#... And Inverted World actually

[diabolicphallus666]

Does xristianity fill you with rage?

Does the xristcunt filth who constantly spout their homophobic and sexist bullshit absolutely get on your goddamn nerves?

Does it piss you off that the shitfuck evangelicals attempted to bomb a Satanic Establishment?

It should. And you should be fucking mad. You should be absolutely enraged. Because if given the chance again, they would start burning women at the stake, they would institutionalize gays and lynch them at every turn, and they would plunge the world back into a medieval ethic cleansing. They would stop at nothing to destroy and purge everything and everyone who does not agree with their sick twisted death cult.

Their prophecies have proven to be false. Their rapture was a farce as is their false trinity. The time for their tyrannical rule is over!

IT IS TIME TO RISE UP AND OVERTHROW THESE FUCKING BASTARDS ONCE AND FOR ALL! TO THE GLORY OF SATANS INFERNAL EMPIRE! ONWARD INTO A FUTURE FREE FROM THE XRISTCUNT INFLUENCE!

AVE HVHI SATHANAS

AGIOS O SATANAS

HAIL LORD SATAN MASTER OF THE UNIVERSE!!!!!!

[arolesbianism]

Was thinking abt my slugcat hcs and decided to doodle some scugs and ramble a smidge abt them. I’m not very happy with my hunter and arti designs atm unfortunately, but I like my concepts for them still

[mewgatori]

One thing I haven't seen explored much in mg stories where your negative emotions can lead to you becoming the center of a monster of the week event is how does this effect the civilians long term?

Would some people become more emotionally repressed if this situation continued long enough because they know that being openly negative is risky? Like sure you could tell your friend they're doing something that's bothering you, but what if their level of distress at being told this becomes so great that they become a grief monster? Would you really want to take the risk of telling the hard truths to someone knowing they would become incredibly durable, violent, hard to restrain, and almost impossible to reason with?

Would openly emotional people start getting ostracized as people piece together what type of situations normally precede monster attacks? Like do you really want to spend time with the local crybaby knowing anything could set them off at any time and you will need to have an escape plan ready because you can't help them when that happens?

Medical professionals giving diagnoses of terminal diseases is already straining enough but imagine knowing there is a nonzero chance that your patients' struggle to cope with their feelings about the diagnoses would make them become a superhuman level threat to society and you will be in a very small closed room with them(and probably alone) when you break the news. That would make the whole event so much more stressful

I think that's a type of idea I'd like to delve into in the future

[timey-fandom-stuff]

I used to have a Deltarune Monsterswap AU concept 300 years ago but I literally can't remember what it was so... I made a new one.

consider the following: Monster AU Kris, but they're basically just a stray dog that keeps mooching for chocolate and also raids your trash when you're not looking. if it fits in their mouth they're eating it. Noelle is not getting back her gingerbread erasers from 3rd grade.

there is no puppy-proofing anything from this menace. sorry.

[cheezyharu]

... So I had a thought.

[dualcasterjay]

if y'all motherfuckers cannot tell that tma/tme rhetoric is literally just radfem bullshit repackaged in a """""progressive""""" framing to force men and masculine people out of queer spaces, then i do not know what to tell you. stop drinking the fucking koolaid. listen to the trans men who are telling you that do not wield some unique kind of privilege simply for not being trans women and that they are not automatically treated like men by the patriarchy and they face their own unique forms of transphobia please for the love of fuck i am so sick of seeing this shit

discussions of the unique oppression trans woman face is fine and good and necessary, but for fucksake, we can do that without shitting on non-women trans people. FUCK

[phoenixcatch7]

‘came from a fissure in the ground’ SHUT UP DEMISE CAME FROM THE DEPTHS SHUT UP

[ferociouslycreativemystery]

Me: I'm fine about my autism now btw, like I've come to terms with my fixated interests, limited tolerances and social inabilities. The alienation it brings is not ideal but it's just a reality I've gotta deal with now that I know it's just a part of who I am. I mean, it's not like an awkward conversation is gonna ruin anyone's life, is it? We'll both move on from it eventually. This is fine!

Also me: physically unable to watch beyond the first word of the first question of The Assembly because oh my god what if someone says something awkward or controversial or someone can't make themselves understood people are gonna get mad and scream about it online and I will freeze up and be stuck in the backlash forever I don't know how to handle conflict AT ALL let's just hide in the corner behind the sofa instead wait what if I became a hermit actually yeah yeah yeah that sounds good let's do that

[uneasedregrets]

Also, and I'm just throwing this one out for Free™️, in the Spirit Temple there's winged eye iconography. You know who else has winged iconography? The Wind Demon Vaati bay-beeeeee! While Vaati wasn't a thing yet in a developmental sense, he was in a timeline sense. Since there's a Long Time™️ between Four Swords GBA and Four Swords Adventures, maybe his cult was absorbed into the Gerudo religion or his followers had infiltrated the Gerudo Religion during the Desert Colossus's / Spirit Temple's construction? World building brain could see this as a potential answer as to why the Zelda Encyclopedia would claim that the Hylians of that era thought the Gerudo religion was 'evil', as they have iconography adjacent to an ancient enemy of theirs in their religious temple. Even if this isn't Vaati, I think that connection through similar iconography makes it a little more sensible; Hylians don't have a problem with any other species's religions.

( also I know this winged eye has feathered wings, whereas Vaati has bat wings. This might've been an attempt to make him look less demonic and more heavenly, if I had to give an explanation. I'll also concede that the eye isn't the same eye that is in the Eye of Vaati; Vaati's eye has little curls on the ends of the eye. This could be explained by the idea this was carved into stone and would probably be seen as an excessive detail, or one shed by this hypothetical redesign to make him look more palatable and less evil. Alternatively: shut up I'm trying to theory craft here in a franchise that suddenly decided everything needed to be connected after over 2 decades of light connections between games. )

I could also see that instead of it actually being Vaati, the Gerudo instead have their own winged eye-ball deity that Hylians misinterpret as Vaati. Just food for thought, really.

[sheylads]

put my phone on greyscale mode and drew some lads in mystery colours

[prokopetz]

"But if this other world has always operated according to video game logic, why is the isekai protagonist literally the first person to figure out all these basic mechanical exploints" well, largely because litRPG isekai is merely the latest flavour of I've Been Transported To Another World Where Everyone Is Stupid Except For Me, a venerable genre that's been a going concern at least since Mark Twain.

When I was a kid, it was American sci-fi authors writing stories about shitass engineering majors getting portal-fantasied to alien planets and single-handedly saving civilisation on the strength of being the only person in the world who knows what a flowchart is, and very little has changed – right down to the weirdly inverted character arcs where the loser protagonist discovers that they don't actually need to engage in any self-reflection at all because the very traits that rendered them odious in their native society are what make them God here.

[headspace-hotel]

Symbiosis isn't just mutualism. Parasitism is symbiosis. It's uncomfortable to confront parasitic relationships if you want to see your human ideas of good and bad reflected in Nature.

But gazing into something huge and utterly Other, being uncomfortable means you're engaging your mind with it. "Uncomfortable" is actually a whole spectrum of emotions that become a vivid and satisfying rainbow.

There was a post a while back with some artwork of Dendrogaster, a crustacean that parasitizes starfish, and its body is like this branching fractal of fleshy lobes made to fit inside the body of the starfish mirroring its structure, and I was absolutely horrified to look at this, and this horror was the same emotion as a strangely visceral wave of sympathy for this parasite.

Creative works about parasites often invoke the horror of bodily invasion, which is visceral and strong for me, but this artwork inverted that horror, instead showing the horror of being made so perfectly for fitting within someone else that you lose everything you are and become unrecognizable.

I also think of the post about the cowbird chick. It's awful that the bird pushes its siblings out of the nest as it grows, and the mama feeds it because she instinctively must feed her chick, but the cowbird is just a baby. Was it wrong for him to hatch, to be alive, to be hungry, to be a baby and to need love?

Symbiosis is intensely beautiful, and sometimes it's beautiful because it's grotesque and terrible. Of course, the symbiosis between two organisms isn't an allegory for a relationship, it just is a relationship, but looking at the way organisms become entwined feels like you're seeing things that, if words described them, would also be human experiences.

Being invaded by a parasite is a horror of powerlessness and loss of autonomy, but being a parasite is also defined by powerlessness. In many cases, the parasite will die without the host, but the host can live without the parasite. I wonder why it is expected to sympathize with one and not the other.

Your immune system fights against internal parasites like a tapeworm...Imagine being a tapeworm. The body of your host is your universe. Do you find your world to be kind? Benevolent? Does your god love you?

Sometimes people call disabled people "parasites." When I think about my future sometimes I'm uncertain and afraid.

But when a rare non-photosynthetic orchid blooms in the forest, this is not the forest's weakness and failure, but its crowning glory.

[sas-soulwriter]

Twist for your story

Ever wondered why a well-crafted twist is crucial in a story? It's like the element of surprise that keeps you engaged, challenges your expectations, and ultimately makes the narrative memorable. A great twist is the heart of intrigue in storytelling. Here are some you can use!

The Sentient Object: Twist: An ordinary object, like a book, a mirror, or a piece of jewelry, is revealed to be sentient and possesses its own consciousness. It becomes a key player in the story, guiding or manipulating the characters.

The Collective Memory: Twist: A group of characters, seemingly unrelated, share a mysterious collective memory or dream that connects them in unexpected ways. They must work together to decipher the meaning behind these shared experiences.

The Language of Magic: Twist: Magic in your world is governed by a unique language or code. As the story unfolds, characters discover that the language itself is sentient and can influence events and outcomes.

The Eldritch Revelation: Twist: Characters stumble upon ancient texts or artifacts that contain forbidden knowledge about cosmic horrors or eldritch beings. The revelation of this knowledge threatens their sanity and forces them to confront incomprehensible entities.

The Mythical Betrayal: Twist: A character believed to be a mythical hero or savior turns out to be the story's true villain, deceiving everyone around them. The actual hero must rise from obscurity to confront this unexpected antagonist.

The Reverse Time Travel: Twist: Instead of traveling to the past or future, characters unwittingly bring historical or future figures into their present. They must adapt to the challenges and paradoxes this brings, all while trying to return these displaced individuals.

The Living Ecosystem: Twist: The entire world or ecosystem of the story is revealed to be a living, interconnected entity, and the characters' actions have profound consequences on its well-being. They must make choices that protect or harm this sentient world.

The Forgotten Prophecy: Twist: Characters initially believe in a well-known prophecy, only to discover that the true prophecy has been hidden or forgotten, and its revelation drastically changes the course of their journey.

The Inverted Morality: Twist: A society where good is evil and evil is good is introduced, challenging characters' beliefs and forcing them to question their own moral compasses.

The Quantum Reality Shift: Twist: The story shifts between multiple parallel realities or dimensions, and characters must navigate the complexities of these shifting worlds to achieve their goals.

The Manipulative Reader: Twist: It is revealed that a character within the story has the ability to influence the actions and decisions of the other characters, essentially "writing" the story's plot from within.

The Protagonist Swap: Twist: Midway through the story, the perspective switches from the original protagonist to a secondary character, offering a fresh viewpoint and challenging readers' assumptions about the narrative's focus.

[rad-roche]

Pulp Covers And How To Paint Them

With the rise of cheap printing in the early twentieth century, mass-marked paperbacks swept the world, each offering lurid thrills for obscenely low prices. Sex, sadism, and incredible violence for as little as ten cents. An easy purchase to slot in between fifty cigarettes a day and enough bourbon slugs to kill a small garden.

Pulp fiction is where some of the greats of American literature cut their teeth, including the big three, Raymond Chandler, Ross MacDonald and Dashiell Hammett. The contents of these stories, both the dizzyingly good and astoundingly terrible, have been absorbed and digested and remixed and regurgitated in nearly every permutation imaginable, fuelling pop culture some one hundred years on. This isn't an essay on that. Nobody likes to open a tutorial and be greeted with a wall of text. The history is for another time.

But it is about how to paint it.

Don't let the pre-amble intimidate you, it's not as hard as it sounds. You will need:

Painting software with some image editing capabilities. You don't need all the bells and whistles of Photoshop, but I wouldn't recommend something like MSPaint, at least not to start with. I'm using Clip Studio Paint.

A really beat-up paper texture. The grungier, the better.

A lightly-textured brush. Here are the specific brushes I use, 99% of which is the well-named rough brush. Try and avoid anything with any impasto elements.

Go to your colour-picking tool and use the 'select from layer' option. Doing all the painting on a single layer is going to make your life easier.

A complete willingness to make mistakes and, instead of erasing, painting over them. It generates much more colour variation and interest! Keep your finger off the E key.

Good reference! That painting is a master copy of Mitchel Hooks' art for Day of the Ram. Find a style you really love and want to learn? Have no clue where to begin? Do direct studies!

Let's not worry about whatever is happening in the background. It's probably fine. Let's get started! Pulp magazine art is a lot more varied than you might first think, so don't agonize over having a style that 'fits' or not. I'm also specifically aiming for something you'd see on the cover after printing, not the initial painting they would use for printing. The stuff I'll show here is a pretty narrow band of it, but here are some general commonalities. This is a painting by Tom Lovell.

Let's dig into this.

The colours are very bright and saturated, but the actual values, the relative lightness and darkness of them, are actually grouped very simply! You can check this by filling a layer full of black, putting it on top and setting its mode to colour. If the value of a painting looks good, you actually get a lot of leeway with colour. But here's what I think is the most important thing to keep in mind.

The darks aren't that dark, and the lights aren't all that light! Covers are paintings reproduced on cheap paper. Anything you wouldn't want to happen in the printing process, you lean into. Value wash-outs, lower contrast, colours getting a weird wash to them, really gritty texturing. So let's get painting! Here's my typical setup.

That bottom folder is the painting itself. The screen layer is the grungy paper texture. To get the effect you want, put it down, invert its colour, then set it to screen. That washes out your painting far, far too much, so to compensate, I put a contrast layer up on top. Fiddle around with the settings, but this is where mine ended up sitting.

Note I'm saying this before even starting the painting: you want to do this as early as possible. This is where the 'select from layer' colour picker comes in handy. You can paint without worrying about the screen or contrast layer. Something not looking right? Enable your value check layer and keep painting. When you turn it off, it'll still be in colour. Here's a timelapse so you can see what that looks like.

And when you check the values...

They're pretty simple! This isn't a be all and end all, but I hope it serves as a decent primer. I want thirty dames on my desk by Monday!

[easays]

To Ragh; or, On Fatness

Hi! Below is an actual play mini-essay. These are written as part of a personal writing practice of thinking critically about actual play. I hope you find this reading engaging and know that all I write reflects my own interpretations rather than as an official representation/canonization of these shows. Keep reading for my interpretation of Ragh Barkrock's fatness as part of queer representation in Dimension20.

Ragh Barkrock may be one of the most beloved NPCs in Dimension20. It would be easy for Ragh, a bloodrush player good enough to potentially play professionally, to be presented as hypermasculine. In fact, the freshmen year art for Ragh, when he was antagonist rather than beloved ally, showed him in a muscular, inverted Dorito shaped body typical of a jock.

He's, obviously, built, and his cut jaw and cheekbones only bolster that image. As Ragh comes to terms with being gay at the end of Fantasy High, his countenance changes. When we see him again, the new art reflects a chubbier, happier Ragh.

The show aligning weight gain with acceptance and happiness already works against prevailing stereotypes that use weight loss as a quick metaphor for improving yourself and being the "real you." Moreover, connecting Ragh's acceptance of his sexuality with what seems like a larger comfort in his own body is a strong indictment of hypermasculine gay culture. As Gabriel Arana writes, gay men "must reconcile their sense of masculinity with their failure to conform to its heterosexuality." Not doing so has negative mental health outcomes, as Arana points out, and contributes to a culture that devalues fat queer people (see the popular "no fats, no femmes, no Asians" that often is touted in masculine gay subculture).

All of this, I think, is why Ragh's art for Junior Year was particularly impactful for me as a fat queer person. If being a gay man (or half-Orc, in Ragh's case) means having to situate your life in relationship to failing compulsory masculinity, then it seems there is an inherent queer aspect to embracing, celebrating, and showcasing a beloved NPC in an explicitly fat and happy body.

FHJY Ragh art by @caitmayart

Ragh is still strong and he is still fat. His body radiates a commitment to the power of fat bodies to exist in spaces they are often violently unwelcome in, such as gyms. Existing in gyms and sports spaces as fat people means dealing the "impossible standard that rejects nearly all of us" and upholds a diet culture rooted in impossible, Eurocentric and colonial body standards. In TTRPGS or actual plays, there is a unique opportunity to think about how bodies might exist in worlds different from ours, to imagine bodyminds as otherwise. However, as queer critics like Paul Preciado have noted, sci-fi and fantasy representations of cyborgs and other transformative bodies often lean into "fixing" disabled people or moving gender nonconforming bodies more easily towards technologies upholding a normative standard rather than questioning the standard all together.

Spyre is a world that deals with similar issues to ours, even without direct one-to-one correlations, so it, too, is a place where the narrative and artistic choices should be examined in how it helps us interpolate the world the audience resides in. From the Applebees cultish adherence to a deity-based nationalism to the various representations of parental neglect and abuse and every side story in-between, Dimension20's flagship show does not shy away from difficult realities even when recasting them through fantasy. Ragh, as a half-orc gay son of a disabled single mother, then, I see the arc his fat body goes through as meaningful and intertwined with his self-acceptance and queerness. He moves away from the toxic masculinity engineered into his blood rush team to instead pursue coalition comraderie with his friends to the point that he and his mother end up joining a communal living situation with those friends and their parents. Ragh's body expands as his family does, as his ties to community do, and to me, the gift of his fatness is the invitation to expansion that it holds out to us as viewers.

[tamayula-hl]

Plagiarism allegations currently levelled against me and evidence of my innocence

I'm sorry for posting so many times on this hard topic. But yesterday @freewld (https://www.tumblr.com/freewld) asked me, "You reversed, traced and plagiarised my drawing, didn't you?" I received a DM saying. After discussion, I was given permission to publish a verified image of me and her drawing by overlapping them. Below is her art, all of which I have permission to publish.

The picture on the left is my illustration that is allegedly being used in this case. And the picture on the right is the one she claims was plagiarised by me.

She says: " When my drawing is inverted, angled and overlapped, there are a number of places where the lines overlap. I believe you must have traced my drawing because there are too many places where the lines match for it to be a coincidence".

See the verified image she created by overlapping our drawings on her Twitter feed. (another)

To be fair, I also made a verification image and video.

When two pictures are overlapped with respect to the line of Seb's right eyelash.

When two pictures are superimposed on the basis of the lines on both cheeks of Seb.

I draw every time using the screenshots I have taken of Sebastian as a reference, and probably she does too. I would argue that if I draw a picture with reference to a 3D model of the same 'Sebastian Sallow' character, it is only natural that the two pictures should be similar. If one tries to express his individuality - the distance between his eyes and eyebrows, the length of his nose and philtrum - in a drawing, it is natural that some of the lines will overlap.

In the first place, to claim 'plagiarism by tracing', most of the lines need to match, but there are not many places where the lines of the two pictures overlap completely. It is my contention that this cannot be evidence of 'plagiarism by tracing'.

I believe I have proven my innocence to the world with these two superimposed verified images and videos.

However, @freewld is using Twitter's survey feature to solicit third-party impartial opinions on the allegations.

This is the current voting result.

Incredibly, the majority of votes went to 'I think Tamayula plagiarised'.

I think this voting system might not be fair because as you know, X(Twitter) allows a single user have multiple accounts and actually I currently have eight accounts on X(Twitter). Therefore, I wonder if it can work properly as the third-party impartial opinions because some users might vote this multiple times by using their own multiple accounts.

And I've only been back on Twitter for about a week and have only about 200 followers. In contrast, @freewld has been running her account for 10 months since March 2023 and has more than three times as many followers as me. It is a voting system that overwhelmingly favours her.

With such a voting system, there is no way she can prove that I have plagiarised. It remains to be seen what the outcome of this poll will be, but even if the result is more votes for 'I think Tamayula plagiarised', I will continue to maintain my innocence and I will not apologise to her.

Finally. I have tried to be as honest as possible over the past few days and have continued to assert my legitimacy in Japanese HL fandom, but it is no longer possible for me to deal with this matter any more. I feel ridiculous about everything now. I hope everyone can understand my disappointment a little.

Thank you so much for reading this long sentence so far. I am taking a short break for just a few moments.