#i can't draw real people...

[bacchuschucklefuck]

space sweepers but they're delivery people and are at no point on screen through the entire movie

[bixels]

I'm not explaining why re-imagining characters as POC is not the same as white-washing, here of all places should fucking understand.

[vibinginthebg]

✨Some doodles of the siblings to try to see how to draw them ✨

(I am super late to the party hello)

[hiding-under-the-willow]

Sorry, I rewatched the sonic movies and remembered they were everything to me

Anyways, *puts your faves in the Leyendecker painting*

[recurring-polynya]

Happy Ukitake Week! This falls kind of between Day 1: Squad 13 and Day 2: Favorite Relationship. I just think Ukitake and Rukia deserve more cool captain-lieutenant action scenes!

[silusvesuius]

nnnnnnnnnnnnno maa'am

[chocodile]

Small character detail I have no good excuse to mention: Hyden hates anything remotely similar to "fast food". This applies to all AUs. He finds greasy, cheap, oversalted/overly sugary food disgusting. Additionally, he hates--HATES--messy food. The only foods he will eat with his hands are ones that are very clean and dry and leave no residue. Getting some sort of sauce or grease on his hands is one of the worst sensations in the world (doubly so when he's a bunny… to be fair, can you imagine eating barbecue while wearing fur mittens? Ew!)

When he was younger, he was slightly more flexible on these limitations. Here he is eating a "ham burger" normally to show how normal he is. He is fitting in with the common man. He is pulling it off. He's got this. Look how relaxed he is. You could almost miss the Rolex on his wrist.

Of course, every rule has its exceptions. As has been mentioned before Hyden often has no idea where food comes from or what goes into it. At some point, somebody failed to mention to him that Cinnabons come from kiosks at the mall and cost less than $100 each. Therefore, they escaped his "fast food is disgusting and I hate it" filter, and, in a modern AU, became one of his favorite desserts. He has a pastry or two each morning with his coffee and then wonders why he never seems to lose any weight.

[das-a-kirby-blog]

Waddle dees vs Metadede: which one's more fun to draw 🤔🤨🧐?

hardest question mankind ever has to answer

[fire-in-my-woods]

Lesbian ava truthers are probably the most insufferable part of the TWC fandom

[bitchy-peachy]

Learn what actual "proship" means before coming at me with stuff that just tells me that you don't know what proship is.

[junk-heart]

They're falling down that specific canon related hole

Love how Hidan's hair stays in place even though he's falling (the amount of who knows what he puts on his head makes his hair as hard as concrete)

A closer pic

[serpentface]

Two questions regarding the Wardi religion:

In addition to the bull and the lioness, what are the seven faces of god/sacrificial animals?

Given that white animals seem to be sacred, does that influence how albino humans/other sophents are treated by society?

The seven faces of God are as follows:

-the lunar, horned, or 'wild ox' face of God, which presides over the moons, and the fertility of the land, animals, and people. In pre-imperial times, this was functionally the most central face of God (replaced by the lion face/odomache). The most ideal sacrifice is a wild ox (especially white or albino) that has never been bred. -the ‘ox’ face of God, presides over agriculture and labor, as well as the domestic sphere. The most ideal sacrifice is a healthy plow oxen or khait who has never been yoked or bred (if the sacrifice is towards Ox-Face as the domestic sphere, this should be a heifer). -the lion face of God, presides over sovereignty, statehood, military might, and is most associated with the health and continuing existence of the imperial entity. The most ideal sacrifice is a maned lioness (functionally white, though this is a trait of the captive population). -the ocean or skimmer face of God, presides over the seas, winds, as well as fortune and mercantilism. The ideal sacrifice is the skimmer gull or an albatross, especially one taken from one of the sacred rocks in the 'mouth' of the Viper sea. -the serpent face of God, presides over the cosmos and divine Mysteries, associated with funerary rites and death. Also has a wildly disparate association with royalty (which is derived from entirely separate traditions and has not yet fully been reconciled into the faith). The ideal sacrifice is a two headed or melanistic snake, especially a venomous one (both would be MOST ideal, but this is rare beyond any practicality) -The solar face of God, presides over the sun, stars, and fire, also heavily associated with khait and mounted warriors. (this is a VERY direct import from the chief solar god in the Burri pantheon (who rides and/or is a khait with the sun between its horns), hence the seemingly random khait association). The ideal sacrifice is a healthy riding khait (especially with a white spotted coat), or alternatively a golden eagle. -The river face of God, presides over fresh water, seasonal flooding, and the rains. The ideal sacrifice is the migratory reed duck (which arrives at the onset of the wet season) or a freshwater hesperornis (ideally taken from one of the sacred waters). An-Nechoi are also occasionally given.

Though the core religion is monotheistic, each face of God is functionally a syncretic fusion of older ethnic Wardi beliefs, the Burri pantheon, and other regionally native traditions, which have not all been fully reconciled (the process of fusion is more or less still ongoing). Each face in of itself has dozens or more epithets with distinct features. For example, the river face has a specific epithet for each major riverway, each venerated as a distinct aspect of the Godhead. Functionally, common practice of the Wardi faith is pretty indistinguishable from polytheism, and most of the religious authority does not care as long as required orthopraxy is maintained (the central dogma of the religion does not care How you believe, but that the correct practices are enacted).

Also for reference, these are the specific animals taken on the pilgrimage in the story (transporting seven rare animals cross country can be fraught, so each had at least a few backups):

A pure white aurochs calf, found naturally born in a wild herd.

A massive, unbred and unyoked bull draft khait (dies en route, replaced by a less physically impressive backup with the same qualities)

A lioness with a full mane, from the white captive stock

A skimmer gull taken from a nest on the sacred rock in the waters of Od-Koto.

A baby two headed cobra (which dies en-route and is replaced with its backup, a melanistic viper)

A beautiful speckled riding khait mare whose horns form a near perfect circle (which is stolen en-route and replaced with its sister)

A rare wild hesperornis (haven't come up with an in-universe name yet) taken from the reeds of the Brilla river delta.

Anyway the sacrifices listed above are considered the absolute IDEALS when working with a specific face, but a great variety of animals will be sacrificed to various ends. There’s some very specific cultural/religious components to which animals are most valued, but in practice the value of a sacrifice is pretty close to 1:1 with the animal’s monetary value, at an intersection of utility and rarity.

So a young, healthy bull plow oxen who has never been bred or yoked is a more valued sacrifice than an old, experienced plow ox who has already sired offspring. You are giving up an extremely valuable animal and all its unused potential in a very practical sense, which makes the sacrifice more potent and valued. The 'virginal' status of the animal is key when the rite is SPECIFICALLY related to fertility, in the sense that the animal itself is sacrificing its unused fertility, allowing for the sacrifice-rebirth cycle to perpetuate. (Animals which Have been bred may be preferred in certain cases and rituals).

An animal with a rare coloration is usually going to be more valuable than one with more common genetics. This is the core root of why albino animals are of high value. It's less that white animals themselves are valued, just that rare genetics such as albinism = valuable sacrifice.

There are some specific exceptions where the color itself is significant (rather than just an extension of its rarity). God is specifically supposed to have taken the form of a white aurochs (itself emerged from the foam of the sea) during creation, so white oxen and wild oxen SPECIFICALLY have especially high value. Melanism or black scales are valued to the serpent face of God, which is associated with the cosmos and void behind the stars. (this stems from much, MUCH older beliefs in a cosmic serpent god in the region).

Animal sacrifice is a very significant part of the religious framework and involved in most rituals and prayers intended to affect significant change and transformation. (This is due in part to a deeply ingrained belief in the world being perpetually sustained in a cycle of sacrifice and rebirth, and in God Itself being the physical mechanism of rebirth and requiring sacrifice to be sustained). While blood itself is seen as potent, the nature of sacrifice isn't just 'spill blood and make thing happen', it's got a self contained value system and is very calculated and intentional in nature. You aren’t going to just grab a random rat and bleed it and pray, there needs to be a perceived ‘loss’. Sacrifice via killing is also not the only form, the most common day to day sacrifice is in (very minor) bloodletting and offerings of food and drink- the key is allowing a personal loss to sustain a greater cycle.

That being said, there is a HUGE trade system built up around the breeding and selling of animals solely for sacrifice. The industry revolves mostly around birds (doves are the cheapest, but also poultry, waterfowl, some birds of prey, a few select songbirds and ornamental birds), goats, sheep, and horses (the small, premodern kind). Cattle and camelids are a higher tier, and khait are among the highest of common sacrifices due to their great value.

Other animals that have no direct utility but are sacred are also bred or captured for sacrifice (hesperornis, lacetor, gulls and albatrosses, several kinds of snake, a bunch of wild ungulates, nechoi, etc). Some '''‘exotic’''' animals are imported specifically for this purpose, mostly as a means of displaying the wealth and reach of the state, with their sacrificial value rooted in the difficulty of acquisition. Animals taken from sacred sites are also prime candidates (ie cattle bred and grazed on the foothills of the Sons of Creation are VERY valuable).

---

So all that being said the importance of albino animals has come off a little overstated on my part, and doesn't have any particular impact on how albinism in people is regarded. It’s valued mainly for its rarity in the context of animal sacrifice, which would not have direct translations to how it’s perceived in people.

Albinism in people doesn’t have a super well defined significance in broader Imperial Wardi culture, but perspectives mostly skew negative and towards seeing it as a sign of ill fortune (physical differences in people tend to be seen as a result of being cursed in the womb). Imperial Wardin is culturally diverse (united mostly by a identity based in shared religion), so exact nuances would vary and this statement should not be taken as a universal.

Imperial Wardi population is mostly human (with its citizen population being MAYBE 5% elowey, 2% qilik, and a decimal point of caelin). Overall sentiment towards other sophonts by the human majority is not outright hostile, but is human-centric and tinged with xenophobia (as most qilik and elowey in the region are immigrants, with the only elowey ethnic group historically inhabiting the region (the Jazait) being regarded as 'heathens'). Albino elowey or qilik might be similarly seen as products of a curse, or may be given a 'wow how beautiful' treatment (in a heavily patronizing capacity) and seen as a curiosity, or otherwise just subject to varying perspectives on albinism in the region.

The one other thing I have established in this vein is that the semi-mythological hero Janise (sworn brother of other semi-mythological founder hero Erub) is said to have been albino. While he is positively regarded, he is supposed to have died young of a snakebite (assumed to be the product of a curse from his enemies) and this would not improve perceptions of albinism being related to ill fortune.

[radley-writes]

I don't understand people who say things like 'but it doesn't matter if we don't pay artists/writers for their labour, or use free AI programs to replace artists/writers to improve our profits, because in a perfect world everyone would have UBI so it wouldn't matter xxx'

like. yes. but until we reach that perfect world, artists and writers need to eat?

why are you promoting AI replacement of creative people instead of working towards UBI? Until we have UBI, supporting generative AI in the creative field is no different to supporting supermarkets laying off all their till staff to turn to self-check out, or supporting factories who shut down and move overseas to exploit workers in countries with fewer human rights legislations?

Yes, in a perfect world, everyone would receive UBI. Therefore, people across the globe couldn't be exploited by corporations, and artists could create for the joy of it, in whatever way we desire - including with AI!

But we do not live in that perfect world.

Do you seriously expect this move towards generative AI to encourage people to support UBI, as opposed to people being forced into jobs they hate to make ends meet or no longer being able to support themselves financially?

Especially all the disabled people who make a living creating art and writing/editing, because that is, in fact, a career that is often far more available to disabled folks than a regular 9-5 or a retail job where you're expected to be on your feet all day (miss my disabled ass with the 'anti-AI = ableism' stance lmao).

This is not going to create your army of revolutionaries. This is just going to result in more independent creators being crushed under the boot heel of capitalism, as anyone who would've hired them flocks instead to the free alternative, and they're forced back into an incredibly exploitative labour market.

I agree that generative AI by itself is just a tool and is not inherently a problem.

But it is being abused, in ways that hurt creators.

If you support generative AI... what are you doing about that?

[sailing-ever-west]

One Piece is proof that in the end there's nothing a creator can do to stop fans from completely misunderstanding it at a base level. Like imagine being handed the most punk, anti-establishment narrative of the century where the characters all come from wildly different often marginalized backgrounds and punch tyrants all day long and then watching the live action where the cast was chosen by the og creator and going "why are there black people in this :/"

[deoidesign]

.

[greenerteacups]

Hi! I am an ardent fan of your writing, and I hope to be as sorted and planned as you some day in my own writing journey.

My question is: you have a keen eye when it comes to planning character personality, dynamics, and such. I've also been wading through your ask replies, and your insights into how you write people and how you make them play off of each other is so wonderful to read. If it's not too personal a q, how did you learn how to write like this? Did you go to school for writing, does it come from years of observing people, do you have reading list recs for "how to write real people and real interactions"?

Thanks! This is a really flattering question. I'll try to answer it honestly, because I wish someone had been brutally honest about this with me when I was a young writer.

I didn't go to school for writing. I started doing it when I was about nine years old. It sucked very badly. I kept writing throughout high school, and it still mostly sucked, but some of it was occasionally interesting. ("Interesting" here does not mean "good," by the way.) I took a break in college, and then came back. I've been writing ever since. Sometimes, I feel good about it. A lot of the time, I don't!

I hate giving this advice, because I remember how it feels to get it, and it's the most uninspiring, boring-ass, dog shit advice you can get, but it's also the only advice that is 100% unequivocally true: you have to write, and specifically, you have to write things that suck.

I do not mean that you should make things that suck on purpose. I mean that you have to sit down and try your absolute hardest to make something good. You have to put in the hours, the elbow grease, the blood, sweat, and tears, and then you have to read it over and accept that it just totally sucks. There is no way around this, and you should be wary of people who tell you there is. There is no trick, no rule, no book you can buy or article you can read, that will make your writing not suck. The best someone else can do is tell you what good writing looks like, and chances are, you knew that anyway — after all, you love to read. You wouldn't be trying to do this if you didn't. And anyone who says they can teach you to write so good it doesn't suck at first is either lying to you, or they have forgotten how they learned to write in the first place.

So the trick is to sit there in the miserable doldrums of Suck, write a ton, and learn to like it. Because this is the phase of your path as an artist when you find what it is you love about writing, and it cannot be the chance to make "good writing." This will be the thing that bears you through and compels you to keep going when your writing is shit, i.e., the very thing that makes you a writer in the first place. So find that, and you've got a good start.

Some people know this, but assume that perseverance as a writer is about trying to get to the point where you don't suck anymore. This is not true, and it is an actively dangerous lie to tell young writers. You are not aiming to feel like your writing doesn't suck. You are aiming to write. You are aiming to have written. Everything else is dust and rust. And of course, you'll find things you like about your pieces, you'll find things you're proud of, you'll learn to love the things you've made. But that little itch of self-criticism, in the back of your brain — the one that cringes when you read a clunky line, or thinks of a better character beat right after it's far too late to change — that's never going away. That's the Writer part of you. Read Kafka, read Dickens, read Tolstoy, you will find diary entries where they lament how absolutely fucking atrocious their writing was, and how angry they are that they can't do better. A good writer hates their sentences because they can always imagine better ones. And the ability to imagine a better sentence is what's going to make you pick up the pen again tomorrow. And the day after that. And the day after that.

Which is what I mean, and probably what all those other annoying, preachy advice-givers mean, when we say: a good writer is just someone who writes every day. It's that easy, and that hard.