#like i apply these principles to myself too

[namira]

I'm glad that like every other person with an animal training background will admit to applying training principles to human people. Makes me feel less deranged for doing so.

[suddencolds]

.~

[koiiiji]

i got this idea really randomly, pls don’t hate me😭

Goo have a tendency to choose absolute garbage as his secret friends, but this doesn’t apply to you. you seemed absolute cinnamon roll when Goo Kim brought all of you together and nobody understood why you even were in this company.

on the other hand, you didn't understand Goo, what kind of animals he just collected. in your honest, and absolute right opinion Samuel was totally uncontrollable with his anger and easily lost his temper, Taejin too flattering, when it came to his boss, it seemed like that too sweet-bitter candy, and Taesung… well, Taesung was only good for carrying your huge shopping bags. what actually is happening right now. one of your conditions for working with Goo and his zoo was that you could use his card and gritting his teeth, Goo had to agree if he wanted to have a wide variety of information. not like you didn’t have your own money, it was just funny to look at man who loves money more then anything else on this planet, giving you a full access to his account.

what was the reason for choosing your companion today? it's simple, you didn't want other girls, and in principle, guys, to cling to handsome guys like Sammy and Taejin, distracting them from very important things - obediently following after you, dragging with your purchases. and Taesung was huge and intimidating enough to scare away all the queues in front of you. but as it turned out, he is not the most silent and obedient. in another store, he again hissed threateningly at you with claims, "you fucking vixen, i didn't hire myself as your errand boy, or we're coming back right now, or-" "or you shut your mouth right now and don't bother me, or Goo will have to be very upset by the fact that i'm no longer secret friends with him." you stopped sorting through the hangers and fixed a bored gaze on Taesung. you knew perfectly well that he didn't have the courage to argue with Goo, and so you calmly used it against him. leaving the store, Taesung had no choice, but to follow you, because it was somehow unwilling to listen to Goo's nonsense. on the other hand, he thought to himself, paying attention to the view in front of him, he had a great opportunity to stare at your ass, he had to admit that your figure is appetizing.

stopping in front of the next store, Taesung roared in protest, "are you fucking crazy, woman? i will not go into this place," he pointed to a neat sign that read "agent provocateur" with a mischievous grin, you reminded him of the agreement with his boss and amid shouts of protest you dragged him into a real hell on earth for any man.

[mezz-merizing]

Confusion & Suggestibility

so i had a fun experience in voice chat today! there’s this discord activity called blazing eights that is basically just uno— bear with me, i promise this is hypno-related— and myself and a couple friends were all playing it. one of them, who we’ll just call PK, played one of those “change the colour” cards and couldn’t figure out how to actually use it, because the UI for this game is really weird and bad. PK had already timed out of being able to choose the colour once, so they were a little frantic, rushing to figure out how to do it before the game just chose it for them

so at this point another one of the people in the game, who only had one card left, jokingly said “make it green,” since, y’know, that would have won them the game! PK actually laughed at this, so i know they heard it in the moment. and then they figured it out, finally realised how to actually choose the colour, and then they… made it green. it actually took PK a couple of seconds to realise what they’d done, and at that point, the other player had already won. it was pretty funny!! they very incredulously asked “WHY DID I MAKE IT GREEN??” since they knew full well that doing so would make them lose the game. we all laughed about it, because it was funny in the moment, but then i got to thinking about it. you can probably tell based on the title of this post where i’m going with this!

this is, funny enough, a very useful case study on how confusion and shock inductions actually work. it’s kind of the perfect real-world demonstration of it! PK was confused and occupied, frantically trying to figure out how to play the game properly, and when they heard essentially a direct order, even a joking one, they really didn’t pay it any mind. but once they had cleared up the thing that was taking up their brain space, their brain sort of “loaded in” the thing they had heard, and before they even realised what they were doing or processed it fully, they just… obeyed. the command slipped past their critical thought and took effect before they could actually think about it, because it was slipped in while they were confused and frantic

you can apply this principle in a lot of places, the classic rapid induction being one of my faves! we’ve all seen the jerk the arm and shout “sleep” thing, and it really works the same way. the subject is dazed and confused by the sudden physical sensation, and while they’re in the midst of processing that, trying to figure out what just happened to them, and reorienting their kinesthetic sense, that command hits first, and just like PK did, they obey before they have the chance to think about it. a deeper part of them obeys, really! the command passes right through the critical, conscious mind and vanishes into the depths of thought, which just follow it uncritically

and a lot like PK, by the time they realise what they did, it’s too late. they’re already asleep, or have already lost the game. it’s such an interesting induction tactic- and obviously, such a hot one. just having a command slipped past all your faculties, giving you no choice but to follow. you don’t even get the chance to think about it. you’re just gone…

and that’s really it!! a fun demonstration of how confusion inductions work happened before my eyes, and it’s been plaguing my thoughts ever since. can you really be sure your thoughts are yours when new ones can be forced in so easily? <3

[cripplecharacters]

I have a character with chronic pain who uses healing magic to manage it; I myself have mild chronic pain that I don't take any painkillers for, so I wanted to ask some questions on how to appropriately portray what is essentially magic painkillers.

My current idea is that healing magic in this setting can be used as a local anesthetic on top of typical healing. With some careful control, my character applies the same principles to relieve pain without fully numbing his body.

A drawback of this is that if applies too much magic this way, he can end up just numbing himself, which is dangerous in the combat situations his work frequently puts him in. When he pushes himself too hard or just has a bad day, his pain can exceed what he can safely mitigate with magic alone. He also works primarily as a healer, and has to balance between this form of pain relief versus saving enough energy for his work - to borrow video game terminology, if he spends too much MP on pain relief he won't have enough left to heal others.

My character does have access to medical/alchemical pain relief. He takes them to sleep because he can't control his magic carefully enough while asleep, though he otherwise prefers to rely more on magic purely because it's inconvenient to carry around a lot of potions when he travels.

Does this sound like there are any pitfalls I would have to watch out for, or aspects I should reconsider? Thank you for your time!

Hey!

To be honest, this solution is a nice breath of fresh air when it comes to anything related to fantasy healing and disabled characters. You are essentially dealing with painkillers who happen to exist in a world with magic - they exist, have potential side effects, and not always fix everything. Their magicalness is mostly in the convenience, which is great. I also find it annoying to carry my meds around; if I had the option to just make them appear out of thin air, I'm definitely taking it.

This is in my opinion a good and realistic representation of chronic pain and taking painkillers in a fantasy world. The difference between your story and the experience of someone like me is that in your story there is magic because it's fantasy - while for a lot of other fantasy settings, the difference would be that chronic pain and my whole experience don't even exist there. But you're including it in a nice and tasteful way. Great work.

I genuinely wish more writers put as much thought into their fantasy-related disability solutions. Hope this helps,

mod Sasza

[wintersoldiersoul]

Bucky x reader- super angsty but fluff ending

In a relationship, bucky doesn't want reader going on mission because it's a hydra Misson, they argue and don't talk to each other, bucky hears reader get hurt and he hears her say "im sorry buck, i love you" and then her comms go out and he can't do anything to help because he's pinned down and by the time he gets to her she's bleeding out and passed out and bucky is breaking down apologising and saying he didn't mean anything of what he said etc and I dunno how you would wanna end it

A/N: So sorry it took me so long to get to this request!! I hope you enjoy!

Warnings: mentions of blood, injuries, throwing up, lots of angst and fluff

“Bucky, stop it!” You shouted. “I’m going on this mission, okay? I can handle myself.” You had been having this fight all morning. The mission you were going on was extremely dangerous. You were basically marching right into the center of Hydra. 

“I am begging you,” Bucky pleaded. “I can’t let anything happen to you.”

“You do realize I’m a superhero in my own right? I don’t need you to protect me!” You snapped back. You knew he just wanted to protect you, but the fact that he acted like you weren’t capable of this made you angry. You had spent years fighting with the Avengers back when he was still the Winter Soldier. You had fought aliens and bionic humans and monsters. You didn’t need him to help you.

“I know but you don’t understand. They know we’re together. That means you have a target on your back. They’d do anything to hurt you because it would hurt me!” You almost felt bad but you had to stand up for yourself. You weren’t some helpless little girl.

“You’re being stupid! I thought you were smarter than this, Y/N. You’re acting like a child!” Bucky said, matching the stern tone of your voice.

“I don’t care! Let me be stupid then!” You left your room, slamming the door on your way out to go meet everyone at the jet. Bucky followed shortly after and the team got ready to leave. 

The two of you didn’t say a word to each other on the flight across the world to Europe. The tension between the two of you hung heavy in the air, casting a fog over the entire jet. Everyone could tell something was going on, but no one dared to ask. Your relationship was incredibly passionate - full of love that could burn the world down. But the same principle applied when you fought.

You were paired up with Natasha, splitting off from Bucky, Steve, and Tony when you arrived. You subtly snuck around the Hydra base, using your spy skills to remain hidden. You had been trained by the Red Room like Natasha, turning you into a silent killer full of stealth and surprises.

“Status?” Bucky spoke through the com device in your ear.

When you didn’t immediately make a move to respond, Natasha filled him in. “There’s agents everywhere. We’re hidden right now but we gotta make a move soon.”

“Same here,” Bucky answered.

An agent passed by but didn’t spot the two of you. All at once, you and Natasha passed, jumping onto the man's shoulders from behind and snapping his neck. “One down, a hundred to go,” you smirked at Nat. You could do this. You could prove to Bucky that you didn’t need his help.

Steve updated everyone, panting through the coms that they were deep into battle now. You and Natasha took a more subtle approach, trying to remain as hidden as possible before sneaking up and stealthily taking out agents as you could. Everything was going well. It was all under control.

Until you felt the gun against your head.

“Don’t move a damn muscle,” a low russian accent purred in your ear. “I’ve got you right where I want you,” he said, dragging the gun from your temple around to the base of your neck. Your arms were pinned behind you. You couldn’t move.

Natasha was too far away, locked into her own battle with an agent. A battle that she was winning but one that could easily go wrong if she turned her focus. You wanted to scream out but you were terrified that if you did, the man would shoot.

In the blink of an eye, the man who was holding you pulled out a knife and sliced your thigh deeply. You couldn’t help the cry that escaped your mouth as he did it, grabbing Natasha’s attention just as she finished off her victim.

“Y/N!” She ran over to you but was sidetracked by another agent stepping in her path.

“What’s going on?” Bucky’s voice rang out in your ears. “Y/N? Natasha?” Panic was evident in his voice. “Someone talk to me!”

“Bucky!” You cried out, hoping he would show up any second to save you. “Help me!”

The Hydra agent laughed, hearing your calls for the man. “You’re Barnes’ girl, aren’t you?” He laughed, coldly. “Oh, we’re gonna have fun.” His voice sent chills down your spine.

“Y/N, what’s going on? Where are you?” His voice came through your ear.

“I-I don’t know!” You answered. “He-has me!”

“I’m coming, baby, I’m coming. Are you hurt?”

You were still terrified each time you answered, expecting that the man would pull the trigger every time you opened your mouth. But if these were your last moments, you wanted to spend them talking to the love of your life.

“Y-yes,” you choked out.

“Alright, I think I’ve been nice enough to let this go on for so long,” the russian accent spoke before ripping the comms out of your ear and smashing it on the ground.

“No!” You cried out. The blood you were losing from your leg was already making you feel dizzy. A puddle of crimson from your body began to pool on the ground. 

“I was gonna shoot you in the head,” the man behind you whispered in your ear, making you feel sick. “But it would be such a shame to mess up this pretty face.”

Before you could even register what was going on, the gun was pressed to your back and a bullet was fired into your body. He shot you two more times. The man laughed as he walked away, leaving you to bleed out alone on the floor. Natasha had left, you had no idea where she had gone. She didn’t mean to abandon you, she really thought you’d be able to get out of your situation on your own while she completed the mission.

Across the building, Bucky was frantic. “Y/N? Talk to me! Where are you, baby?” He was panicking. One minute you were talking to him and then you were just…gone. His worst fear was coming true.

He sprinted as far as he could, dodging Hydra agents left and right, taking them out with the metal arm that they had put on his body.  He swore he had never run faster in his entire life. He knew back at their post, Steve and Tony were still fighting, yelling at him as he sprinted away. He knew he’d be in trouble later. But he didn’t care. He only cared about you.

But he was intercepted by more agents. Suddenly, he was pinned down, completely unable to move. “Y/N!” He yelled out again while he thrashed. He didn’t even care that these men would probably kidnap him again. Turn him back into the Winter Soldier. All he cared about was reaching you.

He tried as hard as he could, thrashing and squirming. Time was running out. He didn't know exactly what had happened to you, but he knew you didn't have long. Especially with the nature of the enemy you were dealing with.

After minutes of trying to escape the agent's grasp, he was able to free his metal arm, punching hard and knocking down the agent who had his legs. He was then able to use more strength to fight, taking down each person who had tried to separate him from the love of his life.

He was sick when he saw you, bending over to throw up at the sight in front of him. You were laying on the ground, still as a rock. Blood stained the concrete below you. He swore he had never seen so much blood come from one person at once. 

“Y/N!” He screamed out, running over to you. Your eyes were closed. “Y/N, wake up! Wake up, please!” He cried. “Oh my god, please!” He chanted over and over, trying to get you to open your eyes while putting pressure on you to stop the bleeding as much as possible. 

Suddenly there was a gasp from your frame. “B-bucky!” You called out weakly using every ounce of strength you could. “I love you.” 

“I love you, angel. So much. I didn’t mean a word I said! Please just hang on! Please! I can’t watch you die right now.” Tears streamed down his face as he spoke.

"So...tired," you said weakly, your eyes fluttering between opened and closed.

"I know, baby, I know," he stroked your hair. "But you gotta stay awake, okay? You gotta fight."

"What's going on, Buck?" Steve spoke in his ear.

"It's bad, Steve. I gotta get her to a hospital. Now," he said, through tears.

"Alright. It's clear now. You can take her."

Bucky swore time moved in slow motion as you waited for an ambulance. He held your hand the entire time, terrified every time your eyes closed for more than a second. You kept drifting in and out of consciousness even as the paramedics began to work on you in the vehicle. He couldn't believe this was really happening. If he lost you, his entire world would stop.

9 hours and an emergency surgery later, you were still unconscious but stable. He sat by your hospital bed, eyes red from crying, still holding your hand.

"Baby, I don't know if you can hear me right now," he said to your unconscious body. "But I need you to wake up. I need you to come back to me. I can't do this without you, I-" he paused as his voice broke. "I never thought I'd have any good in my life again. And then I found you. And I can't lose you. I don't know what I'll do. I don't know who I am without you." Tears wet his face as he spoke. "Please, baby. My darling. Please, come back to me."

He didn't leave your side all night. He waited and waited for hours, not sleeping or eating. He was terrified to not be watching you even for a second.

The sun was rising the next morning and he was exhausted and scared and he just wanted you. His head was in his metal hand as he cried, still holding yours with his flesh one, when he felt it. It was small, but he felt it. The subtle squeeze from your hand. "Y/N?" he said, immediately lifting his head.

You groaned softly, eyes still closed. "Am I dead?" You asked as you very slowly opened your eyes, trying to adjust to the light.

"No, baby," he sniffed, getting up and kissing your forehead. "You're not dead. You're alive. Oh my god, you're alive."

[librarycards]

do you have any resources or advice on how to help people who have manic episodes or who could possibly harm others according to antipsych principles? my friend diagnosed with bipolar disorder has been looking into checking themself into a hospital, and their home situation isn’t the best though their dad somewhat tries to be supportive, but i wonder what other options there are. the most i can do is offer some emotional support and give advice since i live too far away to be of much help otherwise. sorry if this is the wrong place to ask.

hello, and thanks for your patience on my response - this week has been busy and i'm only just now getting to asks!

here is an excellent piece by Stefanie Lyn Kaufman-Mthimkhulu on providing support for comrades in crisis, many of these tips are very applicable to distance-relationships too! bipolar comrades/others who have manic episodes are also welcome and very encouraged to reply and share what kinds of supports work best for them.

There are also a series of free zines/books by the Fireweed Collective (FKA the Icarus Project), particularly Navigating The Space Between Brilliance And Madness: A Reader & Roadmap Of Bipolar Worlds. This is a great way to learn more about a variety of bipolar experiences to better contextualize your friend's.

here are some tips based on personal experience being close to multiple people with bipolar, while not being bipolar myself:

create balance within yourself + project it - it's tempting to get yourself wrapped up in others' big feelings, especially if they trigger you. but it's crucially important to maintain a (porous!) barrier between you and your friend, both as a way of maintaining your own peace and providing something sturdy for them to lean on. this means taking what they say/do in the midst of crisis and placing it "beside" your own feelings, rather than integrating it and responding viscerally in the moment.

neither "reality checking" nor "reality confirming". this is tricky. it's pointless to tell someone "you're wrong, you can't do that, etc." when they're experiencing a different reality than you. it is also harmful to encourage someone to act on beliefs that are not actually aligned with their values, but instead the result of a state of crisis. i try to use phrases like "that sounds ___," "that must be ____," "i can see how you'd feel ____" and similar, both to affirm their own lived experience and to avoid reifying it as objective truth.

know when to step away. mania is draining for literally everyone involved, and what people do to their loved ones in the midst of a manic episode can be incredibly harmful, even if occurring alongside grand gestures of generosity, productivity, etc. you are not your friend's keeper, and your feelings and well-being matter just as much as theirs. do you both have mutual friends you can tap into to provide support when you're burnt out? these friends might also be able to offer some strategies that you or i haven't thought of. it's important to say that this support shouldn't be constant "did you use substances today" "did you drive recklessly today" other surveillance type stuff. try to maintain a normal rhythm to your conversations, and when something that makes you go ??? comes up, try framing your response as a question. "i'm going to finish writing and editing my novel today and start two new books and apply for this and that grant" - you could say, "that's a ton of stuff. why do you need to do it all today?" this creates space for other possibilities without forcing it.

your friend doesn't need advice right now, they need support! the person who needs advice, i think, is your friend's dad. are you and him directly in touch, and is there any way that you could get in touch with him? since you're online, i don't know the details here; it may work best when your friend is no longer manic and you two can speak frankly about how best to support them. i do suggest making a crisis plan with him/whoever they're close to irl.

I hope this is somewhat helpful!

[ptr-sqloint]

may a poor little wee boy ask how your colors / anatomy became so good? what are the practices? i might die of the plague soon so your secret will be safe with me

well the obvious answer is lots and lots of practice, but i'll do my best to give more specifics

alright so for anatomy:

it's pretty straightforward: i look at naked people( a lot of naked people)(including myself) and draw them. It helps a lot to make it more interesting by adding gore and/or being horny about what i'm drawing

It doesn't have to be neat or good it's just to get familiar with the shapes

Looking at how other people draw anatomy helps too. Medical anatomical illustrations are a great resource & i have a big skeleton poster right above my desk where i draw

for colours:

uhhhhhhhh man. uh.idk. i look at other people's art (including photography,film, anything visual) and if i find something i like a lot, look at how the colours are used. maybe make a palette from that and make art using it

a basic understanding of colour theory , especially types of contrasts is also very useful

to figure out a piece's colour palette i use photo references:

and i make my palette by colour picking from the images (and then messing with the colour balance and adding a colour blending mode layer if i think it's not coherent enough

it's a bit less straightforward for traditional art but the same principles apply

ALSO!! thumbnailing!!! especially if i'm indecisive or i have no idea where to start. I make multiple of them with diff colours and mess with them till one of them looks good

(keep in mind that i'm still learning myself and i don't have any formal art education so take all that with a grain of salt)

also here's a shmowder for your plague issue

[la-pheacienne]

So @faintingheroine said that Javert is more of a class traitor than Ηeathcliff because at least Heathcliff directs his cruelty towards upper class people. I think that, technically speaking, Javert's class traitor traits are indeed worse. I mean his life purpose is literally to extinguish people that have a background similar to his, which is the very definition of a class traitor. The peak of his brutality and inhumanity is the way he targeted a famished, sick prostitute, the way he treated her like an animal, terrorized her, prevented her from finally getting her daughter back and gloated while tearing down her last anchor in life. This deliberate, senseless cruelty against a person as weak, as helpless, as innocuous as Fantine is truly something that technically exceeds even Heathcliff's evil deeds. Heathcliff too targeted people who were weaker than him (Isabella, the children) but at the very least these people belonged to the privileged upper class and he still deep down felt inferior to them, so you can at least give him that.

And yet I feel Heathcliff is more "morally reprehensible" than Javert. Heathcliff's motivations are purely individualistic, he's a very selfish human being and above all, he wants revenge. Javert may be a textbook class traitor but he does have his principles, bigoted principles but principles nonetheless. He has a specific mission and he does his duty, following a specific set of rules. When he fails at his duty and violates this set of rules, he immediately applies to himself the exact same cruelty he applied to others, and this happens twice. The first time, when he thought that he had accused an innocent man and questioned an authority (double vice), he immediately demands his removal from the police. The second time, when he realizes he fucked up, he kills himself. Hugo is particularly respectful of his blind devotion to duty, even in Javert's most hateful moments. Ironically that can also be used against him because it gives him this inhumane, robotic quality. Heathcliff being a classic, egotistical villain who's after revenge gives his evil deeds a much more "relatable" vibe. We can all relate to the desire for revenge, whereas Javert's sterilized, distorted view of the world is particularly eery. But in my opinion this is precisely why he's a level above Heathcliff. Or at the very least their brand of antagonist is quite different.

Receipts:

"I have often been severe in the course of my life towards others. That is just. I have done well. Now, if I were not severe towards myself, all the justice that I have done would become injustice. Ought I to spare myself more than others? No! What! I should be good for nothing but to chastise others, and not myself! Why, I should be a blackguard! Those who say, ‘That blackguard of a Javert!’ would be in the right. [...] Mr. Mayor, I must treat myself as I would treat any other man. When I have subdued malefactors, when I have proceeded with vigor against rascals, I have often said to myself, ‘If you flinch, if I ever catch you in fault, you may rest at your ease!’ I have flinched, I have caught myself in a fault. So much the worse! Come, discharged, cashiered, expelled! [...] Mr. Mayor, the good of the service demands an example. I simply require the discharge of Inspector Javert.” All this was uttered in a proud, humble, despairing, yet convinced tone, which lent indescribable grandeur to this singular, honest man.

------------------------------------------------------------------------------

“Excuse me, Mr. Mayor, but this must not be. A mayor does not offer his hand to a police spy.” He added between his teeth:— “A police spy, yes; from the moment when I have misused the police. I am no more than a police spy.”

------------------------------------------------------------------------------

Probity, sincerity, candor, conviction, the sense of duty, are things which may become hideous when wrongly directed; but which, even when hideous, remain grand: their majesty, the majesty peculiar to the human conscience, clings to them in the midst of horror; they are virtues which have one vice,—error. The honest, pitiless joy of a fanatic in the full flood of his atrocity preserves a certain lugubriously venerable radiance. Without himself suspecting the fact, Javert in his formidable happiness was to be pitied, as is every ignorant man who triumphs. Nothing could be so poignant and so terrible as this face, wherein was displayed all that may be designated as the evil of the good.

He's still a piece of shit though, just to clarify.

[doublequaterpounder]

This kink is the oddest for me. Like I’ve felt an affinity for wg content since I was younger and felt pressured to keep that hidden from everyone in my life. Experimented with a gain and got a decent seventy pounds on my frame then I find myself just unable to eat for days on end. It’s odd, I like seeing fat positive content and others living large, so to speak, but whenever I try to apply these self same principles to myself I immediately want to shrivel into dust. Idk, I feel like gain or lose I consistently pick the bad option. I wish my body worked with me instead of against me for five minutes.

I hope your holidays or lack thereof go smoothly.

oh i’ve always been into this too and it’s been such a roller coaster of acceptance, so much gaining and losing and doing the exact things you’ve done. it’s taking a long time of healing and listening to myself and pacing and allowing me to feel what i’m feeling and incredible and lovely support from my partner and hey i’m fatter for it and im continuing on wards and upwards!

you got this and also if you struggle with this stuff feel free to send me messages or drop whatever you want in my asks it’s always a safe space

[colebabey888]

1,000??..

1K+ followers, urg cute! thank you for the support, you guys make it so fun to be a girlbloggerrr

a few months ago, I hadn't even been active on Tumblr nor Pinterest. now I have over a thousand followers and more than 3 million views across both platforms combined and this is just the beginning for colebabey8.88. im so excited for all the new creative ideas i will spark up for you guys in the future. more it girl diaries, more fashion, more wellness, who knows, colebabey8.88 is always evolving! it's so fun though like i'm hoping from one app to the other and just making my blueprint there haha ..

one of the best things about this, is that I'm now making money on both sites too. because of so many negative perceptions on earning an income through digital marketing or social media, i never really pondered on being a girlblogger, the idea of being able to enjoy something and make a substantial income from it was just crazy! , but after spilling all my crazy thoughts, beauty secrets and fashion rants into mini paragraphs, sharing them with random strangers just for fun, i don't know i kind of like it here haha. ( im still getting my degree, being rich and dumb isn't a good look ), but anyways, i was a brokeyyy, draining myself in school and depending on my parents financially. i took a chance at doing something i love and enjoy and now i have my own money coming in from different places in different ways. crazy ! you really do create your own reality, i saw an opportunity and took it! but honestly, it's fascinating to observe the potential of social media when approached with seriousness, consistency, and discipline.

Interested in replicating this success by the means of social media monetization?, I'd be happy to share my strategies and insights.

first download the M3 Ebook for free ( while this guide primarily focuses on Pinterest growth and monetization strategies, many of the principles can be effectively applied across various social media platforms of your choice. )

once you feel like you've mastered the M3 Guide, consider acquiring The Digital Dollar resource. In this guide I give insight on diverse methods I took in the beginning for generating multiple passive income streams, whether it be affiliate marketing, creating digital products, starting an online brand or even blogging!

and remember, if you have any questions, my inbox is always open, don't be shy !

mwah! xoxo, colebabey8.88

[mesetacadre]

How did you start your political life or more specifically, how did you learn about communism and made it part of your life? I'd love to learn more about communism and how I could help the world and people but I feel like I'm too stupid for that and I just generally don't know where to start, especially since I'm afraid even socialism will fail and hurt people more than help. Sorry for this message but thanks in advance if you decide to answer!

Around the time I began to come out of a year-long+ depressive period, I began to seriously "get into" politics. I suspect one of the reasons which triggered such a long and severe depressive period was the beginnings of a political consciousness, I intuited something was wrong with the world in a fundamental way, especially the education system, but did not have any knowledge or will to get at that more concretely. I did latch on a lot to that "don't go to school" viral video, especially the part about how it hadn't fundamentally changed since the industrial revolution.

The first thing I found after I stopped wanting to kill myself so constantly was anarchism, actually, and specifically vaush videos. I know. but I did start reading some things, like the conquest of bread, and some more "competent" political theory content than vaush, I did really like the idea of market socialism and coops. To my credit, I also encountered georgism and even I could tell it was pretty stupid. Anyhow, I never really was convinced on anarchism, on a fundamental level. I knew the talking points, the common arguments, that jazz, but it was more a superficial belief rather than a core one. After like 6 months of this I decided to contact the party I am now, I had encountered them a couple months earlier but kinda chickened out. The will to do something more than watch vaush and be opinionated about US politics eventually prevailed and I contacted the party, and they were very patient in actually educating me, giving me some responsibility, and in the years since then I've continued to be educated in practice and theory. Generally I'm glad by trajectory wasn't like some other young people in my position that I encountered, who went from fascist to right-libertarian to US democrat in a matter of months, those people wear their lack of principles like a badge of honor.

Anyway, about your other questions, there is no such thing as being too dumb for communism, it's rather a question of a will to learn and a decent enough offline organization with which to apply some principles to your context. Theory is extremely deep, for sure, but there is no minimum theory requirement to start to get organized. This perception exists because often, the only communists who organize as such explicitly are, frankly put, massive nerds, and it gives off the impression that you need to have read all the basics before doing anything. That isn't true.

I get your concern about hurting people, I think it's a legitimate doubt to have, and one that can only really be resolved with an actual 1-1 conversation and not this format, but succinctly, I'd tell you that already, millions of people suffer and thousands die every day from causes related to the oppression intertwined with the capitalist mode of production, especially imperialism. It has killed throughout history exponentially more people than any army could ever do, even the most genocidal and cruel army you could imagine. Isn't the opportunity to end all of this worth the risk of failing? The capitalist class will oppress our organization regardless of what we do, a failed uprising is more of an excuse to clamp down on our class, and less of a cause in itself.

[letomills]

Elaboration on my past shameful cc hair practices (I have learned the error of my ways)

Context over there. This here post is an answer to an inquiry by @sillysoraya.

This whole time since I started trying my hand at Sims 2 cc hair recoloring/retexturing, this had been my process: find recolors by a creator whose textures I want to use as a base, export said textures from their recolors via simPE, modify and/or recolor them in GIMP, then make fresh recolor files in bodyshop, reimport them immediately, close bodyshop, promptly delete everything that was generated in the Projects folder, take the new recolor files out of the SavedSims folder, and put my edited textures onto my them by building DTX in simPE.

When I say “textures”, I mean textures that look like this, you know, the ones you see in simPE with the transparent background:

[↑ that's evannamari's DBrown retexture of Newsea Miles Away]

That's how I do it for clothing, so why wouldn't it work for hair, I told myself naively in my immense hubris.

Well turns out there's a reason why the tutorials (such as this one by DeeDee) tell you to apply the textures not in simPE but in bodyshop. You’re supposed to put your textures in the Project folder - this kind of texture, that covers more than just the alpha:

[↑ the texture on the left / the alpha on the right ↑]

And only then you reimport and let bodyshop do its thing. The alpha will do its job carving out the texture properly (or whatever kind of sorcery happens in there).

Because if you give your recolors the already alpha’d out textures with the transparent background, what I believe happens is as the transparent background gets floodfilled with black during bodyshop’s file creation process, all the parts of the texture that had some wispy half-transparent hairs on them now have a layer of black underneath. Or at least what I know for sure is that those wipsy sections don't turn out looking nice but weirdly wire-y, especially on light recolors. Many hairs don’t have wispy strands and therefore are very forgiving (which is why I didn’t see a problem when I did the Rosesims hairs for example) but others have plenty of them, like the Newsea hairs. On those, it makes a clear difference. In game, it shows most as you zoom out, for instance in CAS from a face close-up view to a full-body view. It’s the same principle as this seam problem I had a while ago (and several times since), with clothing texture that was floodfilled with white too close to the borders of the texture mapping. When you zoomed out, the white would start showing.

Anyway, this is definitely stuff that creators in the community have known for 20 years and it’s 100% my fault for not following a hair tutorial and instead relying on prior knowledge of clothing-making that turned out not to be applicable 1:1.

I’m sure I still have a lot to learn on hair retexturing even after figuring this out. I was working on Newsea Yesenia when I had the realization that I was doing things wrong, but before I upload anything else, I’m gonna go back and look at all of the hairs I’ve done so far, fix them up when needed, learn more. Fortunately I think all of the Fakeblood gender conversions are fine but I’ll check and get back to you on that, there’s something I need to investigate. Edit: yes, all the gender conversions and copy-pasta of other people's unedited textures are completely fine, thank god.

Seems like as long as the texture didn't go through GIMP's import-export, it's fine, even if I didn't apply it via the Projects folder.

[alciedoodles]

hi!! i saw your other post about how you simplify details and it was really helpful - was wondering if you had any tips abt drawing expressions/poses to express a story/emotions. like i saw your recent sumeru char doodles on twt and the way you draw alhaitham and hungover kaveh is so!!! ahh!! all of the lines feel really intentional, from the expressions to the fabric of the clothing and omg i love it so much. anyways sorry for rambling HAHA thank you sm for sharing your art! gl w art school 💪

Hello!

Thank you so much for the lovely words <3 it's really such a honor to hear that so many people consider my art to be very expressive, which I think is an essential skill to have for storytelling in comics!

First of all, I'd like to say this isn't something I can easily answer... you must already know there's no easy step-by-step guide on how to be "good" at art or expressions or whichever aspect you're trying to improve, the answer will always be observation and practice. However, I can tell you some of my methods I use to make sure emotions are conveyed as efficiently as possible(?). Here are the key points I always try to apply (note that these aren't rules, these are just my guiding points):

Understanding the character(s), the context, and how the two work together

Laying down a foundation

Not letting dialogue be the main driving force behind storytelling

Paneling conveys emotion too, actually

The absence of something can also convey emotion

You didn't specifically ask about comics, but since it's my favorite subject and it ties into your question, I'll be using a lot of examples from the comics I made! And it might interest other people who were curious?

VERY long post ahead :)

1. Understanding the character(s), the context, and how the two work together

This is what I think is the most fundamental part of storytelling! I mean, makes sense, right? Obviously you don't need a PhD in The Character to make stories based off them. I literally cannot tell you every detail about my favorite characters despite loving them very much, but I think understanding them and their relationships on a big-picture level is primordial. What drives them, what are their principles, what are their biggest fears, who do they make exceptions for, etc. Also, to me, understanding their relationships is sometimes more important than understanding the character at a molecular level. We can tell so much about someone just from the way they interact with specific people vs how they interact with strangers. The person I am online isn't the same I am with friends nor even with family-- like one of the reasons some characters can feel one-dimensional is because they don't show variation in their character throughout their relationships (and since you mentioned Kaveh and Alhaitham, I don't need to tell you the way both of them interact with each other is far removed from the way they interact with friends, strangers, etc... I think a lot of people forget who they are outside of their relationship, which a huge point of contention behind mischaracterization in fan works). I don't have much to say about this other than this is something I keep in mind every step of the way through.

2. Laying down a foundation

This is what the majority of my comics look like on second draft:

I said second because the first drafts usually look like this, which are barely comprehensible to anyone but myself:

The purpose of these are not only to give me a better guide for posing than whatever i did on the first draft (storyboard), but also have a first pass at motion and emotion. The expressions and gestures are legible enough that you can probably glean the emotions of each character based off the little sketches. Ultimately, some of the things I'll draft will end up adjusted, changed, expanded on or even removed.

This particular panel of Reigen is a favorite of mine, because the first pass already shows his confusion, but the final one is even more distorted because it felt like it needed to be even more accentuated.

This panel where he mansplains is also a good example, because the first pass gave him too much of an arrogant/uninterested look (notable with his upturned face), whereas Reigen is more likely to take pride in explaining something he knows to make himself look like a wise and mature figure (notable with his slight smirk and downturned face, as if nodding to himself; the hand is also slightly more forward as if inviting rather than dismissing). And since I basically made an example of it above: body language is super important! This applies for everyone. It doesn't stop at characters who make grand gestures and exaggerated poses every waking moment of their life, but also characters who are socially awkward, private, reclusive...

The posing here is intentionally stiff but not entirely closed off, giving the sense that he's earnest, tries his best to make connections , but also doesn't want to take too much space, thinking the smallest wrong move could cause trouble. Also, give room for the body to do its thing. Avoid cropping out things that shouldn't be cropped out. Leave enough room between the edges of the panel and the point of focus to emphasize what you want to emphasize. Close-up shots shouldn't be too frequent (in fact, personally I don't like doing close-up shots but it doesn't mean they're bad or shouldn't be done, again, my word isn't gospel!), especially if what you're conveying isn't too emotionally charged. Lastly, I have terrible news for people who hate drawing hands. Hands are possibly the second most expressive part of our body (if we don't count the body as a whole), so especially for your charismatic characters, you will very often want to use hands as a tool of expression.

(Think how much emotion and personality would be lost if the hands weren't there!)

3. Not letting dialogue be the main driving force behind storytelling

With my comics, I play an incredibly dangerous game called "I'll think of dialogue as I make the storyboard and then when I'm done drawing every page I'll write the dialogue over it guided solely by memory and whatever I drew". Don't do this. Have a script in hand or write it at the same time as you draft your storyboard. The reason I do this is because I'm lazy and I don't want to open a simple writing software to type down a script. Genuinely I have no other reasons. Anyway, the only advantage this gives to my comics is that they will generally be able to stand on their own without much dialogue; obviously dialogue is essential, but what I mean is that we don't need it to have a pretty accurate read on the room.

For example, if I remove all the dialogue from this page, you probably can't guess exactly what's being discussed. However, you can identify through their emotions alone that there is disbelief, bargaining, and finally a pretty devastating info was dropped. Alternatively, cutting down dialogue from your page and leaving room to expressions/body language alone can be entirely more beneficial than having any dialogue to begin with.

AKA Readers aren't stupid (some may be, but the majority can extrapolate just fine). You'll realize how much you don't need words and how your stories can be even more funny/impactful by pushing forward visual storytelling.

4. Paneling conveys emotion too, actually

Being a "good" artist isn't enough to make good comics. The way you panel things is extremely important, because it sets the tone, mood, pace, you name it. Some of the best works out there are the ones with the most care put into the flow of the comic. You need to understand how people will read it, and it starts with what order you deliver the information and how. This is paneling 101, but a page with irregularly shaped panels, multiple changing camera angles and such will be exponentially more dynamic than a page where each panel is the same size, have similar compositions and/or repetitions with little to no diagonal or curved lines of action.

The two examples above are WIPs from 2 different stories so unfortunately you'll have to make do with the rough sketches. That being said, you don't need to know the context of either pages to know the kind of emotion that should be felt through the paneling alone. Give time for the important emotions to be processed by the reader (unless it's intentionally fast-paced). Every emotion that needs to be emphasized should have its own panel.

In this example, I could easily have condensed these two panels into one by transferring the dialogue from the second into the first and jumping on to the next action. However, it would undeniably give much less impact to Kaveh's disbelief. On an inverse situation, sometimes you will want to condense two panels you made into one, because whatever those two panels are doing are perhaps not important enough to deserve separate panels! Lastly, you can notice that the space on the page is not always filled. Leaving space between each panel and/or between the edges of the page gives room for the reader to breathe and slows down the flow; and inversely, if you want to make the situation more frantic, make everything look more tight and constricted.

5. Not showing facial expressions sometimes conveys more emotion than doing so

This ties nicely to the point I made about body language. You don't need to see a character's face to know what they're going through, necessarily. Sometimes, their posture or their dialogue is enough. In my opinion, a story is more compelling when this equilibrium of facial expressions / body language / paneling / dialogue is correctly adjusted-- you will not need to have all the elements to convey the message or it could be a little overbearing. I don't have many examples for this one because they tend to be more relevant in dramatic scenarios, which I haven't done that many of.

(The first one is once again from a WIP)

And that's about it for my insane guide on comic-ing. I hope ANY of it made sense.

***

Here's a round up of extra tips, focused entirely on the drawing part which might be more of what you asked to begin with :'D

- That little line/wrinkle that adds so much character

Yall know what I'm talking about. In my opinion, too many artists are afraid of giving laugh lines/wrinkles because it makes their characters look older, except when it's to add those sexy sexy eyebags. I'm encouraging everyone to add them to their art little by little and see how much it can improve the expressiveness! Obviously, I don't use it everywhere, but it's a very effective way to make your expressions feel even more... well. expressive.

- Line of action

You've probably seen this picture going around before, from Preston Blair:

Although it's called line of action which implies action, this line is important even when the character isn't really in action.

You can gain a lot in expressiveness when you think of the body as one whole fluid instead of a sum of multiple disjointed parts. This is why drawing a very rough base comprised of only lines and circles can help figure out if the posing works before you start refining it.

On a different note, animation principles work very much in comics as well! I recommend looking up animation guides especially those that show how to make key poses.

- Shadows and/or color fill

This is one I will use quite often for different situations.

Shadows can immediately set a tone when they're used dramatically. For example, a shadow over a character's face can convey unease and/or evil intent.

On the other hand, I will use color fills for different purposes:

Differentiating ground layers

This can help with readability.

2. Conveying a certain mood

It can separate the character from the color of their background to give a sense of isolation, reflection, realization, being disconnected from their surroundings, etc...

- Don't be scared of using codes / tropes / archetypes

...As long as it benefits the narrative, of course. By codes / tropes / archetypes, I mean posing or expressions or visual effects that are universally understood and used for specific expressions. The semicircle sweatdrops and blush made with slashes are incredibly typical of manga/anime, but it doesn't mean they're bad! Visual effects are there to help remove the ambiguity of an expression considering a single expression without visual codes could convey multiple emotions!

- Find what inspires you and take notes!!!

In my case, what greatly shaped my art style to what it currently is: One Piece, the Ace Attorney series and Mob Psycho 100 (yes, I only watched the latter last year but it still managed to become a source of improvement/inspiration for my art even at my current level, because you'll never stop improving :) )

I hope this wasn't too long or too off-topic, and I hope it can also help other people who might be interested! Thank you for reading!

[possiblyunhinged]

Honestly, there’s always been an unsettled feeling in my stomach when it comes to the way progressive men talk about capitalism. There’s such a fixation on class—with blinkers on. Seldom do they acknowledge how race and sexism shape these power structures. And when conversations turn to violence against women and girls? Progressive men are often nowhere to be seen.

I’ve written on and off this website since I was 13 years old, and most of the ���engagement” I’ve experienced has been from men; some even became my IRL friends... well, apart from the 40-year-old man from Maryland who would ask for pictures of my legs and attempt to groom me. Back then, I wrote a lot about capitalism because, let’s face it, I’m a one-track record. But whenever I shared something about being assaulted or anything remotely feminist? The men who constantly engaged with my other posts were nowhere to be seen.

This trend has followed me throughout my life. At university, the men I knew would happily perform progressiveness—until it came time to reckon with their own role in systems of oppression. And I say this as somebody who really struggled to come to grips with my own privilege. I understand the simmering discomfort people feel in conversations such as these.

I saw myself as someone who grew up in poverty, had undiagnosed autism, lived in a domestic violence household, and was homebound due to agoraphobia—so how could I possibly be privileged in any understanding of the world? It took me a lot of time to read, listen, and sit with uncomfortable truths to understand why I was contributing to something so painful for so many people. I found it deeply embarrassing to be confronted with my ignorance and, in many cases, to realise how I had chosen it when I had the option to learn. It emboldens people’s oppression when “good” people do nothing.

I started truly engaging with the words of women of colour, in particular, and even now, I have to constantly poke myself on the shoulder when it comes to topics about justice. I remind myself to think about how these structures of oppression, more often than not, are even more pervasive when considering the influence of racism. I learned to sit with that discomfort and hold myself accountable—and to this day, I’m checking myself and making a deliberate effort to be conscious of race.

If the core reason you care about critiquing a capitalist system is because justice matters to you, then that same principle should apply when thinking of the experiences of women and people of colour. If your moral foundation is strong, why would it crumble when confronted with forms of oppression that capitalism exploits and deepens? It shouldn’t be about appearing virtuous—it should just matter because it’s morally wrong.

I just wish men were truly there in the conversations. I wish that, instead of relying on women to exclusively speak out—and then becoming the recipients of relentless trolling and pushback—men would take on some of the burden. Every day, women navigate the behaviour of men they don’t know. We’re not avoiding certain routes because they’re inconvenient or “dangerous”; we’re avoiding them because if we’re attacked, raped, or harassed, we’re left wondering: will anyone stop them? Will our screams even be heard?

Too often, it feels like when we speak about the violence we endure, society’s response is to hold up a sign that reads: “Please shut the fuck up, you’re making us uncomfortable.” It doesn’t inspire much hope, to put it lightly.

And men may roll their eyes reading that. But even when women are murdered by their partners—when their bodies are blended or dismembered—they are rarely given the dignity of their name being used in news articles. Instead, the narrative focuses on the man’s shockingly “unlikely” profile as a suspect. Maybe it’s because our understanding of why violence against women and girls is so pervasive is chronically outdated. There isn’t a “type” of man who does it. We just choose to ignore sexism at its molecular level, to overlook its breeding grounds, and to use the inevitable results—women being killed, harassed, and stalked—as opportunities for collective sighs before continuing to do nothing.

We’re seeing young men becoming more radicalised, with a clear political distinction forming between young men and young women. Teachers are reporting shocking levels of misogyny in classrooms, and the impact of this is devastating. Silence isn’t achieving anything.

But, of course, the problem isn’t the influencers feeding them hatred or the systems failing them. No, it’s apparently young women’s fault—for not sleeping with them, for having “unrealistic” standards, or for waiting around for Jason Momoa. That’s the rhetoric these young men are being fed, and it’s both laughable and terrifying.

When my abusive father left our family home, one of the first concerns people raised was about my brother. “Who would he be without his dad? How would this loss affect him?” We acknowledge the enormous influence men have over other men, especially young men. We recognise the importance of mentorship in helping boys and men craft fulfilling, positive lives for themselves. Yet, at the same time, we accept silence from men when it comes to educating young men about sexism—a silence that enables systems of misogyny to persist.

And what is the cost of that silence?

Who pays the price?

I feel like I write something like this every so often, and the feeling is the same—exhaustion. Whether I’ve wanted to participate or not, men have truly been centred in my life since day one. Whether that’s my dad or feeling dutiful to men who hurt me because I was brought up being told their feelings were silent killers—so how dare I inflame them by not being docile or thoughtful to that, regardless of the pain inflicted on myself.

It just feels to me that society has collectively decided that women are simply collateral damage in an issue they don’t have the bravery or commitment to address. Clapping when a billionaire falls victim to a system they benefited dearly from, before a deafening silence when, yet another, woman is murdered by a man—and not thinking for a second why her name hasn’t even been used—is worrying to me.

Above all else, it makes everything else stink of disingenuous bullshit.

[beesmygod]

i know an anon suggested ocd to you the other day, and i didn't see the original message but i know it was a bit fraught. but i am a longtime follower who has ocd who also thinks you may have ocd. and with the reblog you just did i'm like well, maybe i can say a little bit.

i've been sitting on sending a message for a long time because (1) trying to diagnose someone on anon is so fucking weird, i am very aware and ashamed of this weirdness in sending this to you, don't worry, (2) it seemed so obvious to me and you've already talked about other mental health issues and such that i was like "no, surely she must already know she has ocd and is just choosing not to talk about it (completely understandable, i don't do it on main), and then i would also be weird for forcing her to out herself".

the thing with morality-adjacent ocd is that a lot of the base thoughts, in a vacuum, are fine. if you hurt somebody some level of shame is good so you can reflect and correct your behaviour. caring about doing the right thing and refusing to do things that violate your principles is good. it's the intensity and all-consumingness of the thoughts that is the problem.

i mean i say morality but it applies to other ocd too. you should wash your hands and keep your place clean as much as you can, but obsessively avoiding contamination by washing your hands for half an hour straight... etc. it's ultimately egodystonic - it takes the thing you hate the idea of the most and convinces you that is what you really are.

like you are genuinely an admirably principled person, more than many, and it's good that you do the right thing instead of the easy thing. but your anguish about like, not contributing enough good to the world as a comics artist and things like that screams morality ocd self-punishment to me... and repeatedly talking about it feels like a confession compulsion. which i also have, kind of! i feel the compulsion *to* confess, but i don't, because if anyone forgave me or told me it wasn't a big deal they obviously haven't formed a sound judgment because (1) they are morally depraved themselves, (2) i didn't explain myself properly and they didn't understand why it's bad, (3) they're my friend and being more permissive with me because they like me, so they're too biased.

this was long, sorry. but you're a good artist and i like your work and i hate seeing you suffer like this. and if you really don't have ocd, well, i'm just another weirdo armchair psychologist anon vanishing into the void.

i appreciate this and thank you for being kind+brave enough to send this while medication juggling is really making me insane new ways. i have not been diagnosed w/ocd and only started kicking the idea around not too long ago when cornered by the inescapable nature of my thoughts/feeling, the fact that no one understands what the hell i'm ever talking about, and seeing signs of it in someone else very close to me. and i guess incidentally learning more about how it develops/is treated.

lol your bit abt internally responding to how ppl try to comfort your "confessions" rings very true. i never thought of my posts as confessions but like im desperately trying to get a hold on a reality that makes sense to me because when reality doesnt make sense, it feels perilous and fleeting. like, doesnt anyone else feel like this? why am i the only one who sees this? how am i supposed to understand what i'm supposed to be doing to live a life that isnt equivalent to a sewage drain that empties out into people's houses if i cant even understand whats happening?