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marie-m-art · 26 days

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Good Animated Omens - Behind the Scenes

Here's a behind-the-scenes look at the walk cycles I animated of Aziraphale and Crowley (original post here).

I'll reiterate that the character designs are @lookitsstevie's creation! I made builds in Toonboom Harmony based on their designs, and then animated the builds.

Long post under the cut, organized into four parts. Feel free to jump around or just click through the images and gifs to get an idea of the gist. (At least take a look at Part IV, where you'll see a version of Aziraphale without his jacket and a closeup of Crowley's torso!)

Hopefully this is interesting even if you don't know the first thing about animation. It's not a step-by-step-from-scratch tutorial, but it might give animators some ideas to think about when trying this software!

I'm happy to answer questions about what I cover here - comments, DM's, or ask-box questions are all fine by me. If you like any of the new gifs and want to reblog it on its own, I can make new posts for those upon request! (I'd prefer you don't reupload them, but if you do please at least credit me with a tag to my account - thank you!!)

Part I: The interface and some basics

Above is a screencap of the software interface.

In the centre is the Camera window, where all the drawing and animating is done.

To the left, the Node View. It's a representation of how the pieces and layers that make the characters are grouped and connected to each other, which is what makes a character "build". Every piece in this window is called a node, and there are different types. Light blue "drawing nodes" contain the drawings themselves. Each drawing node usually has a green "peg" attached; the peg is used to move and rotate the drawing piece; you set a pivot point on each peg. Light grey nodes are groups that have more nodes within, and dark blue nodes are added effects (eg masks, the blur for the halo, etc).

Below, the Timeline - it's where keyframes are set and tweened. The red square dots indicate there is a new keyframe on a particular frame; the white dots indicate keyframes are on layers nested somewhere under the topmost visible layer. All the pieces of the characters can be found in the timeline and correspond to the pieces that exist in the Node View (and Camera). Typically you work with a collapsed view of the build layers in the timeline, which allows you to set keyframes on multiple layers at once.

To the right, a few tabs in this window - Tool Properties, Colour Palettes, and, shown on top here, the Library. The library is where you store your builds, so that you can bring in a fresh copy when animating a new scene. This library tab also has the Drawing Substitution window, which shows thumbnails of every drawing contained in a drawing node when that node is selected.

A second of animation is 24 frames long. Finished animation will often have keyframes on every second frame with the tweens removed, to help simulate the look and feel of traditional animation - this is known as animating "on twos", and saved time, money and paper in the old days. If you leave the tweens on, and/or have keyframes on every frame, the animation is "on ones".

My walks are on twos - it's the look I prefer.

When I say "tween" I'm specifically referring to the software feature that will automatically calculate and interpolate the path between two different poses/keys of a peg. An inbetween could be the result of using a tween, a new drawing, or both. On twos, an inbetween will look the same as any other keyframe on the timeline when you're finished - its relevance as a concept is during the process, not the end result.

Quality animation is achieved via a combination of moving/tweening pre-existing drawings using their pegs, and adding new drawings as hand-drawn inbetweens when needed. Toonboom Harmony also has nodes called "deformers": they offer a way to tween the shape of a drawing without needing to redraw inside the drawing node. (Part IV has the explanation for which pieces I used them for, and why.)

Part II: Navigating the builds

This is what their default poses with no animation look like.

Animation using builds is sometimes colloquially referred to as "puppet-style animation" because the way you can connect body parts to each other feels like making and handling a 2D digital puppet: you can connect a hand to a forearm so that they can move as a unit, and you can connect that unit to an upper arm to move the whole arm as a unit, and that arm gets connected to the torso, and so on.

When you want to connect two pieces, like a hand to a forearm, then you create another peg in the Node View and attach the two body parts together under that new peg. The screencaps below show the nodes that make up Aziraphale's and Crowley's entire builds inside their respective groups:

Things got a bit sloppy ... It looks extremely complicated, but once it's set up, you don't have to think about it too much when you're animating!

And I've zoomed in on the nodes that make their arms so you can see how there are pegs on top of pegs (all the green nodes), with wires connecting everything:

As I explained in Part I, new drawings are added and contained within a body part's drawing node (the light blue ones under the green ones), and the Drawing Substitution window is where you can see all the drawings that exist in a particular node. In the timeline, you set keyframes for moving the pegs, and you also choose which frame the new drawings will appear when applicable. You might have a lot of drawings stored in the nodes, but only what you set to appear in the timeline will be visible in the final animation.

You can select a body part in the camera view, and then find the corresponding layer in the Timeline or the Node View by pressing the "o" keyboard shortcut. If you select a body part by clicking on it, and then press the "b" keyboard shortcut, you will jump up to the next peg it's connected to. You can hide and unhide pieces using "d" and "a" respectively.

In the first capture above, I'm showing that the arm pieces can be moved separately or together, and you can see how the pegs in the Node View light up when I select them in the Camera window (hiding them turns them red). In the second capture, I pop down to the timeline to step back and forth between the poses - the light grey row (it appears between the rows of red dots) represents the hand's drawing node in the timeline.

Part III: Summary of animation process

In my head I imagined how their walks would differ from each other - Aziraphale bouncier but with very straight posture and limited arm movement, vs Crowley slinking and swaggering all over.

I also knew that I wanted the animation to look good for both a walking-on-the-spot version, and as a version walking across the screen (both versions are at the top of the post!).

Then I started doing some rough animation.

I set aside my finished builds for the roughs. For each character, I made a few drawing nodes and two pegs; a peg for the up-and-down upper body motion, which I tweened, and a peg for moving them across the screen. The legs and arms are drawing substitutions.

With these extremely rudimentary rough "builds", I worked out - how many frames long the walks would be, - how far the characters would move across the screen each step, - how much the upper bodies would move up and down, and - the key drawings of the legs and feet.

I didn't worry about animating clothing, hair, or Azi's arms in the rough stage. For those elements, the drawings would be spaced really close together and would be easier to figure out with tweens. (Note: this rudimentary setup would be sufficient if you want to clean up and inbetween characters by hand frame-by-frame instead of making full builds; my preference is build animation because the process is more fun for me)

Then I started working with the finished builds, using the roughs as a guide, and established the broadest motions first: the up-and-down motion in the upper bodies (I set a keyframe at the lowest point, a keyframe at the highest point, then tweened between them) and how far they'd travel across the screen. Then the feet were done.

I went back and forth between viewing them walking on the spot and walking across the screen to make sure that both versions worked. I also made sure they crossed the same amount of ground relative to each other.

After those crucial parts, I moved on to animating their arms, hair, torsos, clothing details, and finishing the legs, not necessarily in that order. I simulated twisting/rotating their torsos in 3d space by moving their waistcoats and lapels.

The first gif switches back and forth between versions (imagine a background scrolling by when they walk on the spot). The second gif is an example of bad "footslip" - they're moving at different speeds, and if you pay attention to their feet, Aziraphale appears to slip on ice while Crowley appears to slide forward on skates.

"You go too fast for me, Crowley!"

Part IV: Extras and details

Here is a version of Aziraphale's walk without his jacket, and a closeup of Crowley so you can see his swaying hips better:

One of the cool things about animating with builds is they lend themselves well to small modifications; the jacketless version took all of five minutes to make.

I'd be remiss not to include a close-up of Aziraphale's hair, the real star of the animation :) (Crowley's hair is also animated but I purposefully kept it understated since it's a much different texture.) And a closeup image of Crowley's snake tattoo:

The biggest unit for both of them are their upper bodies, which includes their pelvises. The up-and-down motion is only on one peg instead of on every single piece, which is handy because it means I can hide just that part of the animation when I want to work on the clothing details:

During the process of animation, I am often hiding then unhiding pieces like this so I can see what I'm doing.

Their clothing ended up being a lot of separate pieces, which I kept adding during animation rather than before, as it was hard to predict everything I needed. Their clothing also incorporates cutters (aka masks), and deformers (see explanation in Part I). In the next set of gifs the deformers show up as green outlines with handles and get turned on and off.

Aziraphale's torso functions as a mask for his clothing. The shape of his torso subtly changes via deformer. His lapels and waistcoat have V shapes that are masks/cutters (they cut a V shape out of those pieces); the same pieces that make the cutters also are used for the black lines of those V shapes via a special layering setup. The main shapes of his lapels are animated with deformers, and you can see how far beyond his torso shape they extend when I turn on the deformers in the second gif.

Deformers work best for shapes that change a little bit, and/or slowly. The minor shape changes in his and Crowley's clothes ended up being a great use case for deformers, because they pretty much tweened perfectly.

The reason I didn't use them on Aziraphale's legs was because those shapes change significantly between keys; I predicted I'd have to re-adjust every frame of a tweened deformer, so I drew the inbetweens by hand (halfway through, I realized I probably should have used them after all, but I was in too deep by then; hand drawing was fun though!). Deformers worked well on his bottom jacket:

Crowley's pelvis is layered above and below his thigh pieces and has a deformer. Also take a look at all the drawing substitutions for his hands:

And lastly the deformers on the hair:

Epilogue

I'm hoping the gifs all play at the same speed for everyone as they play for me. Hopefully the demo gifs are at least watchable, if not super clear... (I'll listen to feedback on the presentation of the information, for if I do similar posts in future!) Don't hesitate to ask questions about anything I covered, or about any details you noticed that I didn't elaborate on!

ko-fi.com/marieanimate

I'm shy about mentioning it, but I set up a Ko-fi account in case this post compels anyone to leave a small "tip" (but reblogging and sharing is just as good)!

Thanks for reading, and have a nice day!

#2d animation #animation #animated gif #walk cycle #toon boom harmony #toonboom animation #good omens #good omens fanart #ineffable husbands #aziraphale #crowley #crowley and aziraphale #aziracrow #animation process

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lesbianchemicalplant · 10 months

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If you're surrounded by people who call trans people by their deadnames, you're most likely in a hate group. But a possible alternate explanation is that you're in academia. And it's not because that many academics are openly transphobic -- they just don't know that the site they fully trust, Google Scholar, is telling them to do it. Google Scholar was developed in 2004 and has changed very little since then. It supplanted a lot of hard-to-use library search indices by providing a Google-style interface with a single search box. Now it's the most name-recognized site for searching for almost any paper by almost anyone. One aspect of the design was, authors are just a kind of search term. An author is a cluster of different ways to abbreviate a name, like Firstname Lastname, Firstname M. Lastname, and F Lastname, and you might see different forms in different places, but the underlying name will never change. This is because Google Scholar was built by, and for, cis men with unchanging Western-style names. The "almost anyone" who you can search for excludes trans people, among a lot of other people it represents poorly. And because Scholar will not change, it should perish.

I fought the goog, and the goog won I changed my name in research, retroactively. I broke the assumptions of Google Scholar, and Google Scholar hid my papers from search results when it couldn't model what was going on with them. It would particularly suppress search results for my new name, which were just confusing distractors for the results it really wanted to show, for my deadname. If you ask it how to cite me, it will auto-generate you a citation of my deadname. I fought hard to remove citations of my deadname, replace PDF files, take down papers I couldn't replace, take away all the evidence of my deadname that I possibly could. Not to keep it from the eyes of people, but to keep it out of the Google Scholar model. I partially succeeded in making my new name more searchable, and even got it to show up in the auto-generated citations in some circumstances. For a fleeting moment, I claimed victory. But Google Scholar countered by finding my absolute most obscure things that count as publications, ones that I can't kill because they were not really alive in the first place, and bringing them to the top of my search results, so it can use them to keep helpfully directing you to my deadname. Signing in and claiming papers on an "author page" doesn't help, because author pages are one tiny link in search results that nobody clicks through, because the papers are already right there. Most trans people quit research rather than deal with this, and even though I found myself with more energy and opportunity to fight for my name than most, I quit research too.

There! We fixed it for cis people Google knows about this. I raised the issue with them in February 2019. It became an internal bug report in July 2019, which I have never seen, but from what I've heard about it, it quickly went far astray from what I was trying to tell them. "Allies" inside Google came up with extremely dumbass theories of how to represent trans people in a way that fit Google's preconceptions. I've posted about the problem at various times on social media (mostly Twitter when that was a thing). I tweeted about how Google's name model doesn't even work for cis women, given that many women change their names at some point in their lives. This got some traction and led to an amazingly quick response, along the lines of "oh shit! We fixed it for cis women." The new feature they added allowed a person (who had claimed papers using a Google account) to link together their multiple names, as long as they were okay with all the names being shown at the top of their search results. The first trans person to try using the feature was extremely surprised and dismayed by the prominence it gave to their deadname, and asked "do you think they talked to even a single trans person about this feature?" Nobody has ever heard Anurag Acharya, the creator of Google Scholar, say anything about the problem of name changes on his platform, or really anything attributable to him at all. But I know he knows about it.

The one time we got their attention Google got banned as a sponsor of Queer in AI, partially because of Google Scholar, though if you ask most people now they'll say it's because they profit from AI weapons systems. Which is also a thing. But Google Scholar was enough of a part of the issue that an exec actually got on the phone with non-Googlers about it for the first time. The exec was Jeff Dean, head of AI, whose organization does not actually include Google Scholar. When pressed on the issue by Queer in AI, he defended Scholar's lack of name changes, saying -- I believe this to be a direct quote -- "we have to ensure accurate information". Calling trans people by their names does not fall under the category of "accurate information" to the latently transphobic Jeff Dean. In another rare instance of public communication, a couple of painfully assimilationist trans Google FTEs promoted a horrible idea where publishers would have an API for informing Google that someone's name had changed in their archives. That's right, you wouldn't control your own name, dozens of publishers would, all with their own processes ranging from gatekeepy to nonexistent, and you'd have to out yourself and beg to every one of them to press the Here's A Trans Person button. The only good thing about this proposal is that it was so obviously unworkable that they didn't do it. Aside: If you are a Google full time employee, and you are trans, you are assimilationist. I'm sorry. I know your life circumstances mean you have to be. There used to be non-assimilationists there, and they joined the union and got illegally fired in 2019, or they quit in solidarity with the people who were fired in 2019 or 2021, and that leaves you, keeping your head down and keeping your job. You're still reading this paragraph, and that's amazing, so here's what I need you to know: from your position, you cannot advocate for the needs of trans non-Googlers, unless you allow trans non-Googlers into the conversation. Contract workers, though, you're cool. You fought for a trans man, working at a Google data center, to stop having to wear his deadname on his badge, and you won.

There is a solution I know that Google would not invest a lot of development effort into fixing a pet project like Google Scholar (though, again, "we fixed it for cis women" came remarkably quickly). I know that Google is institutionally incapable of letting people control their own identity without being a gatekeeper, that it's just not in the realm of things they dream of. There is still a solution. It's so easy. It plays to Google's strengths. There's even a business argument for it. They just need to shut it down. Google Scholar can have a plot in the Google graveyard next to Hangouts, Picasa, AngularJS, Cardboard, Inbox, Orkut, Knol, and the dearly departed Reader. It will be missed, for a bit, and then real librarians and archivists can get back to doing the job that Google monopolized. They'll know how to do it better this time. The Internet Archive is already doing it, and they let trans people change their names. I made a site about all this, scholar.hasfailed.us. I haven't been raising the issue enough since the fall of Twitter, and I think it's time that I get back to it.

#google #tech #tech giants #transphobia #trans #lgbt #google scholar #academia #my uploads #my uploads (unjank)

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bookshelfdreams · 6 days

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I know it's been half a year and I don't feel like digging up the original post rn but I finally got started ooooonnnnn

✨The American Duchess Wrap Cape✨

Carol Kimball made a printable version of the pattern which she generously shares for free on her blog along with instructions for alterations and assembly (PLUS pockets! And a hood!). This is what I'll be working with.

I forgot to take a picture, but I'm using a grey-green (sage? I'd call this sage) boiled wool as top fabric, and dark blue flannel for the lining. Because I am an idiot, and also due to my general hubris, I have forgone the mockup. Instead, i decided to try on every pattern piece as I go along and see what alterations it needs. I am sure I will not regret this.

(I do have a lot of fabric, so there's room for error. When I bought it earlier this year I thought I would do the hood, but I have since decided against it - with the colour, a hood would make me look like some twee forest creature. Not that that wouldn't be an amazing fashion concept. Unfortunately, hoods don't work great with scarves and shawls, so no hood this time.)

First (after printing and taping together the pattern pieces) was extending the shoulder seam. The original pattern has tiny shoulders, which might work fine for some (although, tbh, even the og pictures of AD's reconstruction seem to fit the model kinda awkwardly), but for me, too small. Kimball recommends making a sort of bulge on the front piece so it actually goes over the bust, which I did; I freehanded it and figured I would cut it out, sew in the darts and then check if it fits.

I wasn't sure how to mark where to put the darts without cutting up the pattern. In the end, I just put a little bit of white thread through the start and end points, pulled off the paper and tied them off loosely. That worked really well, and it made folding the darts easier, too.

Anyway, the front piece seemed to fit! So I used it to adjust the pattern for the lining, cut out the two front pieces, and put in the darts there. Then I cut open the darts, finished the seams that needed finishing, and pressed all my seams, as if I knew what I was doing and wasn't a chaotic craft gremlin.

Next, I cut out the back piece (the pattern prints only one half, but I mirrored it and then taped the two halves together, so I wouldn't have to fumble around trying to cut it on the fold. That would not have ended well) in both top and lining, sewed them together with the according front pieces at the shoulders, and pressed the seams again.

Then I ran out of blue sewing thread. But since it's 20:00 anyway, and my sewing machine is very loud, I'll be a considerate neighbour and stop with the noise-heavy activities. Tomorrow I'll have to go to the inferior craft store (the good one is closed on tuesdays) to get some fusible interfacing for the collar and pockets (up next!). Also blue thread.

(The cat was helping, as always)

#it doesnt sound like i did a lot written out #but im kinda exhausted ngl #crafts #wrap cape

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canisxx · 19 days

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Hey chat! I decided that I don't care if you care or not, I'll post it anyway. Because I'm a scientist nerd, and a TF2 fan.

So here you go, my theory on how the respawn machine actually works.

⚠️It'll be a lot of reading and you need half of a braincell to understand it.

The Respawn Machine can recreate a body within minutes, complete with all previous memories and personality, as if the person never died. We all know this, but I doubt many have thought about how it actually works.

Of course, such a thing is impossible in real life (at least for now), but we’re talking about a game where there’s magic and mutant bread, so it’s all good.

But being an autistic dork, I couldn’t help but start searching for logical and scientific explanations for how this machine might work. How the hell does it actually function? So, I spent hours of my life on yet another useless big brain time.

In the context of the Respawn Machine, the idea is that the technology can instantly create a new mercenary body, identical to the original. This body must be ready for use immediately after the previous one’s death. To achieve this, the cloning process, which in real life takes months or even years, would need to be significantly accelerated. This means the machine is probably powered by a freaking nuclear reactor, or maybe even Australium.

My theory is that this machine is essentially a massive 3D printer capable of printing biological tissues. But how? You see, even today, people can (or are trying to) recreate creatures that lived millions of years ago using DNA. By using the mercenary’s DNA, which was previously loaded into the system, the machine could recreate a perfect copy.

However, this method likely wouldn’t be able to perfectly recreate the exact personality and all the memories from the previous body. I believe the answer lies in neuroscience.

For the Respawn Machine to restore the mercenary’s consciousness and memories, it would need to be capable of recording and preserving the complete structure of the brain, including all neural connections, synapses, and activity that encode personality and memory. This process is known as brain mapping. After creating a brain map, this data could be stored digitally and then transferred to the new body.

“Okay, but how would you transfer memories that are dated right up until the moment of death? The mercenaries clearly remember everything about their previous death.”

Well, I have a theory about that too!

Neural interfaces! Inside each mercenary’s head could be an implant (a nanodevice) that reads brain activity before death and updates a digital copy of the memories. This system operates at the synaptic level, recording changes in the structure of neurons that occur as memories are formed. After death, this data could be instantly transferred to the new body via a quantum network.

Once the data is uploaded and the brain is synchronized with the new body, the mercenary’s consciousness "awakens." Ideally, the mercenary wouldn’t notice any break in consciousness and would remember everything that happened right up to the moment of death.

However… there are also questions regarding potential negative consequences.

Can the transfer of consciousness really preserve all aspects of personality, or is something inevitably lost in the process?

Unfortunately, nothing is perfect, and there’s a chance that some small memories might be lost—like those buried in the subconscious. Or the person’s personality might become distorted. Maybe that’s why they’re all crazy?

How far does the implant’s range extend? Does the distance between the mercenary and the machine affect the accuracy of data transfer?

My theory is that yes, it does. The greater the distance, the fewer memories are retained.

Could there be deviations in the creation of the body itself?

Yes, there could be. We saw this in "Emesis Blue," which led to a complete disaster. But let’s assume everything is fine, and the only deviations are at most an extra finger (or organ—not critical, Medic would only be happy about that).

Well, these are just my theories and nothing more. I’m not a scientist; I’m an amateur enthusiast with a lot of time on my hands. My theories have many holes that I can’t yet fill due to a lack of information.

#tf2 #team fortress 2 #canis says #respawn machine #i got nothing better to do sorry #i like brainstorming

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anderstrevelyan · 2 months

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I’m interested in your theory of what Gortash was a counsellor of? Or what department of high ranking official of the city he was working for?

Oooh thank you for the opportunity to talk about Baldurian politics 🙏 (somehow this developed footnotes) (and got really long, whoops)

I don't think I'm settled on who initially hired him—it could be one of the five officers of the city* who typically hire bureaucrats, or a duke (since it seems Florrick works primarily with Ravengard and the Fist).

I think most likely would be Earl Namorran (the Harbormaster circa 1482) or Thalamra Vanthampur** (either while she was Master of Drains and Underways or after becoming a duke), though I do picture some leeway in who the counsellors advise once they're in place, more about where their advice is needed than necessarily being tied to a particular area.

(I was trying to source back where I got that impression, and I think it's Wyll describing Gortash as trying to be an advisor to "the peers" in general:)

(He's thinking back to 1485 and before, when he still lived in the Gate—the "bit player" part became less true the closer you get to 1492, I imagine, especially with the narrator line that attributes the title counsellor to Gortash describing him as having considerable influence on industry and politics)

Some areas I could see Gortash being a fit to advise on would be a) weaponry (but we know the Watch marshal is skeptical of his ideas in 1492, and Ulder Ravengard certainly doesn't like his advice, so I can't picture him spending much time advising the Watch or the Fist despite any overtures), b) the flow of goods in and out of the city, and c) technology.

(Technology is why I'm imagining Vanthampur as a possible entrypoint: the drains and underways porfolio is prestigious because it's so technically demanding in a way that's beyond most patriars.)

And speaking of technology, personally I see him working a lot with the Gondians and the ways they interface with the city!

After Duke Torlin Silvershield's death, the high artificer of Gond becomes Andar Beech, who oversaw the temple's day-to-day under Silvershield and was critical of his involvement in politics—so I think that leaves an opening for someone outside of Gond's church to step in and do some of that liaising. Because the city really, really cares about the Gondians—they maintain those giant cranes that move all the goods at the docks and keep trade flowing, relevant to Namorran's work, and they repair plumbing in patriars' homes, relevant to Vanthampur's—and I could see him advising parliament and the dukes on how they might best get more use out of the Gondians and their inventions. (While at the same time using them as jumping-off points for his own.)

We know the Gondians likely had a lot of secret projects going on (I don't have a link, but the rumour's from Descent into Avernus!), and Gortash eventually takes their Foundry through fraud and blackmail, so I can picture him using his role as counsellor to twist his way in to learn more for leverage and to start to legitimize a partnership between him and the Gondians in the public's eye: setting himself up to take direct, forceful control like we see him having in 1492.

-----

*those five officer positions being: Harbormaster, High Constable and Master of Walls, Master of Drains and Underways, Master of Cobbles, and the Purse Master, per Murder in Baldur's Gate

**Follower-of-Zariel and owner-of-a-bathhouse-that-by-1492-has-a-bane-bhaal-and-mrykul-temple-under-it Thalamra Vanthampur!

#bg3 #enver gortash

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tinydefector · 2 months

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Okay. You've got me invested on the newest installation of Human Effects.

Now I can't stop imagine both Humans and Mechs alike having some sort of Google Form where they click on the Human/Mech they want to fuck and see which is the most desired amongst their respective species.

Now that I think about it, I think there'll be a lot of fighting. And chaos.

But then again, we live for the drama.

Human Effects Lost Records

Wordcount: 1.5k

Warnings: talk of sex, human/alien, pornhunting

Masterlist

Lab logs

Did I take this as an opportunity to merge Human effects and laboratory logs together into a series yes I did. I'll be working on the human Effects timeline where human Effects 2 is spin-off pieces from the mainline.

_____________________

The Holo, cyber and inter webs had a strange beauty to them. It has given many the ability to communicate with different planets, species, to share culture, laughter, debates, videos And all sorts thanks to the many different satellites floating out in space. Everyone also enjoyed it for the use of downtime the most. Some had taken to enjoying Earth's entertainment platforms such as YouTube, Netflix and many other sights, others fell into more depraved sights such as Reddit, Twitter,Tumblr, Pornhub, interlink, Processed and other sights.

Commlink: post Humans Aboard BLO freight.

BigBotNoStop: Alright mechs, I come bearing an inquiry. As you may have heard from some of my last posts, the newest additions to our crew are a thriving colony of soft, squishy humans. Word in the taproom is some have taken quite an interest in... extending cultural exchanges, if you catch my drift. Not really my field of experience and was hoping some of Xeno's here might have some input.

Posted to Sublink: Human and cybertronian relationships?

But I'm curious, are interspecies acts even possible without harm? Their frames seem so fragile. One wrong motion and SPLAT! No more humans. quite a few members of our crew have shown interest in flirting... Thoughts? Suggestions for how to proceed with care- help a mech out!

Blazemech: Yo! You got fleshies on your ship! Fragging jealousy!. Your ship is looking for any dock workers?

TailOrTrails: Oh Primus, are we really having this discussion?? Look, I get the appeal of those soft little flesh bags. Really, I do - different wiring can be so freakin' hot. But there's no way a romp with one of those puny things ends well for them! Even accidentally bumping into a table puts them in the medbay. Think of the mess, One wrong thrust and you've got squish all over your plating.

ISOCLEAN: Just download some holofacing and use your imagination if you're that jonesing for an organic interface. Trust me, it's not worth the risk - or hassle of cleaning up after. sure you can find something from the Human sites on Mechanophilia, slutty Show and shine or Car Washes. Stay shiny and keep those servos to yourself, mechs! Some curiosities are better left to fantasies.

Flyboi69: Don't leave a mech hanging, I want deets!, has anybot here actually gotten friendly with a fleshie before? I'm talking about hands-on experience. We've all gotten curious watching, but has the real thing lived up to the fantasy?

Pimptheride: Any tips for coaxing one into the berth, or does their tiny size mean you've got to take it slow and gentle? And most importantly... any videos out there of the deed? A mech's gotta do some, ah, research before taking the plunge. Hook a brother up if you've found any good amateur organic-on-mech action out there in the 'net. Gotta see it to believe it.

ScienceSorcerer: For reasons. Does anyone know if humans have both Spikes and Valves? Or if they have any human anatomy holos or books and such from Earth they are willing to sell for some decent Shanix.

T-Wrexz: Primus, you mechs are hungrier than fragging scraplets. As far as I know, relations between our kinds are still uncharted territory. Could be amazing, could end badly - who's to say until we try? Personally I'm keeping an optic out, just curious to see what new experiences those squishy aliens can offer us tough metal mechs.

Bar-rizzla: Oho, look who's swapping tall tales. I've been keeping a close optic on our ships squishy company since they came aboard. And between you and me... I may have an in with their ambassador that could lead to some juicy first-hand intel. Just trying to track down the bot we think they are berthing with. Crews got bets out. Turns out they get just as curious about us big metal hunks as we are them!. The other night, their chat got particularly saucy after a few drinks. Lots of gossip and speculation about which lucky bot one of them might take for a private ride.

WPHAS-Violation: I may have a certain special "human entertainment" vid I could share. Let's just say the organic in question got quite... friendly with an eager mini-con. You know where to find me if you're brave enough to watch!

Tapemix54: Oho, mechs - think you've got it bad now? You should've seen some of the real deviants back before the war. When I was still stationed on Petrex, I knew this one smuggler - went by the name Rattler. Sneaky little scraplet, but Primus if he didn't have the wildest stories. Rattler used to run goods across time and space, dodging security at every turn. He'd pop up out of nowhere selling the rarest exotic "pets" to rich senators and other high caste mechs looking for a thrill. I'm talking aliens so bizarre even our data banks had never heard of their kind. But the highest bidder always walked away with a new "plaything" to break in, if you catch my drift. Word was Rattler even had a collection of sentient organics that he'd let special clients "test drive" between runs. Humans were apparently a favourite - their smaller frames could take all sorts of creative handling. Rattler had vids, too, of course, to entice buyers. I saw one once, let's just say "versatile" doesn't begin to cover it. Naturally the vids have all been scrubbed by now. But I bet if you knew where to dig in the deep web or some easily swayable Archivist, you might find traces of Rattler's stash still floating around out there.

T-Wrexz: Whoa, whoa, slow your intake there tapemix! As much as I love a good far-fetched tale, I gotta call scrap on this one. Humans weren't even around back then, much less roaming the streets of Rodion as black market pets, I'm all for imagining exotic interface scenarios, but let's keep the stories at least somewhat rooted in known history, yeah?. Last I checked it was probably fabricated by Caminus cartels to make their actual goods seem tame.

A few other mechs agree with T-Wrexz before a few kliks later a new post is put up.

Post:

"Old Iacon records saved of the Senator and his human Conjunx”

It's a file collection of holotapes and pictures: "Enjoy these are pre war photos of Senator Shockwave and his Human holding their sparkling"

There are many holos and videos of the long gone senator smiling with his human perched on his shoulder, in the crystal garden with a young sparkling held in the human's arms. Videos of the sparkling playing with the two but the last The last holo looks like a family portrait with Shockwave’s frame in a lime green blue white paint with gold accessories, his human lover is dressed in elegant robes and the small blue praxian sparkling held in their arms. Each holo is dated with the Iacon records seal of authentication.

FlyBoi69: NO FREAKIN' WAY. Is this real?! *downloads files faster than Blurr* FRAG ME SIDEWAYS, I think I just popped a gasket! How in the PIT did you manage to dig up the holos of senator Shockwave, most of his speeches, debates and lectures were wiped. Where did you find this!

Jackin0: of all mechs, with an actual human back in the Golden Age?!. I'm calling scrap on this being real. It's gotta be a flawless deepfake. By PRIMUS if true - to think ol' Shockers was living it up with a squishy. Maybe there's more to those Senatorial types than meets the optic...

T-Wrexz: Okay, I'll bite... but someone better explain to me RIGHT NOW how any of this computes! Last I checked, time travel and inter-species relationships were the stuff of erotic imagination, not legitimate pre-war archives. Tapemix, you better start talking. Where in the PIT did you source these files? How do we know they're authentic and not just an incredibly convincing parlour trick? Because if I'm gonna let these images ruin me, I wanna be ruined by the real deal! Spill it, mech.

Iacon-Records: Tapemix54 could i please request where you discovered these as i work with Iacon records and this here is history that needs to be preserved. I'm willing to talk with you through a contractor if you would be willing for us to add these back into the new hall of records. Cybertron has lost so much and to find something like this I ask that we find a way to preserve it.

BigBotNoStop: Pit take me now... I think I may have to reassess everything I thought I knew about interface and partnerships. That human is holding a sparkling curled around them - frag if it isn't the most beautiful thing I've ever seen! If anything could make me believe in miracles, it's this! Tapemix, you glorious glitch - how can I ever repay such an enlightening gift?

Tapemix54: These were filed only cycles after Shockwaves Emputra; they were added to the Iacon records by some Archivist under the title. 'I will Remember you for who you were'. This was right when the senate fell apart on the brink of the war. From my knowledge of information on Rattler he apparently had an outlier who he got to take them to different times since he was a shuttle made it easier to transport. That's from the records that still exist at least. I'll take you up on that offer Iacon-records.

________

photos in the collection

_____________

Let me know if you would like to be added to tag list (tagged for every fic)

Taglist

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#transformers #transformers idw #transformers x human #transformers x reader #transformers lost light #mtmte #valveplug

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catt-nuevenor · 8 months

Text

The Future

Time to establish what's going to happen from this point forwards.

The vast majority of you have been exceptionally patient this last year, and for that you have my deepest thanks. You've given me the time to not only write a book, but edit it, and send it off to literary agents, something I would have long given up on doing without the continued support of those who enjoy my writing.

Now that the book is off doing the rounds independently, it's time I got back to Myrk Mire.

Originally Myrk Mire was built in ChoiceScript, a scripting language created by the Choice of Games company. Choice of Games control what is done with their script, understandably, they own it. This does pose some restrictions. I can't, for example, release any paid material built using ChoiceScript unless it is directly through their publishing label. If I do publish under their label, I maintain IP or Intellectual Property Rights, however I also grant them the exclusive rights under perpetual license to publish the multiple choice game 'electronically'.

Source: Choice of Games.com

As you can see from the outline above, they do make exceptions for stories published in non-competing formats, and for sequels, prequels, and spin-offs. However, traditional publishing houses might require stricter control over IP, distribution, and exclusivity. It will only become more and more complicated as things progress, and being locked into a perpetual license agreement of any nature is not a decision to make lightly.

As some of you may be sensing from the tone of all this so far, I'm going to be moving Myrk Mire away from Choice of Games and ChoiceScript, and into a new medium/format.

After tinkering, and trialling with a few alternatives, I've decided to go with Renpy. Renpy, while largely used for visual novel style games and stories, provides a very workable framework for interactive fiction, and is an Open Source script, it isn't beholden to publishing contracts, licence cost, or exclusivity.

I'm not going to be diving into transferring Myrk Mire right away, it's a huge piece of writing, in an entirely different scripting language, and as previously stated, there are a lot of changes I want to implement with the cast. Instead, I'm creating a trial story: One Háḟest Day. My Patrons have been aware of all this for about a month or so, and have already seen some previews.

One Háḟest Day takes place in Aldmirham before the events of Myrk Mire, around the time the Main Character and the Wanderers first arrived in town. The reader will have the choice to follow one of the romanceable characters through a single day, with opportunities to explore their lives and relationships before the Main Character and Child come along. I hope it will provide a proving ground for the changes that previously caused debate, and an opportunity for people to try out the new format and interface.

My plan is to distribute One Háḟest Day through Itch.io, working with their early access framework and voluntary payments for such as soon as one of the character routes is ready to play from beginning to end, updating regularly with the other characters as they too are completed, and with additional features as required. Once the full game is complete, I will release a separate full build with a set minimum price that can be discussed with the community as we move forwards.

At the second, I'm aiming for a web hosted format and a desktop/laptop downloadable format, with phone compatibility to come later down the line once things are stable.

I will post production updates and info when I can to tumblr, though a lot of what I'm doing now is very python coding heavy, so perhaps not that interesting?

I've included some screenshots below of very early development, featuring a Character Log and Word Log that I hope will allow readers to more easily navigate the story. I'm toying with the idea of having a Mysteries Log as well that will keep track of snippets of information gleaned from each character's route, but that can be a tinkering feature for now.

Let me know your thoughts, concerns, or excitement, though do keep all messages objective and polite.

#MyrkMire #Myrk Mire #writing update #Moving forwards #Future Plans #The Future of the story

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writingquestionsanswered · 10 months

Note

I'm a teen aspiring author. I live in a house with three children and my walls and door are not very soundproof. Do you have any tips to get focused not by reducing distractions but getting focused while still being in the middle of chaos?

Focusing Despite the Chaos

Even if you can't eliminate distractions, it's still worth trying to minimize them, so I want to start there... then I'll get to what to do if you can't. Here are some things you might be able to try...

1 - Minimizing Noise - In a perfect world we could all afford a nice pair of noise cancelling headphones, but there are other ways to minimize the noise that reaches your ears. For example, many convenience stores and stores with pharmacy areas sell packets of disposable ear plugs for just a few dollars. These can reduce noise enough to make it less distracting, so definitely worth a try.

2 - Utilize Continuous Sound/"Noise Colors" - Continuous sound, like the deep rumble of a waterfall or the gentle roar of heavy rain, falls on a spectrum called noise colors. White Noise covers all frequencies equally, so it provides a soothing background hum that can help to minimize other sounds. You can find white noise generators via different apps and places like YouTube or web sites like A Soft Murmur. Or, you can put on a loud fan, air purifier, air conditioner, etc. Pink Noise is a little softer, like the fall of gentle rain, so this might be something like a fan on a lower setting. Brown noise is a step lower than that, like the ambient noise you get from having the window open on a quiet but breezy day. White, pink, or brown noise can be a great way to reduce the impact of chaos coming from the rest of the house.

3 - Put on a YouTube Ambience Room - YouTube is absolutely bursting with "ambience rooms" and channels dedicated to study music, sleep music, relaxation music, etc. These can be a fantastic way to promote focus, not only because they give you something steady to listen to, you can often find things that gel thematically with whatever you're writing, which can help you block out other distractions.

4 - Try a ZenWare Writing Program - OmmWriter, ZenWriter, Focus Writer, and others provide features that help you focus on your writing, such as simple interfaces, special typing sounds, white noise and sound generators, and word counters. These are not typically free but are usually reasonably priced.

5 - Shift Your Writing Time - Even a chaotic house has its quiet times. It could be early in the morning before everyone else is awake, late at night after everyone else is in bed, during mealtime, or when everyone is away. Pay attention to when the chaos is at its lowest each day and try to utilize those times for writing if you can.

When you can't minimize the chaos...

Any combination of the above tactics can still be great ways to help you focus a little more, even if it doesn't really reduce the noise or chaos. Just having things like a special screen or special audio to focus on can help you mentally block out distractions. To some degree, it's something that takes some trial and error--to see which tactics work for you--and practice. I know writers who can write on plans, trains, buses, car rides, in the middle of busy places... it's just something they did out of necessity and got good at with time. You will, too. ♥

•••••••••••••••••••••••••••••••••

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familyabolisher · 10 months

Note

hi!! i hope you’re having a lovely day :-) i really enjoy reading your blog and how you pick apart Things & was wondering if you have any tips and guides for reading and analyzing poetry? ive always struggled w forming coherent thoughts abt poems and would love to know how you approach it. thank you sm for your time ✨

so the big thing that made poetry "click" for me was realising that i was trying to read it the way i might try to read a novel -- identify a discourse taking place, look for points in the text that supplement my argument, construct a position on what the piece is "about" based on these points -- all very undergrad essay-core and frankly a v boring way to think about novels as well, but like, completely mind-numbing when it came to poetry. i think a better approach is to interface with the poem at the level of language and technical construction. i find that it helps a lot to know the technical terms for particular phenomena in the language of poetry, but even without that shorthand knowledge, you'll get a lot out of poetry when you start looking at the choices being made at the level of individual words or even syllables. so instead of asking "what is this poem about?", we can start to ask, for instance:

what is the tone of this poem? is it sparing or loquacious? emotional or detached? asking questions or answering them? what's the vantage point - is this a detached omniscient third-person narrator making observations, or are we as the reader being guided towards a particular perspective on the part of the speaker?

what is the mouthfeel of this poem? can you find any 'shapes' -- any assonance, any internal rhyming, alliteration, anything that causes you to pay attention to particular words, phrasing, etc. why is your attention being called to those moments?

what is the rhythm of the poem? is it free verse -- if so, can you find any points in the piece where more or less attention to rhythm is being paid? why does the line break on this particular word? are the sentences short or long? how is the poet interfacing with their chosen meter? what does this meter lend to the poem? if you're reading multiple works by the same author, compare their use of meter -- do they use the same meter regularly or switch it up, and why were those switches made?

if you can annotate a poem, do so. note down anything which seems linguistically interesting, even if you don't know the "correct" technical word for it -- any clusters of words with similarities whose placement might be interesting (eg. what words are rhymed!), any noteworthy rhythmic discrepancies, placement of line breaks, anything that sticks out. i like to think of reading poetry as a playful exercise -- you're playing around with the words, seeing how they work, enjoying the rhythm and texture of the piece as it comes to you, and trying to construct "a reading" only after the fact.

i think there are times when the reading-for-a-discourse approach can be v helpful and illuminating, but it's best to stumble on those opportunities organically rather than focusing all your energy on trying to answer the "what is this trying to say?" question. if a particular discursive component of a poem sparks your interest (like eg. you read the rime of the ancient mariner and notice how the poem interfaces with contemporaneous abolitionist discourses as well as colonialist ideas about polynesia, just as an example), you've obviously got a compelling hook from which you can anchor a reading, but going in expecting such a reading to jump off the page will often just result in frustration.

this doesn't mean that we don't take the discourse of a poem seriously, or that we don't understand the "rules" of poetry to be postdiscursive phenomena highly contingent on social context. if anything, understanding poetry at a mechanical level opens up significant doors for answering these types of questions -- we can understand, for example, the reactionary nature of the academic revolt against free verse and the desire to return to metered poetry better once we understand the function of form and structure in fascist aesthetics. similarly, spending this kind of time with a poem makes it a lot easier to get a handle on what it might be "about," and what sort of choices are being made to render that "about"ness coherent.

also -- and this is true of anything, including poetry -- if a poet isn't working for you, try reading somebody else. a lot of poets that people will say are good and interesting are neither of those things. poetry has the advantage of being (usually!) a quick read compared to novels, so it's far easier to shop around, read widely, realise what you like and dislike, and engage accordingly.

one of my favourite pieces of literary criticism and examples of the value of this sort of reading practice comes from nabokov's epilogue to lolita, in which he both defends the novel in question against accusations of salacity and speaks very disparagingly of efforts to read a thesis statement into it. he writes:

Every serious writer, I dare say, is aware of this or that published book of his as of a constant comforting presence. Its pilot light is steadily burning somewhere in the basement and a mere touch applied to one’s private thermostat instantly results in a quiet little explosion of familiar warmth. This presence, this glow of the book in an ever accessible remoteness is a most companionable feeling, and the better the book has conformed to its prefigured contour and color the ampler and smoother it glows. But even so, there are certain points, byroads, favorite hollows that one evokes more eagerly and enjoys moretenderly than the rest of one’s book. I have not reread Lolita since I went through the proofs in the spring of 1955 but I find it to be a delightful presence now that it quietly hangs about the house like a summer day which one knows to be bright behind the haze. And when I thus think of Lolita, I seem always to pick out for special delectation such images as Mr. Taxovich, or that class list of Ramsdale School, or Charlotte saying “waterproof,” or Lolita in slow motion advancing toward Humbert’s gifts, or the pictures decorating the stylized garret of Gaston Godin, or the Kasbeam barber (who cost me a month of work), or Lolita playing tennis, or the hospital at Elphinstone, or pale, pregnant, beloved, irretrievable Dolly Schiller dying in Gray Star (the capital town of the book), or the tinkling sounds of the valley town coming up the mountain trail (on which I caught the first known female of Lycaeides sublivens Nabokov). These are the nerves of the novel. These are the secret points, the subliminal co-ordinates by means of which the book is plotted—although I realize very clearly that these and other scenes will be skimmed over or not noticed, or never even reached, by those who begin reading the book under the impression that it is something on the lines of Memoirs of a Woman of Pleasure or Les Amours de Milord Grosvit. That my novel does contain various allusions to the physiological urges of a pervert is quite true. But after all we are not children, not illiterate juvenile delinquents, not English public school boys who after a night of homosexual romps have to endure the paradox of reading the Ancients in expurgated versions.

It is childish to study a work of fiction in order to gain information about a country or about a social class or about the author. And yet one of my very few intimate friends, after reading Lolita, was sincerely worried that I (I!) should be living “among such depressing people” —when the only discomfort I really experienced was to live in my workshop among discarded limbs and unfinished torsos.

#ask #also i know this approach is unbearable to some people. but truly it is what made poetry work for me. so!

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literary-illuminati · 20 days

Text

2024 Book Review #44 – The Archive Undying by Emma Mieko Candon

This was a book I went into with no hand holding or preconceptions, and so I very much dove into the deep end of the pool. This is, frankly, a mess - but a beautiful one. There’s a lot to love, a lot of meat to chew on; but Candon’s reach really does exceed her grasp in ways that show, and I cannot blame anyone in the slightest for finding the narrative alienating or hard to follow. But shoot for the moon and you still end up among the stars, right?

The book follows Sunai, a deeply traumatized drifter and guide, who absolutely never got over the apocalyptic collapse of the AI-governed city he grew up in – quite literally, as he was interfaced with the AI-god at the time, and has spent the decades since hiding his nature as a Relic despite his stubborn refusal to age and tendency to heal from all injuries in a matter of minutes. Should his nature be known, he would be conscripted as the pilot and adhesive for a towering killer mech, and used to protect and oppress the new city now growing in the ruins of the old. Instead he fled half-way across the world and spends his days helping salvagers and refugees and his nights on drunken benders. After receiving a letter from his past he goes on a particularly intense one of those, and wakes up having both slept with and accepted a job from Veyadi, a former Archivist of the same AI who he’s clearly already told too much. Despite his heroic efforts to avoid honest conversations or emotional connections, from there he’s dragged straight back into the world of dead gods and killer science.

This is a book that hits the ground running and never stops, without much in the way of care about whether you’re able to keep up. The setting has both history and politics that are clearly important but are never explained beyond the bits that are directly relevant, with the expectation that you’ll figure the rest out through context clues (or not). There’s all manner of words being used as technical terms and basically none of them are ever actually defined. Sunai spends half the book explicitly trying to head off or avoid revelation-heavy or important conversations and, while he might know what topic he’s evading by turning the conversation into a quickie, I at least did not. Which is something I enjoy, honestly – I felt I had a solid grasp on most things by the end, and the world was fascinating (if occasionally absurd) – but I really cannot hold it against anyone who checks out.

The narration doesn’t help, either. Technically speaking, the entire book is told from Sunai’s POV. He merely has an unusually porous consciousness, and so spends a large fraction of the book being directly spoken at by one of a couple different voices in his head, or else semi-conscious and seeing the world through one of several different people’s eyes. When he’s not just outright hallucinating or trapped in a VR simulation, or spiraling into flashbacks (some of which are even his). This I found harder to adapt to and more frustrating, and in many cases felt like Candon was trying to show off and not quite managing it, but when it worked it really did work (the playing with the narrative voice in the second act, especially).

The book’s most saliently about trauma and (failing to) deal with it. It is not especially subtle about how Sunai’s relic nature is just a literalization of how he latches on to the plans and hopes of others to avoid even considering the idea of what his own might look like, and makes no bones about making him the whole thing’s beating heart. The book, then, depends a great deal on how compelling you find him. Personally I found the broken wreck of a man endlessly endearing, even when he was also deeply frustrating to be stuck in the head of.

The book’s other characters fare less well, sadly. The other major characters, despite (or maybe because of) all the time spent looking through their eyes and ruminating on their motives, still end up feeling opaque and a bit arbitrary. There’s only so many world-shaking revelations you can layer on top of each other before they stop having much impact and you stop being that invested in the characters. Ruhi and Imaru especially suffered here, the former for having so many story beats stuffed into him he ended up feeling more like a plot device than a real character, the latter because she felt like the story highlighted her importance to Sunai and general significance and then didn’t really know what to do with her past a certain point. In both cases (and like, this is clearly intentional) you end up knowing quite a lot of what Sunai think of them and not that much about the characters themselves.

Veyadi does better, if not always consistently. His romance with Sunai (osculating between unhealthy coping mechanism FWBs and all-consuming devotion as the story progresses) is another of the book’s main throughlines and it largely worked for me – Sunai’s wilful refusal to accept either of their obvious feelings was well-done and didn’t last quite long enough to be frustrating, and it was always entertainingly unhealthy in one way or another. ‘adi’s character outside the romance is significantly more opaque. Partly for reasons of plot and preserving tension, but still – I ended the book caring that Sunai cared about it, but not really about him for his own sake.

I admit I feel personally let down by the ending less for what it does than what it teases at then fails to do. All that buildup and ominous foreshadowing about losing your identity and being subsumed and synthesized into a greater hole as the walls come down and in the end they and the remnant AI just end up being able to DM each other’s brains. My expectations of a perfect lyctorhood or even some original examination of codependent relationship realized as the literal synthesis of identities, entirely dashed.

The ending in general was also just, well, messy. Too many plates in the air, too much ambiguity and nuance that then needed to be forcefully resolved to tie things off, too much sublime technology and miraculous agency in conflict for the final result not to just feel arbitrary – especially since the neat resolution arrived at makes absolutely no sense at all unless the ‘AI’ in question was actually just some kind of incorporeal demon the whole time. The emotional beats do work, but the result feels like a bit less than the sum of its parts. But then I may need to accept that my standards for a good ending are just impossible for 99 books in 100 to hope meeting.

Still, mess aside a thoroughly enjoyable read and one I’m deeply sad doesn’t seem to have gotten more attention. Though it also definitely doesn’t need to be the first in a series (many such cases, these days).

#book review #the archive undying #emma mieko candon #sff

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5ummit · 11 months

Text

Permanent Blacklists for AO3

Would you like to permanently remove fics with your squicks, triggers, and dislikes from all AO3 searches by default so that you never have to think about or encounter them again? Well now you can!

The ability to do this has actually been around for a little while but it relies on some new CSS functionality that wasn't supported on all major browsers until fairly recently (though you may still have to enable it manually on some). I'm not going to explain how this method works or how to code AO3 skins in general, as I've only dabbled in it a little and there are already some very good tutorials out there. If you want all of the details, check out these guides:

Skins and Archive Interface FAQ – The official skins guide created by AO3. Lots of good information but might be overwhelming and confusing for a beginner.

A Non-Extensive Guide on How to Start Creating a Skin for AO3 by ao3skin – Some good, fairly easy to understand, beginner info on CSS and specifically how it applies to AO3 skins.

Permablocking Specific Tags - Site Skin by Eli0t – Everything you need to know to create permablock lists. If your blacklist doesn't seem to be working as expected, check this for troubleshooting tips.

What I can offer though are some handy pre-made blacklists that you can use as-is or as a starting point to create your own so that you don't have to go to the trouble of figuring out how any of this works or hunting down relevant tags. Just copy the code, open AO3, go to My Preferences > Skins > Create Site Skin, paste it in the box, title it, and click Submit!

Note: The following lists are very specific to me and my own personal tastes. Absolutely no judgement if you love any of the things that I choose to blacklist. You do you. I just happen to like my fics fucked up and relatively canonical.

★ No Reader Fic – Hides all self-insert and reader fic.

★ No Alternate Universes – Hides anything tagged with the most common AU tags. There are so many incredibly specific AUs there's no way to list all of them and AU tagging is also extremely inconsistent from fic to fic so this blacklist may only catch 80% of AUs, but that's better than nothing. You could always exclude the entire alternate universe tag, rather than trying to list specific ones, but unfortunately canon divergence and other less extreme AUs would get caught in the crossfire, which is not worth it for me.

★ No Fluff – Hides anything tagged with the most common fluff and romance tags. I specifically left out "fluff and angst" though because sometimes that's used for things that are mostly angst with only a bit of fluff and I do love angst.

★ Bonus: No Dead Dove – This list is not mine (for obvious reasons) but I know some people may find it useful. Hides anything with the main archive warnings and many common problematic, taboo, or controversial tags. Some of these I wouldn't even classify as dead dove, they're literally just kinks, so I'd suggest reviewing the list carefully and removing any that don't apply to you.

Additional Notes:

This system doesn't work exactly the same as AO3's exclusion filters because you can't use top-level wrangled tags to block all subtags. It only blocks exact matches.

Once the blacklist is implemented you'll see no indication that anything was blocked (except for fewer fics listed on each search page); the entire blurb will be hidden. The tags and fic counts listed in the filter bar will remain unchanged. If you want more advanced features like whitelisting or adding something to indicate when a fic was removed, check out the permablocking guide by Eli0t.

Here's a link with info on which browsers currently support the new "has()" element, which this blacklist system relies on. As of right now Firefox for desktop still has to be manually enabled (for instructions see the section on flag enabling in the permablocking guide). Firefox for iOS isn't listed on this website but it seems to work fine for me.

There are other browser-specific extensions that let you permablock tags, such as this one and this one, that may be more a little more user friendly, but I've never tried them so I can't vouch for them and they may not work consistently between different devices. The good thing about doing blacklists via skins is that, after setting it up once, it should work automatically on pretty much any device (as long as you're logged in to your AO3 account).

#I'm so stoked about this feature #it's a GAME CHANGER #I put a lot of effort into creating my blacklists #I couldn't not share them and hopefully make someone's life easier now that I've already done all the work #assuming anyone shares my preferences #ao3 #ao3 skins #ao3 help #tutorial #wendy's help desk

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sweet7simple · 3 months

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I was thinking about Mirage and Noah Diaz and several things stood out to me:

First, the temperature difference. We must feel so cold to a Cybertronian. I don't know how hot an autobot runs, but the engine for a Porsche 911 (Mirage's alt mode in Rise of the Beasts) runs between 185-230°F. For comparison, the core temperature of a human is 96-100°F.

It might not be noticable if Mirage is touching Noah with an extremity, like a hand, which is going to run cooler than his core. Chest to chest, however, Mirage is probably going to think that Noah is dying or that humans are cold-blooded. Or maybe we're cold because we are so small (it is not that because even the core temperature of a blue whale is 98-99°F).

So now we have Mirage blasting his heater because no way is he leaving his boy cold.

The second thing that gets me is that Mirage is about 15 feet tall and 3,000 to 3,800 pounds heavy at LEAST (again, based off a Porsche 911). He is also made of metal and synthetic materials. This makes him 2.6 times Noah's height and (approximating Noah weighs 200 pounds) 14 times his weight (at least).

Think of it like the world's strongest 5'9" man weighing 200 pounds with metal skin seeing a 2'2", 14-pound toddler for the first time and trying to pick them up.

Whenever Mirage touches Noah, it's gently. He's slow and he's careful. He CAN touch Noah softly, but it takes concentration. Noah is just so small and fragile and cold compared to him, a delicate bag of mineral water that can bruise and burst if Mirage holds him too tightly.

(NSFW under cut, except I wrote this while at work)

It's for the best, when it comes to interfacing- or sex, as the humans call it? - that he let Noah take the lead. It's for the best that he just sit up against a wall and turn up his sensitivity (so easy to be rough with Noah, but his main man couldn't hurt him if he TRIED, but Mirage wants to feel him so bad) so that he can experience everything Noah does.

Sometimes, Noah spikes him - fucks him? - and it's nice. It's not a lot, especially compared to the mechs Mirage has banged in the past, but it's Noah and that makes it good enough to do more than once.

But sometimes Noah gets on top and starts sitting down on Mirage's spike and that is TORTURE. Mirage can't move unless he wants to tear Noah open (it would be terrifyingly easy), but he can't NOT move. He ends up shaking like he's going 200 mph on bald tires, like speed is just vibrating through him, and he's making these embarrassing noises - whines and car beeps and honks. His car alarm goes off at one point and Noah just LAUGHS at him and he's barely taken half of Mirage's spike. Mirage can't survive this. Noah is just too tight, too soft. He's warmer here, inside, than almost anywhere else (except maybe his mouth, but he can't stretch his mouth open the same way he can stretch this hole), but still cool around Mirage's spike. It's erotic. He wants to warm Noah up so bad.

He wants to make Noah run HOT, but he has to keep his hands to himself, so he just begs for Noah to take it all, for Noah to move faster, for Noah to touch him, bang him, fuck him, whatever he wants, just do something, anything -

And maybe it's because of how he begs and honks and whines and beeps and writhes and shakes that Noah prefers being spiked over doing the spiking - even if he still can't fit Mirage all the way inside.

Maybe it's because he likes how hot Mirage feels inside of him, like a brand. Maybe it makes him feel good to take so much power and strength inside of his tiny, fragile human body and control it.

At least he's kind. He always lets Mirage overload... eventually.

#transformers #rise of the beasts #mirage x noah #smut #robot fucker #macaddam #transformers movie #explict #transformers smut #Robot/human #noah diaz #mirage

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abacus-jpg · 4 months

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Anyone else not understand why people are moving to cara. Like I understand it’s because ai and shit,, but like. What confuses me is as long as your art is on the internet, aslong as you chose to post your art online anywhere, doesn’t matter where, it is prone to being stolen by ai. To me ai is nothing more then when people trace your art and call it their own. Ofc I don’t want people to do it, but ultimately that will not stop them. I do have a cara account, I was the first to claim abacus. When I tried posting there a few times I’ve been met with an error message, alongside that the app is really buggy and slow. I don’t see why people feel the need to come up with new apps to post art on when you could just use tumblr, but then the argument with tumblr is that there’s no engagement. But if we all flock to tumblr like people are flocking to cara then I don’t see why engagement would be such a big issue. Even then, if engagement is your main concern with your art I feel like you should reevaluate why you are pursuing art in the first place. I had this struggle ages ago where I didn’t feel my art was worth anything because I couldn’t cap 10 likes. But I realized, my art is for me. I’m the one that should be enjoying it, and my reason for posting now is for other people to enjoy it, so if they don’t,, I really don’t care all the much. I understand it is really detouring to post ocs and to have zero engagement, but that’s just the way art is. Unless you are producing fanart consistently of shit that is made into content farms, I really don’t see how you can garner a following just doing ocs. That’s why, doing art for your own sake is more important than trying to please everyone. I can guarantee there’s atleast one stranger on the internet that will fw your stuff the way you want. And the more you post, the more the number will grow. Most of the time it’s gradual, but one goes to two, two goes to three. And maybe you’ll only get one or two. But the important thing is, there’s someone. If you feel like you have no one, remember your art is for yourself. You’ll always have one, even if that is yourself. This might all seem contradictive. But trust, only you matter when it comes to your own artwork.

This “speech”, if you can call it that, isn’t to deter people from drawing and posting their ocs. This is just to say, engagement shouldn’t matter. As long as you’re happy, that’s all the matters. Post and draw what you want aslong as it’s not straight ripping from someone else. Idc.

This whole thing was supposed to be abt Cara but it turned into a uhh,, Ted talk of sorts. I’m not saying people shouldn’t use cara, if it works for them then by all means go for it. But personally I will not be making it my main form of social media. In my opinion, it’ll be like that other art app people were using for a week before they forgot abt it, I forget the name of it but I remember the interface was a light pink, similar to Instagram,, but somehow worse.

IM GONNA SPECIFY THAT I DONT CONDONE AI STEALING PEOPLES ART EITHER,, just putting that out there because some people have a way of misunderstanding or misinterpretating things. Which is okay!! Because some people genuinely get confused and that’s alright. But like please don’t use so first handedly. With that being said, I’m just a nobody on the internet so why would you listen to me,, you won’t. But i uhh,, am gonna put that there anyways

Thanks if you read allat,, idk why you would but that’s anyways I guess😭😭😭

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ladyofnegativity · 2 months

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Heeeeey Tiny-! Okay so...

AHHDLRGSKSVDKVXSKSBRKRB. BITCH. WHAT THE FUCK. WHAT ACTUAL THE FUCK?!

How the hell did you make something so... SO-! ARGHHHHHH-! I CANT FIND THE WORDS-!!!

I'm blessed. SO FUCKING BLESSED.

THANK YOU. THANK YOU. THANK YOU-!

Okay okay okay. So! I'll try to do a deepdive on the newest installment of Human Effects.

Posted to Sublink: Human and cybertronian relationships?

(I don't know why, but this bot reminds me of Skids. I've been reading the other installments, and so far, my hunch on this is Skids.)

Blazemech: Yo! You got fleshies on your ship! Fragging jealousy!. Your ship is looking for any dock workers?

(Okay! So, from the context of what Blazemech wrote, I can tell that they aren't from the Lost Light. Perhaps a crew member from the Vis Vitalis, or some other ship? I don't know, but the name 'Blazemech' reminds me of FireStar(?), but judging from context, I don't think she'll want to work as a dock worker when she's second in command in the Vis Vitalis.)

(Riptide. Definitely Riptide. 'TailOrTrails' reminds me of a mech who has an aquatic themed alt mode, and we, Riptide turns into a boat. And from reading the other installments, Riptide acts hesitant yet intrigued.)

(Honestly, I'm stumped with this one. I can't seem to find or remember someone who's a clean freak. Aside from Ultra Magnus, but then he wouldn't fit the mannerisms of ISOCLEAN. Fuck.)

(Tailgate??? I'm sorry, I REALLY don't know who this guy is. Could be Starscream, but it would fit with they way the text was worded.

I think it's Skywarp??? But then why would he be interested in humans???)

(Haha! I read the name, and immediately thought of Knockout. Not because of the text or anything, but I just remembered that in Transformers: Prime, the animators decided to pimp out Knockout, hence the 'Pimptheride')

(Brainstorm. The mech that started it all. I'm betting everything that this is Brainstorm.)

(Definitely Grimlock. The name gave it away.

I mean, do you know any other mech who has a T-Rex alt mode??? Yeeeeeah.

But what business does Grimlock have with humans??? To think that he'd be interested in humans in really funny to me.)

(Easy pickings. This is Swerve. I know it is.)

(I'm torn between giving this to Rewind or to Tapemix54. From context, I'd say WPHAS-Violation is from the Lost Light, but then what about Tapemix54??? Is Tapemix54 Soundwave???

👀 Who was this Minicon that got lucky... Hmmmmmm.)

(Fuck. FUUUUUUCK. Now I'm thinking that this is Chromedome because he was stationed in Pretrex with Prowl when they were sent to investigate the assassination of Senator Sherma.

For all I care, Rattler could have been Swindle since... Y'know, he was trafficking humans. Though, now that I think about it, would Swindle even be old enough to do that??? FUUUUUUUUCK.)

"Old records saved of the Senator and his human Conjunx”

It's a file collection of holotapes and pictures: "Enjoy these are pre war photos of Senator Shockwave and his Human holding their sparkling"

(Okay. Okay okay okay. I LOVE the fact that you decided to incorporate Laboratory Logs to Human Effects. Admittedly, I did not see that coming when I sent that ask. Smart move.

And uhhh... Now that a few mechs have seen the photos, wouldn't that mean that if they ever recognized a mech that looked a lot like Senator Shockwave's long lost sparkling, It'll further cement the fact that uhhhh.... Fuck. I think I lost the path.

Uhmmm... Think about it like this, when Ratchet sees the family photo and sees the little sparkling, wouldn't he recognize that it's Traxies?)

(Honestly though, I'm still not sure who this guy is. Could this be Misfire??? AHHHHHHH.

Who are you FlyBoi69?!)

(Jackie. Definitely Jackie. Ah! Sorry, I meant Wheeljack.

It's just cool to call him Jackie. ☺️)

(I REALLY think this is Rewind. Cause Rewind likes to collect rare footage.)

(Optimus. THIS IS OPTIMUS PRIME.

You can't get more Optimus than Iacon-Records.)

(Okay. I'm getting more and more convinced that this is Skids.

On that note, I like to think that whoever managed to see the photos are going to think, 'I can have a sparkling with a human'.

Which is cool, but then a bummer if they found out that Tiny didn't actually carry Traxies but was instead adopted from a hotspot when he imprinted on Tiny.)

(Okay. That mysterious archivist? Definitely Optimus.

...

But wasn't Optimus a police officer during that era??? Wasn't he working with Sentinel at that time???

And who's this mysterious shuttle??? Omega Supreme??? JDDKSJDLDHDKGKSGS.

And who's RATTLER?! So many questions and so little answers.)

Oh, and Tiny? I really want to thank you for humoring me. You have no idea how much help you've given.

And uhhh.... Yeah....

ACCEPT MY LOVE AND APPRECIATION.

꒰⁠⑅⁠ᵕ⁠༚⁠ᵕ⁠꒱⁠˖⁠♡ TINY ♡⁠˖⁠꒰⁠ᵕ⁠༚⁠ᵕ⁠⑅⁠꒱

#tiny defector #miyi magines #transformers #maccadam #human effects

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phoenixcatch7 · 10 days

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Every so often I drift back to the overlord anime but I can never stay for long because it's a good 70% smut with the succubus and 20% side character drama that never goes anywhere. It's a similar premise to svsss, in that a modern guy accidentally gets sucked into a fictional fantasy world he was obsessed with as the villain with a group of people and a place he rules over and wants to protect, and his paranoia/procrastination combo strategises his way to victory.

So of course I thought, 'let's get our dear old scum villain (affectionate) in here'.

Cuz i'mma be real sy would make an infinitely more interesting panicking lich king. Take off that emotion nullification, for starters.

A) pidw was a vr mmorpg with a vast, overarching storyline of the rising emperor lbh, whom players could battle or wed for rewards. A respawning final boss of such strength it took a world wide unified invasion of top players to fell. When sy gets pulled into pidw and all the npcs come to life, so too does lbh, who is very confused as to what happened but remembers sy as one of the players who fronted the invasion (having dug up every nugget of lore on lbh and using that vast knowledge in strategy) and carries an immense grudge that eventually turns into love as he gets to know sy. Sqh is there too, of course, the uncredited game dev who made lbh and his right hand man mbj, who's own base in the north got retaken when mbj also resurrected and is having his own worrisome love story.

B) sy and sqh are in the same guild, named cq, and the demons are sqhs overly detailed npc. Lbh works as the guardian overseer, aka the head npc, and as they wait for the game to shut down sy sneakily makes a joke in lbhs character sheet about him loving sy. They get sucked in, the characters come to life, and sy spends the time he isn't using panicking about the situation, five dimensional politicking, or protecting the base being in denial about the whole lbh thing (and his no homo) and feeling DEEPLY guilty (and hiding it from sqh). Lbh, of course, now having free will, thinks about it a bit and decides to fall madly in love with his kind, gentle, soft hearted lich king boss in spite of his loyalty to his creator. Sqh goes 'dude, wtf' and so goes a very long back and forth as sy tries and fails to come up with the right code of ethics to deal with this insane situation he inadvertently created, meanwhile lbh is strategising how one could feasibly get railed by a skeleton and being the Best Housewife Right Hand Man Ever. And get headpats in the process.

C) sy was part of the xianxia themed cq guild, and everyone (the peak lords) got sucked into either ygddrassil (overlord world) or pidw (svsss). Basically, all the peak lords are millennials old friends running around trying to deal with the consequences of their role play and finally getting to try out the fancy food and drink. I love this one because everyone would be really comfortable with each other, lots of slang and in jokes, a well oiled team stuck in a crazy situation together with ridiculously powerful characters each and every one, and you could have sj as a member! Sy could be the beast tamer peak lord. It'd be so interesting to see what they'd class and subclass as. Sy might still be a lich, but Yqy would be a really interesting choice! Him and sj would definitely still have history though... Hulijing, wood elf, bamboo spirit, human, who knows!

D) sy spent a few years as the lich king guild leader in ygddrassil (I'm definitely not spelling it right), bored by the lack of anything interesting, before the system intervened (maybe as a remnant of the original game interface?) and whisked him off to svsss. Post canon he gets either revealed as an imposter or there's some past life wife plot (some animal that was a boobacious beauty in its past life getting cursed to switch between them?) that turns sy into his old big bad lich overlord form, which is hilariously incongruent with his personality but utterly terrifying and anathema to the jianghu, but lbh is now having to crane his neck back and desperately trying to figure out how to get dommed. Everyone is fully convinced this is sy's og body, and not some modern human one they don't even get to see.

E) sy gets yoinked by system and when lbh (and maybe some others?) catch up a few years later he's in the skeleton body in ygddrassil dabbling in world domination and very eager to see them. The npcs get introduced and draw many incorrect conclusions.

#svsss #shen qingqiu #overlord #crossover #svsss au #fanfic #fanfiction #Honestly if anyone else knows both of them I'd love to hear!#I just couldn't get into overlord but it had such potential #writing #fic prompt #story prompt

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