#but functions in a fundamentally different way

[directdogman]

Stupid question, but it's leaving me sleepless, for some reason.

Assuming furries exist in the dialtown universe, would they have the same head as animals in dialtown do? Or would they be based off animals head pre-dial-up? Antique style, I guess.

My assumption is that object heads would be the norm since they'd likely be easier to spoof (and could even double as a socially acceptable way to appear more like your fursona in daily life), but there'd almost certainly be a split in people's preference due to a cultural quirk caused by one of the Dialup's intended psychological effects.

Crown wanted to blur the visual boundary between humans and animals in order to hopefully incite humans to care more about the various species. While one way to do this was to give animals unique niches/functions (which many do not perform at all usefully, as reality isn't written like an episode of the Flintstones), another key aspect of the change was to make humans care more by making animals look more like people - and vice versa. People care about what they can intrinsically relate to (and of course, see themselves in.)

This idea didn't really pan out on any level.

Anyway, this is where we get into the psychological nuance caused by this shift and why either design might be preferable.

Wearing an object head that matches your fursona's species, assuming you want to be seen as an anthropomorphic animal in DT's universe is certainly one way of going about it. Hell, you could literally swap your original head's casing out for a reworked replacement outer layer of whatever your animal OC's head is, and it'd look exactly like the animal you're basing it off. Imagine if you could buy a blinking/hyperreactive fursuit head in our reality that looked 100% like an actual fox's face. I'm sure there's people out there who'd want one.

...However, that brings up a question: What if someone didn't want to look like an actual animal? Most fursuits don't aim to be truly photo-realistic of course and instead go for something more stylized. Flesh head designs could be the equivalent of this since it's something you can't encounter in the wild in any form.

Ironically, I could also imagine a small minority of people who want their designs to be more animalistic taking this approach too, since like I said, the Dialup made humans and animals look more similar. By creating something that appears fundamentally organic around a normally inorganic head, you would look less human in DT's world - and by proxy, more like an animal.

Finally, worth noting: I'd have to imagine that there's also a lot of zoology nerds who have an interest in pre-Dialup biology and would thus want it depicted in their designs. Y'know, kinda like how people make fursuits of extinct animals like saber-tooth tigers. A lot of furries are zoology enthusiasts and I have to imagine finding out at some point in your early life that EVERY animal had bizarrely different designs just a few generations ago would be something people would wanna get artistic millage out of.

Hope this helps!

[redhoodinternaldialectical]

"Murder is Werewolves" - Batman

I don't got the SPOONS to do this thought train justice, I have seriously been trying to write this thing for MONTHS so just, idk, have this half baked skeletal outline of the essay I guess:

I don't believe that Batman's no-kill rule is primarily about rehabilitation or second chances.

His refusal to believe that Cassandra could have killed someone when she was eight years old because "how could a killer understand my commitment not to kill" is absolute fucking MOON LOGIC from a rehabilitationist standpoint. No jury on the planet would think for even a second that she could reasonably be held accountable for her actions in that situation! Her past cannot condemn her to being incapable of valuing human life under a rehabilitation centering framework. However, Batman's reasoning makes perfect sense if he believes that killing is a spiritually/morally corrupting act which permanently and fundamentally changes a person, and that corruption can never be fully undone.

Dick Grayson killing the Joker is treated both narratively and by Batman as an unequivocally WIN for the Joker. The Joker won by turning Nightwing into a killer. Note that this is during a comic in which the Joker transforming people was a major theme! Batman didn't revive the Joker because the Joker deserved to live; he revived the Joker to lift the burden on Dick.

His appeal to Stephanie when she tried to kill her dad is that she shouldn't ruin her own life. He gives no defense of Cluemaster's actual life. Granted this is a rhetorical strategy moment and should be taken with a generous pinch of salt, but it fits in the pattern.

When Jason becomes a willful killer, he essentially disowns him, never treats him with full trust ever again, and... Well, we can stop here for Bruce's sake. Bottom line is that his actions towards Jason do not lead me to believe that he thinks Jason can become a better person without having his autonomy taken from him, either partially or fully.

The Joker is, for better or worse, the ultimate symbol and vessel of pure, irredeemable evil in DC comics now. He hasn't been just another crook in a long time. He will never get better, he will only get worse. If you take it to be true that the Joker will not or can not rehabilitate, then there's no rehabilitationist argument against killing him.

Batman does not seem to consider it a possibly that he'll rehabilitate. Batman at several points seems to think that the Joker dying in a manner no one could have prevented would be good. Yet Batman fully believes that if he killed the Joker, he himself would become irredeemable.

Batman's own form of justice (putting people into the hospital and then prison) is fucking brutal and clearly not rehabilitative. He disrespects the most basic human rights of all criminals on a regular basis. It is genuinely really, really weird from a rehabilitationist standpoint that his only uncrossable line is killing... But it makes perfect sense if he cares more about not corrupting himself with the act of killing than the actual ethical results of any individual decision to kill or not kill.

In the real world cops are all bastards because they are too violent to criminals, even when that violence doesn't lead to death. Prison is a wildly evil thing to do to another human being, and you don't use it to steal away massive portions of a person's life if your goal is to rehabilitate them. In the comic world, Batman is said to be necessary because the corrupt cops are too nice to criminals and keep letting them out of jail. I don't know how to write a connector sentence there so like I hope you can see why this bothers me so damn much! That's just not forgiveness vibes there Batman!!

I want to make special note here of the transformative aspect. You don't simply commit a single act when you kill, no, you become a killer, like you might become a werewolf.

The narrative supports this a lot!

Why did Supes go evil during Injustice? He killed the Joker. Why did Bruce become the Batman Who Laughs? Bruce killed the Joker. Why was Jason Todd close to becoming a new Joker during Three Jokers? Because he killed people, to include the Joker.

Even if these notions of redemption being impossible aren't the whole of his reasoning (people never have only one reason for doing what they do) it is a distinct through-line pattern in his actions and reasoning, and it is directly at odds with notions of rehabilitation, redemption, and second chances.

So why does he give so many killers second chances?

Firstly because this doesn't apply to all versions of Batman. Some writers explicitly incorporate rehabilitation and forgiveness into his actions. You will be able to provide me with examples of this other through-line pattern if you go looking for them. The nature of comics is to be inconsistent.

Secondly the existence of that other pattern does not negate the existence of this one. People and characters are complex, and perfectly capable of holding two patterns of belief within themselves, even when they conflict to this degree. You can absolutely synthesize these two ideas into a single messy Batman philosophical vibescape.

Finally and most importantly to this essay: he has mercy on killers the same way that werewolf hunters sometimes have mercy on someone who is clearly struggling against their monsterous nature, especially if they were turned in exceptional circumstances or against their will. They understand that they are sick, damned beasts, cursed to always be fighting against themselves and the evil they harbor within. It is vitally kind to help them fight themselves by curtailing their autonomy in helpful ways and providing them with chances to do some good to make up for their eternal moral deficiency.

I think in many comics Batman views killers as lost souls. Battered and tormented monsters who must be pitied and given mercy wherever possible. (The connections to mental health, addiction, and rampant, horrifying ableism towards people struggling with both is unavoidable, but addressing it is sadly outside of the scope of this essay.)

Above all, the greatest care possible must be taken to never, ever let yourself become one of them, because once you have transformed the beast will forever be within you growing stronger.

To Batman, it is the most noble burden, the highest mercy, the most important commandment: Thou shalt suffer the monsters to live.

[nolongerexistingsadcatface]

Ok yes America hating the cold is funny (eh) BUT. have you considered that I like the imagery of an America sitting alone in the forest in the bleak mid-winter landscape of an east coast woods, all alone in both body and mind, agonizing over her seeming doom to be stuck in the throes of loneliness for all eternity?

[icicleteeth]

Went on a tangent a bit about this on twt but the useless hill I'm ready and willing to die on is wanting these rpg worlds to have a more fleshed out (from a lore perspective) explanation to how the currency system works, because so many just use single gold pieces, which makes sense in a gameplay way but how does this work in terms of commerce... Are we just carrying around sacks of several hundreds of thousands of coins...

Just think about how much of a pain in the ass it would be to buy an enchanted weapon from an enchanter for, even just 1k gold, okay maybe we can assume there's like some standardized 500 gold sleeves (like how there are coin rolls irl) well what if that weapon is a weirder number like 1439 gold, okay well now you gotta get more specific, and the vendor's counting all the coins to make sure you got the right amount (assuming we're talking purchasing rather than bartering, but at least in TES, bartering has long stopped being a thing) And don't even get me started on large quantity sales like purchasing estates... I know we're never going to get an actual banking system like Daggerfall again, but at least...idk have a bank or mention of that stuff somewhere, even if it's just flavor text or decorative and has no gameplay function to it... I am begging....

[dreampearls]

the main problem when it comes to talking abt collei actually is that i rarely ever specify when I'm talking about collei the character from genshin impact or collei the colleination collective oc

[missbaphomet]

Guards in Skyrim: *recognize you in passing and comment on it even if your crime is as simple as "I picked up this random low value item off the ground and didn't realize it technically belonged to an NPC"*

Guards in Assassin's creed: *do not give a shit that a dude in a flamboyant white outfit killed Important Person after he leaves their line of sight because object permanence is for chumps*

[somerandomcryptid]

Dearest SuzyLM,

I suppose it’s not the most traditional pairings no… Though really, growth spells and necromancy are pretty closely related, so it’s not too strange. Really, illusion is the odd one out, but Well I suppose if we are starting from basics then I should actually explain how magic is related to each other, and also where ‘witchcraft’ becomes ‘wizardry’ because there is a difference. (if I already know all this I’m sorry to most likely bore you with the basics but I am working from the assumption you do not have any concrete knowledge of this world’s magic)

I’d say the biggest thing is whether a spell has material components, language components, or both. A lot of people will just try to list the schools of magic as a starting point but they’re mostly arbitrary and can be divided into sub schools basically indefinitely. Also when I say ‘language components’ that’s not just verbal language, hand and body movements count under it as they function about the same.

Now the difference between witchcraft and wizardry is fairly straightforward, but also a bit complicated if that makes sense. The main way I can describe it is that, witchcraft is fundamentally natural, and wizardry is fundamentally artificial. For example, conjuration(the act of creating something without using material components) is wizardry, potions (creating effects when consumed through purely merging pieces of the natural world into a consumable form) is witchcraft. But an easy thing to remember it is that if the spell has no material components it can’t be Witchcraft, because it is conjuration and thus unnatural. (note that not all spells with material components are Witchcraft though)

Conjuration is a very interesting subset of magic because it is naturally unstable. I mean you’re essentially weaving words into physical form, it’s not easy. The easiest form of conjuration is creating something already unstable, such as fire. Now of course the hang up on this is that fire is dangerous. It is easy to make, but hard to control. 

You might think illusion making is conjuration, but it honestly usually falls in it’s own category. This is because to make an illusion you are usually just bending light or sound. It’s closest related to transmutation though

Transmutation, while having material components, is considered wizardry for the most part. Because you are shifting mater to a usually completely different state, which in it’s self in unnatural.

I think those are the big two things considered Wizardry but if I remember something else as I write then I’ll add it.

Witchcraft is so wide that I wouldn’t know where to start so I’ll simply explain growth spells and necromancy, as those are my other specialties beyond illusion.

Growth spells are essentially just accelerating a plant or funguses growth, there are a few different techniques to doing this, but I personally use a more genetic route. I essentially use magic to modify the composition of the plant, speeding up how it grows and what it’s requirements are for growth. But I am not very good at it currently so I can only really do basic changes.

Necromancy is an incredibly strict form of magic. Which is something I don’t like very much about it. You have to do things all in a certain way ot it completely fucks up and then you in best case senerio have a still dead person and in worst case senerio have a shambling undead. Necromancy is essentially just healing with a side of spirit summoning though. Even if healing a corpse is much harder then healing someone who is wounded. You have to do all the work of re-kicking the healing factor in rather then just accelerating it a lot.

But to me it’s almost second nature at this point I suppose. It’s just mildly inconvenient for me now, not the grueling, terrifying process it was when I started doing it. Which is….. A story for another time, maybe never. But if I do tell it I’d really prefer it be in person. It’s very hard to write down for me.

Tangent aside I now realize this may have not been what you were asking for but it’s what came out of my brain I’m afraid. I hope it was at least somewhat useful to you.

Since this is already many pages I’ll end it here. But I’ll try to get a time set up for you to meet the kids next time I run into them and their moms. 

-Your friend, Dream :)

A letter for Dream!! :)

And, of course, the flowers!! :D

I hope he likes them. :)

@somerandomcryptid

(Pardon my spelling and grammar on the note. I was having a hard time getting it to work properly. TvT)

[tanadrin]

The fact that if someone posts a link to a tumblr post in a reply I cannot navigate to it using the tumblr app highlights the reason I hate apps replacing websites.

There’s nowhere in the tumblr app to enter a URL—your only option is to search up a user name and then try to find the post manually

If you copy-paste the link to a web browser like Firefox you get a login-prompt doorslam as soon as you scroll, even if you’re logged into the app.

You cannot easily click on a button from the webpage to load the post in the app

Even copy-pasting the URL is a PITA because the iOS tumblr app doesn’t actually let you select a portion of the text of a reply, only copy the whole thing to the clipboard.

I really hate the way apps break basic interface functionality that’s been standard for decades across different web browsers, to deliver content that is fundamentally just a webpage. @staff please fix this very annoying UI issue at least

[wizard-mp4]

My favorite game at work is watching my coworkers doing my job for me after I already did it once

[sirenthestone]

@staff @support

Nobody here wants this stuff! You're just gonna lose users, and none of this makes this site competitive to new users. It's bad business!

“oh they’re not taking away chronological dashboard, well everything’s okay then” they also said in the post they’re making reblogs collapsed (like comments on twitter) so you won’t see the full conversation in a post. they also won’t get rid of tumblr live despite it being an annoying and cancerous data-miner that isn’t legal in much of the world. they won’t even let you opt out of tumblr live for more than seven days. they implemented a terrible photo viewer that mimics tiktok and makes it so you can’t zoom in on images. they took away the ability to view prev tags. they’re making it so you have to sign in with your email to view almost any thing on tumblr. they’ve already made it so you have to sign in to send asks, even on anon. they’re slowly phasing out custom blog themes.

the things that make tumblr at all usable and favored by us– the older web blog features, the anonymity– that is still being taken away. it HAS been being taken away for some time now. i am urging you people to reveiwbomb the tumblr app. force them to acknowledge that users do not like these changes.

[jonnywaistcoat]

What’s your opinion on the contrast between “silly” and “serious” spaces? Do you think people can have very serious interpretations about a genuine piece of media and also be goofy about it? I’m asking this particularly because I’ve seen people in the Magnus podcast fandoms fight about people “misinterpreting” characters you, Alex, and the many other authors have written. Are you okay with the blorbofication or do you really wish the media you’ve written would be “taken seriously” 100% of the time?

And follow up question, what do you think about the whole “it’s up to the reader (or in some cases, listener) to make their own conclusions and interpretations and that does not make them wrong”, versus the “it was written this way because the author intended it this way, and we should respect that” argument?

This is a question I've given a lot of thought over the years, to the point where I don't know how much I can respond without it becoming a literal essay. But I'll try.

My main principle for this stuff boils roughly down to: "The only incorrect way to respond to art is to try and police the responses of others." Art is an intensely subjective, personal thing, and I think a lot of online spaces that engage with media are somewhat antithetical to what is, to me, a key part of it, which is sitting alone with your response to a story, a character, a scene or an image and allowing yourself to explore it's effect on you. To feel your feelings and think about them in relation to the text.

Now, this is not to say that jokes and goofiness about a piece of art aren't fucking great. I love to watch The Thing and drink in the vibes or arctic desolation and paranoia, or think about the picture it paints of masculinity as a sublimely lonely thing where the most terrible threat is that of an imposed, alien intimacy. And that actually makes me laugh even more the jokey shitpost "Do you think the guys in The Thing ever explored each other's bodies? Yeah but watch out". Silly and serious don't have to be in opposition, and I often find the best jokes about a piece of media come from those who have really engaged with it.

And in terms of interpreting characters? Interpreting and responding to fictional characters is one of the key functions of stories. They're not real people, there is no objective truth to who they are or what they do or why they do it. They are artificial constructs and the life they are given is given by you, the reader/listener/viewer, etc. Your interpetation of them can't be wrong, because your interpretation of them is all that there is, they have no existence outside of that.

And obviously your interpretation will be different to other people's, because your brain, your life, your associations - the building blocks from which the voices you hear on a podcast become realised people in your mind - are entirely your own. Thus you cannot say anyone else's is wrong. You can say "That's not how it came across to me" or "I have a very different reading of that character", but that's it. I suppose if someone is fundamentally missing something (like saying "x character would never use violence" when x character strangles a man to death in chapter 4) you could say "I think that's a significant misreading of the text", but that's only to be reserved for if you have the evidence to back it up and are feeling really savage.

I think this is one of the things that saddens me a bit about some aspects of fandom culture - it has a tendency to police or standardise responses or interpretations, turning them from personal experiences to be explored into public takes to be argued over. It also has the occasional moralistic strain, and if there's one thing I wish I could carve in stone on every fan space it's that Your Responses to a Piece of Art Carry No Intrinsic Moral Weight.

As for authorial intention, that's a simpler one: who gives a shit? Even the author doesn't know their own intentions half the time. There is intentionality there, of course, but often it's a chaotic and shifting mix of theme and story and character which rarely sticks in the mind in the exact form it had during writing. If you ask me what my intention was in a scene from five years ago, I'll give you an answer, but it will be my own current interpretation of a half-remembered thing, altered and warped by my own changing relationship to the work and five years of consideration and change within myself. Or I might not remember at all and just have a guess. And I'm a best case scenario because I'm still alive. Thinking about a writers possible or stated intentions is interesting and can often lead to some compelling discussion or examination, but to try and hold it up as any sort of "truth" is, to my mind, deeply misguided.

Authorial statements can provide interesting context to a work, or suggest possible readings, but they have no actual transformative effect on the text. If an author says of a book that they always imagined y character being black, despite it never being mentioned in the text, that's interesting - what happens if we read that character as black? How does it change our responses to the that character actions and position? How does it affect the wider themes and story? It doesn't, however, actually make y character black because in the text itself their race remains nonspecific. The author lost the ability to make that change the moment it was published. It's not solely theirs anymore.

So yeah, that was a fuckin essay. In conclusion, serious and silly are both good, but serious does not mean yelling at other people about "misinterpretations", it means sitting with your personal explorations of a piece of art. All interpretations are valid unless they've legitimately missed a major part of the text (and even then they're still valid interpretations of whatever incomplete or odd version of the text exists inside that person's brain). Authorial intent is interesting to think about but ultimately unknowable, untrustworthy and certainly not a source of truth. Phew.

Oh, and blorbofication is fine, though it does to my mind sometimes pair with a certain shallowness to one's exploration of the work in question.

[ranboo5]

do you think they could have gotten better? if everything was safe if things got better could the rotten roots been replanted and flourished into something new?

I do think so yeah . If things get better , and they all get room to breathe, they can start that work if they want. I think they can learn to build a relationship that is not rising action

[handweavers]

something that comes up for me over and over is a deep frustration with academics who write about and study craft but have little hands-on experience with working with that craft, because it leads to them making mistakes in their analysis and even labelling of objects and techniques incorrectly. i see this from something as simple as textiles on display in museums being labelled with techniques that are very obviously wrong (claiming something is knit when it's clearly crochet, woven when that technique could only be done as embroidery applied to cloth off-loom) to articles and books written about the history of various aspects of textiles making considerable errors when trying to describe basic aspects of textile craft-knowledge (ex. a book i read recently that tried to say that dyeing cotton is far easier than dyeing wool because cotton takes colour more easily than wool, and used that as part of an argument as to why cotton became so prominent in the industrial revolution, which is so blatantly incorrect to any dyer that it seriously harms the argument being made even if the overall point is ultimately correct)

the thing is that craft is a language, an embodied knowledge that crosses the boundaries of spoken communication into a physical understanding. craft has theory, but it is not theoretical: there is a necessary physicality to our work, to our knowledge, that cannot be substituted. two artisans who share a craft share a language, even if that language is not verbal. when you understand how a material functions and behaves without deliberate thought, when the material knowledge becomes instinct, when your hands know these things just as well if not better than your conscious mind does, new avenues of communication are opened. an embodied knowledge of a craft is its own language that is able to be communicated across time, and one easily misunderstood by those without that fluency. an academic whose knowledge is entirely theoretical may look at a piece of metalwork from the 3rd century and struggle to understand the function or intent of it, but if you were to show the same piece to a living blacksmith they would likely be able to tell you with startling accuracy what their ancient colleague was trying to do.

a more elaborate example: when i was in residence at a dye studio on bali, the dyer who mentored me showed me a bowl of shimmering grey mud, and explained in bahasa that they harvest the mud several feet under the roots of certain species of mangroves. once the mud is cleaned and strained, it's mixed with bran water and left to ferment for weeks to months.  he noted that the mud cannot be used until the fermentation process has left a glittering sheen to its surface. when layered over a fermented dye containing the flowers from a tree, the cloth turns grey, and repeated dippings in the flower-liquid and mud vats deepen this colour until it's a warm black. 

he didn't explain why this works, and he did not have to. his methods are different from mine, but the same chemical processes are occurring. tannins always turn grey when they interact with iron and they don't react to other additives the same way, so tannins (polyphenols) and iron must be fundamental parts of this process. many types of earthen clay contain a type of bacteria that creates biogenic iron as a byproduct, and mixing bran water with this mud would give the bacteria sugars to feast upon, multiplying, and producing more of this biogenic iron. when the iron content is high enough that the mud shimmers, applying this fermented mixture to cloth soaked in tannins would cause the iron to react with the tannin and finally, miraculously: a deep, living grey-black cloth.

in my dye studio i have dissolved iron sulphide ii in boiling water and submerged cloth soaked in tannin extract in this iron water, and watched it emerge, chemically altered, now deep and living grey-black just like the cloth my mentor on bali dyed. when i watched him dip cloth in this brown bath of fermented flower-water, and then into the shimmering mud and witness the cloth emerge this same shade of grey, i understand exactly what he was doing and why. embodied craft knowledge is its own language, and if you're going to dedicate your life to writing about a craft it would be of great benefit to actually "speak" that language, or you're likely to make serious errors.

the arrogance is not that different from a historian or anthropologist who tries to study a culture or people without understanding their written or spoken tongue, and then makes mistakes in their analysis because they are fundamentally disconnected from the way the people they are talking about communicate. the voyeuristic academic desire to observe and analyse the world at a distance, without participating in it. how often academics will write about social movements, political theory and philosophy and never actually get involved in any of these movements while they're happening. my issue with the way they interact with craft is less serious than the others i mentioned, but one that constantly bothers me when coming into contact with the divide between "those who make a living writing about a subject" and "those who make a living doing that subject"

[piraytoro]

I also think these discussions make the mistake of taking 'anti-natalist' arguments at face value and ascribing to them their stated function rather than their actual function. I don't think that forced sterilization is actually any more about preventing the potential existence of a child than anti-abortion sentiment is about protecting it; it's about controlling the bodies of marginalized people—largely women—with the specific intent of furthering the infantilizing idea that they can't be trusted with the care of their own children; this is also the function of the welfare policies mentioned above. The system of child removal is a force of assimilation that also ultimately powers the prison industrial complex and other forms of slavery. Cutting these kids off from their communities both accustoms them to state control and shows that people like them have no recourse against the system.

I don't think eradication is really the end goal because eradication undermines the functions of the system as it exists and removes the source of labor. The incredibly loud minority who actually call for complete eradication are necessary even if that end goal is undesirable because. well. they're a minority. They don’t really have the power to push through the extremist ideal. The existence of these extremists is greatly beneficial to those for whom the current status quo is desirable and who need things to stay as-is: both because their rhetoric increases the number of people who are ambivalent or hateful toward disadvantaged groups and because they make this quieter majority seem reasonable and even generous in comparison, allowing them to push the narrative of unfitness as a gesture of apparent benevolence.

Again, the system wants marginalized kids removed from their communities. And so, the narrative must be upkept that marginalized people should not be allowed to have children, because they WILL have children, and then the people who benefit from this system can argue that, since these people are unequipped to and therefore shouldn't have children, it is in the best interest of the child to take that child away. They want marginalized people to have children because the subjugated class is necessary for the survival of the system that profits off their labor—they just want you to think they don't want those kids to exist. Because, if they can get you to agree that those kids shouldn't exist, then you've already dehumanized them and then they’ve won. Which is how the infantilization of people of color leads to their unchilding—another thing that seems 'contradictory' until you look into the mechanisms behind it.

If the system was really after eradication, marginalized groups wouldn't be disproportionately affected and targeted by abortion laws. Under capitalism, it's not ultimately about wanting to get rid of certain bodies; it's about wanting to be able to control them and their output, both in terms of children and in terms of labor (the former just to assure the latter). If the average white middle/upper-class person thinks marginalized people are a burden on society, no amount of forced or underpaid labor will seem unjust. And this forced and underpaid labor is what allows not only billionaires but also the middle/upper classes to live in the manner to which they have become accustomed. And everyone knows it! Everything I’ve just described is what allows them to know this and yet not see it as wrong, so that they’re never moved to do anything about it. They’ve been fooled (and incentivized) into seeing a meritocracy, and ultimately a just world, where none exists. This process underpins the entire system. It’s always been there, by design.

hiii caden, any chance you could simplify/reword this post? as written it is rather difficult for me to parse. <3

hiya, sorry, stuck this in drafts and forgot it was in there 🙈 let me try to rephrase

there's a common issue i see (not just on here) where people try to make blanket statements about how motherhood / parenthood / children are valued socially, but they're thinking only in terms of individual attitudes and misunderstanding why the relevant politics result in statements that might seem contradictory at first. so for example, someone observes that there is, broadly, pressure to have and raise one's biological children. however, someone else points out that this logic doesn't apply to all people equally: in particular, racialised people and poor people are actively discouraged from having children, including by overtly eugenic means like forcible sterilisation (this still happens today!) and welfare policies.

what i was saying in the post was that there is not actually a contradiction between these two positions, despite one appearing 'pro' natalist and one appearing 'anti'. the trick is that the politics that drives both positions (the state's efforts to manage and exploit its population; a politics of human beings as biological resources; hence, what foucault termed 'biopolitics') demands not just the reproduction of a labour force and military reserve, but also the designation of subaltern populations who are considered as a biological threat to the nation / race / national future, and who must therefore be discouraged from reproducing and ultimately eradicated. the politics that highly values one population (eg, the white / 'native born' / able bodied / straight / cis couple and their biological children) is the same politics that inherently also devalues all others (indeed, the attributes that are valued are defined in part through the process of comparison/contrast; these are political designations in the first place).

it's just a common frustration of mine that people try to discuss this as a matter of personal attitudes and are therefore unable to connect natalist and eugenic policies to the biopolitical logics that drive them. it leads to really pointless conversations where people just kind of throw up their hands and act like these attitudes are contradictory or internally inconsistent; they're not. the consistency is not in a uniformly 'pro' or 'anti' position wrt childbearing; it's in the logic that demands and prizes certain bodies and populations, and scapegoats and attempts to eradicate others.

[thewriteadviceforwriters]

Master Dialogue Writing Techniques for Engaging Fiction (For Writers)

(Beware, long post!)

As fiction writers, we all know that effective dialogue is essential for bringing our stories and characters to life. After all, the way our protagonists, antagonists, and supporting players speak to one another is one of the primary ways readers get to know them on a deep, intimate level. Dialogue reveals personality, uncovers motivation, and propels the narrative forward in a way that felt narration simply can't match.

But nailing natural, compelling dialogue is easier said than done. It's a craft that takes serious skill to master, requiring writers to have a keen ear for authentic speech patterns, a nimble handle on subtext and implication, and the ability to strike that delicate balance between being true to real-world conversation while also keeping things snappy, dynamic, and laser-focused on the story at hand.

If you're someone who struggles with crafting dialogue that truly sings, never fear. In this in-depth guide, I'm going to dive deep into the techniques and best practices that will help you elevate your dialogue writing to new heights. By the end, you'll have a toolbox full of strategies to ensure that every exchange between your characters is as gripping, revealing, and unforgettable as possible.

The Fundamentals of Effective Dialogue

Before we get into the more advanced nuances of dialogue writing, let's start by covering some of the foundational principles that all great fictional conversations are built upon:

Reveal Character One of the primary functions of dialogue is to give readers a window into who your characters are as people. The way they speak — their word choices, their tone, their body language, their turns of phrase — should provide vivid insight into their personalities, backgrounds, values, quirks, and emotional states.

Think about how much you can glean about someone just from how they communicate in real life. Do they use a lot of slang and shorthand? Are they verbose and flowery with their language? Do they struggle to make eye contact or fail to respond directly to questions? All of these subtle linguistic cues are powerful tools for crafting multi-dimensional characters.

Drive the Plot Forward While revelations about character are crucial, you also want to ensure that your dialogue is constantly pushing the story itself forward. Each exchange should feel purposeful, moving the narrative along by introducing new information, triggering plot points, creating conflict, or prompting characters to make pivotal decisions.

Dialogue that feels aimless or extraneous will ultimately bore readers and detract from the forward momentum of your story. Every line should have a clear intent or function, whether it's uncovering a hidden truth, setting up a future complication, or escalating the tension in a high-stakes moment.

Establish Distinct Voices In a story featuring multiple characters, it's crucial that each person has a clearly defined and differentiated way of speaking. Readers should be able to tell who's talking just from the rhythm, diction, and personality of the dialogue, without any additional context clues.

This doesn't mean every character has to have an over-the-top, hyper-stylized way of communicating. In fact, the most effective character voices often feel grounded and natural. But there should still be distinct markers — whether it's word choice, sentence structure, tone, or speech patterns — that make each person's voice instantly recognizable.

Convey Subtext While the literal words being spoken are important, great dialogue also traffics heavily in subtext — the unspoken emotional undercurrents, power dynamics, and hidden agendas that simmer beneath the surface of a conversation.

The most compelling exchanges happen when characters are communicating on multiple levels simultaneously. Perhaps they're saying one thing out loud while their body language and tone convey a completely different sentiment. Or maybe they're engaged in a subtle war of wits, trading verbal jabs that reveal deeper wells of resentment, attraction, or vulnerability.

Mastering the art of subtext is key to creating dialogue that feels layered, lifelike, and imbued with dramatic tension.

Strategies for Writing Snappy, Realistic Dialogue

Now that we've covered the foundational principles, let's dive into some specific techniques and best practices that will take your dialogue writing to the next level:

Omit Unnecessary Details One of the biggest mistakes many writers make with dialogue is bogging it down with too much extraneous information. In real life, people rarely speak in perfectly composed, grammatically correct full sentences. We stumble over our words, interrupt each other, trail off mid-thought, and pack our speech with filler words like "um," "uh," and "you know."

While you don't want to go overboard with mimicking that messiness, you should aim to strip your dialogue of any overly formal or expository language. Stick to the essentials — the core thoughts, feelings, and information being exchanged — and let the subtext and character voices do the heavy lifting. Your readers will fill in the gaps and appreciate the authenticity.

Master the Art of Subtext As mentioned earlier, crafting dialogue that's rich in subtext is one of the keys to making it feel gripping and lifelike. Think about how much is often left unsaid in real-world conversations, with people dancing around sensitive topics, conveying hidden agendas, or engaging in subtle power struggles.

To layer that sense of unspoken tension into your own dialogue, consider techniques like:

• Having characters contradict themselves or say one thing while their body language says another

• Utilizing loaded pauses, interruptions, and moments of uncomfortable silence

• Injecting subtle sarcasm, skepticism, or implication into a character's word choices

• Allowing characters to talk past each other, missing the unspoken point of what the other person is really saying

The more you can imbue your dialogue with that layered, emotionally-charged subtext, the more it will resonate with readers on a deeper level.

Establish Distinct Voices As mentioned earlier, ensuring that each of your characters has a clearly defined and differentiated speaking voice is crucial for great dialogue. But how exactly do you go about accomplishing that?

One effective strategy is to give each person a unique set of verbal tics, idioms, or speech patterns. Maybe one character is prone to long-winded, flowery metaphors, while another speaks in clipped, efficiency-minded sentences. Perhaps your protagonist has a habit of ending statements with questioning upticks, while the sarcastic best friend always punctuates their barbs with an eye roll.

You can also play with differences in diction, syntax, and even accent/dialect to further distinguish how your characters communicate. The key is to really get to know the unique personality, background, and psychology of each person — then let those elements shine through in how they express themselves.

Lean Into Conflict and Confrontation When it comes to crafting gripping dialogue, conflict is your friend. The most compelling exchanges often arise from characters butting heads, engaging in verbal sparring matches, or working through deep-seated tensions and disagreements.

Conflict allows you to showcase the high stakes, unresolved needs, and deeper emotional currents that are driving your characters. It forces them to make bold choices, reveals aspects of their personalities that might not otherwise surface, and generates the kind of dramatic tension that will really hook your readers.

Of course, you'll want to avoid making every single dialogue scene a full-blown argument. But learning to sprinkle in well-placed moments of friction, confrontation, and clashing agendas is a surefire way to elevate the energy and impact of your character interactions.

Read Your Dialogue Out Loud One of the most valuable tricks for ensuring your dialogue sounds natural and lifelike is to read it aloud as you're writing. Hearing the words out loud will quickly expose any clunky phrasing, overly formal grammar, or inauthentic rhythms that would otherwise go unnoticed on the page.

Pay close attention to how the dialogue rolls off your tongue. Does it have a smooth, conversational flow? Or does it feel stilted and unnatural? Are your characters' unique voices shining through clearly? Are there any spots where the back-and-forth starts to drag or feel repetitive?

Actively listening to your dialogue — and making adjustments based on how it sounds in the real world — is an essential part of the writing process. It's one of the best ways to refine and polish those character interactions until they feel truly alive.

Hopefully, this can help you all!

The key is to always keep your focus on authenticity. Ask yourself: how would real people actually speak?

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For the Reverse Unpopular Opinion meme, Lamarckism!

(This is an excellent ask.)

Lamarck got done a bit dirty by the textbooks, as one so often is. He's billed as the guy who articulated an evolutionary theory of inherited characteristics, inevitably set up as an opponent made of straw for Darwin to knock down. The example I recall my own teachers using in grade school was the idea that a giraffe would strain to reach the highest branches of a tree, and as a result, its offspring would be born with slightly longer necks. Ha-ha-ha, isn't-that-silly, isn't natural selection so much more sensible?

But the thing is, this wasn't his idea, not even close. People have been running with ideas like that since antiquity at least. What Lamarck did was to systematize that claim, in the context of a wider and much more interesting theory.

Lamarck was born in to an era where natural philosophy was slowly giving way to Baconian science in the modern sense- that strange, eighteenth century, the one caught in an uneasy tension between Newton the alchemist and Darwin the naturalist. This is the century of Ben Franklin and his key and his kite, and the awed discovery that this "electricity" business was somehow involved in living organisms- the discovery that paved the way for Shelley's Frankenstein. This was the era when alchemy was fighting its last desperate battles with chemistry, when the division between 'organic' and 'inorganic' chemistry was fundamental- the first synthesis of organic molecules in the laboratory wouldn't occur until 1828, the year before Lamarck's death. We do not have atoms, not yet. Mendel and genetics are still more than a century away; we won't even have cells for another half-century or more.

Lamarck stepped in to that strange moment. I don't think he was a bold revolutionary, really, or had much interest in being one. He was profoundly interested in the structure and relationships between species, and when we're not using him as a punching bag in grade schools, some people manage to remember that he was a banging good taxonomist, and made real progress in the classification of invertebrates. He started life believing in the total immutability of species, but later was convinced that evolution really was occurring- not because somebody taught him in the classroom, or because it was the accepted wisdom of the time, but through deep, continued exposure to nature itself. He was convinced by the evidence of his senses.

(Mostly snails.)

His problem was complexity. When he'd been working as a botanist, he had this neat little idea to order organisms by complexity, starting with the grubbiest, saddest little seaweed or fern, up through lovely flowering plants. This was not an evolutionary theory, just an organizing structure; essentially, just a sort of museum display. But when he was asked to do the same thing with invertebrates, he realized rather quickly that this task had problems. A linear sorting from simple to complex seemed embarrassingly artificial, because it elided too many different kinds of complexity, and ignored obvious similarities and shared characteristics.

When he went back to the drawing board, he found better organizing schema; you'd recognize them today. There were hierarchies, nested identities. Simple forms with only basic, shared anatomical patterns, each functioning as a sort of superset implying more complex groups within it, defined additively by the addition of new organs or structures in the body. He'd made a taxonomic tree.

Even more shockingly, he realized something deep and true in what he was looking at: this wasn't just an abstract mapping of invertebrates to a conceptual diagram of their structures. This was a map in time. Complexities in invertebrates- in all organisms!- must have been accumulating in simpler forms, such that the most complicated organisms were also the youngest.

This is the essential revolution of Lamarckian evolution, not the inherited characteristics thing. His theory, in its full accounting, is actually quite elaborate. Summarized slightly less badly than it is in your grade school classroom (though still pretty badly, I'm by no means an expert on this stuff), it looks something like this:

As we all know, animals and plants are sometimes generated ex nihilo in different places, like maggots spontaneously appearing in middens. However, the spontaneous generation of life is much weaker than we have supposed; it can only result in the most basic, simple organisms (e.g. polyps). All the dizzying complexity we see in the world around us must have happened iteratively, in a sequence over time that operated on inheritance between one organism and its descendants.

As we all know, living things are dynamic in relation to inorganic matter, and this vital power includes an occasional tendency to gain in complexity. However, this tendency is not a spiritual or supernatural effect; it's a function of natural, material processes working over time. Probably this has something to do with fluids such as 'heat' and 'electricity' which are known to concentrate in living tissues. When features appear spontaneously in an organism, that should be understood as an intrinsic propensity of the organism itself, rather than being caused by the environment or by a divine entity. There is a specific, definite, and historically contingent pattern in which new features can appear in existing organisms.

As we all know, using different tissue groups more causes them to be expressed more in your descendants, and disuse weakens them in the same way. However, this is not a major feature in the development of new organic complexity, since it could only move 'laterally' on the complexity ladder and will never create new organs or tissue groups. At most, you might see lineages move from ape-like to human-like or vice versa, or between different types of birds or something; it's an adaptive tendency that helps organisms thrive in different environments. In species will less sophisticated neural systems, this will be even less flexible, because they can't supplement it with willpower the way that complex vertebrates can.

Lamarck isn't messing around here; this is a real, genuinely interesting model of the world. And what I think I'm prepared to argue here is that Lamarck's biggest errors aren't his. He has his own blind spots and mistakes, certainly. The focus on complexity is... fraught, at a minimum. But again and again, what really bites him in the ass is just his failure to break with his inherited assumptions enough. The parts of this that are actually Lamarckian, that is, are the ideas of Lamarck, are very clearly groping towards a recognizable kind of proto-evolutionary theory.

What makes Lamarck a punching bag in grade-school classes today is the same thing that made it interesting; it's that it was the best and most scientific explanation of biological complexity available at the time. It was the theory to beat, the one that had edged out all the other competitors and emerged as the most useful framework of the era. And precisely none of that complexity makes it in to our textbooks; they use "Lamarckianism" to refer to arguments made by freaking Aristotle, and which Lamarck himself accepted but de-emphasized as subordinate processes. What's even worse, Darwin didn't reject this mechanism either. Darwin was totally on board with the idea as a possible adaptive tendency; he just didn't particularly need it for his theory.

Lamarck had nothing. Not genetics, not chromosomes, not cells, not atomic theory. Geology was a hot new thing! Heat was a liquid! What Lamarck had was snails. And on the basis of snails, Lamarck deduced a profound theory of complexity emerging over time, of the biosphere as a(n al)chemical process rather than a divine pageant, of gradual adaptation punctuated by rapid innovation. That's incredible.

There's a lot of falsehood in the Lamarckian theory of evolution, and it never managed to entirely throw off the sloppy magical thinking of what came before. But his achievement was to approach biology and taxonomy with a profound scientific curiosity, and to improve and clarify our thinking about those subjects so dramatically that a theory of biology could finally, triumphantly, be proven wrong. Lamarck is falsifiable. That is a victory of the highest order.