Mehmete, reaguj!

[tomat]

na ovo sam naleteo pre neki dan, ali nisam znao kud da stavim, pa ajde ovde kad je Džejp počeo

ponovo obrada, ovoga puta Rammstein, porodična proizvodnja.

http://youtu.be/ugNuaTZK7Lg

[Meho Krljic]

EXCLUSIVE: Inside Marvel's secret editorial retreat for 'Civil War II' as publisher plans death of major character       

[Meho Krljic]

Stan Lee: Spider-Man creator says he can no longer read comics due to failing eyesight

The creator of Spider-Man, Stan Lee, is a superhero to fans worldwide but he has revealed that his failing eyesight means he can no longer read the comics he created.

The former president and chairman of Marvel Comics, 93, said that he still comes up with story ideas but relies on an assistant to write down his scripts.

"My eyesight has gotten terrible and I can't read comic books anymore," he told the Radio Times. "I can't even read a script. I come up with ideas for stories and somebody writes an outline for me – but I can't read it. I have to hope it's good. If something is very important, they print it in very big type for me to read – but that's all I can do. I have the same trouble with hearing. It's awful to feel a thousand years old."
He described his loss of vision, which also means he cannot read newspapers or novels, as "my biggest miss in the world".

Lee has helped create scores of superheroes including the Fantastic Four, Iron Man and Thor. He denied comic books were harmful to young readers, saying violent content had been much reduced and that greater importance was now placed on the dialogue contained in the speech bubbles.

"When I first got into the business, my publisher would say to me, 'Stan, don't waste time worrying about characterisation and philosophy; just give me lots of action'," he said. "It's a whole different story today."

[Mica Milovanovic]

Sten! Video sam ga pre neki dan u jednom filmu (valjda iz devedesetih) gde grupa blentavih tinejdžera visi po šoping molu...

[Ygg]

https://www.facebook.com/permalink.php?story_fbid=747095212087072&id=387939878002609

Imam džamije Aziz Mahmud Hudayi u Uskudaru za vrijeme hladnih dana otvorio vrata džamije kako bi mačke mogle ući i ogrijati se. Još prije nekoliko godina, turski Reis Prof. Dr. Mehmet Görmez poručio je da su džamije otvorene za putnike koji nemaju novaca za hotel i one koji se žele skloniti od hladnoće. Islam je vjera merhameta.

A evo i par komentara sa fejsbuka:

[Meho Krljic]

Ništa iznenađujuće tu!!!!!!!!

[Meho Krljic]

Secret Wars Proved That Superhero Comics Are Too Complicated — and That It's a Virtue

The superhero-comics industry is a strange beast. We live in a world where licensed properties based on superhero comics are some of the most consistent, reliable blue-chip entertainment products around: As our David Edelstein once pointed out, too much money is at stake for a studio to allow any major superhero movie (well, excluding Fantastic Four) to be a true disaster. Even the much-delayed and director-swapping Ant-Man ended up as a smooth, easily understandable bit of filmmaking that fit seamlessly into Disney's totalitarian master plans for franchise-wide continuity. But the source material those movies are based on is more ambitiously crazy and disastrously overcomplicated than anything else in the artistic landscape — both in terms of the stories they tell and the business model their publishers use to tell them.

There's been no better example of comics' capacity for uniquely insane storytelling and convoluted business missteps than Marvel Comics' much-hyped "Secret Wars" project, which finally reached its conclusion this week with Secret Wars No. 9. Let's walk through the tidal wave of trouble this 35-page publication caused, as well as the delightful story it told. Neither would be possible in any other medium/genre combination.
In 2009, a critically acclaimed comics writer named Jonathan Hickman was recruited to take the reins of Fantastic Four, a title that has been part of the Marvel Universe since 1961. Marvel's caretakers have spent the following half-century priding themselves on the fact that that universe is wholly interconnected: In the pages of the comics, the X-Men talk to the Avengers, Iron Man hangs out with Doctor Strange, Spider-Man remembers stuff that happened to Daredevil from 30 years ago, and so on. What's more, Marvel's comics have regularly featured countless "parallel universes" in which things played out differently for the heroes: one where Peter Parker's girlfriend got spider-powers, one where all the bad guys teamed up and killed all the heroes, etc. It's hopelessly complex.

In other words: If movies are, as Roger Ebert famously said, "like a machine that generates empathy," superhero comics are a machine that generates obsession. They are quite often impenetrable to a casual reader, and total comprehension would require a near-infinite amount of reading, rereading, and Wikipedia searching. And no writer has been more openly obsessed with Marvel's convolution than Hickman.         

For the better part of ten years, he crafted a megastory that involved all of Marvel's characters, stories, and parallel universes. It began in Fantastic Four, continued when he was put in charge of two series called Avengers and New Avengers, expanded when he orchestrated a so-called "event" (a comics-industry term referring to a major story that involves most of Marvel's series) called "Infinity," and ultimately led up to Marvel's biggest event in history: 2015's "Secret Wars."

Here's how that culminatory event was supposed to work: There would be an eight-issue mini-series called Secret Wars that Hickman would write and an exceedingly talented artist named Esad Ribic would draw. In it, we'd get the main story of the event: All the parallel universes blow up, the Fantastic Four are separated in the explosion, classic villain Doctor Doom uses magic powers to patch together some of the universes into a new planet called "Battleworld," the leader of the Fantastic Four teams up with some surviving heroes to overthrow Doom and create a new version of the main Marvel universe.

The mini-series would start in May and finish in October. During that little period, Marvel would simply stop all of its superhero comics series dead in their tracks and temporarily replace them with mini-series set in regions of Battleworld. The company had never tried a gamble of this size before, but was hoping the newness and interconnectedness of it would cause readers to buy as many Secret Wars–related comics as they could. Once the Secret Wars mini-series was done, everything would return to a new, post-Battleworld status quo in relaunched versions of Marvel's superhero series.

But here's the key: i]It wouldn't work if Secret Wars didn't come out on time. The relaunch was supposed to start with more than 50 rebooted series in October. But to explain what the hell was going on in the new status quo, you had to finish the main story and learn how Secret Wars ended. The refurbished Marvel universe simply wouldn't make sense otherwise.

You can guess what happened next.           
Murphy's Law kicked in, and Secret Wars didn't come out on time. For reasons that aren't confirmed (though it's rumored that Ribic understandably just took too long on his gorgeous artwork, and Marvel didn't want to replace him), the publication schedule jumped the rails. There was an eight-week gap between Secret Wars Nos. 5 and 6. Then the mini-series got expanded by an issue, meaning everything would take an extra month to finish up. Delays compounded one another, and voilà: a mini-series that was supposed to end in the early fall of 2015 didn't end until January 13, 2016.

Due to the deliberate work habits of just one or two people, this one little mini-series screwed up the production schedule of an entire publication line. Many of the Battleworld tie-in series had to be delayed so they wouldn't spoil things happening in the core mini-series, and some new status quo series had to be held back for months. Some relaunch series came out as planned, like Invincible Iron Man, but they had baffling pieces of unexplained continuity, like Doctor Doom showing up without his character-essential facial scars and mask. Marvel's traditional approach to shared-universe storytelling had put its execs in the awful position of doing furious and frenzied calculations about what they could and couldn't put out, about what did and did not constitute a Secret Wars spoiler.

If you're utterly confused, it's not because you're dumb. It's because this particular kind of business insanity only happens in superhero comics. Imagine the delays on George R.R. Martin's The Winds of Winter impacting the publication dates and narrative content of every single novel his publisher was planning to release in 2016. It's that bonkers. Retailers were left in the lurch. They had, by and large, bet big on massive sales of Secret Wars, ordering way more copies than they normally do for a comics series (for comparison: Retailers collectively ordered 62,939 copies of Hickman's last issue of Avengers; they ordered 527,678 copies of Secret Wars No. 1). But sales suffered when things fell apart. I spoke to longtime San Francisco–based store owner and industry analyst Brian Hibbs, who told me his sales of the core Secret Wars story dropped by 27 percent during that eight-week gap between issues five and six. (Official sales numbers for the comics-store industry are nearly impossible to come by.) He said the new status quo series are suffering "dramatically underwhelming" sales, too, and that "at least some of that has to be laid at Secret Wars' feet."                And yet! Creatively, Secret Wars was a triumph, largely because it was so uniquely complex. The very first issue featured virtually every major Marvel hero doing battle with a massive, flying army from an alternate universe, and it was utterly thrilling for anyone who has devoted their life (and wallet) to Marvel fandom. There were pitch-perfect character moments featuring all our favorites: Thor, Iron Man, Captain America, Black Panther, the Punisher, Cyclops, Captain Marvel, She-Hulk, Rocket Raccoon ... the list went on and on. It felt operatically apocalyptic in a way that's only possible when a story had been built up in literally hundreds of stories over the course of six years. When Battleworld was introduced, there was a dizzying sense of history on display, with characters from dozens of eras and versions of Marvel occupying the same space and cleverly interacting with one another. In today's masterful climax, we get to see the primordial hero-villain relationship of Marvel — the Fantastic Four and Doctor Doom — played out in a way that simultaneously caps off decades of history and offers a unique twist on that history. Plus, it's real pretty to look at.
None of this is possible in any other medium and genre — for better and worse. The impact on retailers is nothing to praise, but if you take a step back from the morality and the dollars and cents, there's something aesthetically majestic happening here. If you want easier-to-follow comics, there are plenty on the racks. If you want easier-to-follow superhero stories, the cineplex is filled with them. But if you want an endlessly shifting, massively scaled, unapologetically convoluted puzzle that rewards fixation and patience, there's only one game in town, and you can play it at your local comics shop.

[Meho Krljic]

 Synergy killed the Fantastic Four

[Meho Krljic]

Miley Cyrus & Liam Hemsworth Having A Baby?: She Wants To Start A Family With Him

Nek ljubav pobedi!!!!!!!

[Meho Krljic]

                                  Bear Gazing at a Child Through Glass Enclosure Shows Us How Not to Teach Kids About Animals

Zoos have often justified keeping animals in captivity by claiming that it helps to educate children about animals' natural behavior, and also inspires them to take action toward conserving the animals' natural habitat. However, a great deal of doubt has been cast over these claims in recent years. Lori Marino, executive director at the Kimmela Center for Animal Advocacy (KCAA) said, "There is no current evidence, from well-controlled studies in the peer-reviewed literature, supporting the argument that captive animal displays are educational or promote conservation in any meaningful sense."

It is difficult to convince kids that animals are worthy of human respect when they are in a zoo or marine park that presents the animals as objects to be displayed for our amusement. In this type of environment, it is easy for a child (or indeed, an adult) to feel as though they are entitled to deprive the animal of sleep or privacy and demand to be "entertained." A recent study of visitor attitudes at four U.S. zoos confirmed this. It found that 86 percent of visitors go to the zoo for "social or recreational purposes," while only six percent go there in order to learn more about animals.

In addition, the animal behaviors that kids typically witness in a zoo are highly unlikely to be "natural." The enforced suppression of captive animals' highly developed instincts to travel, seek out mates, find their own food, and experience natural family bonds often causes them to engage in repetitive or self-destructive behaviors.

Captive elephants have often been seen bobbing their heads and wobbling from side to side, while other animals have been observed excessively grooming themselves, vomiting, self-harming, or engaging in sudden outbursts of aggression. In moments of extreme stress, captive orcas have even been known to kill one another and their human handlers. This phenomenon is known as zoochosis. The use of Valium, Prozac and other mood-altering medication, as an attempt to reduce such behavior, is rampant in captive animal facilities. With all that being said, does a zoo really sound like the best place for a child to learn about how we should treat animals?

It is clear that the child in the bear suit idolizes these animals and was, no doubt, thrilled at the prospect of getting to meet one up close. However, the poignant sight of the bear languishing in an enclosure that can never hope to replicate their natural habitat  – no matter how "big" zoo officials deem it to be – makes it abundantly clear to us that this is not how the child should have met his idol. If we truly want to teach our kids how to respect the planet and all of its inhabitants, then we have to accept the fact that other animal species do not exist in order to serve or entertain humans.

To find out how you can help inspire your kids to care about wildlife and animal conservation, check out the articles below:

   
• 6 Lessons Kids Need to Learn About Protecting the Planet
• 5 Reasons You Should Never Visit a Theme Park That Keeps Wild Animals
• Skip the Circus, Marine Park and Zoo: Here are 10 Humane Ways to Interact With Wildlife
• 5 Ways to Enjoy Wild Animals Without the Walls of Captivity
• 10 Amazing Children's Books That Will Inspire Your Little One to Stand Up for Animals

[Father Jape]

https://twitter.com/BUNCHofSTEVE/status/694438533386346496

[Meho Krljic]

Kieron je mudar čovek, pun takvih mudrosti. Na primer, ovaj njegov rendom tvit:

[Meho Krljic]

io9 intervjuišu Niciezu i Liefelda u pripremama za premijeru:

The Unlikely Origins of Deadpool, The X-Men Character Who Conquered All Media

[Meho Krljic]

Potvrđeno, DC od Juna renumeriše (skoro) sve svoje stripove. Ponovo 

DC Comics reveals details of teased 'Rebirth' event

[Meho Krljic]

La Times intervjuiše  Frenka Milera povodom 30ogodišnjice Dark Najt Ritrnsa.

[Meho Krljic]

Why history will have trouble remembering Marvel's Stan Lee as a good guy

[Meho Krljic]

Heh, Marvel je otkrio ko će igrati Dannyja Randa u Netflix ekranizaciji njihovog kung fu stripa iz sedamdesetih, Iron Fist i u pitanju je Finn Jones koga publika zna iz Game of Thrones. Što je verovatno solidan izbor, makar na osnovu izgleda (GoT ne gledam, kako već rekoh) jer  Jones uma baš taj plavušanski sveži izgled kakav je potreban "kung fu milijarderu" kakav je Daniel Rand. Kako sam bio zadovoljan kastingom Lukea Cagea, imam utisak da ću biti i ovim.

Naravno, pored pozitivnih reakcija, vidim da internet ima i mnogo komentara koji vele da je ovo bila prilika da se ispravi istorijska nepravda u kojoj je belac iz Njujorka ispao veći kung fu baja od svih kung fu baja sa istočne hemisfere i da je trebalo da se za ulogu odabere glumac azijskog porekla. Vidim da su neki i besni i vele da neće ni da gledaju ovo đubre od serije zbog tog, jelte, whitewashinga.

I meni je to zanimljivo. S jedne strane, naravno da je Danny Rand kao lik upravo bio ispunjenje fantazija ondašnje strip i film (i TV) publike, klasičan wish fulfillment. Bruce Lee, Sony Chiba i ekipa su doneli azijske borilačke veštine američkim konzumentima i svako je tada želeo da i on postane legendarni borac. Marvel je u svom poznatom bandwagon jumping stilu samo procenio da mu je publika uglavnom sastavljena od bele omladine i dao Randu ne samo arijevski belu kožu i svetlu kosu nego i porodično bogatstvo kao bonus. Kad se fantazira, nek je za sve pare. Ovo je naizgled u skladu sa tim da je glavnu ulogu u kultnoj seriji Kung Fu umesto Brucea Leeja igrao David Karadin jer se smatralo da će publika čak i u ulozi Kineza rađe gledati kakvazoidnog glumca.

Ali i nije. Marvel je actually bio očiglednije nastrojen wish fulfillmentu. Iron Fist je bio direktna i otvorena fantazija o tome kako beli klinac otkriva da mu je sudbina posebna, kako ulazi u tajne istočnjačkog misticizma, biva prepoznat kao odabran, mora da ludački vežba i žrtvuje se da bi bio dostojan nasleđa koje Iron Fist podrazumeva itd. Ovo nije bio toliko whitewashing koliko nesputan wish fulfillment i Marvel je toga i tada bio svestan. Pa je u tom smislu i sasvim logično da serija ispoštuje to nasleđe koje ima u stripu jer je ova vrsta transformacije lika od svilenkastog bogataškog deteta sa Menhetna do mitskog kung fu borca koji štiti nejake (ali i čitav mistični grad Kun Lun) snagom praktično natprirodnih borilačkih veština u srži lika. Naravno da može to da se menja, ali onda zaista nemate isti lik već samo koristite isto ime za nekog sasvim drugog. Meni je sasvim u redu da se likovima menja etnicitet, rasa, pol itd., to smo valjda do sada utvrdili, ali ima nečeg i u prepoznavanju da originalni character arc ima svoju vrednost koju je red ispoštovati kada se radi ekranizacija.

Takođe, vro je bitno da se ne zaboravi da je Marvel imao (i ima i danas) "pravog" azijskog kung fu majstora u liku Shang Chija, kao i da svi koji za Daniela Randa koriste termin "rasizam" ipak treba da se sete ovoga:

So the white character who was in an iconic partnership with a black man and also had a black girlfriend while fighting alongside another Asian woman who was not his sidekick and was taught by Asians and showed nothing but respect to Asian culture is considered racist? Pathetic.

[Meho Krljic]

Heritage In Subtitles: Answering the Question of Arab-American Identity

I bought the new Tomb Raider on a whim.
A reboot in the long running game franchise about a young British woman robbing ancient ruins of precious artifacts; it was an alright game that I never had any real attachment to. I'd played it before and I didn't feel a real need to revisit it.
What caught my eye the second time around was a small detail I hadn't noticed before: Arabic language support. While it was common to see games like this have options for say, Spanish or French,I'd never seen a game of this budget bother with Arabic. (I'd later learn this was the company's first game to get this treatment).
What struck me most, however, was how this game treated the language.That is to say, Tomb Raider's Arabic sounds like an Arabic that I recognize. While there are still men shouting aggressively in the language (as well as in Russian, making them fluent in both languages of the modern Axis of Evil), there is regular conversational Arabic in the game. People speak the way I know my relatives to, not in the same dialect, but with recognizable words and phrases. They speak like human beings.
Anyone who's been engaging with modern media, especially American media, will be exposed to Arabic pretty often. It has become the de facto language of our modern villains; Arab terrorists and Muslim extremists. It has become a shorthand for a fanatical evil beyond reason. When you hear Arabic, you are supposed to be scared. Speaking Arabic is justification enough for our heroes to open fire, or if you play videogames, to open fire yourself. It doesn't even matter what those words mean.
A friend of mine told me of her experience playing Army of Two, a shooter where you play as a team of mercenaries fighting in Afghanistan. She played it with her brother, simply because it came with her system. Eventually, they reached a certain part in the game where enemies were shouting at them in Arabic while attacking.
What exactly were the enemies shouting, exactly? Orders at a coffee shop. Any message delivered in Arabic, no matter the actual message, has become shorthand for fanatical, violent ideologies.
In fact, I'm surprised we don't hear about things like this more often. A while back, graffiti artists hired to work on TV show Homeland painted messages with statements such as "Homeland is racist", "There is no Homeland" and "#BlackLivesMatter" in Arabic right in front of them, which even made it to broadcast.
At no point in the process did anyone even bother to check what the messages said. Having them in Arabic was threatening enough.
Hearing this everyday Arabic, to me, felt like being recognized. It might not have been coming out of the mouths of Arabic characters, but it felt like an acknowledgement that the language of my father was for more than the language of TV terrorists.
At the same time however, I couldn't help but feel mournful. Not only were moments like this so few, but I couldn't even enjoy them to the fullest. My mother is Filipino, my father Egyptian. They each speak with their friends in their native language, with English the common language between them. My family spoke only English in the house to communicate with each other; I lost my ability to speak Arabic very early. So with this acknowledgment comes the recognition that I am also still not quite part of that culture. I don't understand the dialects, and I pick up only a few phrases that I haven't forgotten.
I experience my own heritage in subtitles.
It's part of the particular alienation of being mixed. Even in on occasions where you can find representatives of your culture in the mainstream, they rarely look like you. Your face, your name, they're reminders that you serve as a link between the cultures you came from and yet exist outside of it.
We commonly separate racial origins into discrete categories, but being mixed disrupts those boundaries and reveals how tenuous they are. Those boundaries still remain, however, and despite the strength of your identification with those cultures you begin to be pushed out by the perceptions of what you need to be. I can't speak Arabic, I don't look Arabic, and I've grown up away from my extended family and their homes back in Egypt, so how much claim do I even have to being Arab?

Playing Tomb Raider, I wanted so bad for Lara to be Arab. "She could pass, right?" I told myself. I tried to convince myself that if I squinted and pretended, Lara could be an Arab heroine I could identify with. Maybe she was mixed like me? I'm sure there are plenty of mixed race Arabs with European ancestry. In the end these are nothing but rationalizations. Nothing but me using the flexibility of mixed race appearances to mentally reposition a character who was created, and always intended to be, white.
It didn't change the game series' relationship with Orientalism, or erase its history with the colonialist tropes of "Victorian adventurers" that it originated from.
Being Arab still feels like an alienating experience from day to day. Despite what some people would love to believe, race continues to be an overwhelming factor in the human experience. I'll still continue to see major news stations treat our existence as a threat, "well-meaning" people spread misconceptions and ignorance about us without understanding of how harmful it is, and my friends will still remain on the edge of panic attacks when passing through airport security. I might never feel truly recognized by the world, or my own community.
Even with all that, there will be these moments where I do feel that connection, where I know the understanding and common ground I share with other Arab people will connect me to something larger than myself.

[Meho Krljic]

Cracked ima interesantnu reportažu o disleksiji.

[Meho Krljic]

Whoooo, kako se čini, u Marvelovoj Netflix seriji Iron Fist, postojaće i lik Shang Chija 

[Meho Krljic]

Oh, da li smem da se nadam da će ona s njim zaista biti srećna?

How Miley Cyrus Is Changing for Liam Hemsworth: 'She Is Doing Everything to Make Him Happy'

Her Instagram feed is as zany as ever, but Miley Cyrus is putting most of her wild days behind her for fiancé Liam Hemsworth.

"For the past few weeks, they have lived a very secluded life," says a Cyrus source. "When they are not working, they rarely leave home. They often have people over for dinner, and Miley has gone from a wild child to a housewife."

And though the two formerly butted heads over Cyrus' wild behavior and ultimately called off their first engagement in late 2013, Cyrus "is doing everything to please and make Liam happy" since the pair reunited in January, according to the insider.
In their first go-around, "Liam couldn't handle when Miley acted nutty," says the source. "Miley's problem was that she thought Liam was boring when he complained."

But now the "Wrecking Ball" singer is "toning things down and acting more normal," says the source. "She even stopped hanging out with friends that are too wild. She is very focused on making things work with Liam."

[Meho Krljic]

The biggest drama in comic books right now is over Spider-Man and race

[Ugly MF]

The biggest drama in comic books right now is over Spider-Man and race

Phih, idioti...
nemaju pametnija posla pa se cackaju...
enivej, meni se povraca i na crnog Dzoni Storma i digne mi se kita od srece sto su prrrrsliiiii, yeah!!!
muda mi oticaju i od Idris Elbe u Toru, itd,,,sve te kolor izdrkavanja...
Iskreno, bilo bi mi muka da stave Blejda i Luk Cageta kao belce, jelte...
Nik Fjuri mi je ok, on i nije neka ikona bio, SlDzekson mu je napravio ime, to moze da prodje,,,
I nakon tolko godina, Ajsmen pedercina!?!

Politicka korektnost je oksimoron!

[Meho Krljic]

 10 Revelations From A High-Res Look At Spider-Man's New Suit

[Meho Krljic]

Snyder & Capullo Reflect on a Half-Decade of Reinventing Batman

[Father Jape]

Mehmet u nekom drugom univerzumu:

[tomat]

brci su tu, naočare tu, dodaj još koju godinu i eto ga.

[Meho Krljic]

The incredible 75-year evolution of the Batman logo

[Meho Krljic]

Povodom pojavljivanja druge sezone Daredevila na Netflixu, Mashable se setio Frenka Milera 

How Frank Miller brought Daredevil out of the shadows and into comic-book history


A ima i ovo:

  Marvel Comics' Civil War II Teams Revealed

[Dybuk]

LORDS of CHAOS

A teenager's quest to launch Norwegian Black Metal in Oslo in the 1980s results in a very violent outcome.
(Based on the life of former Mayhem guitarist Øystein "Euronymous" Aarseth)

Vidim da je hejt prema filmu od strane nekih fanova znatan, o cemu se radi? Nije (nece biti)  dovoljno tr00?

[Meho Krljic]

Pa, nisam gledao film da bih znao ali valjda je za očekivati da će film o Euronimusu u kome igraju holivudski priti bojevi privući hejt.

[Dybuk]

Jos nije izasao, pise da je u fazi "pre - produkcije". Ja bih svakako gledala.

[Meho Krljic]

Pa, samo napred. Ta priča je svakako zanimljiva ali, naravno, ostaje briga za to šta se sve u njoj mora "dramatizovati" da bi bila prenesena na film, da li će Varg i Euronymous biti prikazani suviše nerdy, da li će se ispoštovati blek metal kultura ali tako da bude jasno da je paljenje crkvi imalo i određenu duboku sponu sa nekakvom skandinavksom istorijo i tradicijom ali i da se napravi častan, ne senzacionalistički spoj sa nacionalsocijalističkim uplivima koji su u to vreme već bili vidni u norveškom andergraundu (mada nikada nisu zaista prevladali), da li će biti jasno da je Euronimusovo ubistvo od strane VV-a bila stvar Vargove sociopatije mnogo više nego njegove (uostalom uglavnom kasnije razvijene i artikulisane) ljubavi prema nekakvim suprematističkim teorijama itd...

[Father Jape]

https://medium.com/@zaksmith_/james-deen-cookie-monster-c05490730609#.c5wlt39p8

[Meho Krljic]

Heh...

That Weird Time DC and Marvel Joined Forces

[Meho Krljic]

When Frank Miller and Grant Morrison Used Robin to Make Fun of Each Other


i

The Politics of Marvel's Black Panther

[Truman]

Meho, imao bih jedno, unekoliko intimno, pitanje za tebe. Zanima me da li ti se ikada desilo da uđeš u konflikt sa nekim? Tu ne mislim samo na to da se aktivno sukobiš već da recimo daš svoje mišljenje, a onda te neka budala napadne? I kako si se u tim prilikama postavio?

[ALEKSIJE D.]

Mogu ti ja odgovoriti: uvatiš toga sa drugim mišljenjem i iznabadaš, razbiješ mu tikvu dok se ne usaglasi sa tvojim stavovima.
Prosto brate ko pasulj.

[tomat]

Meho je trenirao tekvondo, i po potrebi vrlo lako prelazi iz gandijevskog moda u mod šamaranja nogom

[Truman]

Meho je trenirao tekvondo, i po potrebi vrlo lako prelazi iz gandijevskog moda u mod šamaranja nogom

osetio si to na svojoj koži?

[tomat]

na sreću - nisam

[Meho Krljic]

 


Pa, ja izuzetno retko dolazim u konflikt, ali sve zavisi od nekoliko faktora:

1. Kako te je napao taj koji te je napao?

2. Koliko ti je važno da mu se suprotstaviš?



Kod mene je ugodna situacija ta da mi uglavnom nije bitno da nekog u nešto ubedim ili, ako me napada i vređa, da mi zapravo nije bitno njegovo mišljenje i da ću se radije skloniti da ga ne iritiram više nego što ću da tu kao nešto branim svoju čast. Naravno, ne mogu da ovo nudim kao univerzalnu formulu jer razume se da neki ljudi više drže do svoje časti i ponosa nego ja. Takođe, bitno je kako te napada taj koji te napada, u smislu da ako možeš da se skloniš ili da ga ignorišeš i da on više ne postoji - to je ugodno rešenje. Ako ne možeš i taj neko te opseda, agresivno se ubacuje u tvoje dnevne rutine itd. onda tu naravno nije rešenje da se skloniš i ignorišeš ga.

U tom slučaju, ja se uglavnom trudim da sa tom osobom uspostavim komunikaciju koja će biti dugačka i iznurujuća do te mere da je napusti volja za napadanjem i da i sama počne da traži način da konflikt rešimo mirno, bez daljih sukobljavanja, uz stalna izražavanja poštovanja za mišljenje te osobe i razumevanja njenih okolnosti itd. Opet kažem, zaista je tu presudno koliko je i tebi bitno da "pobediš", tj. da se tvoj oponent prikloni tvom mišljenju. Ako ti nije bitno, onda mu samo ideš niz dlaku, priznaš da si pogrešio kažeš da nećete više o tome i mirna bačka. Ako ti je bitno - recimo da se svađaš sa nekim oko budžeta - onda unapred treba da spremiš sebi apsolutnu liniju ispod koje ne smeš da popustiš pa da raspravu počneš od neke više tačke tako da možeš da daješ ustupke oponentu koji će njemu psihološki delovati kao da "pobeđuje" pa da se zaustavite pre nego što stignete do tvoje apsolutne granice.

Naravno, ako je neko bahat i nerazuman do te mere da svaki ustupak tumači samo kao tvoju slabost koja ga ovlašćuje da traži još sve dok te potpuno ne porazi/ ponizi/ iskoristi ta taktika neće proći dobro po tebe, zato je bitno da u nastupu emituješ pravu količinu poštovanja i uvažavanja za oponenta i njegovu ličnost ali i totalne samouverenosti u sopstvenu vrednost i vrednost svojih stavova u raspravi ili već šta je predmet svađe. Tako da se tvoji ustupci ne tumače kao signal slabosti već dobre volje. To je jedna od bitnijih pregovaračkih veština i ona se valja trenirati i razvijati ali ključno je da sa sobom raščistiš dva pitanja koja smo gore postavili: 1. Kako te taj neko napada - dakle, koliki ti je prostor za uzmicanje i popuštanje i šta će biti ako te dotera do mesta sa kog nemaš kuda da uzmakneš? 2. Koliko ti je bitno da tog nekog ubediš u svoj stav - to jest koliko ćeš na ovo biti spreman da potrošiš energije i vremena u zamenu za kakav ishod? Ako nisi ugrožen, moja intuicija je da nema svrhe da se nešto mnogo cimaš i investiraš. Ako jesi, važe gonji navodi.

Naravno, ako sve drugo propadne, Aleksijeva taktika je legitimna ali ona ima popriličnu cenu.

[Krsta Klatić Klaja]

Meho je trenirao tekvondo, i po potrebi vrlo lako prelazi iz gandijevskog moda u mod šamaranja nogom

iz mehkog u krljanje!

[Meho Krljic]

Istina je da sam zapravo trenirao Šotokan - okinavljanski karate stil koji je trenutno u principu najrašireniji stil japanskog karatea na svetu, ali ima tu sličnosti sa tekvandoom, naravno.

[Krsta Klatić Klaja]

i da on više ne postoji - to je ugodno rešenje

!!!

[Meho Krljic]

Mislio sam "više ne postoji na horizontu tvojih vrednosti", nisam mislio na materijalnu anihilaciju subjekta. 

[ALEKSIJE D.]

More, sačekaš ga noću sa kocem i prepeglaš sa leđa. Džabe ti tajvanski ili okinava karate kada te iskaraju u mraku seljaci. Znam jednog sudiju kome su tako presudili pre desetinu godina.
Zbog mišljenja, naravno.
Stranka nije prihvatila sudijin stav u presudi.

[Truman]

Hvala Meho na sjajnom odgovoru, manje nisam ni očekivao! Potpuno mi je nebitno da nekog ubeđujem u te svoje stavove, samo me zanima kako ti reaguješ kad te neko napadne na ličnoj osnovi po osnovu tvojih stavova a da se pritom to uopšte nije odnosilo na tu osobu već se ona sama osetila prozvanom. Da, takve treba ignorisati.

[tomat]

šotokan plus brzina od silnih blast bitova, ja ti se ne bih suprotstavljao, ne znam za Trumana

[дејан]

томате, царе!


едит...мислим на постер! ви сте се баш рашамарали са постовима