#Among Us Logic Rewrite

[rosetheocto]

HEY GUYS I MADE MORE AUL REWRITE CONTENT CUZ I STILL LOVE IT A LOT AAAA >w<

AULR’s Co-Writer and creator of Admin is @coinholder!!

as for lore stuff, I’m gonna put some yapping for NotOrange and this version of “Reviving the Dead!” under the cut :3

just gonna say that Blue doesn’t rename himself to Monster.. how the hell can someone take that seriously bro (same with Mother and Bone but that’s just cuz she isn’t in this episode)

The general idea with the episode is that it’s more focused on NotOrange and Player as a duo than NotOrange and Blue. (Blue actually kinda dislikes the guy in this, like they used to be friends or perhaps more but had a falling out and now just need to get along to not cause more issues yknow?)

Whatever mod NotOrange is using in this (cuz it sure as hell isn’t a reviving one, that doesn’t really work for what GT was trying to do imo) is more focused on benefitting the Impostors than the Crewmates, since people love being Impostor more anyway.

NotOrange still gets the lobby a bit upset by disrupting the status quo and Player’s stil more chill with him than the others initially were, but when Player is paired with him as an Impostor and tells NotOrange about his losing streak, NO goes and shows him The Thing He Made. Player’s then gets kinda hesitant at first, but when NO mentions it gives Imps a huge advantage that they’re likely to win, Player’s desire to win kinda takes over in pretty much the same way it went down in canon (maybe even worse in this one since he’s an Impostor now instead of a Crewmate?)

When they’re both sent to the Hacker’s Lobby, Player finds out that NotOrange knew that a punishment room existed the whole time and that Player’s most likely gonna be stuck there permanently (even though Player didn’t hack himself, he still actively helped NotOrange). NO is a known ban evader so he glitches himself out of there pretty damn quickly, the guy basically backstabs Player assuming he’s never gonna be able to escape.

This is all still a huge work in progress though, so who knows what might change! Feel free to send me asks and stuff about this btw!! I’d love to answer them :]

Previous AULR posts are here and here!!

[nalyra-dreaming]

I do suspect the eye colour changing thing was literally nothing more than a stylistic decision for the big vampire reveal and nothing more than that. Theories are fun and all but sometimes fandom gives the writers greater intentions than were ever actually there. Like I honestly don’t think Rolin Jones cares less that book Daniel has violet eyes for a start. I don’t think it’s that important.

I do also think Eric’s throwaway comment about falling for Justin Kirk/Raglan James has also been given far more weight than it actually deserves. It wasn’t a spoiler, it was just an actor talking like an actor tbh.

And finally…the whole Daniel body swap thing is such a massive change from the source material that I truly can’t see them going down that route. Changing a characters eye colour is one thing, but to body swap a character such a thing never happens to is a massive rewrite and would be very out of character for the show. Idk, it just would be a huge disrespect to the source material and to a character people love. I get people just don’t want David Talbot in the show, but in all honesty I hope the show never even adapts that particular novel as it’s just not that good.

Raglan James was a character that needed to be introduced, Daniel needed a reason to have come into possession of the trial script. The Talamasca got to edit Daniel’s book and remove anything they didn’t like. I really think that’s all there is to it.

One thing I’ve learned over the years is that the fans will theorise all sorts of grand schemes, but the writers inevitably come up with the simplest, most obvious explanations.

Rolin Jones is on record saying he wants to do TtotBT, and Sam and Jacob have both commented on it.

As such I see it hardly as a far reach that they will go there. And it is a logical step after Akasha, too. I personally like the book a lot, it deals with body dysmorphia, suicide, crippling depression and guilt, so I get it's not for everyone, but it has some incredible Loustat scenes, among other things.

I don't think Raglan James makes much sense if you do NOT want to go there tbh. If they'd just wanted to open the Talamasca connection up, they could have used Aaron Lightner, or even Jesse Reeves.

So. *shrugs*

For now I'm taking it as a hint.

[theaveragepsychoticbitch]

Idk if the formatting will stay corrupted when I post this ask but it was mad regular when it was just sitting in my inbox?? but uh, Gods bless. I dont think I'm all that good at sub reader, and I may be ass at writing insecurities as I gotta be careful not to trigger myself lol, but I am gonna enjoy writing this thanks for requesting me beautiful (Also, I'm not much of a daddy person but I LOVE Master kinks.)

A/N: OMFG TUMBLR FUCKEF AND I HAD TO DELETE AND REWRITE EVERYTHINGGGG

I proofread like half of it yall imma do the rest in a couple days💀✋🏾

Fem!Sub!Insecure!Reader x Soft Dom Odin || NSFW lol || Breeding kink, Master/Slave use (ion know too much bout that dynamic lmao so you gon have to bare wit me), insecurities, and raw dogging (my staple)

Odin can't help but notice the slump of your shoulders, persistent ever since the other day. You'd gone to see Aphrodite for the first time, wanting to greet the entire greek pantheon personally upon your introduction as his wife. You left all smiles and laughter, yet despite saying it'd gone well, you possessed an air of sadness about you, and it's lingered throughout the week.

You sigh again, pulling him from his pondering. Your seat in the windowsill is backed by a view of the gray sky, ice cold rain pounding the glass. You have to be cold.

You jump upon finding your husband behind you, wrapping you lovingly in a thick blanket. The expression on his face is uncharacteristically soft, and in your heart you know he loves you... but why?

Why does he love you, when women as beautiful as Aphrodite exist? The lowest ranking goddesses glow with divinity, an inhuman shine to their very aura that you could never recreate. When you entered that room, you'd never felt more mortal. You were drawn to them, their beauty and grace calling out to you, leaving you with no choice but to gaze in awe.

You think you feel tears on your waterline.

How could he truly love you when surrounded by women like that?

"Women like that?"

You blink, feeling the warm tears slide down your cheeks as your face heats up. You didn't mean to say that aloud, by the gods. But it's too late now, and his simple question and deadpan face have broken the dams you worked so hard to maintain all week.

"Women like that! Like Aphrodite, like the other goddesses. They're beautiful my love, beautiful in a way I can't compare."

He tries to speak, but you rush over him, the snot filling your nose choking your speech and corrupting your voice. "How can you caress my scars when presented with unblemished skin? Look me in my eyes when theirs sparkle with such power? How can you even stand my voice! The goddesses of this forsaken place sound as lovely and hypnotic as sirens, even when their screeching at the top of their damned lungs!"

You cough, gasping for air. You hadn't taken a breath in that entire monologue. Your throat hurts from screaming, and at some point, you'd stood up and thrown away the cover he gave you. The cold air from the window spread goosebumps across your back, down your legs and arms. But it was fear that made you tremble, fear he'd see the logic in your words and leave you in the dust. Fear you'd walk the palace halls one day, haunted by the sounds of pleasure your husband brings out of other women, like so many wives here in Valhalla do now.

Your coughing dies out and leaves nothing but silence. Even your sniffling is quieted under his stare. The rain fades away and you find you can't even breathe as you wait for his word.

"I walk among these women everyday, yet you are the one I've chosen. Does that alone not set you apart from them?"

You blink at his tone– darkened with an unknown emotion, yet somehow still soft on your ears. His hand is on the small of your back, nudging you closer. The other cups your cheek.

"If you think yourself to be in a sea of gold, then you must be the diamond of the bunch. In my eyes, you shine brighter in your mortality then any divine being could ever hope to. Your scars are sweet against my lips, and your eyes as bright as the stars. Your voice is the one thing I bow to, my love, your beauty the one thing I praise."

It's silent again when he finishes, but you hear your heart breaking. Breaking for yourself, because how could you have been so blind? To ever in a million years think this man could do anything other than love you...

He chuckles, kissing your ear. "Say my name, Beloved."

Chaste kisses are placed softly about your face. Your forehead, your neck, your cheeks. And all the while you're crying, you love this man so much. "Odin..."

You try to pull back but find he's holding you to his chest. "Odin?"

"My name."

You blink, then smile. "Baby?"

He smiles into your neck, and you think he's having a rare cute moment. "Not that one."

Your smile takes on a confused twist.

Then, it hits you.

He chuckles again, this one filled with a bit of sadism.

"...Master?"

"Perfect."

In a show of heavenly strength you're transported from the window to the bed in the blink of an eye. As you sink into the bed, he tops you, fitting himself between your legs like coming home.

Your lips come together in a clash of lust and passion, the chastity of earlier long forgotten. Your hands tangle in his hair as he fondles you through your clothes. You could feel his hard on through his clothes, the familiar press against your heat filling you with... love?

Love... that's exactly what it was. You loved this, loved this treatment, loved to see your ever-quiet, ever-composed husband fall to pieces when he touched you. His stoic persona peeling back to reveal a man so head over heels he'd stomp on his pride in his rush to hump you like a dog in heat.

Hell, when he's fucking you like this, how could you have ever thought he'd leave?

Your right hand leaves his hair to help him tug at your clothes, the left sliding down to feel his muscles rippling under the skin of his back. He's finally gotten your chest bare, and latches onto the first nipple he sees, blindly working at the fabric to reveal the other tit. His battle-roughened fingers graze its peak, then pinch, hard enough to make you gasp and jump.

His tongue drags out similar sounds. Flicking the cute bud, circling it, right before sucking on it like it'd fix all his problems. Your fingers do away with his clothes with practiced motions as your eyes close, arching up into his touch.

You can hear him moaning almost silently as he kisses your chest, and you swear you hear him whisper, "Sweet."

You sigh at the feeling, at your adoration for this man.

He pulls back, and in the low light you admire the creases of his chest, the scars that litter his skin like stars in the sky. One hand parts your legs, spreading you open, admiring the sight of your clit twitching while arousal pours over your asscheeks to stain the sheets below.

His other hand takes your wrist to lay your palm flat over his heart. He's dragging your palm across his torso, over his heaviest scars, while rubbing electrifying circles into your clit. You tear up again as your legs twitch at the direct simulation. Even breathes turn to pants, and you feel your hips trying to rut into his touch. But your eyes never leave his. No, no– you hold his gaze and hone in on the feel of his skin on your hand, on the feel of realization like a new dawn in your mind.

"Do my scars horrify you?"

You can't tell if your tears are from pleasure or pain; the emotional kind. But they're pouring worse than the rain outside now, and you feel your nose getting stuffy again. "Of course not, my love."

He didn't mind the slip up this time. "If these do not cause aversion, how could your own bring you such despair?" Two fingers slipped inside you, and you gasp, fucking down on them instinctively. His thumb speeds up to match the pace of his fingers, and you pull him down into a kiss. His tongue tangles with yours, sucking on it and exploring your mouth. You kiss him back just as hard, running your teeth gently over his lips and tongue in turn.

"You are mine. You alone can see me like this. You alone can look at me like that, kiss me like that. I only want you–"

He smirks, and you think you're on the verge of cumming.

"Afterall, who else can take me so well? Who could look as pretty when I'm filling them up, watching my seed pour from their warmth? Do those goddesses beg like a good girl for me to stuff it back in? Present themselves as a willing slave, to be used until I've had enough? Until I've put a baby in them?"

Your eyes roll, your back arches, and the world turns white as you orgasm on his fingers. Trembles shake you, but big, comforting hands are working you through it so well. You rock into him until he pulls away, and despite the looming threat of overstimulation, you whine at the emptiness.

"Answer me, slave."

"N...no one, Master. No one except... Me."

You can't see it as your eyes are still closed, but he's smiling. Just a little, but it's full of more joy than a kid on Christmas.

A haze sits over your mind. His voice is the only thing you know now.

His thumbs take either side of your labia and spread you further, coaxing the juices out. He stares for a long time, unable to look away right up until his dick is so hard it aches. He forces his eyes to close, fumbling to pull it out. You both sigh when it slaps against your cunt.

"Please, Master... Cum inside me."

He looks up to find your eyes are just barely open and trained on him. His demeanor softens even more somehow, despite how out of place it seems.

"Anything for the prettiest girl in the world."

He slides in, fitting as though you were made for him. Your walls are warm and grip his cock like they missed it, arousal continuing to overflow and drizzle out, just barely able to slip around his cock. He puts a hand to your stomach, pressing down and make both your eyes roll as he feels how deep he is.

He thrusts– once, twice, rocking you, opening you up. From there on his pace builds to something fast and rough. Your nails drag down his back till blood is drawn, the pain fueling his manic humping. Screams of Master! Bounce through the air as he fucks you, drunk on the drag of his cock against your gspot. Your own hand goes down to rub at your throbbing clit as tears cloud your vision to the point of blindness.

When you arch, his hand is at the small of your back, helping you, holding you. Your bodies press together and you can't help but think, 'fuck. He's beautiful.'

You allow your eyes to close as a smile spreads across your face. Your husband is beautiful. So you are, you have to be,

"Beautiful."

Your eyes drift to your husband's face upon hearing his voice. Velvety and deep, and filled with roughness from his approaching orgasm. You laugh, a breathless thing. "You too, Master." You say, batting your lashes.

His chuckle is equally breathless, "'M gonna fill you up now, lovely girl. Take all of me."

An order, one you'd jump to obey.

You joined at the lips in a passionate kiss, your finger working your clit hard as the other hand holds the back of his neck. He holds your legs in a mating press and strokes deep, hitting your deepest spot before releasing inside with a shudder and groan.

You throw your head back as your own body freezes from the force of your orgasm. You're wracked by shudders and hear naught but the sounds of your own broken moans. You can feel him inside of you, spilling his seed for you alone to keep. It's warm, and you can't help but relax at the feeling.

Odin stays inside for long moments after, holding it in, before pulling out. You blink at the sudden loss, to exhausted to do much else. You let yourself be gathered in an embrace, lazily enjoy the soft kisses he presses to your face.

"In the morning, we'll shower. For now, we rest." You hum your affirmation. His arms are tight around your body. You have no choice but to sink into his embrace, sink into a deep, deep sleep.

Right before you drift off, you hear him whisper,

"I love you, my gorgeous wife."

You wish you'd stayed awake long enough to respond back.

-------

A/N: yes yes I know this and many other ask have been sitting in my inbox for months😓writing is hard okay?? And I am very very sleepy all the time. This was fun to write but god did I hate writing the smut. Ion know nothing about master kinks, I use them in my own lil way so the formal way is unknown to me😭but uhh, I hope you enjoyed, and requester if you see this I'm sorry🫶🏾🥹I love you🥲

[ao3feed-brucewayne]

Sanctuary

by cosmikent By all logic, Superman is dead, but Bruce is a paranoid man and Clark doesn’t just decide to stop saving cats in trees. A quiet death isn’t like Clark, Giving up isn’t like Clark, and Bruce knows him better than anyone in the world. When Bruce found Clark in his apartment, he assumed things would be reform around the new normal like they always had. Then Clark lied to him.   Injustice AU rewrite... Except, Lois Lane bleeds out because Superman wasn't fast enough. Except, instead of killing people and becoming an evil dictator, Superman goes missing... And Bruce Wayne finds him. Words: 3333, Chapters: 2/?, Language: English Fandoms: DCU (Comics), Injustice: Gods Among Us, Superman/Batman (Comics) Rating: Not Rated Warnings: Creator Chose Not To Use Archive Warnings Categories: F/M, M/M, Multi Characters: Clark Kent, Lois Lane, Kon-El | Conner Kent, Bruce Wayne, Tim Drake (DCU), Kara Zor-El, James "Jimmy" Olsen Relationships: Clark Kent/Bruce Wayne, Clark Kent/Lois Lane, Clark Kent & Kon-El | Conner Kent, Clark Kent & Kara Zor-El, Clark Kent & Superfamily Members, Tim Drake & Bruce Wayne, Tim Drake/Kon-El | Conner Kent Additional Tags: Hurt/Comfort, Dissociation, Alternate Universe - Canon Divergence, Canon-Typical Violence, Grief/Mourning, Isolation, Friends to Lovers, Slow Burn, Tim Drake is Robin (DCU), I'm Bad At Tagging, POV Third Person Limited, Clark Kent-centric, no beta we die like jason todd via https://ift.tt/isKfk3l

[olderthannetfic]

With all this talk about AI, the one perspective that appears missing from the discussion is that of someone who actually uses AI writing tools in production of their fanfic. So here I am, stepping in to provide my (anonymous) two cents.

I've been using a generative AI program especially made for creative writers for several months now. Initially, I had a lot of the same reservations I'm hearing form others, but I was curious about the tech and wanted to try it for myself. I quickly discovered that it's insanely useful, and I truly believe it has improved my writing. 

I also believe these tools will become commonplace among creative writers in the near future. In fact, I've heard that generative AI is coming to a writing software near you (MS Word to be exact), and I suspect that that once more people have actually tried it, use of AI will begin to seem no more remarkable than the use of spelling or grammar checkers does now. 

In the meantime, as you can see, I am staying anon, and there is absolutely no way I would tag my fanfic as AI assisted given the current environment. People are very quick to make assumptions about what a statement like that means, and are all too hasty in reaching for their pitchforks.

As far as I can tell, the main concern seems to be that Ao3 will be flooded with 'bad' fanfic as a result of AI use. But 'bad' fanfic has been a thing for as long as I've been in fandom (decades, at this point), and in my experience, human beings are perfectly capable of writing poorly without any help from machines. Readers are, as always, advised to curate their own reading experience. The 'back' button works the same as it always did, and someone's possible use of AI changes nothing about that. 

But the general assumption that AI input automatically leads to 'bad' writing seems rather short-sighted. Yes, obviously if someone were to go to ChatGPT and tell it to write them a fanfic in 'x' fandon about 'x' pairing, the output would be bland, generic and probably a bit rambling. AIs are not great storytellers; they can't maintain narrative logic. 

If this hypothetical person then copy-pasted the unedited output directly onto Ao3 and called it a story, the result would most likely qualify as 'bad' fanfic. Whether it would be worse than a story the same person might have written on their own is debatable. Our hypothetical protagonist obviously decided that the output was good enough as it was, and chose to post it without bothering to edit, which suggests (at least to me) that they would have similar standards about a story they'd written without an AI.

Since the above seems to be the scenario everyone has in mind when talking about "AI fic," I would like to point out that what I just described is not the only way to use AI in one's writing. My own use is more akin to using an online thesaurus; a very powerful thesaurus that can make suggestions for things like phrasings, descriptions, dialogue, and so on. The key there is that it makes suggestions. 

My AI assistant is smart enough to 'read' the scene I'm working on and tailor its suggestions to the mood, style and context of what I'm writing. But it's still my story. The AI doesn't write it for me. I'm the one who sifts through those suggestions, takes the bits that work, and shapes them into useful text. Sometimes the AI comes up with amazing things. I wasn't kidding when I said it's improved my writing - and my rewriting. It knocks me out of those mental ruts we writers tend to get into, coming up with descriptions and turns of phrase that I wouldn't have thought of on my own. 

But it's still just a tool, and at the end of the day, I'm still the writer. The words that end up on the page do so because I chose them. Those writerly choices are what make the story mine, regardless of where the words might have originated from. And whether they came from my brain or the AI, they are still subject to the same standards of rewriting, editing and proofing.

So no, I don't think I'm going to be tagging my fic with an AI disclosure statement any time soon. Not until the current moral panic dies down to the point where people don't read that and automatically assume it means 'copy-pasted from ChatGPT.' And for anyone who's curious about AI... I suggest you try it for yourself. Play around a little and find out what it's about before making judgments. I think you'll find it's a tool like any other - and just like any tool, it can be used well or it can be used badly. That's entirely in the hands of the human being using it - which is one thing that hasn't changed, and never should.

--

Yeah, I fail to see any major issue with more sucky fanfic getting posted. That's just the default for big fic archives.

The actual problem problems we're seeing are with paid markets with open submissions that get flooded beyond what staff can handle and big corporations replacing humans they already try not to pay.

The main potential issue I see with other uses of AI is that it may end up with samey suggestions, but it's hard to know how much that's 1. a thing and 2. an actual issue when writing genre stuff that often sounds samey on purpose and where that's a desirable characteristic.

[lepertamar]

the most repeated metaphor for israel's exile in the nevi'im (prophets) in the tanakh is that of an adulterous woman punished by her husband. basic logic: g-d promised us in exodus that we would live well in the land of israel and be protected by It (g-d), but we were not. our enemies said this showed g-d the god of israel was unable to protect us, but we could not abide this, and counter-claimed that g-d was punishing us for our unfaithfulness and that It had sent the nations to destroy us, and It had the power reestablish us when we had repented. the adultery metaphor is obviously tuned to the psychology of its times and audience, but more foundational and less criticized is the assumption g-d can make such promises, that it's preferable that It determines the actions of third parties in the world, that if It can't, It's worse than worthless, a used tissue, because the only people here who should have free will and the power to exercise it are the jews and g-d.

this question continued through the repeated exiles and genocides of the jews in the next 2,500+ years, but began to become increasingly complicated and ambivalent over time, including with the interpretation in kabbalah that g-d was shattered and exiled alongside us.

look closer.

much post-holocaust theology rests on the existential question of g-d's impotence, for the hebrew bible does not present evidence that g-d is omnipotent.(1)(2)

so look closer at this metaphor, back in its times. play with reversing it:

g-d is not your husband (patriarchal definition) but g-d is also not your spouse, husband, or wife (modern egalitarian definition). g-d is your wife (patriarchal definition).

g-d cannot take you in or cast you out g-d cannot save or feed or clothe you g-d cannot give you land or defend you in battle g-d cannot divorce you even though It/She/They rages It will in Its besotted-mortified-crazed grief and abjection after you are unfaithful.

perhaps g-d can make your life hell from jealous sabotage g-d can drive you mad with lust and longing for It's beauty, as you have done to It. g-d can make your people survive forever through being the catalyst for all your children(writings/cultural handing-down/mitochondria). g-d can commit adultery against you and betray you. but if you die by your enemy's hand, g-d has permission to die in your house, for you will need it and It no longer.

(and many jews think this option is the worst one tho lmao.

'i can excuse being malicious and cruel and unjust or nonexistent, but i draw the line at being not-omnipotent!')

let me rewrite some of the prophets:

I G-d, take a millstone and grind meal now, in exile, Remove My veil, strip off (My) skirt; Show My thigh, cross streams, let My labia(3) be publicly shown, My private parts be seen So shall Israel shall have vengeance on Me for My lies of kingship [masculine], For My overthrow by your enemies, And shall encounter no opposition...(4)

For when showers I could not bring, And the late rains did not come, I had the brazenness of a street woman, I refused to be ashamed.(5)

/

Over You, G-d, we bent(6), saying 'For the number of Her sins, dishevel Her hair,' (7) Let Your thighs be uncovered, Your 'heels' violated....(8) Your shame will be exposed to Your face, Showing nations Your nakedness, kingdoms Your labia....(9)

/ or,

My beauty won Me fame among the nations, for it was perfected through the splendor which I set upon you— But haughty with My beauty and fame, I played the harlot: I lavished My favors on your enemies O Israel.... I sullied My beauty and spread My legs to every passerby(10)—I multiplied My harlotries to anger you. For I was jealous of your envy of other nations(11), which you loved more than Me When you bid Me make kings of your children, and cronies of Egypt(12), rather than wrestle Me til dawn And I despised you, when you wished to be a tyrant, As they were once tyrants over you.(13)

....the nations put you to the sword, and took away your finery, and Mine, In exile, because of misery and harsh oppression; When we settled among the nations you found no rest; All your pursuers overtake Me now In the narrow places.(14)

/ or,

Israel, you uncovered your lover's beauty in Egypt; There Her breasts were squeezed, and there Her nipples were handled. Her name was G-d, She became yours, The fierce-wonders and land and laws you desired for-to-live, She placed wide-with-boasting(15) on Her lips and brought you as dowry. But She did not give up the whoring She had begun with the corners of the Earth; For we had lain with Her in Her youth, and we had handled Her virgin nipples and had poured out our lust upon Her.(16) [....] the Babylonians came, and all the Chaldeans, and all the Assyrians with them, all of them handsome young fellows, governors and prefects, officers and warriors, all of them riding on horseback.

They exposed your god and saw how she could be defiled We were roused against you, and came upon you, from all around— /

Further rambling discussion notes and citations:

Marilyn Monroe said, “If they love you that much without knowing you, they can also hate you the same way.” All idealisation is punishing and sadistic.” - jacqueline rose

thoughts on this reversal as something that Reveals -- for the audience i'm writing to it's one that shocks the connotations to something more viscerally s 0 meth1ng/relatable (the way the og was supposed to be for its audience), but more importantly, i'm trying to come up with something more infinitely chewable as a negotiation of fault and interiority-vs-effects, instead of terminating.

but also while my point in rewriting these is about the non-existence of omnipotence, non-existence of omniscience is probably more interesting. because it....reveals.....i guess a parallel to the way ppl talk about Widely Despised Female CharactersTM (both in madonna and whore perfect idealized and evil all-blameful interpretations). as simultaneously incoherently both culpable and agencyless, both agenda-driven and lacking in interiority, threefold responsible: evil for creating the evil of the world, and evil for trying to fix or destroy that evil when she regrets(17) that world, and timelessly still-blamed as evil when she regrets destroying it and admits that she doesn't have the capacity to fix it but promises to never destroy it again(18). (the souring when its clear she's not secretly timelessly omnisciently correct for allowing this evil).

all this entity's choices and preferences are made into a morally-charged one that is a referendum on the moral valence and bestows moral judgment to anyone or anything she likes/doesn’t like or does/doesn’t do. and also those interior feelings, if shown, are open to making her limitlessly blamed for the spurned person’s resulting action. or mysteriously impersonally Morally Right (after those preferences, like liking meat more than grain, are forcibly interpreted as being solely a moral pronouncement that invites and justifies limitless violence and blame)(19). both timelessly nonlinearly unchangingly culpable at each point in a linear sequence of events regardless of what order one shuffles it in, and incapable of having curiosity or ignorances or confusions that make up linear accumulations of knowledge or opinions or back-and-forths that change her mind over time, or that are incomplete without the preexisting elements of the narrative or which have to take place in the context of a dynamic dialogue/tug of war to make sense.

so i think in a similar way to that, but in a way that doesn't...pattern-match....without the pronounflip/husband-wife adultery and shaming flip......people will not think of the full picture of what else entails if one accepts a premise......no allowing for g-d being dumb or irrational or impulsive, or ignorant at earlier periods of time of what consequences will occur later. no allowing It to have the capacity to change Its mind, and therefore no allowing It to make it up to us once the error in thinking or acting has been understood and regretted. no dynamic interiority allowed in It being capricious and poorly-moral or passion-ruled or not having considered what is evil or what isn't, or what is a big deal to humans and what isn't, not omniscient enough to already know this prior to the chance to learn it by observing humans. no considering such a being to be acquiring contradictory ideas over time and It trying to figure out which one should rule in any given moment, struggling with warring impulses and giving into one at one time and another at another time, being stubborn bc It is a person with ideas that contradict too, reaching out in a curiosity or a confusion, putting on an act to try to court and impress and arouse desire in It's mate Israel. eg, people ignoring the implication that a specific method (flood, languages) implies either a limited ability or a specific desire or a specific curiosity, or both (18) (why multiple languages specifically??? why not something way less surmountable if insurmountability was desired? or if timeless omnipotence was available??).

let alone, in some cases the idea of g-d simply being helpless, overcome, raped and despoiled, not omnipotent enough to achieve -- even if It does know what It wishes It could do -- a method that would fix things, stop things.

but apparently a fearsome but vulnerable and morally-heterogenous and linearly evolving/accumulating/learning god with enough raw bursting power do act immorally sometimes, but without omnipotence, is unpalatable. so……idk, the time-collapse of god treatments that mirrors that of misogyny that mirrors that of antisemitism -- no matter what you do or don't, or can or can't, or know or don't know, or think or can't think, it's your fault -- haunts to an un-unseeable extent.

this is all torah/tanakh and jewish thought specific(20), but the bigger issue for me that i have a hard time unseeing after seeing it was like….the classic conception of omnipotence and omniscience is a thought-termination (either as timeless will-always-have-been-morally-right termination, or as infinitely-blamable, uniquely worthy of punishment, betraying anthy-style scapegoat termination, which are just two different sides of the coin).

there is no cognitively nondissonant way to say 'if g-d exists, i am deciding It is shaped in such a way so as to be to blame for everything/should Be Killed/is actively working against our Liberation/must be a concept that is inherently keeping life from snapping back into a happy and suffering-free equilibrium', because if you (like me) are open to the idea of g-d being nonexistent, there is only One excuse for not also being open to the idea of g-d being a non-omnipotent, non-omniscient, dynamic, learning, growing entity, a person who is then subject to whatever limitations a person would have, and also is an-other person whose inner heart, like any other person's you cannot narrow down to the dichotomy of either being the guy you made up in your head, or a deliberate traitor to that guy. It's the same excuse for why a person or group such as the Jews are The Enemy Of All Humanity Who Must Be Killed Or At Least Blamed: laying down one's own interiority as a sentient being, to invent a person who exists to be limitlessly blameable in situations where no one else would be. if you (like me) don't completely believe g-d exists, i suppose we can't hurt It, but i know what it sounds like and who it impacts. i am much more stung about g-d lying to us -- by claiming we could only be destroyed by Them/our own transgressions. ie., lying by claiming other groups of humans totally didn't have the power to exile and genocide us irrespective of our own behavior -- than by the crime of 'not being omnipotent.' lol. but ofc even this too assumes They did actually lie to us at all, and that a more fitting interpretation of the text (let alone reality) isn't just a folie a deux of wishful thinking on one or both of our parts in this lovers affair.(21)

1: Milazzo, G. Tom. “TO AN IMPOTENT GOD: IMAGES OF DIVINE IMPOTENCE IN HEBREW SCRIPTURE.” Shofar 11, no. 2 (1993): 30–49. http://www.jstor.org/stable/42941804.

2: eg, Elie Wiesel, Night:

"I heard [a man] asking: Where is God now? And I heard a voice within me answer him:  ...Here He is—He is hanging here on this gallows."

3: Eslinger, Lyle. “The Infinite in a Finite Organical Perception (Isaiah VI 1-5).” Vetus Testamentum 45, no. 2 (1995): 145–73. http://www.jstor.org/stable/1535129. 4: Isaiah 47:2-3, Ibid

5: Jeremiah 3:3

6: Job 31:10

7: Sotah ritual, see Numbers 5:18

8: Jeremiah 13:22

9: Jeremiah 13:26

10: Ezekiel 16:14-15, 16:25-26

11: 1 Samuel 8:5-20

12: 1 Kings 9:16

13: 2 Samuel 22 throughout, 1 Kings 1-10 throughout

14: Lamentations 1:3

15: Everett Fox translation choice for 1 Samuel 2:1

16: Ezekiel 23 throughout

17: Genesis 6:8, 8:21

18: Genesis 11:6-7

19: Genesis 4:4-6

20: Karasick, Adeena. “Shekhinah: The Speculum That Signs, or ‘The Flaming S/Word That Turn[s] Every Way’ (Genesis 3:24).” Nashim: A Journal of Jewish Women’s Studies & Gender Issues, no. 2 (1999): 114–36. http://www.jstor.org/stable/40326491.

21: Milazzo p. 49:

This is the god which cannot raise the dead. This is not a god which transcends the world in which the drama of life and death is lived. This is a god which, having placed its hands around their heart, stands there with this people [.....] This impotent god walked the road to Babylon and stood among the crematoria at Auschwitz.

[ao3feed-superbat]

Sanctuary

read it on AO3 at https://ift.tt/itpS2xw by cosmikent By all logic, Superman is dead, but Bruce is a paranoid man and Clark doesn’t just decide to stop saving cats in trees. A quiet death isn’t like Clark, Giving up isn’t like Clark, and Bruce knows him better than anyone in the world. When Bruce found Clark in his apartment, he assumed things would be reform around the new normal like they always had. Then Clark lied to him.   Injustice AU rewrite... Except, Lois Lane bleeds out because Superman wasn't fast enough. Except, instead of killing people and becoming an evil dictator, Superman goes missing... And Bruce Wayne finds him. Words: 3333, Chapters: 2/?, Language: English Fandoms: DCU (Comics), Injustice: Gods Among Us, Superman/Batman (Comics) Rating: Not Rated Warnings: Creator Chose Not To Use Archive Warnings Categories: F/M, M/M, Multi Characters: Clark Kent, Lois Lane, Kon-El | Conner Kent, Bruce Wayne, Tim Drake (DCU), Kara Zor-El, James "Jimmy" Olsen Relationships: Clark Kent/Bruce Wayne, Clark Kent/Lois Lane, Clark Kent & Kon-El | Conner Kent, Clark Kent & Kara Zor-El, Clark Kent & Superfamily Members, Tim Drake & Bruce Wayne, Tim Drake/Kon-El | Conner Kent Additional Tags: Hurt/Comfort, Dissociation, Alternate Universe - Canon Divergence, Canon-Typical Violence, Grief/Mourning, Isolation, Friends to Lovers, Slow Burn, Tim Drake is Robin (DCU), I'm Bad At Tagging, POV Third Person Limited, Clark Kent-centric, no beta we die like jason todd read it on AO3 at https://ift.tt/itpS2xw

[mareenavee]

Been meaning to pick your professional brain a bit, so... Tell us about rewriting/drafting/editorial pass! What happens when you read to edit? How is it different when you read someone else's work vs your own? What do you look for, what do you notice differently from when you're in writing mode? Any advice to get better at the whole editing thing, and what typical advice that we often see (kill your darlings, never do x, always do x, write for yourself, know your audience...) do you think could use some nuance or explanation? And maybe most importantly, what advice would you give a starting beta reader? What makes for a good beta reader and/or editor, especially when there's no monetary transaction involved and it's all donated labor? What are some of the essential skills?

Hello my friend!! Thank you so, so much for asking me about editing!! I am over the moon. I love this part.

I'm lucky because while it's been my job for quite a long while now (often among other responsibilities) work hasn't ground out the joy of it. I prefer to edit fiction, of course, over corporate copy and advertising, but am honestly happy to dig into either kind of project. The point of it is to bring the right words to the forefront of whatever the written material is, I think. To make the piece the best it can be, and at the same time show the writers how capable they really are. (: So let me dive right in! (THIS IS LONG, by the way, so under the cut! The irony is not lost on me about wordiness and editing and then producing this LOL but it's alright. I'm a chatty person online and this is more or less conversational.)

What is an editorial pass?

There's several kinds of editing. What I do most for paid corporate work is proofreading -- which is catching typos and grammar mistakes and correcting them. This is usually a first pass of any given project. This pass doesn't usually suggest changes -- things are left as is except typos and grammar mistakes. This is sometimes also called copyediting, though copyediting is the next step up and also checks for style consistency, among a few other things, especially in academic and corporate work.

Next is line editing -- this is more checking for word choice at the sentence level. We're looking to make sure things flow together nicely, and that we're cutting the fluff out when necessary. When things get too wordy and there are cleaner ways to phrase something, a line edit pass will catch these things.

Next past that is content editing -- this is done on a full manuscript or story to check that the ideas are complete and the story flows together logically. This should be paragraph and chapter level and should also check for consistency in tone and authorial voice.

After that is my personal favorite, which is structural editing. This is actually technically what you should start with if your manuscript is already complete. But we'll get into the difference between having work beta read and having work edited below. Anyway structural editing is going to check for, well, structure -- organization, flow and quality of the book in its entirety.

There will be notes regarding concerns and big picture issues with the story. These usually won't include detail-level edits, though some professional editors do offer multiple passes on the same manuscript. If your structural edit is mostly glowing praise with few key concerns or suggestions, you can move onto more detail oriented edits to address those specific concerns.

And an even higher level editing that can happen even before a manuscript is complete is Developmental Editing. I like to think of this as an outline critique or consultation more so, as this pass won't be rewriting or doing any sort of detail work. The editor takes your idea and helps ask the right questions to make sure you're organizing your ideas to the best of your ability. They help an author to see the book as a reader would see it.

What happens when you read to edit?

Reading for enjoyment is actually as important to editing as it is for writing. The key takeaway is that an for either, you need to have a extremely solid grasp on the components that make a good story. For an editor, especially so when the 'rules' might be broken purposefully by an author. Honestly, a lot of it is still opinion based. Two different editors, generally, will have different insights for you reading the same manuscript, biased by how much they read and what their specialties are. Most editors, too, will have an ear for grammar which nobody wants to talk about but it's true. You don't need to memorize every single tiny little grammatical detail to explain in full to your authors when you edit and catch errors. But an editor usually can hear when things are off more or less and can provide resources if a mistake is noticed as a consistent issue.

Mostly when you're reading to edit and I'll use structural editing for an example here, you're always thinking of how things flow together and how the story threads intertwine and connect. You're thinking through how the story will land for a casual reader. There's a lot of work in the background in this case, and it takes practice to be able to point out when elements fall flat. You as an editor should also be able to suggest ways to fix the flat parts of the story -- and to do that you need to have read widely in many genres. Read for the sake of understanding how stories come together. Read while taking extensive mental notes as you go. Each book is a learning opportunity.

How is it different when you read someone else's work vs your own?

I actually just reblogged a post about this that sums it up pretty nicely. When you're writing you're so close to your own work it can be hard not only to spot errors but to let go of work you've written. It can also be difficult to see where your work shines because it's not how you envisioned it in your head. Writing is an entirely different process, even if you can go back in with good editing eyes, again it comes down to perspective. You're too close to your own work. You've spent so much more time with it. You know every detail (presumably) and might not be able to see beyond that. The editor, on the other hand, and also a beta reader, will be able to shift perspectives a bit based on their own biases and specialties and help spot things that weren't obvious in the thick of the project.

For me I know I am not as strong a writer as I am an editor for this exact reason. (Regardless of what others think of my writing, this is still true lol) I get a sort of tunnel vision on what I'm attempting to get on paper. A second set of eyes helps point out what needs more attention. An editor should be a project's biggest cheerleader because our goal is to bring out the best an author can do. We can see the threads of greatness as we go through a piece. When we suggest things, it's always to make the piece stronger and for the story beats to hit harder. So this piece really comes down to perspective. When I read my own work, I still am very much mired in it. When I read someone else's work, I get to experience it without it having lived in my head for x amount of time. It's a fresh view of the text, and that can often be invaluable.

What do you look for, what do you notice differently from when you're in writing mode?

This kind of plays off the last few questions, more or less but here I'll switch to self-editing. It really is a mindset change and it's incredibly difficult on one's own writing. Usually I need to take a day or two to let the chapter (for instance) I'm working on simmer and move on to the next thing to get my mind out of the weeds about it more or less. Then I go back in with the goal to proofread and do line level editing.

Because I am the author, I'm always trying to keep in mind overarching structures and plots. (I'm a planner rather than a pantser/discovery writer normally though there are exceptions when I add to the plan later.) This does make "editing mode" a little bit easier for me, besides being a professional editor. I'm actively trying to keep the threads together in editing mode, and actively looking for accidental repetition, places where fluff can be cut out, areas where the words sound off/discordant and can be improved, and personally I am always trying to be sure each line of dialogue or inner monologue SOUNDS like the point of view character I'm working with. This comes from asking the right questions of your work -- "Why would x character respond this way?" But that's a whole other topic. Someone could ask me about how I handle character building another time if they'd like (: But it's all part of the editing process.

In writing mode the goal, at least for me, is to get the idea out of my head and into a draft / on paper. I have the bones of the story in my outline and now I need to get the words out. First drafts are incredibly important and are not -- I repeat -- are NOT garbage. These are the rough foundations and the effort is not wasted. You can't refine anything if there's nothing on the page. The first draft is gold. It is the authentic creative writing experience. The rest is editing. (: And the revision process, the editing, helps bring forward the gem of an idea you had to begin with.

Any advice to get better at the whole editing thing?

The two biggest pieces of advice I have for this is to read widely and to come to your work with fresh eyes before you attempt to edit.

Reading widely means to read outside of your preferred genre as often as you can. This can also mean reading craft books -- ie things that talk about the writing process or even the editing process -- and it can mean consuming other kinds of media with a focus on storytelling like video games, ttrpgs or movies etc. It also means paying attention while reading, always keeping an eye on your own answer to the question: "Why does this work so well?" or conversely "why do I hate this?" (: Reading critically is a habit that not a lot of us innately have. You do have to put in the work just like with writing to read closely in a way that benefits you as a writer and an editor.

Now for the next part -- walking away from your draft entails two things. One, that you've written all you could before you turned on editing mode and two you've given yourself a day or two to do something else (or continue writing) before you return to what you want to edit. It's so much harder to catch what you're missing when you immediately turn back and edit what you've just written. (With exception.) You can catch more typos, and fix the fluff or underwriting when you've given your mind a second to rest.

Improvement comes with practice, too. So purposefully trying to edit, and purposefully trying to read critically and building a habit out of these things will lead to a better understanding of the craft in general. All of it translates to writing strong first drafts and being able to revise more effectively. It's cumulative. Nobody is born a perfect writer or a perfect editor.

One last tip that might be a little impractical depending on your circumstances is -- if you want to get better at editing quickly, read your work out loud. It's easier to find clunky areas as you verbalize them.

What typical advice that we often see (kill your darlings, never do x, always do x, write for yourself, know your audience...) do you think could use some nuance or explanation?

I could write about each of these but this post is already long! So I'll pick my favorite. "Write what you know" doesn't mean "Stay in your lane and write about your retail job" for example. To me, it's more like even in a fantasy world, you can bring in things you've experienced and give them to your characters.

Not a single one of us is as boring as we think we are (: I learned this when I was going through the Creative Nonfiction track in my undergrad creative writing degree program. Even something so average told from your perspective can be fascinating to someone else. So apply it to your story -- all your experiences, your emotions, whatever you can throw at the canvas so to speak.

Your character isn't a reflection of you if you don't want them to be. But they can still go through a fantasy version of troubles that evoke the same kind of big emotions that you've been through. It can be kind of cathartic -- at least in my experience, it can be.

What advice would you give a starting beta reader? What makes for a good beta reader and/or editor, especially when there's no monetary transaction involved and it's all donated labor? What are some of the essential skills?

So first, the difference between a beta reader and editor does come down to the donation of time. You're going to get different responses based on the skill of your beta reader and how much attention and time they have to donate. The ideal beta reader will be someone who is in your intended audience and is generally a close reader, even if they're not there looking for grammar mistakes or anything like that. They'll have a working idea of their own personal answers to what they feel works well and what doesn't when they read in general.

Generally a beta reader will be a set of eyes that will catch your grammar mistakes and typos but probably won't be providing line level suggestions. They'll function as a light structural editor or work more or less on a chapter level. Some beta readers (like myself because I am also a editor) might donate more time and effort to the project than others and be able to make professional suggestions, but this is not to be expected or requested.

If you're just starting out as a beta reader, it might be good to practice on maybe a published novella or short story first, low stakes because the author can't see your comments. Begin the process of reading widely and asking yourself "Why (or why not) does this work for me as a reader?" "What makes this enjoyable (or not?)" "What is it about this piece that is done well (or not?)" The grammar practice can come later -- refresh on the rules, but again don't worry about being perfect. The biggest skill you can build is reading critically. Practice, practice, practice. And when you offer your skills as a beta reader, let your author know if it's your first piece. Sometimes a very fresh set of eyes are just the thing a project needs, so don't be shy about saying so.

On the skills needed -- beta readers should not be shy to say exactly what they're thinking in a kind, constructive way. This can take some practice. But if you're going to point out something that's not working, it's good to have an idea as to why and be able to convey that. It doesn't have to be to the level of a suggestion and certainly not to the level of a rewrite or being able to provide comps/resources.

Being able to provide comments of your thoughts in a structured and logical way based on your opinion of what you've read comes with practice, of course. It's essential because an author is generally looking for specific feedback when they're asking you to beta read their work to make sure their story is hitting as intended for their intended audience.

Again having a good ear for grammar is going to be important here, too. You don't have to be perfect about it, either, or memorize every tiny technical detail. But being able to hear when something is off is useful again because while writing, an author is very close to their work and might not catch it.

And last -- remind yourself you are human. You aren't going to be able to catch every error. You aren't going to be perfect. (listen, not even every editor is going to catch every single mistake. Again, we're human!) You are not a machine. The act of being a close reader for an author and donating your time to assist them is selfless. Nobody should be expecting perfection. This is a collaborative effort between audience and author in this case. You get to make suggestions and perhaps change an author's mind about the direction of some things in their stories. Authors can choose not to take advice, too, without needing to explain anything at all. It doesn't mean the effort is wasted. It comes down to having a second set of eyes on the project with the intent to bring out the best.

Beta reader or editor, your job is mostly to be the work's cheerleader and see past the rough edges to the gem underneath, and then show the author how truly talented they are when they've forgotten in the thick of it. These are simply two different levels of the same kinds of tasks (:

[not-poignant]

Have you ever written in first person pov? If yes, why did you stop? And if no, why not? I'm doing a creative assignment where we explore the different types of povs used in fiction and I'm curious about which ones you prefer and and why?

Also do you prefer writing in past tense or present tense? And do you ever struggle to switch between the two?

Hi anon!

I've definitely written in first person before, I've written whole novels in first person, but I don't know that any of that content is on AO3. If it is, I haven't written in first person POV for a very long time. I actually really enjoy doing it, but it's widely not favoured among romance audiences, and I haven't felt a particularly strong draw to it in a while. That being said, I don't hate it like so many others, and I have no general objections to it. It can be done badly, it can be done extremely well, it's probably the best POV for deep character work (and unreliable narrators) that exists, imho. And I love both of those.

But yeah, when the majority of readers of your genre/s are like 'I can't stand 1st person POV' in a way that's not at all reasonable or logical, eventually you're just like 'whatever, I can still do a pretty raw third person unreliable narrator. I didn't used to have a preference at all, now I simply have a preference because I've written millions of words of one, and probably a few hundred thousand words of the others.

I prefer writing in past tense, which is why most (but not all!) of my stories are in past tense. I wrote all of Science of Fear in present tense though, and really enjoyed it.

I don't mix up present/past in writing, with like, one exception: When I'm rapidly getting down a new story, or a quick quote or story idea and I only have a few seconds to do it. The immediacy of the moment often translates to present tense, and I've actually had to rewrite the beginning of quite a few stories to make them present tense. Once I have it locked in, I won't make the mistake again.

I like both. I think you could safely say that the one I write the most is the one I prefer to write ;) - but they both have their strengths, and the immediacy of present tense when done well, is a lot of fun.

I really really hate tense switching, and it's something that is not like a 'natural error' for me otherwise because I hate it so much.

When reading fanfiction, it seems to be an error most commonly when an author reaches a scene with great immediacy (a sex scene, an action scene, a fight) and gets caught up with the moment themselves, or, doesn't understand what other techniques they can use to create urgency (like variation in sentence length, for example). I pretty much only see it in like... fanfiction though! It's far rarer in published fiction (though it does happen in self pub).

[rosetheocto]

After the doors finally opened up, the group quickly dashed into the first room they could register. The moment was chilling after their sudden brush with death, everyone taking a moment to catch their breaths.

“Okay.” Blue was the first to speak up. “I’ve seen a lot of things happen in this game, and this is by far the most messed up.” The bean took a quick look outside the Laboratory’s doorway, double checking that those faceless, creepy, glitchy ‘ghosts’ didn’t follow them in there. “You’re right. This definitely isn’t a dream… so how the hell are we gonna get out of this mess?”

we were really robbed of more Blue in the NoVisor Arc. like my guy has been playing this game since 2018, which means he’s been around during the same time Aiden was first kidnapped!! I’m a bit hyperfixated on the rewrite of the NoVisor Arc (and AUL in general) I’m doing with a friend rn, so if I remember to post more of that I will! For now though more context and other scattered stuff about the lore for AULR will be under the cut!! :3

the beginning of Return is kinda identical, but Blue replaces Ria. Player, Veteran, and Noob try to warn them about Things Being Kinda Weird and that they are absolutely trapped inside the game but they both call bs (assuming they’re like dreaming or something) until a group of glitched out ghost things (with no visor cuz duh) chase after them all. PF also Coincidentally™️ shows up not too long before the ghosts start attacking and chasing them! how strange…

ANYWAY now they’re hiding out from those things and are using the stupid cleanup thing in MIRA to give them a moment to catch their breath, buy some time, and think of a game plan. The near death experience convinced Mr. Egg and especially Blue that maybe there is way more to this than they both initially thought.

PF’s a lil nervous cuz he believes Blue is catching onto him knowing more about everyone getting transported into the game than he lets on (AND HES RIGHT), esp cuz Blue has mentioned having multiple encounters with strange cultist beans over the years of playing Among Us. (Spoilers Blue does find out about PF later in the episode, but definitely dies like right after :(()

The way I see NV’s plan is somewhat similar but also different. We didn’t really know what was going on exactly in canon, but for this one the best way I can describe it is like the plot of Side Order. The NV Cult is forcibly bringing people into a virtual world in which they would be able to rule with The Power Of Hacking.

as for why the world they picked is a hacked Among Us game? Well it’s simple! it’s super buggy, and there’s only three developers (at the time this takes place that is), so anything they do will take forever to fix and update on their end. And the game being practically a wasteland to the sudden boom in popularity was perfect for bringing unsuspecting people in.

Innersloth knew something was wrong right away all those years ago, but they just couldn’t keep up with this group of hackers. The eventual solution they came up with to all the shenanigans from the cult (and others when it started getting popular) led to the creation of the Hacker’s Lobby, run by 2 (technically 3 if you count Clogsworth) Admins. This new lobby worked! …for the most part. As new cult members infiltrate the game, there’s bound to be some people Innersloth and the Admins missed…

BUT THATS ALL SUBJECT TO CHANGE and there’s a lot of stuff I definitely missed but yea!! AULR my beloved :]

[chimeraflowposter]

Kotlin in Mobile App Development: A Modern Approach to Building Robust Android Applications

In the realm of mobile app development, Kotlin has emerged as a game-changer, particularly for Android development. Since its official adoption by Google as a first-class language for Android in 2017, Kotlin has gained widespread popularity among developers due to its concise syntax, interoperability with Java, and robust features that enhance productivity and code safety. As the demand for high-quality mobile applications continues to grow, Kotlin has positioned itself as a modern, efficient, and future-proof choice for building Android apps.

One of the key advantages of Kotlin is its interoperability with Java, which allows developers to seamlessly integrate Kotlin code into existing Java projects. This feature has been instrumental in Kotlin's rapid adoption, as it enables teams to migrate gradually without the need for a complete rewrite. Kotlin's null safety feature is another standout aspect, addressing one of the most common pitfalls in Java development—null pointer exceptions. By distinguishing between nullable and non-nullable types at the language level, Kotlin significantly reduces the risk of runtime crashes, leading to more stable and reliable applications.

Kotlin's concise syntax is another major draw for developers. Compared to Java, Kotlin requires significantly less boilerplate code, making it easier to read and maintain. Features like data classes, extension functions, and lambda expressions allow developers to achieve more with fewer lines of code. For instance, a data class in Kotlin can replace an entire Java class with getters, setters, equals(), hashCode(), and toString() methods, all in a single line. This conciseness not only speeds up development but also reduces the likelihood of errors.

The rise of Kotlin Multiplatform Mobile (KMM) has further expanded the language's reach beyond Android development. KMM allows developers to share business logic between iOS and Android apps, reducing the need for platform-specific code. While the UI layer remains native to each platform, shared modules written in Kotlin can handle tasks such as networking, data storage, and business logic. This approach not only streamlines development but also ensures consistency across platforms, making it an attractive option for teams looking to optimize their workflows.

Kotlin's integration with modern development tools and frameworks has also contributed to its success. Libraries like Ktor for networking and Room for database management are designed to work seamlessly with Kotlin, offering a more idiomatic and efficient development experience. Additionally, Kotlin's support for coroutines has revolutionized asynchronous programming in Android development. Coroutines simplify the handling of background tasks, such as network requests or database operations, by allowing developers to write asynchronous code in a sequential manner. This eliminates the complexity of callbacks and AsyncTask, making the code more readable and maintainable.

In the context of mobile app architecture, Kotlin aligns well with modern patterns such as Model-View-ViewModel (MVVM) and Model-View-Intent (MVI). These architectures promote separation of concerns, making apps easier to test and maintain. Kotlin's sealed classes and inline functions are particularly useful in implementing these patterns, enabling developers to create more expressive and type-safe code. Furthermore, Kotlin's compatibility with Jetpack Compose, Google's modern toolkit for building native UIs, has opened up new possibilities for declarative UI development, further enhancing the developer experience.

Security is a critical consideration in mobile app development, and Kotlin provides several features to help developers build secure applications. For instance, Kotlin's immutable collections and read-only properties encourage the use of immutable data structures, reducing the risk of unintended side effects. Additionally, Kotlin's support for encryption libraries and secure storage APIs ensures that sensitive data, such as user credentials and payment information, is protected. Developers can also leverage Kotlin's type-safe builders to create secure configurations for network requests and other critical operations.

The future of Kotlin in mobile app development looks promising, with ongoing advancements in the language and its ecosystem. The introduction of Kotlin/Native has expanded its capabilities to include iOS and desktop development, while Kotlin/JS enables developers to target web applications. These developments, combined with the language's growing community and support from major tech companies, suggest that Kotlin will continue to play a pivotal role in the evolution of mobile and cross-platform development.

In conclusion, Kotlin has redefined the landscape of Android app development, offering a modern, efficient, and secure alternative to traditional languages like Java. Its concise syntax, robust features, and interoperability with existing tools have made it a favorite among developers. As the mobile ecosystem continues to evolve, Kotlin's versatility and adaptability ensure that it will remain at the forefront of innovation, empowering developers to build the next generation of mobile applications.

Make order Tg Bot or Mobile app from us: @ChimeraFlowAssistantBot

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[ao3feed-brucewayne]

Sanctuary

read it on AO3 at https://ift.tt/isKfk3l by cosmikent By all logic, Superman is dead, but Bruce is a paranoid man and Clark doesn’t just decide to stop saving cats in trees. A quiet death isn’t like Clark, Giving up isn’t like Clark, and Bruce knows him better than anyone in the world. When Bruce found Clark in his apartment, he assumed things would be reform around the new normal like they always had. Then Clark lied to him.   Injustice AU rewrite... Except, Lois Lane bleeds out because Superman wasn't fast enough. Except, instead of killing people and becoming an evil dictator, Superman goes missing... And Bruce Wayne finds him. Words: 3333, Chapters: 2/?, Language: English Fandoms: DCU (Comics), Injustice: Gods Among Us, Superman/Batman (Comics) Rating: Not Rated Warnings: Creator Chose Not To Use Archive Warnings Categories: F/M, M/M, Multi Characters: Clark Kent, Lois Lane, Kon-El | Conner Kent, Bruce Wayne, Tim Drake (DCU), Kara Zor-El, James "Jimmy" Olsen Relationships: Clark Kent/Bruce Wayne, Clark Kent/Lois Lane, Clark Kent & Kon-El | Conner Kent, Clark Kent & Kara Zor-El, Clark Kent & Superfamily Members, Tim Drake & Bruce Wayne, Tim Drake/Kon-El | Conner Kent Additional Tags: Hurt/Comfort, Dissociation, Alternate Universe - Canon Divergence, Canon-Typical Violence, Grief/Mourning, Isolation, Friends to Lovers, Slow Burn, Tim Drake is Robin (DCU), I'm Bad At Tagging, POV Third Person Limited, Clark Kent-centric, no beta we die like jason todd read it on AO3 at https://ift.tt/isKfk3l

[eruhamster]

this still irritates tf out of me. this logic is so pervasive among voteblues despite it being inherently flawed. "they said [insert warhawk fascist] was the wrong candidate, so instead we got [insert other warhawk fascist] because they wouldn't compromise!"

why is the compromise there. why do people need to give up their rights and morals for your shit-ass, bloody-hands candidate? why is it not the fault of you and every person like you for not rallying behind the true change that can occur with a third party? why is the past only someone else's fault? it's so infuriating. and so inherently ignorant. hilary clinton was constantly suggesting war with iran when she was running, why would you even bring her up? SHE is the reason trump won, because she was clearly the fucking devil and would have done (more) unspeakable things if given any more power than she already had, power she felt entitled to to a degree only a psychopath would. she was so terrible of a choice that a dumbass won. you cannot blame the people who understood that just because you wanna rewrite history to pretend she was a lesser evil and not someone who'd probably overshadow margaret thatcher on the list of the most evil female politicians of all time.

same as biden. evil, horribly corrupt old man who does nothing to prevent or even talk about the giant strides made by republican fascists regarding book-banning and anti-trans legislation. wrote an executive order to stop asylum seekers from gaining asylee status but says he's powerless to do anything about abortion rights or the supreme court setup. he is old as dirt and clings to power despite looking like he'll keel over live on air every time he's shown to the public. he is following in the footsteps of the same type of stubborn old men that led the USSR to collapse, and making the same mistakes as Germany that caused the weakening of their government to allow for Hitler to come to power.

these people are evil. these people are inept. these people are leading us to doom. these people have no one to blame but themselves, but you want to bitch about the people who understand that because you want to live in la-la land where The United States of America is forever and eternal as long as we keep voting for corrupt career politicians.

Are you scared of collapse? Are you scared of fascism? Are you scared of the future? Then fucking pay attention and realize the ONLY WAY to prevent collapse and facism, the only way to secure a future - Is third party. And if you understand as many do that people like you are too stupid to vote this way, then stop blaming everyone else and blame yourselves for this future you are willingly leading yourself down. You are not preventing slaughter by picking the shephard over the butcher. You're just too motherfucking stupid to see more than who's to blame for your final moments, instead of who got you there.

We have lived through this before.

People said Gore wasn't good enough, that he was Bland and uninteresting and middle of the road and something had to change. So they voted third party or they didn't vote at all. And the Democratic party didn't wake up, and we got George W Bush and all the absolute hot garbage that came with him.

And they said Hillary Clinton was the wrong candidate, that she was middle of the road at best and conservative for the Democrats at worst, that she was entitled and they were going to vote for a third party or they didn't vote at all or worse yet, they voted for the other candidate as a joke because it's not like those votes change things, you know? And the Democratic party didn't magically wake up, they didn't majorly change, and we are still dealing with the fallout from that.

And that's not only twice in my lifetime, but twice in my voting lifetime. One of the important things you learn in therapy is that you cannot change other people, and you cannot set your expectations based on how you think they ought to react to certain things.

If you are refusing to vote, or voting third-party because of what you think it's going to make someone else do, please reconsider.

If you want to make the liberals or the centrists or whatever you want to call them wake up, you're going to need to do something that hasn't already been done twice in the last 20 years.

[theultimateescaperooms]

The Ultimate Escape Rooms in Ventura: A Fun Challenge for the Whole Family

Ventura, a charming coastal city in California, is known for its beautiful beaches, historic sites, and vibrant cultural scene. But did you know it's also home to some of the most exciting and challenging escape rooms? Whether you're a seasoned escape room enthusiast or a family looking for a unique and engaging activity, Ventura's escape rooms offer thrilling adventures that test your wits, teamwork, and problem-solving skills. Among the top choices are The Wizard's Lair, The Attic, and Twisted Tales.

The Wizard's Lair

Step into a world of magic and mystery with The Wizard's Lair. This escape room transports you to a fantastical realm where you and your team are apprentices to a great wizard. The objective? To prove your worth by solving a series of intricate puzzles and uncovering the secrets of the wizard's lair before time runs out.

The Wizard's Lair is designed to immerse you fully in the magical atmosphere. The room is adorned with ancient artifacts, spell books, and enchanted objects that create an authentic wizarding environment. The puzzles range from deciphering magical runes to mixing potions and casting spells. Each challenge requires keen observation, logical thinking, and a bit of creative magic.

Families love The Wizard's Lair for its enchanting theme and the way it brings everyone together. Children and adults alike can enjoy the sense of wonder and excitement as they work collaboratively to unravel the mysteries. It's a perfect blend of fantasy and challenge that makes for an unforgettable family adventure.

The Attic

For those who enjoy a touch of nostalgia and a hint of the eerie, The Attic offers a unique escape room experience. This room invites you to explore a forgotten attic filled with relics and memories from the past. Your goal is to uncover the story behind the attic and find a way out before it's too late.

The Attic is beautifully crafted to evoke a sense of curiosity and intrigue. As you step inside, you're surrounded by old photographs, dusty books, and antique furniture, each with its own story to tell. The puzzles in The Attic are cleverly integrated into the setting, requiring you to piece together clues from the various items scattered around the room.

This escape room is particularly appealing to families because it combines elements of history, mystery, and adventure. It encourages players to think outside the box and use their deductive reasoning skills. The Attic's ambiance and storyline captivate both young and old, making it a fantastic bonding experience.

Twisted Tales

If your family enjoys fairy tales with a twist, Twisted Tales is the escape room for you. This room takes classic fairy tales and turns them on its head, presenting a dark and thrilling adventure that challenges you to rewrite the stories and escape the clutches of the evil characters within.

Twisted Tales stands out for its imaginative and immersive design. Each part of the room reflects a different twisted fairy tale, from sinister woods to haunted castles. The puzzles are intricately woven into the narrative, requiring players to use their knowledge of fairy tales and their problem-solving skills to progress. You'll find yourself rescuing characters, solving riddles, and outsmarting villains in a race against time.

Families appreciate Twisted Tales for its engaging storyline and the way it encourages teamwork. The room's dark yet whimsical atmosphere appeals to both children and adults, providing a thrilling escape that keeps everyone on the edge of their seats. It's an adventure that combines storytelling with strategic thinking, making it a hit with families looking for something out of the ordinary.

Why Choose The Ultimate Escape Rooms for Family Fun?

The Ultimate Escape Rooms offer more than just puzzles and challenges—they provide a platform for families to connect, communicate, and collaborate in a fun and dynamic setting. Here are some reasons why these escape rooms are perfect for family outings:

Interactive entertainment

Escape rooms are an interactive form of entertainment that engages all participants. Unlike passive activities like watching movies or playing video games, escape rooms require active involvement from everyone. This interaction fosters teamwork and communication, essential skills that can benefit family dynamics beyond the escape room.

Cognitive and creative engagement

The puzzles and challenges in escape rooms stimulate cognitive and creative thinking. Families must work together to solve problems, which enhances their ability to think critically and creatively. This mental exercise is both fun and beneficial, especially for children who can apply these skills in their everyday lives.

Quality family time

In today's fast-paced world, finding quality time for family activities can be challenging. Escape rooms provide an opportunity for families to spend time together in a meaningful way. The shared experience of solving puzzles and completing challenges creates lasting memories and strengthens family bonds.

Unique and memorable experiences

Escape rooms offer unique and memorable experiences that stand out from typical family activities. Each room's distinctive theme and storyline provide a unique adventure that family members will remember and talk about long after the experience is over.

Suitable for all ages

Escape rooms like The Wizard's Lair, The Attic, and Twisted Tales are designed to be enjoyed by all ages. They offer varying levels of difficulty to accommodate both children and adults, ensuring that everyone can participate and contribute. This inclusivity makes them ideal for family outings.

The Ultimate Escape Rooms—The Wizard's Lair, The Attic, and Twisted Tales—offer unparalleled adventures that are perfect for family fun. Each room presents a unique challenge and immersive experience that brings families together engagingly and memorably. Whether you're casting spells, unraveling historical mysteries, or navigating dark fairy tales, these escape rooms provide a fantastic opportunity for quality family time and unforgettable adventures. So, gather your family, put on your thinking caps, and get ready to escape into a world of fun and excitement in Ventura! If you are looking for a fun activity that involves puzzles, tricky games, etc. with your friends, The Ultimate Escape Rooms is the best option. They offer escape games in Ventura, escape room online booking in Ventura, or family adventure games in Ventura. Call 805-857-0777 or write to annette@theultimateescaperooms.com to book an appointment.

[ao3feed-superbat]

Sanctuary

read it on AO3 at https://ift.tt/nTQOFg0 by cosmikent By all logic, Superman is dead, but Bruce is a paranoid man and Clark doesn’t just decide to stop saving cats in trees. A quiet death isn’t like Clark, Giving up isn’t like Clark, and Bruce knows him better than anyone in the world. When Bruce found Clark in his apartment, he assumed things would be reform around the new normal like they always had. Then Clark lied to him.   Injustice AU rewrite... Except, Lois Lane bleeds out because Superman wasn't fast enough. Except, instead of killing people and becoming an evil dictator, Superman goes missing... And Bruce Wayne finds him. Words: 3333, Chapters: 2/?, Language: English Fandoms: DCU (Comics), Injustice: Gods Among Us, Superman/Batman (Comics) Rating: Not Rated Warnings: Creator Chose Not To Use Archive Warnings Categories: F/M, M/M, Multi Characters: Clark Kent, Lois Lane, Kon-El | Conner Kent, Bruce Wayne, Tim Drake (DCU), Kara Zor-El, James "Jimmy" Olsen Relationships: Clark Kent/Bruce Wayne, Clark Kent/Lois Lane, Clark Kent & Kon-El | Conner Kent, Clark Kent & Kara Zor-El, Clark Kent & Superfamily Members, Tim Drake & Bruce Wayne, Tim Drake/Kon-El | Conner Kent Additional Tags: Hurt/Comfort, Dissociation, Alternate Universe - Canon Divergence, Canon-Typical Violence, Grief/Mourning, Isolation, Friends to Lovers, Slow Burn, Tim Drake is Robin (DCU), I'm Bad At Tagging, POV Third Person Limited, Clark Kent-centric, no beta we die like jason todd read it on AO3 at https://ift.tt/nTQOFg0

[flawlessmlm]

The choice of a software foundation for creating a mobile app affects not only the speed and cost of development but also directly impacts the quality of the final product. In this context, React Native stands out as a leading solution that attracts developers worldwide. Many popular mobile applications have been created using this particular framework: Instagram, Pinterest, Skype, Discord.

In this article, we have unveiled the most significant advantages of the React Native framework, based on the real experience of our developers.

The main benefits of React Native

A framework in mobile development is a set of software tools and libraries that provide developers with a standardized foundation for creating applications. It greatly simplifies the development process, as it contains ready-made components and templates that can be used for various aspects of a mobile application: user interface, media file processing. 

Among the well-known frameworks today, Flutter, Cordova, Xamarin, and Ionic stand out, but the most in-demand tool continues to be React Native.

React Native - is a cross-platform framework launched by Facebook (now Meta) for creating mobile apps based on JavaScript and the React API. Since its inception in 2015, it has quickly become popular due to the ability to develop applications for iOS and Android with a shared codebase.

Developers in our FlawlessMLM team have been using this framework for many years in creating apps for MLM companies, noting a number of its significant advantages:

Cost and Development Time

React Native is the most financially advantageous solution due to its ease of learning for developers. They can use existing JavaScript skills without any additional training. Speaking of development time, React Native also outperforms its counterparts in this regard. Flutter is significantly more complex, so developing apps based on it requires much more time.

Thanks to a multitude of ready-made components and a shared code base for iOS and Android, React Native enables the rapid release of a full-fledged software product or a high-quality MVP without any particular difficulties for developers and the ability to reach a multimillion audience of potential users.

Native Integrations

React Native allows developers to easily integrate their own components into mobile applications. This ensures a convenient user experience and guarantees a consistent appearance of applications across different devices. On the other hand, Flutter also allows integration with custom modules, but adding features specific to a mobile device or operating system will require more development resources.

For example, consider Bluetooth connectivity. Interacting with other mobile devices via Bluetooth using Flutter often poses challenges. Since Flutter does not utilize the device's native Bluetooth capabilities, developers face issues with connection and a decrease in application performance. Thus, the development process in this case is much more complicated.

Community

React Native stands out among its counterparts with its massive community of over 2 million developers. This community builds its ecosystem, filled with numerous third-party libraries, plugins, and resources for rapid and high-quality development. The Flutter community is not as large, so searching for packages and solutions offered by the community requires more effort, time, and consequently financial resources.

Code Reusability

With React Native, developers have the opportunity to reuse parts of the codebase across different platforms. This means that one can borrow logic from an existing project without the need to rewrite everything from scratch. This approach significantly saves money and time on development, making React Native an excellent option for those looking to speed up the mobile app creation cycle. On the other hand, Flutter works exclusively with the specific Dart language, which is limited to use only for Flutter projects.

Optimized Apps Size

One of the clear advantages of React Native is the final size of the created mobile apps. Applications developed on Flutter are generally noticeably larger in size, which becomes a barrier for users with limited memory capacity on mobile devices. The small size of mobile applications created on the basis of React Native not only improves the overall user experience but also increases the likelihood of their downloading and active use.

Post-Release Support and Maintenance

When it comes to support and updates for applications after release, React Native also surpasses Flutter. The more declarative and simpler rules for writing software code in React Native allow developers to make any changes and add new features to mobile apps more quickly.

Support for many platforms

React Native provides good support for various operating systems: Wear OS and watchOS for smartwatches, tvOS for TV screen connectivity, Android Auto and CarPlay for integration of mobile applications with car systems. Flutter's use is limited for most of these systems, it only offers partial OS support for smartwatches.

Overall, having compared React Native and Flutter, we can fairly call React Native the best tool for fast and cost-effective creation of powerful mobile applications. This framework enables the development of apps that work flawlessly across different devices, opening up the path for businesses to reach a million-strong audience and enhance customer engagement levels.

Our team has extensive experience in developing high-quality mobile apps based on React Native. If you're interested in creating a mobile app to optimize customer interactions and increase sales, write to us in chat. We'll create a multifunctional app for your business that will be the key to reaching new horizons of success.