#I don't how to do a good image description for these

[lackadaisycats]

Miss Tracy, do u have any advice on researching a specific time period?

(also I know u probably won't see this, but I love your art and you are awesome)

Look for books about the time period, but also books written contemporaneous to the time period, whether fiction or non-fiction. Check used book stores for out of print gems at good prices.

If photography was a technology that existed in the time period you're researching, look for photos of people doing everyday things. Take in the context, the geography, the economic situation. Look at how they're dressed and what their clothes say about them.

Newspaper archives. Sometimes newspapers of the past are free to browse. Sometimes you have to pay for access. Old shopping catalogue collections - if they exist for your time period - are great too.

Documentary films about time periods, or specific events in a given time period can be useful, even if only for a broad overview.

Museum exhibits - helpful whether you're looking for famous paintings or artifacts of past civilizations in a world renowned institution, or trying to dig up something impossibly unique in an oddity denture museum in some forgotten place in the Midwest. If you can't go in person, check online. You can find museums with vintage clothing or household appliance collections from even a few decades ago. Some museums have extensive, searchable online collections too. Take the Metropolitan Museum for instance.

If you can visit historical sites relevant to your area of interest, do it! Do those little guided walking tours. Do the ghost tours even - they're often fairly history-centric with some paranormal folklore for added spice. Sometimes they get you access to places you otherwise can't enter. Check historical societies local to cities or towns of interest.

If you need information about something deeply specific, check the internet for communities that form around that deeply specific topic. I've found tidbits of useful info searching around old forum posts from radio enthusiasts, Model T owners, and people who collect old telephone booths. (Granted, it's getting harder to search for this kind of stuff nowadays.)

-----------

Be careful of AI trash, whether it's generative images, text descriptions, or entire articles. Don't rely much on film or television for accuracy. Some things are more interested in being accurate than others, but there's almost always some artistic license taken. If you're trying to be particularly accurate about something, triple check it for confirmation. Misinformation has had a way of spreading like insidious mildew even before AI started disseminating it with delusory authority.

Lastly, if you don't enjoy doing this kind of historical research like a weird little detective-creature, consider loosening up on the 'historical' aspect of your writing. It's okay to not focus on historicity in your fiction. But if you're going to dive in whole-hog on history, bear in mind it's an ongoing, often time-consuming adventure in information-finding.

(Thank you for the kind words!)

[theminecraftbee]

so i've been seeing this occasionally in the tags lately and i thought i'd bring up:

if you want someone to click or reblog your fic link you cannot simply post a link to the fic with either no description or a single sentence of description. if you do not put something beyond a link and a sentence, no one is going to click it.

part of this is basic internet safety (don't click links if you don't know where they're supposed to go), but a large part of this is that you have to catch someone's attention to make them click and leave the page they're on! people, in general, aren't going to click a link that doesn't interest them. you should interest them! so, how do you do that?

put some kind of image above your link in your post. this is BY FAR the most certain way to get reblogs and catch people's eye, but it's also the most time-consuming if you aren't already good at edits or art yourself. moodboards, little edited headers, or gifs can help you here (depending on fandom). art you've made yourself or have permission to use is absolutely the best option here, but it's by far the most time-intensive and difficult. full disclosure: i don't do this! that's because i am absolutely pants as a visual artist, even in the realm of editing or selecting gifsets. but if you have this skill and are sad your fics aren't getting attention on tumblr, this could be a potential answer!

write a summary and some kind of note with the link. there's a slightly cluttered cheat way to do this later in the list, but personally i find that formatting your fic post yourself is the best way to make these posts look good. i normally go fic link (making sure the link embed has the title) - summary of fic beneath that in a blockquote - an author's note about what to expect beneath that summary. however, everyone has different standards for how to do this! some people i know like to make sure tags and rating are present; some do not. some put some of this information beneath a cut; some do not. the main key here is to make sure there's just enough information above the cut in the main post that if i, a stranger, am browsing the tag and find your fic, i have enough information to know if it's something i might be interested in! i can always click to see the ao3 tags if i am intrigued, so it doesn't need to be all the information. just enough to catch my eye!

just post the whole fic to tumblr, including a link at the top or bottom. this is the most efficient non-art way to get notes on a fic you post, since, unlike a link with a description, a tumblr user doesn't have to leave the website to read and decide if they're interested or like it enough to reblog. however, there are two downsides. the first is that the fic almost always has to be short (~2k words if you use a cut, less if you don't), since most tumblr users aren't using the website expecting to read a bunch. the second is that doing this will mean most of your fic's readers likely will read it from tumblr, rather than following the fic to ao3. which, you may not care! i certainly don't when it comes to the ficlets i write directly to tumblr. however, it means i really don't recommend doing this with a multichapter fic.

use ao3's share button to automatically make a tumblr post. fics on ao3 have a "share" button, located above the tags and summary. this has a tumblr option, which you can then use to automatically post the fic link to tumblr. this is a bit cluttered since it includes all of the tags from the fic, alongside the full summary, rating, wordcount, etc. personally, i would then edit a little to remove some of that information so that it's more eyecatching and less overwhelming, but if you don't want to, that's also fine! that is still almost always going to be better than posting the link by itself with a single sentence to describe it, and isn't half-bad formatting-wise.

finally, you'll note my posts for ongoing chapters aren't normally given this treatment or fandom tags (although i almost always include a summary of some kind on them). this is because i generally don't want people finding my fic for the first time from a random chapter in the middle. i don't mind if they do, but i'm not going to spam the tag and i'm not going to make THAT much of an effort to make the post appealing. new chapters are things that might tell one of my followers that there's an ongoing fic they should look out for, and tell my current readers and followers that there's, well, a new chapter, but generally they aren't going to hook people. however, if you post chapters a lot more infrequently than i do, or if you simply have the energy to, there's nothing stopping you from applying these to chapter posts as well!

the thing is: look, at the end of the day, i agree with people who say you should write for yourself. how many notes you get isn't a big deal, i promise; the most important feeling is, ultimately, the feeling you get when you finish something and know you made it with your own hands. some of my favorite writing achievements are NOT my most popular, but are my favorites for reasons entirely unrelated to popularity. however, i see a lot of writers bemoaning how badly their fic posts do, when their fic posts are the ao3 embed and a single sentence that reads "this is my new fic enjoy"; the thing is, there are things you can do to make that link into something that someone is more likely to read and/or reblog! (i know i personally don't like reblogging links if i don't know their contents for the aforementioned internet safety reasons.)

just because you write for yourself doesn't mean that you can't give yourself a little leg up in finding your audience. it's worth it both for yourself and your readers, i promise.

[cryptidvagabond]

I'd like to add:

The poem in simple english: "Under tree and over dirt, the tricksy Skimble slides. Up your leg and through your shirt, the Skimble now resides. Though goblin-born and wide of ear, and tricksy through and through. Under tree and over dirt, the Skimble waits for you."

My friend reminded me of one of my favorite images on the internet ever

[uncanny-tranny]

When I talk about ground-breaking trans history, I'm talking about this:

[icewindandboringhorror]

examining a seemingly normal image only to slowly realize the clear signs of AI generated art.... i know what you are... you cannot hide your true nature from me... go back where you came from... out of my sight with haste, wretched and vile husk

[reanimatestar]

guess what i've been playing lately <3

[image description: three pencil drawings featuring characters from baldur's gate 3. the first is of the artist's original character, carxes. he is a tiefling with black sclera, long curly hair, and ram horns. he also has a scar over his right eye. the second is in a simpler style, featuring astarion grinning widely. the third is of astarion and carxes, looking at each other, with astarion being slightly shorter than carxes. astarion grins, baring his fangs, while carxes frowns at him. /end description]

[running-in-the-dark]

oh, a fun* thing I'm noticing about when I'm writing something is that there's absolutely no descriptions of what anything looks like ever. not the rooms, not people's clothes, just nothing. everything happens in a blank void and no one... is wearing any clothes? no that's definitely not where I was going with that but now I've forgotten what I really wanted to say.

anyway, it's really not surprising and just mirrors how I read things written by other people too - I completely skip over any descriptions like that. can't do anything with it anyway so it's just unnecessary information to me

*not so fun

[lycorogue]

[Image ID:

Screenshot of a tweet by The Volatile Mermaid (@OhNoSheTwitnt) from May 17, 2023 at 11:19AM. At the time of screenshot, the tweet had 286K views, 1482 Retweets, and 119 Quote Retweets.

Tweet Text:

Men’s pants: Your waist is 30 inches, therefore you are a size 30.

Women’s pants: Your waist is bad inches, you have wide hips, a small butt, short legs, a prehensile tail, and we don’t like your face. Therefore you are a size whatever the fuck we want, but only at this store.

/end ID]

[godtier]

it amuses me how ppl will make PSA posts about how such-and-such platform uses "AI" and tells you to be Very Angry about it via context clues, but then the same ppl will happily reblog AI "art", even when it's very easy to tell and/or it takes two seconds to look at the damn comments on a post to find that it's AI generated, or that the very OP of the post tagged it as AI art, or answered an ask like "yeah I use a generator for the pics," or puts "I use midjourney to make the pics" in their profile on mobile, etc etc etc

I guess it's easier to screech about how an option in a program that you can turn off/disable within seconds and that won't actually do anything more than what your autocorrect or grammarly or siri or alexa or google assistant or photoshop filters have already been doing with/harvesting from your data for years now (spoilers: you've been using and training "AI" algorithms for longer than chatGPT has been mainstream! yes, it's basically the same concept!) than it is to do a few seconds of reading or double-checking to ensure you're not reblogging art theft and tagging it as "photography" 🙃

[m00nj3w3l]

I wasn't as prepared as I thought I was for Noiz's gore ending

[thewriteadviceforwriters]

10 Ways to Add Sizzle to Your Boring Writing

Writing that sizzles captures the reader's attention and keeps them engaged from start to finish. Whether you're an experienced writer or just starting out, there are several techniques you can use to make your writing more exciting and dynamic. Here are ten detailed ways to add sizzle to your boring writing:

1. Use Vivid Descriptions

Vivid descriptions bring your writing to life by creating a rich, immersive experience for the reader. Instead of relying on generic or bland language, use specific details that appeal to the senses. Describe how things look, sound, smell, taste, and feel to paint a vivid picture.

In Detail:

Visual Descriptions: Use color, shape, and size to create a mental image. Instead of saying "The car was old," say "The rusty, olive-green car wheezed as it pulled into the driveway."

Sound Descriptions: Incorporate onomatopoeia and detailed sound descriptions. Instead of "The music was loud," say "The bass thumped, and the high notes pierced through the night air."

Smell and Taste Descriptions: Use sensory language. Instead of "The food was good," say "The aroma of roasted garlic and herbs filled the room, and the first bite was a burst of savory flavors."

2. Show, Don't Tell

"Show, don't tell" is a fundamental writing principle that means revealing information through actions, thoughts, dialogue, and sensory details rather than straightforward exposition. This approach makes your writing more engaging and allows readers to experience the story.

In Detail:

Actions Over Exposition: Instead of telling the reader "Jane was scared," show her fear through her actions: "Jane's hands trembled as she fumbled with the lock, her breath coming in shallow gasps."

Dialogue: Use conversations to reveal character traits and emotions. Instead of "John was angry," show his anger through his words and tone: "John's voice was a low growl as he said, 'I can't believe you did this.'"

Internal Thoughts: Reveal characters' inner worlds. Instead of "Emma felt relieved," show her relief: "Emma let out a long breath she didn't realize she was holding and sank into the chair, a smile tugging at her lips."

3. Create Relatable Characters

Relatable characters are crucial for keeping readers invested in your story. Characters should have depth, including strengths, weaknesses, desires, and fears. When readers see aspects of themselves in your characters, they're more likely to care about their journeys.

In Detail:

Character Flaws: Give your characters realistic flaws. A perfect character can be boring and unrelatable. Show how these flaws impact their decisions and relationships.

Character Arcs: Ensure your characters grow and change throughout the story. A well-crafted character arc can turn a good story into a great one.

Background and Motivations: Provide backstories and motivations. Why does your character act the way they do? What drives them? This adds depth and makes them more three-dimensional.

4. Add Dialogue

Dialogue can break up large blocks of text and make your writing more dynamic. It reveals character, advances the plot, and provides opportunities for conflict and resolution. Ensure your dialogue sounds natural and serves a purpose.

In Detail:

Natural Speech: Write dialogue that sounds like real conversation, complete with interruptions, pauses, and colloquial language. Avoid overly formal or stilted speech.

Purposeful Dialogue: Every line of dialogue should have a purpose, whether it's revealing character, advancing the plot, or building tension. Avoid filler conversations that don't add to the story.

Subtext: Use subtext to add depth. Characters might say one thing but mean another, revealing their true feelings through what they don't say directly.

5. Use Strong Verbs

Strong verbs make your writing more vivid and energetic. They convey action and emotion effectively, making your sentences more powerful and engaging.

In Detail:

Action Verbs: Choose verbs that show precise actions. Instead of "She went to the store," say "She dashed to the store."

Avoid Weak Verbs: Replace weak verbs and verb phrases with stronger alternatives. Instead of "He was walking," say "He strode."

Emotionally Charged Verbs: Use verbs that convey specific emotions. Instead of "She was sad," say "She wept."

6. Vary Sentence Structure

Varying sentence structure keeps your writing interesting and prevents it from becoming monotonous. Mix short, punchy sentences with longer, more complex ones to create a rhythm that engages readers.

In Detail:

Short Sentences for Impact: Use short sentences to create tension, urgency, or emphasize a point. "He stopped. Listened. Nothing."

Complex Sentences for Detail: Use longer sentences to provide detailed descriptions or explain complex ideas. "As the sun set behind the mountains, the sky transformed into a canvas of oranges, pinks, and purples, casting a warm glow over the serene landscape."

Combine Different Structures: Mix simple, compound, and complex sentences to maintain a natural flow. Avoid repetitive patterns that can make your writing feel flat.

7. Introduce Conflict

Conflict is the driving force of any story. It creates tension and keeps readers invested in the outcome. Without conflict, your story can become stagnant and uninteresting.

In Detail:

Internal Conflict: Characters should struggle with internal dilemmas, fears, and desires. This adds depth and relatability.

External Conflict: Introduce obstacles and challenges that characters must overcome. This can be other characters, societal pressures, or natural forces.

Resolution: Show how conflicts are resolved, leading to character growth and plot progression. Ensure resolutions feel earned and satisfying.

8. Use Metaphors and Similes

Metaphors and similes add creativity and depth to your writing. They help readers understand complex ideas and emotions by comparing them to familiar experiences.

In Detail:

Metaphors: Directly state that one thing is another to highlight similarities. "Time is a thief."

Similes: Use "like" or "as" to make comparisons. "Her smile was like sunshine on a rainy day."

Avoid Clichés: Create original comparisons rather than relying on overused phrases. Instead of "busy as a bee," find a fresh analogy.

9. Create Suspense

Suspense keeps readers on the edge of their seats, eager to find out what happens next. Use foreshadowing, cliffhangers, and unanswered questions to build tension and anticipation.

In Detail:

Foreshadowing: Drop subtle hints about future events. This creates anticipation and a sense of inevitability.

Cliffhangers: End chapters or sections with unresolved tension or unanswered questions to compel readers to keep going.

Pacing: Control the pace of your story to build suspense. Slow down for crucial moments and speed up during action scenes.

10. Edit Ruthlessly

Great writing often emerges during the editing process. Be willing to cut unnecessary words, tighten your prose, and refine your sentences. Editing improves clarity, pace, and overall readability.

In Detail:

Cut Redundancies: Remove unnecessary words and repetitive phrases. "In my opinion, I think" can be reduced to "I think."

Focus on Clarity: Ensure each sentence conveys its intended meaning clearly and concisely.

Proofread: Check for grammar, punctuation, and spelling errors. A polished manuscript reflects professionalism and attention to detail.

[krysmcscience]

At long last: either an alternate explanation for or continuation of my prior comic regarding how Bill was ABSOLUTELY naked in Ford's karaoke night drawing. (Because errors in art do not exist. Artists do not make mistakes. So if you see any in this comic, No You Do Not.)

I am so normal about these old dorks.

I'm not really clear on exactly when Bill started throwing his desperation book at Ford just like a needy ex do, but I find it extremely funny to imagine it happening literally the day of or after the makeshift funeral. Bill just gets this weird sense of 'Ford is taking steps to move on' and CANNOT FUCKING ABIDE.

I hope you enjoy all the goofy things I added to each page of Bill's sad spieling. (Everything SHOULD be readable so long as you view the full size, but I have added basically this whole little fanfic in the image descriptions, LMAO, which lays out all the little written notes and such.) Also don't ask how Bill managed to sneak that vampire pen in there. I have no idea, and honestly? I don't wanna know.

Oh, and a little bonus comic:

Of course Bill would take it as flirting. Because between the two of them, Bill is the bigger masochist By Far. :)

Also I have continued applying The Good Place logic to any of Bill's attempts to swear. Case in point, one last bonus image, this time with a motivational line from my slapdash Theraprism OC, EV-01:

Yes, its name is just 'love' backwards. No, I will not be taking any feedback on this. Yes, EV-01 was only ever assigned to Bill's case due to the Theraprism being desperate to make some progress in rehabilitating him. No, it did not work anywhere close to staff's expectations - Bill didn't even appreciate EV-01's matching fondness for bowties! (He claimed the fondness to be "cultural appropriation" and insisted he'd been traumatized by it.)

Anyway, if you like my stuff, reblogs are very much appreciated, and if you really really like it, perhaps consider my commissions or yeeting a teeny tiny tip my way? I am trying to recoup over 500 dollars in vet bills, ahaha... 🙃

In other news, I loved all the fun tags people added to the prior naked-karaoke comic (such as 'the hat and bow-tie stay ON during sex' and the classic '[insert keysmash here]', as well as the many amused/bewildered remarks about how I either made the bricks a piece of clothing or just straight up peeled Bill's skin off). However, I think my favorite thing by far was the several people losing their shit over the fact that I gave Bill toes. Like, excuse me? The magical talking triangle can have fingers but not toes??? Since when was that a rule????? 🤣 (Also the one person who reblogged with the cropped panel where Bill's fishnets pants are falling off to ask why Bill peed himself. Dude, I want to examine your brain...?)

Okie-dokie, I'm sick of looking at all of this stuff now and I'm off to go to work, after which I will either scribble some more goofy "Billford" comics or perhaps draw my lame human!Bill in Situations, idk yet. Maybe I'll even finally draw more than just a single other person's human!Bill...? Who knows, but I sure hope I can mix it up a little and not turn whatever I draw into a month-long fukken project. >:\

[miraculouslbcnreactions]

Since you've mentioned Scarlet Lady in one of your posts, what's your opinion on it?

I've mentioned before that I'm a big Scarlet Lady fan, which is the only reason that I'm comfortable answering asks like this one. I don't publicly criticize the content of hobby creators. That's wildly inappropriate! Punch up, not down.

The linked post was a general discussion of the adaptation process and how @zoe-oneesama did a fantastic job, so for this one, I'm just going to do some general gushing because I do actually like praising and enjoying things!

Scarlet Lady's chosen format (comic) allows it to have this wonderful conversation with canon where it can rely on the framework of canon to tell it's own story while also using canon for jokes and meta commentary. This means that Scarlet Lady is about as close as fan content can get to a direct reboot because it's able to have moments like this one from the comic's first post:

[Image description: Adrien standing in his room after transforming into Chat Noir for the first time. He is beaming and his eyes are shining with excitement as he exclaims, "This is gonna be awesome!"]

A single picture that communicates everything we need to know about Adrien getting his miraculous. When I've done this same thing in fanfic, I had to write out the full scene because that's how novels work. You have to give the full picture. With a comic, you can just quickly acknowledge this thing that we all already know and then move on to the new stuff. A picture really is worth a thousand words! (Or, in my case, more like two thousand...)

This allows Zoe to keep the same akumas that we get in canon without her story feeling like a boring rehash because she can focus on what's different in her version. A novelization of the same content would have to show both the stuff that stays the same and the stuff that changes for it to be coherent. That's a lot less fun to read and write. It's why I basically never revisit canon akumas in my own stuff. It's just too derivative for the written word.

This is one of the big reasons that I loved Scarlet Lady. Because it was able to have that more directly conversation with canon, it was able to take canon and say, "hey, why don't we embrace the tone that you established in season one and retell the story with that vibe?" That's something that I desperately wanted to see, but that is totally unsuited to my chosen artistic form. It couldn't be a novel. It had to be a comic.

If you want to know what a true formula show version of Miraculous would look like, Scarlet Lady is it. It does everything that Miraculous should have done:

Sticks to a lighthearted tone where nothing is ever super serious

Keeps Gabriel entirely unsympathetic

Has slow character development and background hints at a bigger plot as the only serial elements, allowing the individual episodes to be their own story while never feeling incomplete or rushed

Allows characters other than Marinette to shine while keeping Marinette as the clear main character

Makes Adrien narratively important

MAKES THE LOVE SQUARE CUTE SO I CAN ACTUALLY SHIP IT

Understands that Lila and Chloe can't coexist as antagonists

Reverses the love square, which is the best way to tell their story. Yes, I will die on my "love diamond" hill. It's a good hill. Come join me. I'll bring cookies.

I could keep going, but you hopefully get my point. While Scarlet Lady is certainly not the only way to do a formula version of canon, it's proof that a formula version does work! You don't have to go the serious route for Miraculous to be successful.

I want to take some time to gush about the ending, but I don't want to spoil it, so I'll put that gushing under a "read more" in case anyone hasn't seen it. I'll finish out this less spoilerish section with this:

I feel like some people are surprised when they learn that I love Scarlet Lady because - as some of you have probably picked up - it is quite different from my ideal version of canon. I'm not sure why that would stop me from enjoying a thing, though. It's important to remember that our personal ideals are not the only way to tell a good story. There are lots of ways to take what canon gave us and make something wonderful! It's part of the reason that I enjoy being in a fandom.

If I only wanted to see my ideal take on canon, then I'd stick to writing/imagining my own stories. But I don't want that! I like seeing alternate takes, too. Scarlet Lady is one of my personal favorites. It's completely different from anything that I'd ever think to write and that's why I'm so glad that it exists! I like being entertained just as much as I like creating my own entertainment and I don't want to only read stories that look like something I'd write. That's boring!

Spoilers below:

I've mentioned before that there are many, many ways to properly handle Chloe's character and Zoe did such a good job with her take on that! Chloe isn't absolved of all the things she did wrong, but she's also treated as a young woman with the ability to change.

While the comic bares the name of Chloe's alter ego, she was the never the main character. She never went on a journey. The story kept her to her shallow season-one self: a petty brat who just wanted attention. It did this because that's who Chloe was in canon and who Chloe needed to be for the comic to work.

The first time we see any complexity from Chloe is in the comic's final few episodes, which was absolutely the right call for Zoe to make! In a recent post, I talked about how the end of a formula show is the only time when you can break the formula in catastrophic ways and that's what Zoe did. She kept Chloe static until it was time to end the story and that's when the formula breaks. That's when Chloe gets depth because, once she has depth, the formula doesn't work.

That depth is not used to redeem Chloe, but to show us that there's hope for Chloe. That this petty brat who we've been dealing with has some serious issues and needs help. Help that she's going to get far away from the people that she's hurt because her issues aren't an excuse for what she's done. They don't erase the harm that she caused. At the same time, understanding her issues makes us hope that she can be better now and Scarlet Lady took a moment to give us that hope. To show us the START of Chloe's true story.

That is the kind of ending that I have wanted to see in so many properties!!! It was so wonderful to finally get one that did this right. A story that understood that full redemption to the team and damnation to death/suffering are extremes on a scale of possibilities. You don't have to go to extremes! You can fall in the middle and the middle is a perfect, natural place for Chloe to land in this kind of story. Fully redeeming or even fully damning Chloe simply doesn't work in lighthearted formula content. It's too big a lift as canon has already demonstrated.

I also loved Zoe's take on Emilie. I've mentioned that I don't like evil Emilie in part because it makes her revival feel like the start of a new story. She's back and she'd bad, so we have to take her down now! But I don't want that. I want the story to end when Gabriel is stopped. Zoe does this by giving us an Emilie that is another perfect middle ground. She matches canon's uncomfortable implications without feeling like a true villain who is a threat to society.

[imsobadatnicknames2]

How can you consider yourself any sort of leftist when you defend AI art bullshit? You literally simp for AI techbros and have the gall to pretend you're against big corporations?? Get fucked

I don't "defend" AI art. I think a particular old post of mine that a lot of people tend to read in bad faith must be making the rounds again lmao.

Took me a good while to reply to this because you know what? I decided to make something positive out of this and use this as an opportunity to outline what I ACTUALLY believe about AI art. If anyone seeing this decides to read it in good or bad faith... Welp, your choice I guess.

I have several criticisms of the way the proliferation of AI art generators and LLMs is making a lot of things worse. Some of these are things I have voiced in the past, some of these are things I haven't until now:

Most image and text AI generators are fine-tuned to produce nothing but the most agreeable, generically pretty content slop, pretty much immediately squandering their potential to be used as genuinely interesting artistic tools with anything to offer in terms of a unique aesthetic experience (AI video still manages to look bizarre and interesting but it's getting there too)

In the entertainment industry and a lot of other fields, AI image generation is getting incorporated into production pipelines in ways that lead to the immiseration of working artists, being used to justify either lower wages or straight-up layoffs, and this is something that needs to be fought against. That's why I unconditionally supported the SAG-AFTRA strikes last year and will unconditionally support any collective action to address AI art as a concrete labor issue

In most fields where it's being integrated, AI art is vastly inferior to human artists in any use case where you need anything other than to make a superficially pretty picture really fast. If you need to do anything like ask for revisions or minor corrections, give very specific descriptions of how objects and people are interacting with each other, or just like. generate several pictures of the same thing and have them stay consistent with each other, you NEED human artists and it's preposterous to think they can be replaced by AI.

There is a lot of art on the internet that consists of the most generically pretty, cookie-cutter anime waifu-adjacent slop that has zero artistic or emotional value to either the people seeing it or the person churning it out, and while this certainly was A Thing before the advent of AI art generators, generative AI has made it extremely easy to become the kind of person who churns it out and floods online art spaces with it.

Similarly, LLMs make it extremely easy to generate massive volumes of texts, pages, articles, listicles and what have you that are generic vapid SEO-friendly pap at best and bizzarre nonsense misinformation at worst, drowning useful information in a sea of vapid noise and rendering internet searches increasingly useless.

The way LLMs are being incorporated into customer service and similar services not only, again, encourages further immiseration of customer service workers, but it's also completely useless for most customers.

A very annoyingly vocal part the population of AI art enthusiasts, fanatics and promoters do tend to talk about it in a way that directly or indirectly demeans the merit and skill of human artists and implies that they think of anyone who sees anything worthwile in the process of creation itself rather than the end product as stupid or deluded.

So you can probably tell by now that I don't hold AI art or writing in very high regard. However (and here's the part that'll get me called an AI techbro, or get people telling me that I'm just jealous of REAL artists because I lack the drive to create art of my own, or whatever else) I do have some criticisms of the way people have been responding to it, and have voiced such criticisms in the past.

I think a lot of the opposition to AI art has critstallized around unexamined gut reactions, whipping up a moral panic, and pressure to outwardly display an acceptable level of disdain for it. And in particular I think this climate has made a lot of people very prone to either uncritically entertain and adopt regressive ideas about Intellectual Propety, OR reveal previously held regressive ideas about Intellectual Property that are now suddenly more socially acceptable to express:

(I wanna preface this section by stating that I'm a staunch intellectual property abolitionist for the same reason I'm a private property abolitionist. If you think the existence of intellectual property is a good thing, a lot of my ideas about a lot of stuff are gonna be unpalatable to you. Not much I can do about it.)

A lot of people are suddenly throwing their support behind any proposal that promises stricter copyright regulations to combat AI art, when a lot of these also have the potential to severely udnermine fair use laws and fuck over a lot of independent artist for the benefit of big companies.

It was very worrying to see a lot of fanfic authors in particular clap for the George R R Martin OpenAI lawsuit because well... a lot of them don't realize that fanfic is a hobby that's in a position that's VERY legally precarious at best, that legally speaking using someone else's characters in your fanfic is as much of a violation of copyright law as straight up stealing entire passages, and that any regulation that can be used against the latter can be extended against the former.

Similarly, a lot of artists were cheering for the lawsuit against AI art models trained to mimic the style of specific artists. Which I agree is an extremely scummy thing to do (just like a human artist making a living from ripping off someone else's work is also extremely scummy), but I don't think every scummy act necessarily needs to be punishable by law, and some of them would in fact leave people worse off if they were. All this to say: If you are an artist, and ESPECIALLY a fan artist, trust me. You DON'T wanna live in a world where there's precedent for people's artstyles to be considered intellectual property in any legally enforceable way. I know you wanna hurt AI art people but this is one avenue that's not worth it.

Especially worrying to me as an indie musician has been to see people mention the strict copyright laws of the music industry as a positive thing that they wanna emulate. "this would never happen in the music industry because they value their artists copyright" idk maybe this is a the grass is greener type of situation but I'm telling you, you DON'T wanna live in a world where copyright law in the visual arts world works the way it does in the music industry. It's not worth it.

I've seen at least one person compare AI art model training to music sampling and say "there's a reason why they cracked down on sampling" as if the death of sampling due to stricter copyright laws was a good thing and not literally one of the worst things to happen in the history of music which nearly destroyed several primarily black music genres. Of course this is anecdotal because it's just One Guy I Saw Once, but you can see what I mean about how uncritical support for copyright law as a tool against AI can lead people to adopt increasingly regressive ideas about copyright.

Similarly, I've seen at least one person go "you know what? Collages should be considered art theft too, fuck you" over an argument where someone else compared AI art to collages. Again, same point as above.

Similarly, I take issue with the way a lot of people seem EXTREMELY personally invested in proving AI art is Not Real Art. I not only find this discussion unproductive, but also similarly dangerously prone to validating very reactionary ideas about The Nature Of Art that shouldn't really be entertained. Also it's a discussion rife with intellectual dishonesty and unevenly applied definition and standards.

When a lot of people present the argument of AI art not being art because the definition of art is this and that, they try to pretend that this is the definition of art the've always operated under and believed in, even when a lot of the time it's blatantly obvious that they're constructing their definition on the spot and deliberately trying to do so in such a way that it doesn't include AI art.

They never succeed at it, btw. I've seen several dozen different "AI art isn't art because art is [definition]". I've seen exactly zero of those where trying to seriously apply that definition in any context outside of trying to prove AI art isn't art doesn't end up in it accidentally excluding one or more non-AI artforms, usually reflecting the author's blindspots with regard to the different forms of artistic expression.

(However, this is moot because, again, these are rarely definitions that these people actually believe in or adhere to outside of trying to win "Is AI art real art?" discussions.)

Especially worrying when the definition they construct is built around stuff like Effort or Skill or Dedication or The Divine Human Spirit. You would not be happy about the kinds of art that have traditionally been excluded from Real Art using similar definitions.

Seriously when everyone was celebrating that the Catholic Church came out to say AI art isn't real art and sharing it as if it was validating and not Extremely Worrying that the arguments they'd been using against AI art sounded nearly identical to things TradCaths believe I was like. Well alright :T You can make all the "I never thought I'd die fighting side by side with a catholic" legolas and gimli memes you want, but it won't change the fact that the argument being made by the catholic church was a profoundly conservative one and nearly identical to arguments used to dismiss the artistic merit of certain forms of "degenerate" art and everyone was just uncritically sharing it, completely unconcerned with what kind of worldview they were lending validity to by sharing it.

Remember when the discourse about the Gay Sex cats pic was going on? One of the things I remember the most from that time was when someone went "Tell me a definition of art that excludes this picture without also excluding Fountain by Duchamp" and how just. Literally no one was able to do it. A LOT of people tried to argue some variation of "Well, Fountain is art and this image isn't because what turns fountain into art is Intent. Duchamp's choice to show a urinal at an art gallery as if it was art confers it an element of artistic intent that this image lacks" when like. Didn't by that same logic OP's choice to post the image on tumblr as if it was art also confer it artistic intent in the same way? Didn't that argument actually kinda end up accidentally validating the artistic status of every piece of AI art ever posted on social media? That moment it clicked for me that a lot of these definitions require applying certain concepts extremely selectively in order to make sense for the people using them.

A lot of people also try to argue it isn't Real Art based on the fact that most AI art is vapid but like. If being vapid definitionally excludes something from being art you're going to have to exclude a whooole lot of stuff along with it. AI art is vapid. A lot of art is too, I don't think this argument works either.

Like, look, I'm not really invested in trying to argue in favor of The Artistic Merits of AI art but I also find it extremely hard to ignore how trying to categorically define AI art as Not Real Art not only is unproductive but also requires either a) applying certain parts of your definition of art extremely selectively, b) constructing a definition of art so convoluted and full of weird caveats as to be functionally useless, or c) validating extremely reactionary conservative ideas about what Real Art is.

Some stray thoughts that don't fit any of the above sections.

I've occassionally seen people respond to AI art being used for shitposts like "A lot of people have affordable commissions, you could have paid someone like $30 to draw this for you instead of using the plagiarism algorithm and exploiting the work of real artists" and sorry but if you consider paying an artist a rate that amounts to like $5 for several hours of work a LESS exploitative alternative I think you've got something fucked up going on with your priorities.

Also it's kinda funny when people comment on the aforementioned shitposts with some variation of "see, the usage of AI art robs it of all humor because the thing that makes shitposts funny is when you consider the fact that someone would spend so much time and effort in something so stupid" because like. Yeah that is part of the humor SOMETIMES but also people share and laugh at low effort shitposts all the time. Again you're constructing a definition that you don't actually believe in anywhere outside of this type of conversations. Just say you don't like that it's AI art because you think it's morally wrong and stop being disingenuous.

So yeah, this is pretty much everything I believe about the topic.

I don't "defend" AI art, but my opposition to it is firmly rooted in my principles, and that means I refuse to uncritically accept any anti-AI art argument that goes against those same principles.

If you think not accepting and parroting every Anti-AI art argument I encounter because some of them are ideologically rooted in things I disagree with makes me indistinguishable from "AI techbros" you're working under a fucked up dichotomy.

[mad-hunts]

as far as jack could tell, jervis was really out of it; and it made him wonder it was due to something that had happened while he was out with his father, or when they'd gotten here. perhaps both. jack gnawed on his bottom lip, his eyes darting to jervis's hands, which were flexing like he was struggling with something. an eyebrow rose as jack contemplated asking whether he needed some pain medication.

since he didn't receive an answer to his question yet, jack figured he might as well introduce himself. ❝ uhh, well, you don't have to talk to me if you aren't feeling up to it. my sister told me that you fainted in front of her out there — so, i understand if you're still feeling sick. my name is jack, ❞ he scratched at the back of his neck as he continued to observe jervis. whenever the man tried to get up, jack approached him and was about to caution jervis that maybe he shouldn't by lightly touching his shoulder.

but he remembered matilda telling him something about the other really not liking to be touched, so he merely was going to verbally tell him. up until jervis laid back down himself, anyhow. jack couldn't hold himself back from frowning at his poor present state before venturing out of the room with a 'i'll be right back.' and indeed he had been, with two different vials, alongside a few syringes to inject into that IV bag: should jervis want to be medicated. jack figured it'd be easier to just do that rather than forcing him to swallow anything.

he placed those also on the table before tilting his head at the quote jervis had said until it clicked a few seconds later, ❝ that's a quote from through the looking glass, isn't it? and one that the red queen said in the story if i remember correctly. she was basically teaching alice that staying in the same place is falling behind, right? ❞ jack squinted his eyes at that before a thought came to mind. a soft snort left him, but one that was done of an innocent sort of amusement rather than malice. ❝ that is a kind of roundabout way of talking about survival of the fittest. but hey, lewis carroll was all about the whimsy of things, i guess. and its no big deal. ❞

jack pretended not to see the tears that the other shed for jervis's own sake. the blood on his lips was something he couldn't ignore, no matter how hard he tried, though. jack grabbed a washcloth from his pack and held it out towards's jervis's hand. once it was out of his hand was when jack set down that teacup, the slightly too long stripped pants he wore swaying across the ground. ❝ mm, you and dad were both asleep for nearly four hours. sure — i don't think that's silly at all. i keep something on me all the time from when my brother, julien, was still around. ❞ the bracelet he showed the other on his right wrist then seemed to be made up entirely of tiny conch shells.

julien was a big fan of the sea, which jack thought made his death all the more crushing. after seeing the state that the stuffed animal was in, he figured that that bunny must've been really loved; though it didn't really matter by whom it was. the end result was the same, as love changes you. jack knew this well as he'd never wanted anything more than to be embraced by the warmth of it.

he quickly shook that thought off, only to grab the two vials he got from the fridge once more. ❝ eh... the four hours actually went by rather fast. ❞ jack cleared his throat then, ❝ you know, i couldn't help but notice that you aren't looking so hot still, and so i grabbed some meds for you. but i won't force you to take them. i have a pain reliever as well as something that relieves vertigo. are either, or both of these, something you want? ❞

Eigengrau.

A faint hum buzzed in his ears; his mouth was so dry it felt like he’d swallowed a wad of wool.

The thin sheet beneath him brushed his fingertips as Jervis flexed his hands, cracking his eyes open a sliver. The room tilted, everything blurring at the edges. Ah… so he had fainted. Just as he’d suspected. No glasses, then.

"Hey. Ahh, you're awake… That's awesome. How are you feeling?"

The new voice was barely a whisper, young and uncertain—belonging to a boy, maybe sixteen or eighteen by the timber. Was this another of Barton's assistants, a friend of Matilda’s, or perhaps her brother? Jervis couldn’t quite remember; hadn't Barton mentioned something about having more than one child?

He winced, his body feeling heavy, leaden; aching everywhere. Slowly, he exhaled and tried to push himself upright—tried being the keyword. The effort brought only a wave of vertigo, dizzying and blue-hot, making his vision swim.

… ohh, god…

He swallowed thickly, curling into himself. Something wasn’t right. His glasses and gloves weren’t the only thing missing. He was in his socks, jeans, and a now damp charcoal t-shirt, his body slick with cold sweat. His graying auburn curls clung to his neck in tangled ropes. His boots were beside the cot, his messenger bag on a desk across the room. His overcoat and maroon button-down were draped over a chair.

A flicker of discomfort in his right arm. Burning. Tugging.

Jervis glanced down at the source: a plastic tube. A peripheral IV catheter.

"Ah, you know... 'It takes all the running you can do, to stay in the same place,'" he muttered, his voice clipped and hollow; Bermudian accent casual, almost detached. He turned his eyes to the boy; offered him a faint, strained smile. "Keeps things interesting, I suppose... but I appreciate your concern, lad."

He lifted his fingers to his cheek, feeling the moisture trickle down—salt on his lips. Tears, sharp and stinging. Jervis flinched and quickly scrubbed them away with the heels of his hands.

Cold metal pressed into his spine, tight around his neck—the chain with his and Sylvie’s wedding rings twisted against his skin. He must’ve been thrashing in his sleep. There was blood on his lips.

"Forgive me…" His vision swam as he watched the boy set a teacup on the small table beside the cot, just within view. "But I'm afraid I've rather lost my sense of time. How long has it been since I…?" He paused, his voice barely steady. "... if... if you don’t mind, could you please reach into my coat pocket? You'll find a small cuddly toy. A rabbit..." He rubbed his mouth, lowered his eyes. "It sounds foolish, I know... but it... it was my daughter's, you see..."

The boy nodded, moving quickly to retrieve the toy from Jervis’ coat pocket, and placed it on the table beside the teacup. The bunny was missing one of its button eyes, its white fur faded and matted. A pink satin ribbon around its neck was frayed and tattered.

“Thank you,” Jervis said hoarsely. “I must have been out of it for quite a while.”

[wabart]

tumblr kinda crustified this and the format was already messy so IM SORRY

(also I'm positive someone's done this before but man did I ever wanna draw it)

image description below the cut:

[ID:

Fay: Who did it? I'm not mad, I just wanna know.

(OATH OF DEVOTION PALADIN)

(DEFINITELY NOT GUILTY)

Wyll: I did. I caused this--

Fay: No. No you didn't. Astarion?

Astarion: Don't look at me. Look at Gale.

Gale: What? I didn't kill her.

Astarion: Huh. That's weird. How do you even know she’s dead?

Gale: Because she’s lying right there, and she’s dead.

Astarion: Suspicious.

Gale: No, it’s not.

Shadowheart: If it matters... Lae'zel was the last to see her.

Lae'zel: Liar! I had nothing to do with this insipid bard.

Shadowheart: Is that right? What were you stalking around camp for, then?

Lae’zel: I was surveying the wilderness for threats. Everyone knows that, k’chakhi.

Wyll: Alright, alright. Let's not fight. She’s dead, let’s give her a proper burial.

Fay: No! Who killed her?

Gale: … Karlach's been awfully quiet.

Karlach: Really, Gale?

Fay: I killed her. I woke to her blood on my hands. I predict that 10 minutes from now, they will be at each other's throats.

Fay: Good.

/end ID]