#But I'm also aware that my issues are my own and if I'm able to do something that stops the pain for me without bothering anyone else I do

[zahri-melitor]

Blade Runner, The Matrix and Robins: if you want to run a conspiracy in your story you need to put in the work

One of the central conspiracies people like to speculate about in Blade Runner is the theory of whether Deckard is a Replicant. It's a high-context theory woven into the plot and cinematography of the film. (I'm aware various people, decades on, have 'confirmed' it's true; I don't think that's particularly relevant to this).

The reason why the theory is so compelling for audiences to discuss is that the film in itself poses the question 'what is a human' and sends the main character, Rick Deckard, on a hunt for those clues and mistakes that give away the Replicants he is looking for. Things like Deckard's evasion over whether he's ever taken a Voight-Kampff test, and moments that suggest implanted and shared memories make for a fun second level mystery for viewers to think about and solve. The unicorn dream sequence, with both the dream and silver foil unicorn, provides another pointer for audiences to consider the idea. Even the Replicant Red Eye moments are subtle clues that get called out via the broader focus on eyes.

What also helps the debate and hunt for this potential symbolism is Ridley Scott's reputation as a director who heavily goes for visual cinematography hints and altering stories by changing them in Director's Cuts.

Similarly, The Matrix has a conspiracy that the real world is another level within the Matrix. This one is easy to understand how it developed. The Matrix, as a film, invests a substantial amount of its runtime teaching its audience the clues used to distinguish the Matrix from the real world. We get explicit scenes like The Girl in the Red Dress and explanations of how déjà vu works to demonstrate alterations in the Matrix. We see how characters can alter the Matrix to their own ends, leading into moments in the trilogy where Neo appears to use those skills in the real world being able to be read as 'are we still in the Matrix?'

The thing is: neither movie fully commits to these readings. They're possibilities that audiences can read in, that feel like they've been woven into the plot for people to consider. The audience is drawn to ask the question via the way the hints/clues are found in things the audience is already directed to consider. At their worst, they're artefacts of the audience taking the themes of those films and extrapolating too far.

My feeling about Robins as a comic is that Tim Seeley and Baldemar Rivas want to suggest one of these conspiracy theory stories, but did not have the skill to convincingly pull it off.

One of my difficulties the entire way through the comic was that the story did not know when it was set, and indeed repeatedly suggested via both dialogue and art that it was set in very different periods.

Robins takes place at least partially in a generated overlay from information based on Bruce's notes on the five Robins and also on various criminals. It's trying to take the log entries from Gotham Knights #1-11 and extrapolate that concept out to 'what if having this went wrong for Bruce'. (And I shouldn't really be surprised that Seeley chose to do this: Seeley is very big fan of Devin Grayson's work in the Bat books and frequently chooses to reference it)

The markers used for this simulation are firstly the level reward bonuses, and secondly the singing robin (that apparently uses the wrong call).

In that light, you could argue that problems like characters wearing the wrong costumes, from non-matching eras, and holding views that don't really accord with those characters is supposed to be a series of hints about the resolution of the title, rather than a set of weird screw ups that involve suggestions that the team didn't both checking details.

My issue is that it doesn't feel earned. If Seeley and Rivas really did want to hint and direct their audiences into reading that the presentation, comments and impressions of each of the Robins in their story were wholly based on Bruce's conception of them, then I think those discontinuities should match each other more clearly within each character.

Take Tim for a moment: he wears his original 1990s Robin costume; is the opponent of Damian's 'gauntlet' (a period in which he was wearing his all red Robin costume); has his overlay stolen for a rant about how Tim things the Obeah Man and other villains should die in a way that explicitly references Red Robin #26 (his post-Crisis Red Robin period); and gets specifically removed from the story and trapped in a way that he has to direct others to find him and try to escape himself (suggestions of both the Ünternet and more specifically Mr Oz during Tynion's Tec run). These do not match. If we're supposed to think Bruce is hung up on a specific conception of Tim, and a particularly backward-looking one (which you would assume, given he's put in his earliest Robin costume), why don't the other elements match? Why not put him in his all-red Robin costume to hint that he's Damian's gauntlet? Why not put him in one of his Red Robin costumes if you're going to keep referring to him as Red Robin, and that Bruce's worries about him relate to specific events in that period? And why, if the early Robin costume is supposed to reference Tim's own 'gauntlet', then is he the only character wearing his original costume from the storyline?

And what does not help with this is that Seeley has several obvious screw ups. The most prominent one is he conflates Rite of Passage with Batman: Identity Crisis. The Obeah Man was the villain of Rite of Passage for Bruce, where he was hunting him down to save the Drakes. Tim's personal combatant during that story was tracking down Lonnie as Moneyspider. The storyline where Tim showed the skills and personal judgement that made Bruce decide that he was ready to be Robin was in Identity Crisis, which was a story rescuing Bruce and Vicky Vale from Scarecrow. While the stories are sequels to each other, they're not a contiguous whole: they take part in different titles, with a gap in time between them. Similarly, Seeley places Felipe Garzonas' death as Jason's first case as Robin, rather than his last case.

The whole concept of the 'gauntlets' is the underlying thread holding the story together, the aspect on which Bruce's analysis of each of the Robins and whether he wants to work with them is based, leading to the computer files, leading to the entire plot.

If you mess up like that, audiences are less likely to grant that you're trying to build hints in that something is wrong by having things be noticeably mismatching, because you've also screwed up the ground on which you're trying to construct the story. You cannot fairly claim that the incongruities you put in to hint at your plot are something that should be analysed as clues when you've already primed your audience to think that you're just a hack making blatant mistakes.

And this problem extends to all of the characters, not just Tim. Tim's just the easiest for me to pick apart because I know the references made so well (and Tim Seeley clearly doesn't actually care as much about Tim as several other characters, making the oopsies more obvious).

The issue with this story isn't simple single-panel moments like "And I need to hear it from you, Tim, because Jason and Damian lie through their teeth" or Tim saying he "demanded" to be Robin where people can dunk on it by showing another panel like the Teen Titans 2003 "I lie to Batman" panel or ALPOD. It's in the fact it tries to be clever but doesn't earn audiences' trust to do that analysis. And it doesn't earn that trust because you can't pick apart what's a deliberate incongruity as a hint from what's a general mistake from the team, and if you do pick at elements that look like outright mistakes, the whole thing comes tumbling down.

Blade Runner and The Matrix train their audiences from the very start of the story to look for these incongruities and hints and showcase what problems to look for openly in the plot, leading to people to heavily analyse background details for further suggestions of these hints. They earn the buy in that leads to the elaborate fan theories.

Tim Seeley forfeited his audience's buy in to the story he apparently was trying to tell by not being exact enough about the details in a story where he wanted them to pick at those details, and not showing early enough that the audience is expected to be picking at those details. And that's just poor writing and biting off more than you can chew.

[ireadwithmyears]

Hi! Would you be able to write something for the clones (any of them) with a reader who has a guide dog. I've been running into a lot of issues with people trying to distract her and borderline harassing us (the president of my university follows us around with his unleashed dog running up to us, someone grabbed her nose when we were on a bus and then screamed at us, I'm a biology/genetics major so we get some subtle discrimination in academic opportunities like research projects, etc). Also I don't currently live somewhere with public transportation so I have to take Uber to get anywhere which is a whole other nightmare (a driver dropped us off at the wrong location and I was stuck in a sketchy part of town for 45 minutes while drivers kept denying us a ride). Maybe something with how the clones would comfort/handle their SO dealing with these things. Obviously you don't have to write about all of these scenarios, just some ideas

You don't have to of course, but I figured it was worth an ask:)

Looking Out for You:Part 1

Pairing: Commander Fox/fem Reader

Visually impaired reader masterlist

Word count: 4.1 K

Tags/warnings: Visually impaired reader, meet cute, grumpy x sunshine vibes, denial of feelings(Fox falls first, he falls hard, and he denies it every single step of the way because he’s Fox), guide dog cuteness, brief mention of ableism(this chapter is pretty tame, but in future installments, I intend to explore these elements more deeply, specifically as they pertain to service dog users. These topics aren’t always the most comfortable to discuss. But I feel they are important to bring awareness to)

Summary: Making the transition from your small, rural homeworld to Coruscant already promises to be tough. But when you’re employed to work at the Senate buildings directly under senator Organa and you’re also a guide dog user, things quickly become more complicated, in a variety of ways. Luckily, you seem to have caught the eye of a certain Marshal commander, who swears up and down that he’s not falling in love with you, but who, regardless, always has your back, and is always looking out for you.

A.k.a. 

The three times Fox makes sure that you get home safely. Plus the one time he ends up following you inside

Authors note: Hii anon. I was so happy to hear from you and received this request. As a fellow guide dog user, I have so many different experiences that I feel are worth sharing, so that more people are aware of the trials we face because as amazing as it is that we have these incredible animals, it isn’t always just a nice walk in the park. Which leads me to my next point. Because of all of these experiences that I want to highlight, this 1shot quickly evolved into a four part series, to give it the proper breathing room that I feel it deserves. I hope that’s okay, and I hope you still like this one. If you’d like to message me privately so that I can make sure you’re tagged in each subsequent update, please do. I’d be happy to do that

The first time it happens, Fox is admittedly running on his default, which is to say in plain terms that he is annoyed.

“Why is this my problem?”

Fox winces upon hearing the barely concealed snarl in his own voice through his helmet speakers. He could have phrased that better. He should have at least taken the courtesy to add “with all due respect” when leading into that sentence, even if both he and the trooper who has the misfortune of being at the other end of the line are both fully aware that he doesn’t intend to sound respectful in the slightest.

There’s a pause, a hesitation on the other end of the coms, which causes Fox to silently berate himself for his initial sharp tone. He reminds himself, as he does about 500 times daily, that he needs to be more careful with it.

This warning, for some reason, always falls on deaf ears. But still, Fox wagers that he at least keeps trying, and who knows, maybe one of these days, it’ll actually stick. It probably won’t.

“It’s just that the issue is occurring at the entrance closest to your office, sir,” the trooper begins before rushing to add, “but if you’re busy, we can send—”

“Don’t bother,” Fox sighs. “I’m already on my way there.”

Maybe he shouldn’t be on such a high horse, but really, being sent to investigate a loitering complaint is far above what he, as a marshall commander, should be doing. Despite this though, he privately admits that he’s been looking for an excuse to stand up from his desk chair and stretch his legs. Maybe if he’s lucky, he'll manage to shake off the aching twinge in his left shoulder, hunched from filling out a last-minute stack of crime reports that he had been on the scene of, all from the previous night between the hours of 1 to 3 in the morning. So really, he rationalizes, can anyone blame him for being more than a little bit pissed off at the interruption? 

Maybe it’s a sign that he needs a refill on his caf. 

He rounds the corner and, with what is in hindsight probably more force than is necessary, smacks a hand against an access panel. The door slides open, and a cool breeze hits him as he steps outside into the open air.

His eyes scan through the visor of his helmet, and to his annoyance he doesn’t see the suspected loiterer that he had been warned of, at least not at first. 

Sighing, he steps further out and past the awning above the entrance. Though the air is cool, the sun still shines, and the slight glow causes his eyes to catch on the gloss of your hair as you walk past, eyes nervous as they flick around. Sensing his presence, you pause, shoulders stiffening slightly as you turn to face him with trepidation. Fox also takes notice, his eyes widening in momentary surprise when he observes the guide dog harnessed at your left side, looking up at you with big brown eyes, as if silently trying to understand your sudden hesitance.

You, of course, have every reason to be suspicious of any unannounced or unidentified presence in your vicinity, especially now that you’re living on Coruscant. But, if you’re honest, you’re already on edge, and even though it’s still morning, the day has promised to be shit if the beginning of it is any indication.

Senator Organa isn’t in the habit of firing his junior staff for small mistakes like this, you remind yourself. Still, the thought, no matter how many times you’ve repeated it like a mantra at this point, doesn’t manage to calm your growing nerves, because regardless you’re still lost, and you’re still running late. You silently curse the pitfalls of being blind and using a ride-sharing service, and then you have to restrain yourself from cursing aloud when your eyes land on the silhouette parked a few meters in front of you.

You don’t have much vision. But with what you do have, it’s enough to deduce bright, contrasting colors. And the red splotches against white armor has you stopping dead in your tracks, because within the span of two seconds, a cold clarity settles within your stomach, because the red and white armor is distinctly and unmistakably that of a Coruscant Guard member, the visor of his helmet tilted, looking no doubt with suspicion directly at you.

Resisting the urge to bemoan the shortage of orientation and mobility droids designed to assist with transitions like this—which would have ensured that you would have been able to smoothly get yourself out of this situation in the first place—you bring your guide dog to heel before gesturing for her to sit, then slowly and hesitantly raise your eyes to the trooper, already feeling a mix of anxiety and guilt stirring in the pit of your stomach.

There’s a small sound from his helmet, a hesitation as he seems to clear his throat before speaking. 

“Personal Senatorial aides aren’t permitted to use this entrance,” he says, gesturing to the badge on the lanyard that hangs around your neck. 

He speaks as if this is a reminder that he’s given more than once, which you’re sure he has. Still, there’s an underlying sharpness to it that makes you jump despite your efforts not to react. 

“I, I know,” you say, swallowing before rushing to continue. “I didn’t mean to be dropped off here, sir. I took a Speedershare to get here this morning, and I didn’t realize the driver dropped me off at this entrance until I got out, and by that point it was too late, and I should have asked to verify which one he was going to but—”

“Hey, easy. Slow down.”

The trooper steps closer to you, and it’s only then that you register that you’ve been rambling, your anxiety ratcheting up with each word. Now that you’re silent, you can feel the way your heart is pounding. You’ve seen the Guard around, of course, but you’ve never really interacted with any of them. He’s tall, you realize as he stands in front of you and you look up into the visor of his helmet. Tall and broad, and you were already nervous before he showed up. 

But his hands are raised, in supplication or as an offering of peace, you’re not sure. But regardless, he doesn’t seem on the verge of scolding you further for your silly mistake, which is good, because your nerves are still so frayed from getting out of your ride only to realize that you had no idea where you were, and that apart from knowing that you were somewhere at the Senate building, you were effectively lost and alone. A scolding, delivered with just the right amount of displeasure, would probably be enough to make you start crying, which would make this day go from being the worst to certifiably irredeemable.

“Speedershare isn’t always the most reliable service. Your employer is Senator Organa,” he says, eyes once again scanning over your badge. “I’m sure he could arrange an alternate transportation service that is much more consistent and professional for you to use.”

“I don’t want his charity,” you say, and you can’t help the hard edge that creeps into your voice when you speak.

But really, you don’t. You know that he could, and knowing Senator Organa, he would be happy to do so. But it’s unnecessary. You grew up needing extra accommodations and things that, despite your teachers’ constant stream of reassurances, always made you feel singled out. 

You’re an adult now, and you don’t want that. You don’t need his charity, his pity, or to be added to his ever-growing list of things to worry about at the beginning and end of each day—an item to be checked off. 

As far as you’re concerned, the best thing you can do for the both of you is to keep this to yourself, and you’ll figure out how to manage sooner or later.

Fox takes a step back, able to recognize your quick deflection of his suggestion as a sign that he’s slightly overstepped, and he nods, glancing towards the door.

“Well,” he says, forcing his voice to sound lighter. “I suppose I could let you off the hook this once and let you use this entrance.”

“Thank you,” you say, before hesitantly adding, “I, I’m not familiar with the route to get to Senator Organa’s office from where we are. Would you, I mean, you don’t have to if you’re busy, but—”

“I’ll take you there,” he cuts you off, finality in his voice. “Do you, uh, need a guide or anything?”

Fox internally kicks himself for not knowing how to handle a situation like this, but you give your head a small shake, which allows him a moment of relief. 

“The color on your armor is bright,” you respond, and for the first time in this interaction, you smile. He can’t help but admire the way it seems to transform you, your previous nerves and worry disappearing like the sun breaking through the clouds. It’s quite lovely, he observes, and then internally kicks himself just a bit harder as punishment for that traitorous thought. 

Useless, he scolds. Unnecessary. But it’s already been thought, and he can’t take it back. He’s grateful for the helmet concealing his face, hiding the way his lips repeatedly twitch in an effort to turn upward as he hears you, your voice giving a soft, encouraging command, and the slight pitter patter of paws against pavement as your guide dog leads you to follow after him. 

He firmly resolves not to speak unless necessary until he’s taken you to the senator's office.

This resolve lasts for less than two minutes before he feels the slight brush of a wet nose against his hand and hears a small sniffing sound at his hip. Turning his head, he finds your guide dog, who has stopped walking and is sniffing at a pouch around his waist, and you looking sheepish as you stand behind him.

“Mandalore, leave it,” you scold, your voice lower than he’s heard it and with a suddenly authoritative edge that has his eyes widening slightly. You’re so little, he thinks, and all you’ve ever been whilst interacting with him is timid and quiet like a mouse. Seeing that side of you, as if flipped on by a switch, well...he can’t help but be taken by slight surprise. You pull back the harness, giving it a slight shake and the dog, with obvious reluctance, backs off, abandoning its curiosity.

“I’m sorry,” you say quickly, your cheeks heating with a blush. His hand twitches of its own accord, struck with an unexplained urge to reach out and touch, wondering if he would feel the warmth of your cheek beneath his gloved fingers.

Kriff, his internal monologue groans, disgusted. What the fuck is wrong with you today? He refocuses, looking down at you and shaking his head.

“Your dog’s name is Mandalore?” he asks, genuinely curious and unable to hide the amusement in his voice.

You laugh, nodding your head. “The one and only,” you grin. “Certain training schools do things differently. But the one we went to likes to name each litter by theme, and hers happened to be planets.”

You lower your voice, leaning in conspiratorially with a slight twinkle in your eye. 

“You know, for a Mandalore, she doesn’t look very intimidating, does she?” you ask, and he’s surprised, startled even, to hear the snort of laughter that is pulled from him as he nods his head, looking down at the guide dog who’s unaffected, her professional mask barely concealed behind a tail that wags at him and big, pleading eyes that seem to pierce through his soul.

“No, she really doesn’t,” he agrees, and your grin widens.

“I’ve always joked that if a burglar broke into my house, she wouldn’t bark or growl or try to bite at them,” you say, still smiling as you continue to walk. “She would simply flop down on the ground at their feet and roll over to demand a belly rub.”

“Well…” he says, and faintly, in the back of his head, he registers that he’s 

actually smiling. Huh, he thinks, taken slightly off-guard by the strange feeling. He can’t remember the last time that’s happened. It’s almost slightly disturbing. “If she’s not a fighter, she at least has some good distraction tactics.”

You laugh, your previous nerves surrounding getting lost and being late all but forgotten. It’s a nice sound, bright and lively, and Fox, the Maker help him, finds that he wants to hear it again.

“She probably smells the treats I keep in my pouch for Grizzer,” Fox explains, slightly rueful. He rolls his eyes and pretends to dislike it every time Hound brings the massiff to his office, citing that his panting is distracting, and that his drool gets everywhere, which is disgusting. Those things are both true. But Fox also can’t help but appreciate the warm weight of Grizzer’s head against his leg or the large, imploring eyes the massiff gives him when he knows that Fox has food. 

“I figured it would be unprofessional of me to offer one to her,” he continues, and you nod your head, glancing down.

“It would, but...” you begin slowly, calculating as you clock the staircase you’re approaching and turning your head to look up at him as a slow smile pulls at the corners of your lips. “If you give it to me, I could give it to her by proxy if you want.”

He nods, unzipping the small pouch, guiding you to hold out your hand as he places several small treats on the palm of it, which already has the dog vibrating with eagerness. But you don’t give in right away. 

“Forward,” you say, gesturing your head to the small set of stairs. The added incentive makes the dog quick on her feet, and you have to tell her to slow down as she rushes to comply, guiding you towards the stairs, barely able to contain the excited trot in her step. “Okay, Mandalore, show me where the railing is.”

The guide dog turns slightly, changing course to lead you towards the railing on the far right, placing her front paws up on the stairs and pausing, turning her head to look up at you for approval. 

“Yes,” you beam, stroking a hand along her head. “You learn so fast. Good girl.”

Fox watches, a smile on his face as you hold out your hand with the treats, giving it a few taps against the railing before opening your palm, offering it to her. She eagerly gobbles them up without hesitation, her tail never ceasing its happy little wiggles, which makes Fox want to laugh.

“You know,” he says, stepping up beside you and beginning to mount the stairs. “On second thought, maybe she is a fighter. I mean, she looked like she was ready to take off your fingers along with the treats.”

“When it comes to food, she definitely is,” you say with a grin, following after him. “If only all burglars came covered in peanut butter or dog treats, I’d feel much safer about our odds.”

You both snicker, and the rest of the journey up to the senators’ offices passes in a relatively comfortable silence apart from Fox giving you a few quiet directions as you make your way through the halls. You never fail to turn your head and smile at him each time he warns you of a crowd of people incoming so you can maybe take a step to the side, or if you need to turn left or right at this next intersection.

He isn’t sure how to describe it, but his heart does something strange each time you do. 

“I’m sorry for the inconvenience...” you trail off, uncertain of the trooper’s name as you stand outside the doorway to Senator Organa’s office.

“Fox,” he responds, and he’s quickly struck by the strangeness of how he felt compelled to give you his chosen name first instead of his rank. That, he thinks, is definitely odd and out of the ordinary, but he recovers himself quickly. “Commander Fox,” he adds, and your cheeks rapidly heat with a blush.

“Oh, Force,” you groan, covering your cheeks with your hands and closing your eyes, mortified. “I’m sorry, Commander. I didn’t mean to inconvenience so much of your time.”

“Don’t worry,” he says, and the brush of gloved fingers against your arm is barely there, brief and gone in an instant, but it’s enough to startle you out of your embarrassment, your eyes widening as you look up at him. “It wasn’t an inconvenience,” he says, sounding so sincere that you lose any ability to respond to that, falling into a silence in which the both of you simply stand, contemplating each other.

Fox, for his part, is struck by the realization that, for once, he means every word he’s just said. 

“Well,” you say, blinking as you try to shake yourself out of your stupor. “Regardless of the circumstances, it was lovely to meet you, Commander, and if we ever encounter each other again, you may want to introduce yourself by name if we speak. Every trooper shares the same voice, which makes it much harder for me to differentiate between you all, and I’d hate to mistake you for someone else and embarrass the both of us any further. At least, more than I probably already have.”

“Right,” he says, equally as slowly and strangely hesitant for this conversation to end but not knowing what else to add. “Understood.” 

“I should go,” you say, feeling suddenly shy as you give him a small smile and turn to the door. “See you around, Commander,” you murmur, giving him a playful wink.

You step into the office, not waiting for his response. It takes him a full 30 seconds of just standing there out in the hall listening to the sound of dog paws tapping against the floor, growing distant as you move out of his listening range, to realize that you left him—completely and deliberately if the smirk that was pulling at the corners of your lips was any indication—with a blind joke.

He chokes, uncertain of if he’s allowed to laugh—of if it would be completely inappropriate for him to laugh. His cheeks heat with belated awkward embarrassment. He shakes his head, making a note as he forces his feet to move and forces himself to walk away, heading back in the direction of his office.

The next time he sees you—and he can’t help the strange and foreign hope that twinges in his chest at even the thought of seeing you again—he’ll have to ask you.

Until then, he thinks, giving himself a firm shake as he maneuvers himself through the halls of the Senate building. He resolves to keep you—the girl with the pretty smile, the hair that looks like it was made to run fingers through, and the infectious laugh that he still hears clear as a bell even now that you’re gone—far from his thoughts, ordering himself to stop acting like some sort of lovesick puppy and for kriff sake to just get back to work.

*

Fox, to his consternation, is unsuccessful.

The whole day, as he goes about his tasks—filling out reports, sending requisitions to the Senate, doing patrol—he can’t stop thinking about you. 

Your smile as you tilted your head to look up at him, your warm, encouraging demeanor as you worked with your guide dog, the excitable pup looking up at you like you’re her whole galaxy, the way that he had been able to make you genuinely laugh...

Okay, maybe his bar for sharing friendly interactions with natborns was insanely low up to this point. But knowing that he had brought that out of you had felt strangely good, leaving a warm, unfamiliar feeling in his stomach that lingered every time he thought of it.

He’s so unsuccessful at keeping his mind off of you during the workday that it’s still early in the afternoon when he pulls up your file on the database, scrolls through your work schedule, and at the end of the day is standing outside of Senator Organa’s office waiting for your shift to end.

When he sees you come out, Mandalore, sensing his presence before you do, happily begins to waggle her tail, her footsteps quickening as she leads you out of the office. He calls out to you, and you turn, searching for the voice.

“It’s Fox,” he says, removing his helmet and tucking it beneath his arm. “From this morning.”

Is he imagining it, or do your eyes actually light up when you spot him? 

“I just wanted to make sure that your ride picks you up without complication,” he continues. “Not that I don’t think you can do that on your own,” he rushes to add, his cheeks heating slightly. He’s already gotten the sense that you don’t like being underestimated, and he respects that. “I can make sure that you have detailed instructions in the app so that your driver knows exactly which entrance to collect you.”

“That would actually be super helpful!” you exclaim, and there’s no masking the relief in your voice as you pull out your comm, fiddling with it for a second before passing it to him. “I’ve been meaning to ask someone to update them, because I have a vague idea of what each entrance looks like and how to describe them, but honestly, I don’t think it’s enough to be helpful.”

He takes the device from you, and working quickly, types up detailed directions on how to get to the staff entrance along with a description of its surroundings. He pastes a copy into your notes for good measure so that you’re able to keep reusing it at your convenience. He explains all this to you as he passes it back, letting you know your ride is booked.

“You’re an angel, Fox,” you say in a relieved breath, beaming up at him. “Moving here has been so stressful as it is, and getting used to the transit options is just one more thing on top of that.”

You miss the way his cheeks go pink, but you do catch his quiet, breathy chuckle as he awkwardly avoids your gaze. 

“Right, well,” he scratches at the back of his neck, looking down at the ground. “Your ride should be here soon. Want me to come with you and make sure it shows up?”

“I don’t want to hold you up if you have other things to do,” you say uncertainly, biting your lip.

The truth is, you so badly want to say yes. Waiting for a Speedershare on your own can be anxiety inducing. So many things can go wrong. Your driver might not be able to find you, and when they call and ask you for directions, you aren’t able to provide them with much help. They could drive past and cancel altogether once they realize you have a service dog. Or worse, they can turn it into a full out yelling confrontation. In all cases, you’ve learned, your anxiety is significantly lessened if someone else is with you, ready to back you up at a moment's notice.

It’s true, you’ve only met Fox today. But his presence is steady, safe, and you get the sense that he would stay without question and without hesitation. But you also don’t want to become his burden.

“You’re not,” he states, hooking his helmet to his belt. “And I’m not. Come on, let’s go find your ride.”

And that’s exactly what he does. 

He leads you out towards the pick-up point, and when the speeder gets there, he verifies the plates, opens the door, and helps you inside, waiting patiently for your guide dog to tuck in her tail before beginning to let it close. Before it does though, before it drives away and you’re left wondering if and when you’ll ever see him again, he speaks, his voice low and carrying the softest, lightest undertone of teasing.

“See you around, mesh’la.”

It takes you a moment, but as you drive off, the echo of the words you had jokingly thrown over your shoulder at him just this morning flashes through your memory, and before you know it, you’re tipping your head back against the headrest of the seat, quietly laughing to yourself, uncaring of the driver giving you a funny look from the corner of his eye as he picks up speed, driving away from the Senate building.

You’re still smiling as the speeder rounds the corner, and the building, as well as Marshall Commander Fox, disappears from view.

If you like and enjoy this story, please consider dropping a reblog, as you might help someone else find something they enjoy just as much. Thank you :-) and thank you to @strangergraphics-archive for such cute puppy dividers

[altruistic-meme]

yay we love adding an additional 15 stressors to an already stressed tf out person like yayyy whoopee that sure is fun :)

[thethingything]

I need to get ready for bed but I remembered the dentist appointment that's coming up in less than 2 weeks and ended up dissociating for over 2 hours (I'm honestly not sure how long it's been) and I do not feel good in the slightest after that

[lethesbeastie]

Hi, I saw your post about practicing drawing fat people and I was wondering if you could compile like a list of resources or references?

It can be difficult to find resources for drawing the wide variety of forms fat bodies can occupy, so I've done my best to bring together some resources I've been able to prove have some degree of diversity in the references they offer!

My primary resource recommendation for drawing fat people is Morpho Anatomy For Artists: Fat And Skin Folds! It does a wonderful job breaking down where fat accumulates on the body, how it interacts with the familiar landmarks of human anatomy, and what sort of shapes it tends to form under the influence of gravity. It's a phenomenal reference and my top recommendation for anyone seeking to improve at drawing fat people!

When it comes to finding decent photo references for fat people, the pickings are frustratingly slim. Most sites that specialize in pose references either don't have fat models or have all their images behind paywalls. Of the resources I looked through, the best sources for pose references were Adorkastock and Line of Action.

@adorkastock actively seeks to provide an incredible profile of pose references with diverse body types, and as an added bonus you can access a lot of their images for free on their site/Tumblr or join their patreon for early access to images! Line of action is a site aimed towards practicing figure drawing, providing images and a timed function to challenge artists to sketch within a set time limit. I took the time to go through roughly 300+ images and was pleased to find that during my session around two-to-three out of every ten photos were fat models. The only caveats to this was the fact that most of the images were of the same individual, limiting the applications for studying the variants of fat bodies. Still, it's an amazing tool that has a free mode and allows you to filter the types of references you want based on age and level of nudity.

Beyond sites that specialize in art reference photography, there's also the ever popular Pinterest, which is the site where I typically seek references for my personal studies. Due to the nature of Pinterest's extensive collection, there's a vast variety of references for different fat body types that includes a lot more "everyday" people. The primary issue with Pinterest however is the rampant reposting and lack of proper credits for images, which can make things dicey depending on how you wish to use the references you find. For personal studies this isn't really an issue, but for any sort of professional or paid work is something to be aware of just for the sake of accountability.

* For those who are 18+, porn photography of real people also offers an incredible wealth of visual resources for fat bodies and how they interact with gravity/movement/etc. The variety of positions and angles offer many opportunities to study human anatomy, and it's a pretty well-known fact that drawing NSFW art can be an important learning experience for those struggling with drawing anatomy. In the end, it depends on your personal level of comfort with viewing/drawing explicit images, but it's not something you should completely overlook.

Last but not least, look at the work of artists you admire who draw fat people! While I typically recommend sticking to photo references for learning anatomy, studying artist's portrayals of fat people is also incredibly helpful for learning different tactics for simplifying and/or stylizing fat bodies to better fit ones own style. There are also plenty of artists who've crafted tutorials detailing their approach to drawing fat folks, so I highly recommend you check them out as well! I hope the resources I've linked here can help you in your studies, and feel free to drop another ask if you have any more questions! I'm planning on posting a tutorial on how I do studies for fat people soon, so that will be an additional resource for you once I've got it posted!

[elvisqueso]

Well, @tallwriter : firstly, I feel like that's not really a question about the true contents of my post, and I feel— as a matter of etiquette— that this could have been sent to me as an ask instead. I also feel that you are asking this question genuinely, and so I'll give you a genuine answer:

There are several controversies surrounding this movie, and a lot of people have very strong and understandable feelings about these controversies.

First and foremost, of course, is the treatment of the Native American image, and the depiction of a real people in fiction. There is much to be said about the research done and in some cases dismissed in favor of other elements in the film: the Cherokee Nation has been understandably vocal about their issues with these things.

I feel these are important issues to talk about. There is a documentary called Reel Injun released around 2010 that, I think, is a good primer on Hollywood's history with misrepresentation and stereotyping of Native Americans, and I feel there should be nuance in recognizing what is stereotype and what is characterization (particularly when depicting modern Native Americans and their modern struggles, as this is a topic I feel is more easily overlooked because it's much less understood outside of the Native American community). I feel that Pocahontas is actually fairly menial in these sins, and I feel there was an attempt to portray complex, multi-dimensional characters all around. However, my feelings in this regard should have no weight against the very valid feelings and opinions of those who feel personally affected by these depictions, and I would never chide someone for feeling offense on their own and their ancestors' behalf.

Next, there is the portrayal of an actual historical figure and actual historical events in a way that some take as inaccurate and indulgent at best, outright disrespectful and even fetishizing at worst.

I feel the truth is more nuanced, and that the particular outcry of 'historical inaccuracy!!' is fairly lazy and indicative of a lack of personal opinion in favor of alignment with what is perceived as 'the moral high-ground.' There are valid arguments to be made in the criticism of how the filmmakers chose to approach this story. The story they chose to adapt is, itself, controversial because there is wide debate on whether the incident of the young Pocahontas saving Captain John Smith's life even happened.

I, personally, hold the opinion that it probably didn't, and the evolution of the tale came from a conflagration of memory and the natural growth of a bullshitter's tale over time. The real Captain John Smith had a reputation for embellishment, and the first instance of this story cropping up came several years after the initial publication of his writings, just around the time Pocahontas (then called Rebecca Rolfe, poor thing) was set to journey to England. It's been a while since I read up on this, but I recall reading a few theories that he began telling the story to give her some clout in the court; at the very least, to give her a noble and romantic reputation the English would appreciate and treat her kindly for. It's a generous theory, and I think this may be at least partially right. I feel that if anyone has even the slightest curiosity about the truth of the matter— and of Pocahontas's life in general— that they should do as much research (with reliable sources!!!!) as they can, because the true story is fascinating and deserves attention.

That being said, the film is a story. And the story being told in the film is not the historical truth of Pocahontas, but rather an adaptation of the legend and folklore surrounding her, blended into a version of Romeo and Juliet. The film itself is historical fantasy, and, whatever the motivations of the filmmakers at the time, the story presented is divorced enough from the real persons portrayed that I feel it's very easy for the audience to take it as a self-contained story and enjoy it as such. And, like anything else in literature, whether you like or not is a matter of taste.

[ Besides, I feel that historical accuracy has never been a pre-requisite for telling a good story. Abraham Lincoln never fought vampires, but it sure was fun to watch a story where he did. A more serious example might be The Social Network, which did a lot to change the history in service to telling a compelling story and succeeded. And those people are still alive. ]

Another, more focused controversy is the apparent sexualization of the lead character. I feel like I never really clocked this one. I remember always being more enchanted by Pocahontas's face than anything else. And I have done a run with this movie specifically looking for this aspect and...I got very little? At most, there is some validity to the criticism of her proportions, but that's more an artistic criticism than anything. Maybe I've been desensitized by other media I've seen over the years that overtly sexualized its characters. I dunno. The film Pocahontas's maturity is, perhaps, uncomfortable for some people to see in the lead of a kid's movie. I always felt drawn to her, though. She seemed very strong to me, and her beauty, to me, felt as an extension of that power she held. Maybe it's uncomfortable that there is a certain kind of gravity to the feelings between the film's Pocahontas and John Smith: "I'd rather die tomorrow than live a hundred years without knowing you" is a very heavy statement for a Disney film.

Maybe this all is problematic. i'unno. I feel this is something one should decide for themselves.

Lastly, there is controversy over how Disney and the filmmakers handled taking criticism over these controversies. This is also important to discuss, I feel, because we should take the experiences of those who come before us as lessons to learn and grow from.

This is more difficult, because I understand how protective one can be over something they worked very, very hard on and feel very proud of as a piece of work. The creators of the film, from what I can tell, have a lot of genuine love for the project and have a lot of pride in what they were able to accomplish. This was a very difficult film to make on a technical scale, and they were doing things with it they hadn't tackled before at Disney. And I feel they're right to be proud, because the film is beautifully done. At the same time, they've been a bit prickly over criticism and how they handled the other controversial themes in the film. I feel the creators should have handled this with much more grace and humility. But they're somewhat forgivable because of their emotional attachment to the film. Disney the corporation tended to handle things rather coldly, and that just leads to resentment and hurt on the part of both the people who worked on the film and the people who felt their concerns were being dismissed and invalidated.

I also feel that this has little bearing on my ability to enjoy a film that was a favorite of mine as a child, and is still a favorite. I feel that this film is just a film and, while I greatly enjoy it, I am aware it's no monolith of literature. I also feel that anything that makes me happy is something I should indulge in, and I feel that I have been having a very good time overanalyzing this movie, lol

[ I also feel that of all the problematic things I greatly enjoy, Pocahontas falls very, very low on that particular scale. ]

Pocahontas (1995): 3 times Pocahontas is compared to her mother + 1 time she's recognized on her own merits.

rambling lil meta under the cut

see, what's crazy about this whole situation is that it makes me wonder what exactly pocahontas's mom was like to have left such a massive impression on literally everyone in their community? there's that outright statement that "yeah, your mom's spirit is in the wind, basically, and our people venerate her as a spiritual guide (at the very least)." we know that she's the main connection between pocahontas and grandmother willow, and there's an implication in there that whatever leadership role she held in the village is expected to fall on pocahontas's shoulders someday.

i am so convinced that this role is some kind of spiritual leader/shaman position. wise-woman, priestess, whatever it's called. we don't see anyone else besides kekata performing any kind of spiritual rites, and even he isn't seen acting in direct contact with spiritual entities. kekata has to perform chants, provide offerings, and use a medium. pocahontas can just fuckign. talk to the things. how is she doing that? why isn't anyone else really able to do that? john smith could talk with grandmother willow but would he be able to if pocahontas wasn't there (i actually think he could but that's a different post)? has she ever done that for literally anybody else? nakoma never mentions grandmother willow. nobody mentions grandmother willow. apparently, the only two people who knew about her before pocahontas brought her new bf over was pocahontas and her mom.

i'm losing track of myself here, but the point is pocahontas is Highly aware of the ghost she's expected to live up to. and it sucks. and there's a lot more to her character arc about this but the eventual come-around to accepting that she has a responsibility to be more than herself and more than her mother's ghost is so heartbreaking because it also meant she had to let go of her soulmate at the same time so i c ry

[bokettochild]

Just saw the update!

So, first thoughts!

Gremlin Legend and Sky is something I am LIVING for. Sky's little look of approval as he stands between Wars and Legend after that little move is sending me!

(Wild is not impressed)

I also really love that JoJo played with Warriors' cape/scarf being capable of doing that, which is a major risk btw, but I love that we see it's potential now!

Like, Legend's timing is perfect (and I love that this confirms the Legend v. Wars dynamic we all love) especially considering Hyrule was literally talking about the same thing and you'd THINK Captain-War-Hero over here would be more cautious because of it (although the fact this implies Legend doesn't trigger Warriors danger sense is GREAT for the fluff fic writers like me!)

Time and Wars looking like disappointed parents though is brilliant

(Warriors with messy hair is so funny to me, help)

The continued portrayal of Time being too harsh with the boys, all tense after what happened to Twilight, that's great. i'm glad the consequences of past events are following them, it really makes this all feel linear!

I also am ALL HERE for the boys finding their differences! Warriors and Wild both admitting to being new to dungeon crawling and the monsters involved is a great thing we've all been playing with in fics, but making it cannon feels like validation :)

Also, Warriors being defensive of that, and maybe a bit prickly about their judgement, I think it shows a lot of him. he's got his pride,a although he's learned to tame it. He's feeling a bit miffed to realize how different he is, but doesn't want them seeing him as lesser as well (although they never would). I can also hear him using a clipped military sort of tone when speaking here. It's just the way his words are selected and strung together that makes it seem he's being very to the point, direct, and cold in his tone, which really sells the whole difference between a soldier and the "average nobody" that the rest of them were (ironic, since he's trying to act like the difference isn't a big deal but only further accentuates it this way).

Twilight being pleased that Epona is fine and just enjoying a meal made me grin so big though. He's all worried for his girl but she is, quite literally, happy as a horse over there LOL

Also, this bit:

recognition for Sky's right-handedness, my beloved! (JoJo is giving us all the easter eggs!)

The fact that the passage is too small to let them all fight though is a brilliant way of preventing some of our heavy hitters and more skilled heroes from being able to do anything though!

I like how that gives us the chance to see Time one-shot the foe and also gives him the impression that the rest are maybe not skilled enough to do this alone. WE all know they are, but they're a handicap to each other right now, and it's only further cementing in his mind that they're not ready for all this, which will make his overbearing speech and the judgement he casts on them in combat all the more an issue.

I mean, we all know the hero's shade was like that, but JoJo has shown Time acting this way from the start

(Deep Shadows P.2)

(Likelike)

So I guess we're in for more of that now, and most likely someone (probably Legend, as it's usually him, or Wind, who is very aware of judgement from teh rest) is definitely going to have to call him on it soon, maybe in the dungeon. Will that lead to some bonding with Time where he has to admit he cares and worries about them as though they're his own? I hope so!

Anyways, all this to say, we really are seeing how much they struggle to work together, so hopefully this dungoen will teach them all how to do that better, as Time mentioned earlier

(Dawn p.8)

Now, to finish it off!I would like to thank JoJo for giving us so many beautiful shots of Twi this time around. I'll admit it now, he's pretty darn fine <3

That said, I'm loving the Legend content too! i hope we get to see some more starring moments from him going forwards, what with him being the dungeon veteran and all! It's great seeing his childish/playful side these last few updates, but I'm really craving some veteran Legend right now >:)

[copperbadge]

This is not to sniff at packaged food in any way, because cheap, uniform, nutritious, premade food is important and necessary. And despite what your local tiktok orthorexic may tell you, packaged food is still capable of providing solid nutrition.

That said, I've been making my own bread for about twenty years, and for the last ten or so it has often been easier to make bread than buy it, solely because I don't need to leave the house to do so, and I live alone so a decent loaf can last me a good ten days. Being able to make ones own bread in this modern era is a product of privilege -- the resources to buy the ingredients (especially high quality flour, not cheap), the time and space to bake, the stamina to knead or equipment to make kneading easier -- my breads improved a lot when I got a good stand mixer, and those aren't cheap. But also, to make a decent edible boule you can get by with flour, water, yeast, salt, and time. Throw in a little oil and you can make pizza crust; add in kneading and a bit of sugar and you have bagels.

It did somewhat change how I eat, because homemade bread is often a little difficult to make a sandwich with, but I was never a huge fan of sandos anyway. These days I often don't even make loaves -- I make rolls or bagels, or flatbreads.

But all of this is to say that because I'm now accustomed to eating my own bread, which is necessarily small-batch and produced without stabilizers that make commercial bread so soft and uniform, I am starting to struggle when I do buy bread because the flavor and texture often feel off. It's not that it's objectively bad food, but it's very different from what I'm used to, which is unpleasant. I've been aware of the issue for a while but previously even if the bread wasn't as good to me as my own, it was edible and convenient, so it was fine. Making your own hot dog buns is a pain in the ass.

I just bought a loaf of Italian bread, reasonably fresh, a brand I used to eat regularly, because I wasn't feeling up to baking anything. I've been making toast with it mostly. But yesterday morning -- admittedly while dealing with some nausea -- I bit into a sandwich I'd made with it (cashew butter and strawberry jam) and thought, "this feels like eating upholstery fabric."

I haven't been able to eat any more of it since. The soft, dense texture, the specific preservative flavor, the mouthfeel. I tried to eat some toast just now and had to spit it out because it felt like buttered brocade and I started to gag. I'm kind of mad about it, honestly.

The bread won't go to waste -- if I can't eat the rest of the bag I'll dry it out and crush it for breadcrumbs for fried chicken or a panade -- but it's both sad and funny that I have functionally baked myself into a corner where packaged bread is no longer even an option.

It feels like I'm becoming one of the middle-aged eccentrics I used to know when I was a kid -- older people or couples in my church, sometimes parents of my school friends, who were just kind of oddballs, hippie leftovers, what I still think of as Berkeley Weirdos (affectionate) even though Berkeley has long since gentrified. The lady who didn't have a functional oven or stove because she ate raw vegan or the family that converted their old station wagon to biofuel but kept the rear-facing back seats with no seatbelts and would give us death-defying rides to the community pool in them. I'm already growing my own basil because I eat an unlikely amount of pesto for one person. My signature potluck dishes are kiwi dip or egg-free meringues.

I don't mind, exactly. I loved the Berkeley Weirdos and the community they built for us kids. But it's definitely not a place I imagined ending up.

[aibafiles]

Esperanto in Metaphor: ReFantazio

Not long ago I saw this this tweet pointing out that the in-game language in Metaphor is Esperanto (written in another script) and I decided to investigate for myself! The vocal tracks are in Esperanto as well, but I want to focus on the text here since I don't have a great ear for it. (The quoted tweet also points out that you can rearrange the title to get an Esperanto phrase - I think it would be more accurately spelled "Metafore Fantazio," or "metaphorically fantasy"!)

For the unfamiliar, Esperanto is the world's most widely spoken constructed language, developed in the late 19th century with the aim of being an easy to learn secondary language that could act as a bridge between speakers of other languages. While its vocabulary and grammar are largely derived from various European language families, it has speakers worldwide, including a sizeable number in Japan. Given the relationship between Metaphor's world and our own, I think it's a cool choice to take a constructed secondary language and make it the in-universe primary language—not to mention the game's themes of uniting different people with a language intended to do just that.

I studied Esperanto myself for some time 9 years ago, though I've forgotten most of it, so I'm very rusty. That said, I was able to sit down and parse one particular block of text that the game provides a translation for, and use that to read the rest! I'm slowly combing through the demo and translating any legible text, and I wanted to share some of the interesting details I found. If any Esperantists see this and want to weigh in, please do! There's plenty I may not remember or be aware of.

Continued under the cut, including content from the demo:

Let's start with the text the game translates for us! Here's what the VO/subtitles say:

O Great Seeker, bearer of fantasy empowered... Hear my wish, and come forth from thy epoch of glory to grant me thy guidance.

Here's the "deciphered" Esperanto:

Ho, granda serĉanto, kiu vivas en epoko de gloro, kiu enkarnigas la povon de fantazio. Bonvolu disdoni al li vian gvidadon.

And here's a more "direct" translation:

O Great Seeker, who lives in an epoch of glory, who embodies the power of fantasy. Please grant him thy guidance.

Not too much different of note here other than the pronoun usage—in Esperanto, the speaker explicitly uses "he," likely referring to the protagonist. I suspect that the English is actually translated from the Japanese line, which is ambiguous, so they made an educated guess here. But, since this is the same speaker who narrates awakening cutscenes and new bonds, it makes sense that they're calling to the Seeker on his behalf!

This is a point I'm unsure about, but from my understanding, "granda" (here translated as "great") typically refers to size, so it seems like an odd word choice to me—but it's possible there are connotations I'm not aware of.

After some poking around I stumbled across some text on the background of the name entry screen that reads "signaro" (character set), followed by the whole Latin alphabet on the next line.

"But Batts!" you may say. "Esperanto doesn't use QWXY! What about the diacritics!"

Well. There aren't any! There are 6 characters with diacritic marks used in Esperanto (ĉ, ĝ, ĥ, ĵ, ŝ, and ŭ), and since our character set doesn't use any of them, we have to make some educated guesses about which one it is at any given time. This is mostly a non-issue since they're real, existing words, but it does make it a bit trickier at points, and relates to another problem I'll get to in a bit. (There are a select few instances where I've seen diacritic marks on handwritten text or shop names, but there are still far fewer than there should be.)

That said, there is also some plain English text using this script as well, so the game does make use of those extra letters, such as the Memorandum UI - scrolling books have titles like "Marine," "Royal Capital," "100 Mystery of Ningen (humans)," and "Melancholia Gen" (?), plus cute notes in the background like "I want to read slowly" and "already read very good."

Anyway, this diacritic ambiguity bugged me for a bit when I started translating some text with "Euchronia" in it, like the above "Regno de Eŭcronio - Dezerto de Tradia." The Esperanto "C" and "Ĉ" are always pronounced "ts" and "ch" respectively, so the pronunciation here is a bit awkward either way, as both characters are meant to precede a vowel. A more natural pronunciation in line with both the Japanese and English would be "Eŭkronio," a spelling I found once in the body of the contract our protagonist signs to join the army, and never again. Alas.

I noticed a few interesting details while translating place names - the "Trad" in "Grand Trad" (Granda Tradicio) means "tradition" - and many locations are labeled on the map that I don't think are mentioned in the demo's runtime - Oceana to the west is named, but also of note are Kalendulo ("marigold," maybe "Calendula" in English) to the east, the Hulkenmont mountains surrounding that region, and the "Malnova Insularo" (old archipelago) to the south.

(Screenshot grabbed from justonegamr on Youtube.)

Lots of fun stuff going on with these posters - the big propaganda poster says "Mi volas vin por homoj" - "I want you for humans!" The poster immediately to its right and the one with the light-haired paripus are both wanted posters with rewards of 50,000 and 7,000 respectively, and the former has a somewhat legible name - Mikelan something (?). There's also quite a bit of illegible text that I'll need to boot up the game to stare at, textures willing.

Here is where I noticed an occasional problem with the text in this game: some of these posters include words that should have diacritic marks, but instead the characters are gone entirely or replaced with a space. For instance, the poster with the face that appears twice on the bottom row reads "Ser a peto - i tiu viro" where it should say "Serĉa peto - ĉi tiu viro" (Search request - this man). I spent so long wondering what "Dan ero" meant on the poster with the red "no" sign before I realized it was meant to be "Danĝero" (Danger).

This extends to some other parts of the game, such as the world map title ("Unuiĝinta Reĝlando de Eŭcronio" written as "unui inta re lando de e cronio," which is how I knew it was a plain C oops), and the giant statue in More's study covered in archetype names, some of which are missing characters.

I suspect that at some point in the process, these characters couldn't be properly encoded and got lost before making it into the game. Most of the UI text seems to be intact, and this only affects graphic text as far as I've seen. Luckily, we can usually use context to guess at what they should be.

There's a ton more that I'm still hunting down and translating, so if you'd like to see it, you can check out my spreadsheet here! I'm hoping to keep updating it as I play through the full game, and I may make some more posts if I encounter any particularly interesting details. A few more tidbits before I go:

This appears to be an annual calendar - number 1 is at the top and it circles around to 12, and then the inner circle runs from 1-30, likely representing the weeks.

Various graffiti found around Sunshade Row that reads:

Ĉi tio estis infero (this was hell)

Malbela elda (nasty/ugly elda)

Merdo (shit)

And in the words of our favorite tooth...

Elbe venontfoje! (Maybe next time!)

[hellenhighwater]

Hi Hell, I wanted to get your thoughts on something. My friend who has been vegetarian for close to 30 years is thinking about becoming vegan. His main reason is that the pain and suffering of an animal in the large majority of the animal product industry is not worth the enjoyment he gets from cheese, milk, etc. He hypothesizes that most people are not vegan due to lack of education about the industry’s methods, and because eating meat is so normalized. I mostly agree, but something about what he’s saying makes me feel bad. Maybe because I don’t see myself ever becoming vegan, due to how much I love certain foods, but I like to think of myself as an empathetic and moral person. So I think I just feel quite selfish.

He is a very analytical and logical thinker, and says he wants to find more anti-vegan arguments before deciding for sure, but can’t seem to find many. What do you (and your followers) think? I was thinking you aren’t vegan, but I don’t actually know.

This is very much not my lane, but if you want my two cents then for me it comes down to a few things.

One: there is a basic mass of food that any human needs to consume in order to stay alive. That can be plants, it can be animals, it can be animal byproducts. For the a significant proportion of commercially produced food, there is a negative impact. It's hard to quantify; in some cases it is certainly direct, quality of life issues for animals. In other cases it's more broad environmental impact from commercial farming, or quality of life for the human laborers involved in harvesting etc. It's hard to come up with any objective measurement for harm when comparing individual animal suffering vs human quality of life vs large scale environmental issues. There's plenty of information out there on some of the vegan diet staples and how increases in farming things like quinoa have enormously detrimental effects on their native communities, if that's something your friend is not already aware.

Two: There is a degree of this that is just...unavoidable. Things eating other things is the way living creatures survive, and on a systematic level there's not a ton we individually can do to change things--and on a practical level, there's only so much you can afford to spend on food, and organic, cruelty free stuff is more expensive. There is a level of privilege in being able to choose to spend your money in that way that is not always an option for everyone.

I'm not vegan. I'm not vegetarian. I care deeply about animals, and I'm aware of what commercial husbandry looks like--it's pretty terrible. I still eat meat. I try to do so as ethically as I reasonably can.

I don't have an issue with eating other animals. It's a part of nature. To me, I see the obligation more to do our best to try to get meat (or byproducts) that have been raised as well as we can manage. Free range eggs are pretty easy to come by, if you live in the country. Same with locally made cheeses and butters, even farm fresh milk--some places have self-serve milking that allows cows to roam in pastures and then be milked at will. Price and availability will vary by where you are, but it's more and more common; as more and more people start to care about how the people and animals involved in making our food are treated, better options become more available.

It also should be noted that the animals involved in farming are almost universally completely domesticated. There's no alternative for these animals and their progeny except for life in human care. These breeds require human aid for their own health and safety, because we have been breeding them for (in many cases) thousands of years to rely on us and to develop traits that will not aid them in the wild. If everyone decided, tomorrow, to become vegan, then these animals would need to remain in human care for however many thousands of generations it would take to breed them back to the ability to survive without us, or we would have to sterilize them en mass and terminate these breeds through lack of reproduction. It is not an option to just release these farm animals into the wild. Domesticated animals require human care. Some of them, like pigeons, have gone feral when we abandoned them, but they are not like their wild cousins, and it shows.

Because of the selective breeding involved in domestion, most of these animals are producing byproducts--eggs, milk, honey, wool, etc--in quantities that they do not need. While some species have been bred to do that to their own detriment, most heritage breeds are fully capable of producing more than they need of these things, and there can be true symbiosis between these animals and their human caretakers. Some of these things they need to have removed for their own health. It's an ancient bargain--we keep them safe, and warm, and healthy, and protected, and they give us that which they have in abundance. The problem isn't the animal product, it's how it's produced commercially.

So yeah--veganism is one option, but it is, in my opinion, a narrow scope at an issue that is far more nuanced. I think it's equally ethical to aim for a diet that focuses on local, ethical farming practices--for growing crops, for caring for meat animals, for beekeeping, for chickens and sheep and whatever else we need. We've spent longer than any of us will live making these animals part of our world--discarding them and what they can give us is not going to benefit them. We just have to learn how to treat them respectfully.

[umbrellacam]

I feel like whether Tim is on some level suicidal in RR #12 is very open to interpretation, which is part of what makes it fascinating!

because Tim's homecoming to Gotham is the culmination of an upward/self-actualization arc, after struggling through multiple low points/depression/an extended breakdown.

he finally got proof Bruce is alive. managed to claw Tam and himself out of the Cradle and away from the Council of Spiders/LoA by the skin of their teeth. thumbed his nose at Ra's and reaffirmed his own principles by blowing up all the LoA servers. finally kind of processed that Kon and Bart are both alive again - he just tackle-hugged Kon in RR #9 and told him, "when you found me in Paris, I was in a bad place. Now... Now I'm in a good place." he's full of renewed purpose and the realization that he doesn't, in fact, have to do things alone! (team-up Robin ftw!)

so probably not actively suicidal

but then in all of his frantic calculations to thwart Ra's and save each and every person Bruce loved - he doesn't factor himself in. he doesn't put himself on that list of loved ones and set up a contingency for preserving his own life (wtf Tim).

or does he??? that's where the ambiguity comes in for me, because we don't actually see him discussing the full details of his plan with anyone. and he doesn't mention it in his internal narration, either! because his internal narration is always super reliable..... hmmm.....

we know that Dick isn't aware of any other contingencies, or indeed the full details of the plot they were thwarting - after catching Tim, Dick has to ask him, "You want to tell me what that was all about?" and of course "How did you know I'd be there to save you?"

and as I've mentioned before, I don't think Tim had actually planned for Dick to save him, so his "You're my brother, Dick. You'll always be there for me," response is uh, both loving BS and a "genuinely felt expression of retroactive faith", as Silver put it (and which has been stuck in my mind in glowing cursive letters ever since, lol).

but. we do know that as part of his plan to thwart Ra's ninja-assassinate-Bruce's-loved-ones plot, Tim calls all three of his best friends into Gotham. (among all his other rallied allies.) his best friends who are various combinations of flight and/or superspeed capable. and who had each just smugly patched in via comm to confirm that their protection jobs were all successful, meaning Tim knew they were available if he potentially needed them.

the fact that the rest of the Core Four then twiddle their thumbs and let Tim keep fighting Ra's on his own after confirming Alfred/Selina/Barbara are safe, instead of zipping over to have his back (ie punch the jackass through a wall) almost has to be because of: (a) Tim's plan to deliberately stall so Lucius could file the WE paperwork (on the Watsonian level), (b) Yost allowing Tim to have his Final Showdown with the villain of the arc on his own, and also (c) Yost setting up the emotional climax/reconciliation of Dick catching Tim (both on the Doylist level).

like, Tim stalls Ra's for long enough that Dick is able to glide and grapple his way over from his own ninja-busting detail, we don't think the speedster or the Superboy could have gotten there in time?

Dick is the one who caught Tim because it was thematic, it's a motif in their relationship and the resolution of their 12-issue arc, and don't get me wrong I wouldn't change that moment for anything - but! he wasn't the only one around who could have done so.

and Iiiiii have to suspect Tim would know that? there's ambiguity and room for interpretation, of course, especially since Tim doesn't say anything at all or call out to anyone as he's actually falling.

but also. Kryptonian superhearing? Tim's comm which could very well still be connected? could he have been relying on allies listening/clue-ing in, whether or not he actually explicitly sketched out a back-up plan with anyone to come back him up, after Lucius was done transferring WE? all according to (dumbass improvised) keikaku??

idk! seems plausible to me, but it's all so open to interpretation, it makes my brain go BRRRRRR 😊 like you can make a compelling case/headcanon/fic any way you look at it!

anyway. Dick catching Tim is very much The Moment Ever Of All Time <3 but also the thought of Kon just hovering at the ready to grab Rob but spotting Dick!Bats swooping in and being like ":))) oh ok. they both need this." is v. hilarious to me

[theiasthesis]

Shifting can be escapism, and that's OK.

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

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

This post can help you with:

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

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

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

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

Autonomy

Having the freedom to decide your actions without outside influence.

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

Competence

The ability to do something effectively and be useful.

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

Relatedness

Being connected or related to someone, or something.

Example: Having a connection with family or friends

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

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

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

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

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

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

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

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

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

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

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

So you turn to something else, escapism.

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

- PubMed Central®

Link to study

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

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

And you remove your hand.

Not on purpose, but by instinct.

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

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

Biology isn't my strong suit I fear.

Another example.

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

You run.

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

Are you getting it?

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

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

Repeat after me.

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

You are allowed to escape.

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

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

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

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

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

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

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

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

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

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

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

LESSON SUMMARY

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

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

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

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

[penny-anna]

how different Owl House characters might fare in a time travel AU (let's say back from 5 years post canon, dropped into their own body, classic scenario):

Luz: pretty good I think? i feel like she'd be able to convince Eda & King that she's telling the truth pretty easily. other characters would be tougher. post-canon Luz gives off the impression of being pretty smart and savvy plus she'd have the benefit of Glyph Mastery. most likely danger is that she'd end up over-planning and everything would just fall apart. Also the question of whether she'd manage to re-win Amity's heart.

Eda: my gut feeling was 'nothing would change' but that's not fair. would have no issue getting Luz to believe her bcos like Luz just wandered into a fantasy world someone there being like 'hi I'm your friend from the future' would be like aight let's chat. would probably hook up w Raine & their rebellion very early and get a lot of shit done.

Amity: would have a tough time getting anyone to believe her i think. also a much tougher time winning over Luz & her other friends as I don't think she'd be great at handling that situation. I could see her trying to just go it alone.

Willow: hmm i feel like she'd handle this pretty well? i think she'd do a good job of getting other people on side. similar to Luz might over plan it and end up completely losing her mind. would probably be there like 'okay now everyone's together, step one, we go rescue the Golden Guard'.

Gus: I feel like Gus & Willow mutually would trust each other unreservedly in this situation so he'd defo have at least 1 ally. significantly hampered by being 12 years old again. honestly i could see him leaping immediately to 'let's just kill Belos right now'.

Hunter: worst & yet also best option. no natural allies. extremely aware that if Belos suspects anything he is gonna be super dead. saving flapjack would be a very high priority. if we're sending him back to the beginning of s1 tho good chance of him just showing up at the Owl House and successfully winning Luz over for reasons of s1 Luz is down for anything; if we're sending him back to early s2 he's having a much rougher time.

Lilith: oh she would go insane I think

King: nobody would take King seriously

Hooty: nothing would change & i am not convinced he would even tell anyone

[dotthings]

Here's a very clear youtube video of Misha praising Jensen and Jensen praising Misha at SPNSF.

I've already reblogged transcripts of Jensen's comments, so I'm focusing on Misha's in this post, but give the full video a watch because both of them are being lovely and very open and eloquent. A couple of observations--Misha's personality and humor style means he leads with jokes. (He does this to himself all the time. Misha is the king of self-deprecating jokes).

Jensen leads with the same kind of gentle trolling of Misha. They've been like this for years. They tease and troll each other. The love is clear.

I didn't need to see this speech from Misha to know how he feels about Jensen, I've noticed it for years and it's not the first time Misha has shown his support or praised Jensen. It's also shown in self-evident ways. But this was a very clear, in depth, eloquent statement.

Unfortunately, given some fandom issues, it's become more and more necessary for them both to say it more loudly and clearly. Or maybe they just want to. But it's hard not to wonder, given some of the hate, that they are aware and are pushing back as lovingly and tactfully as they can. (People who continue to ignore realities are digging their own trench. Best of luck to them).

Here's a transcript of Misha's comments, courtesy of @cynifer:

“Jensen professionally as an actor is able to turn in a passable performance consistently. I’ll spare you all me telling you that Jensen is an excellent actor [Jensen interrupts by saying “It’s okay, they can hear it” and Misha says “they don’t want to hear it” and continues on] That he’ll probably wind up an a-list movie star at some point. I’ve told him that in private and I don’t want to make that a public statement because I saw even privately how big it made his head and I don’t think that’s good for him.

But I will share something that is a little more insider baseball about Jensen, this is he took control of the set and established a tone of professionalism and courtesy and kindness to one another on the set that is very rare in our business. For some reason typically when people are given keys to power in Hollywood on set, they turn into self-serving prima donnas and Jensen consistently set a tone of being respectful and professional and inclusive and made guest stars as well as crew members feel welcome and relevant and heard and there’s a reason the president of our network every year would host a dinner in Vancouver and would bring the cast of Supernatural to the dinner and then bring casts of other new shows to the dinner as well and basically told the new casts ‘be like these guys.’

I was late to the party, the new kid on the show when I got there that tone had already been established and Jensen you for sure carried the torch of that tone. Professionally That probably for me is the thing that I will carry forward in my career the most, having learned from you. And personally literally no one I know gives a better hot oil massage.”

[genericpuff]

say sike right now, she's actually going back to The Doctor Pepper Show-

Like, this is just "What if The Doctor Pepper Show and LO had a baby?" Because at this point it's very clear Rachel only knows how to write from inside her own head, which is full of unresolved salt towards her childhood and medical fetish shit. The imagery in the first panel is very LO, and the imagery in the second is literally The Doctor Foxglove Show-

Evidently she's been reskinning the same shit for years-

Listen, I've been, for the most part, keeping my lips sealed on a lot of Rachel's old projects and what I've dug up on her previous works, for a few reasons:

1.) We were all cringe on the Internet at some point in time and a lot of these older works, such as Freak Scene Surgery and The Doctor Pepper Show, would have been from when she was in her late teens / early 20's. I'm not here to judge Rachel's personal preferences or whatever kind of fetishes she's into. It's totally normal, expected even, for a lot of creators to have older works they're trying to bury or disconnect themselves from because it's simply not them anymore.

2.) Ultimately I've been focused on discussion around Lore Olympus and Rachel as she currently operates as a creator, so I don't want to go digging up her old skeletons as any sort of "gotcha" towards LO today. Ultimately a lot of these works don't have anything to really 'do' with LO as it exists today.

That said, the reason I'm bringing it up now is because these new series... are bridging that gap that I've been avoiding for ages now. The gap that's filled with skeletons of Rachel's past that she's trying to both disconnect herself from but now fall back on with LO come and gone. It almost goes to show that her being a one-note pony goes back since far before LO - these are literally the only ideas she's able to come up with at this point, and it's painfully obvious in how both these new "graphic novel pitches" are pretty much the exact same and could apply to the same character, and that character may as well just be Persephone, i.e. Rachel, all over again.

Like, I'm calling it now, Patients in the Dark is just gonna be more "moms are bad" rhetoric, and Eleanor's Deathbed is gonna be Hades and Persephone, but replace Hades with some death god and Persephone with a training mortician, which is basically also still just Foxglove training to be a doctor, and Icy Shaw bragging about fondling corpses.

If anything, now that Webtoons is no longer carrying her around on their shoulders, this is gonna be Rachel's moment of "put up or shut up". She can either actually put in an active effort to write something that's decent, or she can flounder under the weight of her own tired mediocrity that's been knocking at her door for years now. As much as she's using her labels that were bought for her to sell these books which aren't even in real development yet-

-Webtoons isn't gonna be there to buy her Eisners forever. This is entirely on her and the imprint that Webtoons shoved her into. Her process is still the same, she's learned nothing from the experience of making LO, she's just got the money and awards now and is trying to run with it, but all she has are the same tired pitch lines that she's been using for decades now and just so happened to work with LO because LO had both Webtoons and the appeal of it being a Greek myth "retelling" to carry it into fame.

I'm gonna go into a bit of a tangent here, but it's been weighing on my mind since I found out this news and have been discussing it with pals within the ULO circle. Rachel once said in an interview that she wanted to use her platform to raise awareness of issues regarding sexual assault, mental health, and "the patriarchy":

"Who do you know that hasn’t been sexually assaulted? The number is depressingly low, right? Why is that? There is no short answer or an easy fix. I have a platform. I can tell a story that will hopefully educate and help others feel acknowledged and vindicated." - Rachel Smythe, Interview with Gossamer Rainbow

"...obviously I'm very feminist, and that sort of stuff really matters to me, um, the best way to approach this question is… I began, the pilot was written in sort of mid-2017, and I think what I wanted, what I wanted to achieve, and I don't even know… probably in 5 years time I don't know how I'm going to feel about this but I'm taking the risk, I really wanted to write a story where, uh…this female character goes through these things and I think what I wanted to do, what I wanted to achieve, was like a really common, I can't speak for like, men, but I can definitely speak for like, you know, if you're sitting in a group of your female friends and you're like "Hey! Who's been sexually assaulted?" … The response is going to be really depressing… Most female people that you know have probably experienced sexual assault to, on one level or another, and I'm like, for me I'm like "Why is that? Why?" And is it because there is a lack of information, lack of education, like what is it? And I'm lucky enough to have a platform and I'm like, if I could just provide some information in story format, would that help? Is this what I can contribute? So I feel like, especially, when writing sexual assault in media often it's… it's a way for the main male character to be, like, uplifted to hero-ness by, usually like, violence is the way to fix the problem, and that's not the approach that I want to take… um, I think [sighs], oh god, sorry I've lost my train of thought, [sighs], yeah, I think a lot of the time in movies when they, like, show rapists or something it's generally someone who's jumped out from behind the tree at a lady in a park and it's not really how it is like 90% of the time [laughs], so I just wanted to make something realistic where people could at it and be, like, "hey, nagging someone into sex isn't cool" or like removing all of their opportunities to say no isn't cool, or for someone to look at it, and just like feel validation, this is me trying, trying my best to make a difference with the platform that I have, and yeah, this is my roundabout answer for it" - Rachel Smythe, Interview with The Comic Source

And yet not once has Rachel actually used her platform for good outside of herself. She just asks the question, "Sexual assault?" and then writes off the answer "yes, it's bad!" and it especially shows in LO where the resolution to the one plotline she kept around to draw in readers was "assaulters are sent to the timeout corner!" Sure, it works for the readers who are simply seeking validation that their experiences aren't unique to themselves, but is it actually doing any real work to talk about the systems in place that leads to people like Apollo being created? Is it doing anything to address purity culture as it exists and the double standards that exist for women who are navigating sexual relationships? Is it doing anything to take the discussion outside of the narrative and put it into action through support of women's shelters, charities, mental health support for men, etc.? Not really. Like many of Rachel's ideas throughout LO, she simply goes, "Men, amirite?" and the answer is "yeah men suck!" and nothing more. The answer to the entire SA plotline is "rape is bad, don't do it" when anyone who could even relate to that conclusion in the first place already knows that.

Ultimately the activism she claims she's trying to do doesn't actually service the issue at hand - it just services herself and her own insecurities, her own unresolved trauma, her own need for validation through Eisners and merch sales. She asks the question, "Who hasn't been assaulted?" so that when she responds to the women who come forward and relate to Persephone, it's with the intent of getting them to read LO and buy her merchandise. She winds up making herself the center of other people's experiences, even ones that she cannot relate to. At BEST her attempts to "use her platform" as a means of starting discussion around ongoing societal issues like the patriarchy and sexual assault towards women is about as effective as Bell #LetsTalk, it's purely performative, self-profiting, and offers nothing of real tangibility.

If she just wants to write her own self-empowering personal works, that would be fine. Plenty of creators do it. Art is, at its core, self-expression. But it's extremely telling that she's built a platform off her self-expression, and twisted it into what she believes to be "activism" and "feminism", so that she can continue to profit off it in her future works such as this, which, again, are just reskins of her previous projects which were largely centered around the fetishizing of abuse towards women.

I don't want to claim that this is what it is, but... how much of the "feminism" in LO is done purely through the lens of victimizing women? Why is there more effort put into torturing female characters like Hera, and Demeter, and Minthe, and even Persephone to a certain degree, than there is into actually addressing the larger issue that she's claiming she wants to shed light on and resolving her questions with actionable answers?

That is the only question I will leave you all with. I am absolutely 100% not planning on touching these works with a ten foot pole, even if they should come to fruition. With the recent realization that she was into artists like Trevor Brown, alongside the fact that we've known for a long time she's into Lolita and there are very clear parallels to draw between it and LO, I think it's safe to say at this point that Rachel's work is not something I want to continue to support even when it's "hate reading". Again, I'm not going to outright accuse her of anything, but I feel like the writing is clearly on the wall here and I'm taking that writing as my warning to steer clear.

I didn't want to discuss the elephant in the room - her older works as they exist in the distant past of the early 2000's - but she's now riding the elephant.

[aces-and-angels]

URGENT PSA: DELETED GFMS UPDATE- PLEASE READ

the detective hat is screwed on tight gang- i just remembered that the wayback machine exists and have been able to gather some additional information regarding the deleted gfm campaigns for omar, raina, and iman:

all the info is under the cut

---

see the info on the site yourselves by using the following links:

iman: https://www.gofundme.com/f/jhcjrv-help-imans-family-find-safety omar: https://www.gofundme.com/f/help-me-to-evacuate-from-the-genocide ran/raina: https://www.gofundme.com/f/displaced-gaza-family-seeks-help-after-war-destroys-lives

my hunch was correct: these campaigns were not formatted in the way gfm requires in order to stay operational. i detailed the common reasons why gfm's may be terminated in a response post to @rubashabansblog but i will include it again here:

ruba- i have figured out the following info from my own research. there are several issues that can result in a gfm being suspended. the biggest issue comes from how the actual campaign is written. the key is being transparent. that means everyone that is benefiting from the campaign must be listed out by name (there may be a rule about specifying any minors/kids' ages as well) + locations. the issue also may be linked to whoever is organizing these campaigns on behalf of these families. another part that needs to be addressed fully is who will be handling the money. essentially if at any point in the transfer of funds someone is responsible for holding the money raised, they need to be listed on the account plainly and on the actual donation page as well. example: person a is organizing this fundraiser on behalf of person b. the last issue i can think of from everything i've read involves keeping an accurate account of the family's expenses. meaning that you need to write down everything that you are spending the money on. since there's no way to print actual receipts- gfm is asking people to write everything down on their notes app with their phones. these notes count as "receipts" and the total amount must always equal the amount the person/people are trying to raise. example: say i am raising $10K to evacuate, but am planning on putting aside $3K for other future living expenses like rent -> all of that needs to be documented fully. basically- as long as goal amounts match up to your expense report- the campaign should be fine. i understand that some families may need to keep raising their goals in order to cover the cost of living before they are able to evacuate. if that is the case- each time they raise/decrease the goal- i believe they need to update their gfm page to address the new total costs for their fundraiser. please forward this information to the affected families when you get the chance 🖤 perhaps this new info can help them solve the problem on their end *edit: another problem i forgot to mention- the currencies must match between the fundraiser and the bank account it is linked to. this means that if the fundraiser is in euros-- the bank tied to the account must also be in a country that uses euros as their primary currency. a US-based bank account would not work if the fundraiser is in euros.

all three campaigns have the same characteristics: not enough info is being disclosed in the fundraisers. another common theme: they are all recently made (may 2024). the decision to evacuate is a painful choice for families to make as none of want to be displaced yet again- but the situation in gaza has prompted many families to make this decision in an attempt to save themselves + their loved ones. the issue is that many of those who are now choosing to make campaigns are not aware of the ins and outs of how to properly start a gfm (+ i'm most certain there are other factors at play as to why this keeps happening to families in desperate need of aid).

this is bound to happen again and again unless this information is being spread widely. which is why i am also asking for this:

please share this w/ anyone who is fluent in arabic that can translate this in its entirety (DO NOT TRY TO USE GOOGLE TRANSLATE). i have a lot of new followers from 🇵🇸, some of them with newly made gfm pages that may be at risk of being frozen if they do not correct the issues i've addressed above. this information is vital to ensuring they are able to continue fundraising.

i have seen campaigns launched in june formatted similarly to the three that have been abruptly terminated. obtaining a stable internet connection in gaza requires people to put themselves at greater risk as they travel to locations with a working signal. people have been brutally murdered by just trying to activate the e-sims being sent over. so it makes sense that these newer campaigns made by these families would not have all the necessary info required- as these guidelines may be difficult to obtain on their end/may be worded in a way they cannot understand (you try reading the terms and policies of gfm yourself and tell me how fast your brain shuts off- and you're doing so in the comfort of your own homes. imagine what it's like to do so while facing constant bombardment).

a mutual of mine has already tried to contact gfm on behalf of omar- and they have informed me of gfm's response to their question:

Omar has already contacted them and is apparently in contact with the team according to the person i chatted with. they cannot disclose to me *why* the fundraiser was terminated they said they are working with Omar to solve the issue. if the issue cannot be solved, the money will be refunded to everyone... ^ this "contact" is likely using the same chatbox the rest of us need to use in order to even speak to a representative at gfm one-on-one. a very annoying system, but unless someone has a direct line to gfm- it is our only option.

we need to mobilize right now and put pressure on gfm to give these families the time they need to rework their campaign pages.

through the wayback machine i was able to figure out the organizers for each campaign.

omar is the organizer for his own -> says he is located in vienna but that is in direct conflict w/ the location he says he is in under the fundraiser info (displaced in rafah). i'm unsure if he has a contact in vienna that is actually the one responsible for holding/transferring the money, but this information needs to get to them so they can try to fix the issue ASAP

the other two have beneficiaries listed, but there could be additional problems with how that whole thing is currently set up.

i still do not know the emails for raina/iman's gfm's (and the wayback machine doesn't let you see the contact info on the archived pages 😓) but- we can try to mobilize right now for omar. he is absolutely devastated and has lost hope that he will be able to recuperate the money he has already raised. this is not the time for the rest of us to lose faith in his cause.

for anyone interested in helping out- i have laid out all this information so you can question gfm directly. if you come in knowing your stuff, they may be more receptive in their responses than the first initial attempts. please contact me directly if you wish to email on omar's behalf so i can forward you his email linked to the gfm account.

tagging for more reach: @appsa @palms-upturned @malcriada