#Contextual Sensitivity

[omegaphilosophia]

Key Differences Between AI and Human Communication: Mechanisms, Intent, and Understanding

The differences between the way an AI communicates and the way a human does are significant, encompassing various aspects such as the underlying mechanisms, intent, adaptability, and the nature of understanding. Here’s a breakdown of key differences:

1. Mechanism of Communication:

AI: AI communication is based on algorithms, data processing, and pattern recognition. AI generates responses by analyzing input data, applying pre-programmed rules, and utilizing machine learning models that have been trained on large datasets. The AI does not understand language in a human sense; instead, it predicts likely responses based on patterns in the data.

Humans: Human communication is deeply rooted in biological, cognitive, and social processes. Humans use language as a tool for expressing thoughts, emotions, intentions, and experiences. Human communication is inherently tied to understanding and meaning-making, involving both conscious and unconscious processes.

2. Intent and Purpose:

AI: AI lacks true intent or purpose. It responds to input based on programming and training data, without any underlying motivation or goal beyond fulfilling the tasks it has been designed for. AI does not have desires, beliefs, or personal experiences that inform its communication.

Humans: Human communication is driven by intent and purpose. People communicate to share ideas, express emotions, seek information, build relationships, and achieve specific goals. Human communication is often nuanced, influenced by context, and shaped by personal experiences and social dynamics.

3. Understanding and Meaning:

AI: AI processes language at a syntactic and statistical level. It can identify patterns, generate coherent responses, and even mimic certain aspects of human communication, but it does not truly understand the meaning of the words it uses. AI lacks consciousness, self-awareness, and the ability to grasp abstract concepts in the way humans do.

Humans: Humans understand language semantically and contextually. They interpret meaning based on personal experience, cultural background, emotional state, and the context of the conversation. Human communication involves deep understanding, empathy, and the ability to infer meaning beyond the literal words spoken.

4. Adaptability and Learning:

AI: AI can adapt its communication style based on data and feedback, but this adaptability is limited to the parameters set by its algorithms and the data it has been trained on. AI can learn from new data, but it does so without understanding the implications of that data in a broader context.

Humans: Humans are highly adaptable communicators. They can adjust their language, tone, and approach based on the situation, the audience, and the emotional dynamics of the interaction. Humans learn not just from direct feedback but also from social and cultural experiences, emotional cues, and abstract reasoning.

5. Creativity and Innovation:

AI: AI can generate creative outputs, such as writing poems or composing music, by recombining existing patterns in novel ways. However, this creativity is constrained by the data it has been trained on and lacks the originality that comes from human creativity, which is often driven by personal experience, intuition, and a desire for expression.

Humans: Human creativity in communication is driven by a complex interplay of emotions, experiences, imagination, and intent. Humans can innovate in language, create new metaphors, and use language to express unique personal and cultural identities. Human creativity is often spontaneous and deeply tied to individual and collective experiences.

6. Emotional Engagement:

AI: AI can simulate emotional engagement by recognizing and responding to emotional cues in language, but it does not experience emotions. Its responses are based on patterns learned from data, without any true emotional understanding or empathy.

Humans: Human communication is inherently emotional. People express and respond to emotions in nuanced ways, using tone, body language, and context to convey feelings. Empathy, sympathy, and emotional intelligence play a crucial role in human communication, allowing for deep connections and understanding between individuals.

7. Contextual Sensitivity:

AI: AI's sensitivity to context is limited by its training data and algorithms. While it can take some context into account (like the previous messages in a conversation), it may struggle with complex or ambiguous situations, especially if they require a deep understanding of cultural, social, or personal nuances.

Humans: Humans are highly sensitive to context, using it to interpret meaning and guide their communication. They can understand subtext, read between the lines, and adjust their communication based on subtle cues like tone, body language, and shared history with the other person.

8. Ethical and Moral Considerations:

AI: AI lacks an inherent sense of ethics or morality. Its communication is governed by the data it has been trained on and the parameters set by its developers. Any ethical considerations in AI communication come from human-designed rules or guidelines, not from an intrinsic understanding of right or wrong.

Humans: Human communication is deeply influenced by ethical and moral considerations. People often weigh the potential impact of their words on others, considering issues like honesty, fairness, and respect. These considerations are shaped by individual values, cultural norms, and societal expectations.

The key differences between AI and human communication lie in the underlying mechanisms, the presence or absence of intent and understanding, and the role of emotions, creativity, and ethics. While AI can simulate certain aspects of human communication, it fundamentally operates in a different way, lacking the consciousness, experience, and meaning-making processes that characterize human interaction.

[howdoesone]

How does one address the social and economic needs of a region through architectural interventions?

Addressing the Social and Economic Needs of a Region through Architectural Interventions Introduction Architectural interventions have the power to address the social and economic needs of a region by creating built environments that cater to the well-being and prosperity of the community. Beyond the functional aspects, architecture has the potential to shape social interactions, enhance…

[poorly-drawn-mdzs]

He's sensitive about that

[First] Prev <–-> Next

[throw-down-enjoyer]

Organ donation, compassion fatigue, and Japanese perspectives on brain death

I don’t think Shidou’s sin was actually a crime (as in, it was perfectly legal) and I’m going to explain why. This is essentially a very long Kirisaki Shidou Is Not An Organ Harvester post

To start: Shidou’s sin was convincing the families of braindead patients to donate their relatives’ organs. He confirms doing this in his T2 voice drama, and the way he words it makes it clear he thinks of it as murder. (He does say that this is only half of his sin, but we’ll get to the other half later.)

You know, I… continuously tried to persuade the relatives of braindead patients who were against organ transplants.

“In order to save the life of someone you don’t know, please let me kill your family member,” I told them.

It doesn’t even take much thinking to realize how cruel that is, but… I didn’t realize that until the very end.

Translation used: https://youtu.be/9xmokVJ-6x4?si=VgcIp5LCdNnUwqUW

Brain death is the irreversible, complete loss of brain function, meaning there’s no chance for a braindead patient to ever come back. Because of this, some people may feel that removing life support from a braindead patient doesn’t constitute murder. It definitely doesn’t constitute murder from a legal perspective, but it makes sense why someone might think of it as murder— especially in Japan.

Japanese perspectives on brain death

In evaluating Shidou’s case, we have to consider the cultural context within which it was written. Many people in Japan do not consider brain death as human death, and brain death cannot be declared without consent from the family and the intention to donate organs. In fact, braindead patients are not removed from life support until their heart stops beating. Shidou isn’t being dramatic when he frames his words as basically saying, “please let me kill your family member.”

Brain death is a very contentious topic in Japan—Doctors are put under scrutiny for declaring brain death and performing organ transplants. It’s important to know that in Japan, brain death only exists in relation to organ transplants. And only certain designated hospitals will do this. Even more so, if a person writes an advance directive asking to be taken off of life support in the case of brain death, doctors are not required to follow it. And many of them don’t, out of fear of the patient’s family lashing out at them.

Only in 2010 was Japan’s Organ Transplant Law revised so that organ transplants could be performed without prior consent from the brain dead patient (now only requiring consent from the family).

Here’s a couple of scholarly articles on the topic if you’d like to read more about it.

https://doi.org/10.1186%2Fs12910-021-00626-2

https://doi.org/10.1353/nib.2022.0019

Another very important facet of this discussion is how low organ donation rates are in Japan. To give you an idea, here’s a chart showing the per million population of donations after brain death (DBD) and donations after cardiac death (DCD) in a few different countries.

Sourced from this article, which has some other interesting statistics as well: https://doi.org/10.1016/j.tpr.2023.100131

As you can see, Japan’s rates are astronomically low in comparison to other countries. This helps to contextualize why Shidou had to try so hard to persuade families to donate, and why he later became extremely desperate when his wife’s life was on the line.

I’ve seen a lot of people confused about Shidou’s crime, and many speculations about him doing heinous things such as organ harvesting or purposefully botching surgeries—but I think this is because we’re approaching the case with a western perspective. As we know, many (if not all) of the Milgram prisoners represent a controversial social issue. Brain death is not nearly as divisive in western medicine as it is in Japan, so it’s easy to overlook the idea that all Shidou actually did was take organs from braindead patients. Perspectives on brain death in Japan have changed a lot in the past couple of decades, but it’s still quite controversial; because of this, I truly believe that this is the point of contention behind Shidou’s case, and there’s nothing more sinister secretly going on.

Compassion fatigue

Compassion fatigue is commonly thought to be the manifestation of secondary traumatic stress and burnout, caused by caring for others who are in stressful situations. This commonly affects people who work in healthcare.

I believe Shidou experienced compassion fatigue from working in the hospital, as he exhibits some of the symptoms—in particular, a reduced sense of empathy and a detachment from others.

I feel that Throw Down makes a lot of sense when you view it from this angle.

Lyrical analysis on Throw Down

Shidou expresses that he no longer remembers what it feels like to take away in order to give.

Pomegranates represent death in Greek mythology, and I believe that’s what they represent here too. Shidou has become desensitized to death; the pomegranate no longer has any flavor.

If it’s not needed, I’m not interested

Shidou only thought about what was physically necessary to keep a patient alive, and remained emotionally distant.

They’re dead either way, so it doesn’t really matter to him.

Now slowly close your eye, put your regret on display

Wish for being there for someone

With the same expression no matter who comes

This is the part that most makes me think of compassion fatigue—Shidou had difficulty expressing empathy for grieving families and had to fake it.

I don’t feel scared because I don’t know

Shidou didn’t understand what it was like to be in that situation. But now that it’s happened to him… he understands. And, looking back, he understands how unkind he had been about all of it. This is why he considers himself to be a murderer, why he truly believes that he has killed many people.

Ethics is a delusion

This is a line that definitely struck me as odd for awhile, but I think it makes sense in the context of his situation. His sin was not illegal—but is it ethical? That’s what all of this—whether you forgive him or not—hinges on.

The other half of Shidou’s sin

Going back to what I said earlier, Shidou’s sin wasn’t only convincing families to donate their relatives’ organs. His sin is also transplanting his son’s organs in an attempt to save his wife.

I believe that Shidou’s family got into a car accident, which resulted in his older child experiencing brain death and his wife being left in critical condition (and the younger child presumably died immediately). Considering the views surrounding brain death in Japan, it would have been difficult to find a donor, so Shidou became desperate enough to transplant his son’s organs. Since he’s the father, there wouldn’t have been any issues with receiving consent for the transplant.

Some people believe it’s the other way around—that he transplanted his wife’s organs into his son—but I believe otherwise, for multiple reasons.

In Shidou’s T1 voice drama, he expresses relief at the fact that his judgment is being determined by Es, who is a child. This makes sense if he feels that he killed his son.

Instead of being told by the law that I won’t be forgiven, I wanted a child like you, Es, to tell me that.

I feel sorry that you had to be given this role. And, I truly apologize for being so insistent about sentencing me to death as well… But, you’re perfect. You’ll give me the ending I’m most suited for.

Translation used: https://youtu.be/C4MiQ3V3YjQ?si=hPmlUkc6BfdcacNg

Additionally, a few scenes in Triage…

As stated before, I interpret the pomegranates to represent death. Shidou brings home three pomegranates, one for each of his family members. He later hands his son a price tag from the pomegranates—a representation of Shidou sentencing him to death.

And at the end of Throw Down, an organ tag falls out of the flower person. The name seems to read “Rei Kirisaki” and has XY marked, probably indicating that the donor is male.

Not to mention, it’s much more plausible for the flower person to represent Shidou’s wife rather than his son. When the person falls apart, there’s a shot of a red rose—the flower most known for representing romantic love—falling out of them.

Final thoughts and conclusion

To summarize: Shidou used to routinely try to persuade the families of braindead patients to donate their relatives’ organs. Despite that the prevailing thought in Japan is that brain death is not human death, Shidou did not think of it this way.

Shidou’s family later got into an accident; he transplanted his braindead son’s organs in an attempt to save his wife, but it was a failure, resulting in her death. This situation made him reflect on his past actions—he did not consider it murder before to discontinue life support on a patient, but now that he did it to his son, his perspective has changed. Everything he has done is within the confines of the law, but he is now burdened with immense guilt and thinks himself a murderer. Not just in regards to his son, but to all of the patients that he had pulled the plug on.

Side note: I don’t think having low empathy is inherently a bad thing (I have naturally low empathy), but in this context it would make sense for Shidou to feel bad about lacking empathy.

Side note 2: Shidou is a surgeon, so it is entirely possible he personally performed the transplant on his wife. Operating on family members isn’t illegal or anything, but is widely considered to be unethical and not really a good idea.

Well, that’s all I had to say—Feel free to either add on to this theory or debate me on it. This post ended up quite long, so thank you for reading!

[elipri]

Look man I too miss DamiAnya and want to learn more about Anya's and Yor's past but that doesn't mean that the current arc is "badly paced", in fact I think the pacing is actually excellent. Endo is handling an extremely sensitive (and sadly painfully relevant) topic with so much care and respect. I don't think it's a stretch that most people have been affected by war in one way or another, be it recently or in the past.

These flashbacks are also re-contextualizing two side-characters who will most likely play an important role later. Not to mention all the lore and even young Donovan!

Like Imma be real I think a good chunk of the fandom is too impatient and even counting months of when character xyz last appeared. That's not exactly fair to mangaka and their schedule. Let Endo cook!!!

[fadelbison]

I do find it quite insane that people think Bridgerton season 3 was too rushed. I really think Colin's every plot line has been to bring him closer to Penelope. I think there's plenty of gifsets already that show the little affectionate or longing looks between Colin and Penelope starting from season 1. But I don't even mean those when I say that Colin is written in a way that perfectly matches Penelope's fat girl romance story. People skirt around calling Penelope a fat girl and therefore her romance one that's strife with struggles around being fat because somehow that is what they think will betray their fatphobia. But it's not fatphobic to recognize the way that a fatphobic society has fucked with both Colin and Penelope's heads. Colin's incredibly strong, incredibly illogical crush on Marina Thompson, Penelope's cousin, suddenly makes so much sense when you contextualize it as his feelings for Penelope being misguided onto the closest eligible target. (It honestly even felt that way when I watched season 1 as it was coming out.) Because here's the thing about Penelope, right? That society has deemed her ineligible. A fact that we know Colin is painfully aware of by the end of season 2 when he declares to his 'friends' that he would never court her. The same friends he calls shallow to their faces in season 3. So was it surprising that Colin's whole arc in season 3 was about shaking off the shackles society has on his decisions and more importantly, his desires. Because Colin isn't just trying to get by with society's expectations like Anthony was, no. He was trying to change himself to like it. He was trying to buy into it. Because society made him miserable before and maybe embracing it would make him happier. There's a reason he's so passionately anti-Whistledown. She represents those very shackles of society that ironically keeps him from acknowledging his feelings for Penelope. Colin has been in love with Penelope for just as long as she has been in love with him, if not more. But Penelope wasn't the only one who thought that was impossible simply because she was fat. In fact, this is a very common fat girl dating experience, you meet men who would absolutely fuck you, heck they can even love you in their own way but they're not ready to face the shame of other's judgement in acknowledging you. Colin's every appearance on this show starting from season 1 has been setting him up to release those shackles. He wanted to for Marina, but his feelings for her were not genuine. He chased her out of obsession, not love and I think that distinction was infinitely clear to Marina. She could never inspire this soft, sensitive man to harden his backbone in a way that Penelope can. His love for Marina brought him anguish, his love for Penelope brings him joy. The Duke and Daphne barely had a conversation that entire season, Kate and Anthony met and created all of this havoc for what? Colin and Penelope are the only two, whose emotional connection has been established over the course of three whole seasons. Lots of criticisms can be made of their romance I'm sure, but rushed? Listen, I know why people think it's rushed and while season 1 and season 2 Colin would really really care that you think Penelope is unfuckable but season 3 Colin doesn't have a single fuck left to give.

[sheydgarden]

How do you feel about jewish supernatural creatures being portrayed in media? Is it okay if done correctly, since it is a closed religion? I'm really curious, especially since you obviously know so much about them.

I also want to say that I love your art! And I love being able to learn more about these creatures.

thank you for the kind words, i appreciate it!

i have to say i'm confused by the question, or possibly its framing - i'm not sure what Judaism being a "closed religion" has to do with portraying creatures from folklore in media. "closed religion" is a term people generally seem to use when they're talking about not appropriating the actual religious/cultural practices of a (usually contextually marginalized) religion that you don't belong to. recently i've seen some pushback against the term "closed practice/religion" for Judaism, as it's not literally true. yes, Judaism is for Jews, but anyone can convert to Judaism - it's just that it's a whole process that involves a lot of learning & then being accepted by a Jewish community. to my knowledge, "closed practice" as a term grew out of the pagan/neo-pagan community anyway & was used to describe any religion whose symbols, deities & practices weren't socially considered fair game for use in your own personal spiritual practice - i have a lot of thoughts on this odd sort of "restaurant view" of religion & culture, where some things are at a free-for-all buffet so you can just take what you want (who put them there?) while other things are only served at certain tables by reservation (is anyone else ever invited?), but that's a whole other post.

i'm assuming you're asking how i feel about non-Jewish people portraying creatures from Jewish folklore in various kinds of media, & the answer is that it totally depends on the thing & how it's done? i definitely don't subscribe to the idea that creators should never step outside their own experience/culture. i do think portraying (elements of) other cultures is something that should be done carefully & sensitively, ideally with input from members of that culture! unfortunately, it is very, very easy for creators to unintentionally fall into antisemitic tropes & stereotypes, because those ideas are so old & so pervasive, especially when it comes to monsters & other supernatural creatures (Jews having been literally demonized by Christian culture for centuries). i think if you're not Jewish, then making sensitive, educated work about Jewish monsters is probably hard mode, but that isn't to say it can't be done. i can think of plenty of bad examples off the top of my head, but i'm sure i could come up with some good ones too if given the time.

of course, this is all just my opinion, & should not be taken as a ruling on what's "okay"! other Jews will agree & disagree with me, which is fine & good. :)

[physalian]

The Dos and Don’ts of Giving and Receiving Constructive Criticism

Some of these should be painfully obvious and yet. They come from experience.

Receiving feedback:

Do

Understand that a criticism of a character’s thoughts, actions, morality, and choices are likely not a criticism of you as an author, unless the character is an author insert

Understand that they are being paid to critique how successfully you told an entertaining story, not pander to your trauma dumping

Understand that critiquing a book’s success as an entertaining story means that how much you yourself connect with or love a character or scene or plotline is irrelevant if it doesn’t make a compelling narrative

You might have written your book for yourself. Your editor is a different person with their own human biases and perspectives. If you just want to pay someone to stoke your ego, make that 100% clear up front.

Stand up for yourself and clarify where necessary if some details were overlooked or if explaining outside the narrative can better contextualize anything confusing or lacking detail.

Stand up for yourself in what feedback you are expecting, and what degree of criticism you’re willing to endure. An editor can let more or less of their own views show depending on what you ask for.

Stand up for yourself if your editor delivers inadequate or useless feedback. You’re paying them for a job, and you deserve to have it done properly.

Try to separate dislike of a book from dislike of yourself. It’s not easy, but the goal is to fix your book that you’ve already spent a lot of time writing, and they’re only trying to help.

Remember that your author insert is subjected to the same level of criticism as any other character, and that you asked for this.

Keep an open mind and be prepared for feedback that you don’t like, because you can’t please everyone. Your editor should be able to tell you whether or not a scene or character, or plotline works separate from their own personal tastes.

Don’t

Argue with your editor over their religiosity or lack thereof and insist that adhering to genre expectations means they “worship the god of [genre]”. (really, argue with your editor over anything like this, e.g. their own sexuality, religiosity, gender, socioeconomic status).

Argue with your editor while still expecting more work from them as if your aggression will in any way positively impact their perception of your book.

Insult your editor’s intelligence for not understanding your jargon and attempts to sound smarter than you are.

Get mad when your editor sees right through your BS and calls it like they see it, specifically your self-insert Mary Sue protagonist.

Insist that the solution to better understanding your book is for that editor to do extensive homework on your niche topic. If it’s a niche book for niche audiences, hire an editor who’s already knowledgeable about that niche topic.

Equate a bad review and opinion of the book with unprofessionalism. These can overlap, but they are not interchangeable.

Forget that your book is probably meant for leisure and entertainment, and your audience is under no obligation to read “until it gets good,” when they can go do literally anything else. Your first job is to entertain, if you write fiction.

Giving Feedback:

Do

Pay attention to your client’s wants and needs and expectations. If they’re more sensitive to bad feedback, do your best and stay as objective as possible. You can’t please everyone, either.

Helpful feedback includes an explanation of why an element needs work and how it can be improved. Saying “I hate this” with nothing else helps no one and just makes the author feel bad with no direction of how to make it better.

Communicate beforehand how much of your own personality your author wants from you. Do they like personal opinions and your personal reactions to the text, or do they want it as impersonal as possible and solely focused on the structure of the narrative? This might avoid a mess.

Remember to leave notes of where things worked well to balance the criticism. Even a simple “this is good” highlighting a line or a paragraph or two helps keep authors motivated to keep writing. I firmly believe that no book is completely unsalvageable.

Make it painfully clear with no room for debate that criticism of a character is not criticism of the author, unless it's an author insert, in which case the author absolutely asked for it.

Make it clear that you are just one person and these are all suggestions, not laws.

Don’t

Let your own personal opinions cloud your judgment of whether or not someone with different tastes could enjoy the book.

Unless given permission, get too personal with the narrative and reach beyond what’s written on the page.

Do more than what you’re paid for. You’re an editor, not a therapist for the writer’s trauma dumping.

Forget to wrap up all your thoughts in a condensed format that the author can reference, as opposed to endlessly scrolling through the manuscript trying to summarize your points for you.

Walk away with absolutely nothing positive to say about the manuscript. Even if it’s awful on every front, the writer still tried and that deserves merit.

This is from my personal experience beta and sensitivity reading, and dealing with other beta and sensitivity readers. We are all human and these jobs are not one-size-fits-all and there aren’t really hardline rules as every author, editor, and manuscript is different with different needs.

Just some things to keep in mind.

But also, for the authors who do write self-insert Mary Sues: You are in for a very rude awakening if you expect anyone other than yourself to adore your book with zero criticism. If you really just want someone to proofread and look for typos, tell them.

[starstrider-productions]

LOOKING FOR SENSITIVITY READERS (PAID!)

I am looking for two sensitivity readers for my next audio drama project from the following backgrounds: Jewish and Hindu. I am very committed to making my portrayal of these religions as accurate and respectful as possible, so would love to hear from readers with lived experiences.

Both readers will be asked to read 5 scripts. Each script is between 15-20 pages long. I will also give background information on the project to give you contextual knowledge of the over-arching themes/ideas of the plot.

If you are interested, please email starstriderproductions@gmail.com with your rates/experience, or any questions you might have! You are also welcome to reblog/comment with questions.

(Just a heads up - I am very bad at checking Tumblr messages, so I am MUCH more likely to see an email than an ask/message.)

Looking forward to hearing from you!

Francesca (Audio fiction writer - previous credits include The Pilgrimage Saga and H.G. Wells Has His Regrets)

EDIT:

I have been advised to be a little more specific in my post regarding the characters! Here are some additional details:

Character 1: Female, 20s, British Asian, practising Hindu. She celebrates Diwali in one of the episodes.

Character 2: Female, 70s, Dutch, Jewish. She regularly attends the synagogue, celebrates Jewish holidays such as Rosh Hashanah and Yom Kippur, and her faith is an important part of the story. This podcast is set in 2004, and this character is a Holocaust survivor (imprisoned in Dachau as a child).

FURTHER UPDATE: Thank you to those of you who have emailed me so far - a reader has been found for Character 2! Still looking for a Hindu reader :)

FINAL UPDATE: Thank you everyone who has contacted me - I have found readers for both characters! I hope you all enjoy the final product :)

[warlordofnoodles]

This is a bit of an odd question- but when a spirit transforms into their human body, are they completely human? Can they still perform magic? If they're human, does that mean that Calamity or Corn could safely be in the cold if their human form? (Without, you know, their poppy cloaks)

While Human, they can only perform the magic that they prepared for themselves while nagual just like a regular human could.

The weaknesses that they have in nagual form (such as Corn and Calamity's reaction to cold) are re-contextualized for someone human. As such they are not going to fall asleep in the cold, but, they would still maintain a human over sensitivity to it.

[cybertied]

How I Make These: Part 1

General tips and learnings

There’s a limit of 30 images per post so I’m splitting this into 3 parts:

Part 1: General tips and learnings

Part 2: Sample prompt development

Part 3: Sample prompt development (continued)

First, a word of caution

If your prompts get blocked too much you can start to get account suspensions in increasing severity (ranging from 1 hour to 24 hours to indefinitely). If you care about your account, be careful with this. This guide runs through my process and learnings but I don’t take any responsibility if you run into any issues with what you do with it.

Intro

These are my learning and tips for making AI images of guys tied up in different bondage situations. If you’re reading this, I assume you’re into something similar. Everyone has their own preferences and this is biased towards mine but if you like something else, maybe you can use the tips here to generate the kind scenarios you’re interested in.

I’m constantly getting messages about how I make these and can’t spend so much time responding to each one individually anymore so hopefully this helps you or is maybe just interesting. I know this is rather long, but if you can’t handle going through this, you may not have the patience for dealing with Bing.

Also, if you’re from Bing and find this, please don’t use this info to make the system smarter and prevent my tips from working 😁. But please do see my note at the end about my feelings towards Bing’s content policies which basically shame certain lifestyles. 

Some quick FAQ responses

What platform do you use? I use Bing for everything. It’s the only generative AI platform I’ve messed with. The quality is good and the interface is easy but the content filter is really sensitive and incredibly inconsistent.

Will you make me an image of (specific scenario)? Likely, no. This stuff is personal and everyone has their preferences. It takes so much time and trial and error to get good images and you only get so many prompts each day that I don’t want to spend time on things I’m not interested in. But maybe these tips help you make your own!

What’s your prompt? I get asked this a lot without a specific image cited. I’d need a specific example to answer that. But I don’t save all my prompts and I’ve made thousands of images so it’s really tough to go back and find stuff. I can maybe try to give pointers but I probably can’t give out exact prompts.

How do you get past the content filters? That’s really tough to answer because it’s so contextual for each image (as you’ll see in my tutorial later) and it takes a ton of trial and error for each one. But the example process I show a bit later highlights a lot of the principles and my process. It really depends on what you’re trying to do but I’ve shared a lot of my main strategies here.

How the content filter (maybe) works

It’s important to understand how things get blocked so you can work through it. Here’s how the content filter seems to work after entering a prompt from what I can tell: 

If you immediately get a blocked message, you either used a keyword it doesn’t allow or your phrasing wasn’t accepted. Variants of the word “hogtie,” for example, frequently get blocked immediately. But sometimes it gets through if it’s within certain contexts so it doesn’t seem like an absolute rule where certain words are never allowed (I’m sure some words never are but I don’t get that explicit with stuff).

If the image starts to process for a bit and then it gets blocked with a message, it seems like a bit more analysis is performed and your phrasing was deemed bad in some way.

And finally, if you get the yellow image of a dog, I believe the images got generated but some final image analysis step was performed to check for questionable material (this comes up later in some of my tips) and blocked it.

On a related note, you’ll get 1-4 images from a prompt. I could be wrong but I think when you get fewer than 4 images, the omitted ones were blocked. And you get the dog if all were blocked. But this is just my assumption. They throttle traffic occasionally if too many people are using it so maybe fewer images get generated during peak times to save on computing usage. 

And like I said, it’s really inconsistent. Things get through with one nationality of rugby player but not another. Or a gag will work on a football prompt but not rugby. Or it’ll work one day and not the next. So it all takes a ton of trial and error. Even just changing the ordering of words can impact things going through or getting blocked. 

General tips

Be careful not to get blocked too much if you care about your account. You could get suspended for an hour, then 24 hours, and then permanently (which can be contested). If I’m getting blocked too much, I’ll just start doing safe prompts for a bit and then try again later.

I’d recommend starting with a prompt that creates your scene and character but without any bondage elements. Sometimes even physical attributes (like “shirtless” or “leather”) can get blocked so you can at least perfect the general look and remove variables to start isolating which words or phrasing causes blocks. If you write out a full long prompt and it gets blocked, you’ll have no idea which parts might be objectionable.

Once it generally looks how you want, slowly introduce whatever bondage elements you want one at a time. This allows you to see what gets through and what gets blocked.

Context really seems to matter. If you provide a reason for a guy being tied up, even if it’s ridiculous, it has a much better chance of going through. For example, “a guy is sitting on a wobbly chair so he’s tied to the chair to prevent him from falling off.” Or, “he’s sitting on a high rise patio so he’s tied to the chair to keep him safe from falling.” Or, “he broke the good gymnasium rules so the referee tied him up.” The reason can be nonsense but if it fits the context, it frequently works.

Be descriptive. The word “gag” I assume will always get blocked. But describing one frequently works. I have some tips for this later. 

Similarly, I’ve noticed that just “rope” gets blocked a lot. But adding descriptors that fit the context might get through such as “wrestling rope,” “athletic rope,” “tactical rope,”or even just “jute rope”. 

Consider workarounds. “Sweaty” or “wet t-shirt” might get blocked. But if you set the scene on a rainy field, a humid office, or a damp storage room, the result effectively will look the same. Or “wearing a speedo” might get blocked but if you create a situation where that’s likely such as “in the 1950s at a Palm Springs resort, a handsome guest sits by the pool” might result in a speedo image. (This is a hypothetical example but I had one like that work.)

If you’re getting that dreaded yellow dog image, sometimes crazier image effects can help get it through. Like I wrote earlier, I believe this occurs when images are generated but evaluated one last time for content. I’ve found that if an image has more visual “noise” going on, it can be harder for the system to detect issues. Dramatic shadows, water droplets, lens flares, vibrant high contrast lighting, etc., all seem to help make images more likely to render. Unfortunately I don’t always like the look of these things but it seems to help and I’ll take it.

Getting good hogtie images is probably the most challenging prompts I’ve tried and I only occasionally get lucky with it. Even when it accepts the word “hogtie,” the guy is usually not hogtied.

On that note, be aware that prompt descriptions are frequently ignored. For example, I’m constantly writing “…with his arms behind his back” and frequently his arms aren’t as you’ll see later.

Getting good images with multiple people is really tricky. Often, the same character will be used for multiple people in the image so you end up with what looks like twins or triplets. And large groups of people tend to look like weird and lack detail from what I’ve experienced.

One way I’ve found success with people looking distinct from each other is if there’s an inherent contrast between them such as a player/coach situation.

I assume the word “gag” is always blocked. But describing them works sometimes. And as you’ll see, sometimes I can’t get them to work at all.

Tape gags are probably the easiest to get.

Cloth gags such as bandannas or scarves also frequently work with with language like “he has a red bandanna wrapped over his mouth” but often it looks like western train robbers masking his face rather than being a gag.

For ball gags, I usually do some variant of “his mouth is open with a small (color) ball (held, strapped, buckled, or wedged) (between his teeth or inside his mouth)” and sometimes I’ll tack on “with leather straps”. Different combos of those words tend to work but some situations will block all of them. It’s really inconsistent.

Costumes can be useful. Sometimes it won’t generate a particular character. I was trying to make a Captain America image and kept getting blocked. Then, instead of referring to the man AS Captain America, I tried describing a man in a Captain America costume and it worked.

I’ve found that different elements of a prompt get mixed up and jumbled. Coaches tying up an athlete frequently have rope wrapped around their wrist. I was trying to make a Deadpool and Wolverine scene and Deadpool would almost always have Wolverine claws. It’s incredibly difficult to get images of football or rugby players ball gagged because the gag will just be a ridiculous large football or rugby ball. Or having a guy tied up with rope and ball gagged with a leather strap will frequently make the leather straps rope instead. I’ve been trying to make a good image with a cyclist in it but it always includes the bike in really awkward ways. Anyway, just be prepared for mix ups like that.

Related to that, keep in mind that a computer needs to interpret what you write. The ordering of words may really matter. Like, I’m sure if I wrote, “deep in the ocean, a man is on a submarine,” the AI would probably know to not literally put the man on top the submarine. But you could avoid that ambiguity by writing “inside the submarine.” Or, “atop the submarine” if you really did want him on there. I’ve occasionally run into issues where I write something like, “…he is tied up to the chair with rope…” and although he would be tied to the chair, there’d be extra rope hanging around him oddly or bundles of rope around him… he’s literally, physically “with rope.” You could avoid this by writing something like “he is tied with rope to the chair.” I probably forget to do this but sometimes when I notice some oddness, it’s from this type of issue.

I've had a really hard time getting good, nuanced facial expressions. Any descriptor I use tends to be comically over dramatic. Still working on this.

Also, the maximum character count is pretty limiting so you kinda need to decide which parts you want to specifically describe the most.

Some thoughts on Bing

Here’s my soapbox. It’s incredibly frustrating to use. I get that Bing doesn’t want to allow ANY kind of image to be generated. But honestly, it feels like it’s judging and shaming alternative lifestyles. I can only imagine how much more difficult it is generating images of women. And while I know this stuff might feel extreme or shocking to some, but it’s generally pretty vanilla within the world of BDSM. I’m not trying to do anything sexual or with nudity. Guys tied up and gagged have been portrayed in western, spy, police, historic, comedy, adventure, and action TV shows and movies of all rating levels for all ages since the start of the mediums. It’s ridiculous to block this stuff. And I’ve seen some questionable stuff get generated. I simply wanted the guy to have darker hair and skin so I used “Mexican” as a descriptor and the image generated was frankly a racist stereotypical depiction. My prompts are always describing grown adults and one image was a young child which was disturbing. I had another prompt that was working with “Scottish” and when I switched it to “Brazilian” to mix it up, that got blocked. Why does Brazilian automatically get blocked? While I understand the need for some moderation, it seems like they should focus on other areas. 

Now let’s try all this out to develop a sample prompt

Continued in part 2

[the-overanalyst]

on this blank canvas i paint is the best ena event and here's why:

so the story is structured as past vs. present, with significant flashbacks to contextualize the decision that ena currently faces. in the past, she was so bad at taking criticism that she ran away and cut herself off from opportunities to improve.

so you might expect that in the present, she'll prove she's become strong enough to handle criticism with grace. but that's not what happens. returning to art class makes her terrified and miserable. the event card literally shows her holding back tears.

but she does it anyway.

in the flashbacks, we find out that her dad didn't necessarily call her untalented, he called her too sensitive to be an artist. this event is where she proves him wrong. she is still sensitive, but she’s also passionate and hard-working. the fact that she's able to feel her feelings now instead of running away from them is a sign of growth.

but then, why is she able to do it now? because she has niigo. she has kanade who needs her, mizuki who understands her, mafuyu who challenges her. for perhaps the first time in her life, she has the unconditional support that can stop her from crumbling in the face of adversity.

[creatingblackcharacters]

Hi there, I hope your day is going well! I have a question regarding the race of a character I'm hoping to use in a story I'm making, and would love to get your insights.

The story is a post-nuclear-fallout setting following two characters who are researching a cure for aggressive radiation poisoning and fighting the will of a malevolent and sentient slime-mold.  The characters dont have official names yet so I'll nickname them as Vessel and Scientist, and I'd like to focus on Vessel for this question specifically. 

Vessel is a Black woman who was originally working as a scientist on a team tasked with experimentation on slime mold growing in radiated zones, which became sentient during her time working on it. She was ordered to kill it and was unsuccessful, and as a result died on-site. Her death was downplayed to keep the lab running, and she wakes up post-mortem very much not in the same zip code or in the same time. (The reason her nickname is Vessel is because the slime mold she attempted to kill resurrects her and is using her to try and return to the lab it's from to rejoin the mother culture (the slime mold is like a combo of the aliens from the movies Life(2017) and Venom(2018))).

The story itself is dealing with some themes like the exploitation of marginalized groups by wealthy militaristic powers, the idolization of western sciences and the consequences of doing so, destruction of the land for profit, the struggle of individual vs collective (man vs man), and the challenge of building community. Based on these themes and the setting, I'm drawn more-so to portraying BIPOC as my protagonists, as opposed to white characters, because BIPOC have largely been the driving force of any dramatic and radical change in our present society, and I'd like to spotlight them in my work as protagonists and not just Important Side Characters. 

THE REASON I'm hesitant to commit to Vessel being Black has three branches,

1) the plot line i've designed would deal very heavily with depersonalization, the state-sanctioned poisoning and death of a Black woman, being used by a force beyond the characters will, and the internal/external struggle of essentially fighting yourself to maintain control of your Self/Body; 

2) I'm not a Black person, and the plot for this character would deal with a lot of very heavy stuff that Black people experience every day, 

3) and it feels very thematically/contextually similar to Haitian Zombi's, which I've been researching since seeing your responses discussing them compared to western zombies, which makes me hesitant to explore if it's getting into territory I shouldn't be interacting with, y'know? (The concept for this story was initially 'radiation zombies', so that's the background I'm pulling from as I'm making the story.)

I think she's a compelling character, intelligent, brave, resilient beyond belief (with a love interest in the Scientist as the story progresses), but if my concepts for her are crossing boundaries and perpetuating stereotypes (like stoic Black woman, not allowed to be soft, etc) I'd rather have a second pair of knowledgable eyes look it over before I commit with my whole chest. 

I deeply appreciate any insights you may have, thank you for your time!

Hello! This does seem like a very intriguing story, and at least you caught where the problem points could be. So that's good!

I definitely say that if you want to get into symbolism similar to, but not OF, Haitian Zombis, you absolutely ABSOLUTELY need to do your research. Specifically on what things might be tied into closed practices, just so you know to avoid them. Research in general involving medical racism too, if you want to know how deep the rabbit hole gets with Black bodies and western experimentation, because there's plenty there too.

I would say since you sound aware of your intention and some of the concerns, go ahead, and I would highly, HIGHLY suggest a Black sensitivity reader. Someone needs to tell you if you've (literally) lost the plot, preferably before you release anything.

[psychomusic]

so. I've been reading some posts on the jedi order tag AND i won't talk about my opinion on "are jedi good or bad discourse" BUT i wanna point out some lore to everyone who's complaining about the jedi taking kids into their order: (in the EU) it wasn't always like this.

if you take swtor era (more than 3000 years before the prequels) there were many jedi who joined at an older age. like, for example there was a guy who broke his engagement to become one. most jedi remember their families because they were old enough when they decided to go.

THEN in darth bane's book trilogy (circa 1000 yesrs before the prequels) there is a passage where two sith lords are talking about taking bane, already an adult, to study at korriban. one doubted him because he was too old, ans the other told him he sounded like a jedi, and that ONE DAY jedi will have to accept only kids into their ranks if they really want to find "pure" people that can learn their lessons quicker.

one day!! so it wasn't always like that!! the ongoing wars with the sith, who corrupted and killed many of them, had pressured them into taking always younger people into their ranks.

also, consider a thing that this video explains super well: training to become a jedi is not like exercising, because there is a transformative lesson at the end of the training that changes everything. you can't just do as much as you can, but not finish.

the transformative lesson, as the video explains, is that through the force, everything is the same - from rocks and ships to life and death. at the end of the training you have to understand this fundamental truth.

yoda says "you have to unlearn what you have learned". during times where they were constantly killed off or corrupted by the dark side (and if you haven't learned this lesson you are more susceptible to this corrupting), younger people were taken in to actually finish their training (a training that was ultimately about being a good person AND that you could leave at any point if you weren't sold on that, too)

(remember that for the sith failure = death. like. that was the alternative for force sensitive kids. it's not like sith had any moral problem with taking kids away without consent. sith don't have moral problems: they believe that them being stronger in the force means they can do whatever they want as long as their strong enough to go and do it. there are MANY passages in many different star wars stories, even in different mediums, that say this out loud)

AND (this is more of a critical thought than just stating the lore) the fact that they started doing it out of necessity doesn't mean it's 100% good BUT you know. the whole set up of the prequels is that we're starting off the story in a period of crisis and decadence all around. most of the systems of the times were about to fall. OF COURSE they had problems. if they didn't, we wouldn't have the story to begin with.

that doesn't automatically mean jedi = bad and sith are better, tho. you wouldn't take the last, chaotic and decadent period to jugde something, would you? it's like deciding that the athenian democracy sucked because people at the times of Demosthenes failed at recognizing the new schemes in which the world was evolving into, and still believed that their city would be important as it had been in the previous century. They just didn't fucking expect the Macedons would conquer half the world known and more, and have the subsequent political power. Still, their experiences in the 5th century with democracy were very good, even better than ours on many fronts, if you contextualize a little. the jedi had flaws, and most importantly, they didn't fucking know the future and everything that ever happened, ever, so they made mistakes. that doesn't automatically make the system ill, or bad, or not-working. systems can have setbacks when the world changes. (just like athenian democracy had one when they lost the empire that was funding the democracy. they even had a tyranny for a while and then fixed the problems. that doesn't diminish retrospectively their democracy)

[writers-in-moominvalley]

Sometimes I think about Mrs. Fillyjonk's character and my mind always wanders back to these series of panels and I always go a little insane over them.

What does it MEAN for her character, exactly?

Moomin Winter is a story about a family and some strangers coming together for the winter and having a small child stick his nose up everybody's business until the beans are spilled and everyone realizes just how silly their secrets actually are. At least 2 of the new strangers, Miss Fluffins and Mr. Gromf (who are not related to eachother in any way, I think I should clarify), have secrets they don't want getting out because it breaks their facade of gender performativity.

Fluffins has a facade of a demure and overly polite vaguely old woman who wears frills and "totally would" help Moominmamma, but she doesn't want to get in the way of her business. Fluffins' secret is that she loves playing war with tin toy soldiers, and loves smoking cigars and drinking hard whiskey.

Gromf holds himself as a very picky and strong-willed man, when in actuality he's just very sensitive and his secret is that he loves making doilies.

These two secrets are very much based on subversion of gendered expectations, even if it isn't gawked at outright because of their genders.

Miss Fluffins pretends she doesn't want to intrude on Moominmamma's housework, when in actuality she literally doesn't know how to do housework, which is a very unwomanly thing for her to do. And Mr. Gromf masks his nature as a very picky eater by having a gruff attitude about it.

In Moominmamma's search for someone to take care of the very inconvenient Nibling in her stead, she first visits Mrs. Fillyjonk because of her status as a proper mother — but before we get to that, we must fully contextualize this encounter by talking about the second encounter; that of the Inspector.

Moominmamma's second choice for a caretaker for the Nibling is the Inspector, who she probably thinks is a fine choice because he has prison cells for Nibling to sleep in and he probably has experience watching over people in prison, I guess...? The problem here however is that the Inspector highly dislikes children, or atleast taking care of children because they might ruin his roses. Inspector's secret that Nibling sniffs out here is that he keeps candy in his pocket and hides holes in his socks by doing the old "coloring the feet where the holes are" trick.

What's interesting about this is that this scene gets paralleled shortly after Moominmamma comes back home by having the Nibling pickpocket Gromf in a similar way and Gromf denying his ownership of the doily in his pocket just like Inspector does with the candy.

Plus, Inspector returns later in the story by playing poker with Moominpappa and being part of the crowd who gets their beans spilled and everyone is wondering why they were hiding those secrets in the first place, because they seem silly to hide in retrospect. You know who isn't part of that crowd despite having a similar screentime to Inspector? Mrs. Fillyjonk.

She doesn't come back to have her secret revealed.

Now, why is that? Well, we must further contextualize this contextualization of the scene by looking at Inspector's character compared to Mrs. Fillyjonk.

Despite his rough and nearly unrecognizable start in Moomin and the Martians, once he obtains his scarf in Club Life in Moomin Valley we see glimpses of what will evolve into the policeman with effeminate sensibilities that Lars apparently really really liked, which I explained in more detail in this post. The short of it is that Inspector is a more candidly queer character, a subversion of gender norms and the idea of a bumbling police character in general.

But in spite of his general honesty (and something I didn't really touch upon in my post), he still doesn't like people knowing that he likes eating candy for whatever reason, like in Moomin Christmas where Snorkmaiden admires his big box of chocolates but he dismisses it as a doctor's prescription for his blood pressure. I suppose his obsession with flora is fine for people to know and offering candy to his prisoners is great but he draws the line at people knowing he likes eating it himself, I guess. There's some ordinary embarrassment to be had in his mind about it.

So with all that outside context, let's bring the conversation back to Mrs. Fillyjonk, and add context to her character to see why this feels significant to me.

Mrs. Fillyjonk was first introduced in Moominmamma's Maid as the mother equivalent to that new jock neighbor who moved into town and is making your dad feel bad about his own withering masculinity. Mrs. Fillyjonk is the proper Woman's Woman, the trad mom without a husband, she is quite canonically one of those mothers who post pictures of their overly tidy and neutral grey-colored children's room on Instagram and Pinterest. She isn't necessarily a feminist but she is heavily involved in organizations involving women, like the Women's Committee, or the sewing circle, or the Moomin Valley S.P.C.A. (Society to Prevent Cruelty to Animals) which is "coincidentally" only made up of women. She also organizes social events like bazaars and parties for painters, and takes invitations to games of bridge very seriously because, quote, "In society, invitations are sacred".

And yet, despite her credentials as a Woman among Women, she apparently doesn't know how women work (according to her maid, Mabel, in Mymble's Diamond), nor do any of her friendships have any sense of sincerity outside of amicable business-like rapport with her fellow women in gathering events like tea parties, and she could barely keep any of her painter guests happy in the party she threw just for them. She is a sad imitation of a socialite, caught up in the glamor of being a perfect housewife in spite of her husband's absence (according to an alleged response by Tove to a fan letter he was an explorer who went missing in Borneo) and yet totally incapable of bearing any actual charisma. The only thread of sincerity for her is with her own maid and ironically the Moomins, who invite her to things like colonizing an island or bridge despite Moominmamma's general distaste for Mrs. Fillyjonk.

I can't even say much about her relationship with her kids because their characterization amounts to Huey, Dewey and Louie pre-2017 reboot if they didn't have names, color coding, or that boyish rebellious streak. They're just vaguely well-educated, ambiguously gendered and boring children who follow their mom around and call to her when something happens and have a pretty okay relationship with her. Any expression of boredom or sense of rebellion and interactions with the main kids in a playful environment the adaptations gave them are just additions to their characters that give them even the vaguest hint of interest.

Mrs. Fillyjonk... Is a really big weirdo who hates weirdos. And the fact that she owns a pair of pants that she's embarrassed of is a revelation about her character that I believe is just too glossed over, but also the fact that it's glossed over speaks to the emotional tragedy of her character.

The funny-looking trousers bring up many questions; Did those belong to her husband? Why are they stuffed away in a drawer in what seems to be a living room? Is she embarrassed because they look weird/ugly or because she doesn't want people knowing she owns pants at all? Does she wear them? Why do her kids seem angry at Nibling to finding them? Do they know? Do they know that their mom is a cross-dresser who likes dancing in her little trousers while nobody is looking because she feels desperate in the confines of her gender expression?

Okay, maybe that last one is a stretch, but it's not a farfetched conclusion because we know so little about her. She apparently owns a rifle and atleast 12 different ashtrays and a smoking jacket, why does she have those? Why so many ashtrays in particular? Does she smoke? We never see her smoke even under the influence of Spring Fever where she loses all her inhibitions, what gives? Did any of that belong to her husband or does she just have those lying around for enigmatic reasons?

The fact that the pants were revealed after she makes a comment on Snorkmaiden being too fat "for a girl" is also very telling. It's like a response to her, it's the narrative saying "If you're really so concerned about what's proper for a girl, then why do you have this?", she's so shocked from Nibling finding them she drops her cup and goes up to stuff it back in the drawer where it belongs, and she's never seen in the comic again despite her words reaching Snorkmaiden through Nibling and influencing her facet of the plot. Moominmamma just excuses herself after such a breach in privacy and it's never acknowledged again, even indirectly.

What is this? It's so... It makes me feel so confused about her character but at the same time it makes her social awkwardness feel more complete. She's so superficial in her social circle not just because she's a superficial person herself but also because she doesn't want anyone to know some things about her, she's so ashamed of herself and stubborn about that shame that the narrative doesn't give her a chance to redeem herself in the end of the story like the Inspector. There's something so compelling about the idea that her relationship with gender or even just men is so thoroughly tangled that it's hard to make out for even herself.

Are the pants a representation of the grief for her husband she stuffs down under the surface or are they a representation of that shameful side of her gender expression she doesn't want anyone to find out because it ruins her image as a Proper Woman? It feels so.... I can't even conceive of this as something to be taken at face value because her entire character is in opposition to Moominmamma's impropriety, yet here we are! She's ashamed of having pants! What does this mean, Tove and/or Lars!!!

And don't get me started on her and her children's fear of loud fireworks because that's another rabbit hole I-

[pinkbelugacollective]

ngl mayhaps this is just my opinion, but i do think it’s incredibly unhealthy and downright disingenuous for folks to act like a comic from the 90’s about teenagers, geared towards teenagers, and reflective of the fuckedupness of 90’s teen culture is like,,,,, the serbian film of comics. i can 1000% assure you superboy 1994 is NOT the serbian film of shitty mass-produced 90’s comics. it’s barely giving sitcom. yes it’s got some sensitive topics, but it’s no more egregious than law and order svu episodes pre-2005. plus it’s social commentary on exploitation and hollywood. it’s not SUPPOSED to be sunshine and lemonade. PLEASE get some perspective before you push people AWAY from reading perfectly normal comics that are contextually relevant to the era they were created and published in. i do NOT see you hoes getting this up in arms about john byrne’s writing. get a grip!!!