#just share a source

[lgbtlunaverse]

The world exists in such a baffling state of simultaneous sex-aversion and sex-hegemony. Every social platform on the internet is trying to banish sex workers to the shadow realm but I can't post a tweet without at least two bots replying P U S S Y I N B I O. People are self-censoring sex to seggs and $3× but every other ad you see is still filled with half-naked women. Rightwingers want queer people arrested for so much as existing in the same postal code as a child and are also drumming up a moral panic about how teenage boys aren't getting laid enough. I feel like I'm losing my mind.

[imperatorrrrr]

my pet peeve is folks that gate keep sources.

like thank you for sharing this new picture or this new snippet of this article or this new quote, but can you please provide a source so we can also see the thing? like?

why are you hiding this?

especially when the media isn’t from private accounts?

share the wealth.

stop privatizing the sources please.

they’re our blorbos

[dunmeshistash]

While looking for something I found an older Ryoko Kui Blog and there's some proto-dungeon meshi art there. I've seen these around before but didn't know the source!

I'm not sure if the last comic is related but it was in the same post titled ダンジョンRPG的な (Dungeon RPG-Like according to google) from 2012

[cryptidclaw]

Amazing source for FanClans!!!

This site lets you search up locations and they will give you a database of all plants, animals and more that are in that location!

I've been using this site for my warriors stuff for a while and i love it so much!!!

[codacheetah]

Tell me your opinions on the stuff. Any stuff.

Grins. Smiles, even

I'm using you as an excuse to infodump my theory about the Island because I've had no in to do that, and my theory is pure opinion. Anyways:

THE ISLAND IS STUCK IN THE FUCKING FUTURE

(SCARE CHORD)

Hi so you might ask me. What the fuck do you mean by that. Well. Let's start with what we know about the Island, the King, and Wish Craft. (long ass post under cut. sorry)

The Island was redacted from the perception of outside world, via Wish Craft.

Wish Craft has the power to enable Time Craft. We see this primarily through Siffrin's timeloops, but also through the King's powers.

One of the King's powers is to show the saviors a "vision of the future."

...And this same attack is deflected back at the King by Mirabelle in ACT 5, in which the King is able to see the Island before being frozen in time.

...So. The King's "vision of the future." We're never told explicitly what this vision is. All we know is that it's apparently powerful enough to wipe the party in one hit, hearing it from a distance hurts your head, and that whatever Siffrin (and Loop) saw, they don't seem to actually be able to describe it. Even the King himself doesn't know what his vision entails.

We don't know whether the party all sees the same thing when struck by the vision, and Adrienne's answer to the question about it in the Reddit AMA is. vague? It's not a "no," and the specific wording makes me think the answer might be yes. But that's me reading into it.

Now. What do we know about the Island's redaction? The Island was affected by the wish recently, as in "like a decade ago" recently. We know that nobody in Vaugarde or the rest of the world is capable of thinking about the Island, anything closely tied to the Island's culture, or people on the Island for very long. When they do recall these things, they slip right out of reach. Particularly, the consequence for trying to think about the Island (or, more specifically, break the wish that forces the Island out of perception) is significant pain, localized in the head.

And that said pain is enough to become lethal, if pressed hard enough.

From here forward I'm running with the assumption that the King's "vision of the future" is not personalized to any individual, and is unchanging throughout the course of the whole story. Now. Remember the end of ACT 5, where the King gets hit with the deflected "vision of the future", and instead of dying, he recalls the Island and gets frozen in time? Very odd, yeah? Why wouldn't the King just die like everyone else does? He even does take 9999 damage when trying to say its name, like Siffrin does, and like the party does when they're hit by the attack.

Well. We know that he has a "true wish" that the ability to freeze Vaugarde in time grants. I don't think it's at all a stretch to guess that the King's "true wish" is to be able to remember the Island. My personal guess is that the King (and Siffrin) brought this "true wish" into effect via the "SAY ITS NAME" sequence- he even tries three times, a significant number in wishing.

The King (and Siffrin's) wish breaks, because it can't be fulfilled in this moment without breaking the wish to prevent the Island from being thought about. However. Consider the conditions at the end of ACT 5- the King sees the vision of the future reflected back to him, and what he sees is the Island. He remembers the Island, fulfilling his own wish, and is frozen in time. I consider this a compromise between his wish and the one binding the Island- the King gets to remember the Island, but nobody alive is able to think about it, because he's frozen in time; it's like the Universe is correcting itself (I WILL GET BACK TO THIS). The wish of all of Vaugarde to defeat the King is fulfilled, since he is no longer a threat, and Siffrin's wish wraps itself up soon after.

MY POINT BEING. The King's attack is a vision of the future. This "future" is of the Island, in some uncorrupted state. The saviors see it when he attacks them, and he sees it when it is deflected back to him.

The logical next question is "okay, so the Island exists in the future, but how do you know time shenanigans are even related to the Island?"

Recall a very odd series of interactions throughout the game, in which you try to interact with a piece of equipment that you already own.

The game rewinds slightly, before the item disappears, as the Universe corrects itself.

This is awfully similar to two particular events: looping back without seeing the death screen, and talking to the Daydreaming One about her sister. The latter is more interesting to me for the purposes of this theory.

In both instances, something is misaligned within the Universe (an item existing in two places, someone remembering something they're not supposed to) and it is corrected through some sort of rewind. Also compare the dialogue above to when you try to give Mirabelle the Stylish Bow when you already own it.

The world glitches, but Siffrin defuses the situation before the Universe has to intervene. Omitted from the screenshot is the fact that Mirabelle's portraits switch to happy from "catastrophically anxious" with no transition after Siffrin shows her where the bow is. Important to note is that when Mirabelle tries to recall receiving the bow, her head hurts, much like how trying to break the Island wish causes a headache.

The Universe leads you away from perception, and you can only follow.

My theory that I keep circling around is that through Wish Craft, the Island has been displaced temporally. The denizens of the Island, as well as the Island itself, still exist, but they are in the future. The Island is still loaded into the world, like how equipment is before you try to interact with it, and the Island cannot leave this quantum state, because it never actually went anywhere. The magnitude of the redaction event is so severe with the Island, because it is so much larger as an entity than a sword or a bow. There are of course things I don't really have pieced together, like why somebody would wish the Island into the future, how far into the future it is, or why equipment behaves this way. But it's the only Island theory I've seen that I have some level of confidence in, so I might as well lay out my cards for it.

[fruityumbrella]

one piece is set in a nautical world with presumably nautical idioms and exclamations to match, right, like swearing by the sea rather than on a god etc. to wit, there's five seas (the four blues + the grand line) so we can assume when you're feeling particularly dramatic, you might refer to all those vast oceans to get your hyperbolic point across.

keeping that in mind, lets live in a stupidly romantic corny ass world for a moment ok? take my hand.

"I swear on all six seas, if you don't shut the fuck up right now—"

"What?" Sanji looks at him like he's stupid. Nothing new, really.

"Ha, even you're going deaf having to listen to your own annoying ass whining all the time, Cook. I was—"

"No, you—"

"Don't interrupt me! Oi!" he yelps as a wooden spoon bounces harmlessly off his shoulder. He's not impressed that Sanji manages to catch it before it hits the counter.

"You said six seas," Sanji states.

Zoro stares back in lieu of an answer.

"Huh, maybe this has something to do with why you're always lost. There's only five seas, dummy."

And ah, now he gets what the idiot cook is on about. He's surprised and a little disappointed, honestly. You'd think the guy would be a little more aware about his own fucking dream, but whatever. He's got that annoying smile, smug and cocky like he's oh so much better than Zoro.

"Would you like me to count them out for you? I know it's a big number, it's probably confusing for a simple creature like you."

Zoro crosses his arms in clear warning, something the cook, as always, blatantly ignores. He's leaning on the counter that's between them now, eyes sparkling with glee. Idiot. Zoro's thoughts do not have a fond tone to them. Thoughts don't have tones at all, thank you very much.

Sanji lifts a hand and proceeds to count off on his fingers with the precision of a drill sergeant.

"I'm sure you at least know our ocean, the East Blue. There's also the West Blue, North Blue, South Blue, and of course the Grand Line," he wiggles all his fingers as he puts his thumb up for the last one like he's emulating fireworks.

Zoro snorts indelicately. "And?"

Sanji frowns with a tilt of his head.

"And?"

Zoro holds up his index finger.

"And," he says, stifling his amusement as Sanji goes cross eyed trying to follow said finger as it arcs towards him, "your All Blue. Dummy."

He punctuates the last word by poking Sanji in the forehead, snickering when he sputters and swats the digit away in a huff. Then Zoro's words finally sink in, and he straightens up almost too fast. It's not endearing at all.

"Wait," he says quietly, "you count it?"

Zoro doesn't like how Sanji's looking at him with an open expression he's not usually allowed. He looks earnest and sincere. Zoro feels suddenly out of his depth.

"Don't you?" he deflects uncomfortably.

"Well yeah, but that's different. You're—" he shrugs half heartedly and looks away. Zoro can't tell if the end of that sentence was going to disparage him or the cook. Odds are likely split down the middle. Sanji keeps looking at him, and he feels pinned. The bright look is gone, replaced by something more reserved but perhaps...searching? Considering, at the least. It's making him increasingly self conscious. He needs to get out of here.

"Okay. I'm gonna steal some alcohol now," he says shortly, striding to the cabinet and swiping a bottle before Sanji blinks out of his stupor.

[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.

[marshmallowgoop]

no thoughts just Heiji Hattori (HD)

[abacistat]

just thought i would share kon will be in maws s3. AND THEY DIDNT TAKE THE REDNECK Y*UNG J*STICE 2010 ROUTE THEY KEPT HIM IN THAT FUCKASS LEATHER JACKET LET’S GOOO (sources in tags ^_^!!!)

[pixelshiftexe]

In a modern universe, Cersei Lannister would get sent to one of those fancy private rehabs/psych hospitals (she doesn't want to go but Jaime booked her in after her latest breakdown and convinces her that actually it's super trendy these days for rich white women to go on "mental health retreats") and immediately tries to convince her psych team that she's totally fine and actually doesn't need to be here only to promptly be diagnosed with Bipolar and put on an ungodly amount of Seroquel.

Every single meeting she's forced to attend, she sits in her chair huffing up a storm while everyone else speaks, and when it's her turn goes on a fifteen minute rant alternating between insisting that everything wrong with her isn't actually her fault, insulting everyone else at the meeting because can't BELIEVE people actually fall for this psychobabble therapy nonsense, and sobbing uncontrollably over how her life has turned out.

After she's done she goes back to ignoring everyone.

Would absolutely look down on the people in there for narcotic addictions despite the fact that she's spent roughly the equivalent of the GDP of a small country on cocaine over the years.

Also freely admits to her therapist to having had an incestuous relationship with Jaime during childhood and adolescence but insists it doesn't matter anymore because they "grew out of it" after Jaime went to military school and she realised it would've been social suicide for her modelling career if anyone got photos of them together while she was dating various other celebrity guys, and remains completely oblivious to the ongoing emotional incest and codependency that's running through her entire family.

She emphatically insists that the only problem with Tywin's parenting was that he didn't send Tyrion away at birth and that he got Jaime a spot at Harvard Business School even though he didn't actually WANT to go and SHE did.

If this sounds like I'm bashing her, I promise I'm not. These are simply things I know to be true.

[xbuster]

by kyakuo

[swagmaxxer]

tommy tommy tommy tommy tommy tommy tommy tommy tommy tommy tommy tommy tommy tommy tommy tommy tommy tommy tommy tommy

[goldkirk]

I don’t know how to explain any more clearly that it doesn’t MATTER if it seems legitimate to you. You have got to fact check every single headline and post and claim on the left just like you need to do on the right.

The left is NOT immune to misinformation and rushed reporting. And the more emotionally polarizing or shocking the talking points, sound bytes, and headlines are, the worse it is and more frequently it happens.

Learn to verify through multiple independent sources. If you can’t do that, you can’t trust it.

If you have to wait extra hours for the real information to come through vetted channels—NOT just one individual somewhere everyone links to, and not just one single media source either, EVEN if it’s a major news network—thats just how it has to be. What news outside of genuine local disasters near you TRULY needs your outrage and post-sharing in the next hour specifically?

Misinformation works best by not seeming like misinformation and by fitting in with the rest of what you already expect to see. It doesn’t help anyone to not be able to recognize and avoid the stuff.

[sumikatt]

(Has alt text.)

AI has human error because it is trained on “human error and inspiration”. There are models trained on specifically curated collections with images the trainer thought “looks good”, like Furry or Anime or Concept Art or Photorealistic style models. There’s that “human touch”, I suppose. These models do not make themselves, they are made by human programmers and hobbyists.

The issue is the consent of the human artists that programmers make models of. The issue—as this person did correctly identify—is capitalism, and companies profiting off of other people’s work. Not the technology itself.

I said in an earlier post that it’s like Adobe and Photoshop. I hate Adobe’s greedy practices and I think they’re evil scumbags, but there’s nothing inherently wrong or immoral with using Photoshop as a tool.

There are AI models trained solely off of Creative Commons and public domain images. There are AI models artists train themselves, of their own work (I'm currently trying to do this myself). Are those models more “pure” than general AI models that used internet scrapers and the Internet Archive to copy copyrighted works?

I showed the process of Stable Diffusion de-noising in my comic but I didn’t make it totally clear, because I covered most of it with text lol. Here’s what that looks like: the follow image is generated in 30 steps, with the progress being shown every 5 steps. Model used is Counterfeit V3.0.

Parts aren’t copy pasted wholesale like photobashing or kitbashing (which is how most people probably think is how generative AI works), they are predicted. Yes, a general model can copy a particular artist’s style. It can make errors in copying, though, and you end up with crossed eyes and strange proportions. Sometimes you can barely tell it was made by a machine, if the prompter is diligent enough and bothers to overpaint or redo the weird areas.

I was terrified and conflicted when I had first used Stable Diffusion "seriously" on my own laptop, and I spent hours prompting, generating, and studying its outputs. I went to school for art and have a degree, and I felt threatened.

I was also mentored by a concept artist, who has been in the entertainment/games industry for years, who seemed relatively unbothered by AI, compared to very vocal artists on Twitter and Tumblr. It's just another tool: he said it's "just like Pinterest". He seemed confident that he wouldn't be replaced by AI image generation at all.

His words, plus actually learning about how image generation works, plus the attacks and lawsuits against the Internet Archive, made me think of "AI art" differently: that it isn't the end of the world at all, and that lobbying for stricter copyright laws because of how people think AI image gen works would just hurt smaller artists and fanartists.

My art has probably already been used for training some model, somewhere--especially since I used to post on DeviantArt and ArtStation. Or maybe some kid out there has traced my work, or copied my fursona or whatever. Both of those scenarios don't really affect me in any direct way. I suppose I can say I'm "losing profits", like a corporation, but I don't... really care about that part. But I definitely care about art and allowing people the ability to express themselves, even if it isn't "original".

[pluvillion]

Goodbye, Captain Price. Ад ждет тебя. (Hell awaits you.)

that one scene has been on my mind since when i first saw it and i seriously believe Price is biting the dust this time. apologies in advance for the person i will become once that happens.

[fullscoreshenanigans]

I kind of wish the boxart for S2 was as detailed as S1's for some more uniformity as opposed to a stark contrast with a shift to minimalism, but I do really love how angelic they look here.

Little lost souls adrift in the vast ocean of fate who don't deserve the burdens they bear on their shoulders, but bear them they do, and together they'll be the ones to change the world.

(Edit by evasurichan/mikevesano)