∆2 (21st Oct)
So for the next part, I wrote about the Comic Sans Hysteria and a manifesto about how they are related to discourse in design in the lens of postmodernism. The Comic Sans is porbably iterated too much, so I am just going to put the other parts in here:

Lyotard coined the term Paralogy. It was about doubting any dominant grand narratives, and hence maximising discourse on each matter. He denied that conversational quest should be consensus. The hysteria circling Comic Sans is one of the examples of dominant narratives agonising each other. Yet there is so much in between “Comic Sans is an abomination” and “If you hate Comic Sans, you don’t understand design at all”. People might be obsessed with being right and taking sides that sometimes the actual matter was not deeply discussed. There is a more subjective way to dissect Comic Sans, including why it has bad kerning and handling space. Yet without proper conversations between users on the internet. It is much more convenient to just dismiss whomever they disagree with.
The new example is probably Canva, an online designing application. It is a template-based application that people do not have to do much for making posters, leaflets, or any commercially essential items. Designer Humor, an online meme page, has been making fun of people using Canva and claiming to be a graphic designer. It is possible that sone people might just spend 5 minutes on it without prior practice and claim that they are one. Yet it is showing signs that it might follow the Comic Sans Hysteria.
Designer’s Paralogy Manifesto
We need to stop associating designers’ characters with their art and style in a way that would create a lot of dichotomies. There are of course a lot of methods and formats in designing that are more desirable than some if judged by popularity, data analysis, or in-depth research. If we judge a design by how much profit it can generate, we are sticking to capitalism’s pragmatism; If we judge a design by how it follows capitalistic desire, we are subscribing to socialists’ ideologies. It is easy to follow one metanarrative in a discourse that rejects other narratives.
There should not be consensus on how we criticise; the same goes to how we criticise criticism as well.
Comic Sans might be on the uncanny valley where it looks like handwritten script but at the same time possesses weirdly computer-generated feature. It might be too ubiquitous and ugly that it does cause nausea to some people.
I also briefly talked about the Swiss Modernists who made guidelines in making typographic posters, as well as their ideology of making clarity of message as their first priority in “cleaning up” designs. But, I have not yet read enough about it to clearly explain where did it come from or how does that relate to the topic I am talkgin about.