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antimony-medusa · 1 year

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One of the things that I think sometimes gets lost when we talk about what's appropriate in fandom spaces is the notion that things can be appropriate in one space, but not for another. And that doesn't mean that the thing that's inappropriate in that setting is wrong, it just means that it's rude in that space. I think people want a single set of rules that's appropriate everywhere, but the thing is, you have to be able to assess the situation, and adjust your behaviour accordingly.

So an example. I have a fairly popular text post that was me asking about c!phil and religion in all innocence, and someone said "the only thing I have to say about c!phil is that he worships on his knees, thank you and goodnight". And I reblogged it like "I can't believe I forgot about how this fandom does phil analysis", cause it was at the height of the dilfza memes.

Anyways that's obviously a phil-is-happily-married/oral sex joke, in an oblique innuendo way, and on this site, where Phil is not here, and his friends are not here, with it being clear I was talking about the block man character, and we make jokes about sex and profanity (a very popular url scheme for a long time was "[name]shugecock" (or smalldick, depending on the joke)— that's a fine joke to make. I'm an adult, I can make sex jokes about fictional characters on the sex joke fictional character social media site.

If I was to make that joke in Philza's twitch chat, a) in his face, b) with his wife modding, c) in an enviroment where people aren't prepped for sex jokes, d) with it being not clear if I was talking about the cubito or about the real guy, that would be wildly inappopriate. I would be banned in every chat Philza mods in and I would deserve it.

That doesn't mean that it's inappropriate to make the joke in the first place though, just because I wouldn't do it at a Phil meet and greet. It means you gotta learn to read the room. (And like, sometimes it's hard to learn to read the room, but you can do it by pure brute-force memorization. I did.)

This is the same theory that underlies the fact that you can call your friends a bitch in a friendly way, because you are friends and you know each other's boundaries, but if you call your boss a bitch, you will be fired. There are rules about workplace appropriateness, and there are rules about what's appropriate in front of kids (I teach teens, I do not swear in front of them, I swear a LOT in front of my roommate), and there are rules about what's appropriate in different fandom spaces. Participating in an exchange about pregnancy and babies with your favourite blorbo of the moment? Great. Showing the actor gift art you got of him pregnant? No. Bad. Go directly to jail, do not pass go, do not collect two hundred dollars.

The thing that concerns me is that I think there are slight signs that as we get more comfortable with sexy jokes and offcolour remarks as a MCYT fandom (QSMP is the big banner example but it happens with other smps), we're taking what's appropriate in one space (tumblr, home of the brain worms, where I have seen the blog "philzaswetpussy" on my dash), and we're bringing it into places that it's not appropriate (sure, slimeariana is clearly canon, but maybe don't put the actual dicks-out fan art in the art tag on twitter that slime checks). Cause we can obviously tell that the rules twitter is going with are silly for here, so it's full speed ahead for roier/spreen etc, but the trick here is that it's full speed ahead HERE, or in fandom servers, and not necessarily in the streamer's faces.

We have a bunch of situations where creators have said that it's not their place to weigh in on shipping or nsfw etc, and people have taken that as a go ahead and that's fine, but thats still something where I'd like, caution people that just because they said "not gonna look at it not my deal", that doesn't mean that like, you should make it difficult for them to avoid looking at it. Talking about scitties is an honourable tradition, but telling scar that he makes you question your sexuality in his TTS— I made a horrified noise in real life and the cats came to look at me.

And I'm talking about the shipping, but this is also a thing with like— sometimes I see a streamer and I go "my friend you just vividly described neurodivergent symptoms" but it is ABSOLUTELY not my place to say that in their chat. It might not even be appropriate to make comments about it on my blog, with the amount of followers I have. I have to keep the "streamer just described the ADHD experience again :pensive:" comments for the group chat. And we all nod and go "yeah sounds like streamer", and we do not put it in his face, cause that's inappropriate.

We get to have fun with the fictional characters, including off-colour fun, but we still have to remember that there are real people who don't know us who are steering those fictional characters around, and it can be profoundly weird to see some of the (stuff that is appropriate in fandom spaces!) just up in your face in the regular fan art tag.

Just think about the space you're in, and who you're in front of, and if a CC notice is actually likely, and if a CC notice would be Very Bad actually with what you're doing, and keep the "world's sluttiest absent father" bracket (with associated slutty fan art) for here, not with the streamer tagged on twitter.

#discourse #medusas banger posts #fandom meta

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8hsaturn · 1 year

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-- my astrology observations pt.1

Aquarius risings with Neptune on the ascendant can be extremely popular for their appearance amongst their peers, they’re also pretty influential and can be copied very often if Uranus is conjunct the ASC. They tend to have an immaculate fashion sense especially if paired with Taurus placements.

What separates Libra from Taurus is their way of expressing Venusian energy: Taurus, fixed earth, expresses it through a beautiful voice and coveted seduction, they’re down to earth and aware that they’re naturally attractive, acting chill and not being a try-hard is their trick. libra, cardinal air, on the other hand, isn’t scared to shake things up and keep people on their toes, they’d flirt to see how well their charm works and would change “tactics” to hook people in. they’re cardinal and so know how to spark someone’s interest but their air nature can make them pull away before they feel trapped. Taurus alternatively might prefer to simply sit because they know they attract people without moving a finger. Both can be very charming but also difficult to pin down especially as they grow older and more in tune with their Venusian nature.

As someone who always does readings for my friends, I noticed people with similar majors tend to have similar placements! law/political science majors tend to have a lot of Libra or just Libra on the angles and even 7th-house placements. IT/coding majors tend to have a lot of Scorpio/Virgo/Aquarius. actually, you can even guess why they chose the major from their chart.

My Capricorn friend chose software engineering because of the job prospects and because he enjoys working hard on a program and seeing it come to fruition which is very Saturnian.

8th house synastry is a complex matter but I believe the issue lies in people looking for that one overlay that guarantees a perfect relationship: there’s no such a thing. each overlay will have different results depending on both people’s charts and how they use or abuse their own placements. 5h synastry with your 5h stellium crush can seem incredible until you realize their Saturnian nature makes them see 5h energy as inherently immature and repress that nature, and have their ego drive them to see all fun they don’t initiate as cringey. 7h synastry can seem like a promise for marriage until you realize your person hates how they lose themselves in their relationships and distance away from you. In short, you can’t promise anything even with a synastry chart in front of you if you don’t know the trauma and experiences of both people. Makes sense, because astrology is truly just a tool to understand better, it doesn’t control or define anything.

8th house moon synastry can make the moon person very attuned to the other person’s feelings and want to know how their deepest emotions. Bad intentions can make the moon person use their knowledge to manipulate the house native though. it can be an aspect for understanding but if the house person has a Scorpio or Saturnian moon, or a natal 12h/4h/8h moon, or moon aspecting Saturn they might see this desire as annoying and could put them off, especially if they’re emotionally unavailable/stunted: they see the connection as making them too vulnerable and will escape it.

Sun conjunct Saturn… might make the sun person feel as if the Saturn person is repressing them, dulling their light, and just dampening their mood. In what exactly? that depends on the sun sign and house where the conjunction happens. e.g: if the sun conjuncts Saturn in Gemini in the 9h: sun person might feel that Saturn isn’t as enthusiastic or excited about the things that they’re passionate about or doesn’t understand their jokes or interests, shuts down convos or doesn’t let them talk. They might feel mocked for their beliefs or that the Saturn person doesn't take their philosophies and deeper concerns seriously.

I disagree with the notion that certain placements indicate intelligence or otherwise lack of. Intelligence is so complex and difficult to define, and I don’t mean eq vs iq or mathematical vs linguistic Intelligence, I mean that people’s experiences can push them to hone certain intellect over the other: having a libra stellium doesn’t mean all you got is street smarts, but that’s what you found yourself focusing on developing due to the cards you were dealt in life. I believe your chart will indicate which skills and intelligence you had to use, or need to use, be it something you have to learn from scratch or an instinctive talent, rather than natural skills.

that’s all, thank you for reading this far <3

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bimboficationblues · 7 months

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how is "nationalism of the oppressed" mythological

In a dual sense - 1) like all nationalisms, it relies on central myths, and 2) the idea of an innately revolutionary "nationalism of the oppressed" is itself mythical, not a useful analytical or political tool but basically a way of handwaving difficult tactical questions.

All nationalism is in some sense myth-making - it posits an underlying, intangible unity among a group of people with highly diverse and divergent interests and traits. This is part of the reason why nationalists so often talk in the abstract language of "national spirit" - abstraction is kind of the point. This intangible unity doesn't *have* to be ethnicity, it's frequently (for example) the highly nebulous concept of "culture." But the inevitable slide towards ethnicity - and I do think it is inevitable - is unsurprising.

If you identify the unifying force of a people, the thing that makes it a "nation," with something like language/religion/culture, those things are fairly fluid both in space (taking a variety of different forms across different places) and time (changing over time for any number of reasons). This is especially the case because those traits are basically "open," at least theoretically: other people can move in, learn a language, convert to a local religion, and/or learn the techniques and style of local cultural production (and in the process change the character of the culture). So the supposed unity of "culture" is very obviously made up. (It's also worth noting that, insofar as nationalism is coextensive with statecraft, we often see efforts to preserve or create a "national culture" or "national unity" that leaves out or represses certain groups and practices; figuring out what constitutes "the nation" is a highly arbitrary process.)

Ethnicity is also fake - it is a "myth of common descent" - but that quality counterintuitively makes it a more stable foundation for a nationalist political project, because it is 1) derived from something in the past, making it harder to contest or observe, and 2) an immutable trait within the myth's context. You can't identify or convert or learn your way into being a part of the ethnos, you either are or you aren't. This makes for a much more stable boundary line around who is included or prioritized within the polity and who isn't.

As for why "nationalism of the oppressed" is mythological: it is not a meaningful historical category. When people invoke it they are collapsing a bunch of different projects and movements, some of which are conservative and some of which are revolutionary. I also reject the idea that nationalism's goodness is contingent on whether it is practice by an oppressed or oppressor group and nothing else - lest we forget that Zionism was once considered a kind of "nationalism of the oppressed."

For the socialist or the revolutionary, nationalism should be considered a kind of tactic; it is not a good in itself. Any revolutionary or liberatory movement is going to have to make decisions about what they want the movement to look like - its positions, rhetoric, propaganda, goals, etc. Nationalism is a historically popular means for doing things like rallying people to your cause, establishing basic principles for statecraft, cultivating a new political and social culture, etc. This is basically Frantz Fanon's argument in Wretched of the Earth - consistent with his arguments in his previous book, Fanon rejects the notion of a prepolitical national unity. He does not want to wade around in the primordial soup for a "true history" for colonized countries to return to or emulate. But nor does he reject nationalism as a strategy for combating colonialism on the field or in the body. Rather, he wants a class-driven national culture that is emergent from within the process of anti-colonial resistance and that ultimately gives way to an internationalist, universalist humanism once its purposes have been achieved. It's an extremely qualified kind of argument. I don't totally agree with it, but it's an argument that I can wrap my head around and endorse in the broad strokes, because above all it is talking about nationalism as a means towards something.

The kind of people who bastardize Fanon and try and recuperate him into their insipid microwaved politics have this entirely fictional idea of nationalism as an innately revolutionary end, that if you put nationalism in the hands of the right people it will automatically gravitate towards liberation and will not introduce the same kind of problems that the nationalism of colonial powers or capitalist countries has. This is just demonstrably not true (*gestures vaguely at cross-pollination between black nationalisms and black conservatisms, the historical relationship between nationalism and liberal statecraft, the success of right-wing religious or ethnic nationalist movements like Hindutva or Ba’athism in post-colonial countries, etc.*), and is basically just weird, idealist nonsense about how being oppressed makes you morally virtuous.

It also has the effect of obfuscating class politics - ironic, since the people that most frequently utter this line are ML(M)s. There are quite a few "nationalisms of the oppressed" that presume the working-class of a country or a group has more in common with its local bourgeoisie or professional-class counterparts (frequently the spearheads of nationalist movements, if we wanna talk about "class character") rather than the working classes and oppressed groups of other countries.

What the "nationalism of the oppressed" myth does is effectively evade hard strategic questions. Instead of asking "how will this help the cause? what problems might it introduce? does this conflict with long-term goals and are the short-term victories going to be worth it?" it just assumes from the outset that none of those questions are worth asking. It assumes that nationalism is an automatically better foundation for a movement than humanism, or cosmopolitanism, or internationalism.

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your3fundamentaltruths · 4 months

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"Penelope Isn't Owed Colin's Feelings"

Some parts of this fandom have a tendency to elide and otherwise get twisted the following regarding 2x08: (1) why many of those who are unhappy with Colin are unhappy with Colin and (2) why many of those who sympathize with Penelope sympathize with Penelope. And that's only more apparent in the reactions to the season 3 scene released on Valentine's Day.

It's not about thinking Penelope is owed Colin's feelings.

People are unhappy with Colin because of how he expressed that he wasn’t interested in Penelope – both because friends shouldn’t talk about their friends that way in general and because she’s in a more socially precarious position than he is and his seeming to think her less-than only makes her prospects worse. Even if Penelope didn't have feelings for him, it still would have been viewed unfavorably.

Some like to say the latter point about damaging Penelope's prospects isn’t a big deal because Penelope didn’t have prospects before 2x08 so she’s not losing anything when it’s actually a bigger deal for that very reason. Speaking like that about a Daphne/an Edwina/another popular, sought-after girl would be seen as sour grapes or otherwise not reflect badly on the girl, but saying something like that about a wallflower who has no dowry is just pushing her further down and increasing the likelihood that she’ll never have any prospects, particularly when Colin’s just been seen leading her out of a ballroom after being regularly spotted in her company. What’s wrong with her that, despite all that, the notion of courting her is not just unappealing but laughable? the rest of the ton will wonder. And Colin will recognize why this wasn’t great because he’s a fundamentally decent and sensitive person and will likely also recognize that Pen’s confidence is ground to dust at the beginning of the season. Neither of these things will sit right with him. Hence, the “confidence lessons.”

Yes, Colin’s not perfect and he's allowed to make mistakes. He's only human. But this mistake hits Pen (and the audience) harder because he's otherwise been good and kind. And because we know, even if she doesn't in that moment, that he will feel very badly about it because he's a good guy and will hate to have hurt her.

Penelope falls in love with Colin (even if not in the fully-fledged, "see all of you" way that they both will this season) because of the kind of friend he is to her, i.e., his kindness. The fact that she develops these feelings in the course of their friendship and that these feelings sometimes influence the ways she acts doesn't make her some kind of awful predator lying in wait who feels entitled to having her feelings returned as I've seen implied by some. This makes her someone in love with her friend, which is a necessary part of a friends-to-lovers story. Hope ≠ entitlement.

And people sympathize with Pen not because they think she can do no wrong or because they believe she is owed Colin’s feelings but because, even knowing that no one is owed anyone else’s feelings, they see her grappling with unrequited feelings in particularly painful ways. In season 1, they watched her have a front-row seat to the person she loves romancing someone else, mostly in her own home, up to an engagement and near-elopement. At the beginning of season 2, they watched her and Colin talk past each other in the "you do not count" scene in a way that hurt her, even if they know that was not Colin's intent, after the pair of them spent the off-season writing heartfelt letters. They watched her hopes build up all throughout the rest of season 2 until the very moment she overheard him (more on that shortly), even if, again, it would never have been Colin's intent to confuse her or lead her on. Colin and Pen are simply not on the same page.

So people have all this context coming into 2x08. But most of all, they understand how badly it would hurt to hear anyone you care about, let alone someone for whom you have feelings (and doubly so a dear friend for whom you have feelings) say something like that in that tone and laugh, let alone in your own home on the same night you've just lost your best friend.

Relatedly, let’s talk more about why the Featherington ball was a night of such high highs and low lows for Penelope. Up until that point in the season, Colin had shown her such care, including just a little while before and, while for him it is exclusively in the spirt of friendship, it's very much unintended mixed signals, i.e., more talking past one another. The ways Colin expresses his friendly affection for Pen are at odds with what was widely considered appropriate behavior in their time between a man and a woman who are neither related nor romantically involved. In fact, by the standards of Regency England, Colin is taking very significant liberties that are inappropriate between opposite-sex friends of marriageable age who have no intention of becoming more than friends (and even between those who are romantically interested in one another but still unmarried). For example, Portia would have been considered justified in demanding that they marry just after finding them alone together behind a closed door in 2x08 doing nothing else otherwise untoward – and likely would have, had she not been so shaken up by Colin figuring out the gemstone scheme. And, yes, Pen is not pushing back, is meeting him where he is, because she likes it and because she also values their friendship and wants it to mean more – but, in the context of their time, it’s even more understandable that she’d read more into it than someone now. And even someone now might read into some of the things Colin says and does and get confused and then hurt upon learning they're wrong and that their friend only has friendly feelings toward them, particularly in the way Penelope is forced to learn that she's wrong.

Does that mean Penelope's reaction in the new clip is the kindest or fairest? No. But she’s human and she’s hurting. She's a lonely nineteen-year-old girl really struggling to find her place in the world who heard her dear friend express his lack of interest in her in a really disdainful-sounding way inconsistent with both his immediate and long-term private treatment of her. That’s really jarring and she not unreasonably concluded that this happened because he finds her embarrassing. If you were her, might there not be a little voice in the back of your mind wondering whether this is even the first time he’s spoken about her that way when he thought she couldn’t hear him? Still, I expect she’ll also feel badly that she spoke to him the way she did, especially in the face of an earnest apology from Colin about what he said, or she wouldn’t accept the offer of the confidence lessons and it would take longer for them to get to where they are in the “remarkable shade of blue” scene in the second episode. Let's give her space to come to that place. Let's show her a smidge of grace instead of assuming the worst of her and anyone who sympathizes with her.

Lastly, some of the same people who are mad about what Pen said and how she said it in the Valentine's Day clip (1) complain about the way the fandom is too hard on Colin for not saying things exactly right and (2) spent months preemptively raking Pen over the coals for "ghosting" Colin, for holding "never dream of courting Penelope Featherington" over his head for ages, for publishing it in Whistledown to punish him rather than talk to him directly, etc. So let’s give her a little credit for ultimately saying it outright to him, even though it must have been mortifying to do so when she believes she embarrasses him. Did it feel nice to Colin not to receive any replies to his letters? Of course not. It wouldn't feel good for any of us. (Side note: I hate that his family seems to have mostly left him on read, too! Don't get me started on that.) But would you want to reply to someone whom you believe you embarrass and who you believe has been two-faced toward you (i.e., being kind and friendly in private and laughing at you in public)? But to her credit, when confronted, Penelope does say why she's upset.

And no, Penelope does not owe it to Colin to further mortify herself by explaining that her feelings for him made his words last season that much more hurtful. (I’ve seen people criticize her for that, too.) Not sharing every single thought and feeling that crosses her mind does not make her Bad – neither a bad friend nor a bad person. Again, have some empathy and be honest: is there any scenario in which you would you be eager to tell someone you had feelings for them after hearing them laugh at the thought of you being a serious prospect for them? If Penelope does at some point admit her own feelings (and the longevity of said feelings) before she hears a declaration of love from Colin as she does in the books, then she is brave as hell and hats off to her, but not doing so at this stage would not be some dereliction of any friendly duty to Colin, especially not if she forgives him for his words as we know she does.

Actually lastly: not forgetting something entirely doesn’t mean you haven’t forgiven someone for it or are trying to punish them for it. It would not only not be Bad but also entirely understandable if Penelope had doubts when first confronted with a proposal from Colin later in the season, especially if it immediately follows the carriage scene. It would not be unreasonable for her to think this arises from a sense of gentlemanly obligation or lust or both, especially when she's familiar with his tendency to want to play the hero and when she has every reason to believe that his engagement to Marina came on the heels of a seduction. Grappling with understandable insecurities, including a fear that she might be inadvertently entrapping him, too, would ≠ Penelope trying to punish Colin for 2x08 or for not having feelings for her from the start if the show goes down that route.

#polin #colin bridgerton #penelope featherington #bridgerton #I love them and I wish people would just allow them BOTH their humanity #and not assume the worst of people for trying to do so

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sugar-grigri · 8 months

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Kumbaya, My Lord... Who's going to come to us...?

You might think that this chapter would be hard to analyse because it sets the stage for future confrontations, but in fact it is fascinating because it heralds the next chapter.

Following the chronology first, the chapter confirms what was implied in the last few chapters, namely the war on images.

Children are seen as precious to the public hunters in that their survival and their tears can sway public opinion one way or the other.

It is crucial to neutralise Asa not just because she is dangerous but also because she is the symbol of the church; if she manages to retain her popularity despite the actions of the public hunters, then their efforts will be for naught.

This line is very interesting because it shows that the problem is Denji

The hunters boast of having searched the weapons and, in itself, everything would be so simple if Chainsaw Man were a weapon in the true sense of the word and could simply be searched and stored in a warehouse.

But it had to be an unpredictable teenager that Yoshida couldn't fully master...

This answer is just as interesting as it is equivocal: what does it mean to play Chainsaw Man? Playing hero? To be a symbol of alternative justice to the state? To be popular? This line is deliberately ambiguous, following on from part 2, which explores the essence of Chainsaw Man.

If we can't answer it, it's precisely because part 2 clouds this identity...

Impostor, instrumentalisation, neutralisation, blackmail, popularity, solitude... Denji no longer knows what the second component of his identity means...

This conversation about the demon of justice is important because it helps us to understand several things:

1) it's difficult to identify a demon, which further confuses the question of what Fake!CSM or even Chainsaw Man is, which is an unusually crucial demon for a monster that's supposed to represent nothing but fear of chainsaws

2) The fear that demons represent isn't necessarily correlated with their appearance and what they exude, especially when it comes to more abstract notions like justice. This sort of giant species looked like demons of greed, not justice. Whereas an oversized brain gave more of an air of something intellectualised like justice ?

3) So who had Yuko contracted with ? But also the other contractors, whether from the church, or even Asa's friend in the first chapter?

4) A demon can lie about its identity when it contracts with a human, which makes Pochita even more mysterious. This point is disturbing in the sense that one of the rules that had been laid down was that human/demon contracts were in good faith in the sense that neither party could go back on its word.

If a demon can lie about his identity, either that means he's not really lying or that he doesn't necessarily have to reveal his identity in order to enter into a contract.

He has to keep his word on his commitment (lend his powers) but doesn't necessarily have to mention who he is.

If it's the first possibility, i.e. the fact that the mysterious demon with whom Yuko and members of the church have tied up isn't lying when he says he's the demon of justice, then it's the second possibility.

This sends us back to him, Fake!CSM, who doesn't say that he's a multimorphic demon capable of stealing identities...

So CSM is not the only one to be cloned, but the demon of justice too.

Fake!CSM would not be the real Chainsaw demon, nor the demon resulting from the fear of Chainsaw Man, but a demon based around identity, its usurpation, its loss, or even the demon embodying amnesia, memory...

If Yuko has a contract with Fake!CSM that would explain why he's killing her. Since the contract came to an end, she was able to take revenge on Asa's bullies.

All these questions remain unanswered. Now let's look at how this chapter foreshadows the next one.

Let's get back to Barem's case. First of all, the victory of the public hunters obviously seems too simple, and we suspect that there will be a reprisal. But in what way? And what reprisals?

Already Barem hasn't been sent near Denji simply to chat, which means there's another plan afoot

Miri and the others were bait, and the main course takes place in this very amusement park.

Barem announces that he prefers to watch the sunset, which gives him a very contemplative side and gives several possible clues

1. The simplest one is that saying you want to watch the sunset means you know exactly how precious things like that can be. Weapons usually have difficult pasts, so has Barem been deprived of the light of day? I mention his condition as a weapon because it's something that resonates with what Fumiko is saying, the fact that if Barem is neutralised, he will be forced to be used by the other side. Weapons are nothing more than weapons to be searched by public hunters.

2. The most interesting of all, the sunset at night, has something to do with the man who has intrigued us from the start, the man we don't know whether he's an ally or an antagonist: Fake!CSM. He intervened twice during the dawn by killing Yuko, and warned Chainsaw Man to act before daybreak. Fake!CSM only acts at a given moment: when day breaks or when he hides.

As well as confirming that he'll be coming soon, this also confirms that he could be the one behind the big question revolving around the demon of justice.

That would explain the title 'Kumbaya'. Like everyone else, I looked into it. Apart from the fact that it comes from gospel, which confirms Barem's attachment to religion and to God, what interests us is not only the context of this popular song but also its literal meaning.

I'm not an expert on this, so if anyone wants to correct what I'm about to say, feel free.

Kumbaya is a song that originated with the Gullah, a group of African-Americans located in the Sea Islands along the coast of South Carolina and Georgia. These people were originally slaves from West Africa, brought to the United States to work in the rice fields. What's interesting is that someone like Barem is using it, this song about a people who have been instrumentalised like their own, and who have found refuge in religion and faith.

This is not the first time Fujimoto has referred to the Christian religion. Firstly, because CSM is a work packed with biblical references, but more importantly, the person who expressly refers to the Bible is none other than the impostor.

God, and his divine mission to create a world without devils, is the answer to this question. What is the church playing at? Pursuing a Christ-like mission. If Fami really wants to save humanity from the apocalypse as foretold by Nostradamus, this relationship between humanity and the end of time is just one of the purposes announced by the Christian religion.

But above all, "Kumbaya" is also derived from Gullah, English Creole mixed with several West African languages, which can be heard as "Come by ya" or "Come by here". It literally means asking God to "come here" and help the singer.

It immediately resonates with what I meant above, doesn't it ? Barem isn't just waiting for the sun to set, he's waiting for his saviour.

When Yoshida attacks Asa, Kumbaya has the same meaning. She is being attacked by a particularly difficult enemy, but her response will in fact be proportional. Although she appears to be in a bad way with her hand cut off, she is actually in a state of strength.

Her hand is Asa's own property, and nothing is more certain than the fact that our bodies belong to us ? Then the weapon will be all the more powerful.

Repeating Oh Lord Kumbaya once again means that someone is coming to help, Asa is simply passing the baton to the one who will lead the offensive : Yoru.

Whether it's Asa or Barem, everyone is just waiting for their saviour to start attacking.

#chainsaw man 145 #csm 145 #chainsaw man #csm #csm part 2 #csm spoilers #denji #asa mitaka #yoru #yuko #fami #yoshida #yoshida hirofumi #barem #miri sugo #fake!csm #my thoughts

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vintagegeekculture · 5 months

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RIP Tracy Tormé, Creator of the "Holodeck Malfunction Episode" and Sliders

Tracy Tormé’s most enduring legacy in popular culture is that, while a writer on TNG’s tempestuous first and second seasons, he created the entire concept of the Holodeck Malfunction Episode.

Yes, even people who suggest you skip TNG’s first couple seasons say that “The Big Goodbye” is one you don’t want to miss. And there was a very nice tribute to Tracy Torme in an episode of Picard, which had him as the author and creator of Dixon Hill… which he is, and deserves credit for this.

I suppose I should mention I had a personal encounter with Tracy Tormé at a convention. The main thing I remember was that he looked absolutely terrified when someone asked him about what happened with “The Royale,” far and away TNG’s worst episode except the clip show, about the crew getting trapped on a hotel they can’t leave from a badly written book. To his great credit, he took responsibility for the episode not working and did not pass on the problems to the production crew.

The most extraordinary thing about Tracy Torme is that he had a Forrest Gump like ability to appear in the background of scifi culture’s greatest moments.

Not only was he inside the TNG writers’ room in 1987-88, he was around during the production of Terminator with James Cameron. Tormé was the one who, hearing about the production of the film, squealed on it to Harlan Ellison, telling Ellison that it was based on his old Outer Limits episodes, with a visual based on his script for “Demon With a Glass Hand.” In other words, he was the Gavrilo Princip who got that entire conflict started, where two of the most proud personalities in scifi butted heads, James Cameron vs. Ellison. Cameron, to this day, insists that the film company gave Ellison money and a credit because it was easier to pay him off than to go through litigation (which rings true, frankly, for risk averse production companies), and to this day Cameron insists, with his absolutely expected big dick swagger, that Ellison is a “parasite” who received money for nothing, and if it had been up to him, he wouldn’t have given him a dime.

It’s also worth mentioning that Torme also created the TV series Sliders.

Has anyone else noticed that Sliders is an incredibly right wing show? Seriously, watch it again if you haven’t seen it in years. If you haven’t watched this show since the 90s and you were a kid and all that went over your head, it’s kind of amazing how Limbaugh/Newt Gingrich era right-wing Sliders actually was. It made 24 look like Doonesbury. The targets of Sliders were 90s New Right satire: health care systems, infuriating hippies, the nanny state disallowing the public smoking of cigars, California weirdness, the drug culture, the USSR. Torme’s right wing views were less John Millius-style “blood alone moves the wheel of history” stuff, but more like that of a slobby regular joe in the 90s, Dennis Leary’s character in Demolition Man for instance, who mostly just wants to smoke cigars, ogle girls, and eat hamburgers without getting scolded by his wife. He was less “Passion of the Christ” and more “Animal House.”

I am not saying this as a negative, but merely a description. Contrary to popular belief, right wingers driven by bizarre sexual pathology and weird grudges produce amazing art, as Millius and John Swartzwelder show. A lot of Steven Universe fans love to say things like “all good art is about empathy and kindness” and I reject that notion. Good art can also be about reflecting things in the human experience like fear, trauma, cruelty, and paranoia.

For that reason, it doesn’t surprise me that Tracy Torme’s best movie script was a horror film about a traumatic experience, Fire in the Sky. An ominous movie about a vanished ranch hand who was the victim of alien abduction, in the earned finale the film’s tension builds toward, our hero remembers the true cause of his missing time: an abduction by aliens, who’s motives are emotionless and incomprehensible, and who subject him to horrific vivisection that we see in excruciating detail. Travis Walton is treated not with sadism or cruelty, but with icy detachment, by alien superintellects that view him as no different than cattle, and are to him as we are to cattle. The most terrifying detail of the film is that the classic “gray alien” look turns out to be spacesuits, revealing a far more frightening appearance underneath.

#tracy torme #tng #sliders #terminator

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violetrainbow412-blog · 10 months

Text

Devil's night [S. R.]

Spencer Reid x fem!reader

word count: 4k

summary: Spencer is excited about his Halloween plans and you join him.

Directly based on episode 6x06, because I felt so bad about how the team behaves with Spencer that I needed to do something

“I see someone’s feeling spooky today,” Morgan smiled, looking you up and down.

You were wearing a cardigan knitted with various prints related to the time of year; pumpkins, ghosts, black cats, and candy corn, over a bright purple skirt and tall boots. Normally you would dress more formally due to the implied dress code the FBI operated under, but it was the weekend and Halloween was around the corner, so you could skip a suit day to wear one of those many scary-related items you had. After all, Halloween was your favorite holiday of the year. It was fun for everyone when you were a child, but as you grew up, your love for said celebration became a little weirder for others, so when you became an adult, you didn't think anyone shared such excitement about the date. Well, that is until you met Spencer Reid.

“It became a little more commercialized in the 1950s with trick-or-treating, and today it rivals only Christmas in terms of popularity” you heard him say, as he walked in with an already quite annoyed Emily Prentiss.

You knew that sometimes Spencer talked too much, but you hated that the rest of your coworkers got upset like that when he was talking about something that he was passionate about. Now the subject was, clearly, the next date.

"All I asked was what he was doing this weekend" she complained to Rossi. Spencer ignored her and continued with his cathedra as he settled into the empty space next to you.

“I'm toying with the notion of either going to the Edgar Allan Poe Shadow Puppet theater or the re-enactment of the XIX century Phantasmagoria,” he said and your heart did a little skip. You and Reid had argued on a few occasions, outside of work, about Poe’s works and although you didn't know what the second thing he had mentioned was, it sounded very interesting.

“What is a Phantasmagoria?” you asked nicely and when your partner noticed your presence he smiled widely, as if he was just noticing you in the room. The others all pouted in anticipation of the explanation to come and you hoped Spencer hadn't noticed.

“Phantasmagorias are these amazing pre-cinema projected ghost shows invented in France, where the showman attempted to spook the audience using science magic” he explained to you, while he took a seat and waved his hands from side to side. You were completely unaware of the term so you slightly parted your lips in astonishment.

"Sounds interesting"

"I have an extra ticket, do you want to come with me?" he asked you, almost immediately, with the biggest smile of all. Honestly, the invitation took you by surprise, especially who was asking, and Spencer seemed to see it on your face. “I mean, if you don't have plans this weekend. You can say no if you want."

“I'd really love to,” you exclaimed, so he wouldn't get the wrong idea, and watched his eyes sparkle with joy as he nodded.

The others wanted to make fun of it a bit, but Garcia didn't give them time to when she handed you the case files. When Hotch told you that you were going to fly to Detroit, your partner complained loudly and his gaze inevitably went to you, since you were supposed to have made plans together literally three minutes ago, but knowing that the unsub only attacked during these three days of the year. You had no choice but to accept your fate. You have never gone from feeling completely happy to being so disappointed in such a short time.

"I guess you better forget what I just told you," Reid sighed, as you left the conference room.

"Maybe we'll make it on time, when is the show?"

"This Sunday. The puppet theater is at 9:00 pm, the last Phantasmagoria show is at 11:00 pm. None are sold out yet"

"If we get back in time enough, I'll accompany you both, what do you say?" you muttered, trying to be as positive as possible, as you took your friend's arm with both hands and gave it a friendly squeeze. Spencer was taller than you, but thanks to the boots you were wearing and the extra inches they gave you, your eyes were almost at the level of his “Don't be discouraged.”

"I like your clothes today," he suddenly murmured. Sometimes he would give you those kinds of sweet compliments, perhaps as thanks for the kindness with which you always treated him, and you would almost always blush "The drawings are beautiful. Do you know why pumpkins became so representative?"

"Jack-o'-lantern," you replied, rather proud of yourself for knowing the answer.

"But did you know that in the original story it wasn't a pumpkin but a turnip?" he said and you were silent. But he didn't make fun of you for it, instead he saw a new opportunity to impress you "Yeah, you see, in the original legend Stingy Jack..."

The rest of the team, who was in front of you, shared knowing looks as if they were pitying you for having activated the doctor's rambling mode, but the truth was that you were fascinated with every word that came out of his mouth. Sometimes you couldn't believe how there was someone as intelligent in the world as your cute companion and as he spoke you prayed, perhaps with all your might, that you could catch the unsub in time to be able to fulfill the plans in the ones he had included for the weekend.

Almost as if by divine handiwork, the case was solved just in time for the plane to land and you two to rush home to get dressed for the theater. Hotch was even sympathetic to you and told you that the paperwork could wait for Monday just because he had heard of your plans, which you were immensely grateful for.

Spencer was happy that you agreed to go out with him, especially since the idea of asking you out was completely impulsive. It was true that he had an extra ticket but he never thought of having the courage to ask you to accompany him, much less did he think that you would be interested in it, since he was regularly ignored by his colleagues at work. It was something he had never discussed with anyone, only his beloved and gone Elle, but it haunted him almost every day.

Luckily for him, Spencer had prepared the wardrobe he wanted to wear in advance, and all he had to do was take a warm shower, shave, and put on some cream and cologne to get ready. In addition to, of course, styling his short hair as best he could.

He felt particularly concerned by his appearance that night and he pondered whether you would think he looked silly wearing a 19th century French suit. He had bought it last month and it was stored with his costume collection, which no one on the team knew about yet and he didn't intend for that to change.

He had offered to pick you up and when he got to your building, he felt strangely nervous. The doorman was a kind older man that he had seen a couple of times, so when he said that he was looking for you, the man called you on the phone to let you know.

They were silent for a few moments and he began to rock on his heels to kill some time.

“Will you take her trick-or-treating?” the doorman, Tony, joked. Spencer didn't take it the wrong way, instead he laughed it off.

"It's not the plan, but if someone takes pity on us and gives us some I won't complain" he replied and now it was the employee's turn to laugh.

"I've seen you before, are you her boyfriend?"

“Coworkers,” Spencer clarified, with a smile.

"Ah, so you're also a policeman?" although it wasn't the proper term, Spencer didn't know if you had hidden your real job for personal reasons, so he held back from explaining to the man that you were actually a profiler.

"Yes, something like that"

Tony wanted to ask more questions, but the sound of the elevator caught the attention of both men and revealed your figure.

"No fucking way," you breathed, looking your friend up and down and if he hadn't gone dumbfounded, he probably would have said the same thing "Look at you!"

"Where did you get that?" he asked in amazement. Although Spencer had thought that you would show up in a costume, he hadn't expected to see you like this.

"You don’t like it?"

"No, I love it" he hastened to say, when he heard the insecurity in your voice "It's just… I didn't expect to see you as a 19th-century French lady"

You were wearing a beautiful black dress with lace details that obviously alluded to the fashion of the time, black satin gloves, plus a discreet hat on your well-groomed hair and boots that Reid had seen before, but they made a great combination with the outfit. The man's surprise was because he had invited you with such short notice and yet you had gotten the perfect costume and not only that, but one that conveniently matched his.

“And I didn't expect to see you as a French gentleman either” you laughed, as you reached out to wrap him in a hug "I guess it was pure fate"

“Or the fact that we are going to see a recreation of a 19th-century show. Our brains thought the same thing.”

“It doesn't sound so charming when you say it like that" you complained amused and he realized it was true "Shall we go? I don’t want to be late"

Spencer nodded and immediately offered you his arm to hold onto as you walked, a gesture that made you believe you were really entering a time tunnel.

“Enjoy your night”

"Thanks, Tony! Don't scare too many kids and don't eat too much candy,” you waved, blowing him a kiss as you followed Spencer out the door.

He guided you to his car and opened the passenger door for you and then he got in himself to start the engine and get going.

"I really can't believe that we got a couple's costume by pure coincidence"

“Couple costume?”

“Yes, they are those costumes of the same theme that you use with a couple. You know, like the people who dress up as Fred and Daphne or Morticia and Gomez”

Spencer didn't know the last couple, but he did have a vague recollection that the first ones mentioned were from Scooby Doo due to the cartoons he came from as a child.

"Oh" he sighed "Yes, get it”

“Honestly this was a last-minute thing. My downstairs neighbor studies theater and we are good friends, so I asked her if she had anything in her curiosities bag that could help me and she pulled out this dress. It was enough to adjust it a little" you told him, putting both hands on the neck of your dress and smiling from ear to ear "I couldn't believe it, it was really a stroke of luck”

"It looks so pretty on you," he said suddenly, looking away from the road just for a moment to check that you had heard him. "I don't think I told you when I saw you, but that's what I thought."

"Thank you then," you smiled, feeling your cheeks warm a little.

Spencer started talking to you about the creation of puppet theaters and, of course, the Poe stories you were going to witness, with you interrupting him only to point out some decoration along the way that you thought was cute. On Halloween you almost always preferred to stay at home to watch horror movies or go down to the hall to distribute candy to the youngest children, with very discreet costumes to avoid the evil looks of adults. But now you were excited to be doing this with Spencer, who was maybe the only person you knew who wouldn't make fun of you under any circumstances. Your relationship was based on a certain complicity, perhaps more than you had with any member of your unit.

Arriving at the site, he reopened your door and offered you his hand to help you down, which you took without complaining. Once you were outside, he repeated the gesture from when he picked you up from your building and in this way you walked to the entrance, where a woman disguised as who you assumed was Berenice (a Poe character) sold you a couple of tickets.

It was a lovely show and when you weren't looking at the puppets you took the time to admire your companion, whose eyes revealed the emotion of a child. You never thought the doctor was fond of a thing like this and now that you had discovered it you found it quite adorable. As you left you asked him if he was a Muppets fan by any chance and, to your surprise, he was. Spencer even told you that he had a couple of Kermit the Frog items that his mom bought him when he was little, but he also told you not to tell anyone or he'd be embarrassed and you pinky promised him.

You still had an hour between the two shows so you decided to go to a nearby park where there were lots of food stalls: candy apples, popcorn, candy, lemonade, and you even got to one where a Hispanic woman offered you pieces of candied pumpkin. You had to take off your gloves (which he kept carefully in his jacket) when you bought a few pieces of this last one for the two of you and when you tried it you agreed that it was delicious. The woman told you that in Mexico, her country of origin, she always served them to her children with a glass of milk.

Spencer spared no expense just to fulfill all your cravings, even though you refused, so when you got in the car to go to the Phantasmagoria your stomach was pretty full. The place where it would take place was a gray tent in the open air, with a dais in front and several wooden benches arranged so that enough people could fit in. As you had arrived with some time, you took a seat on a bench in the second row and waited patiently for the show to start.

Suddenly all the lights around you went out, leaving only the ones pointing to the front of the stage, and a presenter dressed as a magician appeared.

“For many centuries, wandering spirits have inhabited the world unseen by the human eye, always confined to the world of shadows…” his voice was mesmerizing and kept you on the edge of your seat, watching him carefully “but for a certain time of the year, their magic grows and they are able to cross the barrier that separates us…”

The entire tent was filled with smoke and the audience, including you, looked around trying to figure out what would happen. The presenter continued giving his gloomy monologue and, although you didn’t imagine how, you even felt that the temperature decreased a little with each word he said. Suddenly even the lights that were pointed at him began to dim and by the time he finished explaining to you the whole place was in complete darkness.

There was silence for a moment to build tension and then there was an explosion that made you jump in place. To tell you the truth, you didn't expect much from the show, you thought that being a recreation it would have many shortcomings, but when the first figure appeared on the roof your heart skipped a beat.

You weren't a scared person under normal circumstances and your resistance to the horrifying images you saw at work on a daily basis shows this, but this time perhaps all the environmental components of that night were what made you feel that way. A loud laugh resounded and then another pair of specters appeared, this time flying at the height of the audience and even passing through some of you.

Spencer's reaction was nothing like the rest. Despite his fear of the dark he was totally fascinated by all the images, his mind already working to decipher the magic trick that was being performed. What finally got his breath caught was the feel of your hand searching his. He was still shielding your gloves so he could feel the cool temperature of your fingers, as opposed to how warm he was in comparison. Even knowing that doing that was a reflex act due to fear, he stopped paying attention to the show to look at your hand on top of his, with that noticeable difference in size.

Just as you had admired him during the puppet show, he took the time to observe your expressions now. Your face lit up from time to time by the illusions around you and every time you startled you squeezed his hand harder, in addition to adjusting your body against his as if you were looking for some kind of protection. Spencer had gone out with friends many times and of course with the rest of his female colleagues at work, however none of them had behaved like you were doing. He wasn’t bothered by your behavior, but rather intrigued, since you seemed quite comfortable taking refuge in him to feel safe. Although he knew how to identify qualities in people, he sometimes had a hard time crossing the line of identifying them to really admire them. When he thought of JJ, he thought of a charismatic woman. When he thought of Emily, he thought of intelligence. And when he thought of Penelope, he always saw joy and optimism. But when he thought of you, there were too many qualities to focus on just one: he thought of kindness, calmness, creativity, wit, beauty, empathy... what a big heart you had and how at the end of the day you were perhaps the only one who could make him smile. When he invited you to join him, he did it because he knew you had the same feeling towards scary things, but now that you were there, looking so pretty and holding his hand tightly, he thought maybe there was something else going on between you. You were the closest thing he had to a best friend, though he had never said so verbally, and that night he wanted to be nowhere else but by your side.

Only when the lights came back on did he realize that the spectacle had been forgotten to him, since the whole time he had been looking at you.

“That was all for today, my friends. Thank you for these wonderful performances and remember to recommend us to your friends the next time we're in town. Have a spooky night, all of you."

“I can't believe it, did you see all that? It was just awesome! I didn't think it was going to be this good” you said, completely excited, as you turned in his direction. Apparently you weren't even aware that your hands were clasped until he got up from the seat and helped you imitate him with that grip. Though you thought of apologizing for that, you didn't, fearing to embarrass yourself further.

“It was amazing, even for me it was hard to figure out the trick”

“Why do you want to figure it out? admit it's only magic, doctor. Sometimes life is” you laughed, grabbing his arm for the third time like a happy wife would her husband.

You are something magical, he thought, with the words on the tip of his tongue, but not daring to say them to you.

Although the night was late, the movement in the streets was still the same and Spencer considered asking if you wanted to go somewhere else, but the yawn that escaped you made him think that the best thing for both of us would be to go home to rest. After all, the case had exhausted you.

"Back to your house, right?" he asked, just to be sure and you nodded with a smile.

The road wasn’t long, you only had to take care of the naughty at night so as not to receive any damage, so when you least expected it, you were already in front of your building. Although you intended to say goodbye, Spencer told you that he would accompany you to the door of your apartment just to make sure that you arrived completely safely, because he knew better than anyone how much could happen to a woman alone, even if it was such a short journey, and he didn't want to risk you. Tony was still awake and greeted you nicely as you walked in, so you could then get on the elevator and press the necessary button.

“I seriously have no words to thank you for today, Spencer. Except for that one time I ended up in the hospital for eating so much candy, this has been my best Halloween ever,” you admitted with a laugh, as you leaned in for a big hug.

"Thank you for accompanying me. I'm really glad you had fun, because I had a great time too”

There was a dead space between you, in which you just looked at each other with a smile. It wasn't an exaggeration to say that the night had been wonderful and maybe it was just that you two were trying to drag it out as long as possible.

“Spencer”

"Yeah?"

"Before you go, can I ask you something?"

"Whatever" he responded immediately. He got a little nervous thinking that he wouldn't be able to satisfy your curiosity by ignoring the topic you were going to ask him about and hoped that wasn't the case.

You waited another second before speaking.

"How frowned upon do you think it was for 1800s society for a woman to steal a kiss from her companion?"

Spencer's eyes danced a little in his sockets and you thought he was processing your request in disguise, until he looked at you again and spoke with complete assurance:

“Very frowned upon, surely. At that time, it was usual for men to court women, who were very repressed from making their own decisions or living their sexuality as they pleased. A woman who kissed a man was considered indecent."

You wanted to correct him, tease him or, as a last resort, simply pull him by his shirt and plant the kiss you had wanted to give him all the way. But you didn't do any of that, you just laughed softly and enjoyed his smirk for telling you the right answer.

“I was afraid of that. It's good to know” said this, you carefully approached him and placed a small kiss on his cheek, seeing him slightly surprised by the act “See you tomorrow at work. Call me when you get home”

"I will do that. Rest and see you later"

"Bye”

Just as he said, he called you a few minutes later to announce that he had arrived at his destination so you could sleep peacefully.

Spencer didn't realize that you had explicitly asked for a kiss until Morgan told him and while his friend laughed, he felt like the luckiest guy of all and, at the same time, the dumbest.

taglist: @navs-bhat @reidwritings @tricia-shifting14

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skaldish · 6 months

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Is it normal to not be satisfied in Norse Paganism? Like I do offerings and such but I feel disconnected from the gods and the religion?

Maybe it’s because I’m comparing it to Christianity too much, but there’s no thing of just praying to a god for the sake of it, to talk, there always has to be a practical purpose. And with offerings it just feels transactional to me, like I’m buying a service. I feel like I settled for it because it was the closest thing I could find to what I wanted in a religion, but I’m not really getting what I want out of it.

Should I just be content anyhow?

No, of course not! You don't have to settle for dissatisfied, especially not with something as important as your religion/spirituality.

Fortunately, Norse Paganism/Heathenry is so much more than just this strange, transactional dynamic.

Unfortunately, information about "what Heathenry is" is still very inaccessible to anyone outside of Northern Europe. If you're from the Americas like I am, my guess is that you're running into the same issue I ran into when I initially came to Heathenry: The realization that there's very little depth to the things people say are what you do to be Heathen.

The missing piece here is the cultural worldview.

Heathenry actually has no centralized orthodoxy or orthopraxy. There's no doctrines you need to follow, codes of morality you need to adopt, or practices you need to observe. There is no distinction between the sacred or profane, no dualism, no concept of blasphemy, and no concept of sin.

The notion that we need to treat the gods like lords tonserve or paragons to emulate is actually foreign to Heathenry. This mentality has its roots in ancient Roman culture, rather than originating with the Norse people.

Instead, the Norse gods are viewed more like celebrities—that is, celebrated and cherished figures. They're local spirits, folk heroes, and ancestors who organically grew popular and widespread because people liked their energy and their folklore.

Ultimately, kind of relationship you have with deities is between you and them. As in, this is something that grows organically out of your interactions with them. The relationships are built the same as ever.

To illustrate my point: I would hardly call my relationships with the gods "practical." I ask them all kinds of obnoxious questions. I ask them to teach me magic and how/why it works. I ask them to share the secrets of the universe. But most of the time, all I want is to hang out with them.

I'm more like Loki's playmate than I am his devout worshipper. We do bits, we "yes, and—," we egg each other on. I give him offerings, not because I feel like I need to, but because "sharing food with the people important to you" is a love language. He has a dedicated shrine, yes, but that's because I want him to have that space in my life.

I say all this to demonstrate that at the heart of Heathenry is the human condition. The Norse gods don't pretend otherwise.

Ask yourself what kind of relationship you would like with your deities, and approach them with that. And if you don't know? Let it flow naturally in your exchanges with them. Either way, allow yourself to have what it is you need out of your spirituality. It's yours, after all.

#answered #norse paganism #heathenry #deity work

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autistichalsin · 5 months

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The world we live in right now is not particularly kind to caring about things, particularly in the online environment. Think about the increasingly popular online persona of someone who is above it all, doesn't care about anything, is just there to laugh at everyone. Think about the trends of incredibly cruel TikTok pranks, where the entire punchline is to emotionally devastate people and then further humiliate them for their reactions, or where animals are subject to incredibly harmful practices (coating reptiles in butter, etc) for people's amusement.

There is an entire movement, propelled by online personas, that sets to demonize the entire notion of caring- about anyone and anything- which is then followed by increasingly sadistic genres of posts that capitalize on this disconnect. Once caring is uncool, then basic decency will become uncool very soon after.

Needless to say, kindness isn't something that's particularly rewarded in this landscape. People who are kind will get mocked, accused of disingenuity, and more. The idea of open kindness makes people uncomfortable and people don't know how to deal with that.

So characters like Halsin are, to me, more important than ever, because not only is he kind, but he cares about everything, to the point of pain. He finds meaning in everything. There is no "just a tree" to Halsin; that tree has meaning. The tree has a story. It's endured storms and grown stress wood from it, it's housed birds, it's seen the changes of seasons. Animals are much the same; they are living creatures with emotions and needs, and a capacity for fear and pain, and that is to be respected.

All living things are worthy of that consideration in Halsin's eyes.

And in this world we live in, where kindness is punished, where even the vague notion of caring about something is mocked, Halsin is important. He is the antidote to all those bullying TikToks; he is there to show that other living beings have needs too, and are worthy of respect. He is a giant middle finger to Andrew Tate and similar figures; he is there to say: you can love deeply, you can put others above yourself, and still be a real man.

Halsin is a counter to the increasing emotional numbing being pushed on people today. He's like a flashing neon sign that says no! caring about something, anything is what makes you who you are. Look who and what you can be if you don't close your heart off, even when you suffer.

And I just think that's a really beautiful thing, honestly. It resonates so much with me, and inspires me to find the meaning in things that are easy to write off as meaningless.

#halsin #halsin silverbough #bg3 #baldur's gate 3

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endivinity · 29 days

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Would you be ok with indivituals using some of your fallouty unique deathclaws and other creature drawings as references when theyre running a private Fallout TTRPG campaign amongst friends?

Totally ok if youre not fine with that! I just wanted to check.

it may be possibly time for another long-winded explanation that will enrage precisely two people who will send me weird anon hate over it because they don't understand the notion of transformative works but - It's hard to state in plain terms what I am and aren't comfortable with people using my art for, because even for me there's a lot of handwavey 'am i really uncomfortable with this or is it just a kneejerk reaction' kind of thing with a lot of caveats

there's often a pretty big disconnect between what people view as references - some people will view it as a single image, like "for reference, this is what it looks like" and slap the art down on the table for their players to go WHOAAAA over (repost blogs tend to do this). For an artist doing this, it's usually as a study, or results in a pretty obvious 1:1 because the idea they're pulling from isn't diluted across a range of things.

The other use of reference is several images and enough of your own personal touch to put a unique spin on all of them in a cohesive artwork or design. This is the bit that a lot of people stumble over, because they go 'but I like this thing only' and don't want to venture beyond that. If you're able to not only pull a range of artworks, but a range of artworks by different artists, immense kudos to you. The way I construct deathclaws is from an immense knowledge of weird animals and different media. For instance, Spectral makes use of a deathclaw, a ghost leviathan from subnautica, a xenomorph, and the understanding of vestigial limbs, bioluminescence, diaphanized tissue, and opalization. Transforming this in a tabletop might therefore look like the image itself, but then adding say the aquatic spinosaurus theory in there and making it swim out of an irradiated lake with a paddle tail and a huge back crest. And a bigger mouth with worse teeth that can strip a human's arm down to the bone in one degloving bite. You don't necessarily have to be able to draw it (I'm in a bit of a niche and therefore shouldn't hold everyone to my same standards) but it also says good things about your ability to host a tabletop game if you're able to be creative with the unique ideas you put in it and your ability to visualize and describe them. Embrace that. (Some of the kickback against this was people going 'well artists do this all the time, they take other artists' works for their references, that's part of the industry standard' but that's the point of transformative works and not typically modern tabletop gaming. I'm also just one person doing this. I'm not an industry professional, I'm not a huge company for which my works are publicly available in an immensely popular IP. It may be fanart and I don't own deathclaws, but I still own all rights to the art itself. Some people (that one really furiously angry anon in particular) hold me to the same standard as if I was representative of Bethesda Softworks itself and therefore it's right and proper to take my shit, because it's deathclaws, and all deathclaws are Bethesda's, and I wouldn't be this popular without that, I should expect people to take my stuff, it's the internet - I am just one person making fanart. and I am very tired.) I think the biggest problem I have with people taking my designs for TTRPG assets is that it's the only reaction they have sometimes. the 'wow cool! can I take this?' reaction akin to a little child shoving things in their mouth. That doesn't reflect well on you, and for the artist it doesn't feel good. And most tabletop gaming these days is casual sessions that usually center around getting the campaign itself done with little creativity beyond what the players bring to the table, which results in using other peoples' art they found on google without being creative about it at all, which is why you'll see a lot of artists who have beef with it, because it also doesn't feel good. All this to say - if you ask and are respectful and credit back, it still feels weird to me, but like... sure! I do this for fun and to express creativity, so if it encourages other people to also have fun and express their creativity, I'd feel bad saying no to an earnest request! It's fanart, we're all fans here, etc But also most people who aren't respectful won't ask, won't be creative, or will get mad when I say Can You Don't, so I'm kinda preaching to the wrong crowd here - to those people, you're right, I can't stop you from doing it anyway. but it will not put you in my good books

#staring last year's anons in the eyes for getting mad at me for apparently having the gall to be good at a thing people like #i don't earn money from this and i'm medically unemployed so when people just take it without asking it's kind of just sad :/#the general vibe of ttrpg 'Asset' Takers is the same as AI bros. they don't care for the art or artist. they just want a cool image #so if you don't act like that we'll get along just fine #long post

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scintillyyy · 1 month

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can i say something. i am kind of scared to say something bc dick ship wars kind of scare me even though i have absolutely no preference and care extremely little about dick ships. but. hm. the thinking about 80s and 90s medias as products of their time got me thinking a bit.

so. the interesting thing to me about dick-kory in the 70s and 80s vs dick-babs in the 90s and early 00s os how much each of those couples was entrenched in the media ideals of the time and what people were looking for in a ship.

so like, if you look at dick-kory, theirs is a larger than life love that is destined from the moment she kissed him to learn human language. and theirs is a dynamic and relationship dripping in the popular soap opera tropes that were very pervasive a the time. you can't actually divorce their tribulations (dick being kind of condescending to kory as the Man of the relationship, she's a princess who has to get married for political reasons and dick gets mad, kory gets mad at him for supposedly cheating when he was raped by mirage, the epic wedding that gets literally blown up by raven to name a few) from the media norms that were very popular. they fight passionately and make up passionately very frequently. this is a very common dynamic in the 80s, where soap operas were topping the charts. everyone was watching general hospital. *30 million* people tuned in to see luke and laura get married and their relationship started with him raping her (which was later turned into "seduction") and they were considered like THE couple ever. everyone was watching dynasty. dallas was hugely popular. falcon crest. knots landing. dick and kory's relationship mirrors a lot of what people were eating up back then in the soap opera type media the new titans was emulating. luke and laura. gary and valene. bo and hope. bobby and pam. dick and kory. can you really talk about dick and kory if you don't know what was going on with "bope" back then? for reference, here's what was going on with bo and hope:

anyways. enter the 90s and the soap opera fervor died down in a massive way. soap operas were no longer prime time material and their popularity died down in a massive way & actually people started more making fun of the overwrought storylines and soaps in general. the ideas of destined, one true love was suddenly far more unappealing to people who thought it was cheesy & tired. what people in the 90s were looking for was not true love that is constantly tested and put through the wringer--what was gaining in popularity was UST and will they won't they dynamics. enter dick-babs. and while i wholly disagree with the idea of diminishing kory's importance in dick's life just to uplift babs, i don't entirely disagree with the notion that kory probably wouldn't have really worked in batbooks, so i understand why batbooks wanted to focus on a loveline for dick for a character they had full control of and could work into the stories. and, hm. moving dick away from the destined one true love at the time that was kory allowed them to put him in the romantic situations that 90s audiences were vibing with instead. because you can't suddenly do a will they won't they with a couple who's been solidly dating for *years*. so with dick and babs you're able to do that. he's interested while she's dating someone else. he flirts with someone else for a bit while she's single. while the entire time they're still good working partners while circling around each other. will they? or won't they? and this was super common in late 90s/early 00s sitcom shows that people loved and were at the top of the charts. the x-files with scully and mulder. friends with rachel and ross. fran and mr. sheffield from the nanny. it's still very much playing to what people wanted to see back then.

anyways as someone who truly has no horse in this race i do think media norms of the time around couplings are interesting to dissect.

#anyways i think you can make similar comparisons to bruce-talia and bruce-selina #in that o'neil had created talia as this grand epic love for bruce #in the 80s but under his editorial directorship in the 90s there was still a move away from bruce-talia to instead focus more #on the more flirty bruce-selina dynamic in accordance with what the viewers at home wanted #anyways. just some thoughts of mine.#i do think there is a push in media once again towards the romanticism of destined lovers

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