#so I recommend you look at the source material

[wyvern-of-whimsy]

It depends on which spellcheck youre using but some of the most popular ones like Grammarly are making LLMs that are colloquially known as generative AI that train off of user data. It's not a database of known words since it also takes in the typos and misspellings. If a misspelling/typo is common enough, it'll start trying to correct *to* that incorrect word instead of correcting that word to the original.

My mobile keyboard, for example, trains off of my most commonly typed words. And i misspell "the" as "teh" often, so it has started suggesting "teh".

And to put my own 2 cents in on @emperor-of-the-hill 's questions:

1. Collages take art from various sources and put them together in order to view the whole alongside its composite parts. But collages also highlight each piece of art used in their collection, and so having even one piece of AI art displayed amongst real, human-made art devalued not only the other art in the piece but also the composition as a whole.

2. Yes, using AI for even the background of a work stains the art (but this one is only my opinion). You could've taken a photograph from elsewhere, had someone else draw the background, or done a simple gradient/pattern background if you didnt want to do it yourself. Then, you have the creative choices still: you choose a photo that complements your foreground, someone else has the creative choices in choosing an artstyle and art that best frames the forground, or you get to choose colors/patterns that work with the foreground. With AI, the creativity is drained out of it.

3. Digital tools with gen ai is a broad category. I like to split it up with this qualifier: does it make something new that wasn't there before? If it does, thats generally not ok in my books. If it only repeats what was already on the canvas, it is acceptable. Let me give you a few examples.

A "background maker" that will repeat background patterns in Photoshop, often used to edit objects out of photos: it doesn't make anything new, so its OK!

A filter that will make a person look like an anime character: not OK. It creates something new on the canvas, that being 2D drawing style.

A smart fill tool on an animation software that will attempt to color an object in all selected frames the same color when it detects that object: A-OK! The color is still chosen by the animator, and the object was made by the animator. All the AI is doing is coloring where the animator tells it to. This tool speeds up the animating process, but it doesnt create new material.

AI is a new and confusing subject, and it's important to educate people on the different uses of AI and the different types. Id recommend researching Large Language Models (LLMs) which is what ChatGPT and other "generative" AIs are.

i literally dont care what your excuse for using AI is. if you didnt put your own effort into making it im not putting my own effort into interacting with it.

[jay-birbs-can-draw]

Totally silly not spooky at all (well I created it so I guess I wouldn’t think so) depiction of ‘Optimus’ in @lets-try-some-writing’s silly little Forbidden Sight fic

My promise has been fulfilled

Also I’m finally on summer break!!

[the-busy-ghost]

Me normally: Let people love what they love

Me, after a Test Match Special commentator expresses their belief that the new All Creatures Great and Small is somehow "better" than the 1978 version: This is pure insanity and TMS can no longer be trusted on anything, how can they even be trusted to know about cricket, do they have no TASTE

[wordstome]

how c.ai works and why it's unethical

Okay, since the AI discourse is happening again, I want to make this very clear, because a few weeks ago I had to explain to a (well meaning) person in the community how AI works. I'm going to be addressing people who are maybe younger or aren't familiar with the latest type of "AI", not people who purposely devalue the work of creatives and/or are shills.

The name "Artificial Intelligence" is a bit misleading when it comes to things like AI chatbots. When you think of AI, you think of a robot, and you might think that by making a chatbot you're simply programming a robot to talk about something you want them to talk about, and it's similar to an rp partner. But with current technology, that's not how AI works. For a breakdown on how AI is programmed, CGP grey made a great video about this several years ago (he updated the title and thumbnail recently)

I HIGHLY HIGHLY recommend you watch this because CGP Grey is good at explaining, but the tl;dr for this post is this: bots are made with a metric shit-ton of data. In C.AI's case, the data is writing. Stolen writing, usually scraped fanfiction.

How do we know chatbots are stealing from fanfiction writers? It knows what omegaverse is [SOURCE] (it's a Wired article, put it in incognito mode if it won't let you read it), and when a Reddit user asked a chatbot to write a story about "Steve", it automatically wrote about characters named "Bucky" and "Tony" [SOURCE].

I also said this in the tags of a previous reblog, but when you're talking to C.AI bots, it's also taking your writing and using it in its algorithm: which seems fine until you realize 1. They're using your work uncredited 2. It's not staying private, they're using your work to make their service better, a service they're trying to make money off of.

"But Bucca," you might say. "Human writers work like that too. We read books and other fanfictions and that's how we come up with material for roleplay or fanfiction."

Well, what's the difference between plagiarism and original writing? The answer is that plagiarism is taking what someone else has made and simply editing it or mixing it up to look original. You didn't do any thinking yourself. C.AI doesn't "think" because it's not a brain, it takes all the fanfiction it was taught on, mixes it up with whatever topic you've given it, and generates a response like in old-timey mysteries where somebody cuts a bunch of letters out of magazines and pastes them together to write a letter.

(And might I remind you, people can't monetize their fanfiction the way C.AI is trying to monetize itself. Authors are very lax about fanfiction nowadays: we've come a long way since the Anne Rice days of terror. But this issue is cropping back up again with BookTok complaining that they can't pay someone else for bound copies of fanfiction. Don't do that either.)

Bottom line, here are the problems with using things like C.AI:

It is using material it doesn't have permission to use and doesn't credit anybody. Not only is it ethically wrong, but AI is already beginning to contend with copyright issues.

C.AI sucks at its job anyway. It's not good at basic story structure like building tension, and can't even remember things you've told it. I've also seen many instances of bots saying triggering or disgusting things that deeply upset the user. You don't get that with properly trigger tagged fanworks.

Your work and your time put into the app can be taken away from you at any moment and used to make money for someone else. I can't tell you how many times I've seen people who use AI panic about accidentally deleting a bot that they spent hours conversing with. Your time and effort is so much more stable and well-preserved if you wrote a fanfiction or roleplayed with someone and saved the chatlogs. The company that owns and runs C.AI can not only use whatever you've written as they see fit, they can take your shit away on a whim, either on purpose or by accident due to the nature of the Internet.

DON'T USE C.AI, OR AT THE VERY BARE MINIMUM DO NOT DO THE AI'S WORK FOR IT BY STEALING OTHER PEOPLES' WORK TO PUT INTO IT. Writing fanfiction is a communal labor of love. We share it with each other for free for the love of the original work and ideas we share. Not only can AI not replicate this, but it shouldn't.

(also, this goes without saying, but this entire post also applies to ai art)

[annabelle--cane]

"the magnus protocol had a whole ARG beforehand? what?"

yes! it did!

"oh so I need to have participated in this whole big thing to actually understand the podcast?"

not at all! from the official post-mortem put out by RQ, "while the ARG was not something that was necessary to participate in to understand the magnus protocol, it was designed to contain a wealth of background story and context that would enrich any player's listening experience."

"a wealth of background context that would enrich my listening experience 👀👀👀 how can I learn about this?"

SO glad you asked. sadly, many of the materials made for the arg have been taken down since the game ended 😔 (ex., the official OIAR, magnus institute, and bonzoland websites. (edit ii: I found partial wayback machine captures! see below) though @strangehauntsuk is still up!), so we're a bit low on primary sources, but in terms of learning about what happened:

for a starting point, I would really recommend this video by @pinkelotjeart

it's super accessible, it was made in real time as the game progressed and follows the solving and revelation of clues as they happened, it hits all the major points of the mystery and moments of community insanity while eliding some of the nitty gritty puzzle grinding, 10/10 would recommend.

here's the official summary put out by RQ, and I'd recommend reading through this once you've already gotten a basic handle on the flow of the story and the basic connections between major clues and events. it's got some fun behind-the-scenes info and lays out the thought process behind the puzzles in simple terms

here's the full masterdoc of all puzzles and resolutions put together in the statement remains discord server. masterdoc my absolute BELOVED, masterdoc my bethrothed, masterdoc my soul mate. I'd recommend this as a second port of call after the above video as it either contains all details about the puzzles or links to other expanded docs that do.

here's the narrative summary doc that lays out all the plot and lore discovered in three pages of plain prose. if you just want to get to the good bits as fast as you can and get blasted directly in the face by contextless lore bombs, this is the doc for you. if you don't want to start with the video, I'd say this is another good entry point.

once you've got the lay of the land, some of the game materials that I found particularly interesting include:

the in-universe east germany expat usenet forum, with all content translated into english. most of it is irrelevant space filler with occasional extremely sus lore, but I still found it fun to read through. love to soak in some fictional forum drama.

chdb.xlsx, the spreadsheet of the names of all the children the protocol 'verse magnus institute was studying/experimenting on. EDIT: here is a version of the sheet without any annotations and with all of the names in their original order, kudos to @theboombutton for catching that the commonly shared copy had the order swapped around.

klaus.xls, a (very corrupted) spreadsheet with what looks like the classifications of a bunch of old OIAR cases.

EDIT: have a few more saved materials from the game that I forgot to include.

an in-universe audio ad to apply to the OIAR that ran before archives episodes and kicked off the whole game.

an in-universe video ad to apply to the OIAR, this one is an official upload that's still up from the game itself. you can subscribe to the OIAR's official youtube channel today, if you so chose.

the robo-voicemail greeting from the OIAR's phone line.

EDIT II:

here is a wayback machine capture of the OIAR's official website.

here is a wayback machine capture of the bonzoland website.

(pretty sure both of the above captures just archived the home pages, though I haven't tried clicking all of the links. I'd say they're still worth looking at, the home pages give a good window into the vibes.)

once you start poking around in these documents, you'll find a bunch of links to others with further information, the materials I've included here just contain what I feel to be the most relevant details to getting a broad feel for the whole game. once again, huge shout out to the statement remains server, I was barely in there as the ARG was in progress and only ducked my head in every so often to find links like these. true mvps of the fandom.

[ryin-silverfish]

So You Want to Read More about Chinese Mythos: a rough list of primary sources

"How/Where can I learn more about Chinese mythology?" is a question I saw a lot on other sites, back when I was venturing outside of Shenmo novel booksphere and into IRL folk religions + general mythos, but had rarely found satisfying answers.

As such, this is my attempt at writing something past me will find useful.

(Built into it is the assumption that you can read Chinese, which I only realized after writing the post. I try to amend for it by adding links to existing translations, as well as links to digitalized Chinese versions when there doesn't seem to be one.)

The thing about all mythologies and legends is that they are 1) complicated, and 2) are products of their times. As such, it is very important to specify the "when" and "wheres" and "what are you looking for" when answering a question as broad as this.

-Do you want one or more "books with an overarching story"?

In that case, Journey to the West and Investiture of the Gods (Fengshen Yanyi) serve as good starting points, made more accessible for general readers by the fact that they both had English translations——Anthony C. Yu's JTTW translation is very good, Gu Zhizhong's FSYY one, not so much.

Crucially, they are both Ming vernacular novels. Though they are fictional works that are not on the same level of "seriousness" as actual religious scriptures, these books still took inspiration from the popular religion of their times, at a point where the blending of the Three Teachings (Buddhism, Daoism, Confucianism) had become truly mainstream.

And for FSYY specifically, the book had a huge influence on subsequent popular worship because of its "pantheon-building" aspect, to the point of some Daoists actually putting characters from the novel into their temples.

(Vernacular novels + operas being a medium for the spread of popular worship and popular fictional characters eventually being worshipped IRL is a thing in Ming-Qing China. Meir Shahar has a paper that goes into detail about the relationship between the two.)

After that, if you want to read other Shenmo novels, works that are much less well-written but may be more reflective of Ming folk religions at the time, check out Journey to the North/South/East (named as such bc of what basically amounted to a Ming print house marketing strategy) too.

-Do you want to know about the priestly Daoist side of things, the "how the deities are organized and worshipped in a somewhat more formal setting" vs "how the stories are told"?

Though I won't recommend diving straight into the entire Daozang or Yunji Qiqian or some other books compiled in the Daoist text collections, I can think of a few "list of gods/immortals" type works, like Liexian Zhuan and Zhenling Weiye Tu.

Also, though it is much closer to the folk religion side than the organized Daoist side, the Yuan-Ming era Grand Compendium of the Three Religions' Deities, aka Sanjiao Soushen Daquan, is invaluable in understanding the origins and evolutions of certain popular deities.

(A quirk of historical Daoist scriptures is that they often come up with giant lists of gods that have never appeared in other prior texts, or enjoy any actual worship in temples.)

(The "organized/folk" divide is itself a dubious one, seeing how both state religion and "priestly" Daoism had channels to incorporate popular deities and practices into their systems. But if you are just looking at written materials, I feel like there is still a noticeable difference.)

Lastly, if you want to know more about Daoist immortal-hood and how to attain it: Ge Hong's Baopuzi (N & S. dynasty) and Zhonglv Chuandao Ji (late Tang/Five Dynasties) are both texts about external and internal alchemy with English translations.

-Do you want something older, more ancient, from Warring States and Qin-Han Era China?

Classics of Mountains and Seas, aka Shanhai Jing, is the way to go. It also reads like a bestiary-slash-fantastical cookbook, full of strange beasts, plants, kingdoms of unusual humanoids, and the occasional half-man, half-beast gods.

A later work, the Han-dynasty Huai Nan Zi, is an even denser read, being a collection of essays, but it's also where a lot of ancient legends like "Nvwa patches the sky" and "Chang'e steals the elixir of immortality" can be first found in bits and pieces.

Shenyi Jing might or might not be a Northern-Southern dynasties work masquerading as a Han one. It was written in a style that emulated the Classics of Mountains and Seas, and had some neat fantastic beasts and additional descriptions of gods/beasts mentioned in the previous 2 works.

-Do you have too much time on your hands, a willingness to get through lot of classical Chinese, and an obsession over yaoguais and ghosts?

Then it's time to flip open the encyclopedic folklore compendiums——Soushen Ji (N/S dynasty), You Yang Za Zu (Tang), Taiping Guangji (early Song), Yijian Zhi (Southern Song)...

Okay, to be honest, you probably can't read all of them from start to finish. I can't either. These aren't purely folklore compendiums, but giant encyclopedias collecting matters ranging from history and biography to medicine and geography, with specific sections on yaoguais, ghosts and "strange things that happened to someone".

As such, I recommend you only check the relevant sections and use the Full Text Search function well.

Pu Songling's Strange Tales from a Chinese Studios, aka Liaozhai Zhiyi, is in a similar vein, but a lot more entertaining and readable. Together with Yuewei Caotang Biji and Zi Buyu, they formed the "Big Three" of Qing dynasty folktale compendiums, all of which featured a lot of stories about fox spirits and ghosts.

Lastly...

The Yuan-Ming Zajus (a sort of folk opera) get an honorable mention. Apart from JTTW Zaju, an early, pre-novel version of the story that has very different characterization of SWK, there are also a few plays centered around Erlang (specifically, Zhao Erlang) and Nezha, such as "Erlang Drunkenly Shot the Demon-locking Mirror". Sadly, none of these had an English translation.

Because of the fragmented nature of Chinese mythos, you can always find some tidbits scattered inside history books like Zuo Zhuan or poetry collections like Qu Yuan's Chuci. Since they aren't really about mythology overall and are too numerous to cite, I do not include them in this post, but if you wanna go down even deeper in this already gigantic rabbit hole, it's a good thing to keep in mind.

[puppiesareperfect]

Book binding 101: Materials

I’ve decided to do a series of posts on how to book-bind since I talk about it a lot, and I think it’s a really fun process. This post will include various inexpensive alternatives to “professional” supplies, many of which you will have at home. Not everyone can afford a cricut and that’s ok! I will also be listing more expensive materials for people who want to invest a bit more into the craft, but they absolutely are not a must.

This first post will focus on a list of supplies you can use to make books, but will not yet get into the instructional part of it. That will come later!

Anyway…

Bookbinding Materials: Essentials

These are items you need to bind, but many you can find around your house!

Sewing thread: Any thread will work for bookbinding, though waxed threads can help reduce tangles. You can also double up thread as another way to prevent tangling if you so choose. Waxed thread is definitely more expensive, so it can be good to use what you have starting out. Here’s a link to the waxed thread I used for those that are interested. You can buy it in a lot of different colors! (White is good if want an “invisible” thread).

Sewing needle: A lot of people say to use a curved needle for binding, but I’ve never found it to be much different from using a regular needle. If you have one, I would recommend a larger needle, however, since it’s better for piercing through signatures (aka the stacks of pages you bind together). In other words: there’s no special needle you need to bind books.

Ruler: I’d recommend any metal ruler since it’s better to use as a straight edge for cutting. There’s a good chance you already have one. It’s just used for measuring and being a straight edge. Nothing fancy.

Paper: Any paper will work. What you wanna use depends on your project really: if you’re binding together a work of text you’ll want to use some kind of printer paper (of course). If you’re making a sketchbook, you can fold up some sketching paper. I like to get sketchbooks with perforated edges so I can tear them out easily if I want to use a blank page for bookbinding. You can also buy large sheets of paper made for any medium. For example, if you want a sheet of water color paper, just search “large watercolor paper sheet”.

Awl (or all alternative): An awl is a tool used to poke sewing holes. It’s nice because it’s sharp and ergonomic, but you can totally also use a pushpin or even a sewing needle.

Bone folder (or a bone folder alternative): A bone folder creates sharp creases when you fold your pages, making them lay flatter. It also helps define the hinge gap on finished books, making it open easier. You can use a ruler if you don’t have one.

PVA glue: PVA glue is what to look out for when it comes to binding glue. There are some designed specifically for bookbinding, which spread out a bit faster than ones that aren’t. You can also use tacky glue which IS a PVA glue.

Book board: Also sometimes called chip board, Davey board, or mat board. This is what you’ll use for hard cover books. It is important to use book board specially, as cardboard will warp. You can buy book board directly, or you can cut the covers off of old textbooks or binders, unwrap the paper/plastic around the board, and use that!

Box cutter or utility knife: for cutting the board

Decorative paper and book cloth: For wrapping around cover boards and for endpapers. Book cloth can also be used to cover boards. You can also draw your own designs on Bristol paper if you want (or any paper with a similar thickness/durability). When it comes to decorative paper I like to either get scrapbook paper or rolls of fancy handmade paper (you can get those on Etsy, through paper source, or through bookbinding websites).

Bookbinding materials: Optional (and not crazy expensive)

These are supplies that you don’t need for binding but that can make the process easier and/or help with the decorative elements of your books. I’d recommend these things for when you’ve been binding for a while and feel these things could be helpful!

Paper trimmer: can cut a few sheets of paper evenly—I find it really helpful for endpapers

Stencils: Super helpful if you want to add text on the covers

Stamps: Good for adding text and also great for adding illustrations if you’re not able to draw them on your own. You can buy ink pads for them or use markers by coloring over the stamp lightly and using the stamp immediately so it doesn’t dry (I’ve tested this with alcohol markers and it works very well)

Paint markers: great for drawing directly on the cover. Since they’re opaque they can imitate the look of vinyl. You can also get them super painterly if you want. The internet usually talks about poscas but there are tons of different brands. Do some research, figure out what you like & can afford.

Hot foil pen & heat transfer foil: Perfect if you want to add foil to your covers but don’t want to spend a ton of money on a cricut. A lot of binders uses the foil quill brand, but there are ones that cost less and work the same (I have both a cheaper one & an actual foil quill because I wanted some nib variation. As long as the pen has good reviews that aren’t from bots you should be good). Also remember: don’t use foil designed for going through laminators (I.e. decofoil) . It doesn’t work the same way.

Bookbinding Materials—Expensive

These are materials I’d recommend for people who have been bookbinding for a while & feel that it’s something they really want to invest in. To be fully transparent, I’m a college student and don’t own these and have little personal experience with them. However, I know a lot of binders who love them!

Cricut machine—Cricuts are cutting machines that can make precise cuts into paper, wood, bookboard, or vinyl. A lot of binders will cut designs out of vinyl and apply them to the covers using a heat press.

Book press—What it sounds like. The pressure helps the pages lay flat and stay even. That being said you can stack heavy books on top of your projects, it just may not have the same even pressure. I also know some people will DIY these, so if you’re skilled with power tools you can give it a go!

Paper guillotine—like a paper trimmer but bigger and can cut more sheets of paper at once. I believe really good ones can also be used to cut bookboard!

Those are all the materials I can think of! Hope this can work as a good starting point for those interested in the craft. I’ll definitely be posting more info about bookbinding for people who are interested :)

-Zoë💗

[dduane]

Okay, now I'm cranky

Not that I even do more than glance at LinkedIn every few weeks or so, as I have friends there. But THIS is beyond the pale. (Or even the Pale, which is another story. Is this actually a real person based in Limerick?? [I have my doubts.) But if so, they should be ashamed.)

(transcription:)

Hi [(theoretical) person whose name I've obscured],

I'm not at all sure why material from your employer is winding up on my feed.

I am a NY Times bestselling novelist and screenwriter with pushing fifty years' experience in traditional publishing and other media created by actual living, breathing beings out of genuine human experience. AI-based prompt "writing" is utterly antithetical to everything I do in my work... especially as it is founded on machine-based excreta derived from routines trained using material illicitly sourced, without our permission, from myself and thousands of my colleagues.

Assuming that you actually exist except as a prompt-based construct yourself (which is by no means certain), please do us both a kindness and remove me immediately from whatever list caused the system to recommend me to you—as if there is a worse possible fit for our two schools of thought anywhere in this solar system, I can't imagine where that might be. (Somewhere in the Oort Cloud, possibly. No other possibilities immediately suggest themselves.)

Meanwhile, I wish you well in your further endeavours (doing you the possibly unwarranted courtesy of assuming that you're real). ANY possible further endeavours that have nothing to do with this horrific and deeply unethical area of employment, which cannot conceivably do anything in even the short term but damage your (theoretically) immortal soul... not to mention the ecology of our (theoretically) shared planet. 

With the best possible regards under the circumstances, and hopes for your eventual (if not swift) rehabilitation,

Diane Duane

PS: Please try to find an avatar that looks less like it was created by AI.

And also: please say to your heartless and conscienceless employers, on my behalf, "FUCK YOU AND THE HORSE YOU RODE IN ON."

[everpresence]

I was wrong.

over the last few weeks, i started heavily questioning my beliefs.

i noticed that some of my desires came in faster than other desires. some of them (as you may see in my recent posts) took years to reflect, but some of them got reflected so fast at the speed of light.

i’ve been told by various people that there’s usually a time delay for desires to materialize in the 3D, and for some reason, it resonated with me. that’s why i mention it in my answers because i was merely basing it off of my own experiences with the law.

but something clicked for me recently. i watched a video by missy renee, about why people haven’t seen their manifestations for years. i’m just going to put it out there that you don’t need to pay for coaching. there are a lot of manifesting coaches that don’t know what they’re talking about, and when you read source, it’s a lot more telling. missy renee is not one of those coaches. she has read source and has even applied those teachings into her life. if i have to recommend a coach for you to watch, though, it would be her.

anyways, there was a line that she said that i immediately wrote down because it caused so much confusion in me. basically, she said that the reason why we have yet to see things come to pass is because we are still identifying with our old beliefs — our old story — and due to this, we become double-minded. this double-mindedness is then perceived as the “time delay.”

in that moment, i slowly leaned back in my chair. it was an “a-ha” moment for me, but it was also a little harrowing.

how long have i held myself back from just accepting that i am the person that i wanted to be? how long have i been limiting myself, telling myself the old story over and over again like a broken record? more importantly, i’ve been telling other people that there is such thing as a “time delay” because i decided that i should experience the delay.

so when i wrote a list and just allowed my higher self to figure it out, some of them came in so fucking fast at the speed of light. it stunned me. that’s when i realized that i was holding a false belief.

i never thought that i’d be writing an apology post, but here i am. i’m holding myself accountable because i was the one that wrote that there is such thing as a “time delay,” but in reality, there isn’t. sure, you don’t have to be pitch perfect with your beliefs, but when this desire has no conflict with your beliefs — when you have no resistance, when you aren’t arguing with yourself about whether you have it or not — then there’s no delay.

i remember some people said that it should not take more than thirty days, and i used to think that it’s bullshit, but now i can clearly see that there is a reason why they believe this. it’s not even about the length of time, but about how frequent you return to the state. it’s all about you accepting that the person you want to be is who you are now.

besides that, i want this post to be a reminder that everyone’s beliefs are constantly changing. there is always going to be expansion, growth, an inevitable withering of the old beliefs and the blossoming of new beliefs the more we learn about how this all works. this is why i want people to go back to reading source, to not always take everyone’s posts as “truth” or “the gospel” because we are all still learning in the end. learning never ends.

edit: i don't mean to say all this for you to start focusing on the physical reality as your primary reality. i still wholeheartedly believe that this is merely a reflection of your beliefs, and ultimately, it is all about who you are choosing to be right now despite what it looks like.

[neosprites]

Digital Stamp Making Tutorial

Hello, and welcome to the long-awaited(at least on my part) digital stamp-making tutorial from neosprites! I’d like to preface that I learned what I was doing from this tutorial so it may be a bit redundant, but if anything I get a bit more specific. Thank you so much to @graphic--horde for your work, it changed me as a graphic maker. This is gunna be a long post so feel free to bookmark it for later. Now, onto the show!

The frame I will be using for this tutorial (which is the frame I use on 99.9% of my stamps) I found from the above linked post, which I believe is from a creator that OP lost track of. Its inner dimensions are 94x50 pixels and its outer dimensions are 99x56 pixels. Here it is!

Find your material! - I recommend using websites like Tumblr and searching with the “GIF” filter only on, or alternatives such as Giphy or Tenor. Your browser may let you directly save the .gif file; if not and you are noticing it restricts you to save it as a .webp file you can try an extension like “Save webp as PNG or JPEG” (for Firefox but I image other browsers have similar functions, but I really recommend you switch to Firefox). To use this you will right click on your source .gif like normal but instead of clicking on “Save image as…” click “Save webP as…” and then click “GIF”. You should be redirected to the website ezgif.com where we will actually be doing all of our editing! Here’s the .gif we’ll be working with.

Convert to GIF (optional) - if you used the extension from the above step you should already be ready to click the blue “Convert to GIF” button. If not, go ahead and open ezgif.com and click on “webP” and then “WebP to GIF”; then convert to a gif with the blue button.

Resize the GIF - now that we have a gif ready to edit, let’s make it the right size. The easiest method I have found is to change it directly to the frame’s inner dimensions, 94x50 pixels. [EDIT: Make sure in the aspect ratio drop drop menu you select "stretch to fit" and not "center and crop to fit" like I did in the photo example.] Click “resize” and then type [94] in for the width and [50] for the height. Next press the blue “resize image” button.

Add the frame - next click “overlay” then click the thin blue button that says “Extend canvas size(use if overlay exceeds GIF sizes)”. This will give us some extra room to add the frame onto the design. Next click “Browse…” and find the frame you have saved onto your device, then click the blue “Upload image” button.

After that it’s going to be misaligned, that’s normal! It will say you have the option to drag it into place, but don’t bother. That’s one of the reasons my old stamps look wack, it’s just harder to do. Instead type [44] in for the Left box and [22] in for the Right box. It took me a while to figure out these dimensions to be honest, and I’ve only tested it with this frame so I don't know if it works with others. Then click the blue “Generate image” button.

Crop the transparent edges - click on “crop”. You will have the option to check a box that says “trim transparent pixels around the image” however, I don’t recommend this as it tends to crop a few of the frame’s pixels with it sometimes. Next, set the Left position to [44] and the Right position to [22]. For the other dimensions we will use the outer dimensions of the frame which are 99x56 pixels, this will trim everything except the tiny spaces in between the stamp frame’s spikes. Type the width as [99] and the height as [56] and click the tiny blue button that says “set”. After that click the blue “Crop image” button.

Save and use! - all that's left is to click “save” and upload the graphic to your liking. (best seen on dark mode obviously)

If you’d like to tag me in stamps you’ve made using my tutorial I would love to see them, but it’s not required!! Make sure to always give credit for pictures/gifs when you can and try not to make stuff out of personal/fan art. Thank you to the person in my inbox who requested this tutorial, I had been meaning to for a while but it was just the kick I needed. :)

[cripplecharacters]

Do you know any good sources for burn scar care?

I’m writing a character who was burned in a spaceship crash. The story is set several years after the fact, and I want to incorporate that detail into the story. What would a burn scar care routine look like?

Hey!

I generally recommend medical websites for this kind of stuff. There are tons of information readily available online, especially about things as common as a burn injury. Phoenix Society for Burn Survivors or MSKTC can be helpful for you.

While caring for a burn scar will be different for everyone (there's many types, degrees, plus just individual differences between burn survivors themselves) some of the things that you can include;

Burnt skin doesn't produce its own oils, so it gets dry. It needs to be moisturized, oil-based products (think coconut or grape seed oil) are often used. The heavier the lotion, the fewer times a day it needs to be applied.

Massaging a scar, especially when it's relatively new. It can be a massage, but stretching or just putting pressure on it is part of that too. It helps the skin from becoming extremely sensitive. Initially you do it delicately, but after the scars are matured it's fine (or recommended even) to put some force into it. This loosens them up.

Itching is a huge issue. Both massaging and moisturizing help with that, but if it's still causing problems then there are medications that could provide some relief.

Protecting the skin from the sun. All year, including cloudy weather. Sunblock, big hats, sunglasses if needed, all that. This applies to people with darker skin as well because the skin loses its pigment after a burn (it can sometimes come back but it's definitely not a guarantee).

Avoiding the heat. A lot of burn survivors will have problems with temperature regulation because burns damage the sweat glands, so they overheat faster. There's nothing burn-specific here, same protocol as for avoiding a heatstroke - drink water and keep out of the sun.

Wearing softer and looser clothing. Rough and tight clothes can cause blisters, and that is a Problem. Inappropriate materials could also induce more itching.

Taking pain meds. Chronic pain is common, so your character might need medication.

I definitely wouldn't say that this is an exhaustive list, but I think it's a good start. If you need more details, I think the resources linked above should work.

I'm glad to see people interested in burn scars being a disability that requires a lot of care rather than seeing it as a solely visual thing. Makes it much more authentic.

I hope this helps,

mod Sasza

[genderqueerdykes]

in searching for queer books to borrow from my library, i realized something. it is very important to read what publications are there, however, when folks ask me for book recommendations on certain queer identities, it becomes difficult, because publishing books, zines, and other writings is difficult while queer.

in many places in the world it is quite literally illegal to publish any queer material whatsoever. in other places it is so heavily stigmatized it is overwhelming for many. some queers don't have a talent for writing, and that's okay. a lot of queers live turbulent, busy, and often dangerous lives. it's hard to write when you have a lot going on in your personal life, especially when it comes to transmisogyny, transandrophobia, biphobia, and other big queer issues.

in many places in the world, outing one's self as a trans woman or transfemme could result in death. it would be extremely risky to publish something talking about lived experiences in places where trans women & femmes are constantly in danger. in many places in the world, this same struggle affects trans men, and other trans people. it can be literally a matter of life and death to publish writings or art about one's queerness depending on geographic location and circumstance

also, getting something published and distributed takes time and money, something many folks don't have. many people do not have access to queer charities or organizations that will help them publish. many people can't get an editor. many lose access to their computers, phones, files, electricity, internet, and other resources. many become homeless, or encounter housing insecurity. many queer people unfortunately live very short lives.

many intersex people don't get to even discuss our experiences, let alone write and publish them. many intersex people had procedures done to them and ages far too young to remember- and paperwork stating what ACTUALLY happened is generally totally unavailable. many intersex people live their entire lives not knowing they're intersex. there's a huge deficit on literature when it comes to intersex experiences and lives and it's because we're actively being silenced

it's not to say publications aren't out there, and i'm not going to start posting recommendations, but if you can't find a lot of published books on a certain queer identity, it's because that it's hard to write about queer experiences in general and get them published and distributed. keep searching, but if you can't find what you're looking for at a book store or library, try finding anecdotes, stories, comics, zines and other writings from people online. people talking about their experiences online is credible. not for citing as a source in a paper, but it is just as valuable as anecdotes published in a book.

[petermorwood]

Hi there I have an arms question for you that I'm hoping you might be able to help me with. So it is commonly accepted that swords should not be kept in their scabbards long term, especially wood and leather ones as they absorb moisture and can end up trapping moisture on the blade and cause it to corrode. Which makes sense and is why most museums seem to try and store their swords out of the scabbard. My issue is I haven't been able to find any hard sources about if this is true or not. Whenever I try to find any sources I just find forum posts and nothing with research to back it up. Are you aware of any sources on the proper care and storage of historic swords?

Storing any carbon-steel blade - kitchen knife or antique sword - for a long time in a possibly damp container - drawer or scabbard - is not a good idea, and the kitchen knife is far more likely to be taken out for use and any incipient corrosion dealt with.

The sword is likely to just hang there, being admired from a distance, until one fine day it's brought down, drawn and OMG Look At The State Of It...!

But, am I aware of any (reliable) sources for care and storage of historic swords?

Unfortunately, no. :-<

*****

What I know is the care and maintenance of modern reproductions, so rather than give incorrect information which might potentially cause irreparable damage to some genuine artefact, I recommend that you send this same question to:

The Royal Armouries, Leeds, England (enquiries@armouries.org.uk).

The Wallace Collection, London, England (enquiries@wallacecollection.org).

The Metropolitan Museum of Art, New York, USA (enquiries@metmuseum.org).

Conservation advice from any of those sources will be reliable and, based on past experience, they'll all respond.

*****

NB - I've seen "how to restore..." info on-line which is destructive to both historic and monetary value, and I can't shake the feeling that some - though not all, though THEY often require fully equipped workshops - YouTube channels deliberately create "aged items" which they then "restore".

*****

Japanese shirasaya ("white", i.e. undecorated) scabbards are used for storage and transport, though blades stored that way would certainly be inspected on a regular basis.

Blades in museums are frequently displayed "bare", with neither scabbard nor hilt furnishings, though that's as much to exhibit tang / blade inscriptions and hamon (edge pattern) detail as to avoid corrosion, like so:

AFAIK most "complete" swords alongside bare blades exhibited like this...

...are the blade's hilt and scabbard mounted on an insert to hold them together and show what the weapon looks like when fully assembled.

*****

A scabbard's function is threefold:

To carry the sword in a convenient manner.

To protect the blade from adverse conditions.

To prevent the blade from doing accidental harm.

Re-enactment back-carry scabbards which work by having big slots in one side or being hardly there at all ignore (2) and (3) in exclusive favour of (1). They never existed IRL.

*****

I've read a few articles by museum staff about conservation of old swords and when to stop - how much cleaning is enough, how much would be too much, preservation rather than removal of patina etc. - but nothing about the whys and wherefores of scabbard storage.

This may be because as history goes further back, original scabbards become much rarer than original swords, and often when a sword and scabbard ARE found together, they've corroded into one another to such an extent as to be inseparable.

This Etruscan bronze sword and its bronze scabbard are very unusual, not just two separate items but almost completely intact, with only the organic (horn or wooden) parts of the grip missing:

It helps that the Etruscan example is bronze, which doesn't degrade in the same way as iron or steel.

This iron or steel Iberian falcata shows the more usual fate - organic material like its hilt scales are gone, as is the wood and leather of its scabbard, leaving only metalwork behind. Despite that, the blade is in remarkably good condition.

Here's a repro showing how it would have looked when complete. A small utility knife mounted on the main scabbard wasn't unusual, and was also done in the late Middle Ages and Renaissance.

The same happened to this Roman gladius: its blade and scabbard frame remain, but the leather, wood and horn of the rest have vanished, taking most of the tang and deep bites of blade with them.

Again, a repro showing how it would have looked when new.

*****

However, sometimes scabbards survive.

This sword was found a few years ago (2020) in the Oder / Odra River in Poland, and though the grip - wood, probably bound with cord then covered in leather - has rotted away, its scabbard is in a remarkable state of preservation.

What the blade's like, and whether it will ever see the light of day without destroying the scabbard, is another matter entirely up to the museum staff dealing with it.

I suspect non-invasive methods such as X-rays or ultrasound will be used: intact period blades are (reasonably) common, intact period scabbards are not.

Scabbards for Important Swords owned by Important People, including - supposedly - saints are another thing, often far fancier than what originally went with the sword, and tend to be looked after appropriately...

...although a couple of these (centre and right below) have survived remarkably well despite just being entombed with their owners.

The non-metal parts of any working sword were, of necessity, replaceable.

If used in battle they would get stained, sticky and smelly. Over the passage of time they might get chipped, torn or broken. Or they might just be "great-grandad's old clunker", not thrown out yet but not maintained any more, because the style of swords has changed since his day so why bother?

Take a look at this drawing by Albrecht Dürer. That's a one-handed arming sword at least a century out of date and maybe two, while the state of the scabbard speaks for itself.

However though definitely not an elegant hand-and-a-half longsword as seen in other Dürer illustrations...

...that old clunker will still work as intended if sharp enough, and the tatty scabbard means bumping into its uncovered point will not be fun.

Been there, done that, Ouch!

*****

Storing / displaying swords out of their scabbards is sound, for the reasons you mention in your Ask.

However this recalls scabbard purpose (1) as listed near the top, since it exposes the bared metal to other risks such as humidity or inquisitive fingers, so some sort of coating is a good idea.

Oil or grease is messy and wipes off too easily, frequently on things better left without it such as clothing, cats etc., so try "Renaissance Wax" which I believe is used on original pieces by actual museums.

I've even read that it was developed by the British Museum though have no solid proof of that so YMMV, but I've been using it on my own repro swords for years, and can confirm that when properly applied (rub on, let dry, buff lightly with soft cloth) it adds a near-invisible layer of protection and does no harm.

*****

Hope This Helps!

*****

ETA (1) - Thanks to @librarianmouse and @pagecommando for reposting this with links to, respectively, the American Institute for Conservation and Forde Military Antiques Sword Cleaning Guide, links I've added here for completeness and my own convenience.

NB that the Forde Guide is very rightly peppered with warnings about what restoration can do to an antique, and that the swords it deals with are (mostly) mass-produced army-issue sidearms rather than one-of-a-kind weapons.

ETA (2) - @dduane asked "Why didn't you mention Blood Rust Guy?" I mentioned him very thoroughly Right Here. If you want an example of sword "care" not to follow, that's a good one.

[flightyalrighty]

kinda a silly ass question, but do you think someone who knows basically nothing about sonic could still read Infested? (I used to play sonic advance 2 on my game boy... that's p much the extent of my knowledge lol). I just happened to stumble across your comic and am really enjoying it!! but if there's some source material you'd recommend I check out to understand anything better I'd love to know :)

I think that a LOT of Infested is definitely a "fanwork created for fans" kinda dealio so you may end up struggling with some of the stuff in there that's specifically using past canon stuff as a building block for other things. That said! I can absolutely give some recommendations for "homework" to help have a better grasp of Infested's whole everything:

Archie Sonic (issues 160-247 since the Pre-Reboot timeline is the one I base Infested's universe on, mostly) which you can read here

The "Shadow Fall" Sonic Universe arc, which you can read here

The Opening of Shadow The Hedgehog, which is awesome but also, more importantly, canon to Infested (FLASHING WARNING)

Probably a good idea to read the plot summary of Sonic Adventure 2 and Shadow The Hedgehog (2005)? Like, definitely SA2, but really the plot summary for ShTH05 would just be so you understand what the Black Arms's deal is. Or you can watch cutscenes! Or both!

All of stuff is awesome, but you don't HAVE to read like ALL of the modern era of Archie if you're good at picking up context clues for stuff. All the stuff with SA2 and ShTH05 tho is probably a good idea to look up, however. Especially that opening cinematic. But if you're sensitive to flashing, DM me. I can describe the reason why it's important.

[cor-lapis]

I decided to have a go at doing my own redesigns because these three are my favourites and I love them very much. further notes + sources under the readmore (warning: lots of text). I did my best with the research, but if there's anything I overlooked, I'd really appreciate people letting me know :)

Tighnari:

My main source for Tighnari was this excellent thread, from which I looked up each item of clothing individually. Since djellabas tend to be quite long, and Tighnari needs mobility for forest ranger activities, I figured he would cut and re-hem the lower half. He also has a lot of clothing pieces that are traditionally multicoloured, but to keep his design cohesive I decided to use the same colours across different items, but using a larger palette of colours than I would usually. I like the bright colours on him a lot though!

There are also some minor details I just changed because I wanted to. The flower on his chest is now a nilotpala lotus, because I thought it was nice to include his acension material/the material he asks you to help gather. The dirt stains/scuff marks are because rainforests are muddy and I wanted the design to emphasise Tighnari being very practical and hands-on with his work (see also, the specimen belt).

Finally, I shrunk the magnifying glass on his back (because I'm pretty sure it's meant to be his first magnifying glass toy and that thing is very large for a child to handle) and gave him an undercut because it seemed right. Also, I merged his front and back trailing cloths into a scarf type of thing that he could wrap around his nose and mouth to prevent inhaling spores from mushrooms.

Collei:

COLLEI my beloved. I had a mild nightmare trying to figure out a specific source culture for her design, but nobody seemed to know specifics and her outfit wasn't matching with any traditional dress I looked up, so in the end decided to keep the overall look the same. Just in case I assigned her something else, but then it turned out I missed her actual inspiration.

Anyway, I made her shoes simpler (no fur, heels, and open toes in the rainforest seemed reasonable to me), and gave her shorts. I liked the green colour because it's pretty unique under a dark dress, and pairs nicely with Nahida's white dress + green undersides. Amber's tie stays, but I made most of her jewellery smaller since it felt a little clunky for a trainee ranger.

Her earring and necklace(?) are allusions to the Evil Eye and the Khmissa/Hamsa, both symbols of protection. Especially considering the fact they're meant to ward off evil, and very common across multiple MENA cultures, it seemed fitting for Collei to have them. Also, she has Eleazar scars, and I used the design for her stockings as inspiration for the combination knee braces (similar to those used for arthritis, since Eleazar also causes stiff limbs and I HC that people affected would probably still need some recovery support)/knee pads (in the case of a fall). I like the idea that Kaveh would have helped make them for her (tangent but the fic Here is the House explores similar ideas; it's really really good, I heavily recommend it). Finally, she has curly hair because I thought it would be cute.

Cyno:

Here's the thread I found for Cyno. The main critique was to do with the eras from which each aspect of his clothing drew inspiration, but I admittedly wouldn't be able to do much about this without a lot of research. One thing I did try and verify was the small strip of cloth on the left of his chest, and I found a few wall murals where the people seem to be wearing similar strips of cloth? (example here; rightmost figure) Therefore, I didn't remove it, but if someone wants to explain Ancient Egyptian clothing history to me I'd be really interested to hear it 6.6

I might iterate on the design in the future, but for now the changes are mostly HC territory. Cyno wearing his hair in locs (a protective hairstyle) makes sense for someone who does a lot of hiking after rogue scholars, and I also gave him quite old and faded top surgery scars because healthcare is canonically free in Sumeru (thanks for that information, al-Haitham)(though tbf Cyno makes bank anyway). I also adjusted the colours a bit, since Genshin tends to use desaturated shades for metallic elements.

I also considered giving Cyno more scars, but figured that it could indicate Hermanubis' presence that someone you'd expect to get injured a lot is relatively scar-free (i.e. some sort of godly healing factor/resistance to damage). However, we know next to nothing about Hermanubis, so Cyno having a lot of scars also makes sense. This paragraph is mostly just a cry for help cyno story quest 2 literally any more elaboration about the nature of Hermanubis' pact and the Temple of Silence.

Conclusion

I wasn't intending to write one when I started the explanations but this got REALLY long so if you made it this far, thank you so so much ToT please check out the links; the threads especially were a great resource, and I'm grateful that people take the time to make them <3 genshin's character design department are cowards but I'm glad I learned some new things through the redesign process

[h0ll0wt0wn]

I have decided to break my vow of silence

I need to tell you guys about Carnage Obscured.

Guys... this is the Creepypasta comic dub series that I always wanted. My opening statement will be that if this had existed a year ago, I might not have felt the need to make my own creepypasta comic.

Almost everything I wanted to achieve in my own series is also being achieved in theirs. They portray Toby's Tourettes better, and in a way that was VERY similar to how I planned to portray some of his tics.

Not to mention the overall vibe and artstyle. The obvious inspirations from I Eat Pasta For Breakfast

The fact that Marble Hornets is LITERALLY CANON to all of this! Just LOOK at this panel!

LOOK AT IT!

So you already know that their Tim is more faithful to the series as well.

Look at the facial haaair

They also have pretty appealing OC design

Loving the vibe of this one.

and did I mention they have THEIR OWN FRIGGIN SOUNDTRACK!?!?!?!?

THEY GOT A FULL ON INTRO TOO

AND SCENE TRANSITIONS THAT ARE REMINISCENT OF THE ADULT SWIM BUMPERS!!!!

This is... honestly kind of emotional for me. This is almost everything I wanted for this community. It understands it's vibe, the source material, no, it actually really LIKES the source material and is making something super cool from it. The subtle references to both creepypasta and the slenderverse, the implementation of Rosswood park and the worldbuilding is... it's everything I wanted to bring in by continuing the story of Lazari.

I'm so glad this exists. It really shows you the true power of a community where the content is soully made by fans of the content itself.

I hope I can do the same with Hollowtown

Now... GO WATCH AND READ IT! IF YOU LIKED MY LAZARI STUFF CHANCES ARE YOU'LL LIKE THIS TOO

AND FOLLOW @frutigerangel

also, I discovered this series through a deep dive of Creepypasta comic dubs as a whole, a video I also recommend and... dude... Im in the video. Like for a split second, but Im in the video in the IEPFB rewrite portion! Here's a link to the video by @sp00kywashere while im here.