#some examples of this include but are not limited to:

[accio-victuuri]

June CPNs round-up ❤️💛💚

• Children’s Day candies

• similar we11done pants - i personally love seeing them in same style clothing, especially if it’s as unique as this.

• LOZ preview candies: having the same braincell playing w/ an abacus & the ok gesture reappears

• i can’t link it here because the posts are locked over at weibo, but someone on douyin commented they saw wyb on set of LOZ. but then later on said that they were mistaken. hmmm. you can take it as it is, that this person said something he shouldn’t have. or that he retracted his statement to prevent any problems or rumors. as with these things anyway, we will know as time goes by and as we see clues here and there. i’m just archiving this incident here for future use.

• Beijing same city 6/5 to 6/7 before wyb flew abroad for the french open.

• 6/6 XZ chongqing photos candies 📷

• WYB and the innocence of the little prince

• Look at them and their hats and long hair!

• french embassy paying attention to THEM!

• GG spotted wearing green tod’s shoes! and it looks like they purposely matched their airport fits 😭😭

• XZ’s dragonboat festival photos

• 6/11 xz and wyb together on the hot search

• The similarity in their ELLE magazine previews. you can say that it’s the editing from the same magazine publication that’s why this happened but it’s so uncanny!!!!

• weibo opening screen of their movies winning at weibo movie night!!!!

• August issue of MOVIE STAR magazine featuring them for CQL 5th anniversary!!!!

• venchi chocolate

• new apple watch after spending time in beijing

• rolex daytona paul newman 6263

• XZS chongqing vlog: stone island wardrobe, suitcase, ipad and same city (shanghai) - what i didn’t include here about the suitcase is that, i like the cpn of wyb bringing home stuff that xz’s parents ( in chongqing where he came from before shanghai ) has asked him to give yibo. it may be food items and other things and it makes sense that yibo is the one to take it back.

• 6/16 xiao zhan weibo posts a 🐽 and them posting so close to each other & some more clowning about a sus necklace, 18:23 and venus - i swear! this made me lose my mind! xz is so loud 🗣️🗣️🗣️on yibo’s end we got him imitating the family picture

and i forgot to add the betty boop that looked like she’s wearing luffy’s outfit!

• 6/17 zsww fake rumor

• a cpn compilation about the pig 🐽

• Loewe candies + them being in europe at the same time for 622

• going back to Beijing the same day 6/23!

• rufeng posts new audio snippet where wyb implies he is not jealous of wwx and wq

• them being number 1 for the respective weeks their new endorsements were announced. king behavior!

• tod’s x loewe business photo shoot looks! it’s matching!

• another example of ybo and xzs similarity ( yibo moment )

• the bonus content this month is a tarot card reading done for the boys. if you’ve been following me for some time you’ll know that this is my guilty pleasure when it comes to them. i understand it’s out there so feel free to skip. here is the original video. i will just share here the interesting part that made cpfs 👀.

reading was made 6/19 and people were asking about if whether they will go to europe together. the person said that it’s within the month and not a two person trip cause they will have people with them. and that they have been preparing for this. a section also explained how their state is, that it’s treating one like a husband and they will stay sweet forever. also how the two will remain “hot” or popular. and— that they will sign a contract to put themselves in equal footing which is not limited to a marriage certificate etc.

a part of it too which was asked is how wyb’s relationship is with his dad + i guess how he is taking the romance between him and xz plus other things ( probably ) idk how cpfs thought of asking this. i’m not implying anything okay? the question was “Has the father’s attitude softened?” OP said that wyb has not returned home during this period and him & his father is always separated by by geographical distance. there is no time to sit down and talk with his father so the final result is still a deadlock.But they have to talk and wyb needs to take the initiative to speak to his father.

• adding this here cause it’s blowing my mind how much they look alike recently. like this airport video of xz. i mean. he even move kinda like wyb. LIKE…WHAT…..

-END. See you next month!

<<< previous post

[zepskies]

PSA on Tumblr Tags: Tag Lists & # Tags

Just wanted to spread this news for people who don't know the new Tumblr updates that have to do with tagging on posts, both for user tag lists and for descriptive hashtags to help people find your post. I've had to learn them the hard way. 😅

User Tagging:

This first part is for people who have tag lists. Tumblr has recently changed the rules on tagging other blogs/users on a post.

You can still tag up to 50 blogs per post, but they must be spread out into groups of 5. Otherwise, the blog won't be highlighted/tagged and the person will not be notified.

Example (and more) below the cut: ⤵️

✅ Example:

And this is what it will probably look like if you don't spread them out into groups of 5:

Notice that only the first 5 blogs in each section are actually tagged.

Also something important to note: copy/pasting a tag list alone often isn't enough. After I copy over a tag list from another post, I always have to click on each blog name individually to select the blog and make sure it's tagged properly, so people get notified.

Trust me, I get why some writers have decided to ditch tag lists altogether. They can be tricky. 😂

Hashtags on Posts:

As most of you guys know, hashtags help people find your post. The limit of how many tags you can use has bumped up to 30 tags.

Now, this doesn't mean you have to use all 30 slots. But using the most popular tags will increase the likelihood that people will find your post.

By no means am I an expert on this, but I've been reading a lot of stories that should have SO many more reblogs, comments, etc. If some of them were using a few more key tags, they'd likely be getting much more traffic and notes on them.

Want to find out which hashtags are the most popular, relevant to your post?

Well, you can actually search them in the Your Tags tab, Tags You Follow, and go to Manage:

For Dean Winchester fanfiction, for example, here are the tags I use most often:

Ignore the first and last tags, which are just for me to organize the post for my blog. But I would say the most important tags here are the first few:

[character's full name]

[character's full name] x reader or [character's full name] x oc

fandom name

These three are absolutely key for any romance pairing fanfiction post, in my opinion.

Aside from being the most relevant for a pairing fanfic, these are often the most popular tags overall, as they are the tags with a high follower count. The rest can also be important supplemental hashtags relevant to the post.

You can also just start typing into this bar in your post draft and see what "popular tag" recommendations Tumblr gives you:

And that's it! For anyone who finds this PSA helpful, I salute you! 🫡 And I wish you all luck on future tagging endeavors. 💜

I'm also including some of my fellow writers just in case they have something to add to this — or if they don't know this info, though I'm sure they probably do already:

@luci-in-trenchcoats @dean-winchester-is-a-warrior @rizlowwritessortof @artyandink @waynes-multiverse

@jacklesbrainworms @deanwritings @deanwinchesterswitch @deanbrainrotwritings @waywardxwords

@angelbabyyy99 @jackles010378 @cevansbaby-dove @kaleldobrev @kayleighwinchester

[tobivos]

PLEASE HELP ME PAY MEDICAL BILLS (and groceries)

hi hello i dont have a very big platform here but i am an art student going through medical transition and because of a bunch of insurance bullshit i am forced to cough up a lot of money that i do not have! i aim to set up a proper commissions post in the near future when i am not travelling back and forth across the country but for now heres an EMERGENCY COMMISSIONS POST:

for a limited time only you too can enjoy drawings of YOUR OCS, YOUR BLORBOS, YOUR FURSONAS, ANYTHING YOUR HEART DESIRES for the low price of 15 EUROS!!!

some choice examples include:

WHAT YOU GET:

a COLOURED FULL-BODY SKETCH of your CHARACTER OF CHOICE

AND if you so fancy, for an extra FIVE EUROS i will SHIP THE DRAWING TO YOU

if you wish to commission me, please either DM me or hit me up on email @ tobiahspringer@gmail.com

payment will be exclusively through paypal for international payments, and through tikkie for dutch payments

SLOTS OPEN: 3/5

sharing is hugely appreciated please and thank you ❤️

[peachdues]

Hey peach I know you said no lawyer stuff but can you explain the most recent post thank you bless

Mmmkay so basically, in the US, most of our day to day lives are controlled by federal agencies. Basically there’s an agency in charge of everything you can think of, but some major ones include the EPA, the FDA, USDA, Transportation, etc. that’s just some of them.

The people who head these agencies/work at them are largely considered industry experts — so you have environmental scientists at the EPA, engineers at Transportation, food and drug safety experts at the FDA, etc. etc.

These agencies, however, are created by the Executive or Congress (depending on whether it’s an executive agency or independent agency). Once the agency is created, Congress will then pass laws that speak to the agency’s authority, but more importantly, they’ll pass laws that fall within that particular agency’s expertise. So for example, there’s a limit on, say, the level of emissions a car can produce into the air. Congress passes that.

The problem (but not in a bad way) is that Congress is not made of experts in these industries — they’re politicians. So they don’t necessarily have the facilities to legislate as exact as they might like to, or the knowledge to make well informed legislative decisions.

Now, while Congress passes laws, agencies draft and pass regulations that enact those laws. The point of the regulations are to be specific and to conform to legislative intent as much as possible. These regulations are what actually affect your day to day life. So, for example, the FDA will enact regulations controlling food storage temperatures during transit that are specified to the kind of food that’s being shipped — think meat versus produce.

Obviously there are times where Congress isn’t exactly clear on the extent of an agency’s authority to enact those regulations — which opens them up to legal challenges. This is where Chevron comes in.

The Chevron doctrine is based on a Supreme Court case that basically said, when Congress’s language in a given regulatory/admin statute is ambiguous, courts will defer to the agency’s interpretation of that language since *they* are the experts. This made sense because, again, Congress is not made of experts and they also feasibly can’t think of every possible little thing that might come up/need definition/even understand what parameters need to be set. This was good — ideally, experts are acting in the interest of the field and not lobbyists (though don’t get me wrong — lobbying federal agencies is a lucrative business). But simply put, you *want* experts deciding what level of lead exposure is safe, or the amount of pollution being discharged. You don’t want Congress doing that.

But today’s decision overruled Chevron explicitly — meaning, deference to agencies is no longer the rule. Now, Congress will be expected to either legislate the crap out of things they already don’t know how to legislate for OR else leave the agencies unable to effectively regulate.

It’s a terrible decision (never mind the utter disregard this Court exhibits for stare decisis) but it’s one that WILL have very direct consequences on our daily lives.

Voting in November is important. I don’t like Biden, personally, but there is so much at stake in this election that we can’t afford not to vote for him at this point.

[xjulixred45x]

If i was in charge of the character of stella i would make her the principal victim(alongside octavia) of his guilt tripping tactics, i think that stella could at least have some respect for stolas before the affair, trying to please him, learn astronomy to conect with him, and trying to be a good wife, but stolas being the narcissistic prick he is just thinks about himself and dont apreciate stella's efforts and that ends with stella enraged(with stolas, herself, maybe both?).

This lyrics of labour says it all

"Apologies from my tongue, and never yours

Busy lapping from flowing cup and stabbing with your fork

I know you're a smart man (I know you're a smart man), and weaponise

The false incompetence, it's dominance under a guise

If we had a daughter, I'd watch and could not save her

The emotional torture, from the head of your high table

She'd do what you taught her, she'd meet the same cruel fate

So now I've gotta run, so I can undo this mistake

At least I've gotta try"

The part of the weaponize incompetence is really fitting for Stolas.

Most of the cheaters/trashman use the incompetence to avoid doing tasks that are MEANT to be fullfied between BOTH MEMBERS of the relationship.

It feels as if in this case that you are telling, Stella was doing all the joint tasks of a couple, including, for example, the ones they are supposed to do like Goetia (with political themes). and I can honestly see Stolas using the excuse that his work is limited to professions (even using his depression as an excuse) to not give more to the family.

Stolas doesn't care that Stella wants to get close to him or get along with him, she is just a step up in status for him.

AND THE GUILT TRIPPING IS SO REAL.

Stella has the status she has thanks to her marriage to Stolas, he could use that as a way to control her from leaving or from feeling in DEBT to him (after all, the luxuries she has she couldn't afford. alone) and even applied something similar to Octavia but with a different approach.

if we go with Stolas not really caring about Octavia in this AU, I can see him doing a Mother Gothel on her when she does something he doesn't like or wants to leave the house. Tell her how that is "harming" her, how hell is dangerous, that she couldn't do it on her own, etc.

Overall, it's a very fucked up idea, but VERY GOOD ANON, keep it up.

____

La parte de la incompetencia armada es realmente apropiada para Stolas.

La mayoría de los infieles/hombres basura utilizan la incompetencia para evitar realizar tareas que DEBEN cumplirse entre AMBOS MIEMBROS de la relación.

se siente como si en este caso que estas relatando, Stella estuviera haciendo todas las tareas en conjunto de una pareja, incluyendo por ejemplo las que se supone deben hacer como Goetias(con temas políticos). y sinceramente puedo ver a Stolas usandonla excusa de que su trabajo se limita a las profesias(incluso usar de excusa su depresión) para no dar mas a la familia.

a Stolas no le importa que Stella quiera acercarse a el o llevarse bien con el, ella es solo un escalon en el estatus para el.

Y EL GUILT TRIPPING ES TAN REAL.

Stella tiene el estatus que tiene gracias a su matrimonio con Stolas, el podria usar eso como una forma de controlar que ella no se vaya o que se sienta en DEUDA con el(después de todo, los lujos que ella tiene no se los podria permitir ella sola) e incluso aplique algo similar a Octavia pero con un enfoque distinto.

si vamos con que Stolas realmente no le importa Octavia en este AU, puedo verlo haciendole un Madre Gothel cuando ella hace algo que no le gusta o quiere irse de la casa. decirle como eso le esta "dañando", como eo infierno es peligroso, que ella misma no podria por su cuenta, etc.

en general, es una idea muy jodida, pero MUY BUENA ANON, sigue asi.

[lucky-clover-gazette]

kings rising highlights & annotations

chapter 1

indented text is from the book. some quotes have commentary, some do not. some comments are serious, and some are definitely not. most of them will only make sense to people who have read the series. and, like, there are spoilers. so please read the books first if you're interested!

also: part of the reason i'm doing such a close reading is to study cs pacat's style, especially in terms of how she does romance and erotica. there are "craft notes" that might seem weird, like i'm being redundant or restating something rather than analyzing, but those are more things that i want to remember/take away from the writing!

i'm going to tag these longer posts with "sam reads capri" in case anyone wants to read them all at once.

this is a google doc i wrote with overall content warnings for the captive prince series. it's not perfect, but i do think it's important to include.

A hiss of a rock, thrown. Nikandros came up off his knees, drawing his sword. Damen flung out a hand in a motion for halt, stopping Nikandros instantly, his sword showing a half-foot of Akielon steel.

nik. it's a rock. chill the fuck out.

Damianos, prince-killer. His mind, used to battlefield decisions, took in the sweep of the courtyard, and made the commander’s choice: to minimise losses, to limit bloodshed and chaos, and to secure Ravenel. The Veretian guards were beyond his orders, and the Veretian people . . . if these bitter, furious emotions could be soothed among the Veretian people, he was not the one to soothe them. There was only one way to stop what was about to happen, and that was to contain it; to lock it down, to secure this place once and for all. Damen said to Nikandros, ‘Take the fort.’

i like how the book starts immediately with a very clear example of how the status quo has irreversibly changed. damen has no choice but to act as akielion (akielon? whatever) prince/commander, because that’s how everyone sees him now. even if he hasn’t changed at all from how he’d been five minutes ago

Guymar purposefully spat, and for his trouble was backhanded hard across the face with a mailed fist by the Akielon soldier. Damen let it happen, aware of what would have happened if a man had spat on the ground in front of his father.

i think what i said at the end of book 2 holds true here - damen spent prince’s gambit in the romance genre with interruptions from the war/politics genres, but with laurent’s (presumed accidental) outing of him as prince he’s now forced to live in the same world that laurent’s been in for the past two books. like “yep gotta let my former friend and ally get slapped because politics. man if only laurent had known that i was the prince, we could have avoided this :/“

‘We don’t stand together,’ said Guymar. ‘You betrayed our Prince.’ And then, as though he almost couldn’t bear to say it, ‘You had him—’

in all senses of the phrase, laurent very much had damen

Damen said, ‘I made him a promise.’ ‘And when he learns who you are?’ said Jord. ‘When he learns that he is facing Damianos on the field?’ ‘Then he and I meet each other for the first time,’ said Damen. ‘That was also a promise.’

damen reclaiming his princely authority while being so profoundly wrong… embarrassing

He had a sense of holding on, as though if he just held the fort, held these men together long enough to reach Charcy, then what followed— He couldn’t think about what followed, all he could do was keep to his promise.

he is so devoted to laurent that he doesn’t even stop to think that he’s been screwed over. me too damen, as a first-time reader. and even now, on a second read, i'm not sure how much i trust laurent. i've forgotten the intricacies of his plan and i didn't do a close-reading the first time around, so there are certain things i just can't say for sure at this point.

anyway, i actually think d&l have a ton in common in terms of how they express and demonstrate devotion. they both have bleeding hearts, it’s just that laurent’s has had a much longer time to harden. the way he assesses and handles situations is with a detachment he believes is necessary, so he doesn’t lose control, while damen throws himself wholeheartedly into everything he cares about. they have the same fierceness and passion, and while working together they help to balance out their approaches while applying that passion. starting the book out like this, with damen's devotion on full display and laurent's being majorly questioned, is very smart. because they both need to evolve from this point, in order to be good kings and good partners to each other.

like honestly, they both just need to sit the fuck down and tell the truth and accept that they both care about each other and they don’t have to be avoidant freaks about it. not that either of them (mostly laurent, but also damen in a different way) actually wants to do that. and that’s what the first like 1/3 of the book is about, as i recall: their petty divorce drama until they both give in and decide to figure out their shit.

The ghost of his father seemed to prickle over his skin. It was his father’s title, but his father no longer sat on the throne at Ios. Looking at the bowed head of his friend, Damen realised it for the first time. He was no longer the young prince who had roamed the palace halls with Nikandros after a day spent wrestling together on the sawdust. There was no Prince Damianos. The self that he had been striving to return to was gone.

“with real power comes real responsibility, and i don’t want any of that shit” - dennis reynolds, it’s always sunny in philadelphia

Damen took in Nikandros’s familiar, classically Akielon features, his dark hair and brows, his olive face and straight Akielon nose. As children, they had run barefoot together through the palace. When he’d imagined a return to Akielos, he’d imagined greeting Nikandros, embracing him, heedless of the armour, like digging in his fingers and feeling in his fist the earth of his home.

so they've definitely fucked right

Damen thought of the soldiers bursting into his rooms, of being lashed down in the slave baths, of the dark, muffled journey by ship to Vere. He thought of being confined, his face painted, his body drugged and displayed. He thought of opening his eyes in the Veretian palace, and what had happened to him there. ‘You were right about Kastor,’ Damen said. It was all he said.

nice vs. good theme breakthrough!

He heard of his own body, wrapped and taken in the processional through the acropolis, then interred beside his father.

okay so which dead palace employee/slave got to posthumously cosplay as damen’s corpse

He heard Kastor’s claim that he had been killed by his own guard.

copying the regent's homework

To the Kyros of Delpha, Nikandros, from Laurent, Prince of Vere.

"hey girl,"

The letter was old. The writing was old. Laurent must have sent the letter from Arles.

see my previous breakdown from book 2 chapter 21 about how laurent literally failsafed losing the only living person who loves him with this gambit

It made tactical sense, in a horrifying way, for Laurent to have made an alliance with Nikandros. Laurent had always been capable of a kind of ruthless pragmatism. He was able to put emotion aside and do what he had to do to win, with a perfect and nauseating ability to ignore all human feeling.

i mean i think there was feeling there. making the alliance also was a way for laurent to dispose of damen, returning him to his people so the regent couldn’t use him to torture laurent. because at that point i’m not sure if laurent wanted damen dead, but he definitely wanted him gone. and he’d assumed that damen would want that too

In return for aid from Nikandros, the letter said, Laurent would offer proof that Kastor had colluded with the Regent to kill King Theomedes of Akielos.

okay yeah THAT’S GOOD. and it explains how laurent gets himself in his situation in the next chapter, he’s following up on the promise by trying to get the info from govart/guion

The straightforward ease of it left him without words. He had forgotten what home felt like. He had forgotten trust, loyalty, kinship. Friends.

i’m glad nikandros is a real one. but damen please don’t regress so much that you forget straightforwardness and ease =/= truth and loyalty. oh fuck he can’t hear me

‘Your friend [Nikandros, talking about himself] is a fool and courts treason for a keepsake.’

yeah it makes sense that these two are besties

To gain everything and lose everything in the space of a moment. That is the fate of all princes destined for the throne.

this or a kingdom. guess he’ll kingdom

‘Kastor made me a slave. Laurent freed me. He gave me command of his fort and his troops, an act of trust for an Akielon he had no reason to elevate. He doesn’t know who I am.’

oh honey

‘The Prince of Vere freed you,’ said Nikandros. ‘You have been his slave?’ His voice thickened with the words. ‘You have served the Prince of Vere as a slave?’

this isn’t an hr complaint quite yet but it is a “nikandros takes out his phone and bitches on his private twitter moment” moment. which i think should be a tally as well. nikandros private twitter venting moment #1

He knew what they saw—a hundred images of slaves, submitting, bending at the hip, parting their thighs, the casual ease with which these men would have taken slaves in their own households.

back in book 1, when assessing the state of erasmus in torveld’s possession, i recall that damen assumes that veretians think that “there is no honour in submission.” implying that to damen in book 1, and akielons in general, there IS honor in a slave’s submission. but here, when their prince—a person they respect—is revealed to have been made a slave, they definitely don’t perceive it as an honor. so which one is it? whatever submission damen shows/showed laurent is voluntary and honorable by his own moral code. he hasn’t been groomed or brainwashed into submitting his own free will. get on his level or keep your judgment to yourselves, hypocrites

‘Does it shock you? I was a personal gift to the Prince of Vere.’ He had bared his whole forearm. Nikandros turned to Makedon, his voice harsh. ‘You will not speak of this. You will never speak of this outside this room—’ Damen said, ‘No. It can’t be hidden.’ He said it to Makedon.

i think damen can at least subconsciously see the hypocrisy here. and he’s indignant about it >:)

‘You were the Prince’s slave?’ Revulsion was stamped on Makedon’s face, whitening it. ‘Yes.’

'and tbh i’d drop the past tense i had the blacksmith keep this thing on me'

‘You—’ Makedon’s words echoed the unspoken question in Nikandros’s eyes that no man would ever say aloud to his King. Damen’s flush changed in quality. ‘You dare ask that.’ Makedon said, thickly, ‘You are our King. This is an insult to Akielos that cannot be borne.’

and now damen’s piiiiiisssssssed. i think partially because he knows it was the best night of his life and doesn’t want to be shamed for it, lol

‘You will bear it,’ said Damen, holding Makedon’s gaze, ‘as I have borne it. Or do you think yourself above your King?’ Slave, said the resistance in Makedon’s eyes. Makedon certainly had slaves in his own household, and made use of them. What he imagined between Prince and slave stripped it of all the subtleties of surrender. Having been done to his King, it had in some sense been done to him, and his pride revolted at it.

okay yeah damen’s totally ending the institution of slavery once he's king and the gradual development of changing his mind has been both demonstrated effectively and completely earned throughout the past two books. i think this is why some of the cruelest things in book 1 happen to damen in the first place—they had very little to do with the development of his relationship with laurent, and everything to do with this personal arc for damen’s character. moments like this are the payoff to all of that subtle and consistent work. damen’s wake-up call of being treated like a slave and realizing it’s not what he thought, now transferring to his fellow slave-owners like a moral salve (not a typo for slave. like medicine).

The plan he had developed with Laurent was simple,

ARE YOU SURE

Damen’s men were the bait.

damen sees those red flags and just keeps pushing forward

It struck its front hoof on the cobbles, as though seeking to overturn a stone, arching its neck, perhaps sensing, in the manner of all great beasts, that they were on the cusp of war.

do you think damen and laurent’s horses miss each other

But Jord and Huet. Lazar. Scanning their faces, Damen saw who they were. These were the men of the Prince’s Guard, with whom Damen had travelled for months. And there was only one reason why they had been released from confinement. Damen held up a hand, and Jord was allowed through, so that for a moment their horses circled each other. ‘We’ve come to ride with you,’ said Jord. Damen looked at the small clump of blue now gathered before the rows of red in the courtyard. There weren’t many of them, only twenty, and he saw at once that it was Jord who had convinced them, so that they were here, mounted and ready. ‘Then we ride,’ said Damen. ‘For Akielos, and for Vere.’

<3

The uncertain terrain was a valley of doubt, fringed by trees and dangerous slopes.

“the uncertain terrain was a valley of doubt” great line

Damen would never bring men into this kind of disadvantage without a counter plan.

SSFGHYSUDGFYSUDF

If he just did that, just kept to his promise, then after—

now damen’s the one being controlled by his emotions and desperation. oops!

‘If we do that, and your Veretian doesn’t arrive, we’ll all be killed.’ ‘He’ll be here,’ said Damen.

cringe

Laurent had never planned to come. That was what the scout was screaming, right before an arrow took him in the back. ‘This is your Veretian Prince exposed for what he is,’ said Makedon.

so i know that having akielos show up was laurent’s plan, but i forget if laurent had EVER intended to show up at charcy, or if the plan was always to screw damen over. like laurent tells damen that was the plan, after the fact, or at least doesn’t apologize. because he's a petty bitch and mad at damen for lying and doesn't want to talk about the fact that he got tortured. but i still think that laurent could have intended to be there, just with the twist of damen being exposed, if he hadn’t been held up and injured. after all, the akielos allyship plan has been a thing since vere, but the charcy plan was in response to something laurent 100% did not see coming. laurent couldn't have ended the snowball effect of his own gambit by the time he realized he liked and trusted damen, but he could only have planned charcy after they bonded for almost an entire book. they're two different plans, by two slightly different laurents. not that damen can really see that right now.

i don’t know, i always tend to give laurent more grace than he probably deserves. i WANT him to do better than he sometimes does, because he is a character i'm rooting for, and i know that he cares about being honorable in his own messy imperfect way. (me 🤝 damen).

but even if we're just looking at it without any kind of emotional attachment, it simply isn't characteristic of laurent to leave so many of his own people to die, if he can avoid it. so it would make sense for him to at least try to keep his promise of showing up. but then again, when he’s overwhelmed by emotions he does make uncharacteristically stupid choices. and he is pissed at damen, kind of, although i do think he feels much more endeared to him now than he’d been when he sent nikandros the letter from arles. so he must have meant to be there. but then AGAIN, maybe laurent still somehow assumes that damen was just using him as a fuck, especially since damen didn’t tell the truth even when they started having sex. because laurent is an idiot about feelings, and he doesn’t want to see that damen cares, so he convinces himself that damen deserves to be abandoned on the battlefield.

i don't knowwwwww, my heart says one thing and my literary analysis brain tentatively agrees (laurent meant to be there but couldn't make it), but i hate getting things wrong and laurent is a slippery bitch. and again, this is on a SECOND READ. i just don't remember, for sure, if laurent meant to be at charcy. i don't know if it's even ever said, or just meant to be read between the lines. this may seem negligent or shallow, but listen, the first time i read this book was a binge-read. i read it in a night, right after reading a good chunk of prince's gambit in the afternoon. i was paying a lot less attention to the war/plan stuff and just focusing on the dysfunctional gay people. what i didn't realize, in my haste, is that the war/plan stuff adds an entire new dimension to the gay people's dysfunction. which is why i firmly believe that this is a series that needs to be read twice, at least. these are not romance books, they're a fucking psychological experience. they're like an escape room for your brain that just happens to have horny gay people inside.

Damen had no time to think before the situation was on him.

laurent in book 2: “i can’t think”

There was a dark logic to it. Have your slave convince the Akielons to fight. Let your enemies do your fighting for you, the casualties taken by the people you despise, the Regent defeated or weakened, and the armies of Nikandros wiped out.

and if it was laurent of book 1 or early book 2, that would have made perfect sense. but he made the charcy plan at the end of book 2 come onnnnnnnnnnnnnnnnnnnn. it can't be as simple as "laurent fully meant to screw you over," even if he didn't manage to show up as a result of his own plans that nobody else knew about. laurent took two steps forward at the end of book 2, trusting damen enough to emotionally and physically be intimate with him AND making this charcy plan with him. i think it makes sense for him to have taken one step back, in not actually telling damen the full truth about the alliance or laurent's own sidequest that ends up getting him captured and injured, but i just don't think he took TWO entire steps back, by putting damen and his men in a deadly situation with zero intention to help. that's too simple for him, both in an in-universe sense and in a "this is how good storytelling (which pacat can at this point be reasonably trusted to do) works" sense. it has to be something in between, even if damen and laurent assume/claim otherwise.

Damen found himself alongside Jord. ‘If you want to live, ride east.’ White-faced, Jord took one look at his expression and said, ‘He’s not coming.’

jord stays losing

[jay-birds-fly]

My new favorite thing? I think you mean OUR new favorite thing :)))

[canichangemyblogname]

I watched all eight episodes of season 1 of Blue Eye Samurai over the weekend. I then went browsing because I wanted to read some online reviews of the show to see what people were thinking of it and also because I wanted to interact with gifs and art, as the series is visually stunning.

Yet, in my search for opinions on the show, I came across several points I'd like to address in my own words:

Mizu’s history and identity are revealed piece-by-piece and the “peaches” scene with Mizu and Ringo at the lake is intended to be a major character reveal. I think it’s weird that some viewers got angry over other viewers intentionally not gendering Mizu until that reveal, rather than immediately jumping to gender the character as the other characters in the show do. The creators intentionally left Mizu’s gender and sexuality ambiguous (and quite literally wrote in lines to lead audiences to question both) to challenge the viewer’s gut assumption that this lone wolf samurai is a man. That intentional ambiguity will lead to wide and ambiguous interpretations of where Mizu fits in, if Mizu fits in at all. But don't just take my word for this:

Re: above. I also think it’s weird that some viewers got upset over other viewers continuing to acknowledge that Mizu has a very complicated relationship with her gender, even after that reveal. Canonically, she has a very complicated relationship with her identity. The character is intended to represent liminality in identity, where she’s often between identities in a world of forced binaries that aren’t (widely) socially recognized as binaries. But, again, don’t just take my word for this:

Mizu is both white and Japanese, but she is also not white and not Japanese simultaneously (too white to be Japanese and too Japanese to be white). She’s a woman and a man. She’s a man who’s a woman. She’s also a woman who’s not a woman (yet also not quite a man). But she’s also a woman; the creators said so. Mizu was raised as a boy and grew into a man, yet she was born a girl, and boyhood was imposed upon her. She’s a woman when she’s a man, a man when she’s a man, and a woman when she’s a woman.

Additionally, Mizu straddles the line between human and demon. She’s a human in the sense she’s mortal but a demon in the sense she’s not. She's human yet otherworldly. She's fallible yet greatness. She's both the ronin and the bride, the samurai and the onryō. In short, it’s complicated, and that’s the point. Ignoring that ignores a large part of her internal character struggle and development.

Mizu is intended to represent an “other,” someone who stands outside her society in every way and goes to lengths to hide this “otherness” to get by. Gender is a mask; a tool. She either hides behind a wide-brimmed hat, glasses, and laconic anger, or she hides behind makeup, her dress, and a frown. She fits in nowhere, no matter the identity she assumes. Mizu lives in a very different time period within a very different sociocultural & political system where the concept of gender and the language surrounding it is unlike what we are familiar with in our every-day lives. But, again, don’t just take my word for this:

It’s also weird that some viewers have gotten upset over the fact women and queer people (and especially queer women) see themselves in Mizu. Given her complicated relationship with identity under the patriarchy and colonial violence, I think Mizu is a great character for cis-het women and queer folks alike to relate to. Her character is also great for how she breaks the mold on the role of a biracial character in narratives about identity (she’s not some great bridge who will unite everyone). It does not hurt anyone that gender-fluid and nonbinary people see themselves in Mizu's identity and struggle with identity. It does not hurt anyone that lesbians see themselves in the way Mizu expresses her gender. It does not hurt anyone that trans men see themselves in Mizu's relationship with manhood or that trans women can see themselves in Mizu when Mama forces her to be a boy. It's also really cool that cis-het women see themselves in Mizu's struggles to find herself. Those upset over these things are missing critical aspects of Mizu's character and are no different from the other characters in the story. The only time Mizu is herself is when she’s just Mizu (“…her gender was Mizu”), and many of the other characters are unwilling to accept "just Mizu." Accepting her means accepting the complicatedness of her gender.

Being a woman under the patriarchy is complicated and gives women a complicated relationship with their gender and identity. It is dangerous to be a woman. Women face violence for being women. Being someone who challenges sex-prescribed norms and roles under patriarchy also gives someone a complicated relationship with their identity. It is dangerous to usurp gender norms and roles (then combine that with being a woman...). People who challenge the strict boxes they're assigned face violence for existing, too. Being a racial or ethnic minority in a racially homogeneous political system additionally gives someone a complicated relationship with their identity. It is dangerous to be an ethnic minority when the political system is reproduced on your exclusion and otherness. They, too, face violence for the circumstances of their birth. All of these things are true. None of them take away from the other.

Mizu is young-- in her early 20s-- and she has been hurt in deeply affecting ways. She's angry because she's been hurt in so many different ways. She's been hurt by gender violence, like "mama's" misogyny and the situation of her birth (her mother's rape and her near murder as a child), not to mention the violent and dehumanizing treatment of the women around her. She's been hurt by racial violence, like the way she has been tormented and abused since childhood for the way she looks (with people twice trying to kill her for this before adulthood). She's been hurt by state-sanctioned violence as she faces off against the opium, flesh, and black market traders working with white men in contravention of the Shogun's very policies, yet with sanction from the Shogun. She's been hurt by colonial violence, like the circumstances of her birth and the flood of human trafficking and weapons and drug trafficking in her country. She's had men break her bones and knock her down before, but only Fowler sexually differentiated her based on bone density and fracture.

Mizu also straddles the line between victim and murderer.

It seems like Mizu finding her 'feminine' and coming to terms with her 'female side' may be a part of her future character development. Women who feel caged by modern patriarchal systems and alienated from their bodies due to the patriarchy will see themselves in Mizu. They understand a desire for freedom that the narrow archetypes of the patriarchy do not afford them as women, and they see their anger and their desire for freedom in Mizu. This, especially considering that Mizu's development was driven by one of the creators' own experiences with womanhood:

No, Mizu does not pass as a man because she "hates women" or because she hates herself as a woman or being a woman. There are actual on-screen depictions of Mizu's misogyny, like her interactions with Akemi, and dressing like a man is not an instance of this. Mizu shows no discomfort with being a woman or being seen as a woman, especially when she intends to pass herself as and present as a woman. Mizu also shows the women in the series more grace and consideration than any man in the show, in whatever capacity available to her socially and politically, without revealing herself; many of the women have remarked that she is quite unlike other men, and she's okay with that, too.

When she lives on the farm with Mama and Mikio, Mizu shows no discomfort once she acclimates to the new life. But people take this as conclusive evidence of the "only time" she was happy. She was not. This life was also a dance, a performance. The story of her being both the ronin and the onryō revealed to the audience that this lifestyle also requires her to wear a mask and dance, just as the bride does. This mask is makeup, a wedding dress, and submission, and this performance is her gender as a wife. She still understands that she cannot fully be herself and only begins to express happiness and shed her reservation when she believes she is finally safe to be herself. Only to be betrayed. Being a man is her safety, and it is familiar. Being a boy protected her from the white men as a child, and it might protect her heart now.

Mizu shows no discomfort with being known as a woman, except when it potentially threatens her goals (see Ringo and the "peaches" scene). She also shows no discomfort with being known as, seen as, or referred to as a man. As an adult, she seems okay- even familiar- with people assuming she's a man and placing her into the role of a man. Yet, being born a girl who has boyhood violently imposed upon her (she did not choose what mama did to her) is also an incredibly important part of her lived experience. Being forced into boyhood, but growing into a man anyway became part of who she is. But, being a man isn’t just a part of who she became; it’s also expedient for her goals because men and women are ontologically different in her world and the system she lives under.

She's both because she's neither, because- ontologically- she fits nowhere. When other characters point out how "unlike" a man she is, she just shrugs it off, but not in a "well, yeah, because I'm NOT a man" sort of way, but in an "I'm unlike anyone, period," sort of way. She also does not seem offended by Madam Kaji saying that Mizu’s more man than any who have walked through her door.

(Mizu doesn’t even see herself as human, let alone a woman, as so defined by her society. And knowing that creators have stated her future arc is about coming into her “feminine era” or energy, I am actually scared that this show might fall into the trope of “domesticating”/“taming” the independent woman, complete with an allegory that her anger and lack of human-ness [in Mizu’s mind] is a result of a woman having too much “masculine energy” or being masculine in contravention of womanness.)

Some also seem to forget that once Mama and Mikio are dead, no one knows who she is or where she came from. They do not have her background, and they do not know about the bounty on her (who levied the bounty and why has not yet been explained). After their deaths, she could have gone free and started anew somehow. But in that moment, she chose to go back to life as a man and chose to pursue revenge for the circumstances of her birth. Going forward, this identity is no longer imposed upon her by Mama, or a result of erroneous conclusions from local kids and Master Eiji; it was because she wanted people to see her as a man and she was familiar with navigating her world, and thus her future, as a man. And it was because she was angry, too, and only men can act on their anger.

I do think it important to note that Mizu really began to allow herself to be vulnerable and open as a woman, until she was betrayed. The question I've been rattling around is: is this because she began to feel safe for the first time in her life, or is this part of how she sees women ontologically? Because she immediately returns to being a man and emotionally hard following her betrayal. But, she does seem willing to confide in Master Eiji, seek his advice, and convey her anxieties to him.

Being a man also confines Mizu to strict social boxes, and passing herself as a man is also dangerous.

Mizu doesn't suddenly get to do everything and anything she wants because she passes as a man. She has to consider her safety and the danger of her sex being "found out." She must also consider what will draw unnecessary attention to her and distract her from her goals. Many viewers, for example, were indignant that she did not offer to chaperone the mother and daughter and, instead, left them to the cold, only to drop some money at their feet later. The indignity fails consider that while she could bribe herself inside while passing as a man, she could not bribe in two strangers. Mizu is a strange man to that woman and does not necessarily have the social position to advocate for the mother and daughter. She also must consider that causing small social stirs would distract from her goals and draw certain attention to her. Mizu is also on a dangerous and violent quest.

Edo Japan was governed by strict class, age, and gender rules. Those rules applied to men as well as women. Mizu is still expected to act within these strict rules when she's a man. Being a man might allow her to pursue revenge, but she's still expected to put herself forward as a man, and that means following all the specific rules that apply to her class as a samurai, an artisan (or artist), and a man. That wide-brimmed hat, those orange-tinted glasses, and her laconic tendencies are also part of a performance. Being a boy is the first mask she wore and dance she performed, and she was originally (and tragically) forced into it.

Challenging the normative identities of her society does not guarantee her safety. She has limitations because of her "otherness," and the transgression of sex-prescribed roles has often landed people in hot water as opposed to saving them from boiling. Mizu is passing herself off as a man every day of her life at great risk to her. If her sex is "found out" on a larger scale, society won’t resort to or just start treating her as a woman. There are far worse fates than being perceived as a woman, and hers would not simply be a tsk-tsk, slap on the wrist; now you have to wear makeup. Let's not treat being a woman-- even with all the pressures, standards, fears, and risks that come with existing as a woman-- as the worst consequence for being ‘found out’ for transgressing normative identity.

The violence Mizu would face upon being "found out" won’t only be a consequence of being a "girl." Consider not just the fact she is female and “cross-dressing” (outside of theater), but also that she is a racial minority.

I also feel like many cis-het people either ignore or just cannot see the queerness in challenging gender roles (and thus also in stories that revolve around a subversion of sex-prescribed gender). They may not know how queerness-- or "otherness"-- leads to challenging strict social stratifications and binaries nor how challenging them is seen by the larger society as queer ("strange," "suspicious," "unconventional," even "dishonorable," and "fraudulent"), even when "queerness" (as in LGBTQ+) was not yet a concept as we understand it today.

Gender and sexuality- and the language we use to communicate who we are- varies greatly across time and culture. Edo Japan was governed by strict rules on what hairstyles, clothes, and weapons could be worn by which gender, age, and social group, and this was often enshrined in law. There were specific rules about who could have sex with whom and how. These values and rules were distinctly Japanese and would not incorporate Western influences until the late 1800s. Class was one of the most consequential features to define a person's fate in feudal Japan, and gender was quite stratified. This does not mean it's inappropriate for genderqueer people to see themselves in Mizu, nor does this mean that gender-variant identities didn’t exist in Edo Japan.

People in the past did not use the same language we do today to refer to themselves. Example: Alexander The Great did not call himself a "bisexual." We all understand this. However, there is a very weird trend of people using these differences in language and cultures across time to deny aspects of a historical person's life that societies today consider taboo, whether these aspects were considered taboo during that historical time period or not. Same example: people on Twitter complaining that Netflix "made" Alexander The Great "gay," and after people push back and point out that the man did, in fact, love and fuck men, hitting back with "homosexuality wasn't even a word back then" or "modern identity didn't exist back then." Sure, that word did not exist in 300s BCE Macedonia, but that doesn't mean the man didn't love men, nor does that mean that we can't recognize that he'd be considered "queer" by today's standards and language.

Genderqueer, as a word and as the concept is understood today, did not exist in feudal Japan, but the people did and feudal Japan had its own terms and concepts that referred to gender variance. But while the show takes place in Edo Japan, it is a modern adult animation series made by a French studio and two Americans (nationality). Mizu is additionally a fictional character, not a historical figure. She was not created in a vacuum. She was created in the 21st century and co-written by a man who got his start writing for Sex in the City and hails from a country that is in the midst of a giant moral panic about genderqueer/gender-variant people and gender non-conforming people.

This series was created by two Americans (nationality) for an American company. In some parts of that country, there are laws on the book strictly defining the bounds of men and women and dictating what clothes men and women could be prosecuted for wearing. Changes in language and identity over time mean that we can recognize that if Mizu lived in modern Texas, the law would consider her a drag performer, and modern political movements in the show creators' home country would include her under the queer umbrella.

So, yeah, there will also be genderqueer people who see themselves in Mizu, and there will be genderqueer fans who are firm about Mizu being queer to them and in their “headcanons.” The scene setting being Edo Japan, does not negate the modern ideas that influence the show. "Nonbinary didn't exist in Edo Japan" completely ignores that this show was created to explore the liminality of modern racial, gender, class, and normative identities. One of the creators was literally inspired by her own relationship with her biracial identity.

Ultimately, the fact Mizu, at this point in her journey, chooses to present and pass as a man and the fact her presented gender affects relationship dynamics with other characters (see: Taigen) gives this story a queer undertone. And this may have been largely unintentional: "She’s a girl, and he’s a guy, so, of course, they get together," < ignoring how said guy thinks she’s a guy and that she intentionally passes herself as a guy. Audiences ARE going to interpret this as queer because WE don’t live in Edo-era Japan. And I feel like people forget that Mizu can be a woman and the story can still have queer undertones to it at the same time.

[hanzajesthanza]

you guys… we did it!!!

just wanted to thank you everyone for being a part of this blog… “big things to come soon”

[shapoopy178]

Goddamn these lesbians make some good music

[void-kissed]

This post is okay for anyone to reblog as long as my DNI is respected! You’re welcome to elaborate in tags or replies if you’d like to~

[005mins]

/  my man literally called out his own servant-

[viijaya]

[ambrosiagourmet]

I want to talk about why I think this is the one of the most important Falin panels:

So, Falin is really nice, right? It's one of the first things we really learn about her. She's kind even to the monsters of the dungeon - choosing to ward the party rather than fight spirits and cause them needless harm.

In the above early flashback in chapter 11, we see Marcille fawning over Falin's kindness, calling her an angel. Namari calls her soft-hearted. We see Falin choose not to fight even when a zombie attacks - instead she resolves the confrontation with a hug. After the flashback, the first thing Senshi says is that Falin "sounds like quite the person," which Marcille strongly affirms.

At this point in the story, all we have seen of Falin are these impressions; she is a healer, an angel, a caretaker with an infinite well of kindness towards everyone she meets - both friend and foe.

And honestly, that remains most of what we have to go by to understand her. The only times we get to see Falin on the page, alive and just herself, are in the opening and closing pages of the story and in the brief period of time after she is resurrected.

Nonetheless, we do have some more details to work with. For one, there is the scene that The Panel is from - a short memory in chapter 75, when Marcille flashes back to while she's dying. In that scene, Falin prepares to teleport them all out, and says that she's sorry "if there is a person at [their] destination." And that's when we get The Panel.

If you teleport someone or something into another person, the person teleported into is likely to be, at minimum, severely injured. They could die.

We can see a lovely little horrifying example of exactly why in one of the Daydream Hour doodles:

So, hmm. That's not... that's not SUPER nice. Certainly not displaying the same "kindness to all, friend and foe included" we saw represented earlier. On a basic level, this adds some nuance to Falin's kindness. We see it break a little, when pushed to the limit. We see her chose to protect the people she loves above all else.

Which makes sense! As Laios says when the Winged Lion accuses him of similarly being motivated more by his friends' safety than everyone else in the dungeon, "...most people, aside from virtuous do-gooders, would feel the same way."

So, we can take The Panel as simply showing a moment of weakness for Falin. A time when she was pushed to her limits, and that "most people" selfish side of her shone through.

However... I think there's a little more going on with Falin than just her being an angel 99% of the time, except just that once. I love The Panel because I think it helps us understand that Falin isn't just motivated by kindness - she also has a desire to avoid seeing people in pain.

Isn't that the same thing?

No, no it very much is not.

Let's look at a short comic from the Falin section of the Adventurer's Bible, because I think it illustrates this point perfectly. The group is complaining about how much Marcille's healing hurts, and comparing it to Falin's, which "doesn't hurt a bit." Marcille retorts with the following:

Now, the punchline of this comic is that, despite Marcille's sentimental assertion that she's "thinking of [them]" by letting her healing magic hurt, they all still prefer to be healed by Falin.

But hey, this wouldn't be the first time that Dungeon Meshi hides a very real character beat or insight in a gag, so let's think about this somewhat seriously.

If Marcille is right (and she knows a fair bit about magic, so we can assume that she has at least somewhat of a point), then what Falin is doing isn't kind. I suppose if someone specifically requested to not feel the pain, it could be kind, but that's not really what happened here. She is the one who felt badly about the others being in pain, and she is the one who decided, without telling them or giving them a choice in the matter, to take away that pain.

Both Marcille and Falin are healing the party, but Marcille is doing it in a way that accomplishes the task in the most straight forward way, without any additional interference. Falin is going out of her way to perform the healing in a way she is more comfortable with. A way that avoids pain.

Going back the The Panel, I don't think its a coincidence that the only time we see Falin (well, non-chimera Falin) willing to do something that could hurt someone is when any potential pain will be far away from her. If she got someone hurt or killed by teleporting the party to the surface? Not only would it be far out of her sight, but she'd be dead before she had to deal with any consequences of that action.

Falin is not a confrontational person. She doesn't push when Marcille won't tell her the truth about the resurrection, and she comforts Laios about her own death - both of those things happening in the only full chapter she is alive and conscious in the whole story.

We also know that she considered accepting Shuro's proposal, despite not having any special feelings towards him, and that Falin never explained to Marcille that she wanted them to share a meal together. When she brought Marcille various foods at the academy, she just accepted Marcille's confused rejection and gave up.

And lastly, we know that she is still in contact with her parents, despite the neglect and abuse she suffered at their hands. Although the way someone chooses to handle contact with abusive or bad family is a complicated topic, which I don't want to overly simplify, I do I think this fact gets at the heart of how she handles conflict.

So many people that Falin loves have hurt her. There are understandable hurts, like Laios leaving the village, or Marcille not understanding the food. And there are bigger, far less justifiable hurts - like her parents neglecting her throughout her childhood, and sending her away to be alone at the magic academy.

It doesn't seem like Falin has ever confronted any of it directly.

And the unhealthy aspects of this kind of avoidance of pain and confrontation is one of the things that the story of Dungeon Meshi is all about. We see Laios grapple with it before he goes to kill Falin, and we see Marcille acknowledge it at the end of the story, when she tells Laios that she has come to terms with Falin's death:

Eating is a part of life. Consuming other living things is a part of life. It isn't really possible to avoid that pain - you can only hide from the truth of it. You have to be selfish everyday. You have to eat - to choose to live. To choose to take up space.

And this is something Falin embraces, too. She comes back to life, after all.

We see her choose to come back to life.

And how does she make that choice? She eats. She consumes, and then she is asked a question by the manifestation of hunger itself:

Do you want to eat more?

There is a double meaning in the Winged Lion's final words on the next page.

When I first read this, I took it as him saying: life is cruel. You will suffer. You will feel more pain.

But perhaps, especially for Falin, this also means: you are choosing a path where you must cause pain. Where you must consume. Where you must take, and must be selfish. Because eating is the special privilege of the living, and it is their burden, too. In order to stay alive, she will need to keep eating.

And she chooses that. Chooses to be selfish. It's why her resurrection scene is so important, and it's why The Panel is so important. Because Falin coming back isn't the ultimate reward for all of the party's hard work.

It's her choice. Just like it was her choice that started everything in the first place. But this time, she doesn't choose to accept causing pain for the sake of Marcille and Laios. She does it for her own sake.

[phantasieandmirare]

Need some graphic novel suggestions for grades 6-8 so I can fill out that shelf in the library when school starts up again!

[were--ralph]

why exactly do you dislike generative art so much? i know its been misused by some folks, but like, why blame a tool because it gets used by shitty people? Why not just... blame the people who are shitty? I mean this in genuinely good faith, you seem like a pretty nice guy normally, but i guess it just makes me confused how... severe? your reactions are sometimes to it. There's a lot of nuance to conversation about it, and by folks a lot smarter than I (I suggest checking out the Are We Art Yet or "AWAY" group! They've got a lot on their page about the ethical use of Image generation software by individuals, and it really helped explain some things I was confused about). I know on my end, it made me think about why I personally was so reactive about Who was allowed to make art and How/Why. Again, all this in good faith, and I'm not asking you to like, Explain yourself or anything- If you just read this and decide to delete it instead of answering, all good! I just hope maybe you'll look into *why* some people advocate for generative software as strongly as they do, and listen to what they have to say about things -🦜

if Ai genuinely generated its own content I wouldn't have as much of a problem with it, however what Ai currently does is scrape other people's art, collect it, and then build something based off of others stolen works without crediting them. It's like. stealing other peoples art, mashing it together, then saying "this is mine i can not only profit of it but i can use it to cut costs in other industries.

this is more evident by people not "making" art but instead using prompts. Its like going to McDonalds and saying "Burger. Big, Juicy, etc, etc" then instead of a worker making the burger it uses an algorithm to build a burger based off of several restaurant's recepies.

example

the left is AI art, the right is one of the artists (Lindong) who it pulled the art style from. it's literally mass producing someone's artstyle by taking their art then using an algorithm to rebuild it in any context. this is even more apparent when you see ai art also tries to recreate artists watermarks and generally blends them together making it unintelligible.

Aside from that theres a lot of other ethical problems with it including generating pretty awful content, including but not limited to cp. It also uses a lot of processing power and apparently water? I haven't caught up on the newer developements i've been depressed about it tbh

Then aside from those, studios are leaning towards Ai generation to replace having to pay people. I've seen professional voice actors complain on twitter that they haven't gotten as much work since ai voice generation started, artists are being cut down and replaced by ai art then having the remaining artists fix any errors in the ai art.

Even beyond those things are the potential for misinformation. Here's an experiment: Which of these two are ai generated?

ready?

These two are both entirely ai generated. I have no idea if they're real people, but in a few months you could ai generate a Biden sex scandal, you could generate politics in whatever situation you want, you can generate popular streamers nude, whatever. and worse yet is ai generated video is already being developed and it doesn't look bad.

I posted on this already but as of right now it only needs one clear frame of a body and it can generate motion. yeah there are issues but it's been like two years since ai development started being taken seriously and we've gotten to this point already. within another two years it'll be close to perfected. There was even tests done with tiktokers and it works. it just fucking works.

There is genuinely not one upside to ai art. at all. it's theft, it's harming peoples lives, its harming the environment, its cutting jobs back and hurting the economy, it's invading peoples privacy, its making pedophilia accessible, and more. it's a plague and there's no vaccine for it. And all because people don't want to take a year to learn anatomy.