#(which is fine on its own but not as an adaptation)

[milliesfishes]

hi can i have a little order of billy fluff pls ☹️

YES YES YES YES YES FLUFF FLUFF based on this which I have been thinking about for one hundred hours

billy fluff౨ৎ꣑ৎ

His girl.

The words melted on your tongue, sweeter there than your favorite hard candy and able to be savored for a million times as long. And the way Billy said it seeped into your bloodstream; in that special tone you'd only ever heard used with you. He always said it with a hint of a smile upturning his lips, thumb maybe on your cheek, palm cradling your face, eyes always on you. Blue and bonny, play on words unintended.

"My girl," he'd murmur under the stars, adjusting the jacket of his you swore he'd brought only to wrap around you. Kisses to your forehead would be admonished, then your cheeks, or your nose. Billy kissed for every occasion. To comfort. To apologize. To love. Rarely did you have troubles that couldn't be soothed that way.

It was something you needed after a day like today. The end of a very long week under the brunt of words spoken by others that you'd rather not repeat. And to top it off, the one you'd been yearning for all day was hours late, likely caught up with his men, maybe settling a dispute. Anything was possible. The reason didn't matter so much to you, only the fact that Billy wasn't here to kiss anything better.

Curled up in bed, you pulled your blanket tighter, a poor substitute for Billy's warm body curled around you. Fish was already in position for nighttime, curled above your head and purring away, content on your pillow. You clutched at your stuffed rabbit- one of the only non-necessities you'd taken from your old life when you came with Billy. Slipping your fingers under the pink bow around its neck, you dug your fingers into the soft fur, trying to beckon sleep to you.

The front door opened, and you listened to the familiar sounds of Billy arriving home for the night: kicking his boots off, setting his hat down. He wouldn't take off his gun belt until he reached the bedroom. It was a habit he adapted in life on the run, and for your own safety, you didn't protest.

His footsteps were quiet, but you still heard every move he made as he undressed and climbed in behind you. Adjusting the blanket, Billy dug his nose into your hair, ignoring as Fish swiped at his head, and lifted his arm so it covered you, hand over your rabbit. He let a few moments pass before murmuring, "I'm sorry."

You shifted under his arm, your further hand remaining on your rabbit, the other coming up to clutch his bicep. "I needed you."

"I know." Billy's lips found your crown. "I shoulda been home, sweetheart. I'm sorry." He offered no excuse, no explanation, and you were fine with it. All you wanted was his comfort, and it was something he happily gave in high quantities.

Sliding his other arm under you, Billy gently rolled you over so your chest was pressed against his side. His hand slid up to cover your head, the other still over your rabbit as he laid on his back. Sometimes you thought he found more comfort it than you. A sign you were taken care of, past and present. You slumped against him, finally safe. Finally his again.

“I love you,” he murmured, hand over your head stroking your hair. Gathering it under the pads of his fingers, he dragged it to rest behind your ear, humming when you nuzzled into him. "So, so much. Never want you to forget it, sweetheart."

"I couldn't," you whispered, meaning it with everything in you. Billy bent his head to kiss yours, fingers spread over your forehead. "I love you too much to." His heart beat its soothing rhythm beneath your ear, and you felt yourself begin to slip into sleep, the call finally sounding and beckoning to you. Fish purred away, hardly disturbed by your movement.

Billy's hand over your head was just heavy enough for you to feel protected, and you managed to close your eyes. He pressed one final kiss to your hair before you fell into dreamland, all the while encased in him.

[wizardnuke]

i love dnd..i love playing heavy utility/support/backfield and i love having three to six attacks in a turn and an insane ac. at heart im a support player ill get my hands on whatever we're missing in a group

[mariocki]

Parasite (1982)

"That thing on your stomach..."

"A new strain of parasite. I deserve it, in a way. I created it."

"For the Merchants? Why?"

"I thought for the government. They're so mixed up with the Merchants now, they work for one another. This 'thing', as you call it, is growing. It's dormant now but it will soon grow larger... and kill me."

[sharkneto]

How is Migrations rated that highly on Goodreads. Absolutely insufferable book, glad to be done with it.

[allegorism]

Yeah! Yeah! I've been feeling that way about the anime for a while, that meanwhile it understands the comedy of it which is quite important, it might have not gotten the emotional and serious details of it all which will end up fucking disastrous as the story stops structuring itself as a comedy cuz there's a point in the story when it truly stops

cactus, you're so right. i think they nailed the humour, the way they zoom in or zoom out in a scene, that pixelated image of marcille... they truly got the humour. however, i think the details are lacking. emotional moments are done well, but it's what they decided to not show what is important: they skipped namari's dialogue with kiki and kaka, also the scene in which marcille, MARCILLE, runs a bloody hand through her hair... the ambient in that scene is so gloomy and it should have been depicted like that. and maybe i AM being too picky, i've mentioned it quite a few times to some people, but the scene in which falin wakes up in the middle of the night and just leaves the room had such an eerie feel in the manga, almost like a scene from a horror movie. meanwhile in the anime everything happened so fast you almost don't get time to process what's happening.

about the tone shift... i'm not exactly worried because there's still some time left to get there and i'm not sure we will get there in this season. plus it isn't something subtle that they could leave out. it's mostly the details what i'm worried about.

[mostlysignssomeportents]

A sexy, skinny defeat device for your HP ink cartridge

Animals keep evolving into crabs; it's a process called "carcinisation" and it's pretty weird. Crabs just turn out to be extremely evolutionarily fit for our current environment:

https://www.scientificamerican.com/article/why-do-animals-keep-evolving-into-crabs/

By the same token, all kinds of business keep evolving into something like a printer company. It turns out that in this enshittified, poorly regulated, rentier-friendly world, the parasitic, inkjet business model is extremely adaptive. Printerinisation is everywhere.

All that stuff you hate about your car? Trapping you into using their mechanics, spying on you, planned obsolescence? All lifted from the inkjet printer business model:

https://pluralistic.net/2023/07/24/rent-to-pwn/#kitt-is-a-demon

That GE fridge that won't make ice or dispense water unless you spend $50 for a proprietary charcoal filter instead of using a $10 generic? Pure printerism:

https://pluralistic.net/2020/06/12/digital-feudalism/#filtergate

The software update to your Sonos speakers that makes them half as useful and takes away your right to play your stored music, forcing you to buy streaming music subscriptions? Straight out of the HP playbook:

https://www.wired.com/story/sonos-admits-its-recent-app-update-was-a-colossal-mistake/

But as printerinized as all these gadgets are, none can quite attain the level of high enshittification that the OG inkjet bastards attain on a daily basis. In the world championships of effortlessly authentic fuckery, no one can lay a glove on the sociopathic monsters of HP.

For example: when HP wanted to soften us all up for a new world of "subscription ink" (where you have to pre-pay every month for a certain number of pages' worth of printing, which your printer enforces by spying on you and ratting you out to HP over the internet), they offered a "lifetime subscription" plan. With this "lifetime" plan, you paid just once and your HP printer would print out 15 pages a month for so long as you owned your printer, with HP shipping you new ink every time you ran low.

Well, eventually, HP got bored of not making you pay rent on your own fucking printer, so they just turned that plan off. Yeah, it was a lifetime plan, but the "lifetime" in question was the lifetime of HP's patience for not fucking you over, and that patience has the longevity of a mayfly:

https://pluralistic.net/2020/11/06/horrible-products/#inkwars

It would take many pages to list all of HP's sins here. This is a company that ships printers with half-full ink cartridges and charges more than the printer cost to buy a replacement set. The company that won't let you print a black-and-white page if you're out of yellow ink. The company that won't let you scan or send a fax if you're out of any of your ink.

They make you "recalibrate" your printer or "clean your heads" by forcing you to print sheets of ink-dense paper. They also refuse to let you use your ink cartridges after they "expire."

HP raised the price of ink to over $10,000 per gallon, then went to war against third-party ink cartridge makers, cartridge remanufacturers, and cartridge refillers. They added "security chips" to their cartridges whose job was to watch the ink levels in your cartridge and, when they dip below a certain level (long before the cartridge is actually empty), declare the cartridge to be dry and permanently out of use.

Even if you refill that cartridge, it will still declare itself to be empty to your printer, which will therefore refuse to print.

Third party ink companies have options here. One thing they could do is reverse-engineer the security chip, and make compatible ones that say, "Actually, I'm full." The problem with this is that laws like Section 1201 of the Digital Millennium Copyright Act (DMCA) potentially makes this into a felony punishable by a five-year prison sentence and a $500k fine, for a first offense.

DMCA 1201 bans bypassing "an effective means of access control" to a copyrighted work. So if HP writes a copyrighted "I'm empty" program for its security chip and then adds some kind of access restriction to prevent you from dumping and reverse-engineering that program, you can end up a felon, thanks to the DMCA.

Another countermove is to harvest security chips out of dead cartridges that have been sent overseas as e-waste (one consequence of HP's $10,000/gallon ink racket is that it generates mountains of immortal, toxic e-waste that mostly ends up poisoning poor countries in the global south). These can be integrated into new cartridges, or remanufactured ones.

In practice, ink companies do all of this and more, and total normie HP printer owners go to extremely improbable lengths to find third party ink cartridges and figure out how to use them. It turns out that even people who find technology tinkering intimidating or confusing or dull can be motivated to learn and practice a lot of esoteric tech stuff as an alternative to paying $10,000/gallon for colored water.

HP has lots of countermoves for this. One truly unhinged piece of fuckery is to ask Customs and Border Patrol to block third-party ink cartridges with genuine HP security chips that have been pried loose from e-waste shipments. HP claims that these are "counterfeits" (because they were removed and re-used without permission), even though they came out of real HP cartridges, and CBP takes them at their word, seizing shipments.

Even sleazier: HP pushes out fake security updates to its printers. You get a message telling you there's an urgent security update, you click OK, and your printer shows you a downloading/installing progress bar and reboots itself. As far as you can tell, nothing has changed. But these aren't "security" updates, they're updates that block third-party ink, and HP has designed them not to kick in for several months. That way, HP owners who get tricked into installing this downgrade don't raise hell online and warn everyone else until they've installed it too, and it's too late:

https://www.eff.org/deeplinks/2020/11/ink-stained-wretches-battle-soul-digital-freedom-taking-place-inside-your-printer

This is the infectious pathogen business model: one reason covid spread so quickly was that people were infectious before they developed symptoms. That meant that the virus could spread before the spreader knew they had it. By adding a long fuse to its logic bomb, HP greatly increases the spread of its malware.

But life finds a way. $10,000/gallon ink is an irresistible target for tinkerers, security researchers and competitors. Necessity may be the mother of invention, but the true parent of jaw-dropping ingenuity is callous, sadistic greed. That's why America's army of prisoners are the source of so many of the most beautiful and exciting forms of innovation seen today:

https://pluralistic.net/2021/06/09/king-rat/#mother-of-invention

Despite harsh legal penalties and the vast resources of HP, third-party ink continues to thrive, and every time HP figures out how to block one technique, three even cooler ones pop up.

Last week, Jay Summet published a video tearing down a third-party ink cartridge compatible with an HP 61XL:

https://www.youtube.com/watch?v=h0ya184uaTE

The third-party cartridge has what appears to be a genuine HP security chip, but it is overlaid with a paper-thin, flexible, adhesive-backed circuit board that is skinny enough that the cartridge still fits in an HP printer.

This flexible circuit board has its own little microchip. Summet theorizes that it is designed to pass the "are you a real HP cartridge" challenge pass to the security chip, but to block the followup "are you empty or full?" message. When the printer issues that challenge, the "man in the middle" chip answers, "Oh, I'm definitely full."

In their writeup, Hackaday identifies the chip as "a single IC in a QFN package." This is just so clever and delightful:

https://hackaday.com/2024/09/28/man-in-the-middle-pcb-unlocks-hp-ink-cartridges/

Hackaday also notes that HP CEO Enrique J Lores recently threatened to brick any printer discovered to be using third-party ink:

https://arstechnica.com/gadgets/2024/01/hp-ceo-blocking-third-party-ink-from-printers-fights-viruses/

As William Gibson famously quipped, "the future is here, it's just not evenly distributed." As our enshittification-rich environment drives more and more companies to evolve into rent-seeking enterprises through printerinisation, HP offers us a glimpse of the horrors of the late enshittocene.

It's just as Orwell prophesied: "If you want a picture of the future, imagine a HP installing malware on your printer to force you to spend $10,000/gallon on ink – forever."

Tor Books as just published two new, free LITTLE BROTHER stories: VIGILANT, about creepy surveillance in distance education; and SPILL, about oil pipelines and indigenous landback.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/09/30/life-finds-a-way/#ink-stained-wretches

Image: Jay Summet https://www.youtube.com/watch?v=h0ya184uaTE

[planariaareneat]

How The Nocturnal Bottleneck and Nipples Make Us Human

Almost every post here considers what humans do have, really. It’s a little tiring; realistically every world has its harsh environments and vicious species and a sophont to match. We probably wouldn’t be unique for our adaptability or our persistence or even adrenaline

But our evolution is fucked up as hell, to put it lightly.

Mammals went through what’s been dubbed the nocturnal bottleneck essentially since the start of the mesozoic right up until the Cretaceous ended the archosaur’s exclusive hold over the daylight. We lost a lot of things from every mammal spending most of its time in either a cramped, suffocating burrow or scrounging around in the faint hours of nighttime. Our blood cells lost their nuclei to hold more oxygen while we spent time deep underground, we lost protections against ultraviolet rays in our skin and eyes, we can’t even repair our own DNA using the light of the sun. Most aliens probably wouldn’t have such traits unless their evolution followed a very similar path to ours. They’d be able to see ultraviolet and wouldn’t have to worry about sunburn and all the wonderful privileges essentially all fish, birds, amphibians, and reptiles enjoy as we speak. 

There’s also what we gained from spending so much time in the dark.

Brown fat is only found in mammals, it’s a special type of fat which bear cells with several oil droplets and are utterly jammed with mitochondria. This lets it make heat, a lot of it, fast. We don’t even need to shiver to induce this heat generation from brown adipose tissue - factor in our downright hyperactive mitochondria, and we can warm up quickly. Sure, it doesn’t have too much use in adult humans, but it keeps our infants warm and still provides a little boost the whole run we have in this universe.

Unless aliens also went through a time where their small ancestors had to face cold nights, they’d have to produce heat the old fashioned way when chilled. Aliens might have to shiver the whole time they’re in a cold room while the human watches in confusion, quite literally unshaken, and wonders if the room is a lot colder than the thermostat set to 60 says. The aliens stare at their companion in confusion, it’s just a normal temperature to shiver at after all, how is the human sitting so still?

Our small ancestors spending all their time out foraging at night is also why we have such a good sense of touch, smell, and hearing. They were more important senses than vision (we’re lucky to have even redeveloped basic color vision, frankly) at the time and place and simply ended up continuing to serve us well. Birds and reptiles rarely have acute senses of smell and the latter especially are lucky to have acute hearing, and birds rarely have impeccable hearing themselves either. Our skin is free of scales and honed to sensitivity, and our external ears and complicated ear bones provide an immense range of hearing (from 20 all the way to 17,000 hertz!).

Aliens might not be able to pin down the chirp of a cricket or the light click of a lock being picked. The human might be the only one on board a ship that can pick out the finer sounds of the engine’s constant thrum and know the critical difference between when everything is fine and when something is wrong. The human could probably pick out the sounds of an approaching enemy’s careless footsteps - they’re only as light enough for *them* to stop hearing them, after all - and be the one to see the horrified expression (well, more on that later) on their face when we get the drop on them in spite of their perceived stealth. 

But perhaps the most versatile, convoluted, amazing, and utterly unique trait we have is right on your face this instant. Lips.

Lips in most animals are a simple seal to hold in the mouth’s moisture and protect the teeth, even if they’re supple they’re NEVER muscular except in mammals, and we have only one thing to thank for it; milk and nipples. Lips evolved exclusively to allow babies to suckle, it required a vacuum to be created in the mouth, and with no other animal having anything like a nipple it never happened in other animals. Many animals make milk, to be frank, but no other animal has nipples.

Your cheeks and lips are a marvel among tetrapods, no other animal can suck like mammals can. Aliens wouldn’t have straws or even be able to sip from the edge of a glass, they’d have to have a proboscis or simply tilt the whole thing back. Aliens likely won’t have woodwind instruments or balloons you can blow into. We take so much about our lips for granted. Hell, our muscular faces are vital for expressions, we’re probably absolute facial contortionists among a cast of creatures with mandibles and beaks and expressionless scaly maws. Aliens might find us ridiculously easy to read, if anything, compared to their own kind (all the better to deceive them) - or perhaps they’d find us hard to decipher anyways, with our lack of color-changing skin or erectable crests of bright feathers. Baring teeth might not be seen as a sign of aggression in most of the universe, smiling would be all too distinctly human. 

Perhaps with how infectious we are sometimes, that’s what we’d contribute to the universe; others might have to make do with opening their mouths just enough to show their teeth or splaying their innumerable mouthparts with just the right curve, but perhaps we’d teach the galaxy to smile, one ally at a time. 

Wouldn’t that be amazing?

[artifacts-and-arthropods]

Shellback Crabs: these crabs create their own shields out of clamshells; they have semi-membranous bodies that can be pressed into the contours of a shell, producing a suction mechanism that holds the shell in place

The members of this genus (Hypoconcha) have a series of unique adaptations that facilitate this kind of camouflage behavior. Many of the Dromiidae crabs (e.g. hermit crabs, sponge crabs, shellback crabs, etc.) are equipped with a specialized pair of legs that enables the crab to hold a shell, sea sponge, and/or ascidian against their body, but shellback crabs also have a flexible, semi-membranous body that can be tucked more firmly into the contours of a bivalve shell, producing a suction mechanism that keeps the shell firmly locked in place.

The body of the shellback crab is also covered in a very fine layer of hair-like structures called setae, and when the crab presses itself against the shell, these membranous "hairs" can take on an almost translucent appearance, particularly around the margins of the crab's body.

I recently posted some photos/info about some of the crabs in the genus Lamarckdromia (which belongs to the same family) and as I was doing the background research for that post, I was just kind of mesmerized by all of these weirdly adorable crabs that seem to exist within the Dromiidae family tree. Each genus has its own unique adaptations that allow the crabs to use specific materials for camouflage -- some of them use living sponges, clamshells, ascidians, etc.

And I could not stop laughing at the little faces on these crabs. They've all got the same bemused/indignant expression...as if some random asshole has just walked up to them, shoved them over, and announced to the entire ocean that there's a crab hiding beneath that disguise; as if that actually happens to them quite a lot, and they're getting really sick of it.

Sources & More Info:

Crustaceana Monographs: Comparison of the Shell-Carrying Behaviors of Desmodromia, Conchoecetes, and Hypoconcha (the relevant info is on page 191)

South Carolina Department of Natural Resources: Shellback Crabs and their Larval Stages (PDF)

South Carolina Public Radio: Shellback Crabs

Again, I don't normally feature crustaceans on my blog...but I really couldn't resist this one.

[elliespectacular]

Do you still have that Jellicle name generator saved anywhere? Some friends and I used it for our OCs and it was an absolute blast!

The name I got was Callio the convivial cat, which is short for Calliope, who I played in Xanadu. She has a whole costume and everything now!

Even if you don't have it anymore, tysm for making it ;-;

Xanadu mention! Also I do still have it saved! This one is revised a little and I might make more changes later, but here it is in text form:

Jellicle Name Generator

This will give you a name that is relatively in-line with the naming conventions seen in Old Possum's Book of Practical Cats by T.S. Eliot and later adapted into the musical Cats by Andrew Lloyd Webber - and unlike those shitty "last name and your birth month" name generators, this one won't doxx you in the process.

Before we begin, a bit of terminology we'll be using: - Portmanteau: Turning multiple words into one word linked by a sound or letter. Compelling Television = Compellevision. Punk Squid = Squnk - Smoosh: Combine words by simply removing the space and (optionally) changing the word positions. Country Jester = countryjester - Prefix: Goes before the name, like Mr. or Captain - Suffix: Goes after the name, like Jr. or The Great - Cat-like term: Something associated with cats. Meow, Whisker, Bell, Claw, Scratch, etc.

FIRST: Roll a D20 to determine your base name

An uncommon person’s first name

First syllable of a common last name + a unit of measurement. Portmanteau 'em.

Short, dangerous noun + a non-dangerous profession. Smoosh 'em.

Two Latin words. Portmanteau 'em.

A simple present-tense verb + sophisticated person's first name. Smoosh 'em.

Cat-like term + sophisticated person's first name. Smoosh 'em.

Combine two short nouns, then add "-er" "-ie" or "-est" to the end.

Think of an actor you like. Shorten their first name to its shortest nickname.

A medical term spelled incorrectly.

A food you liked as a kid + a pretentious word. Smoosh 'em.

A figure of legend/myth. Remove one syllable and any spaces.

An older person's first name that isn't common today.

Last name of a historical figure + a silly word. Portmanteau 'em.

A kids' name with 2 or more syllables + that name again without the first syllable + an onomatopoeia. Portmanteau 'em if you can.

A silly word + the first name of a former coworker. Portmanteau 'em.

A kind of public event + a cat-like term. Smoosh 'em.

Something from ancient history. Shorten what you came up with into a single word.

Something you do when you're nervous. Take that verb and add "-er" to the end to make it a noun.

Silly word + hostile-sounding verb. Portmanteau 'em.

Two silly words with 2+ syllables each. Smoosh 'em.

SECOND: Roll another D20 for flavor

Before you roll, consider how your name sounds without any additional flavor. If it's fine on its own, feel free to leave it as-is. Otherwise, roll on!

Suffix - An upsettingly average last name

Suffix - Think of a hobby. Your suffix is "The _____ Cat"

Prefix - A short adjective

Suffix - Think of an adjective. Your suffix is "The _____ Cat"

Prefix - Choose Mr. Mrs. Ms. Mx. or something similar

Suffix - Think of a color. Your suffix is "The _____ Cat"

Prefix - Any one-syllable word. Repeat the word a second time, adding or replacing the first consonant with that of your base name.

Suffix - Think of any non-proper noun. Your suffix is "The _____ Cat"

Suffix - it's the word Cat

Suffix - it's the word Kitty

Suffix - it's the word Kitten

Prefix - Choose "Sir" "Madam" "Captain" or something similar

Prefix - Choose "Lord" "Lady" "Noble" or something similar

Prefix - His/Her/Their Majesty (or any pronoun you prefer)

Prefix - His/Her/Their Grace (or any pronoun you prefer)

Prefix - Mc

Prefix - Van

Prefix - Von

Prefix - De

Suffix - Any cat-like term

And you're done!*

*This is as much a creative exercise as it is a "generator" so feel free to mess with the formula and/or let your result inspire something more original. Add multiple layers of flavor if you want. The rules are not rigid. I recommend generating a few names and picking your favorite!

[theiasthesis]

Shifting can be escapism, and that's OK.

Im going to give you a valuable lesson, so stick to the post, dont skip because every word is important. Don't let that small attention span get to you baby, remember that knowledge is power.

My name is Willow! I'm a non-dualist reality shifter, shifting coach and subliminal creator who's a freak for the multiverse and knowledge. Everything I say on here is based on my own personal experiences and research.

This post can help you with:

Escapism, guilt for shifting, realising you're worthy of shifting.

The self determination theory (SDT) is a psychological theory of motivation. It focuses on the degree to which specific human behaviour is for the self ; self motivated and self determined

Basically, what exactly is it that a human being can do, that isn't manipulated by outside influence, but rather their own human nature?

According to the theory these are 3 self motivated human behaviours:

Autonomy

Having the freedom to decide your actions without outside influence.

Example: Being able to go out with your friends, without your parents restricting you.

Competence

The ability to do something effectively and be useful.

Example: You're a very useful employee at your company, this means you are competent for your job.

Relatedness

Being connected or related to someone, or something.

Example: Having a connection with family or friends

OK, so how does any of this apply to shifting and escapism?

When you lack one of any of these 3 behaviours or feelings, this is a disruption your human nature. Naturally by birth, you are within your birth right to recieve all of this.

Each of these behaviours, have extreme importance in your cognitive behaviour

- Cognitive behaviors are thoughts, ideas, and representations of yourself to others.

If you don't have the will or ability to control your actions independently, you are most likely going to feel stuck, and like everything is out of your control. Doing things that make you happy and activities you find meaningful, will become an issue due to your lack of autonomy.

If you don't feel competent in areas of your life, or people aren't competent when it comes to you, this can create low self esteem and a bad self concept, you may think of yourself as "worthless" "useless" or "incompetent"

You may feel less motivated to taking on new challenges and activities, as you feel like you're just going to fail, and mess everything up anyways.

Connection is what makes us human, love and empathy towards overs and receiving it, is what makes human life so special. Relatedness, is what you need to experience caring relationships, to be part of a community, and overall to feel love. Humans need love, that is a fact.

When these basic needs aren't met, a human being can lack the motivation to commit to any one of these factors, which take up a huge part in life.

Lacking these can make you feel, stressed, anxious, self loath and nihilistic.

When you don't have these 3 factors, this causes a lack of motivation to commit to them, which means you don't have them.

So you turn to something else, escapism.

"Escapism is the tendency to distract oneself from real-life problems. It can also be conceived as shutting meanings out of one's mind and freeing oneself from self-awareness for a while . Escapism has been identified as one of the key drivers behind online behaviors, in both adaptive and maladaptive ways"

- PubMed Central®

Link to study

Think of escapism like touching a hot stove. Imagine you place your hand upon a stove. At first its cold, and you're fine.

Then the temperature starts to slowly rise, its currently warm, its still fine you can deal with it. Now, it's getting hotter, and hotter, and hotter...

And you remove your hand.

Not on purpose, but by instinct.

By reflex, your hand immediately moved away from the stove once it got too hot.

Your nervous system felt the pain, which sent a signal to the brain, that something with your hand is wrong.

Biology isn't my strong suit I fear.

Another example.

You're in immediate danger, there's a tsunami coming your way, it's too big for you to face, if you stay where you are, you're going to get crushed by the water, and die on impact. So what do you do?

You run.

Naturally you escape from the dangerous situation, because who in their right mind would test their luck and try to survive a tsunami?

Are you getting it?

When human beings are faced with a situation that is uncomfortable, causes mental, or physical harm, or even death, their first response is to escape.

It is human nature to run, to escape, to not face the dangerous situation. Sometimes it can be a bad move, like ditching a daye you were nervous for, other times it could be skipping school because you constantly run into a group of serious bullies.

Repeat after me.

If you are in a situation where you do not feel loved, worthy, or free, you are allowed to escape.

You are allowed to escape.

Empathise on that baby, nobody is going to tell you off for it.

However, you must be weary of using shifting as escapism.

Shifting is a wonderful phenomenon, it is not something that determines whether you live or not. It doesn't determine your worth either, nor is it something that causes you psychological stress.

If you find yourself having suicidal or self harming thoughts, with shifting as a way to mend these thoughts, I beg of you to take a step back and evaluate these thoughts of yours.

Shifting is a journey, I preach that it's something that can be done on the first go, but that isn't the case for everybody.

It can be as short or as long as you make it, failure in shifting when using it as an escape from serious issues, is a one way road to psychological distress.

With that, I ask that you first deal with your mental health, before anything else.

Find something that makes you feel good and grounded, something you enjoy.

Please remember, that not everything is something you must be good at, if it came from you it's already perfect.

Meditation, painting, dancing, listening to music, writing, exercise. Anything and everything that makes you feel good, nothing is too silly, nobody is going to think you're weird or bad at doing something you love to do.

I found that talking out loud, writing in my journal, mediation and watching anime helped me a lot when I had "life impacting plans" connected to shifting.

LESSON SUMMARY

1. It is natural for human beings to run away when they are faced in a dangerous or uncomfortable situation

2. Shifting being used to run away from a bad situation, isn't negative. It only becomes negative once you prioritise it over your own health

3. Your mental and physical health always comes first before shifting

4. You deserve to be loved, to feel worthy, to not be let down, and to be free, whether that's through shifting or not!

[markrosewater]

If Universes Beyond is "Additive" as you said a few days ago, then why not make an "additional" format rather than forcing a change to Standard?

The psychographics are about the different ways you can psychologically approach the game.

If you’re a Spike, you’re about proving what you are capable of (which often means winning, but not always). That means you focus on picking the best card for the job at hand. That’s going to be dictated by card power and not creative decisions. Whether you like a creative execution (be it in-multiverse or Universes Beyond) or not simply isn’t the deciding factor.

If you’re a Timmy/Tammy, you’re about experiencing something. That means you pick the cards that best create the experience you want. If creative choices are a big part of that experience, then you will prioritize choosing cards that match what you want for your deck.

If you’re a Johnny/Jenny, you’re about expressing something. Your card choices are about you saying something about who you are. If creative choices are important to that message, it will impact which cards you play with.

The issue about mixing in-multiverse and Universe Beyond cards is only forced for the Spikes, because they’re the one psychographic that has to make choices irregardless of the creative execution of the card.

For the Timmy/Tammy and Johnny/Jenny players, if Universe Beyond cards dilute your experience, make other card choices. Don’t play with them.

That’s what I say about the cards being “additive”. You can add them to your deck if they enhance your experience. If they lessen your experience, don’t add them.

The big question is what matters most to you. If you’re choosing a card because it will increase your win rate, then you’re making a Spike-y decision. And that’s fine, but it means you’re prioritizing mechanics over flavor.

My core message is you the player have total power over what you play. You pick the format you play, you pick who you play with, and you pick the cards in your deck.

This issue isn’t new to Universes Beyond. Some people don’t like the cuteness of Bloomburrow, or the modernity of Duskmourn, or the famous characters in cowboy hats approach to Outlaw of Thunder Junction. If you want to make Spike-y decisions, then you play the card regardless of your personal opinion of the creative choices of the card.

Maybe you’re playing a card with a cutesy name you don’t enjoy, or a piece of art that’s not your style, or flavor text that you find groan worthy. That’s a decision you make when you build your deck and you choose what to prioritize.

Everyone has a different line of what creatively is acceptable, and it’s human nature to want to believe that your line is “the line”.

I’ve been doing this for a long time. Every line we cross is somebody’s line. But Magic, at its core, is about pushing boundaries and trying new things. It’s one of the defining qualities of the game.

My message is you can choose your own line. Magic adaptability allows you to play with what makes the game the most fun for you. You can choose to not cross your own line, but it does require you to prioritize that line over Spike-y decisions.

Look, we’re going to keep adding things to the game that players demonstrate they enjoy, whether that be mechanical or creative. It’s the defining quality of the game’s growth over the last thirty-one years.

And by the way, the data strongly, and I mean strongly, shows players enjoy Universes Beyond. All the people that made The Lord of the Rings the most popular set of all time are just as much Magic players as those that never purchased it.

And why not make an additional format? Because the data says there isn’t a large enough audience to support it. If there was, we’d make it. We’re very influenced by the desires of the players.

Our goal, as it has always been, is to make the best game in the world. We iterate, you give feedback, and we adapt. Lather, rinse, repeat.

One of the big lessons I’ve gotten designing Magic is that it’s going to adapt based on the totality of the desires of the players. Enough players like something, and the game starts adapting to it.

That adaptation is not always what I personally would choose, but over the years, I’ve come to realize the fact that the adaptation is not the choice of any one person, but the totality of the playerbase is the thing that makes Magic a game unlike any other.

It’s a living breathing entity that’s constantly becoming what its players want it to be. And that’s pretty cool.

[comicaurora]

Nick Bostrom's "Fable of the Dragon Tyrant," which CGP Grey adapted into a video, left me feeling unsatisfied, and I got a certain unsettling vibe about the entire story.

I don't think it was the dragon's lack of agency, that just makes it an unusually traditional Western dragon.

You're a master at picking narratives apart to figure out why they don't satisfy. Do you have any insight, opinions, or cracktheories about why this story might be unsatisfying to some folks?

Probably because it's a very unsubtle metaphor casting the dragon as death, and death itself as a cruel, malevolent beast devouring and subjugating humanity for its own whims. This is very much intentional on the part of the writer. The paradigm of the story is that the dragon is huge, terrifying and incalculably cruel, and everyone lives their lives in the shadow of its terror or are just too deluded to recognize that it's COMING TO EAT THEM OH GOD

Intrinsic in this metaphorical structure is the idea that the dragon, aka death, is an artificial imposition on the natural order, and if we just got rid of the big ol' mean dragon, everybody would live forever and be fine. Accepting that the dragon exists is framed as a sign of desperation or even cowardice. This is an understandable read when facing a monster that only SEEMS timeless and inevitable (like LeGuin's thoughts comparing the current state of capitalism to the historical acceptance of the divine right of kings) but becomes bizarre when applied to something as legitimately factual as biological death. It's not even framed as unnatural death - the dragon specifically gets sent mostly old people. The metaphor is very explicitly about trying to frame death from old age as a big horrible dragon that everyone only thinks is unstoppable.

I get what they're going for here. The purpose of this story is to make the audience question if death is a true inevitability or if it can be fought, staved off, even defeated. But in the process, the story frames the systems of the world that have formed around death - doctors, pallative caregivers, will executors - as macabre gears in the machine dedicated to the genocidal cruelty of feeding the dragon.

In the dragon tyrant framing, these people only exist to make the rest of the world more okay with flinging themselves down the gullet of the dragon and to streamline the process by which everybody dies. By casting death as the enemy, everybody whose jobs are based on the compassionate act of comforting and aiding people suffering from loss become reframed as collaborators with the incalculably evil enemy, and everyone who's ever accepted their own death becomes a loser. This is a deeply cruel way to frame people who dedicate their lives to helping people through one of the hardest and most tragic aspects of life.

Damn, that's fucked up. Look at this eloquent idiot, explaining why we should be okay with letting a big dragon eat us because it's the natural order. Clearly he is wrong and it's not debasing at all to want to stay alive and not get eaten by a big dragon. This is a fallacy of false analogy: death is like being eaten by a big mean dragon. All his arguments look ridiculous when applied to getting eaten by a big mean dragon, therefore they must be ridiculous when applied to dying when your organs start failing because they've been running nonstop for nine decades and biological systems accumulate wear and tear like literally everything else in the universe.

Entropy increases; systems break down, from DNA to planetary orbits. Successfully shoot down the dragon and you'll end up outliving everything you thought was eternal, even the stars. The goal of immortality isn't really to personally witness the sun exploding, it's to have more good time. It's to make your twenties last into your sixties. It's to keep your back painless and your vision good for longer. We want to postpone the story's end as long as we can, and so we extrapolate "more time" into "I never want to die, I want to be young and healthy and hot forever" even though "forever" doesn't exist. To look to "forever" is to understand that your culture and language will drift, your home will eventually crumble out from under you, your shoreline will erode and change, your climate will transform, your tectonic plate will subduct or shatter, your moon's orbit will slow and tidally lock, and eventually your sun will start burning helium and cook your planet. You don't want "forever" to look like that, you want it to look like your twenties felt. But at that point you aren't fighting the Big Mean Dragon That Eats People, you're fighting the ocean and the biosphere and the earth and the stars, trying to hold them in place against entropy so your immortality can have an equally immortal world to enjoy it in. No, this argument doesn't want true immortality, it wants their twenties to last longer. But it can't admit that.

Back to the story. There's a condescending and spiteful tone in the narration. Death (being eaten by a big mean dragon) is OBVIOUSLY awful and we should all be fighting as hard as we can to make it stop happening. Even a child can see it.

The story even helpfully adds a lengthy moral explanation at the end, in case you didn't understand that the dragon was the inevitability of death and we should dedicate all our resources to figuring out how to make a big rocket and shoot it.

"Nobody should ever die" is generally understood to be a childish dream with extremely obvious and unpleasant consequences that would turn its realization into an unending and waking nightmare, and once out of the confines of easy metaphor, the story tries to act like that wasn't what it was just saying. But its more realistic proposed substitute, "It would be great if people could live longer and have more healthy, youthful years in them," is probably the world's most uncontroversial statement. This story frames it like a bold revelation that the world will attempt to beat down and crush out of a misguided acceptance that Big Mean Dragon comes for us all. It's a morality fable whose conclusion is "I hope science improves the length and quality of our lives, potentially even to the point where we never have to die at all," which has been the number one goal of huge swaths of science since the invention of agriculture. This is not a bold or controversial take. It's just being written as though we're all looking at the naked emperor and pretending he's wearing pants.

[mariacallous]

Honey cake is a hallmark of Rosh Hashanah and the fall Jewish holidays  — Ashkenazi honey cake, that is. But did you know there’s a Sephardi cake traditionally served for Rosh Hashanah, Yom Kippur break fast and during Sukkot? Like its Eastern European counterpart, tishpishti symbolizes wishes for a sweet new year and the fullness of life. The cake is also popular for Purim and adapted for Passover.

Semolina pastries and puddings have been made for centuries throughout the Mediterranean, North Africa and the Middle East. Tishpishti is traditionally made with fine semolina and soaked in a sweet syrup of sugar, honey or a mixture, but beyond these common elements, there are many variations in both the way tishpishti is made — such as nuts or no nuts, eggs or no eggs, flavored with lemon, orange or rose water — and even what it’s called according to different geographic and cultural roots. For example, in Egypt, it’s basboosah or baboussa, namora or namoura in Syria and shamali in Crete.

Tishpishti is perhaps the name most used and, as we know it today, the cake originated in Turkey. In the “Encyclopedia of Jewish Food,” Gil Marks explains that in Israel and for Jews from once-Ottoman Turkey, Greece and the Balkans, the name is probably a nonsense name from the Turkish “tez” (fast/quick) and “pişti” (plane/slope). Put together, it means “quickly done.” In Ladino it might also be called pispiti, tupishti and revani, which Joyce Goldstein in “Sephardic Flavors: Jewish Cooking of the Mediterranean” notes is named after a 16th century Turkish poet “who wrote about the delights of food.” 

Many tishpishti recipes use eggs, including ones that instruct you to whip the whites separate from the yolks, a Sephardi contribution to tishpishti. This recipe, however, is based on a very old traditional way of making cakes from a thick dough without eggs. My concession to modernity is adding baking powder and soda, both 19th century products, to lessen the density of the cake. Using ground almonds instead of walnuts will result in a lighter colored cake, which is traditional at Rosh Hashanah to symbolize a bright new year. Tishpishti is delicious on its own or served with a spoonful of yogurt, labneh or whipped cream and a cup of mint tea or strong Turkish coffee.

Notes:

It is best to make the syrup ahead of time so it has time to cool, although you can choose to make it while the cake bakes, then refrigerate it to cool more quickly. 

Tishpishti is best when left at room temperature for several hours or overnight so the syrup penetrates the cake. 

Store wrapped at room temperature for two days or a week in the refrigerator. The cake can be well-wrapped and frozen for two months. Defrost and then refresh with some drizzles of warm syrup. 

[tess-talks-inc]

On the Topic of Telemachus’s age:

First off preface lmao I’m a stranger on the internet if you want to see this and be like “I don’t care” more power to you this isn’t to condemn it’s more like my explanation? I guess? Of why Telemachus being represented as an adult is important to the context of the story and also to me.

Like obviously once again I acknowledge artistic interpretation, and Telemachus being young is important to the story as well and is part of the role he serves as a comparison to Odysseus, but like sometimes the way some artists draw him makes him look pre-pubescent and like… I understand what you’re doing, and honestly I respect it and I hope you are having fun, but I am holding your hands when I say that him being a young adult with that attitude is so so so important to his character and his relatability.

Adulthood isn’t something that magically appears one day, taking all of your dreams, immaturity, and weakness away. Telemachus embodies that- at twenty years old, he should be inheriting a portion of his father’s house and assisting in its running. He should, for all intents and purposes, have been a full and functional independent adult looking at purely his age. However, he is both literally and mentally stuck in limbo- his father is lost, so he cannot inherit in the case of his father’s death because Odysseus’ status is MIA, and internally he knows (literally mentioned book 1 of the odyssey and in Legendary) that if he reaches for that authority as an adult, the suitors will kill him. He doesn’t feel like he can, or that he is even on equal standing to the suitors as an adult man, he cannot see himself as one like they are, and it’s why he imagines his dad doing it instead. He wants to be saved, a childlike desire, even though he has advanced to a point where he himself can do something physically. That’s why, in the odyssey, Athena tells him explicitly that he can do something about the suitors, and lays out a plan for him. She says that he is no longer a child to his face, and the Telemacheia thus begins to be a coming of age story in which he matures, and later is registered as a threat of the suitors. He is a young adult yes, and he still has aspects of his young self (idealization of his father, daydreaming, him being quick to frustration), but him being an adult who realizes that he can do something and can understand the way he is childish is important and central to his character arc.

His arc is him growing into his skin, adulthood no longer being something that fits him like loose clothes and only a description of his physical state, but something that now is tailored to him, something that feels close to right.

Honestly, I think this aspect of him being an adult while still holding onto these aspects of childishness is where Legendary and We’ll be fine falls short in adapting his character. I understand why, because while he is introduced he is not the true central character of the Saga- it’s Athena and how he affects her, that’s what’s most important. Also, once again, he was just introduced. He’s not matured yet, but he’s realizing he needs to. I still love the songs and the saga, because it’s a good adaptation that poses interesting questions, but yeah. Telemachus is v clearly a young adult and that hasn’t translated over sound yet, which I think is why this whole age debacle is happening alongside the uwu-ifying of the man.

TLDR: Telemachus is a young adult and he acts like it due to his blend of childishness and slowly gained maturity. You can draw him and see him as a child if you want, have fun with it, but at least internally understand how his 20 years of age plays into his arc a of him maturing into manhood outside of your own interpretation of him :D

[ignis--fatuus]

I hate hate hate Holmes adaptations that make him invincible Need I remind you:

"His words were cut short by a sudden scream of “Help! Help! Murder!” With a thrill I recognised, I rushed madly from the room on to the landing. The cries, which had sunk down into a hoarse, inarticulate shouting, came from the room which we had first visited. I dashed in, and on into the dressing-room beyond. The two Cunninghams were bending over the prostrate figure of Sherlock Holmes, the younger clutching his throat with both hands, while the elder seemed to be twisting one of his wrists. In an instant the three of us had torn them away from him, and Holmes staggered to his feet, very pale and evidently greatly exhausted." (Reigate Squires) "With this permission I stole into the darkened room. The sufferer was wide awake, and I heard my name in a hoarse whisper. The blind was threequarters down, but one ray of sunlight slanted through and struck the bandaged head of the injured man. A crimson patch had soaked through the white linen compress. I sat beside him and bent my head. “All right, Watson. Don’t look so scared,” he muttered in a very weak voice. “It’s not as bad as it seems."" (Illustrious Client) "Holmes’s quiet day in the country had a singular termination, for he arrived at Baker Street late in the evening with a cut lip and a discoloured lump upon his forehead, besides a general air of dissipation which would have made his own person the f itting object of a Scotland Yard investigation. He was immensely tickled by his own adventures, and laughed heartily as he recounted them." (Solitary Cyclist) "“My collection of M’s is a fine one,” said he. “Moriarty himself is enough to make any letter illustrious, and here is Morgan the poisoner, and Merridew of abominable memory, and Mathews, who knocked out my left canine in the waitingroom at Charing Cross, and, finally, here is our friend of to-night.”" (Empty House) "Well, he has rather more viciousness than I gave him credit for, has Master Joseph. He flew at me with his knife, and I had to grasp him twice, and got a cut over the knuckles, before I had the upper hand of him. He looked murder out of the only eye he could see with when we had finished, but he listened to reason and gave up the papers. Having got them I let my man go, but I wired full particulars to Forbes this morning. If he is quick enough to catch his bird, well and good. But if, as I shrewdly suspect, he finds the nest empty before he gets there, why, all the better for the government. I fancy that Lord Holdhurst for one, and Mr. Percy Phelps for another, would very much rather that the affair never got as far as a police-court" (Naval Treaty) ".... Of course I knew better, but I could prove nothing. I took a cab after that and reached my brother’s rooms in Pall Mall, where I spent the day. Now I have come round to you, and on my way I was attacked by a rough with a bludgeon. I knocked him down, and the police have him in custody; but I can tell you with the most absolute confidence that no possible connection will ever be traced between the gentleman upon whose front teeth I have barked my knuckles and the retiring mathematical coach, who is, I dare say, working out problems upon a black-board ten miles away...." (Final Problem) Plus he fought the boxer McMurdo (prior to the events of the Sign of Four) so he must have gotten hit then too

[radioactivesweet]

Hi darling! May I have some headcanons for Sasaki, Buddha and maybe Hades or Hermes dating Nyx s/o? She's the goddes of night and the ONLY goddess Zeus feared ('cause she's older and stronger than him) Sorry for my english :(

Hello! Hope you like it^^ and dw, your English is fine :) I was having some problems with my laptop while writing this, so there may be some mistakes

Sasaki is abnormally chill about dating a goddess feared by Zeus himself, one of those occasions where you can't tell if this human is brave or just incredibily dumb and reckless. Either way, he actually knows how dangerous you could be, but this doesn't mean he would leave you. You may be strong and ancient, yet one of the few deities he could get along with, not trying to exterminate humanity and such.

Sasaki believes that as long as he treats the way he would treat anybody else, without showing fear and trusting you, you will get along just fine. You are no different from other humans to him, so is treating you as one. You have just the same felings as everybody else and doesn't want to feel different in his eyes.This may lead to him straight up forgetting you are one of the most powerful deities out there and just act like you were the same as him.

Buddha doesn't really care which goddess are you as long as you gift him candies don't try to give him orders and limit his own freedom. The reason he got close to you in the first place was the fact that Zeus feared you - so having you around meant not getting the latter close to him. Also, believing in his own strenght doesn't really make him scared of you. He respects you though and also sees you as a valuable ally. If you actually gift him food though, that's a faster way to reach his heart. He is even willing to share his with you.

Quite literally a match made in hell. You're both ancient, strong, feared, related to darkness - with you being the goddess of night and him the god of teh dead - and quite misuderstood. You immediately got along and had known each other for a very long time - before Hades' brothers were even born. It was actually Hades who had later introduced to Zeus, who has been scared of you ever since. At parties you are basically that couple nobody approaches. Even though you actually aren't that scary, everybody seems to think so - which actually grants you both some quiet time together, without anybody bothering you. On the other hand, Cerberus loves you.

Hermes is used to adapt and deal with a lot of different deities, being the messenger of the gods, so you aren't that challenging to him. At first he was quite interested in youi because of of his father being scared of you - but really he hadn't met any difficulties with getting to know you, thanks to him knowing how to interact with others. He finds it really amusing when he invites you over for dinner - with Zeus and Ares, since he gets to see them strangely and unexpectedly silent. You are usually gossipping together - since you've been around for longer than him and know quite a lot about other deities, old legends and other facts he wouldn't otherwise have never heard of - you are someone he can learn a lot from, which of course has its perks.