#really this just broadly applies to most things

[hermitshell]

The dichotomy in people playing their little cubitos in different smps always gets me in sort of a hilarious/complicated way

Like some people very strictly believe in making a New guy for each different universe (ie. Outsiders Owen is separate from Rats Owen or like how Origins Scott is very different from say new life Scott)

And then of course you have the opposite spectrum with people like Sausage or Martyn who have ongoing multiverse lore that connects those different universes and characters

Sometimes you have people like Jimmy who will specifically acknowledge something like double life when he mostly implies he's lived his entire life on empires and he just never elaborates

You have people like Gem who both has characters that are distinct and their own (like e1 gem) and multiverse travelers (The Gem of hermitcraft and e2)

Scar on pirates has implied he had a boatem crew but were they From pirates or are they in fact season 8 boatem??? No clue!!!

You just literally never know what kind of mixed bag you're gonna get or how vague or how extensive it will be which I both love and sit on the floor thinking about too much

Also it's very funny to me that at pretty much all times there is some server with multiple people playing multiverse chicken with each other. Truly minecraft storytelling is a beautiful medium

#hermitcraft #empires smp #life series #pirates smp #outsiders and rats question mark? #origins and new life question mark? #really this just broadly applies to most things #this isnt even getting into the implications of dreaming and it's effect on multiverse travel from several different people

[cuddlytogas]

maybe it's just the Radical Rediker talking, but there's something pointed in the way that, say, popular pirate media like Pirates of the Caribbean dilutes the pirate's freedom to "bring me that horizon" as opposed to, say, "plenty and satiety, pleasure and ease, liberty and power" (Bartholomew Roberts).

broadly speaking, most pirates chose the life in order to escape and revenge the hard labour, corporal punishment, overworking, and unequal pay of merchant/navy/privateer ships; or the privations of their sudden unemployment once a war was over, ignored as soon as their ability to die for the state was unneeded. yes, many were thugs, but, consciously political or not, they were responding to a particular, material reality.

the pirate's desired freedom was from the effects of exploitative modes of statehood and capital production. but popular media usually shifts this into a general desire for freedom: freedom to roam, freedom to love (usually merely a cross-class white, heterosexual union), or freedom from the personal pressures of social norms. it's a vague, ahistorical, post-Enlightenment, libertarian ideal rather than a response to a real social and economic situation.

to be clear, this only really applies to specifically the late golden age of piracy, in the first quarter of the 18th century. earlier generations of pirates/buccaneers often displayed nationalist/religious motives, and were lauded, tolerated, or even encouraged by the French and English states for aiding their fights against the Spanish and Portuguese. only the last gasp of age of sail pirates had a truly anti-national energy, and both figured themselves, and were figured by the imperial powers, as the enemies of all nations.

but if we are to valourise the late golden age pirate, at his best, his ideals were for true democracy, and the abolition of nation, hierarchy, and labour exploitation; not "the horizon". he was striking out in response to specific political, social, and economic oppressions, rather than a general individual restlessness, and that reality - and its similarities to our own - are important.

I dunno, I just... have a lot of thoughts about the defanging of piracy in modern media. obviously there were a lot of things bad about them, too, and the level of egalitarianism varied between individual people and ships. but again, if we're going to be valourising them anyway... there were idealists. and they weren't subtle about they wanted.

"I shan't own myself guilty of any murder", said William Fly in 1726. "Our captain and his mate used us barbarously. We poor men can't have justice done us. There is nothing said to our commanders, let them never so much abuse us, and use us like dogs. But the poor sailors --"

#pirates #history #pirate history #Togas does meta #Rediker is Marcus Rediker and I've only just started finally reading some of his work properly but god it's good #also if you've watched Black Sails I'd love to know how much of this energy is in there #it's a bit too ~gritty for my tastes but I get the impression it's also a bit vague about freedom over material historical politics #but i could be wrong! #obviously PotC has an ingrained anti-EIC vibe but even then it's more about ''they're enclosing the sea against us wild rovers'' than #''company captains beat us half to death just for the wealth we facilitate to be funnelled to the top while us sailors are left to rot'' #and christ knows it's not interested in historical realities XD

[general-cyno]

ehh it's just me musing but. I do find it a little curious that (depending on who likes whom I guess) cora is usually either seen as some saintly flawless goofy figure or a brainwashed cop who got killed because he refused to try and save his brother. I do think his character is not exactly easy to pinpoint, considering he appears for a very short time and in a flashback nonetheless, plus the fact that he's dead means no further fleshing out of his character - broadly speaking - outside of the people who knew him and are willing to provide insight on what he was like, though that'd still be kinda biased.

however I believe there's actually a bunch of things that were straight up shown and some that can be pieced together from what little panel/screen time he had: ie how he's seemingly more bad tempered, impulsive and violent than he's portrayed as in fanon at times, albeit motivated by his own priorities at the moment (trying to kick the shit out of law to stop him from exposing cora to doflamingo) + his sense of what's right and wrong and to whom it applies (punching medical staff and setting hospitals on fire for mistreating law, whom he'd been trying to help).

specifically about the navy and doflamingo part... it irks me a little, tbh. partly because it removes what little agency cora had during the flashbacks and sort of waters down his motivation to stop his brother. it's not just whatever crimes doflamingo was committing or planning to back then and the navy wanting to put a stop to that - the thing is that cora was influenced, at least to an extent, to oppose doflamingo based on their childhood experiences with (ofc) the more negative ones, which include doffy murdering their father right in front of him, overshadowing anything else. as he tells law, cora can't fathom how their kind parents could've borne someone as evil as his brother. and yet. that's the other thing. cora was very much a child, and younger than doflamingo at that, when the elder DQs chose to leave marijoa and all that it entailed after. between all the traumatic events he lived through and later being raised by a marine (sengoku of all people), I'll be the first to say his perception of those events, of their parents and doffy himself is not really the most unbiased or reliable. we don't see him questioning the existence of celestial dragons (beyond warning law he's in danger when cora finds out about the D) nor the nature of the WG/the marines and the antagonistic role they play in OP's universe. we didn't have him long enough for those things to be put to question deeply anyway, especially not wrt to doflamingo, so imo it makes sense that his focus wasn't on "saving" but stopping him.

that said... he does witness the worst of it, kind of. through law. law is the very reason why I don't agree with the idea of cora being simply a brainwashed cop. this guy watched how people (those who should care) mistreated, dehumanized and demonized a sick child over prejudices caused by the lies the nobles and WG itself relied on to sweep their own corruption under the rug. he saw first hand how all those doctors ran to call the WG to kill the child and how they answered to do that. and what did he do? he lied and betrayed the organization he'd been part of (presumably for more than the years he spent undercover) and the man who'd raised him like a son just to save the kid that everyone, even the so called justice, had turned his back on and would've gotten rid of if given the chance. heck, when he first brought up the topic of law with sengoku, the man basically told him not to favor him too much for it could jeopardize his mission.

but perhaps the biggest proof is that he lied to law about being a marine when the latter directly asked if cora was one. as he later admits, cora lied to him about this because he didn't want law to hate him - and knowing all law lived through (flevance), seeing some of it himself (their hospital shenanigans) and what law told him as well, cora knew he had plenty of understandable and justified reasons to hate anyone ever slightly associated with the marines or the WG, including cora. to me, someone who's completely blinded by the navy/WG propaganda and follows their every order to the letter without thought wouldn't have denied his own affiliation nor been so determined to ditch being a marine and make an enemy out of those institutions (even if that also meant betraying his father figure) just to save, protect and do right by a child who'd been clearly failed by them. at no point did cora ever try to argue that Not All Marines, much less express any other sentiments of that sort to law.

on a similar vein, despite insisting doflamingo was evil and an agent of destruction - law is also the proof cora was somewhat aware that his brother (and people like doflamingo) normally don't pop out of nowhere and do Terrible Things just because. that maybe in other (better) circumstances, doffy might've become someone different and/or made different choices. after all, cora is the one who points out the similarities between doflamingo and law, and eventually does his best to turn law's life around so that he won't follow the same path. should he have tried to save doflamingo as well? when? how? would it have worked? who knows. and if you ask me, regardless of their similarities at that moment in time, doffy was already a grown ass man compared to law and cora himself was just an even younger kid when shit hit the fan in their childhood. I'm not sure doflamingo (as an adult) would've been particularly receptive of "help" either, considering his disdain for the kindness in cora and their father that he saw as a weakness. not to mention waaay too many other factors that come into play also (trebol and co's grooming and influence for example). still, one of them did pull the literal trigger in the end and it wasn't cora, so there's that.

all in all, for a character with such a short lived amount of time in the story - cora is quite the complex one and so very compelling. characterizing him as just strictly one thing or the other can be a little reductive but the fact that his character can be explored beyond that in the first place (once more, despite his lil bit of alive and onscreen moments) is what's fun and says a lot about the writing itself.

#tp #one piece #donquixote rosinante #donquixote corazon #I need to chew on him like he's a dog toy #mentally ill abt a dead guy who was in like 5 out of 1000+ chapters. life is good #also before someone misunderstands fics and such are free real state these characters are dolls to play with #I'm talking abt canon specific scenarios

[darkcircles4lyfe]

This doesn't have anything to do with anything, but i had a talk with a friend a few days ago, about shonen biasis and the way this shapes our expectations, and mha came up so i remembered how so many people apply those biasis HEAVILY into the manga, to the point that they sound like they're looking for a different story.

And one of those things that it seemed to be MOST talked about is exactly bkdk's relationship.

I have seen many times people from the fandom (sometimes really angrily) point out how in most cases Katsuki seems to basically take up not one, but four roles in Izuku's life and this includes putting him in situations that people associate with the MC's love interest, and it is weird that, despite Izuku "having a girl" for people to make assumptions about, he seems to completely repulse any female character that could be the counter part to Izuku's.

And this made us wonder if Katsuki's placement in those roles and lack of interest was made specifically because the author precisely did not want the actions that both do for each other as romantic but a whole another thing entirely, as a subversion for the these classic tropes, as he did by making the conflict between Ochako and Himiko not a "rivals fighting for the affection of a boy" but something that is connected to the plot of these characters instead.

Oh you bet! I am always down to talk about this, because I think about it a lotttt.

This reminds me, recently I remembered a funny habit I used to have with books I read. Like, back in middle school. I used to start by flipping directly to the last page and reading the final sentence. Usually this did not spoil anything whatsoever, but sure enough, by the time I read through the whole book, that sentence would take on new meaning.

So I started musing about what it would be like if only I could do this with bnha, if everything was already out. It made me feel so nostalgic…

Will the last panel be something grand, or something small? Hopeful or sad? Distant? Intimate? A parting message to the reader? Will it look like almost nothing of consequence to the unknowing eye—yet burst with hard-hitting subtext?

Of course I wonder about all the twists and reveals that might be still ahead of us, but it’s kinda soothing to think about how the whole thing could be put to rest. Because then I realize I’m not worried.

For once, this is not because the story is following so many tropes so predictably that I know exactly, in so many words, how it will end. It’s more like the story is a close friend who I’ve gotten to know well enough that everything they do is so “them” it makes me smirk. I'm often marveling at how Horikoshi has managed to pull all this off. How is it that (at least here in the west) people who aren't really paying attention call it basic and cookie-cutter. Even a Japanese animator called it "classic," and this interview shows such obvious dissonance between Hori and the interviewer, just... wow. But it's so clear that bnha has broken just about every rule in the book at this point, so much so that I struggle to condense it into words. I'm like--*gestures broadly at everything*--why haven't more people picked up on it??

Yet we still get bombarded with people saying "it's a shonen, c'mon, we all know how this will end." Um. No you don't. I KNOW there has to be a bunch of people who are secretly frustrated by Kacchan taking up all the roles and getting all the moments. It's not even in a mysogynistic way, because Kacchan is the most anti-dudebro character imaginable. Bkdk's relationship isn't intended for them and they know it... and you know what, I'm starting to ramble. You've heard all this before. The thing I should really be focusing on in your ask is the part where you mentioned how you and your friend were speculating about bkdk ending up as "a whole other thing entirely" rather than simply romantic.

Well, fuck it, I've been biting my tongue, but now might as well be the time I talk about this. I got into a bit of a disagreement with someone over it once and then I shut up. Because it's very difficult to approach the subject without being lumped in with those people who see bkdk as "brotherly" (ew) or otherwise try to push some "crisis of male friendship" agenda, or at the very least without being accused of enabling people to make excuses against bkdk being canon ad infinitum. So let me be clear that I do NOT want bkdk to have an ambiguous or open ending. I want their complexity and importance to be acknowledged. I want them to use their words. I think we may have created a bit of a false dichotomy there.

I am aromantic, and to suggest romantic relationships are inherently the most important and intimate goes against every fiber of my being. I also reject the idea that cut-and-dry gay representation is more desirable just because it is more easily understood by the masses than aspec representation or representation of relationships "beyond" both romantic and platonic. We recognize how ridiculous it is for people to expect Izu*cha at this point, right? Well, the reason they're so confident anyway isn't just because of heteronormativity. It's also because of amatonormativity, the assumption that romantic attraction trumps all: no matter how much focus bkdk get, Izuku blushed at Ochako, so that automatically makes them more "important." THAT is the notion that I want to challenge most. More than anything, I want bkdk's relationship to be fully acknowledged because they have so much more going for them than just attraction.

You and your friend make an excellent point, that it would be very much in line with Horikoshi's taste and the patterns of his writing so far if he chose to subvert the shonen romance trope not just by giving it to two boys, but also by disregarding its premise entirely. It's unlikely he'd try to stuff them into such a copy-paste ending right at the end.

So maybe they won't get the blushy confession, the obligatory kiss, the wedding, the 2.5 kids and a white picket fence. That's fine, we shouldn't pretend those tired tropes are suddenly revolutionary just because they're gay. But don't be disappointed! Without them, we have more room for things that are actually personally meaningful to bkdk to stand out and receive the nuance they deserve: talking through their feelings openly, building each other up like no one else can, understanding each other like no one else can, smiling at each other, embracing, holding hands, rushing to the other in the hospital, being glued at the hip (or even closer), healing mutual trauma, putting each other first in all things. Maybe we'll also get confirmation on Ochako's side as she moves on from her crush on Izuku. You know what other shonen manga took this exact angle as a way of subverting tropes and presenting genuine complexity? Blue Flag! There are so many ways to do bkdk justice.

Even a kiss isn't out of the question, if the right opportunity comes along. A perfect example of what I'm talking about is Good Omens (major season 2 spoilers) because the kiss between Crowley and Aziraphale was not at all about canonizing them. It was an expression of pain and desperation that just made sense at that particular moment. Neil Gaiman was adamant that if it took that kiss to understand the context of their relationship, you really weren't paying attention. I respect the hell out of that.

Recently I was even daydreaming about bkdk getting something similar to the sort of uh, shall we say tasteful nudity, that togachako got, because of how Izuku appears in the vestige realm.

Ya know like not in an nsfw way but in like a "this is so deeply intimate and soft that I feel like I'm intruding" kind of way... yeah. Because it represents vulnerability and openness and acceptance of someone as they are. And I don't care if people call that bait. It's not. It's beautiful. It’s honest.

#asks #anon #lin answers #bnha manga #mha #boku no hero academia #my hero academia #bakugou katsuki #midoriya izuku #bakudaku #bkdk #dekubaku #dkbk #aspec #queerplatonic

[txttletale]

idk how to put this sorry if this comes off as rude/confrontational I'm not trying to be — when you say stories about forgiveness/reconciliation, do you mean more the type about forgiving & reconciling with family, or more generally (so like including - this isn't the best example but I can't think of any better rn - catra for example? where it's about being trapped in hurting people because of trauma and breaking out of that)? or is the thing you dislike more stories' framing of forgiveness as a moral imperative?

sorry if this doesn't make sense I'm just curious what you think bc you've raised some interesting points and would really like to see you elaborate on them

don't worry you don't come off as rude whatsoever! while i think my points apply broadly to how forgiveness is treated across media (rare actual example of cultural christianity) -- i obviously am not, like, against forgiveness or stories about forgiveness on principle. what i dislike about all the narratives about people forgiving their abusive parents is that:

like you said, it's always framed as a moral imperative. there is always an underlying assumption that forgiving the abuser is the 'right' and 'correct' thing to do, that not doing so would be wrong. this is tremendously insulting to survivors who have every right to not forgive their abusers!

in most of these narratives, the parent barely does shit to be forgiven. there's very often a narrative equivocation, in fact, between parent and child. like, sometimes the parent won't even be expected to apologize -- sometimes, even more grotesquely, both the parent and child apologize for their shared supposed 'wrongdoing'. this is also obviously insulting to survivors, who are not in any way responsible for their abuse or for having a poor relationship with their parents.

the reason why this in particular pisses me off so much is that it mirrors and in turn contributes to the cultural expectation on abuse victims in real life to maintain contact with their abusers, the constant casual pressure from everything from strangers to friends to acquaintances saying 'well, can't you just put it behind you?' or 'look, he's changed' or 'she's your mom' or 'you'll only have one chance to have a relationship with your siblings' or whatever the fuck. the sanctity of the family is a cardinal value across a lot of societies and this sanctity means a constant, neverending societal pressure to bow to sweeping abuse under the rug. i've seen many people i care about struggle deeply with feeling obligated to maintain relationships with family members who treat them like shit and make htem miserable every time they interact bc of exactly these sorts of sentiments being everpresent in their cultural environment. & these narratives always paint that sort of pressure as being well-founded and fair and ultimately for the better, which is absolutely repellent to me.

so, yeah. i am not against narratives where an abusive person actually confronts their actions and changes and repairs that relationship (that's another fucking thing, these narratives always put the onus and responsiblity on the character who was abused to forgive rather than on the abuser to earn forgiveness, just like in real life familial abuse victims are always fucking expected to be the ones to repair the relationship). i think such narratives can be powerful and compelling and explore questions of what the value of 'forgiveness' or 'redemption' even are, as well as dispel the mystique and exceptionalism often attributed to the 'abuser' as a holistic malevolent figure that can be cleanly separated from every other parent/grandparent/sibling/etc.

what i'm against is narratives where someone who is abused has their feelings delegitimized -- their rage is wrong, counterproductive, they need to let go and move on, they need to forgive their abusers and let them back int otheir lives because oh, they did something wrong too or oh, their abuser had a difficult life, or whatever the fuck. to which the answer should be a flat -- no. they don't. all the more power to people who choose to do that if that's what makes them happiest and safest but absolutely nobody has a moral obligation or need to forgive an abusive family member. obviously i am exaggerating slightly when i say every abusive parent subplot should end with the parent being killed with hammers, but i'm using the hammer murder as a synechdoche for a narrative treating an abuse victim's antipathy towards their abuser as something legitimate and justified and obviously reasonable rather than a flaw or something they need to move past.

#ask

[curtsycream]

My Heart Lingers in Italy

In which James Potter visits Italy for a school trip just to meet two girls that change him forever.

This is pretty short but it is only my first installment of this series if you want to call it that. It will be part of my summer project for my writing. So updates may be a bit slow but quality over quantity right? Anyway I hope you enjoy, it wasn’t beta read this time I wanted to get it out before I rewrite it completely or just scrap the idea. Also when they trade IDs it was supposed to be for Line and such like that but couldn’t find a face social media maker for that one, so yeah also English is not my first language so if my grammar or spelling is off I apologize in advance.

“Lily, where are we going?”

The two girls held hands as they weaved through a crowd of tourists. The streets of Verona normally weren’t so packed but it was tourist season. Smiling Lily tugs Y/N forward as the two girls walk, “Remember you said you’d go to Piazza San Zeno with me. I explicitly remember telling you last week when you were busy talking with Sienna.”

Y/N smiled broadly, “don’t tell me you were jealous again. You know you never have anything to worry about, she just wanted to know if I would be applying to universities outside of Italy. I told her I’m going wherever you go,” she whispered.

Ducking her head down Lily tried to use her hair to hide her reddened cheeks. “You’re so annoying sometimes, come on!”

The two girls, one smirking and the other blushing made their way to the open flea market. It was packed with locals and foreigners alike. Y/N waved to any and everyone she knew running different stalls. When Lily stopped walking she bumped into the shorter girl’s back.

“What’s the hold-up, Donnina?” Y/N glanced up to notice a group of teenagers. All about the same age as the two of them. But what stuck out the most was a group of boys playing around near a booth. Their playful nature was animated and rather funny.

Grinning she wrapped an arm around Lily’s shoulder, “oh I see it’s those tourists. They’re rather cute I’ll admit,” she commented.

“What do you think about that one?” Lily asked pointing at a bespectacled boy with dark hair.

Squinting Y/N finds herself analyzing the boy from his charming behaviors to his handsome looks. “Attractive,” it was simple but for someone like Y/N, it meant a lot.

Lily and Y/N knew each other inside and out better than most people did. So a simple compliment from Y/N meant she wanted to get to know him too.

“Should we talk to him?”

“What about that thing we rushed here for?”

“Aldo will be here next Sunday with the book I want to look at, should we talk to him?”

The urgency in her voice was clear, it hinted at her fear of passing up on what could be a once-in-a-lifetime deal. Nodding her head Y/N nods her head in his direction, “Let’s go.”

Pulling Lily along she smiled softly when standing in front of the boy. Up close he was much more handsome than she gave him credit for.

James was listening to Remus explain the difference between the two books in his hands to Sirius. He knew Sirius only did this to rile him up. Looking away from his friends he noticed two girls walking towards him. One was short and flushed and the other tall and grinning.

He would be lying if he said that he didn’t feel something. They were opposites of each other yet they looked so good together. Like that of sunshine and rain where together they equal out to rainbows. A balance is what they represent one that he wanted to be a part of. It was a strange feeling but it felt meant to be.

“Ciao,” he said without thinking.

The tall girl smiled with a laugh, “Ciao.” While the shorter one looked away before looking back at him with a smile, “Ciao.”

“I, I didn’t really pass Italian just enough to end up on this trip,” he explained. He felt as if he had to as if he owned them something.

“No it’s fine, we know English. Your accent British?” The tall one asked with just as much interest as a puppy. Her accent is thick as she speaks fluently and confidently.

“Yes, I guess the accent was very obvious,” he joked.

“That among other things,” the words from the shorter girl made him grin. Her voice was lithe sneaking up on his ears with agility. While the taller girl’s voice felt like velvet wrapping around his eyes blinding him with mystery. Both were opposite but equal in the effects they were having on his senses.

“Oh, what are these other things?” He asked leaning forward enough to smell figs and jasmine on her. A floral and fruity scent that made him lean back some.

“If I told you so easily it wouldn’t be as fun,” she told him.

“She’s always like this if you’re wondering, you’ll have to pry her secrets from her cold little hands to know.” The glint of amusement in the taller girl’s eyes was evident. Just like the smell of mint and lemon when she stepped closer to whisper that to him. The crisp and citrus scent was exhilarating like a cool breeze sweeping over him.

“I’ll keep that in mind for the next time we meet,” he tells her.

The confidence in his tone was enough to cause Y/N to look away. Lily found herself squinting at him, “who said we would meet again?”

“I can’t say for sure but I hope so,” he says. “You’re both really interesting.”

“We’ve said less than five sentences each,” she tells him. All he did was shrug a look of certainty on his face. His expression revealed it all as if he knew they would.

“Then let’s trade IDs?” He asked them.

“How do you even know we have the app?”

“I don’t, but I’d like to hope you do, red.”

Laying in her bed whilst looking up at her ceiling Lily sighs. Sitting up she glanced over at whom she deemed her other half. The other girl was sculpting something with clay her headphones probably blaring some loud music.

Each time Lily tried to sleep her mind would wander to the bespectacled boy they met. His charisma was refreshing in a way she had not expected. Though she denied it on the trip back home she did enjoy his company.

His words so easily teased and left her cheeks red. She couldn’t understand how he so easily did so. Before she could think longer about the British boy she felt arms snake around her waist. A head resting on her chest, “What are you thinking so hard about, Donnina?”

Weaving her fingers through the taller girl’s hair the ginger sighs. A look of contemplation on her freckled face. “That guy…the British boy. He’s not easy to forget,” she uttered.

Mulling over Lily’s words she agreed, “I get that..he’s very charismatic in a way. But under all that, there is this heart tug where you can’t help but enjoy his company.”

“Exactly!” Lily exclaimed as she brushed hair out of the other girl’s face. Her finger trailed down her forehead and along the bridge of her nose. “I wonder if that’s normal…to feel that way about someone you just met.”

Humming softly Y/N’s fingers ghost over Lily’s sides before resting on her hips. “Maybe it’s a British thing? To be so charming and have people eager to see them again.”

“I thought that was the French?”

“It’s all relative, or how do people say Greek to me.”

Lily snorted shaking her head, “I think this is why you shouldn’t skip out on your literature classes.”

“Why would I stop when I have such a beautiful tutor to teach me when I don’t show up for classes?”

“You’re such a flirt.”

“You wouldn’t have me any other way, donnina.”

Verona was beautiful at night, James remembered Remus telling him it was the city of Romeo and Juliet. A lovely Italian city where lovers can go and enjoy the sights around them.

Lover or not he had to admit that the city was more than he expected. The town with its medieval architecture and the meandering Adige river. It was hard for him to stop looking out of his window as the moon reflected perfectly upon it.

He could hear Sirius and Remus’ hushed tones within the room. The two had spent the day with James although James made it clear he was okay alone. He didn’t want to ruin the time his friends could have in such a romantic place together.

But he was grateful, sighing he glanced down his eyes finally leaving the river. People were still walking about outside conversing. he expected the nightlife to not be as active. From the morning and afternoon being busy with bustling marketplaces, piazzas, shops, and gardens. But from the way people were chattering and laughing it seemed there was more to the city.

For some reason he found himself watching a duo of two women. One tall and the other short both of them laughing and clinging to each other in their drunken state. He wondered if they did similar activities, or rather he wondered what they were doing now.

A small ding left his phone, his hand dived into his trousers pocket to retrieve it. A message from Y/N appeared on his phone, eagerly he opened it.

Typos are on purpose because they are messaging in English. To better clarify when it’s just Lily and Y/N speaking together it will be in Italian. I’ll better indicate that in the next installment, but Y/N is terrible at English but she tries. I’m such a sucker for this trio already.

#x reader #poly!reader #fluff #poly fanfic #pro jily #jily x reader #james potter x reader #lily evans x reader #lily evans #james potter #marauders era #marauders au #marauders #poly jily #poly!jily

[freckliedan]

jam. listen. i know its a joke in the new dapg but dan asking phil ”would you say you’re a man now” and phil Strongly replying ”no!” is doing something to me

SAME! god. i have so much to say about the ways phil fails gender actually. it's a different way of navigating gender than dan's, which. i think i have made it deeply clear how much dan's way of navigating and exploring gender means to me. but like!!!

gender is socially constructed. man and woman are categories that most people fall into, and the way those categories are defined is decided collectively. and like—the most broadly accepted definitions of man and woman in western society include heterosexual attraction and presenting gender in a way that is appealing to the opposite binary sex/presenting gender in the way most acceptable to patriarchy. that makes all queerness gender nonconformity.

there's different degrees of it, of course—i'm not saying there's no cis queer people, or that all lgba+ people are actively gender nonconforming. there's self determination in claiming trans & nonbinary identity! that's not something i'm going to apply to people who don't claim it. and there's assimilationist lgbta+ people of all identities putting a lot of energy into conforming to cishet expectations of gender performance.

what i'm saying is that in the eyes of many, to be anything but cishet is inherently a failure to perform gender "correctly". on a really base level, that's why the misogyny, homophobia, and transphobia can't be effectively fought against in isolation, and why our liberation can only be acchieved through solidarity.

which like. this is perhaps not the point of my reply to this ask, but it's the framework that allows me to articulate WHY i'm so insane abt phil and gender, even if his is a quieter transgression from expectation than dan's?

like phil's emphatic "no!" on whether or not he's a man? it makes sense! he's not, not in the way manhood is defined by so, so many people. phil's gender is that he's gay. i don't think he personally registers that as something besides cisness, but like, it's something deeply relatable to me in my transness! it's a cool queer way of existing and identifying!

idc if it was a joke in the video! that's also some real shit! welcome to den does gender studies about dan and phil. please keep talking to me about these things forever.

in conclusion. wrow. phil's gender is faggot just like me 💛

#jam replies #anon #amazingphil #phil lester #phan #<- tagging all my original posts this this year #g? #anyways i haven't actually taken any gender studies classes. i'm just stoned and also smart

[communistkenobi]

im an undergrad student who was thinking about specializing in studying fascist movements in North America for my masters and ive really enjoyed reading your book commentary - you connect things that I'm not always aware of in ways that are really comprehensive and appreciate

Do you know of any researchers who are moving things on the topic right now (most of the books ive read are around 20+ years old, unfortunately)?

(sorry if any of this is unclear/grammatically incorrect/weirdly worded - I'm super sick rn)

thank you! I'm really glad to hear that :)

For contemporary writing, I'm currently working through some of Alberto Toscano's work - he has a really interesting article from 2021 on fascism from a Black radical/Marxist perspective where he summarizes various historical analyses of fascism from Black (particularly US) thinkers and activists. One thing I especially appreciate is that he complicates Aime Cesaire's formulation of fascism (i.e., "european colonialism come home") as incomplete when applied to settler colonial contexts, especially the United States - one of Cesaire's articulations of fascism is that (to paraphrase) "one fine day, the prisons begin to fill up, the Gestapo gets busy" and so on, and Toscano, working through Angela Davis and George Jackson, responds with (again I'm paraphrasing) "the prisons are already full! The Gestapo is already here!" etc. Toscano also has a new book that just came out in 2023 called Late Fascism, which explicitly addresses the current moment. I only have a physical copy of that so I can't share a pdf unfortunately, and I still need to get around to reading it lol.

These are also a couple random articles I found insightful:

Carnut (2022). Marxist Critical Systematic Review on Neo-Fascism and International Capital: Diffuse Networks, Capitalist Decadence and Culture War - does what it says on the tin

Daggett (2018). Petro-masculinity: Fossil Fuels and Authoritarian Desire - talks about car culture as a site of modern reactionary political movements, links climate denialism with (proto-)fascist movements

Parmigiani (2021). Magic and politics: Conspirituality and COVID-19 - this one does not mention fascism explicitly, but imo the intersection between new age spirituality, anti-vaccine sentiment, and qanon/q-adjacent conspiracies are pretty important to understanding contemporary fascist social movements, so I'd still recommend reading this

Finally, this isn't an article but I found this recorded lecture about the history of Qanon pretty interesting. I don't think the author gives particularly insightful answers on how to solve the problem of far right conspiracies in the Q&A portion but I found it to be a helpful summary

Otherwise I've been focusing a lot on decolonial scholarship more so than fascist scholarship - this is again guided by Cesaire's argument that Europe/The West broadly is inherently fascist. These works aren't contemporary, but you can look at this post for some of the readings I linked on decolonial scholarship if you want to go that route. Those are serving me more for theoretical frameworks to guide contemporary analysis, not analysis of contemporary events directly

also idk if I need to put this disclaimer, but just in case this leaves my blog: this isn't a full throated defense of/apology for everything in these articles, I'm not claiming they're sufficient to understanding the present moment, these are just some of the things I've been reading recently and have found helpful in some way or another. a lot of contemporary work I have read (much of which isn't linked here because I don't think its very good/do not have it on hand) focuses on populism and authoritarianism as central analytical terminology, which i think does a lot of work to exceptionalize and mystify fascism as a historical and political process/project originating from European colonialism & Western imperialism, but these terms are endemic to the field so you have to contend with them no matter what

good luck with your studies!

#asks #book club #i need a fascism tag i think lol. maybe ill make one later

[lil-tachyon]

Got any good resources for clothing drawing tips?

Okay so quick little introduction before I try to answer this question. First of all, sorry for letting this languish in the inbox for so long. I have a lot I want to say about this and I'd really like to make a proper "tutorial" but this week took a lot out of me so what you're going to get are some visual notes on graph paper and some rambling thoughts. Maybe down the line I'll try to flesh this out more into a proper guide, but for now it is what it is.

Second- for many different art concepts I can give you some really great recommended reading for self-teaching. There's a whole section of my website with links to things that helped me learn. Clothing is one of those things where I never found a book or tutorial that really "clicked" with me. It's one of the few areas of art where I feel like it's fair to say I'm genuinely self-taught. So what you're going to get here is very much my opinion, not undisputed common wisdom or whatever. Take it with a grain of salt. This is how I draw, not the "right way" to draw.

Third- drawing clothes is not something fundamental like perspective or rendering where there are actual hard-and-fast "rules" you can learn to guide you. It's not even like anatomy where there are approaches that have been worked out and passed down by artists over generations. I think about drawing clothing as a synthesis of several different skills- a little bit of anatomy, a little bit of perspective, a little bit of rendering. Honestly a smidge of graphic design. You're employing a "cloud" of your artistic skills towards a specific end. What this means is that the TLDR of this post is going to be "do what you would normally do to improve at drawing but apply it to clothing." So don't expect something life-changing, instead just open your mind to maybe trying some new things you hadn't thought of before. Also this is going to be more about drawing than painting, that is more about "lines" than "shapes" but the two skills overlap and the same concepts should be broadly applicable. But my examples are going to be drawings.

Okay intro out of the way. Clothes are mostly just tubes of fabric, fabric wants to fall down. The human body and sometimes wind and water and other fluids will stop this fabric from falling down all at once and instead give it a shape. Keep this in mind. It's helpful to know how clothes are actually constructed if you want to know how they will deform when falling across the figure. Where a garment is simply a length of fabric, it's very flexible. It can bunch together or be stretched taught. This is most noticeable at the parts of the body that open and shut like hinges- knees, elbows, and armpits. The behavior of garments at these areas of the body is highly dynamic.

At seams where different sections of fabric are stitched together, movement can be come more limited. Seams are usually imperfect- pieces of fabric of slightly different lengths might be stitched together or fabric may shrink over time around a thread causing it to pucker and wrinkle. For these reasons, seams often act as the originating areas for folds and wrinkles, even when a garment is not in a particularly flexed/active state.

In a two-dimensional image, it can be helpful to describe a garment in terms of silhouette and wrinkles/folds. The silhouette is the actual boundary of the garment, where the fabric comes to an end. The wrinkles/folds are where different parts of the garment pass in front of each other or where the fabric becomes bunched up to the point that light can't reach inside and occlusion shadows form. You should always keep the overall silhouette of the garment in mind to inform the bigger shapes you draw, but you will use wrinkles and folds to demonstrate how the garment twists and deforms. These are the basic tools in your arsenal. Keep it simple.

There are lots of different ways to approach wrinkles. My advice and my personal preference is to draw wrinkles as shapes and not just lines. Specifically, tapered shapes (like triangles) and be really good both for implying motion and the varying depth of a fold/wrinkle. Experiment with different shapes of varying angularity, fill texture, etc. Your hands and eyes will guide you towards what looks and feels good. There's no right way but I would advise you to exaggerate! Ask yourself- what's the biggest shape I can draw here? How can I twist it to make it bigger, crazier but still describe the form in a way that makes sense? It can be exhausting to just try to perfectly copy a reference and also using your imagination like this when doing studies will help build up your visual library for when you're drawing/designing clothing from imagination. In general I would advise you to focus more on drawing something that looks good (ie is composed of shapes that you find aesthetically pleasant) than is "correct."

Quick recap: Garments fall down, you can simplify an article of clothing into a silhouette described by folds and wrinkles. What next? Observe! Take notes! It is worth your time to think about how common articles of clothing are constructed. Jeans, t-shirts, dresses, etc. I used to do some hobbyist sewing and clothing alteration and I think that hands-on work with clothes has really affected the way I think about drawing them. You don't have to go that far but like- look at the world around you. Stuck on the bus, in school, in a meeting, etc? Even if you can't draw, look at how your pants bunch up around your legs, look at the sleeves of someone sitting next to you. I mean, don't be weird about it, but these are valuable observations. Think about how you would draw those things! Really getting good at drawing clothes involves studying them in the wild, understanding how they work, building up your visual library. Look at a faded denim jacket- at the puckered places where the indigo has rubbed away or the permanent creases that hardly see the light of day and remain a deeper blue. Look at petrochemical techwear outfits that break into jagged, high-sheen triangular wrinkles. Soak it all in!

Save pictures of and take notes on outfits you like, designers you like, garments you like. Keep track of these things. Come back and study them over time. Have fun with it! I have folders and folders and folders of images of clothes that I come back to constantly. Over time and with lots of study you'll learn what you want to draw when you draw clothes and that's half the battle. You'll have images of buttons, pockets, belts, laces, fabrics, seams, dancing around in your head that you can deploy at will. It's delightful.

Hope this helps! If anyone has more advice to add, please do! If this tutorial helped anyone, please show me your drawings! If you'd like more stuff like this from me, just send me an ask or an email and I'll answer it when I can.

Peace,

Logan

#illustration #art tutorial #art thoughts #clothing design #drawing tutorial

[shu-of-the-wind]

Okay so I have been asked to cast an eye over SB197 in the WV legislature, which is a new bill introduced to both add a new section to WV law as well as amend an existing section about child neglect and abuse, to see what potential issues I see.

TLDR: this is not only really dangerous from a standpoint of people being trans publicly, since one of the big editions is making being trans a display of obscene material and punishable by law, particularly within school grounds, but I am also seeing a lot of parental rights additions that make me REALLY SCARED of how trans kids are going to be treated in WV. I’m going to go thru it section by section and break down why each section frightens me, so hopefully this is educational for folks.

My creds: I worked in family law as an attorney for three years, I was affiliated with a public defenders office for that same amount of time working primarily with juvenile offenders, and I am still an attorney even if I haven’t worked in those fields for the last six months. Plus I’m trans. And I love WV and wanted to live there. So.

WEST VIRGINIA'S FUN NEW SHITSHOW HORROR HOUSE TIME.

The new section (formally titled §18-5-29, Obscene matter in public schools prohibited [I will be calling it the Obscenity section]) is about 700 words of absolute garbage. Essentially what it distills down to is the following.

Section A: prohibiting anything they label as “obscene matter” in or within 2500 feet of any public school library, classroom, building, or other facility under the supervision of the state board of education and requiring that any school officials or personnel who become aware of the material remove it from school grounds. “Obscene matter” is currently defined in §61-8A-1 of the WV code, pretty fuckin broadly (unconstitutionally so in my opinion but ~that’s me~). So basically anything an “average person applying contemporary community standards would find taken as a whole appeals to the prurient interest or is pandered to a prurient interest” (basically, anything ~unwholesome~), anything that an “average person applying community standards” would find depicts sexually explicit conduct in a “patently offensive way,” or anything that a reasonable person would find “taken as a whole, lacks serious literary, artistic, scientific or political value” which basically means E V E R Y THING.

Section B. This is the one that scares the shit out of me tbqh, cause this is folding in the amendment section I mentioned earlier to another part of the WV code specifically relating to child abuse and neglect. This section mandates that any “school officials or school personnel while engaged in a professional capacity or activity” shall be found to be a “custodian of children” under WV law. This basically makes EVERYONE a mandatory reporter, which like…most professionals already are, but at the same time this is EXPLICITLY MAKING ANYONE WHO WORKS IN THE SCHOOL IN ANY CAPACITY (see: any school officials or school personnel) mandatory reporters regarding “obscene matter.” So if an adult working at the school even SUSPECTS that a child has been exposed to “obscene material “while in any public school facility (unclear from the phrasing if the exposure happened on school property, or if the professional just learns about it there) and they decide not to report it (or they “fail to make a TIMELY report” when there’s no real definition of what timely means) then they can be prosecuted for a misdemeanor and imprisoned.

Section C. The state superintendent is going to establish a procedure to file complaints alleging violations of subsection A. If they find that a violation occurred, they will TELL THE COPS THAT IT HAPPENED.

Section D. No government funds (state or federal) can be used to develop or operate programs “designed to promote or encourage sexual activity, whether homosexual or heterosexual” or “to distribute or aid in distribution of any legally obscene materials” within 2500 feet of a school building or facility. Which, woof. We could unpack everything about that one, but it’ll be most of the review.

Section E. If an adult is found to have committed a felony under the child neglect statute related back to this one (if they’re found to have neglected kids by allowing them to view or possess “obscene material” is my understanding, this bill isn’t written that well) then they will be subject to penalties set forth in a felony, which I’m guessing (on average) is at least a year in jail and a thousand dollar fine, from what I’ve seen of WV felony statutes.

Section F. THIS IS THE OTHER REALLY SCARY ONE TO ME FROM A LEGAL STANDPOINT. “Any student or parent, guardian, or custodian on behalf of a student shall have civil cause of action against a county board, public charter school, state board” if the entity caused or was negligent in allowing a violation of the preceding sections, basically if they let anything slide PARENTS CAN SUE THE SCHOOL which like…if you’re talkin about a trans kid who is not out to their parents, they’re found to have “obscene material” (fanfiction?? Fanfiction could qualify here??? Risque art that isn’t even definitionally pornography?? A book abut transitioning that they’re hiding from their parents???) the school is mandated to not only out this kid to their parents, but the parents can then sue the school if the school DOESN’T OUT THE CHILD. Just spinning a hypothetical here but I hate this.

The rest of the bill is adding in definitions to Article 8A of the WV code, which are as follows. Anything italicized is the new language that has been proposed to be added by the bill; anything NOT italicized was already in the law:

(g) "Graphic," when used with respect to a depiction of sexually explicit conduct, means that a viewer can observe any part of the genitals or pubic area of any depicted person or animal during any part of the time that the sexually explicit conduct is being depicted.

(h) "Identifiable minor" means a person: (i) who was a minor at the time the visual depiction was created, adapted, or modified; or (ii) whose image as a minor was used in creating, adapting, or modifying the visual depiction; and (iii) who is recognizable as an actual person by the person’s face, likeness, or other distinguishing characteristic, such as a unique birthmark or other recognizable feature;  and shall not be construed to require proof of the actual identity of the identifiable minor.

(i) "Indistinguishable" used with respect to a depiction, means virtually indistinguishable, in that the depiction is such that an ordinary person viewing the depiction would conclude that the depiction is of an actual minor engaged in sexually explicit conduct.

(i)(l) "Matter" means any visual, audio, or physical item, article, production transmission, publication, display, exposure, exhibition, or live performance, or reproduction thereof, including any two- or three- dimensional visual or written material, stereopticon, moving picture, slide, film, picture, drawing, not exceeding $500 video, graphic, graphic novel, or computer generated or reproduced image; or any book, not exceeding $500 magazine, newspaper or other visual or written material; or any motion picture or other pictorial representation; or any statue or other figure; or any recording, transcription, or mechanical, chemical, or electrical reproduction; or any other articles, video laser disc, computer hardware and software, or computer generated images or message recording, transcription, or object, or any public or commercial live exhibition performed for consideration or before an audience of one or more.

(j)(m) "Minor" means a an person under eighteen years of age or a person representing himself or herself to be a minor. Any prosecution under this article relating to a victim who is representing himself or herself to be a minor shall be limited to investigations being conducted or overseen by law enforcement.

And the big doozy here is this one:

(k)(n) "Obscene matter" means matter that:

(1) An average person, applying contemporary adult community standards, would find, taken as a whole, appeals to the prurient interest, is intended to appeal to the prurient interest, or is pandered to a prurient interest;

(2) An average person, applying community standards, would find depicts or describes, in a patently offensive way, sexually explicit conduct; and

(3) A reasonable person would find, taken as a whole, lacks serious literary, artistic, political, or scientific value.

(4) For the purposes of any prohibition, protection, or requirement under any and all articles and sections of the Code of West Virginia protecting children from exposure to indecent displays of a sexually explicit nature, such prohibited displays shall include, but not be limited to, any transvestite and/or transgender exposure, performances or display to any minor.

(l)(o) "Parent" includes a biological or adoptive parent, legal guardian, or legal custodian. (underlining this one for the legal side note that remember that custodian language from before??? that's where this kicks in)

(m)(p) "Person" means any adult, partnership, firm, association, corporation, or other legal entity.

(n)(q) "Sexually explicit conduct" means a ultimate definitive sexual act, normal or perverted, between persons of the same or opposite sex, actual or simulated, including genital-genital, oral-genital, anal-genital, or oral-anal sexual intercourse, sodomy, oral copulation of any kind, sexual bestiality, sexual sadism and masochism, masturbation, excretory functions and lewd exhibition of the anus, genitals or pubic area of any person, or lascivious simulated sexual intercourse where the genitals, breast, or pubic area of any person is exhibited.

okay. well.

I mean. This is all just gonna be an absolute garbage hellscape if this gets passed. THE IMPORTANT THING IS IT HAS NOT BEEN PASSED. If you live in WV, you can call folks and say that you are AGAINST the passage of SB197. Call your state or county representatives! They are the people who vote on this! If your representative is on the Judiciary Committee, so much the better, that’s where the bill is being evaluated right now!!! Here is the list of delegates on the committee! Call them!! Make a point to be upset!!! Explain why you don’t want this bill to pass!!! Keep an eye on the Committee website for the dates that the public hearings will be held on this bill, because there likely will be a public hearing people can speak at!! You CAN actually do something, it’s not the end of the world.

Even if you do not live in WV and you live NEAR WV, then 100% reach out to folks you know who live there and give them a safe space to land if they need to get out of the state!!! There are things you can do. Just….a heads up to everyone that this is on the table and it’s something they’re going to be discussing.

#transphobia #queerphobia #west virginia #us politics #political and legal analysis #legal analysis #alix is a lawyer #i hate this #i love west virginia as a state and i hate this as a trans person and an attorney and a child welfare advocate #every bone in my body is full of bees looking at this

[my-deer-friend]

Hii I have a bit of personal question, if that is alright. I am very interested in the American Revolution but I do not live in America. I would like to become a historian or researcher of that time period one day. As a student do you think it is difficult to be a historian of the American Revolution when you are not American? I get a lot of books and information online, but I do not think it is the same as being in a place? Do you think your school program a good stepping stone to get into an American graduate school? Is that something you want to do one day?

Sorry for all the inquiries, you are just the only person on here who is in a similar situation as myself! Best wishes to you!

Hi Anon! This is a really good question, and I'll do my best to answer it as both a history student and a university professional.

(First, I'll note that my interest personally is not primarily in the American revolution, but rather in the 18th century more broadly. That includes lots of angles that I can pursue in Europe, not least looking at relations in the Atlantic world, the "republic of letters" and the enlightenment, and thematically I'm interested in queer history, which can be studied everywhere. I also have no desire to live in the US. But, yes, let's assume AmRev is the focus.)

There are different considerations for undergrad vs postgrad.

Undergraduate

At undergraduate level, it doesn't matter too much where you study. At this point in your journey, broadly speaking, the focus is on developing your academic skills, learning established content about your topic, and exploring a range of scholarly interests (not just the topic itself, but how to research that topic – i.e. methodologies). As long as your university has a department for American history, or even better a major, you're fine.

While you're busy with your degree, you can supplement your learning about the period in a lot of ways, including:

Using your own library to access books, journal articles and databases (and getting materials through inter-library loans if need be)

Using the vast and ever-growing online resources on American history provided by institutions like the Library of Congress, American universities and libraries (e.g. NYPL)

Where something isn't already available online, contacting the archive that has it and seeing if you can get a copy (I wrote a post about that)

Talk to your history prof about your interest, and they will probably be able to suggest some avenues to pursue. One very useful tool is to look up the AmRev curriculum or syllabus from other univerisities and see what readings and topics they cover (just google: "american revolution" syllabus). Here's one that came up.

And then – and I'll put this point in bold because it's the most important thing I'll say here:

👉✨Attend conferences✨👈

Conferences are where you make invaluable connections with like-minded scholars, hear about new research, find out about opportunities (scholarships, programs, funding, etc.), discover what a career in academia actually looks like, get advice from people already doing the job you want to do, and so on. There are even conferences specifically for undergrad students, or there might be a track at a generalist conference that allows emerging researchers to present on a topic. Lots of these take place online (hence, cheaper), or you might be able to apply for funding from your university to attend (or idk you have a fabulously wealthy great-aunt).

Postgraduate

While undergrad is more about learning, postgrad is more about finding out. The higher up the ladder you go, the narrower your focus becomes, and you start to need more specialised guidance. To get the most out of your learning, you need to go where the experts are, and naturally, many of the most cutting-edge scholars on American history are, well, in America. You'll want to be surrounded by a community of like-minded scholars. And yeah, "being there" can be important not just for better access to primary materials, but also for insights that come from physical, social and cultural proximity.

That said, I don't think it's impossible (or inadvisable) to study the American revolution outside of America; it's just trickier. Doing that successfully comes down to 1) finding the right advisor and 2) choosing the right topic.

By this point, you should know who the leading scholars are in your particular niche of interest. Nobody really studies "the American revolution" writ large; rather, they (and you) will focus on the political or racial or sociocultural or regional or culinary or-- whatever aspect of it. It might just happen that the people in your field are located near you.

You can also approach the topic from a different angle – start from a local point of interest that you can to relate to the AmRev. (Maybe you're Italian, and you know about Italian History Blorbo who went to fight in the war, and there's a story to tell there. Maybe you're Dutch and you have things to say about the intricacies of the financial and political support the Netherlands gave to America. And so on.) This might, in fact, lead to novel insights and perspectives that haven't been explored yet.

Good luck to you!

If anyone wants to share their own experiences, please feel free!

#amrev #american history #gradblr #feel free to send any follow-up questions #as you can see i'm very capable of rambling on about this topic

[demarogue]

Gunna say something and it’s not gunna be as gracious and measured as what some of my friends have said.

This is a message for the ship warriors of ACOTAR. It applies more broadly but this is honestly the most toxic dysfunctional fandom I have ever had the pleasure(???) of participating in, so it’s mostly for this one.

You all need to get a fucking grip.

These characters are not real. The world SJM has created is not real. I love the books as much as anyone can, I have reread them many times and they are my preferred escapism when I’m having a shitty time but it is just that — escapism.

You know who IS real? The fanfic author you’re dragging. That’s a real person. The artist who made a picture of a ship or a character you don’t like is a real person. The other fans who have theories you don’t like or opinions you disagree with are real people. (The author herself is also a real person, though I suspect that statement might get me dragged. This isn’t really about her, though.)

If someone is unable to remember which of these things are imaginary and which are real, and uses their fandom presence to genuinely hurt a REAL PERSON because they disagree with them about a ship — that’s shitty, toxic behavior. That’s not neutral behavior. I hope people in this fandom start blocking those folks en masse because they need to lose their followings. I’m gunna go a step further and say that if you continue to follow/support people who are doing this, that’s not neutral behavior either.

Apologies really don’t mean anything if the behavior continues.

I made a space (on discord) that is zero drama because the way this fandom operates on tumblr and tiktok and the bird website is atrocious. I did that specifically so I can kick people out if they cannot treat others with respect. If you want to come hang, you can dm me (I’m not posting the link publicy again because I’m not interested in playing whack-a-mole with trolls). It’s 18+ only, for ethical reasons.

I will not be entertaining excuses and devil’s advocates and he-said-she-saids about the situation I’m referring to. If it reminds you of something, it probably applies. If you were involved, I hope you make actual amends to the person you hurt. And I hope everyone across fandoms gets their act together for 2023.

It’s supposed to be fun, y’all. It’s supposed to be joyful.

#fandom #acotar

[spyglassrealms]

Spy's OCs: Zak Kaiyo

art by my good friend, the wonderful @wildegeist!

Realm: Arcverse Species: Tokaya Homeworld: Terotewaukia (Teroteaumia system) Age: 26 annua (29 Earth years) Gender (human analogue): cismasculine (he/him, xe/xen*) Height: 1.8 m Weight: 72.5 kg Occupation: Captain and pilot of the starship Free Spirit; freelance cargo-hauler; occasional mercenary; jack-of-all-trades [Suggested Listening: Burn Out Brighter by Anberlin]

Zakane "Zak" Kaiyo is the co-owner, captain, and pilot of the heavily-modified light hauler Aum Hara (otherwise known as the "Free Spirit") and the leader of a small band of freelance spacers that make their home aboard the ship. He's just one more spark in the great spiral; one more restless soul trying to make a living doing what he can in a galaxy that's always moving and yet always standing still. From the Tyrian Shallows to the Drift and everywhere in between, Zak and his small but loyal crew of misfits can be found anywhere something interesting is happening.

Zak's talented -albeit reckless- piloting skills earned himself and his copilot Arkto a spot in the Galactic Spacecraft Pilots Association Hall of Fame, having broken the record for the smallest crewed ship by mass to exceed 10 million times the speed of light with a hyperdrive. His performative stuntwork is also renowned, and he frequently attends the annual Galactic Pilot Convention.

Most of the "swashbuckling freelance ace pilot" tropes apply to this space hobo, whose personal creed is "do good recklessly." His confidence, determination, and cheerful sarcasm make for an extremely charismatic, if reckless, leader. He's very mischievous and likes to get into trouble, but can be relied on to get out of it as quickly as he gets into it… most of the time. Zak acts fearless but, go figure, this man has Attachment Issues. He hates the idea of getting tied down to one place or thing, yet at the same time he is fiercely protective of his crew. (Shhh. Nobody tell him.)

Zak's homeworld is a backwater: connected to the galaxy and participant in its affairs, but hardly anyone there actually got out beyond the system. He was constantly told that he ought to be happy on Terotewaukia, fixing up interplanetary haulers and maybe going to the outer moons of the system once in a while. He and his two best friends always wanted more. The three of them had plans to quietly fix up one of the written-off hauler derelicts on company time and get the hell out, making their way around the wild starry yonder to see what could be seen.

And then one of them decided they wanted to stay and settle down.

That was the last straw for Zak. As soon as the opportunity arose, he and Arkto (his other bff) took off in their souped-up light hauler and never looked back. But once they were out there... Zak came to realize that the galaxy isn't a really adventurous place.

See, Arcverse is a universe that everyone thinks has been more or less figured out. Galactic civilization has been around for something like a million years or so, and the Arcadian Order have been sort of running the Galactic Assembly for about that long (mostly because they got off their planet first and they do a pretty decent job of wrangling the rowdier civilizations with diplomacy). The entire galaxy is, broadly speaking, at peace. The clash of titans already happened; the fate-of-the-galaxy-level stakes were sorted out thousands of generations ago. All the major starfaring powers, while independent in principle, are constrained by the bureaucracy of the Galactic Assembly. There's mild internal turmoil —and there's always an underbelly— but it's still quite tame. There's a whole galaxy out there with lots to see but nothing to really strive for in it.

Zak Kaiyo is someone who desperately, fundamentally, needs to strive. He wants to live fast and die young in a galaxy where everyone lives at a reasonable pace and dies basically never. He exists to challenge the stagnancy of a world that's as close to utopia as it can reasonably be. Zak wants so badly to save the galaxy, but he lives in a galaxy that doesn't need saving. And that's tearing him to pieces.

#my first actual public oc bio! how bout that! #i spent so fuckin long writing all this up and then almost deleted the whole draft by accident lmao #thanks again to wilde for the art!! #my friend wildegeist is so fucking cool go check out their blog #spyglass’ realms #arcverse #spy's ocs #zak kaiyo #character bio #please pardon the genre tags #original character #oc #alien oc #science fiction #science fiction writing #scifi #scifi writing

[spearxwind]

Just wanna let u know all your art slaps and I love it so much and ur a very funny person so congrats on being one of my fav blogs of all history

Also do u have any tips for drawing dragons because they (your dragon OCs) are all so cool looking and I have some of my own but I wanna spice them up a lil so I wanted to see if u have tips and tricks for that stuff

AUHGHGHGH THANK YOU SO MUCH!!! Im super glad you like my stuff!!!

And YES ACTUALLY I do have tips, but they're not my own!! Whenever someone asks me for tips on dragons I always love to redirect to the tutorials on dragons sammy torres did, all of which you can find [ HERE ]

These tutorials are like The Bible for drawing anything dragon related. Not only are they beginner friendly, they are expert friendly as well, in my opinion. These are an immense help to anyone looking to do dragons, and there is one for every different part that one might have trouble with! And honestly, I feel extremely confident linking these because they word everything much better than I could

Other than that, I think dragons are generally really subjective as creatures. There's classic dragons, but the term 'dragon' applies so broadly to so many shapes that its extremely hard to go wrong with designs. Theyre one of the things that lend themselves the most to experimentation with shapes, bodies, features, etc, so even though these tutorials might nudge dragons in a specific way dont be afraid to experiment with anything youd like to explore :]

My one wish however is to make sure every dragon has proper wings though for that refer to [ THIS ] post of mine thank u for ur time

#ask #sorry this took me a while ive been busy and i was out of the house and then i was sickkkkk #but i can finally properly link these!! if u have any other more specific requests for tips i can give it a try to give my own thoughts on #but honestly sammys tutorials are so complete. sorry i am a total fangirl if youve seen me link them before yeah i probably have #i gush about them soooo much these helped me so so so so much when i started getting serious abt dragons #and also please realize i have been drawing dragons for literally over twenty years rn #draw more dragons always forever we need more of them always

[myrfing]

sorry to add to the #discourse about the werlyt stuff in ffxiv, and feel free to ignore this, but your posts just got me thinking about how the average western consumer of japanese media doesn't know how to spot signs of japanese nationalism in their fave game, movie, anime, etc. For example, I remember a couple of weeks ago on twitter someone said that Miyazaki's works feature prominent elements of japanese nationalism despite not necessarily being pro-war, and both the replies and QRTs were an absolute disaster. ffxiv is a liberal game, its politics are not exceptional; they just aren't (as) egregious

Considering the social locations of people who make a piece of media and how that location affects the way they write things, like politics, isn't an outlandish concept. But ffxiv fans always seem hyperdefensive about this and i cannot understand why

yeah for sure! imo people are getting better about it (don't think it even registered in most of the english-speaking side of the internet's heads that there was a pacific theater for a long time), with more eastern media being translated and gaining popularity that DOES legitimately have leftist authors, but you still have a ton of "how can this work have jp nationalist elements when they say War is Bad 🤨". feels like a lot of this is cause really anime/manga/games were so vaunted as the ultimate escape for americans (not exclusive) and now that people are gaining more of a political consciousness, there's this need for the things that are nostalgic and soothing for them to be "good" media without Problems. which is like. not the point man. though people have always studied and conversed about media trends and the influence of eras on the art created within them and there's always been a knee-jerk You're Being Crazy reaction to it (even though if it's a conversation they're not interested in right now, the people who have this reaction usually can always just...step out lol), I feel like it's just magnified by the way social media uhh does all that. and on top of it a lot of discourse is in bad faith, so sometimes not giving people the time of day DOES seem like the correct and safe option every time but it's like...some people apply it so broadly and blindly that it's basically anything that upsets me = wrong and bullshit.

And you're totally right about xiv LMFAOOO it feels like some people are compelled to do damage control for the game like it's personal. you'd assume that everyone is working off of the recognition that ffxiv is a mass market product and a feel-good fantasy and the writing may not even reflect the totality of a writer's beliefs, but rather what they believe is the median, liberal truth that they're willing to sell. sometimes in oddball places you can find hints of something more genuine but these are exceptions. & acting like it's proofed from this is suggesting that somehow final fantasy fourteen the mmo is interested in breaking any status quos and the whole of its creators have collectively managed to break apart from the time and history they exist in, when in truth it relies on it to guide its writing and business plan. i don't think this is a crazy controversial thing. it's a normal thing. & i cant really speak for how other people are talking about it, but i rarely suggest malevolence in my critiques of the shit I enjoy moreso than I'm saying Le Hegemony Has Arrived....something not even individual people can escape myself included much less a corporation....but the accusation is assumed anyway. What is the worst that can happen by acknowledging some stories and patterns in xiv's story have very liberal takes on topics in which liberalism understands and treats poorly? i dunno the answer to this one honestly I do not understand the fear

#also dont worry im the DISCOURSEKEEPER if you kill me it will cause a flood of light that will blockchain 9/10ths of the world #also enjoying werlyt or whatever doesn't make you a colonizerhead but leaping to defend it may. #like it's ok i'm not watching you play. nobody is watching. #UNTIL YOU COME ONLINE AND SAY SHIT ABOUT IT! THEN YOU'RE INI MYYYYYYYYYYYYYYYYY YARD (joke)

[rollercoasterwords]

like. i still wouldn't want someone to copy and paste my fics into a large language model like chatgpt but it's not so much bc i'm worried abt my work being stolen (seems unlikely that an LLM would spit back out my exact words considering how it works, and even if it did, i doubt any individual would be able to like. publish and profit from those words, based on the nebulous status of copyright law when it comes to LLMs like chatgpt. and having my words fed into the LLM really isn't going to make much of a difference when it comes to corporations profiting off the tool in the first place; plus in instances of corporate exploitation i think there are more effective ways to organize than like...arguing for strengthened ip laws or trying to like make ip laws for fanfiction spaces). it's more because i'm wary of what that says about how a person is like...approaching my fic specifically + fanfiction more broadly. in two main ways:

1. i think it is just. basic respect to check with a writer before u take their work off ao3(or whatever fanfic-specific place it's been shared) and put it somewhere else. and like, this applies to lots of things outside chatgpt--reposting fics to other sites, posting them on goodreads/storygraph, printing + binding fics, etc. if u are treating fanfic writers as people who u are in community with, who are generously sharing a gift with u, then it seems like basic kindness to check in and see if they're alright with u taking that fic outside the space it was posted to do something else with it.

with chatgpt and similar LLMs specifically, a lot of people are wary because there's still so much unsettled in regards to how copyright laws might shake out, and most people (myself included) are unsure of how/whether our writing/data might be stored and used by these corporations that own the LLMs. i don't think ai itself is something that should be mythologized as like ontologically evil technology, but anytime a corporation is introducing us to new tech like this we need to be wary of where it's coming from and how it could be used--people have already pointed out a lot of very serious issues with the way this technology is being developed and how it could/likely will be/already is being used exploitatively--which, again, is more a matter of organizing against corporations than railing against ai tech itself, but is still a valid reason for writers (again, myself included) to be wary of having their work fed to LLMs without permission.

and like. sure, u don't have to care abt writers' feelings + boundaries and can just take their stories and do whatever u want with them. but to me that says u aren't treating fanfic as a community space, but rather a content farm in which fics are products that u are entitled to do whatever u want with. and i just think that's shitty! and if that's how ur treating fanfic then i'd rather not have u reading my fic at all

2. i honestly think it's a strange way to engage w storytelling by treating endings this way. like. story endings are usually v important + intentional, and can completely change the entire tone, themes, messages, etc of a story. i understand going to the writer and asking them abt what they had in mind for the story ending if ur looking for closure, and i understand imagining ur own story ending or even writing ur own ending to an unfinished story. what i don't understand is plugging a story into chatgpt and having it spit an ending out for u.

and like. maybe this is bc we've all been calling these LLMs ai, which evokes an impression of like. a sentient robot creating something. but that's not what these programs do! the first article i linked explains how they actually work really well, but essentially--chatgpt and similar LLMs cannot create new ideas. they can't take a story and synthesize its themes or pick apart its tone to then come up with an original idea for an ending. at the same time, they aren't just plagiarism machines that are ripping text directly from other writers and spitting it back out.

instead (to my understanding), what they're doing is compressing vast amounts of information by running statisical analyses to just save the most common trends, patterns, recurring info, etc, and then plugging that in to fill the gaps. it looks like it's writing something new, but it's essentially just paraphrasing already-existing information pulled from the internet. so i'd imagine that if u fed an ai a fic and said "write an ending," the ai would basically compare the fic to whatever similar stories it has saved and then spit out an ending that is most commonly found on the internet for that type of story. [not an expert here tho--this is just my best guess based on the bit of research i've done].

my point is--you won't be getting a new ending inspired directly by the story u put in. you'll be getting a paraphrased version of the most commonly recurring type of ending for similar stories on the web. and i just....don't see how that would be satisfying in any way. it seems, again, like a way in which someone would be approaching fic like a product, something that needs to be finished + complete bc ur entitled to it, rather than viewing fic as a piece of art with its own unique themes, message, and story that can't just be plugged into a one-size-fits-most ending generator. and like, i'm trying to avoid mysticizing writing as some sort of ethereal art form that would be blasphemously degraded by having someone plug in a shitty ending paraphrased from a conglomeration of various similar stories--i don't think someone creating a shitty ending for a story is like. a horrible evil thing. but i can understand where the satisfaction is coming from if you're writing your own shitty ending, where you get to come up with where u think the story would go + where u get to synthesize the themes u picked up on etc. but ai isn't even doing that--so again, i don't understand where the satisfaction is coming from aside from just going "well every story i read needs to be finished," which. makes me wary bc it just feels like a completely different way to approach stories and storytelling than i would hope to find in fanfic spaces, one that treats fic less as a creative place to explore and more as a transactional space where u are entitled to products.

anyway. feel like my thoughts + feelings abt ai keep changing the more i learn abt it + i'm sure they could change again, but rn my impression of this whole situation is like. i find the fact that some people are plugging fics into LLMs less concerning re: ip + ownership rights, and i don't think it's useful to exaggerate or mythologize abt what ai actually does (i think even calling it ai has kind of misled a lot of people, myself included). what concerns me more is that plugging fics into LLMs to write endings feels symptomatic of a broader culture in which people treat fanfic as an informal profit economy in which fics are product or content that a consumer-audience is entitled to, and i think that sort of approach leads to a whole plethora of other issues + makes fandom a more hostile space.

#hopefully this makes. sense #i am not a fan of most of the uses of ai/LLMs that i've seen #but i also am concerned that much of the backlash against it seems to be defaulting to this position of either #mysticizing writing in reactionary ways #and/or running into the arms of ip laws #which are a tool of capitalism and shouldn't be trusted any more than the corporations who profit from + exploit them!! #definitely feel like there are issues w plugging fics into LLMs without permission and would not want anyone to do that w my writing #but. moreso bc i don't want my writing being treated like content for consumption y’know #anyway the articles i linked esp the first and third r really good...highly encourage reading them #ranting and raving #txt