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liloinkoink · 1 month

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last night i asked if people would be interested in me posting a backstory piece for Martyn from the hero/villain / yellow rose au i’ve posted a single oneshot for despite the fact the backstory piece doesn’t seem to outwardly relate to the posted oneshot. no one outright shot me down so. here you go

for some context, the powers in this world of yellow rose come from a catastrophic event that took place almost 20 years prior to the start of the story, which wiped out a lot of the world’s cities/towns and gave many of the survivors powers or mutations

backstory takes place when Martyn is 0-10 years old (he was born shortly before the aforementioned catastrophic event) and focuses on an OC parent character / martyn’s relationship to said parent

anyway. yellow rose is an au made w @cherrifire. time for you all to meet robot dad

It’s hot on the day the world ends. This is not the only thing it remembers, but it’s one that still stands out, even years down the line.

It’d been dealing with a patient with symptoms of heatstroke, the third it had seen in an hour. Heatstroke is an easy enough ailment to give to a nurse bot to treat, so it gets the job. It had stepped out of its patient’s room and run into a doctor, who had asked it to fetch something from the basement storage.

This is why it had survived, it thinks, looking back. It had been in the basement, and by some stroke of luck, the building had not collapsed so completely as to destroy it alongside the rest of the building.

It had not had a concept of luck before that moment, before the shaking had stopped and the dust had cleared, leaving it mostly in tact. Once it had forced its way up the stairs, it found it was not sure whether surviving the collapse was good or bad luck.

When the nurse bot tried to ring its network for help, it found the line inside its head had gone dead. When it looked to the surrounding street, it found hundreds of buildings similarly smoldering. When it called out, it found only its own voice returning to it.

The nurse bot had tried to comb through the wreckage of its practice, looking for survivors. It found nothing, heard nothing, but it still attempted to sift through the rubble, to search for the people it had been built to assist.

A nurse bot’s arms are not meant to move stone and iron, however. It was not used to the strange things that happened in its processing when it thought about what might be under the wreckage, and did not know how to handle them. It made a mistake, lifting things it could not, and when the wreckage in its grasp had buckled…

Well. It had thought itself lucky, distantly, that unlike humans, robots are not generally “handed” in one way or the other. Statistically, it would have preferred its right hand, and it would have been much worse off when the debris crushed its arm, taking its limb from the elbow down.

Ah, and pain, of course. It would have been quite bad if it had been able to feel pain, or bleed. It probably would have died, had this fallen on it, or had it lost a flesh and blood arm.

It… does not look in the wreckage any longer.

The nurse bot did not know what to do, with the practice it had spent its whole existence in destroyed. It had never been outside before—at least, not while activated. It had never left the walls of the hospital it was built for. It had not been intended to function without direction.

It knew its purpose, though, direction or not. The nurse bot had been built to heal. It knew, direction or not, how to do this, and that it must do this. And certainly, if it looks, it would fine someone out there who needed it.

When it comes to matters of health, time is of the essence. With its direction decided, the nurse bot begins to walk.

It finds people, rarely, stumbling and unharmed, or nursing small bruises or minor sprains. It helps these when it can, and gives advice when it cannot. It finds bodies, often, and it looks away, as it has never seen a funeral, and it does not know to help the dead except to assist the living.

It finds a woman soon to be a body, despite its best efforts to help her. It lacks supplies to stop the flow of blood from her wounds, and the woman lacks any hope without stitches or bandages.

It offers her sympathies, and it holds in its one hand both of hers. There is little it can say to her, but it tries, quiet promises of I am here and I will not leave you and you will be at peace soon.

She holds its hand with all the strength in her body, knuckles white as paper, a stark contrast against the dark blood staining the rest of her body. It feels as the strength fades. It watches as the light in her eyes fades with it. She lets it go, and it closes her eyes.

The nurse bot keeps walking, keeps looking, until it hears crying. The sound is loud, a desperate sob of a young child, and it seems to stem from a building sagging in three places, roof and door and floor all ready to give in.

If it were human, the nurse bot may have thought the place too risky to enter. But it is not, and so in it goes, pushing the door open with one hand.

It finds the boy lying in his crib, a round-faced infant wrapped in a patterned onesie and kicking away a thin blanket. He cannot be more than a year old—the nurse boy would guess him to be maybe six months. The fact the boy and his crib have survived the destruction of the city is a miracle, one not offered to the rest of the home.

It reaches down into the crib, brushing its hand over the boy’s face. His sobs stumble, a bit curious, but the baby ultimately doesn’t stop crying.

The nurse bot hadn’t worked with a pediatrician, but it knows about children, as any nurse bot would.

“Are you hungry?” it asks. He doesn’t answer except to cry more, which is understandable—this is what babies do, it knows, and besides, this has been the chosen course of action for most of the people it saw today.

It could not help those people, but it can help with this.

The nurse bot steps away from the crib to examine the boy’s room, though the boy cries louder when its face disappears from his view.

“I will return shortly,” it tells him. This assurance does not calm him down.

It finds what it can in the rest of the home—food for the baby, a warmer blanket, a box of diapers. It finds the living room, where living is not what his parents are doing, and gingerly shuts the door. It finds a photo album and flips through, searching for the information it needs: delicate handwriting next to an image of the boy, held in the arms of the woman on the floor a room over.

April 7th, 20XX: Welcome to the world, Martyn!

His name is Martyn. His birthday is April 7th. The nurse bot usually keeps these things on file about its patients, and so it files them away.

When it returns to the crib, the baby inside is no longer crying, having worn himself out. It reaches down again, face blank.

“Hello, Martyn,” it says, “I am going to be your caretaker for now. I hope we will get along well.”

— — —

They don’t stay in the house. It finds a baby carrier in a closet and a duffle bag in the bedroom, and it packs what Martyn will need and carries him out of the collapsing home.

Martyn laughs a lot. Once he’s been fed and changed and has slept, the nurse bot finds he laughs all the time.

He doesn’t know, it thinks. He must miss his parents, probably, but he doesn’t know. He isn’t old enough to understand any of this. He watches the broken and bloodied street with awe—has he ever been this far from home before? This is all a big adventure to him.

It doesn’t tell him.

— — —

It stops three times a day to change and feed him, and to let him crawl around in the cleanest and sturdiest places it can find.

“Movement is good for development,” it tells him, watching him play with a piece of rubble.

It doesn’t stop to rest at night—it doesn’t need to, and the rocking motion of his continued steps helps Martyn sleep. When that isn’t enough, it tries to replicate the songs it has heard playing in the clinic’s waiting room, or seen mothers and fathers sing in the clinic to calm their children. Martyn seems to like that.

He likes the nurse bot’s hair, too. He tugs on it all the time as the nurse bot walks, held close to its chest, close enough to its head to access it. It lets him—it doesn’t hurt, and besides, it has few other ways to entertain him.

— — —

Martyn grows. He starts to babble, and to toddle. He becomes too big for the bot to carry him, but by then it has become adept at finding places to hunker down for a while.

“Your name is Martyn,” the bot tells him, pointing to his nose.

“Ma,” he tries.

“Very close,” it says. He grabs its hand, tugging, and continues to babble.

“Da,” he says, and it knows that he doesn’t have a concept of fathers or parents or the English language, and he is only making sounds.

“That is me,” it says anyway, and Martyn continues to babble.

— — —

“Dad,” Martyn tugs on its arm, barely tall enough to reach its fingers. “Daaaad.”

“Hello, Martyn,” it says, “What is it?”

“I’m bored,” Martyn says, “And I’m hungry.”

“We still have some food left for you, though I should start a fire soon,” it says, “We will need to move soon. Children your age need a variety of foods to—”

“Grow up healthy, I know,” Martyn whines, “That’s boring. I’m bored.”

“What would you like to do?” it asks, and he lets go of its hand, running off. It stands to follow, but then he’s back, holding a battered old book—some kind of short novel, something with a torn cover that used to have a dragon on it. The title is gone, as is the dragon’s head.

“Read this,” he says. Martyn is learning to read, but he hasn’t quite got the grasp to read a real book on his own yet.

This hasn’t stopped Martyn from searching for them, though, nor from presenting them to his father to read. It had started reading one aloud to Martyn to entertain him when Martyn had come down with a fever last year, and he hasn’t stopped asking to hear them since.

“After you eat,” it says, and Martyn cheers.

—

There is a group of survivors picking their way through town. The bot sees them before they see it, watching the street from a window. It does not know their intentions, and it doesn’t plan to find out.

It crouches down in front of Martyn, putting its hand on his shoulder.

“Hello,” it says, “We’re going to play a game, okay?”

“Okay,” Martyn says, and it nods, once.

“It is called hide and seek,” it says, “There are some people who are looking around town, trying to play, and we are going to hide from them. We will win if we are not found.”

“That’s a dumb game. Why don’t we play something else?” Martyn asks.

“It is their favorite game. We are going to play because that is what they like to do. But we are going to be very good at it and hide very well,” it says, “You can hide with me, okay? If we win, there will be a special prize.”

That’s all it takes to convince Martyn, who smiles and nods and follows it as it ducks away into the closet. Its legs creak as it sits down, and then it opens its arm, letting him sit in its lap. It can’t be comfortable, all cold metal, but Martyn wraps his arms around its torso and settles right in, content with the hand on his back.

“Now we must be very quiet,” it tells him, “I will tell you when we can talk again.”

Martyn nods, and it puts its hand on the back of his head, and it waits.

When the strangers leave, it asks him what he would like for his prize.

“Hug me again!” He says, and it obliges for as long as he wants.

— — —

Halfway through its sentence, the bot’s voice cuts out.

That has not happened before. Martyn seems unfazed, especially when it begins to talk again, but it takes note of the error.

— — —

It happens more. Its voice cuts out, stutters, corrupts. Martyn really only complains when they’re reading, but it starts to fear the worst.

It sits Martyn down, crouching down to meet his eyes.

“Martyn, I have something very important to tell- to tell- to tell you,” it says, and if it could, it would wince.

“Yeah?” Martyn asks, “Are we moving again?”

“Soon,” it says, “But that is not what I want to tell you.”

“Oh,” Martyn says.

“I am… sick. Do you remember what being sick is?” it asks. Martyn nods, reaching up to put his hand on its forehead, the way it had for him when he had been feverish.

“You feel warm,” Martyn confirms, “It’s okay. I’ll read to you until you’re better.”

“Thank you, Martyn. You are very kind,” it says, “But that is not the kind of sick I am. There are many kinds of sick.”

“Oh,” Martyn says, “Then what kind of sick are you?”

“I am… robot sick. I am- I am- I am- I am- getting old,” it says, “And my voice is starting to… not work properly.”

“I know that,” Martyn says, “You talk funny now and you keep messing up reading.”

“Yes, that’s right. You’re very smart,” it confirms, “But it might get worse. I might not be able to talk anymore soon.”

“But you’ll get better, right? I got better,” Martyn says. It shakes its head.

“I might, but I might not. Robot sick is different,” it says, though it knows it is lying. “I just wanted you to know. If you talk to me and I do not respond, I am not ignoring you. I am still listening. I am just sick, and my voice- my voice- my voice- my voice—”

It shakes its head, the way humans sometimes do, to clear the sentence. When it looks at Martyn again, he seems thoughtful.

“Will you still read to me?” he asks.

“As long as I am able,” it promises. And, for good measure, “I love you, Martyn. Do not forget.”

“I won’t,” Martyn says, “I love you, too.”

— — —

It makes a point to show him how to read. He had already been learning it, but it doubles down when its voice begins to waver.

It picks up novels and reads them to him with Martyn in its lap. It holds its arm around Martyn’s waist, and Martyn holds the book for it to see, and it reads the words Martyn points to, so Martyn knows what they are.

It doesn’t want him to lose this. It doesn’t want him to lose his fun, his creativity, his imagination, just because it cannot read to him anymore.

— — —

It loses its voice for good while it is reading to Martyn.

— — —

Its voice is the first thing it loses, but it is not the last.

Control of its fingers becomes… tricky. Martyn has to help it, doing things that require finer movements.

“Is your hand sick?” he asks, and he sounds afraid. It nods, because it knows it shouldn’t lie to him, even if it wants to.

It loses what little control it had over its face next. Then its neck becomes stuck. It doesn’t seem able to walk as fast, though that might just be due to Martyn getting faster—he grows older still, full of energy, constantly wanting to run and jump and play on his longer legs. It tries its best, but it cannot keep pace like it used to. It used to sing and walk all night, and now it cannot do either.

Martyn is as patient as a six year old can be, which is not very. He gets frustrated and bored, and he complains often. It does not blame him for this. He is doing his best, too, and that is all it can ask.

— — —

There are people. It tries to hide—pulls Martyn into a closet, tucks him close to its chest, pets his hair with his hand—but Martyn doesn’t like to play hide and seek, and he doesn’t know he has to be quiet.

“My name is Martyn!” he tells them, once the closet door opens, “This is Dad. He’s sick.”

They’re nice enough, a woman and her teenage son. It—he, now?—releases Martyn to talk to them, and climbs out of the closet. He hovers at Martyn’s side when they climb out, a hand on his son’s head.

“Why were you two in the closet?” the mother asks.

“We were playing hide and seek. That’s what Dad said other people like to do, but I don’t like it very much,” Martyn explains. She nods.

“Most people do like to play that game,” she says, because, as a parent, she must understand his fear. “But we don’t, either. Do you want to travel together for a little while, Martyn?”

“I want to!” Martyn says, and he looks up at his father, and his father would sigh if he could.

He nods, because what else is he meant to do?

— — —

The teenager entertains Martyn, reading to him the book his father never did get to finish. The mother cooks, and she takes a look at his hands.

“I used to be an engineer,” she says, “You’re a bit above my pay grade, but I could take a look, if you want.”

He doesn’t let her crack him open or anything, but she inspects the pieces of his wiring she can see. He’s reminded of his old clinic, though he can’t tell her how ironic this is.

Her prognosis is… grim.

“You probably only have a few years left in you,” she admits, “Your model was supposed to go for regular updates, replacing parts and…”

He doesn’t listen as she explains the old process, his focus instead on Martyn.

Only a few years? What will happen to Martyn? Who will take care of him?

Humans need care until they are eighteen.

Martyn is six.

“I could try and make some minor repairs for some of the obvious damage, but I don’t have tools for anything more. I can also try and tell you some things you can do to try and stretch that time out,” she says. He nods, understanding, grateful, as she does what she can.

He had been in her place, once, years ago, and so he understands, too, when she offers sympathies, when she holds his hand.

— — —

They split off from each other eventually. The other two are traveling to a place they claim never fell. He does not believe in such a place, and so he does not go with them.

Martyn cries. The mother hugs him, as does her son, and they are gone.

As they walk away, he holds Martyn’s hand, and he does not let go.

— — —

He teaches Martyn how to do… anything he can. He is too young to understand how to hunt or set a trap or clean an animal or cook or treat a fever or start a fire or boil water, and it is very difficult to teach when he cannot speak. He’d wanted to wait until Martyn is older, he does not have the luxury of time anymore.

Martyn is clever, is bright. He takes to the skills as well as a six, eight, ten year old can, and it is only partly due to the fact he has no choice.

— — —

He knows he is dying.

Martyn does not.

He picks up a stick, waving Martyn over. There is a patch of dirt that is mostly clear, and he crouches in front of it.

I AM SICK he writes, and Martyn reads it, and he frowns.

“I know that,” Martyn says, and he shakes his head. The dirt is soft, and so he clears it, trying again.

I AM VERY SICK he writes. Martyn reads it, and he frowns deeper.

“What does that mean?” Martyn asks.

I WILL SLEEP SOON he writes. He wants to be delicate, but he can’t—the patch of dirt isn’t very big.

“Oh, well, that’s okay. I sleep all the time,” Martyn says, “That’s how you get healthy again. It makes you feel better. You told me that.”

He wants to nod, but he can’t. This is the bit he was dreading the most.

I WILL NOT WAKE UP he writes.

For a long moment, Martyn doesn’t say anything.

“What if we get you medicine?” Martyn asks, “When— when I was sick, you found medicine. It made me better. It would make you better.”

NOT FOR ROBOTS

“That… that isn’t fair, though,” Martyn says, “Are you sure? We could get some and try it!”

I AM SURE he writes, and then he erases it, I LOVE YOU

Again, Martyn says nothing. He isn’t sure what Martyn is thinking, and then Martyn charges him, hugging him around the stomach.

He has more he wants to say to Martyn—he wants to teach him so much, to tell him to be careful, to tell him he’ll be okay.

He drops the stick, wrapping his arm around Martyn as tight as his failing joints will let him.

— — —

His goal is to find somewhere safe. An old house, maybe, somewhere where Martyn will be able to survive on his own for a while.

He looks, and he does not find it. He’s been looking for ten years, after all—of course he wouldn’t find one now, just because he is dying.

Other than that, his life does not much change. He holds Martyn’s hand as they walk, and Martyn talks to him about birds and books and whatever else he can think of. Martyn has become very good at filling the air for them both. Neither of them let go of the other’s hand.

He doesn’t actually know when it is going to happen, just that it will be soon.

When the moment finally comes, he does not realize.

They stop to rest for a night. Martyn is tired, as he is a child, and his legs can only carry him so far. He is tired, too, but he does not have it in him to think about why, or how strange that is.

It’s nowhere special, where they stop. A random house that has kept its roof, somewhere safe from rain and sun. Martyn finds a place to roll out his sleeping bag, and when he lies down, his father lies with him.

He does not let go of Martyn’s hand.

#lew writes #yellow rose au #robot dad #top hits

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writers-potion · 6 months

Note

heyo got any tips on writing gangs?

Writing Gangsters

Organized Crime vs. Gangs

Although the terms are used interchangeably, there's a difference between organized criminal networks and gangs.

Organized crimes have focuses on material gain and therefore has a more hierarchical leadership structure.

The activities of gangs are usually more fragmented, opportunistic and based on individual contacts, more entangled with the personal lives of its members.

Of course, if a street gang become powerful enough, large enough and resourceful enough, it comes a full-blown criminal organization.

Background: Time, Place, Economic Condition

Research into the characteristics of the time and place where your gang is.

Oftentimes, gangs form when the economic conditions of a country/region is down. People, especially those who are marginalized, are disillusioned which can lead them to make desperate choices.

It's important to note that many gangs are formed initally to serve as the "police" in a neighborhood where no police would enter because (for some reason) they feel as if there's nothing they can do.

Gangs may start with a "good" reason, but it just so happens that eventually they become the very thing they sought to get rid of.

Compelling Character Motivation

With the socio-geographical context as backdrop, give your characters a clear reason why they would join and stay in a gang.

A young teen may join a gang out of pure whim, maybe for money, but eventually it's going to have to be more than that.

Idolization - an older sibling is in the gang

Inclusion - connection with others is so wanted due to a lack of it in a dysfunctional family

Stability - feeling secure in a neighborhood where gangs seems like a viable option; if a gang is already terrorizing the area, joining it may seem like a way to protect one's family

Financial security - jobs may seem out of reach; it si high risk and high rewards but your character may be that desperate

Ambition/thirst for power/revenge

+ Yes, someone may join the gang because they don't want to work a regular job and want quick money, but I wouldn't say they are lazy. From what I understand, gangs require work...

A developmental Model of Gang Membership (use for character arc):

Research:

National Gang Center FAQ: https://nationalgangcenter.ojp.gov/about/faq#0-0

Gang Life Insider Article: https://amuedge.com/the-various-dangers-of-gang-life-an-insiders-perspective/

NY Gang Slag: https://nypost.com/2012/10/28/a-to-z-deadly-slang-by-gangs-of-new-york/

Gangster Short Stories you can Read Online

‘Johnny Mnemonic’ by William Gibson

‘Vice Grip’ by Matthew A. Goodwin

‘Dolan’s Cadillac’ by Stephen King

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identityarchitect · 2 years

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[18/12 version; check notes to see if theres an updated version]

quick summary:

- newt schottelkotte posts an article about RQ mismanagement & exploitation (https://medium.com/@newtschott/whos-afraid-of-alex-j-newall-ae3a67f3a5e1)

- the first version of the article didn't note that newt is a marketing director at fable and folly, another podcasting network; this has now been edited in

- they cite approximately three sources in total, mostly coming back to unverifiable anonymous RQ affiliates (ex employees, people who were offered a position, etc). the other two sources are a tweet from RQ specifically about the official discord, and a line in the beginning stating that "The information presented in this article is not only taken from interviews with my sources, but publicly available data that I was able to find and access.". there is no further clarification of what data, where it came from, etc, and the only time a source is linked or references is the aforementioned tweet from RQ.

ETA: this is false! there are multiple sources on multiple different things.

- (https://rustyquill.com/wp-content/uploads/2017/02/Operations-Update-2020-PUBLIC-RELEASE-1.pdf) this RQ operations update was used to source two quotes on RQ's payment structure. it's worth noting that the payments listed in the article are all above both the uk minimum wage and (with the exclusion of the £11 figure) the national living wage (https://www.gov.uk/national-minimum-wage-rates, https://www.livingwage.org.uk/calculation)

- (https://twitter.com/TheRustyQuill/status/1438175815615791111?s=20&t=m1Z2vI0Fmpvq3gVt72gIvQ) this rq tweet was used to source a screenshot from rq's statement about the discord.

- (https://twitter.com/TheRustyQuill/status/1408001969218859008?s=20&t=ngBXzvyzl4PJY9XpOL7DjA) this rq thread was used to source a screenshot from rq about the transcripts.

- there is a relevant link to the unofficial fan transcripts, although i personally wouldn't necessarily call this a source.

- (https://medium.com/acast/how-to-go-from-0-to-millions-growth-strategies-for-fiction-podcasters-fde8d6dc0cb5) this callum dougherty interview was used to source a quote from callum dougherty about TMA's success.

- the interview is misquoted. newt's article quotes:

"Believe it or not, Magnus was something of a hit right out the gate. Comparative to I guess what would be considered a popular audio-drama podcast now. It found an audience quite quickly… To borrow a phrase from Alex Newall [Rusty Quill CEO and founder], I’d also mention that nothing at Rusty Quill — despite what it might seem — has ever happened by accident. And the factor that I would consider — and this may be my own ego — is the show began to grow really dramatically because this was the point that I came in."

- this misses out a relevant paragraph, reading

"Though what I would certainly say is that it was in 2019 that the show began to grow, and it went on what I would describe as a 10-month journey from being considered a very popular podcast, to the most popular fiction podcast in the world. That was a line of growth that looked pretty much like a straight line upwards, where we were finding month-on-month listenership doubling at a point. Every single month you could see it — there were hundreds of thousands, now there was a million this month, and it would go in that direction." (emphasis my own)

- newt's article goes on to state

"As someone who engaged in the fandom side of audio drama for a long time, including the period of Magnus’ rise to popularity to its finale, I remember things quite differently. TMA wasn’t nearly the smash hit Dougherty describes until about 2019, when the season four finale saw the consummation of Jon and Martin’s slow-burn enemies-to-lovers storyline. Until that point, I had never heard of TMA." (emphasis my own).

- it's also worth noting that newt's article didn't include the typical ellipses in square brackets to indicate missing text from a quote - it simply has an ellipses, which makes it seem that dougherty trailed off and then continued.

- at the end of the article, there are multiple links to social media accounts of people who may provide a list of laid off employees, intended for those looking to hire ex-RQ employees

- the rest of the claims made are either unsourced or from newt's anonymous sources.

- RUSTY QUILL HAVE RESPONDED: https://rustyquill.com/2022/12/13/public-response-to-an-opinion-piece/

- FABLE AND FOLLY HAVE ALSO RESPONDED: https://fableandfolly.com/2022/12/15/our-statement-on-the-article/

- rq has posted crew testimonials: https://rustyquill.com/crew-testimonials/

- tal, one of the editors, not affiliated w/ f&f, says this isn't a marketing thing, was run past two editors and multiple lawyers

- there's some truth in the article, mostly a lot of plausible but unverifiable things, and some plain misinformation / bad faith readings [i.e; article states that "there’s a very good chance that the list on Kickstarter of stretch goal guest writers may be the totality of the people in the audio fiction indie world that have still not had an experience with Rusty Quill." this is provably false; many of the guest writers have RQ podcasts or have interacted with RQ before, although it may be intended to mean bad experiences rather than simply an experience]

- ben meredith retweeted the article w/o comment; not sure what he's agreeing with. he also liked a tweet reading "Alright, read the thing. I’m terribly sorry for everyone who has been dealt with so badly by Rusty Quill - and I can only imagine the distress that must have incited this action. I hope these concerns are taken seriously, and that these issues are resolved swiftly.“ (https://twitter.com/GejWatts/status/1602420853630697475)

- ben meredith has now un-retweeted the article, although he hasn’t unliked the tweet about it

- malevolent podcast's official twitter posted

"I don't know much but I will say that if you decide to stop listening to my show; a show I work so very hard on, because of an article that presumptively and poorly attempts to speak for me, then I think you're hurting the thing you intend to be helping." (https://twitter.com/MalevolentCast/status/1602441871992782849?s=20&t=Z_86aECzgsdU9OgtfoiU6g)

- "harlan guthrie [creator of malevolent], quoted above, spoke on the topic in his discord server, invictus. i'm nor comfortable posting screencaps of his words, which were not intended as a public statement, without permission, but the highlights include: "The timing, authorship, and intent of this article doesn't sit well with me." "Overall, this isn't a watergate, neither is it an expose of a dangerous company, it's akin to a glassdoor report with half truths. My experience with RQ has been absolutely fine across the board." "The contract is in no way misleading nor manipulative the way the article would make it seem (no moreso than any other contract)"" (via orchidbreezefc on tumblr; i am not personally in this discord)

- malevolent podcast’s tumblr also posted this:

https://www.tumblr.com/malevolentcast/703493906802868224/you-probably-already-know-about-this-but-an

- the creator(? correct if wrong) of The Town Whispers and Tiny Terrors tweeted:

"What do I say here? I work day and night on @/TheTownWhispers & @/tinyterrorspod. I personally create, fund, produce, and direct my shows. What a shame to see someone speak on behalf of what I and others have built for years at our own expense dominate the conversation. No one reached out to me about "the article" ahead of time, no one asked me if I consented to be spoken for, I don't appreciate people victimizing me & weaponizing it for personal gain, & I don't appreciate that it's being passed off as a benevolent act of courage on my behalf." (https://twitter.com/ColeWeev/status/1602447361045065728?s=20&t=aAf1T5fen0FzXuAAllevLA)

- woe.begone's official twitter tweeted: "The only thing I want to say about The Article is that I am concerned that readers will believe things about my show and my relationship to my network that have not been my experience. I think this is what others mean when they describe feeling "spoken for."" (https://twitter.com/woebegonepod/status/1602453798332538881)

- the cellar letters twitter tweeted: "About the article: I am not going to attempt to invalidate anyone's thoughts or feelings... but I will say that it absolutely does not speak for me or align with my relationship and experiences with the network or anyone involved at the company. Love you all. Go create stuff." (https://twitter.com/CellarLetters/status/1602457106271330304)

- multiple people have reportedly been blocked by newt on twitter for criticising the article, or asking questions about it. (https://twitter.com/ReassessHistory/status/1602425447098228737?s=20&t=IQ9wZJuHgqX2mgfDvTizqA, https://twitter.com/ReassessHistory/status/1602455204557127681?s=20&t=j22xMz0Hxw0yvW6Oz7B8SQ)

- alexander j newall has given a statement to podnews! it reads;

"Redundancies can be a highly emotional topic but this opinion blog is full of provable factual inaccuracies and its writers include individuals that hold senior positions at competitor companies that stand to monetarily gain from a reputational attack. We were approached for comment under false pretences and were not given a copy of this piece by the author. Numerous cast, crew and contractors have notified us directly in solidary about similarly misleading approaches made to them for this blog.

Rusty Quill has already internally released its 2023 Operations Update which included factual information on these topics along with information on out 93% RQ Network creator retention rate and our independent Employee Satisfaction Survey which scored an exceptional minimum of 4.3 out of 5 in all areas. This Operations update is due for public release in the new year."

(https://podnews.net/update/audio-drama-company-drama)

- audio editor michelle snow made a thread about this: https://twitter.com/MeeshSnowDoes/status/1602717570729132035?s=20&t=mMfAO5TjNFBNWQ_aMfhsHw

- in the (unofficial) “Rusty Quill PLEBS” discord, the creator of the storage papers said “The RQN stuff - I'll just say it's not entirely accurate or, at least, it's not the full picture which means it's painted in an unnecessarily bad light. I can't comment on the RQO stuff because I'm as much in the dark about that as anyone. But, as others on RQN have said, there's at least some of that that hasn't been my experience (and, for the record, I myself am not legally obligated to not say negative things about RQ).”

- annie (an RQ editor) retweeted this (https://twitter.com/serhawke/status/1602375132579827713?s=20&t=Q3iAjLLwsdIqYShTKinvHw)

- this thread also has a useful tweet further up on how to assess the utility of a source:

"PURPOSE - what was it meant to achieve? ACCURACY - can the facts be proven or disproven? CONTENT - what does it actually tell you? LIMITATIONS - what is it NOT telling you? Why? AUTHOR - biased? DATE - was its publication date "convenient" for any reason? Firsthand or hearsay?"

[this method is from their partial study of history in uni]

edits: added crew testimonials, updated tl;dr

tldr: newt (marketing director at a different podcast network) posted an article making serious allegations of mistreatment & worker exploitation towards RQ. the article has some plain misinformation, some truth, and mainly unverifiable info from anonymous sources

multiple rq creators stated they weren’t asked about this, and that their experiences w/ rq aren’t accurate to the article and/or that it doesnt speak for them. all of the crew testimonials from rq’s post are positive.

rq have responded, saying that the allegations made in the article are false. fable & folly have responded, saying that newt made + posted the article of their own accord. i think newt’s working on a followup article, which i’ll add here when it’s released

#rusty quill

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nostalgebraist · 8 months

Text

information flow in transformers

In machine learning, the transformer architecture is a very commonly used type of neural network model. Many of the well-known neural nets introduced in the last few years use this architecture, including GPT-2, GPT-3, and GPT-4.

This post is about the way that computation is structured inside of a transformer.

Internally, these models pass information around in a constrained way that feels strange and limited at first glance.

Specifically, inside the "program" implemented by a transformer, each segment of "code" can only access a subset of the program's "state." If the program computes a value, and writes it into the state, that doesn't make value available to any block of code that might run after the write; instead, only some operations can access the value, while others are prohibited from seeing it.

This sounds vaguely like the kind of constraint that human programmers often put on themselves: "separation of concerns," "no global variables," "your function should only take the inputs it needs," that sort of thing.

However, the apparent analogy is misleading. The transformer constraints don't look much like anything that a human programmer would write, at least under normal circumstances. And the rationale behind them is very different from "modularity" or "separation of concerns."

(Domain experts know all about this already -- this is a pedagogical post for everyone else.)

1. setting the stage

For concreteness, let's think about a transformer that is a causal language model.

So, something like GPT-3, or the model that wrote text for @nostalgebraist-autoresponder.

Roughly speaking, this model's input is a sequence of words, like ["Fido", "is", "a", "dog"].

Since the model needs to know the order the words come in, we'll include an integer offset alongside each word, specifying the position of this element in the sequence. So, in full, our example input is

[ ("Fido", 0), ("is", 1), ("a", 2), ("dog", 3), ]

The model itself -- the neural network -- can be viewed as a single long function, which operates on a single element of the sequence. Its task is to output the next element.

Let's call the function f. If f does its job perfectly, then when applied to our example sequence, we will have

f("Fido", 0) = "is" f("is", 1) = "a" f("a", 2) = "dog"

(Note: I've omitted the index from the output type, since it's always obvious what the next index is. Also, in reality the output type is a probability distribution over words, not just a word; the goal is to put high probability on the next word. I'm ignoring this to simplify exposition.)

You may have noticed something: as written, this seems impossible!

Like, how is the function supposed to know that after ("a", 2), the next word is "dog"!? The word "a" could be followed by all sorts of things.

What makes "dog" likely, in this case, is the fact that we're talking about someone named "Fido."

That information isn't contained in ("a", 2). To do the right thing here, you need info from the whole sequence thus far -- from "Fido is a", as opposed to just "a".

How can f get this information, if its input is just a single word and an index?

This is possible because f isn't a pure function. The program has an internal state, which f can access and modify.

But f doesn't just have arbitrary read/write access to the state. Its access is constrained, in a very specific sort of way.

2. transformer-style programming

Let's get more specific about the program state.

The state consists of a series of distinct "memory regions" or "blocks," which have an order assigned to them.

Let's use the notation memory_i for these. The first block is memory_0, the second is memory_1, and so on.

In practice, a small transformer might have around 10 of these blocks, while a very large one might have 100 or more.

Each block contains a separate data-storage "cell" for each offset in the sequence.

For example, memory_0 contains a cell for position 0 ("Fido" in our example text), and a cell for position 1 ("is"), and so on. Meanwhile, memory_1 contains its own, distinct cells for each of these positions. And so does memory_2, etc.

So the overall layout looks like:

memory_0: [cell 0, cell 1, ...] memory_1: [cell 0, cell 1, ...] [...]

Our function f can interact with this program state. But it must do so in a way that conforms to a set of rules.

Here are the rules:

The function can only interact with the blocks by using a specific instruction.

This instruction is an "atomic write+read". It writes data to a block, then reads data from that block for f to use.

When the instruction writes data, it goes in the cell specified in the function offset argument. That is, the "i" in f(..., i).

When the instruction reads data, the data comes from all cells up to and including the offset argument.

The function must call the instruction exactly once for each block.

These calls must happen in order. For example, you can't do the call for memory_1 until you've done the one for memory_0.

Here's some pseudo-code, showing a generic computation of this kind:

f(x, i) { calculate some things using x and i; // next 2 lines are a single instruction write to memory_0 at position i; z0 = read from memory_0 at positions 0...i; calculate some things using x, i, and z0; // next 2 lines are a single instruction write to memory_1 at position i; z1 = read from memory_1 at positions 0...i; calculate some things using x, i, z0, and z1; [etc.] }

The rules impose a tradeoff between the amount of processing required to produce a value, and how early the value can be accessed within the function body.

Consider the moment when data is written to memory_0. This happens before anything is read (even from memory_0 itself).

So the data in memory_0 has been computed only on the basis of individual inputs like ("a," 2). It can't leverage any information about multiple words and how they relate to one another.

But just after the write to memory_0, there's a read from memory_0. This read pulls in data computed by f when it ran on all the earlier words in the sequence.

If we're processing ("a", 2) in our example, then this is the point where our code is first able to access facts like "the word 'Fido' appeared earlier in the text."

However, we still know less than we might prefer.

Recall that memory_0 gets written before anything gets read. The data living there only reflects what f knows before it can see all the other words, while it still only has access to the one word that appeared in its input.

The data we've just read does not contain a holistic, "fully processed" representation of the whole sequence so far ("Fido is a"). Instead, it contains:

a representation of ("Fido", 0) alone, computed in ignorance of the rest of the text

a representation of ("is", 1) alone, computed in ignorance of the rest of the text

a representation of ("a", 2) alone, computed in ignorance of the rest of the text

Now, once we get to memory_1, we will no longer face this problem. Stuff in memory_1 gets computed with the benefit of whatever was in memory_0. The step that computes it can "see all the words at once."

Nonetheless, the whole function is affected by a generalized version of the same quirk.

All else being equal, data stored in later blocks ought to be more useful. Suppose for instance that

memory_4 gets read/written 20% of the way through the function body, and

memory_16 gets read/written 80% of the way through the function body

Here, strictly more computation can be leveraged to produce the data in memory_16. Calculations which are simple enough to fit in the program, but too complex to fit in just 20% of the program, can be stored in memory_16 but not in memory_4.

All else being equal, then, we'd prefer to read from memory_16 rather than memory_4 if possible.

But in fact, we can only read from memory_16 once -- at a point 80% of the way through the code, when the read/write happens for that block.

The general picture looks like:

The early parts of the function can see and leverage what got computed earlier in the sequence -- by the same early parts of the function. This data is relatively "weak," since not much computation went into it. But, by the same token, we have plenty of time to further process it.

The late parts of the function can see and leverage what got computed earlier in the sequence -- by the same late parts of the function. This data is relatively "strong," since lots of computation went into it. But, by the same token, we don't have much time left to further process it.

3. why?

There are multiple ways you can "run" the program specified by f.

Here's one way, which is used when generating text, and which matches popular intuitions about how language models work:

First, we run f("Fido", 0) from start to end. The function returns "is." As a side effect, it populates cell 0 of every memory block.

Next, we run f("is", 1) from start to end. The function returns "a." As a side effect, it populates cell 1 of every memory block.

Etc.

If we're running the code like this, the constraints described earlier feel weird and pointlessly restrictive.

By the time we're running f("is", 1), we've already populated some data into every memory block, all the way up to memory_16 or whatever.

This data is already there, and contains lots of useful insights.

And yet, during the function call f("is", 1), we "forget about" this data -- only to progressively remember it again, block by block. The early parts of this call have only memory_0 to play with, and then memory_1, etc. Only at the end do we allow access to the juicy, extensively processed results that occupy the final blocks.

Why? Why not just let this call read memory_16 immediately, on the first line of code? The data is sitting there, ready to be used!

Why? Because the constraint enables a second way of running this program.

The second way is equivalent to the first, in the sense of producing the same outputs. But instead of processing one word at a time, it processes a whole sequence of words, in parallel.

Here's how it works:

In parallel, run f("Fido", 0) and f("is", 1) and f("a", 2), up until the first write+read instruction. You can do this because the functions are causally independent of one another, up to this point. We now have 3 copies of f, each at the same "line of code": the first write+read instruction.

Perform the write part of the instruction for all the copies, in parallel. This populates cells 0, 1 and 2 of memory_0.

Perform the read part of the instruction for all the copies, in parallel. Each copy of f receives some of the data just written to memory_0, covering offsets up to its own. For instance, f("is", 1) gets data from cells 0 and 1.

In parallel, continue running the 3 copies of f, covering the code between the first write+read instruction and the second.

Perform the second write. This populates cells 0, 1 and 2 of memory_1.

Perform the second read.

Repeat like this until done.

Observe that mode of operation only works if you have a complete input sequence ready before you run anything.

(You can't parallelize over later positions in the sequence if you don't know, yet, what words they contain.)

So, this won't work when the model is generating text, word by word.

But it will work if you have a bunch of texts, and you want to process those texts with the model, for the sake of updating the model so it does a better job of predicting them.

This is called "training," and it's how neural nets get made in the first place. In our programming analogy, it's how the code inside the function body gets written.

The fact that we can train in parallel over the sequence is a huge deal, and probably accounts for most (or even all) of the benefit that transformers have over earlier architectures like RNNs.

Accelerators like GPUs are really good at doing the kinds of calculations that happen inside neural nets, in parallel.

So if you can make your training process more parallel, you can effectively multiply the computing power available to it, for free. (I'm omitting many caveats here -- see this great post for details.)

Transformer training isn't maximally parallel. It's still sequential in one "dimension," namely the layers, which correspond to our write+read steps here. You can't parallelize those.

But it is, at least, parallel along some dimension, namely the sequence dimension.

The older RNN architecture, by contrast, was inherently sequential along both these dimensions. Training an RNN is, effectively, a nested for loop. But training a transformer is just a regular, single for loop.

4. tying it together

The "magical" thing about this setup is that both ways of running the model do the same thing. You are, literally, doing the same exact computation. The function can't tell whether it is being run one way or the other.

This is crucial, because we want the training process -- which uses the parallel mode -- to teach the model how to perform generation, which uses the sequential mode. Since both modes look the same from the model's perspective, this works.

This constraint -- that the code can run in parallel over the sequence, and that this must do the same thing as running it sequentially -- is the reason for everything else we noted above.

Earlier, we asked: why can't we allow later (in the sequence) invocations of f to read earlier data out of blocks like memory_16 immediately, on "the first line of code"?

And the answer is: because that would break parallelism. You'd have to run f("Fido", 0) all the way through before even starting to run f("is", 1).

By structuring the computation in this specific way, we provide the model with the benefits of recurrence -- writing things down at earlier positions, accessing them at later positions, and writing further things down which can be accessed even later -- while breaking the sequential dependencies that would ordinarily prevent a recurrent calculation from being executed in parallel.

In other words, we've found a way to create an iterative function that takes its own outputs as input -- and does so repeatedly, producing longer and longer outputs to be read off by its next invocation -- with the property that this iteration can be run in parallel.

We can run the first 10% of every iteration -- of f() and f(f()) and f(f(f())) and so on -- at the same time, before we know what will happen in the later stages of any iteration.

The call f(f()) uses all the information handed to it by f() -- eventually. But it cannot make any requests for information that would leave itself idling, waiting for f() to fully complete.

Whenever f(f()) needs a value computed by f(), it is always the value that f() -- running alongside f(f()), simultaneously -- has just written down, a mere moment ago.

No dead time, no idling, no waiting-for-the-other-guy-to-finish.

p.s.

The "memory blocks" here correspond to what are called "keys and values" in usual transformer lingo.

If you've heard the term "KV cache," it refers to the contents of the memory blocks during generation, when we're running in "sequential mode."

Usually, during generation, one keeps this state in memory and appends a new cell to each block whenever a new token is generated (and, as a result, the sequence gets longer by 1).

This is called "caching" to contrast it with the worse approach of throwing away the block contents after each generated token, and then re-generating them by running f on the whole sequence so far (not just the latest token). And then having to do that over and over, once per generated token.

#ai tag #is there some standard CS name for the thing i'm talking about here?#i feel like there should be #but i never heard people mention it #(or at least i've never heard people mention it in a way that made the connection with transformers clear)

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uyuforu · 9 months

Note

Hii, how are you doing? I'm loving your astrological interpretations! could you tell us how do you interprete degrees? thank you ^^

Hello! Thank you very much!^^

About degrees. I like to take degrees as "keywords" that can be added as details. It always add details.

Aries (1°, 13°, 25°): fights, war, not giving up, taking action, struggles, abuse, labor, leadership and leader spirit, beginnings, anger, etc.

Taurus (2°, 14°, 26°): money, food, luxury, chilling, the earth, nature, simple life, stability, voice, singing, seducing, etc.

Gemini (3°, 15°, 27°): voice, communication, speaking, languages, new technologies, phones, self-expression, books, learning, being curious, gossips, siblings, neighborhood, humor, witty, smart etc.

Cancer (4°, 16°, 28°): home, mother, nurturing, babies, pregnancy, feminine energy, moon, emotions, traditions, loyalty, food, faith, water, etc.

Leo (5°, 17°, 29°): fame, celebrity, shining, being the center of attention, life of the party, having fun, children, inner child, light, creativity, imagination, laugh, royalty, entertainment, hair, strength, natural leader, easily getting noticed for... etc.

Virgo (6°, 18°): perfectionnist, hardworking, improve, health, routine, detailed oriented, work, pets, to be in service, help, hospitals, mental health, physical health, etc.

Libra (7°, 19°): beauty, fashion, harmony, fairness, law, justice, business, marriage, partnerships, love, makeup, luxury, charm, charisma, music, art, beauty of soul, etc.

Scorpio (8°, 20°): shadow, death, dark side, flaws, s3x, wealth, money, manifestation, rebirth, the spiritual world, intense connections, the unknown, jealousy, pregnancy, night, secrets, etc.

Sagittarius (9°, 21°): philosophy, wisdom, teaching and learning, college, studies, life smart, learning from life and experiences, spontaneous, curious, the spiritual world, traveling, exploring, etc.

Capricorn (10°, 22°): working, hardworking, money, abundance, luxury, cold, royalty, to take control, public attention, fame, fear, father, family, leader, depression, ambition, old etc.

Aquarius (11°, 23°): Spontaneous, humanity, being unique about..., weird, friends, new technologies, social medias, organizations, networking, internet, divorce, surprises, high places, etc.

Pisces (12°, 24°): spirituality, dreams, 5D, esotericism, astrology, psychic abilities, sleep, drugs, alcohol, addictions, the unconscious, emotions, art, poetry, water, madness, shadow work, endings, etc.

0° degree means either it's the same energy (as the house or sign), either there is nothing much to say.

For me, degrees are still needed when we analysis charts, it's very significant sometimes. For example, my mother has vertex in her 5H, and the degree is 29° (Leo). And the year she got me, her vertex was in Leo, with 29°... I'm Leo sun!

Hope it helped :)

- uyu

#uyuans

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butts-bouncing-on-the-beltway · 1 month

Note

With regard to donating to fund-raisers and the analogy to panhandlers, what do you make of the difference in scale that the internet makes possible? I absolutely agree with the underlying approach — I keep $40 in my wallet so that I always have a $20 to give to panhandlers I see — but there's a limit to how many dishonest panhandlers a person is likely to run into. Internet spam and scams are of a staggeringly larger scale; for example, the head of trust and safety for Dreamwidth has put the scale of these scam networks in the millions of accounts. Obviously vetting practises help a great deal, and I think initiatives like Crips For ESims For Gaza are great, but I'm a little bit hung up on the analogy to in-person panhandling when the scale is so different.

Disclaimer: my tone may sound harsh here, I am having trouble softening my words one this right now, but I truly mean no frustration towards you and really appreciate this question as an opportunity continue this conversation in the Commons constructively

I mean. Make a budget for it?

Like. I've said this before, but given I've decided to hunker down in this foxhole, let's do it again.

All my life I've had a panhandling budget because I came from a family where you simply didn't say no to such requests if you didn't have to. But much like the tired old analogy at this point, you can't help someone else put on an oxygen mask if you've passed out because you don't have enough oxygen yourself.

So my mom told me this was one of those places in life you set a boundary with yourself. Identify how much you can actually safely reliably spend towards financial redistribution, and set it aside in cash each pay period to give out.

My mom's approach was very first come, first served. Whoever asked her, she handed out all her cash. I found that when I was trying to create a similar routine for myself that this led to a constant exposure to people I couldn't serve at all. So I created "allotments". It became my routine to take out a $20 bill at my bank every pay period, and then have the teller give it to me in $5 bills. The first 4 people I met who asked for it got a fiver.

Then came the digital age. Cash wasn't the main way people asked for money anymore, and my fivers were simultaneously going farther and going nowhere at all for weeks on end, especially during the pandemic when I became largely housebound.

These days, I keep $10 cash in 2 fivers, and each pay period I restock it if it's been depleted, and add $10 to a digital distribution fund (I use money transfer apps like venmo, paypal, and cash app for parking this money until expenditure). My allotment is still the same, $5/ask. During low-density ask periods, I will donate my "excess" at the end of a 3month period to a bail fund or prison penpal program, and if there IS no excess, it's because I was able to distribute the funds myself.

They're not big donations, but a lot of the time I've been able to make them recurring. Obviously, genocide upon genocide upon pandemic upon genocide has meant that I rarely have excesses, and many asks have to go unanswered by me. At least if I want to keep my own household alive and well. And I've been told in the past that some even prefer getting my repeat small petty cash funds over getting larger one time donations.

It's still hard to be constantly exposed to desperate asks you can't answer, but when you treat it like a sustainability thing (this is a thing I can continue doing indefinitely vs this is a thing I can only sometimes do without hurting myself).

Like any budget, sometimes things get tight. Mine has been bigger and smaller at times and there have even been deeply painful periods where my budget was, legitimately, $0. But once that changed, I was right back to it.

The more the world changes, the more it stays the same I guess

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semisgroupie · 4 months

Text

sponsor a wip for Gaza

❀ hi everyone! I will be participating in @ficsforgaza’s option of sponsor a wip! I’m not too sure how this might go but I’m really excited to participate in this. for more information check their page here

AMOUNT DONATED: $25

How it works:

make a donation to aiding Gaza and then you will send me a screenshot of your donated amount (blocking any/all personal information) and you will let me know which fic you will be sponsoring

ex: hi venus! I donated $5 to support for hisham’s recovery and I would like to sponsor ‘let the right one in’

I will not be posting any ask/dm sent and I will update the word count for my wips below and keep a progress tracker for how much has been donated!

My rate is $1 for every 100 words (so $5 = 500 words, $10 = 1000 words, etc) and my limit is $10 simply because I don’t want to become overwhelmed

my current wips up for sponsorship:

❀ hotwife adventures: the musician - nanami kento x fem. reader x choso kamo

the second installment of hotwife adventures!

expected wc: ~3.5k

current wc: 77 words

sponsored wc:

❀ such a needy puppy - puppyboy!isagi yoichi x fem. reader

isagi is such a good boy, always so attentive, loves cuddles, doesn’t rip up shoes or your furniture but he can get quite insatiable

expected wc: ~2k

current wc: 17 words

sponsored wc:

❀ domestic bliss - toji fushiguro x fem. reader

toji fushiguro loves his new wife so much, he just can't control himself when he's around you (for the enchanted forest network's spring feelings collab)

expected wc: ~2.5k

current wc: 66 words

sponsored wc:

❀ kiss and say goodbye — rin itoshi x fem. reader ANGST AND SMUT

it’s for the best, you have to let each other go but you have to enjoy him one last time

expected wc: ~3k

current wc: 714 words

sponsored wc:

❀ untitled piece - piano instructor!rose otoribashi x fem. reader

your piano instructor plans to switch up his teaching techniques with you, maybe this time all the things he's taught you will stick (for blondes have more fun collab)

expected wc: ~2.5k

current wc: 0 words

sponsored wc:

completed works:

❀ let the right one in - stalker!aizen sosuke x fem. reader - DARK CONTENT

you met him during a speed dating event. it only took a few minutes for him to become obsessed with you and his infatuation knows no limits

expected wc: ~3k

FINAL wc: 4056 words

sponsored wc: 2500 (2500/2500 written)

#fics for gaza

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thisisnotthenerd · 4 months

Text

Records of the Aguefort Adventuring Academy: File AAA-BKQ-04-DOJ

This file summarizes the junior year quest of the adventuring party known as the Bad Kids and notes extraordinary achievements in this process. Reference this associated file [the rat grinders timeline] for clarification on the specific actions of the opposing party.

Quest Summary:

Heroic Party: The Bad Kids

Adaine Abernant | Wizard 14

Kristen Applebees | Cleric 14

Figueroth Faeth | Bard 10 / Paladin 3 / Warlock 1 / "Barbarian" 0

Riz Gukgak | Rogue 14

Fabian Aramais Seacaster | Fighter 6 / Bard 8

Gorgug Thistlespring | Barbarian 5 / Artificer 9

Villainous Party: The Rat Grinders & Associated Staff Members

Porter Cliffbreaker

Jace Stardiamond

Kipperlilly Copperkettle

Oisin Hakinvar

Ruben Hopclap

Ivy Embra

Mary Ann Skuttle

Buddy Dawn

---------------- AAA ----------------

Completed Quest Objectives:

These are separated into primary and secondary objectives achieved over the course of the quest, and have been generalized into categories for the sake of simplicity. All feats are listed numerically, but have no particular value inherent upon their placement; it may be based on chronology, the alphabet, related events, etc.

Primary Objective:

Prevention of the sundering of the name of Ankarna (Deity of Dawn, Justice, Fire, and Rage), the apotheosis of Porter Cliffbreaker, and the subsequent destruction of Elmville, home of the Aguefort Adventuring Academy

Notable Feats:

Gorgug Thistlespring remained in combat with Porter Cliffbreaker as a sole target, despite going down 4 times over the course of the combat. He further unleashed a flashbang which prevented Porter from lying to Ankarna and thus ensured Porter's demise.

Adaine Abernant worked within the bounds of utility casting to prevent environmental hazards and the opponents from downing her fellow party members. She further used her earworm to create a network between the Bad Kids, the villainous party, and the deities Ankarna and Cassandra, which allowed for Ankarna's divine intercession, after Adaine revealed the truth through divinatory skill.

Kristen 2 Applebees, with the aid of Kristen 1 Applebees, dispelled the effects of devil's honey that allowed Cliffbreaker to lie to Ankarna. Both Kristens kept their peers up throughout the combat, and brought the deity Cassandra back to her primary form, before establishing Cassandra and Ankarna as the first of a new pantheon worthy of her worship.

Riz Gukgak utilized a variety of tactical decisions and environmental hazards to strike at the enemies and fell them from hiding, in a pure display of roguish skill. He engaged in a one on one duel with Kipperlilly Copperkettle, and in felling her, prevented the disbandment of the Aguefort Adventuring Academy.

Fabian Seacaster, while an excellent combatant, released Bakur and brought allies of the party to participate in the combat from unconsciousness. He further initiated the correction of injustice that enabled Ankarna's reemergence with an untaught Divine Intervention.

Figueroth Faeth, after breaking the ancestral Curse of the Armor of Pride, served as the champion of Ankarna through the composition and performance of "Dawn of Justice" and "Righteous Rebel". She communed with the dead deity and took her rightful place as the Archdevil of Rebellion within Ankarna's domain. She further used this communion to trick Porter Cliffbreaker and the Rat Grinders with the false name Bacarath, while holding dominion over Ankarna's original domain. She then joined Kristen Applebees in establishing Ankarna and Cassandra as the bases of a new pantheon.

Secondary Objectives:

Achieve academic success at the Aguefort Adventuring Academy

Notable Feats:

Gorgug Thistlespring completed the coursework of three years of Artificer classes as well as one year of Barbarian classes. In this process, he discovered a new means of barbarian rage that could accommodate for Artificer spellcraft, thereby creating the Barbificer subclass.

Riz Gukgak found the Rogue professor Eugenia Shadow through months of careful investigation and dedicated effort and thus passed his junior year with an A+, though he maintained impeccable grades anyway.

Kristen Applebees attended her Cleric classes for much of the year without a present deity, performing miracles by her own hand and completing an independent study.

Figueroth Faeth changed her coursework to reflect a renewed interest in multiclassing; she completed independent studies on the Warlock and Bard tracks, and further incorporated Paladin coursework by attending Barbarian classes with the multiclass Barbarian-Paladin professor Porter Cliffbreaker.

Adaine Abernant maintained exemplary grades in Wizard coursework without the majority of the necessary material components. She further hosted an dance battle during her Wizard classes to defend the right of the Elven Oracle to be paid a competitive rate.

Fabian Seacaster joined the ranks of the dance Bards under Terpsichore Skullcleaver and completed the year with exemplary grades in both the Fighter and Bard tracks.

As a party, the Bad Kids faced the Last Stand Exam and were the first to achieve Arthur Aguefort's intended objective: living through the exam and spiting those who sought to send them to their death. Reference this document [The Last Stand Exam] for the proctor's notes on their performance.

Achieve extracurricular success at and outside of the Aguefort Adventuring Academy

Notable Feats:

Kristen Applebees, with the aid of her campaign manager Riz Gukgak, successfully ran for the position of Student Body President, beating out opposing candidate Kipperlilly Copperkettle

Figueroth Faeth served as the anonymous host of the "Complicated Women" podcast and opened her independent record label, which she used for the release of her sophomore album.

Riz Gukgak, after joining and participating in every extracurricular the Academy had to offer, became the school's Extracurricular Supervisor.

Adaine Abernant confronted the Court of Stars and successfully defended the right of the Elven Oracle, with Fabian Aramais Seacaster as her Champion, the Oracle of Dance.

Fabian Aramais Seacaster earned the title of Maximum Legend by opening his home to the many students of the Aguefort Adventuring Academy, serving as a pillar of the community, providing resources for studying, relaxation, and partying.

Gorgug Thistlespring continued his creation of the Barbificer subclass beyond the walls of the Aguefort Adventuring Academy, but proved his title of "Greatest Wizard of the Age", bestowed by Ayda Aguefort, by dunking on multiple adversaries: this included oinking at an officer of the law, soloing a purple worm, and getting Porter Cliffbreaker with a "Loser says What".

Adaine Abernant successfully created a remarkably British simulacrum of Kristen Applebees, named K2, who went on to participate in the murder of Wanda Childa (alter ego of Figueroth Faeth), apply to Hudol, call for the Divine Intervention of Cassandra in the form of the Nightmare King, and critically dispel the effects of devil's honey on Porter Cliffbreaker. The simulacrum was granted true life in the hands of Cassandra, but subsequently banished to a higher dimension, unreachable by mortal means in the world of Spyre.

Achieve investigative success with regard to the scheme of the villainous party

Notable Feats:

Figueroth Faeth took on an alter ego by the name of Wanda Childa to investigate the intentions and haunt the dreams of Ruben Hopclap. She capped this feat of social engineering off by orchestrating an elaborate death scene and mimicking the resurrection of the Rat Grinders.

Adaine Abernant, after speaking the name of Ankarna into the Material Plane, harnessed the energy of the breaking of the Curse of the Armor of Pride to release the soul gem of Bakur from the body of Lydia Barkrock, thereby allowing investigation of Ankarna's divine domain. She further used her arcane skill as the Elven Oracle to divine the intentions of Jace Stardiamond and cast Legend Lore upon the Temple of the Fallen Sun.

Riz Gukgak independently investigated the actions of the villainous party in the town of Elmville, including but not limited to: the nature of shatter-stars, the embedded crystals in Elmville's soil, the connection to Kalina the Shadow Cat and Ragh Barkrock, their travels to the Temple of the Fallen Sun, and the details of Porter's attempted apotheosis.

Kristen Applebees publicly opposed the Rat Grinders while running for Student Body President and thus stymied their attempts at gaining power over the school. She also, upon discovering the mutilated corpses of Lucy Frostblade and Yolanda Badgood, miraculously preserved their souls in the afterlife of Cassandra.

Fabian Seacaster's role as Maximum Legend and the resources of his home helped to prevent the escalation of rage that had been passing through Elmville by providing a space for recreation and relaxation that could alleviate the stresses that led to possession by the rage stars. He further sponsored the party's travel and connected with resources in Fallinel and Hell which enabled further investigation of the Rat Grinders' scheme

Gorgug Thistlespring, in between his establishment of the Barbificer Subclass, investigated the role of the Thistlespring Tree as Elmville's Root Warden, and the ritual performed there to transform Elmville into Ankarna's divine domain. He further used is skills as an artificer to adapt Seacaster Manor to flight and pilot it through the storm of the Nightmare King (dragon infested via ritual) such that the Bad Kids could face down the villainous party.

---------------- AAA ----------------

Documented Adversaries:

This table accounts for all of the enemies faced by the bad kids over the course of their junior year, with documentation of the relative difficulty of the encounters and their prospective experience (XP) growth. Reference this spreadsheet for recent additions and previous adversaries faced by the Bad Kids.

#dimension 20 #dimension 20 spoilers #fantasy high junior year #the bad kids #adaine abernant #kristen applebees #fig faeth #riz gukgak #fabian seacaster #gorgug thistlespring #dimension 20 meta #dimension 20 statistics #musings on the solisian school district #the perils of xp leveling #feel free to tell me if there's something i've missed!

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adventuretolkienlover · 11 months

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How to Watch the Entire Ninjago Series For Free in a completely Legal way!

Hey, I know this isn't usually a Ninjago blog, But I have something cool to show you Ninjago fans. Me and my brother regularly watch Ninjago together and it wasn't until recently I found out that some Ninjago fans are having a hard time watching the full series because of streaming. So I'm going to show you all how me and brother watch the full series completely free! With no illegal downloads or sketchy sites. This could also be helpful for those just getting into the series. Enjoy!

First head to Tubi! They have seasons 1 through 7! Everything from the pilots to Hands of Time.

Next, head to Pluto! They have seasons 8 and 9. Sons of Garmadon and Hunted!

Next head to Cartoon Network Asia! Don't be fooled by the title. The episodes ARE in English. They have seasons 10 through 15. March of the Oni, Secrets of Forbidden Spinjitsu: Fire Chapter, Secrets of Forbidden Spinjitsu: Ice Chapter, Prime Empire and Master of the Mountain! Although, a chronological list of the episodes order may by ideal, since a few are out of order on the site.

Finally, head to YouTube, for seasons 16 through 18. The Island, Seabound, and Crystalized.

And you're done! Now you can watch Dragons Rising properly reminded of all that came before. Happy watching!

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helenapsent · 3 months

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For this, I squeezed myself like a lemon into a tea mug

A little backstory: I made a poll in my two social networks (Telegram and Vkontakte) and I got quite a few characters. So I decided that I would draw all of them, so in total there should be about 10 characters. Anyway… This is the first part of my "suffering". And I want to say that drawing Enver was similar to the pain of hell)0))

unprocessed version:

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dollya-robinprotector · 9 months

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Personal ID portrait Commission OPEN

Slot: 1/3

Waitlist (Start after ~26/12): 0/4

Price: 35$ - 40$ depending on your level of detail required. Transaction through Paypal!

Commission sample belongs to @zola-no-kanojou

More details below cut:

Messages and discussion through Discord or Tumblr DM. Please DM me first, and I'll secure your slot and send you my discord. After I finish the sketches, please send me 100% of the agreed payment through Paypal. Then I'll start finishing your commission. You can totally ask me to livestream my drawing process.

The final pieces (PNG, with and without background) will be sent to your Gmail.

It's a Portrait ID drawing, meaning it will at most show the character standing still, from the chest up. No hands allowed, if you want to include hands holding objects or doing something we will have to discuss more and turn it into a regular portrait commission.

For this kind of commission, I can draw: Humans, kemonomimi, anthro, casual clothing, "details level Genshin/HSR/HI3" I don't accept: Furry, mecha, metal or heavy armor, sci-fi clothing, gore or body horror, disturbing details.

I can use the final product (with watermarks, resolution reduced) to post on my social networks and use them as self-promote samples. If you want to make it private I will charge a "private fee". You're free to use the final product and edit it to be ava, icon,... or print it out for personal use, as long as it's not commercial and profitable. If you wish to use the product as part of your branding, please contact me for more discussion.

Also, I'd like to open ONE (1/1) slot for the comic commission.

This kind of commission often takes longer and requires much more communication effort, so I can only accept one at a time. I also kindly ask my client to be patient because I'm not a native English speaker, so I might need more explanation to truly get what my client wants.

Each page will be 35 - 50$ depending on the details, we will discuss more about it in the process. I recommend doing a short strip, about 5 - 10 pages for our first time working together.

Examples are The Sydney Nymphs comic, DDD short, or this small one

#reblog appreciated #Tumblr is hiding my post over the new blog so I'll try this one and then reblog #Strange....#Weird #Now it do appear?#dollya art

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dadzawa-abc · 3 months

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☁️ Random Media recommendations ☁️

🍼 Agere Edition 🍼

╰┈─➤ 🌕 These recommendations will also have age range recommendation with them! However: we believe that any little of any little age range can watch whatever they wish to (even if the media itself might be directed to an older audience, etc) the age range is just there for what I think age regressors may enjoy in that range / or what they might want to check out — 🎀

1)) LEGO MONKIE KID.

. Little age recommendation . ( 6-10+ )

. about . "Monkie Kid, also known as MK, a young teenager who leads a normal life as a noodle delivery boy until he is chosen for a legendary quest" -Via google.

. Why I personally recommend it . A very supportive and welcomed community. The show can be for both adults and kids to enjoy without the unnecessary adult themes such as cussing, heavy violence and inappropriate material. The community is also very LGBTQ+ friendly (by the artists, and even some of the voice actors) such as MK having "he/they" pronouns — the main voice actor acknowledging (and very welcoming) a popular MLM ship of the character they VA.

. where to watch . Amazon prime video and HappyKids (Amazon prime as far to my knowledge has all 4 seasons. HappyKids only have 3-4 seasons available for free there)

2)) OK KO! (let's be heros)

. Little age recommendation . ( 0-2 / 0-5 )

. About . "In the future year 201X, naive youngster K.O. aspires to be a superhero in a video game-inspired world set in Lakewood Plaza. Him and his friends go on adventures while also foiling their enemy (and Villian) Boxman and his henchmen' plans"

. Why I personally recommend it . Majority of our littles watch this show, especially our littles who regress a very young age. They enjoy it, and it's very kid friendly. Another friendly community with the main two Villians who's a canon MLM married couple

. Where to watch . Prime video and Hulu

3)) Craig of the Creek

. Little age recommendation . ( 4-12+ )

. About . "Following the adventures of Craig Williams and his two friends, Kelsey Pokoly and John Paul `JP' Mercer, as they explore the untamed wilderness of the Creek, which is dominated by tribes of children." -Via google

. Why I personally recommend it . The show just sits right with me. All of our littles (and even caregivers) enjoy this show. Never bored of the show's episodes and it keeps me entertained everytime I watch it. Once again, a very friendly community. The show isn't afraid to show off that some of their characters are LGBTQ+ (mostly consistent of non-binary characters and Gay characters)

. Where to watch . Prime video, Hulu, Disney+, Max, Cartoon network

🎀 — please let me know if you'd like a part 2 (or) would like to see more of this. I'm happy to recommend shows, songs, media, etc. Just ask!

#sfw age regression #Agere recommendations #fandom agere #agere #sfw agere #caregiver agere #age regression #age regressor #agere blog #agere community #agere caregiver #agere cg

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soylent-crocodile · 6 months

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Myr (Monsters)

(Silver Myr by Kev Walker)

(I FUCKING LOVE MYR! They're cute, they're iconic, they're interesting bits of worldbuilding... I HAD to make 'em! Mercifully, I've separated Mirrodin from New Phyrexia, and created the Plane of Steel, a fun little plot hook roughly referencing Mirrodin's creation. If you want to make these native to the Plane of Metal- new to PF2- or simply old machines of a dead culture, feel free.

Also, this will contain rules for Mana Myr, which I spiraled off the five colors of Magic, but expect more myr in the future!)

Myr are mysterious creatures native to the Plane of Steel, an artificial plane ripped from the Plane of Earth and turned into a vast network of self-sustaining machines. Myr themselves are the most common denizens of the plane, servitors to an unknown master and performing upkeep on their more complicated cohabitants.

Myr have been imported from the Plane of Steel in rare quantities, and serve as a rare treasure on the Material Plane, loyal servants infused with magical energy. Some, however, fear inviting such mysterious creatures into their homes, especially paranoid wizards and watchful politicians, as it's a known fact that myr are vulnerable to scrying- and it's a distinct possibility that their master is still watching.

Myr are unique among constructs in being easily repairable once slain. Upon reaching 0 health, a construct with the Myr subtype is not destroyed; rather, it turns inactive, and will reactivate upon being returned to positive hit points. However, a myr that reaches -20hp is destroyed as usual. Additionally, the knowledge of how to create myr has been lost or well-hidden, and they lack rules for construction. Fortunately for myr, they are capable of reproducing themselves, although attempts to study how they do so have not succeeded in creating animate constructs.

There are thousands of different kinds of myr, most being only slight modifications on a basic design; what is presented are some common archetypes and a few notable variations.

Mana Myr

(Myr Moonvessel by Danny Orizio)

Among the most common servitor myr, mana myr work on the machinery that makes up the bulk of the Plane of Metal, and these servitors are attuned to one of the eight schools of magic. Of the myr of the plane, it is the mana myr who are most desired, and those who find themselves in possession of multiple, or let them reproduce, sell them for exorbitant prices.

Each school of magic produces a myr of a different color. Even though they are all made of the same substance, the magic forged into their bodies makes them appear as one of a variety of colors; the mana myr of each school of magic is named after a metal or mineral it resembles.

This small humanoid construct has a strange head shaped like a heavy beak. It resonates with magical energy.

Misc- CR1 LN Small Construct (Myr) HD2 Init:+2 Senses: Perception:+3 Stats- Str:8(-1) Dex:15(+2) Con:- Int:4(-3) Wis:14(+2) Cha:14(+2) BAB:+2 Space:2.5ft Reach:0ft Defense- HP:21(2d10+10) AC:13(+1 Size, +2 Dexterity) Fort:- Ref:+4 Will:+2 CMD:13 Special Defenses: Construct traits Offense- Slam +2(1d3-1) CMB:+0 Speed:25ft Special Attacks: Feats- Lightning Reflexes Skills- Perception +3, Spellcraft +0 Spell-like Abilities- Share Memory /at-will Make Whole 1/day Special Qualities- Mana Servant, Scrying Focus Ecology- Environment- Any Languages- Common (Can’t speak) Organization- Solitary Treasure- None Special Abilities- Mana Servant- A mana myr is designed as a vessel for magic. When created, it is infused with magic from one of the eight schools of magic. When used as a focus to cast a spell of that school, the spell is cast at a +1 caster level and with a +1 DC. A mana myr registers as strong magic of its school when viewed through Detect Magic or similar spells. Scrying Focus- Myr are perfect vessels for scrying on. They get a -5 penalty to saves against spells with the Scrying descriptor, and magical sensors made to scry on a myr and its surroundings get a +5 bonus against rolls to perceive it. Additionally, myr- and any object or creature they are in contact with- are not protected by spells such as Nondetection and Screen.

#soylent original #monsters and races #homebrew #pathfinder #mtg #mtgblr #myr #mirrodin

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