#Real we need more of them

[chloesimaginationthings]

I can’t wait to see mangle in the FNAF 2 movie,,

[bacchuschucklefuck]

truly this one's just for me. I can do what I want foreverrr

[jedaos]

he gets it he really does

[lucabyte]

On autonomy, and what it means to be Obliged to Help.

Bonus:

[charlesemersonwinchesteriii]

inspired by @sunlaire's tags

[poorly-drawn-mdzs]

Remember: The burning sensation is part of the process.

[iridescentmirrorsgenshin]

alhaitham and kaveh as 'friends' - full circle

kaveh lying and using ‘his friend’ as a scapegoat for supposedly taking his plans is so um INTERESTING!! given his past references to Alhaitham, and that he was just talked with Alhaitham the scene before, this reads as a direct reference to Alhaitham, meaning that their relationship has come full circle from where we were initially introduced to kaveh

in the archon quest, paimon asks if Alhaitham and kaveh are friends, to which Alhaitham deflects, denoting a negative

but they are denied a friendship status definitively in alhaitham’s story quest where paimon directly asks kaveh if Alhaitham and he are friends, to which kaveh says although they used to be, they aren’t any longer

the game has repeatedly shown that Alhaitham and kaveh possess a deep understanding of each other, only it is their miscommunication and inability to compromise that causes the rift between them. Their character design is based around mirrors, and this ultimately poses the question of whether the two can align their beliefs, whether they can achieve a harmony

overcoming this rift between them begins in a parade of providence, where kaveh’s cycle of self-detriment in his excessive altruism due to his past guilt is particularly focussed on, with alhaitham’s reaction being saddened, and concerned, for kaveh’s mindset – not because his beliefs or philosophies are ‘correct’ over kaveh’s, but because of his belief that kaveh’s mindset negatively impacts him

Alhaitham posits that the issues between them are no longer about the ‘correctness’ of their respective philosophies after looking into sachin’s influence over kaveh’s father, in order to potentially provide kaveh closer, insinuating a more personal reason for the rift between them

It’s after this that a notable shift is seen in their dynamic, with cyno’s second story quest going out of its way to show a flashback in the intimacy of their home, and additionally showing the two voluntarily working together for the first time since their past, abandoned thesis

Their working together demonstrates this harmonisation of not only their personal, scholarly beliefs, but also their reconciliation as people, which can be seen in the two’s closeness, where they previously were separated due to strife – a closeness that is commented on by other characters

In nahida’s birthday event this intimacy is furthered even more, with kaveh wanting mehrak, an important helper companion, to be able to recognise alhaitham’s voice – as of now, this appears to be the only other person, besides himself, whom kaveh has programmed this feature for. Kaveh’s regard for mehrak, established in this scene, then carries over to Alhaitham, demonstrating how kaveh perceives the importance of their bond (i yapped about this more here!)

Going back to kaveh indirectly referring to Alhaitham as his ‘friend’, where this was previously denied, shows a fulfilment Alhaitham and kaveh’s narrative arc :’’’) I am so!?!?! Happy for them well done guys, you got there in the end <3

[untitledgoosegay]

re last reblog I do see fanfic culture pushing/replicating a certain model of "what trauma looks like," "how trauma works"

this is a problem across all areas of society obviously, but transformative works are, well, transformative. they're about crafting and modifying narratives where the fan-creator sees a flaw or a lack -- often for the better! don't get me wrong, I've done my fair share of "I take a hammer and I fix the canon," it's the main thing that gets my creative gears spinning -- but what happens when that "flaw" is simply a narrative not conforming to popular expectations?

some people just don't get PTSD from events that sound obviously traumatic. they're not masking, and they're not coping; they just straight-up didn't get the permanently-locked stress-response that defines PTSD. they walk away from a horrible experience going "well, that sucked, but it's over now." some people do get PTSD from events most people wouldn't find traumatic. we don't really know why some people get PTSD and others don't. but fandom has an idea of events that must be traumatizing, of a "correct" way to portray trauma. you see the problems with this lack of understanding in e.g. fans pressuring the devs of Baldur's Gate 3 to add dialogue where the player character badgers Halsin about his own feelings on his abuse -- because he must be traumatized, and his trauma must fit a certain mold and presentation of sexual trauma, under the mistaken impression that anything outside that narrow window is somehow "wrong" and disrespectful or even harmful to survivors.

take, for another example, the very common trope of a traumatized character who hates touch or sex "learning" to like touch or sex as a part of their healing process. certainly that can be healing for some people; other people will never like, or want, touch or sex, because of trauma or because they just don't. the assumption that someone who doesn't want sex or doesn't like to be touched must be traumatized, must be suffering from this perceived lack, is seriously harmful -- to asexual people, to people with sensory issues around touch, and to people for whom healing from trauma means freedom to refuse sex or touch.

and there's a secondary trope, one that's slightly more thoughtful but ultimately repeats the problem -- that once someone has learned that their boundaries will be respected, they'll feel it's safe to soften those boundaries. once they feel safe refusing touch or sex, they'll feel comfortable allowing it on their own terms. but many people don't, and many people won't! many people will simply never want to be touched, and never want sex, and they are not suffering or broken or lacking because of it. the idea that proving you'll respect someone's boundaries entitles you to test those boundaries -- the paradox is obvious, and yet this is something i've seen hurt (re-traumatize) people i care for.

people are imperfect victims. people don't heal in the ways you expect. many people have positive memories of their abuse, of their abusers. many people hurt others in the course of their trauma, in ways that can't easily be unpacked in a 5k oneshot. very few narratives of trauma and recovery actually fit the ones put forward by popular children's media and romance novels -- which are the ones I most see replicated in fandom spaces, because they provide the clearest narrative and easiest catharsis, and so they're easy and soothing to reach for.

that's not necessarily a bad thing! i am not immune to goopy romance tropes. i am not immune to teary catharsis. not every fic has to grapple with ugly realities. but there's a problem when these narratives become predominant, when people think they're accurate and realistic depictions of trauma, when the truth of trauma is unpleasant and uncomfortable, and doesn't fit any single narrative, let alone one of comforting catharsis

[egophiliac]

at this point I'm not going to finish this, but I need everyone to know that I don't CARE that it was Kamejim, this scene has been replaying itself in my brain for the past week --

[serpentface]

how do you come up with the ways cultures in your setting stylize people/animals/the world in general in their artwork, i.e. jewlery, rock carvings, statues, etc? Each culture in your world seems to have a very unique "art style" and I love it a lot - makes them seem that much more 'real'. This is something I struggle with a lot in my own worldbuilding and I'd love to pick your brain if possible 😁

I think a starting point is to have a research process based in the material realities of the culture you're designing for. Ask yourself questions like:

Where do they live? What's the climate/ecosystem(s) they are based in? What geographic features are present/absent?

What is their main subsistence method? (hunter gatherer, seasonal pastoralist, nomadic pastoralist, settled agriculturalist, a mix, etc)

What access to broader trade networks do they have and to whom? Are there foreign materials that will be easily accessible in trade and common in use, or valuable trade materials used sparingly in limited capacities?

Etc

And then do some research based on the answers, in order to get a sense of what materials they would have routine access to (ie dyes, metal, textiles, etc) and other possible variables that would shape how the art is made and what it's used for. This is just a foundational step and won't likely play much into designing a Style.

If you narrow these questions down very specifically, (ie in the context of the Korya post- grassland based mounted nomads, pastoralist and hunter-gatherer subsistence, access to wider trade networks and metals), you can direct your research to specific real world instances that fit this general idea. This is not to lift culturally specific concepts from the real world and slap them into your own setting, but to notice commonalities this lifestyle enforces - (ie in the previous example- mounted nomadic peoples are highly mobile and need to easily carry their wealth (often on clothing and tack) therefore small, elaborate decorative artwork that can easily be carried from place to place is a very likely feature)

For the details of the art itself, I come up with loose 'style guides' (usually just in my head) and go from there.

Here's some example questions for forming a style (some are more baseline than others)

Are geometric patterns favored? Organic patterns? Representative patterns (flowers, animals, stars, etc)? Abstract patterns?

Is there favored material(s)? Beads, bone, clay, metals, stones, etc.

When depicting people/animals, is realism favored? Heavy stylization? The emotional impression of an animal? Are key features accentuated?

How perspective typically executed? Does art attempt to capture 3d depth? Does it favor showing the whole body in 2 dimensions (ie much of Ancient Egyptian art, with the body shown in a mix of profile and forward facing perspective so all key attributes are shown)? Will limbs overlap? Are bodies shown static? In motion?

Does artwork of people attempt to beautify them? Does it favor the culture's conception of the ideal body?

Are there common visual motifs? Important symbols? Key subject matters?

What is the art used for? Are its functions aesthetic, tutelary, spiritual, magical? (Will often exist in combination, or have different examples for each purpose)

Who is represented? Is there interest in everyday people? Does art focus on glorifying warriors, heroes, kings?

Are there conventions for representing important figures? (IE gods/kings/etc being depicted larger than culturally lesser subjects)

Is there visual shorthand to depict objects/concepts that are difficult to execute with clarity (the sun, moon, water), or are invisible (wind, the soul), or have no physical component (speech)?

Etc

Deciding on answers to any of these questions will at least give you a unique baseline, and you can fill in the rest of the gaps and specify a style further until it is distinct. Many of these questions are not mutually exclusive, both in the sense of elements being combined (patterns with both geometric and organic elements) or a culture having multiple visual styles (3d art objects having unique features, religious artwork having its own conventions, etc).

Also when you're getting in depth, you should have cultural syncretism in mind. Cultures that routinely interact (whether this interaction is exchange or exploitation) inevitably exchange ideas, which can be especially visible in art. Doing research on how this synthesizing of ideas works in practice is very helpful- what is adopted or left out from an external influence, what is retained from an internal influence, what is unique to this synthesis, AND WHY. (I find Greco-Buddhist art really interesting, that's one of many such examples)

Looking at real world examples that fit your parameters can be helpful (ie if I've decided on geometric patterns in my 'style guide', I'll look at actual geometric patterns). And I strongly encourage trying to actually LEARN about what you're seeing. All art exists in a context, and having an understanding of how the context shapes art, how art does and doesn't relate to broader aspects of a society, etc, can help you when synthesizing your own.

[leafsfromthevine]

the boys are fighting (together. homoerotically, even).

[bvckbiter]

fandom talks too little about hylla and reyna. reyna killed her father when she thought he'd killed hylla. hylla dragged them out of puerto rico and found them sanctuary and employment on circe's island AND became one of circe's favorites. then when they got captured by blackbeard hylla also got them out of that situation by out-pirating literal immortal pirates. then in a span of three years, they split up, found their own ways to the amazons and cj, and became the leaders of their respective factions. when hylla's queenship was being threatened by otrera in son, she plotted a counter-coup and defeated an amazon queen who couldn't die two nights in a row in one-on-one combat, THEN led her cavalry to camp jupiter. (ik this woman slept like a corpse for a week afterwards). hylla used reyna as an absolutely ruthless bait-and-switch to capture orion, and all reyna said in response to that was, "bet." reyna carries insurmountable amounts of both guilt and gratitude towards her sister. even though they havent seen each other in a while, hylla still drops everything and does everything in her power to save her baby sister when she knows reyna needs her.

[the-judicial-assistants-notebook]

not enough discussion about the gavins' complicated relationship with feminine-coded/beauty products, i don't think.

[tetsuooooooooooo]

LOOK A BABY

[tropicalcontinental]

Human fear is the window to the soul or whatever ://

[poorly-drawn-mdzs]

Shout out to all artists who had to work without any strong direction or instruction.

I wish you a merry “the client likes it anyways”