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There's nothing in this piece that suggests to me OhNips, or her work, is transphobic or misogynistic. Kubo and the Two Strings fan-art by OhNIps Credit: OhNips Even if there is some validity to the critiques it's received-perhaps one or two of the characters could be presented as stronger, more grey hairs, etc.-the vitriol that's been directed at the artist is just baffling. I've perused some other pieces by OhNips and she's done a great deal of very good stuff. From a purely objective standpoint, at least, it's quite good. Meanwhile, reasonable discussion is drowned in a sea of outrage.Īs to the fan art itself, it's a great and faithful rendition as far as I can tell. And frankly that's the worst, most ridiculous and immature form of critique possible. It's more like art-by-committee, nitpicking every little detail and demanding that the art in question conform specifically to a socially acceptable set of criteria, and that any straying from said criteria isn't just wrong but also harmful. Thankfully the developer, Game Grumps, has spoken up about this and told fans that this kind of response isn't appropriate-for all the good it will do. However, the criticism (largely stemming from the game's passionate Tumblr fanbase) has become so over-the-top that the artist is now saying she may leave social media altogether.īecause of a piece of fan art that was never supposed to be social commentary in the first place, the artist has received death threats and a level of hatred that should shame even internet fandom, vile though it can be, into something resembling self-reflection. Now, there are likely some reasonable critiques of this fanart contained in the five bullet points above, and not everyone on Twitter critical of the art has been mean-spirited. Criticism that the character Damien (second to far left) was portrayed as a woman when that character is suggested to be a trans man in the game.Criticism that this is made for 'straight men' at the expense of the bi and gay men the game was intended for.Criticism that the character on the far left (Robert) isn't or can't be 'rugged' because she's showing skin.Criticism that the women aren't as muscular as their male counterparts.
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Deftly exploring sexuality in the modern age, this is a movie that refuses to be ignored. In Leach, the director has a beguiling young lead, who fully commits to his role – making this a hugely watchable debut film. Stylishly rendered, Van Grinsven’s film – which was his graduation work – recalls American filmmaker Gregg Araki, whose influence looms large. It’s a quest that leads him down a rabbit hole, towards violent encounters with older men but also to friendship and understanding. Breaking his own rule – he usually refuses to see the same person twice – he tries to discover the identity of his fleeting partner. The only more descriptive locale is the ‘blue room’, a party venue for no-strings sex, where Sequin enjoys an erotic tryst with a unidentified young man (Samuel Barrie). Even the various locations in the film are registered as simply ‘Apartment 1’ or a numerical equivalent. In Sequin’s online life, everyone is known by initials – ‘A’, ‘B’, ‘C’, ‘D’. At school, Sequin sits at the back of the classroom, lost in a digital world of buff torsos – all displayed on screen – while the never-seen teacher drones on in the background.Įven fellow pupil Tommy (Simon Croker), who invites Sequin to a movie, seems pedestrian compared to the titular character’s nightly escapades. The protagonist lives with his single father (Jeremy Lindsay Taylor), who has little idea of his son’s nightly ventures. Sequin (Conor Leach) is a 16-year-old student who spends his nights flitting from one anonymous hook-up to the next, all via a Grinder-style app. It is set in a world where sexuality is not questioned or traumatic – at least for most part. The Australian coming-of-age tale is in the vanguard of boundary-pushing Queer cinema. The usual ‘a film by’ statement is replaced with ‘a homosexual film by Samuel Van Grinsven.’ It is a proud declaration – one that feels entirely fitting for a picture as bold as this. The opening credits to New Zealand-born filmmaker Samuel Van Grinsven’s debut Sequin in a Blue Room ensure that audiences are left assured of what is to come.