trig. However, older devices, from late 2011 and early 2012 did opt for the N-trig, like Lenovo ThinkPad and HTC Flyer, so watch out for these.
So let's start with the elephant in the room.
The Wacom (Cintiq) Companion and Wacom Companion Hybrid
Wacom, that had sold 5% of it's stock to Samsung, was late to the tablet race. A leader in digitizer tech, it took them long enough to move from the clunky Cintiq to something that is also a mobile computer. And everyone thought that being late to the game and so full of premium digitizer expertise meant that Wacom is going to change the market and bedazzle everyone with their devices.
It was meant to be messiah, over which female professional painters would not contain orgasms.
Eeeh, not really. I'd say that Companion is a flop, and a test of waters of sorts. A very rough product that undoubtely would find it's consumer in the professional art world, but that has so many stutters that keep them away from being an optimal solution.
So, what you need to know is that Wacom Companion comes in two distinct flavors. Windows 8 Pro and Android (Hybrid). They're both 13,3" slates, with a 1920 x 1080 Full HD IPS penabled screens, that allow for a 2048 level of pressure active digitizer setup, wrapped in a sturdy aluminum/plastic chassis, which speaks not of fashion, but ruggedness.
The Windows 8 version runs on a 3rd gen iCore i7 CPU that makes sweet love to it's beastly 8 Gbs of RAM, and offers 256 or 512 Gbs of SSD storage and 2 USB 3.0 ports
The Hybrid packs a Tegra 4 chip, 2 Gbs of Ram, and has two storage options – 16 or 32 Gbs, expandable with a microSDXC slot.
Both have Wifi/Bluetooth connectivity, rear and front-facing cameras (2MP and 8MP) and dedicated hardware buttons, Wacom's patented ExpressKeys system, that will be familiar to the Intuos family users. And of course, there's the pen, with changeable nubs and grips.
Both tablets, being built on the same chassis, also offer a kickstand to be used in desktop mode scenarios. Wacom Companion and Companion Hybrid also throw in a few apps, like Wacom Creative Canvas and such, for those who want their painting experience right out the box.
So, how do these devices measure up to the hype of "It's a Wacom! It's a tablet! It's Superman!"?
First off, let's start with the screen. While the displays are of a commendable full HD resolution, the sharpness and density on a 13,3" inch screen doesn't seem as nearly as impressive when crammed into a standard 10-incher slate. While such a resolution is perfect on a notebook, which is meant to be used an arms length away from the user, the tablet form-factor implies that you cradle your darling closer to the face, and that shoves those gritty pixels right into your protesting retina.
While not so evident while watching movies or exploring pictures, the problem with the insufficient (by modern standard of the Retina displays, hailed by Apple) pixel density pops up when dealing with thin lineart and text, with blurring along the edges irritating to a pickier painter.
It also doesn't help that the panels themselves are not at the top of food chain. Sure, they're bright IPS screens, with good viewing angles, but they offer no truly vibrant color, or good sunlight visibility. Blacks look washed out, and yours truly found himself wishing for longer brightness bar than was present.
Wacom didn't offer information on brightness and contrast ratios of the displays on the Companions, and I hadn't performed RGB testing, but from a subjective standpoint, for the price-tag the vendor demands, the screens felt underwhelming.
The build quality is superb, though. The Companion's body design conveys functionality and professionalism, no gimmicky bells or whistles around – but it's not a tablet you're going to throw in your backpack heedlessly. It's size and weight commands respect, and the wide bezels around the screen seem to tell the unlooker: "we're not here for the looks, we're here for the job".
For some it might be a problem. The tablet is huge, the screen accentuated by the bezel, and it's no feather either. For those hoping to cozy it up with the Wacom Companion on the cough, leisuringly holding it like a fancy moleskin – nope, buddy. You're gonna use that kickstand desktop mode more than you think, and then wonder why you didn't buy Cintiq 13HD.
But maybe that's what Wacom opted for. Not a universally portable tablet, but an amalgam of a Cintiq and ultrabook, that only totes the possibility of being carried around. Also, since the device works with a clone of the Intuos pen, don't expect that fat fucker to have its own little hiding compartment in the tablet's body - it's to be carried separately, and God help you not to loose it. Or it's nifty little case.
However, that's all talk. What we are interested in, is how it performs, right? How it draws out all those squiggly lines and color splotches?
Well, there's where the versions – the Windows and Android – start to differ. The feeling of the pen and the glassy screen I found to be geniuenly and brilliantly, Wacom. The pen is close to its Intuos sibling, has solid grip and amortized nubs. Nothing new there, just the solid, expected quality. For those who find the feel of slick glass uncomfortably while drawing, there's a sleigh of matte and grainy screen protectors.
Anyway. First things first – general experience with Windows 8 and it's tiles on Wacom Companion is comparable to the first Microsoft Surface. Even though the i7 CPU is a generation behind the cutting edge of Haswell chips, the 8 Gbs of RAM aided the Companion is smooth, and pleasant performance in most Office and browsing and playback tasks. But as for the actual painting, the experience felt rough and raw.
The Windows 8 version offered the freedom to upload the classic painting programs, but at what cost? The pre-installed Wacom bloatware and Artrage worked solidly, with minimal paint lag, the pressure sensors working through their tasks without a hiccup.
Then, Painter 12 and Photoshop took the center stage. And Wacom Companion lost it's sheen a bit.
Painter 12 crashed several times, but that's not the point. The worse thing is that the companies are a bit sly in their marketing.
The Companion's pen input did start lagging slightly in both of the "big" art programs, with ghosting sometimes quite evident. But it did so when there was a bigger canvas to work on and more complex brushes.
With simple brushes and 2000 pix canvases the lag was mostly in existent, but when the sizes climbed up, or brushes became more textured (this especially was obvious with Painters RealPaint brushes), the tablet began having troubles calculating it, despite the desktop-grade RAM. It also started to significantly heat up due to increased workload.
Zooming in became a bit choppy, and programs tended to loose some interface elements when minimzation happened.
While this issue isn't exactly serious – not everyone works with big canvases or complex brushes – it leaves an unwanted impression that the tablet isn't as omnipotent as it's marketed. It sets some sort of inner limitation, which isn't a good feeling when you decide to shell out $2000 on a professional tool.
Still, the experience of drawing directly on a such a big screen, is awesome. The pen is accurate, with little gap felt between the tip and the on-screen cursor, and I really liked the flow of it on the glass.
Now, what of the Companion Hybrid?
It's safe to say that it doesn't suffer from the software-related issues of the Windows 8 Companion – mostly though, due to the fact that there's no such software to overload a Tegra 4 CPU in Google's Play Market.
Autodesk Sketchbook Pro, my Android program for drawing of choice, worked smooth and nice, but the pen input, suprpisingly, felt more lethargic and less accurate as on the Windows 8 version, reminding me strongly of Samsung Ativ Smart PC tablet. While the software-hardware relationship on the Companion Hybrid felt more organic, it also subjectively felt slower, than on a normally performing Windows Companion.
The rest of Android antics, including homescreen flippings and handling of Angry Birds, worked through the Hybrid well and zippy.
But the solid performance of the Wacom slates were all underhanded by the battery issue.
Wacom didn't optimize energy use at-fucking-all. The Windows machine was the worst offender – with turned -on Wifi and fired-up Photoshop CS in the work, with occasional browsing, it squeezed out about 4 hours. Not a device you'd want to take for a workday in the office without a USB cable or a powerbank.
The Tegra 4 device fared better, clocking up to 5 and a half hours, but still a miserable cry away from the market leaders. Of course, it could be pointed out that that the huge 13" screens account for such results, but if Ultrabooks can do it, why not Wacom Companion.
For the Windows machine the answer is in following – the older chip. Wacom Companion could have benefited from the more efficient Intel chips, but the company came out with the device a tad too early. Patience is a virtue, and Wacom should've heeded that notion.
Another let-down – at least for me – is the lack of cellular connectivity that we've all come to expect from tablets.
The Good: Wacom Companion, both Windows and Android boast a seamless integration of their digitizer tech, a must-have for tablets. The size of the screen, couple for best-in-class, 2048-pressure level, accounts for a desirable artist tool, that now also double as a portable computer. Wacom Companion has a lot going for it – a Full HD screen, ability to upload professional artist software, finely crafted hardware and mostly solid performance in the artistic department. Think of it as a Cintiq in an iPad's skin. The Windows version allows for split-screen multitasking.
The Bad: The size and weight for this duo of tablets are not for everyone's taste. Despite the marketing, the potential buyer should realize that the Wacom Companion's portability is second to it's classic desktop display mode. The screen could have been better, both in colors and resolutiion. The performance in painting isn't bug-free, and has it's limitations – something not everyone would be ready to accept for the premium price Wacom is asking. Battery life is on the abysmal side, once again, it's not truly portable device. No 3G/4G connectivity – don't have WiFi, forget about livestreaming.
The Dough: I've already mentioned that the features and performances of the Wacom Companion's don't quite live up to it's pricing. Well, here it goes: $1.499 for the base version for the Android model, $1.899 for the Windows machine. Ouch.
In these series, I will not advise or talk you out of your consumer choice. The Wacom Companion will find it's loyal follower, and it's in its own class of devices anyway.
The big, fat, Wacom computer class. I'm sure loyal fans of the brand and artists that hope for future polishing of the products firmware, would feel pleased with Wacom's first foray.
Let's hope it's not the last.
Blogs in progress
Ya know I've been pondering on this for a while, and I debated if I should make a whole journal about it, but once again I got some comment along the lines of "Omg, draw sum Imperial Dreadnought, TD!"
The decision is such, and Ive slowly moved in action towards it for the last months, but here it is - I'm moving away from general Warhammer art.
There's a lot to why. Firstly, let's be honest - I latched to WH40k art because the visual stylistics of it was easy for me to replicate, and it served me as a template on which I could develop my art. Nowadays, I feel that I have grown a lot as an artist, and now these aesthetics became boring and formulaic to me. I've become better, good enough to work on my own shit and don't grab an artistic crutch. I've become a good concept artist PERIOD, so I don't need this as my lifeblood.
Secondly: the fandom, I totally don't like it anymore. My older circle of friends mostly too had dropped it, people went on with their own thang, I with my own. And the common fans - sorry, you guys mostly just piss me off, with the aforementioned comments and general disposition. Warhammer 40k fans are nasty, not much better than bronies. And most of you ARE bronies, so go fuck a Space Marine horse or something.
Thirdly: I'm going back to my roots. Cyberpunk, novel fan-art, horror concepting. I have a lot of stories, ideas and themes to paint about, and which aren't confined by a fandom that now brings me mostly irritation. I can make good sci-fi horror, I can do gigeresque shit, I want to develop my own cyberpunk setting and so on. And I don't have all the time in the world for everything.
Fourthly: Which brings me to an important point. I will be still doing 40k stuff, but exclusively that pertaining to my own characters and set-ups. I've put a lot off effort into establishing them, and I'm not dropping it, no sir. That means Blood-Pact art (Blind and Co) stays. WarpHawks stay and expands - because it's so not "pure" 40k, I feel very invested in the project, so watch out for it. Torturer and the Slaaneshi antics stay, no question about it. And the Genestealers too. But, after I wrap up a couple of art trades, nothing general.
Fifthly: there's nothing dramatic about it, since I've stopped making general 40k shit sometime ago, mostly. But that's how it rolls, I guess. Stuff evolves, just wanted to say that.
Look out for better art and better stories)
Blogs in progress
The other day I was reading an article, where some celebrity-type of person – and for the love of guns, can't remember who it was – started profusely gushing how culture is being buried under an avalanche of technology-inspired neurosis', how personal communication, art, deep thought and creativity is drowned in the electric hiss of our Facebook statuses. How the "real things" become unimportant.
The tone of the article was preacher-like and nauseous. And even though I generally tended to follow the same thought process, something about it was off-putting, and I started to think about it in more focus.
And realized how this line of thinking is wrong.
The real problem is the human trait to think of the past in a far more idealized manner than we think about the present. It has to do with the way our brain functions, I guess – I'm no neuroscientist, but the information which I possess, points me to the fact that our mind cannot hold to the whole detailed picture of the past, but is powerful enough to process every minute detail and inconvenience in the present.
That's why we like the past. Because it's a photo that had been ran through every Photshop filter possible until there's just blurry shapes and that one thing that you really liked. Or hated. It's an ever-changing landscape of fantasy-land, filled with noble knights, and profound truths and solid morals and clear-cut values.
That's what the average man sees in the past. What the average man doesn't see, though, is that the past is made of average men.
The harsh reality is that gadgets, and iPhones and tablets are NOT killing good literature, that clip TV DOESN'T ruin our perception. That celebrity-gossip DOESN'T make people into mindless drones. That shitty movies and professional sports are NOT taking people away from classic art and music. That tweeting, sexting and showing off your personal life online DOESN'T lead to the downfall of a person's moral character.
The truth is that the average human character had always been pretty shitty from the point of someone on a more elevated position.
Consider the fact that circa the 18th-19th century, which is when our western civilization was supposed to flourish, when the greates works of art and the great scientific advances were made, 95% of the population around the globe were illiterate dirty fucks. And about 0.004% were literate dirty fucks and loved crude romance novels and ogled at bearded women in circuses the same way you stare at Miley Cyrus these days.
Consider that 98% of people in any given epoch had low taste, horrible communication skills, pretty mediocre mental capabilities (and "mediocre" I use here veeery generously), and their belief in God and Country ended where a bottle of cheap medieval alcohol began. Consider that the overwhelming majority was an unpleasant mess of crude, cattle-brained, fuck. That there never was the time where the useless, worthless majority was preoccupied with the "real, important things" – 100 years ago women were babbling around the laundry about their husbands, and didn't discuss Descartes and Voltaire.
And then, after all this, you'll understand that nothing was ruined culturally, for the most part. It's just that this nature of the average man became more evident. The tricky part is, though, that the UN-average man had lost his will to rip through the torns to the stars, that the average man became a desirable state of being. That is the difference, and that is the danger.
But modern technology doesn't make people dumber or ruin culture. Our modern way of life doesn't undermine some fragile cultural wisdom - for there was none from the start, for most people.
The naked king proclamation now would sound as "we just gave an iPad to an 90 IQ soil-toiler, what did you fucking expect"?
Technology doesn't change human nature. It just exposes it.
Blogs in progress
So, loads of stuff is going on.
First thing first - race riots in Byrulyevo. Been there, even spent some quality time in the PD, got off cuz PRESS. Shit was glorious. You know, in your "free" (I'd make the quotation marks the size of the WTC twin-towers) western countries you never have a protest when your white bretheren are killed - such thing is reserved only for martyred Trayboon Martins.
But we do. This was a major victory - all of the police up in arms in a huge city, ministry of defense spurning and catching the culprit asap, massive oppressions of migrant shitstains... If every death of a white russian person results in such a riot, if we make it so - the future would be glorious. It would just be economically unbeneficial for the government to keep the farce up.
Volgograd bombing... I'll be the only one on this site to talk about it, and bow to the ones killed, but heed my word. Revenge will always be served. Once again, the western media is silent on these deaths, no going apeshit over those 4 people blown by a suicide bomber in a Russian city like the Marathon bombers, not an ounce of condemnation or the vitriol spewed at Tsarnaev brothers. However, we are tougher than the West too. Never forgive, never forget. Nobody.
Considering my personal shit. Getting paid more, getting more free time. Chaos is a fucking ladder and I'm fucking climbing it. Got a new cat. Now am a proud owner of a Bengal.
Managed to break my favorite AiAiAi TMA-1 headphones and hella mad. Getting ready to hit the shores of U-S of A somewhere in the beginning of 2014 for a few days. Staying as productive as ever. Sinking back into cyberpunk really fast - thanks Deus Ex: HR. Waiting for dat Samsung Galaxy Note 2014 edition to launch in stores with LTE options. I'm sleeping less, eating more, increasing productivity and profits, doing the high life and watching down on the peasantry, heh.
What can I say? I'm back, bitches. Get ready to dry your panties.
Blogs in progress
Or - "why you should stop polishing Hitler's portrait with your tongue"
The preambule: So, one dA "NS" member put up a pamphlet called "Real National-socialists vs Fake", where he went on ranting about how a lot of dumb skinheads falsely claim to be NS and that, surpisingly, "real NS respect ALL races and do not deem anyone inferior". I commented on the person's journal politely stating that National-socialism is irreversibly tied to the idea of white supremacy, and to deny that is being subversive.
Well, my comment was blocked and I was banned from the user's page because I'm one of those horrid "white trash" people who are so full of hate and dare to think that NS isn't about playing with kittens and spreading love, but about securing the future for our ethnicities with everything we can.
The person in question, of course, is a what I call, nostalgia-fag – gallery full of old WW2 photos, gushing their girl juices over the dead German officers and calling out "Russian warcrimes".
So, there's the whole thing I want to talk to my watchers, those who watch me for my political writings. About how historical nerding and nostalgia are keeping us from becoming a bigger force than we really are – and why white nationalist organizations are more successful when they look towards the future, instead of sticking in the past.
I don't know about you, but I'm living in 2013. I own a tablet, I work in media, I wear sneakers, watch anime and TV series about drug dealers, I'm not commiting to a family and I like making money. On the other hand, I'm a white supremacist and national-socialist.
Though – I'm not the national-socialist you think I am. I don't own a physical copy of Mein Kampf. I don't wear an SS uniform. I haven't a single medal or NS parphrenalia, aside from a ring of a MODERN movement member. There's no Hitler portrait to be found anywhere around my belongings, I don't participate in historical reconstruction LARPs or posses a vast collection of WW2 photos. Don't wake up signing "Die fahne hoch", and don't glue together plastic Messerschmidt (did I spell that right?) models.
Simply put – I'm not a nerd NS.
I'm a national-futurist, and yes, I came up with the term like 10 minutes ago.
So, what do I mean with that? In what I just thought up, National-Futurism = National-Socialism + Technocracy + Defiance.
Let's look at the components closer then. For anyone with half a brain it's evident, that no ideology survives without evolving. It is really dumb to take National-socialism in it's practiced form of 1930's Germany and blindly follow it's dogmatics like it's the word of Jesus Christ. It is dumb, because that kind of National socialism was a product of a specific time, place and paradigm of 1930s Germany. It was influenced by that reality, and answered the goals and questions of that time.
But we live in a totally different paradigm, so of course it cannot be applied in it's totality. Back in 1940s, National-socialists had no problems with Muslims. But we do now. Back in 1940s, National-socialism evolved under the patronage of the state – now it's an alternative, underground ideology. Back in 1940s, it was implemented only for one nation. But now, it is spread pan-European-like.
That means, that when we brush off all the historical dust, we are left with the core of what National-socialism is – an economically socialist system design to benefit, protect and develop an ethnically homogenous state-nation under the principles of white supremacism.
That is the National-socialism that I adhere to. Not the antiquated one, with bells and whistles that are totally unneccessary today, but lacking important issues. Unwaverness in dogmatics is a sign of a religion, not of a flexible system that changes and grows with the society who's inner workings it governs.
Now, the second component. Technocracy. Technocracy is how the modern National-socialism should be implemented. Technocracy, in it's pure form, aknowledges and exploites the developed natural sciences to further the interests of a nationalist society. In our current times, where technology dominates the social dynamics, being on the edge of it, both in economic and ideological spheres, is necessary. Technocracy is the link to the future, the guarantee of stable social environment and the creation of human values within an NS society. I'm just talking out of my journalistic ass here.
Technocracy is for the rationalists. It forges the material framework for a functioning regime, that uses the tech and scientific advances for practical and forward-oriented goals, for consumerable results rather than religious purposes. It's science that isn't afraid or constrained by moralities.
And the third component. Defiance. Defiance is the muscle of National-Futurism. It implies active, political, social and psychological opposition to the current paradigm, to liberalism and cultural marxism. It implies being ready to go and fight. It implies festering and accepting your hate, sharpening it into a weapon. Defiance is in participating within your community, building networks, public relations, being politically and socially active, and with every step implant and propagate our values in opposition to the corruption. It's in saying "no" to dieversity, it's about addressing the current problems and providing easily deployed solutions, instead of moping and debating. Defiance towards the old mistakes and new delusions. Mercilessness and toughness, physical and mental. Passion and goal-driven attitudes.
Defiance for a National futurist lies in a total lack of apologetics. A Nationa-futurist never apologizes - he has nothing to apologize for, because reality doesn't need to be babied or covered up in dregs of excuses. He doesnt care how many Jews died and why - he cares about Whites not dying, and the question of how to ensure that. And if it means utilizing principles that lead to other people's deaths? Who the fuck cares. What was done is done, but the world is moving, and it ain't gonna wait till you restructure your ethics.
So, what do I mean with all that.
National-futurism is about looking into the future. Into the goals of tomorrow, and grabbing opportunity by its throat. Greek Golden Dawn are the national-futurists of today, for example. The White Student union. The Russian movements.
People that under plain casual clothes are trained soldiers of a takeover army. People who aren't afraid of being called "racists" and who do not deny it. People who don't shy away from the fact that whites created the modern civilization and continue to run it. People that are ruthless, not swallowed by guilt, that internally don't want to distance themselves from "Nazi atrocities" – people who don't give a shit about what happened 70 years ago and mull over it, but who are ready to go out and reclaim their nations, with fire and blood if necessary.
National-futurism creates new values, and filters the old, not holding to tradition for the sake of tradition, but critically examining it through the prism of it's worthiness for building a better existence for our people. It's not stuck in 1940s. It doesn't mellow like nationalism, but rather becomes more extreme where needed, more slick and presentable when needed, and is flexible enough to hold it's own on the turf of hostile ideologies.
I'm a national-futurist. Hitler, Goebbels, Heydrich, Himmler are historical figures of merit, but not an iconoclast of saints. I will deploy modern tactics and beat the enemy with its own weapons, if needed, while breaking the rules they had imposed while they yell "hypocrisy" and I engage in foul play.
National-futurism is concerned only with the goal, not the method – and the goal is a competitive, white nationalist ideology with an NS core, that can ensure the prosperity of adherent to it, white people. It's concerned with national sovereignity, apartheid, self-determination and building a less broken economy in the wake of overpowering multicult.
It's certainly not concerned with being a nerdy-ass, "nice" little Nazi that plays fair and dresses up, and cries about the victims of Dresden.
So do expose the nostalgia-fags. They're nothing but a burden, a relic of the past, uniform fetishists and history geeks.
Theirs is the past – ours is the future.
Blogs in progress
There's crazy.... and there's BATSHIT INSANE. Check this hilarity out: comments.deviantart.com/1/3911… I couldn't help but make fun of it. Breaking Bad rules mad balls yo.
Damn, the dA mention feature available for us premium members, is a goldmine of madness.
Irony is that, to come to such a conclusion you have to get REALLY high.
I just love Polish people. Cheering for Uncle Sam and hating on us Russians for drinking vodka, while the Western Europeans whom they idolize call them a nation of drunk plumbers (immigrant low-qual workers, get it?). No, my poor kurwas, you're not going to pilot some off-the-conveyor epic fail F-22's in the name of glorious NATO, you'll be at best scrubbing urinals at the airbase. Delusions, there's some. Not to mention that I'm apparently a drug-lord. Part-time tech journalist, part-time meth king-pin. Thankfully no lung cancer.
But on the other hand, it's sad when a nation is crippled mentally through centuries of continuous defeat, war, being a change coin for larger nations and even being irrelevant in modernity. They're like the european version of jews. Still, even when I encounter people like those guys, I just can't hate on Poles. For one thing, they're still Slav bro's with a buzzsaw language, there's still a lot of awesome people from there, and really hating on them would be equivalent to kicking a sick puppy with an amputated paw.
Though I would kick a sick puppy. I hate puppies.
Blogs in progress
About 4 years ago I was at the peak of my alcoholism. Not going to share any heart-wrenching stories about what actually transpired when I was drunk shitfacingly, because everyone knows how it is. The point I'm going to make, is that even at that peak – or rather, low – I took full responsibility for drinking.
There was no reason or object to blame – I just really enjoyed the state of inebriation and the taste of strong spirits. I didn't consider it a sickness, or some kind of refuge, where I was pushed to. No, I drank because I liked drinking. Simple as that. I was INDULGING myself. Like any drug addict. Oh, and I also took drugs. I've been what's called in the US, robo-tripping, I took amphetamines – harmless shit all in all, but to illustrate a point.
I stopped drinking the moment where the threat to my health, even to my life, as a result of this over-indulgence became apparent and imminent. However, I'm personally glad that I had the fortitude to stop at that moment, because even given grave circumstances, not everyone does.
In any case, I didn't excuse myself and I managed to stop. How I managed this – is a whole other story, and more fit for a self-help book that I hate. If you're in a similair problem, you should go figure yourself.
In any case, drinking did nothing positive to me. I was mentally weak from it, I was physically weak. I got fired because of it, I had almost of all my relationships destroyed from it – and in the end, it boiled down to my choice.
Then, when I was actually sick (where the illness prompted me to finally stop drinking), I realized how this choice affected my life, and made another choice – to rebuild what was broken by my previous actions. It didn't happen over-night. Even though I stopped drinking, I had other health issues and unemployment, that slowly deteriorated the quality of my life, to a rather abrasive point... But. But. The fact that my mind wasn't addled by alcohol even at those unhappy times, allowed me to overcome and overturn them.
That's it in a nutshell. My personal choices and my responsibility for them. Choice between "this makes me feel good momentarily" vs "this has long-lasting effect of accomplishment". Responsibility of consequence of the choices – I'll drink/smoke/inject this, and then, there will be a toll to pay.
My problem with society today is that the idea of becoming a better person is getting abolished on all fronts. That's what this prelude is about.
We're witnessing a culture of acceptance, a culture with a stance in anti-self-improvement. The majority of a person's moral flaws, behavioral flaws, intellectual flaws and physical flaws are being paraded under the guise of loving oneself. The CONSCIOUS BATTLE TO OVERCOME THESE, on the other hand, is being paraded as a "privilege".
But there's a catch. When you're an alcoholic, no-one really accepts you. Rightfully so, though. When you're an alcoholic, you're arguably a liability and threat to others, not only yourself. Yes, alcoholics usually love to state reasons WHY they're an alcoholic and WHO is to blame. "My wife left me". "I'm oppressed". "I have depression".
People say "don't judge me for who I am. I'm a good person. Judge me for my actions". But when you go and judge them for their actions and assume they take responsibility for it, the make up excuses for said actions, invalidating your right to judge.
I don't get it. Most people who say this, are not good people. In the sense that the whole term "a good person" is completely lost it's meaning and value. All these people who go around saying they're good people because they give to charity or support gay marriage or check their privilege – they're shit people. Because they're irresposible. Because they're, the majority of people overall, are "nothing people". Not good, not bad. They're irrelevant. They don't strive to self-improve, and that's why they're so afraid of judgement.
They're afraid that the judgment will uncover the bland, irrelevant void that they are.
Acceptance and judgment. Yeah. Acceptance, by the definition of the word, is no acting against something that might be consider a detriment – same as tolerance. It's passive, and it's a cover-up for something negative. This negative is the inability to do something about a percieved flaw.
So why I started with talking about alcoholism, when the topic is actually the inability of a modern man to assume responsibility for their actions, better himself from the realization of the responsibility and stop accepting weakness in himself and others?
Because the inability to assume responsibility stems from accepting one's own over-indulgence.
Alcoholism is just one of the few save "havens" where people can be still blamed for acting shitty and over-indulging without getting the whole "but it's X privilege to hate them!"
But there are other, socially accepted forms of evading responsibility through deliberate self-degradation. Over-eating. Under-working. Taking recreational drugs. Not fixing a mental illness. Etc. The problem is, that nowadays, society is expected to take care of people who refuse to contribute to it through their disability, while the latter do everything in their power to undermine the founding principles of this society.
Improving oneself is seen as oppressive and privileged.
Now, let me tell you a story of John Doe and Jack Poe.
John Doe and Jack Poe are virtually, twins. Both grew up in middle-class euro-american white families. Both had a nice childhood, attended a good school, possessed the same intelligence and talents. Their lives, up to high-school, were technically identical. No family problems for the sake of argument, no tension.
Then, in high-school their paths started to diverge. John Doe got interested in medicine and sports – let's say, swimming. Jack Poe got interested in music and video-games. John Doe, for some reason, had a more focused vision of his future, and began working towards it by focusing on his grades, while Jack Poe assumed that his parents will take a college credit anyway, so he can as well enjoy life while he can.
They both graduated. However, John Doe was accepted in a prestigious med school thanks to his performance and completion of pre-admission programs, and involvement with student-level research, while Jack Poe had enrolled into a lax college to do Ethnic Studies bachelor programms, in an attempt to free up time for his music stuff.
John Doe continued doing sports because he liked them. Jack Poe continued to smoke weed because he liked it. John Doe quickly got involved with internships during the course, participating in research programs, while Jack Poe wandered around trying to assemble a band.
As a result, upon graduation, John Doe landed in a clinic on a doctor's position, found a girlfriend and moved out of his parents house, because he started making money. Jack Poe, on the other hand, after graduation stayed with his parents, pursuing a fleeting musical career and becoming a freelance columnist for an online outlet.
John Doe continued training. Jack Poe continued smoking weed and drinking, which made the quality of his materials worse. His parents started expressing anger over his lifestyle, and his musical career bought no fruits to reap. The declining quality of his writing and the fact that his degree proved useless, prohibited Jack Poe from starting his career anew, but he felt that he deserved more, and didn't try to enroll on a lower qualification job.
John Doe's wealth grew, his health remained steady. Jack Poe was deteriorating mentally from the realization of his failure, unemployment and unfullfilled aspirations. He started eating as a consolation, and became obese, which made it even harder for him to get in the job market, less pursue a family.
Now, John Doe is a well-known doctor, that travels to conventions, helps people, made a family and wealth. Jack Poe is now an obese wreck with little job experience that lives with his parents and seethes with self-loathing.
The finale of this story is indeed tragic – John Doe is not only expected to pay for Jack Poe's life support. No, John Doe is BLAMED for Jack Poe's failure at the same time. But that's not even the bottom of the barrel, folks! No.
Society expects, in the end, to Jack Poe possess the same amount of wealth, respect and privileges as John Doe does, while possessing none of his responsibilities. And the worst of all, since that is impossible to achieve positively, the only way to achieve this equality of result, is to take wealth from John Doe and re-assign it to Jack Poe.
While the latter is expected to do nothing.
That's the crux of my argument, therefore. The "oppressed" and "under-privileged" are not expected to proactively do something about their sorry state, if they feel so bad about it. We, the people who assumed responsibility and worked hard to become what we are, are told to share our achievements with the under-achievers, and never ever ask them to get off their fucking knees.
You know, when I see on the internet something about "check your privilege", I want to answer "check your worthlessness".
Because all these "good people" are statistically, majorly, worthless. As to quote a song, "you've done nothing to be revered". The thing I don't understand, is why I am expected to empathize and listen to and "understand the experience" of people who I see as lazy, worthless bums that reach out for civilizational and societal handouts? I don't understand why I owe anything to a person who's one hand is thrusted out for some spare change, but the other flips me a bird?
It's like – if you want some money from me, some sympathy, be at least humble about it. Concede that you are a worthless piece of shit that made really bad life choices, that doesn't want to override these choice by actively bettering oneself, but waits for me to fix it just because I have it better.
Jack Poe could have a good life. But he buttfucked himself. I buttfucked myself at a point in my life. And I won't go around and tell how anyone owed me something because of this.
Ah, but people will wail about "institutionality" and "systemic opression". Like, "I cant do nuffins cuz DA SYSTEMS WORKS GAINST MEH!". Well then, by this logic, you have no right to demand a system that supposedly works against you, to give you benefits to negate it. Especially when you fail to conform the requirements the system sets for people that want to get these benefits.
The failure of this logic is mostly evident with the feminist movement in the West. Women wail how male patriarchs have all power and how women are underpaid and under-respected, over-raped and over-objectified. And then, these exact women who cry that there's not enough female programmers and engineers, what do they do? They enroll in gender studies. They also demand men to step off from their positions and to enroll female work-force that doesnt qualify by the same standards.
So even if the situation were true, where in the world had you seen a person willingly give up his lifeblood to help someone who hates their guts? It's a dead-end for leftist logic of weakness tolerance. Your enemy owes nothing to you.
I never received a handout in my life, with the exception of some free medicine due to military status. I had never gotten a single coin of welfare money, I had never used excuses for my failings. In the west, that would be attributed to my straight white male privilege.
But then, it means, that straight white male privilege isn't about having the game set in your favor. It means being focused enough to beat the game. It means, that privileges are earned through achievements and ability to overcome adversity.
However, these days, people bask in their failings, attach fancy labels to them, seek acceptance and special treatment for them, and excuse this all for some kind of mythical oppression.
We live in the age of not even mediocrities, the "good people". We live in the age of pathetic worthless filth, that would not lift a finger to accept responsibility and set things in their favor, but would move mountains to force real people do shit for them. In the name of nothing more, but vague ethics that hadn't been even tested by a few decades.
Nietzche's "last man" is swarming all over the earth. It breeds, it multiplies, it basks in it's total uselessness and waste.
And the uber-man?
Well, he pays the taxes. And is forced to shut the fuck up.
It's time for the Atlas to finally shrug hard.
Blogs in progress
I love my country. I love Russia. I love being Russian. I wanna go out in wheat field and just fall into the grass, and kiss the earth and cry to the sky that I'm so lucky I'm Russian. Joking, but yeah. Being Russian is awesome.
You know, I think US citizens really should stop chest-thumping like mountain gorillas and going "FREEDOMS, FUCK YEAH! WE R TEH LAND FREE, NO-ONE ELSE IS FREE, YEEEEEHAAAAAW WE'VE INVENTED FREEDOM!"
Because you're not free. The Russian Federation is a far more open society, than the US or any EU country. I love it. I have no restraining factors on my freedom of speech here, on my freedom of thought, of belief or any sort of behavior. Yeah, suck it up. THE RUSSIAN FEDERATION IS A MUCH MORE OPEN SOCIETY. A less scared one. When I go on trips to western countries and express my views - which you're aware of - IRL, people open their mouths and go: "dude, how can you say this, aren't you afraid? You can't just SAY that!"
But I can. I can say this in the US, I can say this in Russia. Everywhere. Maybe except North Korea.
You'd say – no, that's bullshit, you have gulags, and you can't say anything anti-Putin, or the KGB tortures you in the gulag again, gulag gulag gulag gulag. Riiiiight. We're in the 21st century. It's the US where you cannot call Obama a big fucking ape on social media – and I can call Putin a jew-faced pedophile on our social media. And you know what's even funnier? If you call Obama a nigger on the Internet, you can face jail. If I call Putin a racial slur – well, I MIGHT get my site/blog blocked, but as far as facing jail time? Don't think so.
It's not only racial stuff, for example. Recently, a kid in the US faces 10 years of jail because he posted a comment on Facebook after a gaming session to his pal, in an answer to the question if he's crazy (refering to the kick-ass gaming), that "yeah I'm crazy, gonna go an shoot up a school". For example, people face conviction for offensive twitter posts.
Now, note, that all of the above-mentioned instances of Western persecution don't come as a response of an attempt to overthrow an existing government. This draconian censorship is applied to PERSONAL OPINION, THOUGHT, WORLDVIEW, SINGULAR INSTANCES OF EXPRESSION. Unlike what happens here. When people point out to Russia and yell how we have human rights violation and censorship, referring to the repression of political dissidents (that are caught on unsanctioned IRL protests, mind you), NOBODY, in typical double-standard lying, points out that it's something every regime does.
When people become a threat, there are laws to take them out of the game. The US authorities did exactly the same during Occupy Wallstreet movement, they do exactly the same now while using Southern Poverty Law Center facilitation to criminalize patriotic movements under the "racism" label, and so on. There's nothing uniquely more harsh or brutal about some stuff that prevents dissidents from sprawling in Russia, than there is in US.
It's all a matter of propaganda.
The difference why I am proud of my country despite all it's enourmous faults (that are present everywhere), is that we don't attempt to police thought anymore. We're very different from the USSR there, and US, ironically, is closer to USSR in that respect. At my workplace, today, I said all migrants should be deported from the country. Some of my coworkers agreed, some didn't. We debated a bit, went back to work. Guess what? I won't be fired after this. But you would be.
And the laws we put forth against blasphemous speech, you say? But that's reserved only for the media and officials to not make particularly offensive statements, not towards regular citizens.
However, the USA and EU "hate speech" laws, sweep over every individual and make him judicially viable for persecution. So much for freedom of speech.
But of course all freedom is relative. Russia, however, has the decency to realize, that different societies and states should be able to FREELY decide what is best for them without the intervention of an international human morality regulator.
Point in question. Recently I've been joyous and uplifted at all the sweet gay tears over the ban of gay propaganda in Russia. Especially the old irrelevant fat british chinless fuck Stephen Fry's tears leading to his cries of "OMG NO OLYMPICS GAMES IN RUSSIA PLZ, CUZ I AM GAY AND THIS HURT MAH FAT GAY FEELS".
Because your national media surely twisted the story to unbelievable conclusions (easy, because you don't know Russian, you cannot check for yourself and determine the truth), I'll tell you the jist of it. Homosexuals can live in Russia. They can work, get social security and every other benefit from the state – ie, live their lives like anyone else here. The only thing they are now prohibited to, is to say that their sex life is a fabulous glorious lifestyle in your face. Just that. The same way like say, a lot of groups, political groups, in many "progressive" countries are prohibited to proselytize their views.
What is the western reaction? "Russia sends gays to gulags! Russia is new Nazi Germany!"
When in reality, it's just a ban on certain kinds of propaganda. PROPAGANDA. Not discussion, not debate, not research or opinion - on PROPAGANDA.
One can say that then, the gay right of speech is violated, their freedom to tell other people that they love being gay, and that everyone would've loved it if they tried.
But think about, FREE people. Aren't gays violating MY freedom of not wanting to hear or see that? Aren't they violating with their propaganda my human rights of not being exposed to what I consider offensive? Why does a minority's feelings matter more than the majority's? Or, if we start to determine who has more rights to be offended and over what, and someone gets shafted, then how is it got anything to do with freedom and morality?
We are a free country. The majority of Russians do not wish their freedom of not being exposed to gay propaganda to be violated. Our awful, horrible gulag criminal government that sends people to the gulag, listened to the people and gave them what they wanted, simple as that. That's a true democracy.
In France, a totalitatian regime ignored the majority who wanted their freedom of not having parentless kids be adopted by people with scientifically proven higher chances of mental instability. France gave rights to the minority, but shat all over the majority. That's a fascist state, that deemed the majority of their countrymen as second-class citizens, who's opinions and voices didn't matter.
In Russia, though, our voices matter at least where it DOES matter, and not in which puppet president is put to the top. Land of the free.
But see, this is continuosly funny, gay tears. Some other sweet-ass gay tears were shed over the upcoming Orson Scott Card's movie, the "Ender's Game" – which is about an interplanetary war with alien bugs and has no QUARDRUPED BBQ WTF issues, by the way. See, once upon a time, the science fiction writer Orson Scott Card, voiced a personal opinion that he deems gay marriage unnecessary.
Now, because of what Mr. Scott Card expressed, gays believe that NOONE should watch his movie. They believe that their knee-jerk reactions towards personal opinion is more important than the enjoyment of millions of people that want to watch an entertaining sci-fi flick.
So tell me, free Americans, where is the freedom of normal people to watch a film of a person indepenently of how their views affect a tiny population group?
Why, as my good friend pointed out, you CAN and ARE ENCOURAGED to watch a movie by a gay director, or read a book by a gay writer, and OUTSPOKEN at that – but you can't have the opposite? And don't give me the whole "but gays are humans, you can't hate on humans that's why duuh!".
I'm human, but people hate on my because of my views, so what? Where's my group of rights activists?
See, this is where we talk about art. Why it is that the art scene – cinema, music, etc – so fucking TOTALITARIAN by your own fucking definition of totalitarianism? Why is it so restricting and restraining? Why, in order to be accepted in the mainstream, you have to bow down to a tiny group of what are essentially, sexual perverts? Why does everything have to be LGBTQQFGHABFERF-approved? And if it's not approved, if it dares to question it, it doesn't deserve to see the light of day? It's a blatant restriction of choice. The fact that this restriction and violation is paraded under the guise of freedom and epithome of ethics, is the most vile and grotesque irony that lately graced the earth.
At least my country's govenment is honest. It did what 90% of people demanded to be done. Not 1%, he-he.
See, it's just like the Soviet-Communism hell you so like to bemoan when talking about the free, free Russia. You have the exact same equivalent of our past censorship bureaus that check materials and authors and people for compliance with ideology. And before you're gonna go on a diatriabe of "but you use a US site, how can u attack our values!", here's the deal - I use it for free. I use a service of a private business, not the US government, because I find the service to be better than what my national private companies offer. Don't worry, if the ToS start to dissatisfy me, I'll leave pronto for a greener pasture. Maybe to an Islamic one, ahahah?
Well that's what I got to say: be Russian. Be bold, be free, be unafraid, be courageous, be unrestrained, be die-hard. Never shut the fuck up and sit down. Never "get educated". Never do as you are told by boring, dumb, dying marxists.
Nationalism, mental health, responsibility, common sense and aggression is hip. Policing youself, bowing down to fags and groveling in apologies of "opression" is out of vogue. Everyone is doing it, especially nasty-ass fuck teentards.
You're one of them? No, you're not, I believe that.
Attempt to fight for a freedom, if you're such a "free-thinker" as you declare. For a freedom of having a choice not to comply with "USA LAND OF THE FREE".
No peace, never.