#really makes you consider the nature of the medium

[shiroikabocha]

not sure if meticulously copying an ASCII image onto paper in a half-assed calligraphic style counts as “art” but, if it does, here is an Art

Our Lady of Perpetual Disagreement, patron saint of the Death of the Author: Milton Library Assistant

and here’s a color-flipped version (red text preserved) that my good friend made for me, since I can't for the life of me get my scanner working:

[foldingfittedsheets]

FFS’ Guide to Mattresses:

The following is a non-comprehensive list of questions I get asked a lot and is hopefully a good resource for anyone looking for a new mattress. I am not a scientist. I just sell beds. All bed knowledge is centered in the US, my apologies to international folks.

If this guide proves helpful you can consider popping a tip over on my Ko-fi to say thanks!

What’s the first step?

Well, first thing is gonna seem kind’ve obvious but a lot of people get mattresses secondhand and don’t think about it. Determine the feel you like! There’s no reason to sleep on a hard bed unless you like it, it’s not any better for your back. The three standard feels are firm, medium, and soft. Soft is called plush for stupid reasons. So find out which you like! It’ll narrow down what you look at, and save you time.

When trying out mattresses, use an A-B method. Do not compare every bed. Compare two at a time, otherwise you end up a confused mess. Pick one between the two that you like better, then put that one up against the next choice.

When you eliminate a bed it’s dead to you. Forget it. It was not as good as your new favorite and does not deserve to be remembered. If you cannot pick between two you will be tempted to try a third- this is the devil talking. A third will just make your life harder. If you truly can’t pick between beds that are comparable and they both feel nice after feeling your feelings then pick the cheaper one.

Lastly, mattresses are a huge example of “you get what you pay for”. Investing will pay off. Don’t get sticker shocked, budget what you can but know that mattresses can be freakin expensive. If you go into a store and see $5000 price tags, don’t worry, that’s not all they carry, but focus on the feel of the bed at first rather than price tag.

If you find one you love but it’s too much, the salesperson will know a comparable roll down or will usually try to help you get a deal. If you can admit, “I like this but it’s too much” they’ll work with you to find a solution.

What firmness is best?

This varies person to person but firm beds are not necessarily better for your body. Really. There’s two parts to a good mattress: support and comfort. Support goes underneath and is generally springs or incredibly dense foam. If a bed has good support, you can get away with lots of comfort.

The comfort layer exists to be gentle on your joints and pressure points. People who sleep on their side really need this comfort layer. Without this your shoulders and hips can’t circulate blood and you’ll end up tossing and turning every time your arm starts to fall asleep.

Back in the 1950’s when interconnected coils were the only thing on the market it made sense that you needed them to be firm, otherwise you’d get no back support. But nowadays coils are individually free standing, they do a much better job supporting bodies and bonus, they don’t have to be rock hard.

Most people should get somewhere around a medium bed rather than super firm or super soft but it depends on the persons preferences as all three can be good for you.

How can I tell if a bed has good support?

I’m so glad you asked. You lay on it. There’s a natural curve to the human spine. Lay first on your back. The arch in your lower back, that’s your lumbar. A good bed will push up and fill that area. If your muscles are trying to maintain that arch all night without help it will cause back pain and tossing. The more a bed fills your lumbar the better you can sleep.

Next, lay on your side. You’ll want to focus on your shoulders and hips. Good support on your back is great, but a mattress should have enough squish not to pinch off circulation. Lay for at least five minutes on your side unless you hate it right off the bat, I’m not saying every bed needs this in depth just the one you’re seriously considering. If you feel like you already need to roll over it’s too hard, go softer.

Should I get a topper?

A thousand times no. Toppers are used as a wide ranging bandaid from “there’s a hole in my bed” to “my back hurts”. Commercially available foams in toppers are significantly worse than the foams found in beds. They break down faster and sleep hotter than what they make mattresses with.

The only scenario in which you need a topper is if you’re stuck with a bed that’s too firm for you and you need it a little softer. That’s it. It can make your bed a little softer. It cannot fill holes or fix a bed with bad support. Generally aim to be over $200+ or the topper will break down ridiculously fast and be super hot to sleep on.

What do I do if there’s a divot in my bed?

First off, waterproof protectors can help avoid this problem, so take your bed divot as a life lesson and use a protector on all beds going forward. Our sweat and humidity breaks down foam like nobodies business, causing permanent damage.

So you have a divot, what now? Depends how entrenched it is. When beds get slept on every night for years the foam where a body lays compresses down, and the foam around it stays untouched. You’ll naturally start sinking. But you can get up and walk or crawl along all the foam that isn’t get slept on. If your divot is years deep it may be beyond saving but it’s worth a shot.

You can also rotate beds head to foot every six months and switch the side you and your partner sleep on or sleep all over the bed if you’re alone in it.

If the bed is over ten years old thank it for its service and get a new bed.

When should I get a new bed?

It’s worth checking your sleep quality at ten years into a mattress. The average life expectancy of a bed is 7-9 years. Not because the bed gave out necessarily but because human bodies change. We gain and lose weight, suffer injuries and age. A bed that worked for us eight years ago might not be what we need anymore. So just general age check is good. This is subject to the kind of mattress, bed in a boxes average 3-4 years of comfort so check in sooner.

But additionally: if your bed has a deep body trench where you’ve been sleeping, or if you’re waking up achey or in pain. There’s health problems that can reduce your sleep but a lot of people never suspect their mattress is sabotaging their rest, so keep it in mind.

How do I clean my bed?

Oh boy. You don’t. This goes back to water proof protectors. Your bed is not something you can pop in the wash. But it is something you will sweat and live in for upwards of ten years. Dust mites, dead skin cells, dust mite corpses, dust mite feces, allergens, skin oils. All those things will seep into the bed over time and spoiler alert it’s not great to breathe it in every night.

Sheets only catch a fraction of it, so a waterproof protector keeps the bed safe from your sweat breaking it down, but it keeps you safe from all the things that can build up in a mattress.

If you must clean a mattress I recommend a professional steaming service rather than trying to do it on your own but take this going forward: always protect your bed.

When should I get a new pillow?

Does your pillow have a waterproof protector on it? If no the answer is probably “right now”. Doctors recommend keeping a pillow no more than two years. This is because they’ll lose support and get yucky gross over those two years. If you get a memory foam pillow and get a protector on it they can last way longer. My oldest pillow was around seven years old.

Cheap polyfill pillows you buy at Target or Walmart are really only going to last three months before they wear out. If you are using more then one pillow at night you need a new pillow. Every time you have to wake up and adjust the multiple pillows you’re losing sleep.

Memory foam pillows can be more expensive but will last exponentially longer so save up and spend $50+ on a pillow you’ll actually get to use for a long time rather than $10 on one that will give you a few months of comfort.

What do I look for in a good pillow?

A good pillow is an extension of your spinal support. It should keep your neck aligned with your spine. Ideally, you are laying on a bed to try out a pillows height. It should match the width of your shoulder.

Most mattress stores can fit you for a pillow, but you can also bring a buddy to check your spinal alignment is straight. Side sleeping is most critical to get the height right. Back sleeping you just don’t want it too tall to force your chin down, and stomach you want it low enough not to push your neck up.

I replaced my pillow, now what?

Okay so now you might curse my name for a few days. Bodies are creatures of habit and hate change. Your neck might be in agony on the old pillow but it's familiar agony. So when you boot that sucker to the curb don't throw it out right away. As if I'd ever actually throw away a pillow when I could just hoard it forever.

Start each night on your new pillow. If you wake up in pain, switch back to the old one. Each night you should be able to stay on the new pillow longer and longer until your neck is finally happy. If the new pillow is consistently an issue after a week or more it may be too tall/low for you, unfortunately.

If I’m sleeping well do I really need to replace it (beds/pillows)?

Are you really sleeping well? Replacing beds or pillows is inherently stressful and a lot of peoples happy place is their bed. It’s hard to give up aspects of that cozy zone. If you’re really truly sleeping well no one is gonna make you change.

But generally if you find yourself asking this question you may be trying to convince yourself that things are good enough and ignoring that they could be much better.

Get a sleep tracker if some kind. Let it run for a week or two to see how much you’re tossing and waking up. If it’s a lot and your bed/pillow are old, it’s a good bed they’ve served their time.

If you ever wake up to readjust pillows (or at any point you’re using more than one pillow or mattress) then yes. You need a new one.

Good sleep is the result of the least disruptions. Anything you need to adjust in the middle of the night deserves a hard look and a boot to the curb.

Why shouldn’t I have my mattress flat on the floor?

Mold. Mold mold mold. Remember when I talked about how human bodies are humid? We put out a ridiculous amount of moisture as we sleep from exhalations to sweat. That builds up in the sponge under you and then your body heat maintains the ideal temperature to grow all sorts of nastiness.

You would not believe the amount of molded out beds I’ve seen. Even in the most arid areas, mold. It’s not worth it. Do not leave your bed on the floor. There’s like 2” frames if you like a low bed. If you must have your bed on the floor tip it up against a wall to ventilate every day. Mold will not wait for an invitation.

Japanese futons get brought up a lot here and first off- they get moved every night and washed regularly. Then left to ventilate. They understand that if they left it there it would mold.

Why do I sleep in X position?

Generally your body really wants your spine to curve in the right ways. Sleeping on your back would be ideal if the bed gave you everything you needed but most beds struggle to fill the lumbar. So when your muscles can’t hold your lumbar curve and want a break you roll onto your side.

Stomach sleepers are a case of back muscles fully declaring that nothing can support them and opting to invert rather than deal with poor support. It’s fully the worst sleeping position.

Before I sold beds I was almost 100% stomach sleeper due to scoliosis and back pain. Sometimes side. When I got my new bed I switched to only side and occasionally even back, which astonished me. As my bed has become less what I need I’ve reverted to occasional stomach bouts and less back sleeping.

Why don’t you like bed in a box?

Let me count the ways.

Box beds are the fast fashion of the bed world. They essentially corrupt the support part of the bed equation in order to get a product that can feasibly roll up and be compressed down. The foams are all lower density than they should be and give out quicker. The coils are significantly less steel.

The world cried out for an inexpensive bed and companies responded by giving you significantly less bed per dollar. They often use fiberglass as their flame retardant a requirement for all beds and there’s many testimonials about how poorly that’s gone for people.

But now the greatest sin of boxed beds is that they have the audacity to be marketed at the same price points of traditional beds that don’t roll up.

This robs the consumer of longevity. They’re a rip off. I sell them now at my store and I will do everything in my power to turn folks away onto beds that will actually do their damn job rather than bed mimics.

If you have a bed in a box, please understand that you’ll still get up to five years out of it, and you’re not foolish for buying one. They’ll still always be better than an old broken bed, just look to replace it sooner.

What is a good price point for a new bed?

This is really subjective, but you can get a queen size bed with independent coils for around $600. That’s the lowest good back support I’ve seen. You’ll get ten years out of it and it’ll be a bed.

Stepping into the $1000 mark gives better back support and pressure relief. Up from that they’re going to get more conforming.

Beyond $2000+ you’re generally paying for cooling. It’s the number one thing people want in a new bed but it costs more to give.

Rank Costco, IKEA, or bed in a boxes?

Bed in a box are my lowest tier, for reasons I’ve spoken of at length.

IKEA is next. They’re generally not boxed as of the last time I investigated ikea beds but they’re also just bare bones. Not a lot of either support or comfort, they tend to be around dorm quality.

Costco is a bit of a cheat here. See, they’re a wholesaler but mattresses aren’t something that overstocks- they’re made to order. Costco still wanted to offer a cheap option. So Costco gets beds made to order for really cheap. Now how can Costco offer it so much cheaper? By putting roughly 1/3 less stuff in it by category.

I had a spreadsheet laid out at one point to compare a sealy I carried against what looked like a comparable Costco bed. Every single component was shaved down. Each layer of foam, each coil, they all were about 1/3 less material than our better bed.

Now of course Costco sells boxed bed. So a non-boxed Costco bed is still better than an old broken bed and Costco will basically always take it back which is why they score higher than others but you’re still only going to get about three to five years out of it.

Do I really need a new boxspring? My old one is fine!

Is it really actually 100% fine? Is it just as old as the mattress? Are you willing to gamble the price of the new bed on the existing structural integrity? It’s been load bearing for the lifespan of a bed and the amount of boxes that are actually good to continue service are few and far between.

A few reasons to get new boxes: new beds are made much more floppy than old style to accommodate adjusting on adjustable bases. Old boxes may not offer adequate support for a new bed. Ideally what’s going under a new mattress is solid. No gaps. If you have slats it’s still ultimately better to put a bunkie board under the mattress rather than sitting it right on the slats. Also mattress manufacturers won’t warranty a bed that is on old boxes or improper support.

Adjustable bases are a wonderful replacement for box springs, bunkie boards should go over slats greater that 2” apart, and try to avoid frames that leave big open spaces under the bed.

If this guide was helpful you can consider popping a tip over on my Ko-fi to say thanks!

[wizzard890]

So there’s a trend that I absolutely hate in online discussions of (non-satirical) genre, particularly genre that’s influenced by the gothic. This trend makes my eyes roll back in my head until I can see through my own skull. It makes me want to bite a car in half. It makes me want to step into the jellyfish tank at the New York Aquarium and beg for the sweet sweet annihilation of a thousand stings. 

I call this trend: Oh Just Be Sensible, and it goes like this:

“Why do vampires always end up covered in blood when they feed, I don’t spill soup all down the front of my shirt when I eat dinner. Real toddler energy.”

“Why do people always cut their hands to swear oaths, everyone knows it would hurt way less on the [insert body part with fewer nerve endings]”

“Vampires shouldn’t be feeding from people’s wrists, it damages the tendons, if doctors don’t take your blood from your wrist, vampires shouldn’t either! No one will be able to flex their fingers the next day.”

(This comes up a lot with vampires, I mention, as I stride purposefully into the glistening mass of jellyfish.)

There are direct answers for some of these when it comes to the practical visual language of a particular medium (for example, you cut your hand on stage / on set because you can hold a blood pack in there, and even if you don’t have an effect, the gesture and its purpose can be discerned from the nosebleeds) but what really gets me is how thematically boneheaded this sort of observation is. 

Like, let’s go down the list here. 

Why do vampires end up covered in their victims’ blood? Well Scoob, do you think it could maybe have something to do with their bestial, inhuman nature? Or with the erotic and sensual abandon with which they can approach violence, now that they’re untethered from human morals? 

Why do people cut their hands to swear oaths? Aside from what I mentioned above, do you think maybe it’s because it adds a layer of gravity to see two people swearing an oath to one another with blood dripping from their clasped hands? Do you think it’s maybe to evoke a unity of body, something greater and more primal than a unity of word? Or maybe to remind us of the dire consequences of breaking a blood oath?

Why are authors having vampires feed from people’s wrists if it damages their tendons? Damn, maybe that’s because it’s where the pulse is. You know, the pulse? The heartblood, the thing that races when you’re scared or turned on or both? The thing that stutters when you’re close to death and could, should the author choose, ring in the vampire’s ears like a chime or a great pounding thunderclap. Maybe in a story about undead beings who drink blood, we can sacrifice a bit of sensible reality in order to enforce the emotion and thematic heft of a scene? 

Images like these communicate what is happening between two characters, not just the events that are transpiring! No one making stories forgot to consider ~sensible~ little observations, because it would be absolutely inane to consider an observation with the creative value of a wet paper towel. This stuff is part of our visual language for a reason! Themes also need to be communicated! 

God, like, okay, I’m exhausted and the aquarium staff keeps yelling at me when they find me here, but let me just wrap up by saying that relationships, character and meaning are expressed in so many ways beyond dialogue or internal monologue, and those expressions are so rarely sensible. 

(Also all this shit looks cool as hell, do you really want your protagonists swearing to die for one another by dabbing their slightly bleeding elbows together, grow up.)

[pureastrologywisdom]

𝔄𝔰𝔱𝔯𝔬 𝔬𝔟𝔰𝔢𝔯𝔳𝔞𝔱𝔦𝔬𝔫𝔰

If you have any placements in virgo, WRITE THINGS DOWN. You are influenced by mercury as Virgo's planetary ruler, however you are also an earth sign. You cannot handle that fast paced energy of Mercury as well as gemini. You need to lament on things decisions/ideas a little longer. You prefer to take your time. instead of having those thoughts bouncing around your head, calm yourself by getting them on paper. You also naturally have an ability for writing.

Having your moon in the 11th house is such an underrated placement. The 11th house is one of the houses that is about people as a collective. Having your moon here you have a really easy time connecting with people, people will regard you as genuine and comforting. Along with this the 11th house is also the house of gains. This shows that often people will their moon here find gains through their emotions, whether that be success, recognition for their work, or becoming known for this. I have seen this in a lot of creative peoples charts, or people who have been known for their emotional displays in some form. For example, Billie Ellish, Oprah Winfrey, Elizabeth Taylor, Martin Luther King, Fiona Apple, Ryan Gosling. There is a skill here of really being able to connect with a mass of people or the collective.

Neptune in the 3rd house is a placement that I don't hear spoken about too often. But it's one of my favourites. These people Can be soft spoken and have a beautiful voice, spoken and sometimes signing also. Along with this they are incredibly enchanting hone they speak, there is something captivating about how they communicate. People will hang on their every word. Neptune is the higher octave of Venus which gives these people a way with their words, very creative. These people are often signers or poets or simply incredibly good at inciting emotions when they speak. There is almost something magical, as if they are casting a spell in a way. Its vulnerable, seductive and dreamy energy.

An aspect I like to see in a birth chart is a Quincunx. Whilst this might seem like a funny thing to say, considering that this aspect can be a difficult energy to harmonise, I actually enjoy the juxtaposition it brings to a person. It gives someone a quality that, at first glance or even when getting to know them, is quite unexpected. A little surprise. Something that takes people back, some nuance. I makes someone interesting and sometimes even misunderstood. As mentioned it can even be hard for these people themselves to undertones these opposite sides/needs within themselves.

Thank you for reading all,

Pureastrowisdom x

P.S.

Chart reading not available, I have around 5 spaces left for this month

Dm me if you are interested in...

Big three reading - £6

~ a good intro to astrology and exploring your chart

Self connection reading - £20

~ a deeper understanding of your chart. I use your chart as medium for you to have a deeper connection with yourself, focusing on self love, self worth and self appreciation

[despazito]

could u elaborate on "parrots make bad pets"? not disagreeing (far from it) just interested to see your take! looking to learn more about this

(i've gotten this ask before so please don't mind i'm just gonna paste a writeup i did a while ago)

There’s a blog run by an animal behaviourist who specializes in parrots that i really enjoy reading, she has a very good writeup on the state of companion parrots as an industry: The Inconvenient Truth About Cockatoos

so basically the average person usually cannot meet the needs of a parrot, especially medium and ESPECIALLY large species. they are long lived, extremely social and intelligent animals who are very demanding if you are their only companion. in my mind the most 'ethical' pet parrot setup is having some pairs of budgies in a dedicated bird room filled with foraging enrichment and doing some basic command training as a bird-human bonding activity instead of cuddles.

most pet parrots are hand reared or even hatched in incubators by breeders and are never given a chance to be raised by their parents, and virtually none stay with their parents until a natural weaning age before getting sold. which is wild considering it is fucking ILLEGAL to do that to puppies or kittens.

A parrot isn't really born wired for human companionship in the same way that a dog or cat is. they imprint on their parents which sets the blueprint of their kin, and they generally want to only form extremely close bonds with others of their kin. To get a very people-oriented parrot, it has to think it’s people.

This is different from the socializing practiced in raising cats and dogs or acclimating ferals to people. socializing means exposure to things so that the animal doesn't grow up to see the target as a threat, and ultimately that the target is something that can be very rewarding to spend time around. A dog raised with its mother and socialized to people still understands that it's a dog, it can get along with other dogs, but can also form strong bonds to people. They actually read both dog and human body language and legitimately have an awareness that we are different species.

The companion parrot is raised to think it’s people, and as a result many lose the ability to form bonds with their own kind. in fact the reason many breeders remove eggs or chicks from the nest is arguing that the parent birds don’t really know how to raise their chicks- because they themselves were hand reared and never learned how to parent from their parents! it seems that, like us, parenting isn't perfectly hardwired in parrots and they need to learn the skill from their families, oftentimes even staying to help their parents raise younger siblings!

That's why it's not at all uncommon for pair bonded breeding birds to be sold as a completely separate product from companion birds in many aviary operations. there's so many ads for people selling breeding parrots that fucking hate humans or are semi tame specifically listed for sale as breeders not as pets:

then their babies are bred for the pet market so they are taken either before or right after hatching to get hand reared and imprinted onto humans, because a parrot-bonded parrot just won't be as interested in forming those close human companionships you see in viral videos. this isn't the case for all aviaries, i want to acknowledge there are smaller scale breeders who have tamer breeding birds, but big producers can have borderline feral pairs and the point i'm trying to make is when you socialize a parrot to either the human world or parrot world, it's often at the expense of the other.

most trouble starts once the parrot begins reaching the age of sexual maturity. they stop being openly cuddly to most people, and will try to pair bond with their primary caretaker. It's not uncommon for this to lead to aggression towards other family members because parrots don't share partners, they can even do this to babies they are jealous of!

But a human can't become a suitable mate substitute for a parrot, and some of their mating behaviours such as regurgitating on you can seem straight up gross so the human then shuns the parrot and shuts down their advances. this can make your bird become very sexually frustrated that can lead to more unwanted behaviours and even health emergencies such as prolapse. we lead them on by stroking their chest and backs (only something bonded pairs do, you are essentially jerking off your parrot when you do this..) then reject them with no other outlet for their natural urges, and spaying/neutering isn't an option either! so they're stuck in a psychological purgatory of being unable to fulfill their instincts. and if they're in an understimulating environment and left alone for most of the day in addition to all that, frankly i think that's just an awful life to give to an animal we allegedly love!

we essentially alienate them, and when they don’t have people around to meet their extremely high social needs because you work a 9-5, even if there are other birds around, the lonely or frustrated human-bonded parrot can become depressed and self mutilate.

parrots that were left with their parents, are raised as parrots, and weaned at their own natural pace overwhelmingly do not exhibit these destructive behaviours.

 a productive relationship with a pet parrot is one that fosters independence, not dependence, on the human companion. the most responsible parrot owners should strive to act more as a zookeeper to their parrot instead of cuddling it and creating a ‘velcro’ bird glued to the hip, and socialize with them via training sessions instead of letting their birds indulge in pair bonding behaviours like petting and preening which leads to sexual frustration and aggression or self mutilation.

Ultimately I believe any parrot hand reared and imprinted onto humans is some degree of psychologically damaged and suffers from the parrot equivalent of a developmental trauma, they have been robbed of a normal parrot life and it cannot be undone.

SO many parrot rescues are completely flooded with unwanted pets, many with tough behavioural challenges (for example it's not uncommon for parrots to be reactive to an entire gender, so that cuts the adopter pool immediately in half). and these patterns can be difficult to break especially without the aid of a behaviourist. and the thing still has another 40 years of life left in it but nobody wants to adopt because it's another "crazy bitey bird that hates everyone", has reached sexual maturity so it's no longer as friendly, and it's much easier to start from scratch so folks choose to just buy another baby and keep the cycle going.

And none of that even touches on the rampant poaching that keeps supplying the trade in many parts of the world. and that's why everyone should have domestic chickens or pigeons.

[monratarot]

Who will be your future spouse?

Pick a card reading🍄🦋🌸💗

Hello guys! Moni here! 🧚🏼‍♀️

It's almost the half of the month so I was thinking that this would be a good opportunity for those who are single and searching for love.

Here is a free reading about your future spouse. Pick the pile that you are most drawn to and scroll down to read about your future partner. Keep in mind that gender can be reversed.

Takes what resonate with you because remember that this is just a general reading and it might not apply for everyone.

Don't forget to like/reblog/comment and follow me! I would really appreciate it because it will help my blog grow!

So let's get started! Enjoy!💟

Moni🧚🏻‍♀️

𓍢ִ໋🌷͙֒Your feedback is highly appreciated

𓍢ִ໋🌷͙֒Like and reblog to claim your pile

Pile 1 🍄☁️🌸 Pile 2 🍄☁️🌸Pile 3

└─── °∘💮∘° ───┘ └─── °∘💮∘° ───┘ └─── °∘💮∘° ───┘

Pile 1 (🌸◠∀◠)(◠ᵕ◠🌸)

MR CREATIVE - control over emotions, diplomatic, compassionate ↓manipulative, a master of emotions with selfish intentions

When you can meet them – Libra season or 7 weeks/7 months, on a Sunday

He is charming and confident but comfortable to be around.

Astrological associations - Libra and Scorpio

Men or women over the age of 40

emotionally passionate

a person with auburn, red, or medium colored hair

solid love

someone dynamic, active, and radiate confidence;

creative man, the poet, the man who dreams deeply

they can be sometimes wishy-washy but always with the flow of things even if he can be frustratingly laid back at the time

vitality, passion, and appetite for life, deeply sensual and not ashamed of his pleasure or his body

in their negative they becomes the addicted or the impotent lover(he becomes posses and lost, living only for the pleasure at the moment

nurture, guide, and support others; act socially responsible; let yourself be touched and moved; listen to others with sympathy and understanding; use intuition in decision-making

Key meaning of the relationship:

a compassionate and somewhat emotional person

a warm and gentle guy, liked by many for his easy nature

warmhearted, charismatic person

they follow their intuition in their work

they are sociable, but sensitive and need to choose their friends wisely

ideal romantic partner

motivated to help others through direct action and cooperation, serene, calm

subtle, friendly, sympathetic, caring, compassionate, affectionate

avoids conflicts and problems, willing to help, co-dependent

hypersensitive to indifference and criticism, difficulty in saying “no”

pessimistic, gloomy, doesn't want to offend or disappoint anyone

nostalgic, unstable, easily seduced, duplicity, rigid control of or hides emotions, manipulation

telling others what they want to hear, can be overwhelming by another's pain

Oracle Message: Support others by supporting yourself first.

Your day may also feel confused, changeable, and with many different things that seem to require your attention from upset teenagers to misunderstandings with others that arise from unchecked emotions.

Time for you to consider finding your own support from this type of person.

─── ･ ｡ﾟ☆: .☽ .:☆. ────── ･ ｡☆: .☽ .:☆. ────── ･ ｡☆: .☽ .:☆. ───

a sexy or sensual feel to your love life; a focus on primal urges, sexuality, and dominance; beginnings of a romance that is very physical but sometimes lacking on more substantial levels; the attraction in a new relationship will be based on appearances rather than things in common

Possible job:

entrepreneurs

inventors

goal setters and go-getters

mystics and spiritual leaders

sports coach

fitness instructor

motivational speaker

life coach

army soldiers

coach

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Pile 2 (🌸◠∀◠)(◠ᵕ◠🌸)

I KNOW I'M A DREAMER - romance, adventurism, an invitation ↓moodiness, someone who is too charming, heated emotions/temper

When you can meet them – Pisces season, 12 weeks/12 months, on a Saturday

They are a dedicated, motivated, emotional, tender, sensitive, and loving person

Element - the fire of the suits of water - Aquaris + Pisces

romance, relationships

dreamy, charming, romantic

being focused on love

man or women under the age of 40

dark hair and eyes

faithfulness

this knight’s quest is love

romantic person, a love interest & also yourself in the throes of full-on love

tendency to be manic by nature(one moment you are the love of his life and the next one you are the thorn in their ass)

tendency to be jealous by nature

stalker

Key meaning of the relationship

prosperity, property and beginnings

the beginning stages of something tangible

growth

material abundance

new enterprise

finances or wealth; a solid fruitful foundation

a promotion

good luck

unexpected money

Oracle Message: Act with love, express yourself, be creative.

Allow yourself the time to write poetry, prepare a sumptuous meal, plan that secret date for your partner.

Do something special for your lover today – flowers, chocolates, that date – but something unusual like ice skating, or a quiet out-of-town dinner, something that is intimate and full of togetherness.

─── ･ ｡ﾟ☆: .☽ .:☆. ────── ･ ｡☆: .☽ .:☆. ────── ･ ｡☆: .☽ .:☆. ───

love is around the corner and sparks are already flying; great opportunities for growth and positive natural change in romance; speak up and act out in order to get what you want; new relationship, go with the flow; time to pursue new love, to feel silly with someone or just to fall unconditionally in love with you(embrace your inner fool and trust that falling into this phase is the point)

Possible job:

entrepreneurs

inventors

creators

pioneers and adventurers

mystics and spiritual leaders

sports coach

fitness instructor

motivational speaker

life coach

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Pile 3 (🌸◠∀◠)(◠ᵕ◠🌸)

Mr PRACTICAL - abundance, security, financial success ↓greed, temptation, infinite desire for more things

When you can meet them – in Capricorn season, 10 weeks/10 months, on a Tuesday

They are thoughtful and wise, not rushing decisions nor being swayed to conform to modernity

Element - the air of the suit of earth

Astrological association - Aries and Taurus

a generous person

man or women over the age of 40

dark hair and eyes

finding happiness

seeing failures as winds

natural business person

great sense of humor

seeing failures as wins

being positive, being thankful

honest soul

naive for love

educated

emotional

person who demonstrates how resources are gained and used

they are always there

common-sense, apparent, reliable, accomplished, solid, steady, calm, wealthy, supportive

the user of secret knowledge, the knower, and the master of the technology

in their negative - they becomes the manipulator or the denying “innocent” one; taking advantage of others through specialized knowledge(leads to false superiority, isolation, and loneliness)

Oracle Message: This is a day for holding court & solving issues.

People see you as someone trustworthy, authoritative, level-headed, and great in a crisis.

─── ･ ｡ﾟ☆: .☽ .:☆. ────── ･ ｡☆: .☽ .:☆. ────── ･ ｡☆: .☽ .:☆. ───

you no longer have the tolerance for the drama that a younger kind of love would offer, what you want is to be with someone who understands what life is really about; you will be successful in your endeavors - have faith

Possible job:

estate agent/developers

businessman/manager

director

master craftsman

banker

stock broker

teacher/educator

merchants

businessman

bodybuilder

bodyguard

professional athlete

entrepreneur

lawyer

banker

consultant

gardener

doctor

electrician

[etheries1015]

Obey me x twisted wonderland crossover where MC goes to twisted wonderland from obey me but has their full range of magical powers

Only problem is, they can't really use it.

How would MC feel, hearing over and over about their useless state, when they are infact a rather powerful sorcerer?

pt 2 as requested: Here

Magic in twisted wonderland is managed and flows through mage stones, whilst in obey me magic is by a persons inner nature, and seems to be contained/managed via a wand of some sort (until you become mastered at it, like solomon, who still uses a wand!) Of course there are sigils and and other mediums to be used, however for this scenario, they are dulled thoroughly due to the 1) cut off between worlds and 2) The inability to adapt to a different worlds principles of magic.

Blot just isn't a thing in obey me, MC obviously doesn't have the ability to accumulate blot, so their type of magic is just incompatable with twisted wonderland. So imagine how goddamn frustrating it is when everyone likes to remind MC how magicless they are? And they really don't believe you when you tell them you're actually the apprentice of the most powerful sorcerer in humanity, and can control 7 of the most dangerous demons from your world.

"MC has about as much magical talent as a box of crayons," Ace snorts. He wouldn't be saying that if you just had the power to curse his mouth shut.

"You have no real merits to offer me, not to mention you cannot even use magic," Azul pointed out. If only you could summon leviathan and have him send lotan octavinelles way. They would be sobbing at your feet begging for forgiveness!

And Vil. "You're just about as polished as a sack of half priced potatos!" ...If Asmodeus were there to hear that comment. Vil would get a very analytical lecture about every tiny flaw and detail in his life. Vil would be shattered by the end of it, his pride and what he thought was beauty down the drain.

Crowley laughing at you to your face when you tried to tell him about devildom and where you wish to return. You? A magicless human? Hilarious. Crowley has been through his fair share of "demons" and dark magic, and he definitely did not believe you fit a "summoner of terrifying beings" vibe. If only Satan was there, then Crowley would really understand what it was like to fear something, and regret poking fun at you and taking your concerns so lightly. "If you had the ability to summon powerful demons , how come you are still here?" He mocked you. Of course you had tried, however with the problem being the connection between two completely separate dimensions causing a drift in your attempts to summon any of the brothers, It was nearly impossible. Sigils just did not carry the same amount of magic in twisted wonderland as it did back home.

It wasn't until you held one of the wishing stars (from the "make a wish" event) that anybody began to believe...no, consider your "ridiculous" stories. You held the star to your chest and made your wish of wanting to return home, to which it glowed so bright and cracked. Everyone stared at you as your star shattered, only someone with high concentrations of magic could cause something like this to happen. Since it wasn't powered via mage stone or the need of blot accumulation, your natural traces magic had managed to break the wishing star. Something only someone with a huge pool of magical ability could accomplish, if even.

"I have been trying to tell you guys" you growled, picking up the shattered pieces. Getting over the initial shock of the entire situation, they quickly dismissed it as a faulty star and writing off the strange phenomenon. There is just no way someone such as yourself could possibly hold such great traces of magic that you actually shattered the star, right? They all looked down at you, saw you so much differently, and treated you as such. You didnt belong at that school, and they made it clear. Well.... No matter.

Wait until they realize you finally had managed to successfully contact Lucifer, and they were actively working on your safe return.

And wait until they feel his power when he hears how poorly his little sheep had been treated.

~~~~~

Check out my masterlist for more of my works~

[wonysugar]

self indulgent drabble because 1. writer’s block is truly eating my ass and 2. i just got struck with an idea as i heard an audio and i need to get it out of my system before i lose my motivation.. AND WHAT BETTER WAY TO DO THAT THAN WITH BELLEEE?!?

cw!! cheating(??) just to be safe, fem!reader is dating someone that’s amab! mentions of threesomes, lots, lots of dick mentions and dick sucking, if you don’t like dick at all this isn’t for you i’m really sorry</3

psst, by the way, p/n stands for partner name!

you and your partner have an amazing relationship, and an even better sex life, that much was obvious. although you both were content, you couldn’t help but feel the desire to improve your technique in certain.. aspects, of your love-making, mainly in terms of oral sex.

google was definitely not helping, and you were a bit too embarrassed to go and ask your significant other on feedback after having sex with them (despite how normal that actually is, contrary to popular belief.)

so, naturally, receiving your friend annabelle in your apartment a few days after having scheduled a, in her wise words, ‘important meeting’ wasn’t at all a surprise for you, especially since you made sure that p/n wasn’t at home at that time.

“hii!” belle stepped foot into your home as soon as you opened the door, immediately giving you a warm hug, thankful you even called her in here in the first place.

after politely offering her a cup of water and a bowl of snacks as thanks, she quickly got to work.

“alright, you were too nervous to explain it through text, so go ahead. what are the specifics here?” she asked, comically very serious about this whole thing.

you sighed, feeling the embarrassment leaving with each breath you exhaled, “it’s just— i think i have a problem when it comes to… you know.. my gag reflex, and all.”

“ah, i see..” she hummed, “‘problem’ is definitely a strong word though, no? oral sex isn’t a requirement, you know that better than anyone else, considering you’ve been with your partner for a while with no issues. i’m assuming you just want to learn to get them more riled up, huh?”

you stared, almost innocently, then nodded at the words.

“have you ever sucked dick before?” she continued, speaking as if this were a real professional appointment.

she chuckled upon seeing you reluctantly shake your head, “don’t worry sweetheart, by the time that we’re done, you’ll be able to take cock better than any porn star has.”

reaching for her large, seemingly filled-up backpack you had noticed her holding whilst walking in before digging into it. after a few seconds of anticipation, you saw your friend pull out a medium sized dildo, a slightly longer one and a much larger and more girthy than the previous ones.

“y-you brought stuff!?”

noticing how your blood rushed to your now fully covered face, she giggled, “of course i brought stuff y/n, i don’t think you realize how serious i’m actually taking this.” proceeding to pull out one more interesting looking item, “come on, you asked me for help, right? no need to get embarrassed now, girl.”

so you listened, and watched as she finished up preparing the materials, placing them in a line.

“alright, listen up.” she zipped the bag closed, threw it somewhere on the couch you two were sat on and sat up straight, motioning for you to do the same, and pointed to the first thing, “this is throat relaxant spray, like the name suggests, it relaxes your throat and your gag reflex, making it easier. now, i don’t really use it considering my gag reflex is practically non-existent,” you nodded at her words, your eyes fixed on said spray.

“but i did bring it thinking you’d maybe wanna start off slow just to be safe? maybe get used to the feeling of it in your mouth before going in raw and everything, but it’s honestly all up to you and what you wanna do.”

several minutes of her overexplaining the reasoning behind bringing each sanitized and differently sized dildo later, you eventually chose the format you found most similar to your partner’s and decided to opt out of the relaxant spray, much to annabelle’s pleasant surprise.

it didn’t take long before she stuck the phallic object to your wall and instructed you to suck on it the same way you would any other day. “don’t be nervous, i’m here to help.” she said, and that was somehow enough to put you at ease.

you began to do what you were told, fully aware that her attention was set on you, and you only. your lips wrapped around the head, you sucked and left gentle kisses whilst she watched you work your magic on the dildo. you heard occasional hums from beside you as you kept your mouth around the same area of the dick.

“you’re doing good, but, aren’t you spending a little bit too much time on the head?” she placed, making you pull away from the object before you, “i know you’ll gag, but try to give some attention to the entirety of the dick. here, let me show you.”

she scooted towards you, and you simply stared at her, “oh— we’re using the same.. dildo?”

“..yeah? it’s just a little spit.” her lips formed a smirk, “just watch me, okay?”

you nodded and sat there, watching her demonstrate her blowjob technique and feeling yourself get… weirdly turned on by the sight, instead of feeling ‘taught’, in a sense. the way she slowly worked her way up from kissing and licking the head to fitting the entire shaft into her mouth, almost effortlessly, got you thinking about how she’d give your partner head, guiding you on how to pleasure them further than you usually do— alright let’s not get ridiculous, you internally scolded yourself, leave the dirty fantasies for later, when you aren’t trying to learn from her.

“see how i did that? you can’t just focus on the head forever, that’s why i like to slightly pump the shaft with my hand whenever i’m not throating.”

“honestly just sounds like you’re just trying to brag, at this point.” you joked, faking an annoyed expression. that earned a laugh from her.

then, after a constant cycle that consisted of her explaining things and you doing them, annabelle had taken the dildo off of the wall whilst wearing a mischievous expression on her face. “now, let’s kick things up a notch; get on your knees.”

your eyebrows furrowed and eyes widened ever so slightly at her words, you stuttered, “excuse… excuse me?—“

“i said, get on your knees.”

and despite getting no further explanations, you still, for some unknown reason, did exactly as you were told. now sitting on the ground facing the sofa, you waited for further instructions.

“you need to get immersed.” she paused, then held up the dildo, “so, i’ll hold it for you and thrust it into your mouth while you suck it, alright? i won’t go fast or anything, so don’t worry about that.”

and of course, you obliged.

upon her signal, you immediately applied everything that she’s been teaching you throughout this entire session onto your technique, fueled by her occasional praise.

“remember to use your tongue, y/n.” she reminded, thrusting the cock in and out of your mouth, slowly, watching you as if she could feel it.

“suck the tip and—“ you bobbed your head down onto the shaft, taking in as much length as you could without gagging. “—work your way down, that’s it baby, slowly.”

oh man, that pet name definitely elicited a reaction from you that you did not expect; you felt butterflies in your stomach, almost certain that a pool was growing in between your legs.

she definitely noticed it, too. how could she miss it when you’re looking up at her like she was the one you were sucking off?

“awe, you’re getting excited, aren’t you?” she bit her lip as she tucked your hair behind your ear, “such an eager girl, suck on it baby.”

she let out quiet, airy moans as you worked your magic, in hopes to get you more and more immersed, and while it did, it also did nothing but get you riled up to a great extent. hell, you were practically drooling onto her— the cock at that point. “look at you, not even a few hours in and you’re already doing so good. mmh, you look so pretty taking it, too.”

that went on for a while, and what she didn’t tell you was that that dildo in particular, was an ejaculating one, you found that out by yourself later on.

needless to say, you felt especially different when you eventually walked her out of your apartment an hour later, and she couldn’t help but notice how still visibly embarrassed you were from that weirdly intimate interaction, but she found it amusing, endearing, almost.

“next time, you’ll invite p/n to tag along, won’t you?”

[antimony-medusa]

*I emerge from several weeks of talking about conceptualizing my cubitos and who else populates their world and what the precise nature of the character is* Hello. Hi. It's time for my twice-yearly thoughts on RPF.

Okay so I was one of the people who was emailing Ao3 about it when we had all of MCYT wrangled into VBRPF going please please please please can we have our own server tags pleeeeeeease I promise it's not just video blogging rpf pleeeeeeease my streamer doesn't have wings in real life pleasssssseeee— and my general stance is that writing about Dream SMP characters is writing about characters, it's not RPF.

Not quite. It's not quite RPF. There is a meaningful distinction there, but it's not a really huge one. That distinction exists and is important to me in how I conceptualize those characters and whether I'm mentally going "okay I need to study lore streams for vocal patterns" for voice research or if I'm going "okay I need to pull up technocord logs " to get techno voice right. What I consider the authoritative canon "character" is a rp guy who spawns withers, not a real streamer in california with a little white dog.

But like I do multifandom exchanges and I wander into them with my cubitos clutched tight in my palms, and I see what other fandoms look like— and importantly, I see what other rpf fandoms look like— and guys, I think that line is legitimately blurry and I think that's literally fine. If I walk into a mulltfandom space with my guys they're going to squint at me and go "rpf fandom— kinda, I think" and I can go "hahaha, not quite", but also I do not blame other people for thinking this is RPF cause like— there are a lot of similarities!

What MCYT tends to classify as "RPF" is directly stories operating in a world where the characters are streamers, they post on twitter, they have lunch with the CEO of twitch. And anyone not writing that, is obviously not writing RPF. And that is not untrue, up to a point, but there is a broad category of fics that tend WAY harder into the pure fictional that are still considered RPF fandoms, if you actually check what other RPF fandoms are doing. There are 599 works in "Demon Shane Madej", many of which are in AUs that have no connection to the real world other than the character relationships, and they're still officially considered RPF.

I have a friend who's in a c-drama rpf fandom that has a rpf ship they really like, and a really popular thing is to take the various characters these actors have played (totally fictional characters from various media) and ship them together. And that's just a crossover of two fictional mediums, but because the thread connecting them is two guys in real life, that's considered RPF.

The banddom tags are absolutely COMPLETELY full of aus that are not set in the real world at all, no connection to the music industry, and what the people in those fandoms will say is like yeah, I have no idea about the real guy, I'm working with a character/persona who's put on for the stage and interviews and personas, and that guy is not REAL, who knows what the real guy is like, but like, I like the persona, I deal with the persona, and then they put that persona in an au where he kisses other personas— and this gets considered RPF.

Wrestler RPF is directly dealing with invented characters who are beating the bloody snot out of each other (hot), they have names like "the undertaker", dealing with scripted storylines, but it still get considered RPF.

And like, I look at myself as I am entering my third year of writing Technoblade most of the time, and what I'm doing here and— there are a lot of similarities in what I'm doing to what other RPF fandoms are doing. I'm a fan of the DSMP character but I'm also a fan of the guy, so I want to play in this extended universe, so I want to include nods to his other stuff. So I will pepper in a cheeky nod to the potato war here, I'll mention hypixel there, etc, kind of make an extended Technoblade universe. And I think that's not RPF (quite) because I'm working from a fictional canon that includes references to the potato war and hypixel etc, I'm just expanding on it, but like, this is literally what my friend in c-drama rpf does as well when she's writing aus about her guy. It's kind of close to RPF. That line is not really obvious to the casual viewer.

So I do not blame anyone else if they look at what we're doing and they go ah, nods wisely, you are a rpf fandom, I've seen this before, and we go um actually, hahah, you'd think that, but no, and then they nod and clearly do not understand how it's not a RPF fandom.

But the thing is it's literally fine if people think that, I think. RPF is not the end of the world. It's just a bunch of people working with people's various performancesonas and worksonas and having fun with it. Spoilers for mythbusters in the real world, but we now know that by the end of mythbusters adam and jamie were not really friends, but most of the mythbusters rpf keeps them as friends because that was the professional persona they provided for the camera, and that was the fictional world the writers wanted to live in. I don't think it's a problem if someone wants to write straight up streamer fic, you do you, and that's unequivocally RPF, but once you start getting into AUs and extended universes and bringing emduo content into qsmp and writing fic based on GIGS streams, the line legitimately gets WAY more blurry.

I think a bunch of fic (including my fic) can start to exist in a "both things are true" state where it's drawing from direct fiction but it's also drawing from a lot of stuff that other fandoms would consider RPF sources, and like, I don't mind this. I don't think it's bad if you're doing this too. We're not getting more DSMP content, the fandom police are not gonna turn up at your house if you want to pull strongly from minecraft monday for your fic. Do schlackity on QSMP. Do a DSMP extended future where tommy gets tubbo to marry him for a bit and then tubbo immediately demands a divorce. The canon of material we have to draw on is not something where big obvious lines exist between "rpf content" and "pure fiction" if you step at ALL outside of canon-compliant. Like fuck, in my very first DSMP longfic I included all these hermit cameos and mcc references which would make it RPF in any other canon, but also I was pulling mainly from the prison arc lore and beats and relationships for the core, which is NOT rpf, and at this point it is not worth the hassle in my head to draw a strong distinction between them.

It's kinda RPF. It's not quite RPF. It's fictional. It's based in the real world. It's all personas. it's drawing on off-lore-stream dynamics. It's drawing on scripted scenes where my streamer had his camera in lore mode. It's COMPLICATED to unpick and I legitimately think that's fine. RPF is literally fine, some people are gonna think we're writing RPF, it's not the end of the world. Just have fun with it.

[snek-of-eden]

How TOS characters would react if you asked them for a hug (platonic)

this is based on that time i asked all of my teachers and basically everyone who i knew for a hug and compiled all the data into a best hugger spreadsheet. yea i’m neurodivergent and touchstarved why do you ask

“can i have a hug please?”

Kirk:

he would definitely ask you if you were okay

If he knows you he gives amazing hugs, absolutely fantastic. If he doesn’t really know you, you might get a quick, well-meaning one-arm hug

“sure thing, come here <3”

chub is good for cuddles

it’s kinda intimidating to ask for hugs from him, especially when he’s on shift

you feel a bit honoured that he actually said yes to your request

he always does a quick little squeeze at the end before he lets go

his hugs aren’t super tight though

the kind of hug that makes you both smile

wouldn’t rank super high on a “best hugger” list but that’s not his fault, he’s trying to run a ship here and he can’t get too attached to people

you probably wouldn’t get a repeat hug unless you really needed one or you knew him well

he smells like shampoo!

Spock:

he’d definitely raise an eyebrow

it looks like he’s considering saying no but on reality he’d never refuse unless the circumstances were dire

“of course, officer. is something wrong?”

he’s not an enthusiastic hugger but he’s really really good at long hugs

like not-letting-go-until-your-heart-rate-is-steady kind of long hugs

not super tight, not super loose. very medium strength hugs

he would clasp his hands together behind your back so he doesn’t have to touch your skin with his fingertips

if it’s a calm hug he might continue talking about ship duties while he holds you

if you’re freaking out he’s quiet enough that you can hear his heartbeat, which is surprisingly calming

he smells like lavender

he’ll hold on until you’re ready to let go

when you do let go, neither of you will talk about it again but it’s never awkward

he doesn’t offer up hugs if he sees you again, but you know he’d accept one no question if you asked

Bones:

he might not register what you’re asking for a second, because it’s not a request he gets very often

grumbling under his breath about not having time for this, but in reality he’s over the moon

“get over here, sweetheart”

king of platonic pet names. he knows well enough that this is notttt romantic

he smells like antiseptic and pear soap

his hugs are tight as hell, enough that you might have to remind him that he’s not trying to break your ribs

swaying hugs are his thing

while he holds you he’d definitely ask if anything’s up, or if this is a just-because-hug

would complain that this is why he doesn’t get close to patients, while simultaneously rubbing your back happily

once you get past the intimidating facade he’s a softie and pretty easy to ask for hugs

only in private though. never in public

if you do something great in the future he might hold out his arms for a hug randomly

Scotty:

he’s honestly miffed you haven’t asked him for a hug before

absolutely lights up at the question, clumsily putting down anything he’s holding and putting his arms out wide

“tha’s a good kid, c’mere”

he smells like engine oil and grease and something slightly singed. in a good way

surprisingly soft. he’s gentle and squeezy and keeps patting you on the back

he might lift you off your feet for a couple of seconds before putting you back down

very laughter-filled hugs

if youre upset he might try and tickle you a little

after asking, of course

he wouldn’t do long hugs, but he’d be regretful about it. as it is he’s probably neglecting some jefferies tube that’s about to malfunction or burst into flames

after that you’re not getting hugs when he’s busy, but if he’s got time and he sees you in the hall he’d call out “where’s my hug, lad?” (gender neutral) and follow through on it

he’s the one asking for hugs, and even though they’re short they’re very good natured

Uhura:

perhaps the least intimidating person on the Enterprise to ask for a hug. if you were asking all of the crew, you’d do her first because she gives off comfortable vibes

she would repeat your question back to you - “can you have a hug? of course you can!”

the first one to initiate the hug

no swaying whatsoever. she’s like a steady rock, and her hold is the perfect tightness

this is the best hug you’ve ever had

you are going to remember this hug for at least two years

you’re legitimately planning on calling your parent and telling them all about this hug, it’s just that good

she smells like perfume and freshly brewed herbal tea

while you’re hugging, she would definitely go “awwww” or make some sort of sweet little positive comment

you both let go at the same time. it feels like you never want to step away

she tells you that you guys can do hugs all the time if you want, and you get the feeling she really means it genuinely

whenever you see her she’ll hold out her arms for a hug no matter what, even if she’s talking to someone she’ll hold them out knowing you’ll come

[even-disco-baby]

SMOKER ON THE BALCONY — “Hello again, gendarme.” He smiles at you— not from his usual post, but from one of the cafeteria tables. A small sketchbook is laid out in front of him, along with some odd gray sticks.

ENCYCLOPEDIA — Compressed graphite. Not quite as bold or blendable as charcoal, but certainly less messy.

EMPATHY — Garte will appreciate it.

“I’d like to talk about the case again.”

“You moved! I didn’t know you could do that.”

“What are you drawing?”

SMOKER ON THE BALCONY — “That’s the question, isn’t it?” His smile turns a little rueful. “I found one of my old sketchbooks and thought I’d like to fill the last few empty pages, but I’m finding myself a little… uninspired.”

CONCEPTUALIZATION — The accursed artist’s block. Staring down an empty page only for it to stare back, mocking you.

EMPATHY — He is unsure of himself. He said this was an old sketchbook. Maybe he’s afraid of drawing something new beside his old work and seeing that nothing has changed.

“Ah, yes. Artist’s block. I know it well. In fact, I don’t know when the last time that I actually *made* any art was.”

“You could draw the cafeteria.”

“You could draw one of the other diners.”

SMOKER ON THE BALCONY — “A life drawing exercise, huh? And who would you pick as a subject, gendarme?”

“I don’t know. You’re the artist.”

“Maybe Garte? The skua could be a fun challenge.”

“You should draw the guy with the wig and sunglasses over there. He looks pretty funny.”

“Lena! She’d probably love to model for you. It would take her mind off things.”

“Kim, how about you pose for him?”

[Suggestion - Medium 10] “Why not me?”

KIM KITSURAGI — “No.”

He has nothing more to say on the matter.

“Aw, why not? You’d make a great model!”

Let it go.

KIM KITSURAGI — “I do not get paid to model for portraits. I get paid to solve murders. Such as the one we came here to investigate. Several days ago. Which has not been solved yet, for some mysterious reason.”

ESPIRIT DE CORPS — In case you couldn’t tell, that was sarcasm.

“Come on, Kim. You’re the perfect subject! A true man of the people. And there’s this sort of radiance about you… I can see the portrait already, just looking at you. Really clearly, actually.”

Maybe don’t say that. He’s just not gonna get it.

SMOKER ON THE BALCONY — He shrugs. “Sorry, gendarme. It’s not right to use someone’s image without permission, you know? Maybe some other time.”

KIM KITSURAGI — “No.” And then, a little awkwardly, “But thank you.”

“I don’t know. You’re the artist.”

“How about Garte? Though, you’d have to draw the skua, too…”

“You should draw the guy with the wig and sunglasses over there. He looks pretty funny.”

“Lena! She’d probably love to model for you. It would take her mind off things.”

“Kim, how about you pose for him?”

[Suggestion - Medium 10] “Why not me?”

CHECK SUCCESS

YOU — “Why not me?”

SMOKER ON THE BALCONY — He considers you with some amusement, but still, he does consider. “You’re not too busy?”

“On second thought, you’re right, I have some work to do right now. Another time, maybe?”

“Nope. Not at all.”

KIM KITSURAGI — The lieutenant sighs audibly.

ESPIRIT DE CORPS — What did I *just* say?

SMOKER ON THE BALCONY — He chuckles to himself, apparently quite tickled by the little comedy act you two are making of yourselves. “Beautiful. Why not? Have a seat. I’ll try not to keep you too long.”

KIM KITSURAGI — “Much appreciated,” he says drily.

YOU — [Take a seat.]

SAVOIR FAIRE — Time to strike a pose. Let’s go with something cool. Something that really captures what you’re all about.

ENDURANCE — But make sure it’s something that you’ll be able to hold comfortably.

Wink and shoot him your signature finger guns.

Look at him with big sad eyes like a shamed puppy.

Look thoughtfully into the middle distance, as if contemplating your own future masterpiece.

Stare straight at him with eyes that have seen how this world will end.

Hold your head up high. With *honor.*

Just sit and act natural. No need to put on airs.

SMOKER ON THE BALCONY — He looks you up and down, thumbing his bottom lip. His eyes look brighter and more alert than you have ever seen them. And then, he picks up his graphite and begins to work.

His eyes dart between you and the page, his hand sweeping across the page in bold, practiced strokes. All traces of his earlier hesitation have vanished.

VOLITION — Sometimes, a little push is all we need.

SMOKER ON THE BALCONY — Every now and then, he pauses to look up at you, and it’s almost unnerving to be the subject of whatever calculations are going on behind his eyes. He holds out his graphite, squinting just slightly.

VISUAL CALCULUS — This is called sighting. He’s roughly measuring the relative proportions of your figure and checking them against his sketch.

KIM KITSURAGI — Even the lieutenant is watching now, interested in spite of himself.

“Are portraits your specialty?”

“Have you been drawing anything for school lately?”

Better not distract him.

SMOKER ON THE BALCONY — “Hmm…” He ponders this for a moment, not looking up from his work. “Not exactly. I’m more interested in the graphic arts than this sort of thing. But it’s best to build a strong foundation before branching out, you know?”

YOU — “Graphic arts? Like what?”

SMOKER ON THE BALCONY — “Printmaking.” A small smile tugs at the corner of his mouth as he speaks, seemingly without him even noticing. “Monotype, especially.”

ENCYCLOPEDIA — Monotype is a printmaking technique that is singular from other techniques, in that it produces only *one* unique print, rather than an edition of multiple prints.

YOU — What, really? What’s the point of printing it, then?

ENCYCLOPEDIA — I don’t know. I didn’t invent it.

“Why monotype? Wouldn’t a different technique be more… practical?”

“I see.” [Drop the subject.]

SMOKER ON THE BALCONY — He shrugs slightly, smudging a bit of graphite with a bare finger. “Depends on how you define practical, I suppose. If I had my own studio, and I was selling my prints, then maybe. But we make do with what we have, gendarme.”

EMPATHY — And what he has is very little.

SMOKER ON THE BALCONY — “Besides, I think monotype has its charms.”

The young man does not elaborate, instead focusing on the work at hand. He picks up an eraser that has been shaved down to a point for fine detail work, and begins on what are likely the finishing touches.

EMPATHY — He has already talked at uncharacteristic length about this. It’s making him a little uncomfortable.

SAVOIR FAIRE — He doesn’t like to share too much about himself because it makes him feel *uncool.* He prefers to maintain an air of mystery.

RHETORIC — It’s safer, too, that way. He’s learned that passion exists to be exploited. False promises and admiration are the offerings of Sunday friends.

“If you say so.” [Back off.]

“What kind of charms?” [Press on.]

SMOKER ON THE BALCONY — His eyes flit back to you, sizing you up now in a different way. And then he looks back down at the page with a quiet bre ath.

“Well, it doesn’t take as much time or labor as other methods. Or expensive tools, or dangerous chemicals. Just paper, a plate, ink, and something to apply it with. And I can use the same plate over and over again, even use it to create different layers for the same print.”

RHETORIC — In other words, it’s cheap and can be done from home. An attractive option.

SMOKER ON THE BALCONY — “And with monotype, it’s not so hard to go back and change your mind. You can start over as many times as you’d like, right up until the moment you lay the page on the plate.”

INLAND EMPIRE — That really does sound attractive. To be able to wipe the slate clean, over and over again…

SMOKER ON THE BALCONY — “There aren’t as many limits on what kind of textures you can create, too. Brushstrokes and fingerprints… They can really come out beautiful.”

His brow creases a little, and he picks his graphite back up to rework a particular area.

DRAMA — He’s still holding out on you, sire. Too self-conscious to admit what he really likes about the medium.

YOU — Which is what?

EMPATHY — Fragility.

CONCEPTUALIZATION — An image which is only complete after being mirrored and translated, never to be recreated except as a ghostly afterimage. An exercise in surrendering to chance. What will be, will be. And then the moment will pass, and it will be time to start the next piece.

VOLITION — This man knows disappointment intimately. It is his closest companion. He has learned to make peace with it. He passes the time with his Sunday friends, lays his paper on the plate and hopes, despite himself, for the best.

YOU — Is that… a good thing?

VOLITION — …It’s hard to say. But we make do with what we have.

SMOKER ON THE BALCONY — “There.” The young man sits up straight, and it’s only now that you realize just how close he brought himself to his work.

DRAMA — His face may not betray him, but the body does not lie. He was having *fun,* my liege.

SMOKER ON THE BALCONY — “All done.” He tears the page from his book and holds it out to you with a small smile.

ITEM GAINED: Portrait of a Disco Holdover

SMOKER ON THE BALCONY — “Hope I didn’t keep you too long.”

KIM KITSURAGI — “Don’t worry about it,” Kim says, rather resignedly.

ESPIRIT DE CORPS — If you’d declined, the lieutenant thinks, my partner would have just found some other way to get sidetracked.

KIM KITSURAGI — Still, he cannot stop himself from glancing at the portrait over your shoulder.

PORTRAIT OF A DISCO HOLDOVER — It’s you! Unfortunately. Not even the most masterful hand could make the Expression less unsettling to look at. Your posture is poor, your face is swollen and blotchy, your hair is thinning, your clothes are shabby and out of place… I could go on.

Oh god, you could?

Please don’t.

PORTRAIT OF A DISCO HOLDOVER — But, you know… it’s nice. The smoker’s technique is bold and rather lovely, broad strokes of graphite intersecting in just the right places to create surprising depths. Somehow, even though it’s you… it’s not hideous.

EMPATHY — Because you’re seeing yourself through another person’s eyes.

CONCEPTUALIZATION — There is an odd tenderness to the portrait. Something amusing in your grimace, a touch of sympathy in your hunched shoulders. With the eraser, he has lifted small spots of pigment from your face, as if it were illuminated by flecks of light from the karaoke disco ball.

There are no disco lights tonight, but still, he sees them when he looks at you. Your moment has passed, but it left quite the impression. A ghost print, superimposed over you.

“Not bad, but the bicep girth is off. Right, Kim?”

“Oh god, is that really what I look like?”

“Hmm. It’s okay, but you should consider a backup career plan.”

“Whoa, you’re amazing! Can you draw me again, but this time in the costume from the cover of Man from Hjelmdall and the Devil Woman? And like, with a really cool warhammer? And Queen Lydiaana standing in the background, all like, ‘boohoo, where will I ever find another man like Ha— I mean, the Man from Hjelmdall?’”

“Beautiful.”

SMOKER ON THE BALCONY — His smile climbs up into the corners of his eyes, warming his entire countenance.

CONCEPTUALIZATION — If you were to capture a portrait of him in this moment, it would be beautiful, too.

[goldentemplariumcrow]

As a stationery and fountain pen affictionada...

This. Still. Makes. Me. Laugh.

Let me explain why:

Look at how Tim is holding the pen. Stylistic choice or not, that grip means he's putting pressure on the pen. That he's heavy handing his writing.

Now look at the pen. That's a fountain pen. Fountain pens work through combined capillary and gravity action that makes the ink flow down to the nib naturally when the pen is in writing position and in contact with a writing surface; which is, depending on the model, between 45° and 60° angle in the vast majority of the cases.

Most fountain pens aren't made to sustain heavy hand writers. In fact, a great number of them is used to correct the grip, angle, muscle memory and heaviness of a person's handwriting style, since the simple act of touching the nib on paper easily makes the ink come out.

Now, look at Damian's implied facial expression and body language. Yes, we can all shrug it's just his rivalry with Tim that makes him react like that, it's a perfectly reasonable way to explain it all. However, for a fountain pen affictionado, for someone who loves fine writing instruments, that right there is a sentence of death.

Damian isn't just seeing Tim use his pen. He's seeing Tim, a person who couldn't care less for the writing tools he's using, obliterate the tines by placing way too much force on them. He's horrified of his favorite writing instrument being damaged by Tim's disregard with it, which is the most common reaction ever when any fountain pen lover sees their favorite pen being held and used by another person without their authorization.

Damian isn't overreacting at all.

The fountain pen community can confirm it.

[EDIT]

I know it's no ones concern, but as a lover of fountain pens, I kind of had to give a huge zoom-in in a version of this that isn't as pixelated and... guys, I think I know which fountain pen is this!

I may be wrong, but I think that's a Lamy Safari Black Charcoal model!

In the comic we can't see the window or the triangular grip very well (I can kind of see a shadow of the triangular shape, but I'm not calling it without being certain) and it looks a bit chonkier, but look at that cap! That minimalist cap with the sturdy yet simple, black clip and small gap on the top of the cap! That's a cap for a Lamy Safari model if I ever saw one!

Yes, maybe it can be some other fancier and more expensive brand, most Lamy's I've seen are between 30-60USD with special collections being a little closer to the 80USD mark on really expensive shops online, but let me make an argument for it.

A Lamy Safari fountain is considered a popular workhorse among affictionados and artists alike. Not only it's reliable, with a simple yet stylish body and construct that serves to pretty much every occasion, its construct is simple in terms of maintainance and handling. Want to go travel on a plane? No problem, take the cartridges with you! Prefer bottle ink? Not a problem at all, here's the converter for all your bottled ink needs! Oh, the standard medium nib isn't to your liking? Let's find one that you enjoy, there's European extra fine (0.38) to broad, stub, italic and even for writing musical score! Still not enough? Hey, there are many manufacturers that make their own customized nibs for a fair price, maybe give them a try? And the best part? The nibs aren't so expensive that you're breaking the bank with them, so if you break one you can get another with relative ease.

This sweet pen is a monster at work 24/7. No wonder it's a popular model among beginners and long term users and lover of fountain pens. They're just that good.

[the-cat-and-the-birdie]

We NEED FlowerByte: Addressing the lack of Black Girl Representation in ATSV -

[a MEDIUM length essay addressing how FlowerByte IS NOT a threat to GhostFlower, and how the ship is actually NECESSARY to the ATSV fandom]

and examining the criticism against Miles x Margo:

Remember there's nothing wrong or desperate about people shipping FlowerByte. It's natural, fine, and to be expected.

Because - if you have doubts about FlowerByte - have you ever considered how there's no black girls other than Margo in ATSV? That ISTV features no black girls as reoccurring characters?

That the only two POC female characters - Jess and Rio - are adults in nurturing positions, shown only ever taking care of others?

Up until this point, have you noticed how much black girls are missing from ATSV?

Or did you not realize? Most don't. But black girls do.

Because black girls are one of the only demographics not shown or supported in the ITSV series.

As we know it, we have no young black girl characters that have more than maybe 10 lines. So far we have Gwen's bandmates and Margo.

Black girls are probably the only demographic NOT seeing themselves swinging around.

The only two black women characters are grown women, specifically MOTHER FIGURES. Characters written to aids others through their arcs, saving and comforting in times of need.

That's why I wrote Diane's background as it is. She's a born and raised Black Panther Party member, raise in the meeting house of her local chapter.

She's a black radicalist, and that's the center of her world and character. From her mirroring black disco divas like Diana Ross, to being a Black Panther, I wanted Diane and her world to be unequivocally black.

There's never any scene of a black girl in a Spider-suit, swinging around or saving the day. Not once.

And it's never been mentioned. To most people, it's not a concern.

To most people, the sad reality is - black women aren't a concern. Just side characters.

And that shows. Not only on screen, but in fandom as well.

At no point in ITSV are young black girls given a character in which they can see themselves - not even as background characters, let alone as a romantic interest.

You make think that FlowerByte is silly, because 'they don't really have chemistry, right?'

But there is nothing wrong or silly about black girls wanting to see Miles calling them pretty, or admiring them, or dating them.

Margo truly is the only black girl we even see Miles have a conversation with for the entirety of ATSV - for the entirety of the SERIES thus far.

And chances are - most people reading this didn't notice this. But black girls DO.

Imagine seeing multiple characters of the same race, but different gender as you - but NONE of your gender (nb peeps know what I mean)

Never being called cool, or strong. No gifsets of cool black girls fighting. No black girls in the fanart. Left off posters. Never seen as pretty, never shown as desirable, never having male counterparts consider them.

The message - and damage - it sends to young black girls is clear - even in ATSV.

'You're not a person to be desired or admired. You are a plot device and nothing more.'

It sends the message 'You are not an actual person. You're there to save Gwen, and let Miles escape. After that, get off the screen. Your character will be judged based on how you serve the characters around you. We don't have enough time to flesh you out any further. And we know no one will ask about it.'

Black girls notice how they're one of the only ones who doesn't get a character to wear as a Halloween costume, or as a cosplay. They notice when they see merch and there's none of anyone that looks then them. They notice when their only options are 'genderbent' Miles and Hobie, because most don't see Margo as a main character.

They notice when none of their favorite characters give black girls a second glance, or have crushes on black girls. They notice when the only black women aren't actually stories about BLACK WOMEN. They're stories about white women - with the character being drawn or cast as black.

Example: You'll never see MCU MJ talk about racism or something. Because she's not written as a black girl first. She's written as a MARY-JANE first - and the basis of her story is that and nothing more. Anything about her black identity is seen as at best unnecessary or worse, contradictory to the character of MJ - so her race is left as only a visual element, only a feature of casting, and not a true aspect of her character.

There's literally nothing wrong with Flowerbyte and I admire those that are making works for them.

Black girls deserve every bit of love, and ffs they're CUTE together.

Hobie and Noir get shipped together all the time and they don't even know each other (yet). No one cares. People think it's cute.

But Miles and Margo get shipped together - and suddenly theres a discussion on how 'unlikely' or 'forced' that ship is.

The same with Hobie x Black!readers, or Miles-42 fics - it's often when black women seek to fill their own lack of representation that others even consider them apart of the conversation. And even then - it's to force them back into their place.

'Miles is meant to be with Gwen. That scene meant nothing. They don't have chemistry. You just hate Gwen. You just want them together because she's black'

YEAH, AND? Liking FlowerByte doesn't mean they have it out for Gwen. It means they're desperately looking for representation.

YOU should be calling for that representation. Now that you know, doesn't this lack of representation disturb you? If it doesn't, but FlowerByte does, then I can't help you.

But yeah. Just a friendly reminder, FlowerByte is good for the soul and the fandom.

We as fans of ATSV have to be candid in admitting that the series SEVERELY lacks representation of young black girls, which is A HUGE problem.

The one black female Spider-woman they have had to be CREATED as black, from a white rendition of the character.

So far, Margo is the one and only original black Spider-woman in ATSV.

That needs to change. But until then, let FlowerByte sail on. If you're a Gwiles shipper, you can always double ship. Nothing wrong with it. I suggest maybe you check out some FlowerByte stuff. Maybe you'll like their dynamic, or understand why writers write it a bit more, if not 🤷🏾 hey, you tried.

I think we can all agree though - Miles' got the rizz.

Remember to support black women today. BYE.

[pinescent-and-gingerbread]

˗ˏˋ Arthur Morgan Modern!AU Headcanons ´ˎ˗

To answer this ask from the lovely @crystalofmoon19 , I got to think a bit more deeply about what a modern!AU Arthur could be. This absolutely stunning Arthur pic is from @arthurmorgan-vp!

JOB ´ˎ˗

Has a job that means a lot to him and is totally dedicated when doing it.

Arthur flourishes when helping others. I saw a Chartur fanart that portrayed him as a nurse and god I love this idea. He's emotionally VERY tough, making him efficient even in difficult and stressful times when a patient's life is in his hands. He's also a practical person who needs to have a concrete, manual aspect in his work. On top of that, we have the whole "service to society" aspect.

Police officer could also fit this dynamic. (I know it's pretty ironic considering he's a criminal in the canon but it's one of these jobs where he could put his strength into action to help others).

Also, without the need to survive and do criminal acts, with a caring family who could push him in the right ways, he also could have a job in arts. Arthur canonically is a curious and inventive person, he draws every little thing he finds interesting around him and cares for places, characters and events most people wouldn’t. I could picture him as an illustrator/concept artist. Or tattoo artist too? Why not.

HOBBIES ´ˎ˗

Sooooo artsy.

If he works at the hospital, he needs to have a sketchbook to just write and draw like in the canon. With other mediums being way more accessible nowadays, I think he could also paint and even sculpt from time to time.

Art helps him to get dark thoughts out of his head and focus on something when life gets hard.

However, if he already works in an artsy field, I think he would need to get up and move after a whole day sitting and would love to just go jogging, hiking, and taking long walks in nature. A combat sport could also do the work, as Arthur has an important code of honor: a discipline like Judo or Wrestling could help him get all his pent-up energy out while respecting his opponent; boxing could work too.

100% have a Polaroid and takes pictures of good times and his close ones every chance he gets. His bedroom/apartment is full of objects that carry an emotional value to him.

MODERN THINGS HE LIKES ´ˎ˗

Barbecues.

Would wear the ugliest apron and cap while doing them btw. And doesn't see what the problem is.

Classical rock music and vinyl. Thinking about Led Zepplin, The Stones, The Doors. Vintage music all the way. Has a secret soft spot for Lady Gaga though. Don't tell John. And (not-so) hot take, it's Hosea who introduces him to his old blues and rock records (Dutch prefers Jazz music.)

Camping and long hiking trips. Trekking when he feels really adventurous.

Going to the cinema. (100% eats salty popcorn and messes with John during the film if it's a family outing.)

In modern days Arthur would have been born in 1988. This means he was a '90s kid: he fondly remembers VHS tapes, baggy jeans, his old PlayStation One, maybe watching the first episodes of Pokémon, too. He's canonically such a nostalgic.

Would 100% make his own mix on cassette tapes btw

Flannels. I picture him with comfy rather than fancy clothes. He would also have a big leather jacket or vintage bomber for winter. And a leather bag like this one where important work papers are mixed with random trinkets found on his hikes.

RANDOM LITTLE FACTS ´ˎ˗

Arthur is so messy (I mean look at his tent). His car (Hosea's old one) is also a complete mess, cups, leftovers from meals, CDs, work stuff and random objects cover every possible inch of it.

Talking about it, looooves to drive. Totally do it with one hand on the wheel. And with good music ofc. (He would put his other hand on your thigh)

Has a dog. Or wants one deeply. A big one. And he definitely wants a lot of animals once he has a bigger house with you.

I said he could be a tattoo artist. I think he would have a tattoo, of an animal. Of course, we as a fandom thinks of the deer, but it has to be something meaningful to him. Maybe the animal who inspires him the most, or one they have seen in the wild with John during a walk in the woods.

Arthur is not a good cook. Buys a lot of food telling himself this time, he will succeed at making this damn dish. Biggest mess ever, ingredients everywhere on the floor, the walls, his body and hair. Pure chaos. Everything burns. Kitchen ends up on fire. Uses the internet as last hope, tries to watch as many tutorials as possible but it doesn't help+his phone ends up covered in egg white, flour, and wet ingredients. Throws away the food and gives up, orders a pizza.

Repeat previous paragraph every time he wants to try a new dish he saw somewhere.

(The phone is okay because he has the strongest and largest phone case ever. The kind of enormous one made to protect phones in building zones, for his hikes. It's pitch black.)

Overall I'd say a Modern!AU Arthur would probably be a bit happier even though still very nostalgic and melancholic at times (without the constant need to run away and kill people, his mental health would be much better.)

Important disclaimer: these are my personal thoughts, they could totally be shitty, I'm not at all claiming this is the absolute truth about him. A character is always subject to a personal interpretation, therefore anyone could picture him differently! Btw, I would love to hear your thoughts about it!

Thanks for reading! I hope you liked my silly little ideas.

I'm thinking about doing a part.2 where we could dive into his habits, his relationships with family, friends and s/o and other little fun facts. Let me know if I should! -Pine 🌱

[sarahreesbrennan]

I remain mad that Long Live Evil doesn’t have a movie because I want to edit the characters so bad. What do you mean I can’t make an edit of Eric with the intro of ‘The reason I walked in like I own the place is because I do.’ and the song is Brat by Charlie XCX??? This is ridiculous.

I thank you and I could see it!

Long Live Evil is the book I ‘see’ most of all my books in a cinematic way because I was thinking so much of adaptations as I wrote it. Not of getting an adaptation (though it would be nice, wouldn’t it!) but of how stories change in the telling, as they did with oral tradition and bards back in the day. But as they do now mainly from being transformed from one medium to another.

And that transformation necessitates change. Even a good and considered faithful adaptation should bring with it the change of needing to work in a different medium for a different audience, and the change of another person’s vision altering the telling.

I’m not just talking movies or TV shows in Long Live Evil but plays - we have a major playwright character, we start off with a Richard III epigraph and have innumerable Shakespeare references thereafter - plus references to Greek plays, the chorus, and catharsis - plus musicals and pantomimes (I tried to foreshadow in such a way that some would be surprised and some would spend much of the book yelling ‘behind you! The narrative doom is BEHIND YOU!’).

One major thing shouted out in the acknowledgements was Wicked, a musical that is very different from its book (I really enjoy both), which is getting a movie adaptation I’m interested to see, and which is full of villainous sympathy and joie de vivre. I believe Wicked foreshadowed the runaway success of Frozen.

Musicals are also a refuge for joy and camp in an increasingly self-conscious world of story. I was talking on… sigh… X about the change of Oswald Cobblepot’s name to Oz Cobb in ‘the Batman’ universe and I said ‘everyone is afraid of being cringe, and tbh I think being afraid of being cringe IS cringe. Let’s get a little silly sometimes. Let’s be wild and overblown and sincere.’

Musicals DO that. They have to, by their inherently artificial nature - we can’t pretend people burst into song and dance numbers - and that gives them a certain freedom. I love a musical. I went to see the Vampire Lestat the musical and The Lord of the Rings the musical. I can’t be kept away. The second-most-common note from my critique partners was to get rid of the musical in Long Live Evil and I just couldn’t, as the musical was one of the first seeds of the story, and it said what kind of story I wanted it to be: a joyful celebration of art that wasn’t afraid of anything. Including being cringe.

… I’ve wandered off the point I fear. I would also like to see an adaptation! Love an adaptation.

[zaebucca]

About scale, process, palette and canvas: a few considerations on pixel art as a medium

User moredogproblems answered an interesting and legitimate question by another, DiscountEarly125, regarding my work and canvas size. He also perfectly isolated two central concepts of pixel art, which are scale and process. Canvas size, which was the theme of DiscountEarly125's specific request, is more of a dependent variable to those two aforementioned concepts, rather than a starting point. I hope the following considerations I shared may help or prompt some other ideas, but this is what I could come up with 15-ish years of experience with pixel art (and a few more years of art and media studies). I was quite in the mood of writing down these few thoughts that have been floating for a while. I apologize as this may also result in a confusing wall of text, but it is all part of a my work and research, and I would love to polish all the material, hopefully with some thoughts, insights from other colleagues, as well as pictures and materials!

A. Scale and canvas size It is true that the bigger the canvas, the more distance one may visually create from pixel art, but I personally think this is to be possibly considered a matter of perceiving pixels, rather than a fundative problem of the medium. In fact I concur with the idea of "process makes the medium" rather than identifying pixel art as how (evidently) pixeled the result feels. The general picture, or the sum of pixels, though, is a really important matter to the medium nonetheless! Pixels themselves work in relation one with another, so it's their overall result that gives context and makes the subject recognizable. This relationship between pixels links back to all the art fundamentals that each artist is taught, from color theory to shape and composition - and so on. So, the canvas size debate usually boils down to a matter of scale or necessity of your subjects. As long as the dimension (canvas) of your subject (as in: a drawing of an apple, a character sprite, a mockup environment) allows you to operate, control and keep an eye on the quantity (number/area of pixels together) and quality (color, shaping of multiple pixels, texturing obtained through color and shapes) of isolated single pixels or pixeled areas, you're in the pixel art universe. The other way around to define the matter of scaling: in order to be operating pixel art fundamentals and techniques, your subject has to be on a scale that allows you to apply principles of pixel art within the space of your canvas and your personal style. These very same principles, or basics, can be applied with different results and extent to bigger and smaller canvases alike, each with their own specific difficulties and variables. It is important to adapt your scale when learning, and trying classic canvases per subject like "16x16px" (standard tile or character sprite unit, tied to older consoles and screen ratios, it's a bit complicated there) is always a nice idea - they also tend to be industry benchmarks and necessities so in case you'd like to consider a professional output, that's very useful.

Scale also applies to the array of colors, and there lies the concept of palette: a number of single hexadecimal hues we are using for each single pixel. Any single pixel can have one hexadecimal color only.

Consequentially it is absolutely true that either a huge canvas or a palette too broad may prevent a viewer from perceiving immediately the "nature" of your medium, namely seeing square pixels, recognizing a certain amount of color - or more thoroughly recognizing that you made some choices for each subject on a pixel level. What could possibly happen on a huge canvas (without zooming in) is that you can't really grasp the pixels, but just the "overall picture" - and that may not differ too much from digital, raster art, which is of course also based on pixels. Therein appearently lies a sort of threshold that is really hard to pin down for us pixel artists, as it depends on screen size, visualization methods, distance, filters and lots of other inherently subjective parts.

This kinda is my case sometimes: I make big environments (possibly too big, and too detailed in each part I tell myself) that are a sum of many lesser parts: both tilesets and sprites that relate (but not strictly adhere) to a basic space unit that is 16x16pixels. You can indeed consider scale in a broader sense as a subdivision or magnification issue, much alike squinting your eyes to focus on a picture's overall contrast or, conversely, analyzing its fundamental parts with a magnifying glass, and then a microscope - an analogy as follows:

a. the picture as a whole is like a colorful rock that you can analyze by magnifying its grain. b. the characters, geographical elements and textures, works like the different substances that compose the rock and give its visible characteristics grain and complexity, c. single pixels constitute the very atoms of those previously recognized substances.

I mean "atom" in the traditional, classical meaning of indivisible, fundative object. That's a "quantized" part of information, which for pixel art is ultimately color (or a binary value, like yes/no black/white). If you were, for example, to crop some parts of my work - let's say 160x144 pixels (a gameboy screen resolution in pixels) you would see the substances that are characters and elements of nature, and when you zoom in again, every atom becomes visible as a single entity of color. There are 29 different type of "atoms" in Ruin Valley as in different, singularly hexadecimal colors that work together in different combinations and shapes to create different substances and characters. 18 of them are used for the different qualities of the environment, and 11 more for extra hues for characters and other elements to pop out a bit.

It's really interesting to see how many pixel artists push this "threshold" of pixel art canvases to the extremely small or the extremely big, whereas, notably, palettes are less open to growth: it is indeed my opinion that pixel art tends to quantize color (quality) over than dimension (quantity). Palettes, notably, do not grow exponentially, but tend to a lower, fixed, controlled amount of individual values instead. This usually gives the artist the true possibility and toolkit through which is possible to think about/with pixels. In other words: color (or its absence) is the founding unit and identity of pixel art as a digital medium.

B. Pixels as process or pixels as objective? Pixels themselves (as strange as that may sound!) are not to be considered an objective of pixel art, I think, but the founding matter of its research as a medium instead. I think that making pixel art is not just devoting oneself to show those jagged, squarey areas or blunt edges that we all know and love: this is just one of the possible aesthetics that pixel art conveys or adopts - especially on small canvases. Pixel art is not about denouncing itself as pixels, but, rather, embracing the square, atomic unit to build an ensemble that conveys a content or a style. That's the important part of the discourse that emancipated pixel art into being a medium, and not just an aesthetic choice or style of representation. Again: process makes this medium. Speaking of that, I consider pixel art as part of a broader family of "quantized art", namely media that operate on/with "indivisible, founding bricks and unities" that can assume a certain quality (color, mainly) within a certain quantity (palette, canvas size) and in relation to its surroundings to describe something. This puts pixel art, with its specifics and with a certain degree of semplification, among other mediums such as cross-stitch, bead art, construction sets, textile art (on a warp and weft basis), (micro-)mosaics and others.

A classic threshold example of process vs objective: oekaki art. Oekaki art - which I love and also happen to make from time to time - doesn't really work or "think" specifically on a pixel base: it doesn't place pixels per se, but uses pixel-based areas and textures on bigger canvases with a certain degree of freedom, like one would normally do with brushes on raster digital art programs (adobe ps, gimp, clip studio and so on) in order to convey an aesthetic with fewer colors and a certain line style and texturing. That way, oekaki uses and knows pixels in a deep way, but doesn't see them primarily in a quantized way. As a result the "overall picture" shows pixels to a certain extent, and it's possible to recognize distinct pixels for each part, but the objective is not an analysis and use of pixel and quantized information, but the use of an aesthetic based upon accessibility of resources, their control and a certain rendering style.

A huge part of pixel art is its absolute accessibility: everyone with a fairly outdated computer or screen and a basic drawing program can study the medium. To be fair, it's indeed considering accessiblity that I highly support an inclusive approach to the term "pixel art" and I think traditional oekaki is a close, beautiful relative that builds upon the rules and techniques of pixel art and pixel rendering, yet keeping its identity as its very own medium - somehow like a dress may be built around/upon textile design. Anyway, boundaries are meant to be crossed and I think there definitely are lots of oekaki and pixel-based art that meet traditional pixel art mid-way - or further. I also think the "is it pixel art?" discourse possibly ensuing - and generally speaking any media belonging purist ontology - is a treacherous, slippery terrain leading to excesses, and this is not my focus today, neither am I able to tackle that subject extensively at the moment.

C. Conclusions and a few good exercises Everything above may be farfetched or too complicated as a starting point. I tried to write all down as orderly as possible. The point of this (possibly discouraging) analysis and the reasoning between scale and process is that (pixel) art is about trying different canvases, and reasoning on one's subject and objective, rather than limiting oneself to presets sizes or styles. It's important to choose something that resonates with us and, in doing so, thinking about other, more interesting limitations: that's the discourse about quantity of space and quality in color. Limiting is the best possible exercise and one I wholeheartedly encourage: by doing so we are progressively delving deeper on the basics, as we learn the fundamental relationships between shapes and colors that we can achieve through pixels. A few good exercises that I too implemented in my own workflow come to mind: 1. Trying different canvases (or sizes) for the same subject (sprite, character art, illustration or so on). This helps a lot finding a comfortable size to apply pixel techniques, as well as getting a hold over fundamentals such as aliasing, linework, conventional representation and so on. 2. Trying different palettes for the same subject, both by varying colors themselves (therefore learning about values and contrast and readability, as well as atmosphere and mood!) or singular hues and their components, in order to discover possible relationship between them. Have fun! 3. Reducing the width of the palette progressively for the same subject: reducing the number of singular colors forces a reasoning on shapes, rapresentation. You may go from 1-bit art (just black/white) to 3 colors, 4, 8 and so on. We'll not talk about transparency as a singular color there, but if you happen to be interested in retro art, transparency counts to the palette size. This exercise is very useful in rendering, and possibly tricky. And definitely fun. :') 4. Choosing an objective and usage of our work: for example trying to learn about old pixel art limitations for games, in order to reason within specifics. Get inspired by traditional games (spriters-resource is your best friend here, in case you have a specific retrogame you're thinking of)! I will probably talk about limitations and style on another post. 5. Four eyes (and other multiples) are better than two: try to talk with people and friends and other artists you trust and feel comfortable with to get their point of view. This can be scary, I know, especially at the beginning. You're not forced to, of course, but if you do (in a safespace) there's lots you can learn about concepts such as readability, subject recognition, rendering and composition. Our eyes and brains get accustomed to something, and pixel art being a rather analytic medium made of synergies, subtle changes, limitations and conventions is especially tricky on the artist's eyes on the long term. Either way, the important thing about pixel art is understanding that this medium is about recognizing and enjoying the process rather than the eventual aesthetic and in order to do so the best choice is to start simple, small, with few colors and techniques at a time! Have fun and hit me up with your progress and considerations. :')