TBH after reading the first paragraph of your latest post I thought the rest of it was going to be "and here's why all of that is laughably retarded and my take on how our institutions are captured by lysenkoists" - entire fields are badly wrong often, especially nutrition, why do you buy it?
I buy it because the science is reliable.
I don't know how you could characterize nutrition science as "captured by lysenkoists" in any form, unless by "lysenkoist" you just mean to generally disparage science you think is politically motivated. "X field is Lysenkoism" seems usually to be a lazy critique by people who want to dismiss politically inconvenient research without engaging with the substance of why they think a field or sub-field is wrong, which is the least interesting kind of critique.
The human body is complicated, so nutrition is hard to study. That sounds quite simple on its own, but it's very difficult to underrate the complexity of systems developed by random mutation and selection. I remember an anecdote I read once about circuits designed via genetic algorithm, which produced results that were difficult to understand. Individual elements usually had multiple overlapping functions, and there was one that had a closed loop totally unconnected to the rest of the device--but if you removed it it totally stopped functioning. Only after some serious investigation did the experimenters determine this was because of some kind of weak electrically-induced effect that this loop produced, which was nonetheless critical to the circuit's function. Most biological systems are designed in a similarly infuriating way, and the algorithms that produce them have been running for millions of years. On top of that, it's difficult to observe the human metabolism in action, and we're still not equal to the task of simulating it at any kind of realistic detail.
I think like a lot of biology, nutrition and food science has done quite a lot of impressive stuff given those restrictions, but "what are the causes of fatness in general, and the obesity epidemic in particular" are narrower questions that we've focused on intently only for a few decades. The obesity epidemic is recent, and for most of its history the science of food and nutrition has been concentrated on more pressing issues like how do we feed a rapidly growing world population, and prevent dietary diseases like rickets and pellagra, and not "what is the precise relationship of fatness to various health conditions, and what factors most directly control fatness."
The stuff you refer to as "laughably retarted" is what falls out of the evidence as soon as you start looking at it in any detail. These aren't controversial or difficult-to-replicate results--they're out of step with the common medical wisdom in some ways, but only because the common medical wisdom is often laughably retarded. Some doctors still get taught as fact that black people feel pain less acutely than white people, and until COVID hit and forced us to reexamine the evidence, common medical wisdom totally misunderstood how airborne particulates worked, based on a single totally misinterpreted study from a hundred years ago, even though any air pollution scientist could have set them straight. Because of a single anecdote by one researcher (I think Kinskey, but correct me if I'm wrong), a lot of gynecologists seem to think the cervix feels no pain at all, meaning IUDs are commonly inserted using sharp-tipped forceps to hold the cervix--and while this is fine for some, others find it excruciatingly painful, because it turns out that the sensitivity of the cervix to pain varies wildly among individuals. And these areas--pain, airborne disease, and gynecology--are comparatively tractable to study.
We have known since time immemorial that if you starve, you get thin and eventually die. Since 1761, we've had calorimeters that can give us a rough guess on the energy contained in food; and with those two tools you can rough out at basic CICO model. You could stop there, and treat all subsequent developments in the area as Lysenkoism because they didn't conform to your prior assumptions on what fatness is and means, but then you'd have no tools to understand questions like why obesity began rising toward the end of the 20th century, long after wealthy industrialized countries moved to a more sedentary lifestyle, how appetite relates to actual food consumption and exercise, what the metabolic effects of different foods are, the role of gut bacteria in health and how they're influenced by diet, and lots of other interesting questions. And, well, that would be laughably retarded.
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I know it's not super one-for-one, but does anyone else think that the fortress of meropide's design is meant to reference the Panopticon? Especially considering the map description of Wriothesley's office:
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Bandee and Starstruck 🎀💖
starting off my february starstruck dee ship-a-ganza with the big one. they do seem like... the obvious answer, huh...?
they have far and away the most development together and the strongest personal relationship, both in what i've posted, and in her story overall! would kill or die for each other in a heartbeat. i would be absolutely lying if i said i'd never thought about it, but i'm not 100% convinced my thoughts lead me to romance specifically...
they're already pretty insane about each other! starstruck in particular is madly in love with bandee in every way it's possible to be. loves him the way he loves kirby, i think (pretty sure he does not know this. might be shocked to learn it.)
however she's daft as bricks, so he'd have to initiate, and i can't really imagine anything in their relationship would change.... so he'd have to mostly want The Title or the Performance one way or another, and i'm not super sure he would!
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obviously chandrilan fashion is influenced by traditional east asian garments (the first time i was watched andor i was thinking about how much it reminded me of korean hanbok but that bias is probably indicative of how i grew up near a koreatown) and i saw someone somewhere say that it's odd that the shirts are crossed right over left (the way to dress a dead person) instead of the traditional left over right
now this could be a cultural oversight on the part of the costume designers. it wouldn't be the first time hollywood (or even star wars) appropriated an aesthetic they didn't understand. but with the line "play it how you want. but i'm going to assume i'm already dead," also existing in this show, maybe it's not.
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man this game is great
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tlb characters’ favorite meals:
michael: scrambled eggs with bacon and hash browns. michael is definitely a breakfast food fan, and this is his favorite breakfast meal. he prefers to make it himself, so he can cook the bacon the way he likes or put hot sauce on the eggs, but if he’s ever at a breakfast restaurant he’ll always order this there.
star: broccoli and cheddar soup. i don’t think star had a good relationship with her parents at all (in fact i hc that she ran away from home at 18) but her dad used to make this for her on special occasions and she’s never been able to find something that replaces it as her favorite food. every once and a while she’ll feel horribly homesick and get some of the campbell’s canned broccoli and cheddar soup.
david: tuna salad sandwich. he eats this like twice a month and when he does it’s the gross sandwiches that come in vending machines or the refrigerated shelf at gas stations. he truly and genuinely thinks it’s the best and most satisfying meal in the world will usually eat it alongside a can of diet coke.
dwayne: a reuben with salt and vinegar chips. he’s very picky when it comes to this specific thing. the bread on the sandwich can’t be toasted and the potato chips have to be kettle cooked or he isn’t satisfied. he hasn’t eaten this in years because there’s no restaurants in santa carla or the surrounding area that meet his high standards.
marko: bbq burger. specifically the one at a restaurant just outside of santa carla that closed down in the mid 1970s. he mourns the lose every day and has never found a bbq burger that hits quite the same.
paul: lasagna. his all time favorite is the one at this italian place in the town where he grew up, but he’s happy with any and all types of lasgna, including the shitty frozen meal ones.
laddie: spaghettios with hot dogs cut up in it. most of what he eats is fast food or from whatever quick service restaurants are on the boardwalk, so it’s not like he gets a lot of home cooked meals and he sees this as a sometimes treat that star or one of the boys will make for him every once in a while.
sam: grilled chicken tacos. he takes his tacos with cilantro and sour cream only, and as little spice as possible because he can’t handle it at all. he hasn’t eaten this at all since moving to santa carla cause his favorite version of it is at a mexican restaurant that the emersons used to go to semi regularly when they lived in arizona. if he ate any different chicken tacos it would just make him a little homesick and sad he can’t have the ones he likes.
edgar: blueberry pancakes with a side of onion rings. edgar seems like a diner food kind of guy to me (i haven’t forgotten the scene in the thirst where he and zoe get pancakes together), and he’s definitely a creature of habit so this is what he always orders. he refuses to put any sort of syrup on the pancakes and never gets any breakfast sides to go with them, it’s only ever onion rings.
alan: peanut butter and banana sandwich. i think that he and edgar were kind of left to their own devices a lot growing up (and it’s only gotten worse now that they’re teenagers), so they had to make their own meals and peanut butter and banana sandwiches are something they’d eat multiple times a week when they were kids. no matter how often he eats them he never gets tired of them.
lucy: chicken and dumplings. she makes this at least once a month, and every time michael or sam have ever gotten sick she makes it for them. she still uses her mom’s recipe from when she was a kid.
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This is a huge question so no worries if you don't want to come up with an answer. But I would love to know - What do you feel like you've learned so far about each Beatle as an artists by going through their solo material (in as far as you've gotten)? And has that changed or shapped your opinion of how their individual artististic styles/philosphies interacted while they were in the Beatles? Obviously, their artistry changed due to outside forces while they were in the Beatles (John learning about Yoko's philosphy, George's engagement with Indian music theory) but do you see things in their solo careers so far that you feel like connect to the very beginnings of them developing as artists? The interlinking concepts of artistic philosophy, "the artist," and "the artist as collaborative" is maybe the topic I find most interesting in Beatledom and it seems to be so rarely discussed anywhere I've seen. But I have almost none of the necessary musical understanding to fully engage with it on my own. So I'd love to hear any thoughts you have? (Hopefully, I phrased this in a way that makes sense.)
Hi anon! Thank you so much for this very interesting ask!
It’s very difficult to answer, but I’ll share some (super jumbled) thoughts I have on this and hope to hear from you again! I actually find their artistic output quite a natural progression in general so none of it is strictly divided into solo career and Beatles.
I structured this by band member (also if someone only wants to read one of them I recommend John because I had the most to say about him cause I'd previously given this the most thought).
DISCLAIMER: these are my subjective opinions. Huge chance someone might disagree with some of it or find some of it reductive and that’s fine and welcome!
Ringo, who listens
Ringo is perhaps the most collaborative of all – the most open to working with the three others, even immediately after the breakup. This makes sense, given his instrument, which he rarely ever used to show off; no, Ringo’s artistry is primarily that of listening and adjusting his playing to the needs of whomever he’s working with. Some may criticize his skills as a songwriter, but his ability to instinctively figure out exactly what those around him need is a talent not to be reckoned with. And, despite never playing with an ego, he also can almost never help leaving a signature on every song he touches, but never out of place or overstaying his welcome.
Paul, who interacts
I think Paul lives and breathes music. He is exquisitely talented, yes, but it goes deeper than that. I think music is his life force and one of the primary ways he interacts with the world. The world calls and he responds in song and I think this has always and will always be a part of him – what changed throughout his career is how many tools he had access to to make it happen.
A song doesn’t need to be the best thing he’s done so far for it to be worth it to Paul. He wants to create and discover and share his discoveries with the world. Sometimes he gets a very specific vision for a large-scale project, and then he starts wanting to be the Newest, Best, Most Complex, but he’s still always happy to write a silly “underwhelming” guitar song and release that as well!
Concerning collaboration, I think Paul is very forward-thinking and planning when it comes to his music, which makes giving creative space to others difficult for him at times. He also tends to jump on others’ ideas – again he’s reacting musically and building on the original concept. Many might call it controlling and find it overbearing, but I think it all originates from an almost primal need to make music.
George, who imparts
I think George is someone with many things he actively wants to say, and he has decided for himself that music is the best vessel for them. He consciously uses melody and production to share his wisdom, a fluent speaker of music and a meticulous curator of it. I feel like George’s development as a songwriter is less marked by him becoming more thoughtful and more by him learning to utilize music to impart his message. I Want To Tell You feels like him identifying the issue, and his development throughout the latter half of the 60s truly feels like him mastering the language of music.
I think generally, George wants his work to be respected and the message to remain intact, and beyond that he is happy to collaborate. I think he sometimes misread Paul’s forceful suggestions as Paul “not getting it”, which is why he later on softened on the Taxman guitar solo and the Something bassline, when he realized that – despite Paul having been an unideal communicator at the time – feeling inspired like that is Paul’s way of paying respect to others' music.
John, who expresses
I think John was the most contradictory of the four, in terms of his actual artistic output vs. his artistic ideals. Hearing Bob Dylan in 1964 brought his attention to the idea of “songs with a message”, which immediately appealed to him as a concept.
Some point to songs like I’m A Loser or You’ve Got To Hide Your Love Away as his first truly thoughtful songs. John himself referred to them as some of his first honest songs once, but I think the mid-64 shift is mostly characterized by him slowly pulling away from songs written to fulfill certain criteria of marketability (“Let’s write us a swimming pool”-type songs), rather than the true beginning of his thoughtful vulnerability. (Just look at songs like I’ll Be Back, This Boy, and There’s A Place; it had always been there!)
By 1966, he’s started charting his own musical path, imagining new subjects songs could be about, and this is around the time his music begins converging with his other writings and drawings. He finds endless joy in the use of wordplay and clever assonances, regardless of the specific meaning.
Yet, come the 70s, he appears rather disappointed in many song he perceives to be meaningless, often favouring his pieces, which to him express a discernible message or at the very least a “worthwhile” emotion.
It’s always felt incredibly dissonant to me. If he doesn’t like “vapid music” (paraphrasing him here) then why is he writing, say, Cry, Baby, Cry in 1968?
Well, my theory is that John, despite loving the idea of being an artist with a clear and concise message to convey, is at his heart one who expresses, regardless of how easily understood he ends up being or how “important” what he has to say in that moment is. The fact that he continued to sing, despite hating his own voice shows this, I’d say. He wanted to get it out, even when he was ashamed.
As for collaborations, I get the feeling John was quite open to them but also kept most people at somewhat of an arm’s length and was at times afraid of letting people too close. Perhaps that was due to some negative experiences with the Beatles (notably Paul) where songs didn’t turn out as he had wished they would.
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one perk of patriarchy is that when you become a 'girl who does' you can reap significant financial rewards from men - due to the stigma applied by the patriarchy. in other words, there's no way that an hour of sex should be able to buy me a high-quality winter coat in terms of materials, labour, and retail markup, but it does (and it did, today!)
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How did you first came up with the idea for Train Chasers, and how has it evolved since then?
I don't remember the specific orgins, but I do know that the premise is inspired by a few visual novels I was obsessed with when I was in high school: Endless Summer and the It Lives Series. Mostly It Lives.
In both It Lives and Train Chasers, a tragedy drives a friend group apart (at least in the first it lives book), but it's that same tragedy that brings them back together to put a stop to whatever supernatural influences seem to be targeting their town in particular. Everyone in the central group has their own personal issues and demons to deal with as well, which if they're not careful, could lead to a pretty gruesome demise. They'll be fine as long as they keep their heads up and stick together.
Since this is a rewrite (I didn't finish the original bc I didnt feel there was enough setup), some important things I've changed
We get the kids perspective as they navigate the train in addition to our core four (Ryan, Grace, Simon, and Min-Gi)
One-One joins the main group. How helpful he'll actually be, we'll see
How Grace comes across the notebook is changed. (Initially she claims she found it at the library that someone brought in from the middle of the woods)
You won't know this because we never got that far in the original, but Ryan's plotline is tweaked a little
I've been SUPER invested in this AU for a while, I've even been (slowly) working on a little neocities website for it. (In the meantime the bulk of that work exists in a google doc or two. Or three). I kind of want it to surpass my first infinity train fic which IMO is alright for a first fic but I can do better now that I have a better grasp on the characters.
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Okay so I might actually go insane if I don't find some nice people to talk to, so I was thinking if someone is interested in starting a kinnporsche group chat? We can talk about the series and everything else ofc so if you're interested pls tell me! Also you can say which platform you prefer✨️
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6 hours left of mother 3 and then i am DONE !!!!!! awesomeas hell game. to be honest
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This week I’ve had two guys tell me they’ve been thinking of me late at night/throughout the week and it’s only Wednesday
Any ladies wanna chime in to even out the numbers?
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give me an essay about uh... kyouka?
Oh man I had this one locked and loaded for months now. I love Kyouka sm and her whole character arc and how that reflects onto Atsushi and Dazai by extension and their own character development, as well as Kouyou's to an extent.
So when we meet Kyouka, we see her trying to blow up a train and basically she doesn't really have a will to live. She's been told since she got pulled into the PM that her only purpose is to kill people, best exemplified by every interaction she has with Akutagawa, ever. Akutagawa, also, doesn't really feel like he has a place in the world outside of killing for the PM and trying to get Dazai's approval but that's neither here nor there for this essay.
She relatively quickly decides she doesn't want to keep killing people, which I mean. She's a 14yo girl, I would imagine she doesn't want to keep killing people because it's fairly traumatizing, and her solution to that in the moment is to sacrifice herself, which we also know Atsushi would have done just a few chapters earlier given the chance. Instead, Atsushi saves her and shows her kindness as they figure out what to do with her, which continues to drive her forward as a character.
Anyway, this scene is the turning point I think, for her character arc. She's admitting that her only roll in the Mafia was to kill people, that was her only purpose for several years, but that little bit of kindness Atsushi showed her on that day out they spent together was all it took to make her believe there was a life for her in the light as Kouyou would put it.
She also has a very complicated relationship with her skill, believing she killed her parents with it, and having used it to kill at least 35 other people. Which is frankly, understandable for her. Her skill has been what people have used her for, having her use her skill for violence, for their own means without a thought about what Kyouka could possibly want, so to her, at least for the first part of her transition process to the ADA, her skill is dirty, bad, something that other people want to control for their own means. And Atsushi even falls into this trap, saying her powers should be used for the ADA, which gives Kouyou a leg up in trying to get Kyouka back.
Even though Kyouka doesn't end up even thinking about going back at first, I think Kouyou knew exactly what buttons to press to manipulate her, and she was able to see through it and ended up using Demon Snow for something she wanted, to protect Atsushi on her own terms. And while Atsushi may have wanted her to use her skill for the agency, she first has to use it on her own terms and dissociate it from her past, and then Kouyou has to go and drop the bomb on her about her parents and yeah. Scene over, Kyouka is back with the mafia, she's upset and traumatized, Kouyou has her protege back, and all of their names are still being underlined in red by my spellchecker.
I kinda lost the thread when I went back to look for all these images oops but anyway, when Kyouka does eventually return and goes through her trial to join the agency in full, she finally has a place that will accept her for her, won't make her use her skill, and will let her just be a kid.
Kyouka best girl I think she deserves all the good things in the world and then some. By the end of the series, she's fully come into herself and her skill, using it for herself, for her wants, for her goals and morals. She's allowed to be selfish, she's allowed to want for herself, and she has a place to call home and people she can call her family. She has something to keep living for, to fight for.
Unlike whatever Akutagawa did at the beginning of this. Like seriously what the hell dude.
I definitely don't think this made sense and I realize I tend to go off on tangents but in conclusion, Kyouka's arc is about learning to live for herself, letting herself feel safe and protected, and just...accepting her past as something that happened and not trying to cope with it on her own.
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I think I need to go work with kids for a while. Pick up a couple of shifts. I keep having dreams where I gently guide young children through life and teach them life lessons.
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Okay but that dating sim gif is SO GOOD. Like, WHAT??? It looks like something out of a real life professional game, and now I want to play it, lol. It's very very cool and well done, I loved all the details! The expressiveness and the transitions, the sudden change in Edgar's eyes and the lighting around him!! He even blinks, like??? Truly, animation goals. You're such an inspiration to me! It blows me away that you did that in such a short timeframe!
Haha, thank you very much! ♥ I also really want to play a Vargas dating sim, every time I chip at the concept I get a new smattering of ideas hehe ♪
You got me anon, that’s what I’m able to do in the sweet spot between “Just enough time to get the framework of what I have in my head” and “Not enough time to overthink the details” - it’s a system that works pretty well for me :D
The time crunch gives me that little burst of energy to get what I’m able to see in my mind onto page and canvas, while also still missing a few of the things I’d want to come back and get right next time - I’m sure you noticed the barren bookshelves and maybe the lack of door frame lol, but those are important signifiers for growth! Maybe next time, I’m able to draw a bit faster, or remember more details, and I’ll have noticeably improved ✨ That’s my goal anyway haha
If I’d had just a liiiiiittle more time, I definitely would’ve made an homage to Zarla’s Ghosts’ blink animation. Two frame blinks are all well and good, but that bounce brings me so much joy ♫
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Unfortunately for everyone, I am back in the lab..
I am in the fancier ones now too I am learning
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