#talk to text fail

[splendentgoddess]

Reminds me of the time my husband texted asking if I wanted "chicken talk he knows" for dinner, lol. BUT in his (semi) defense, he was actually speaking into his phone to text me...and then just didn't proofread it first.

[anxiously-sidequesting]

how about you shut the fuck up Mr. Irresponsible

[sctumsempra]

this is so incredibly self indulgent but. hear me out

[shrimpchipsss]

this luo binghe only listens to tortured classical music

[rudnitskaia]

White Chrysanths for the Swallow

Rocky was waiting for her at the table at the Little Daisy, but this time he was especially eager. Even Ivy had stopped teasing him about the way he lighted up and hummed to himself as he waited for Mau to show up at the door of the café, and just smiled, refilling his coffee whenever it ran out. He almost daydreamed of handing Maura two tickets to tomorrow's musical: of her eyes sparkling, of her taking his hand and telling him he was the best in the world.

But time passed, and Mau wasn't coming.

In those few hours, Rocky had replayed the fantasy in his head hundreds of times, changing the lines and the scenery. At first, imaginary Maura was beaming with happiness, calling him affectionate names, melting in his arms like all those heroines on the stage of a musical theater in the arms of their beloved ones, but every time the fantasy became darker and darker. More disturbing. Mau no longer rejoiced, no longer smiled. Her bright lively figure was becoming more and more dim, and she more often sighed, frowned, did not accept the gift. She asked him to return the tickets, scolded him for wasting his money carelessly, told him some news, one worse than the other, and finally said she didn’t want to see him again. Never again.

It was getting unbearable to sit still, and Rocky abruptly moved away from the table, threw on his coat, and headed for the exit. Maybe a walk would clear his head a little…

“Miss Pepper, I have a very urgent task to attend to. If she shows up on the doorstep, don't let her out of here on any pretext. Lock the doors, board up the windows, show her every fashion magazine you can find, but don't let her leave here until I get back. I'm counting on your wit and exceptional charm.”

The way he looked intently into Ivy's eyes before he left looked almost threatening. He wasn't even aware of the desperation hiding behind that look. But Ivy saw it.

“Don't worry, I'm an expert at this,” she winked at him encouragingly.

The cold air blew across Rocky's face, and he shivered, pulling his scarf over his nose, the same funny skewed scarf Mau had knitted for him last Christmas. Sometimes, like now, Rocky thought he could still smell on it the very same scent of coffee and pastries that wafted from the Venza family's eatery. It didn't help distract him, though. Quite the opposite. After walking a few blocks in an attempt to escape his doubts, he spotted a small flower shop — Rocky's imagination immediately conjured up a lovely picture of Maura cradling a fresh spring bouquet on this cold, cloudy evening and he didn't notice himself stepping over the store’s doorstep. The frail old woman behind the counter put aside the newspaper and immediately chirped, offering him different flowers, and finally convinced him to take a few white chrysanthemums. She tied the flowers with a delicate pink ribbon and also wrapped them tightly in the newspaper she had read before.

“They mustn't be overfrozen. Or they won't last long,” she explained sternly.

Rocky walked back much more briskly. He was warmed by the thought that now he would be able to give Mau not one surprise, but two. Hiding the bouquet from a gust of cold wind, Rocky lowered his gaze to it and pressed the flowers closer to himself… when suddenly, out of the corner of his eye, he noticed the headline of one of the newspaper articles.

“Shootout at the small Italian eatery Casa di Rondine shocked the residents… a bloody showdown in the neighborhood… occurred on the night… police identified the bodies of two…”

Rocky couldn't remember how he reached the familiar alleyway. How he threw the bouquet to the ground, swung over the barrier tape, and rushed to the entrance — a gaping hole instead of a small blue door. Shards of glass littered the floor, the formerly cozy, cramped hall was a real mess, the furniture was riddled with gunshots. Even the old tabletop radio was now on the floor, shattered to pieces.

“Stop right there!” a panting policeman grabbed him by the scruff of the neck. “What the hell are you doing breaking into a crime scene?”

“I… uh…” in his panic Rocky couldn't think straight, but nonetheless he blurted out: “I'm from a newspaper. Wanted to visit the crime scene myself.”

“A lousy reporter you are, then. Your buddies sniffed everything around here a long time ago.”

“I was just hired today and immediately assigned to this very intriguing case. So…”

“There's nothing intriguing about it. This Bianchi guy…”

“Who?”

“The renter, Augusto Bianchi, if that's his real name at all, apparently had a huge debt to pay someone. And for that, he got pinned down. There was a scuffle in the night, at least four assailants. The two guys we found here have a couple priors, but they're not in a condition to tell us who hired them. The amount of such cold cases we have…” the man hummed and passed his hand above his head. “We've already explained it all to your fellow scribblers this morning. And I highly doubt the landlord would want to tell the same story tenth times over to another newspaper weasel. The only thing he's interested in right now is getting money from the insurance company.”

“And the girl?”

“What girl?”

“The waitress. Who worked here. What about her?”

“Considering how much blood there is, they're probably both either in a ditch, scattered in pieces, or feeding fishes somewhere at the bottom of the Mississippi… both father and daughter, if you meant her,” boredly remarked the other officer, who had quietly approached them, lighting a cigarette. “There's nothing for you to do here, boy. Henry's right — there's absolutely nothing of interest in this case. People might have chattered about it in the morning, but the very next day they'll forget all about it. Go home, don't add to our workload. And quit the paper that sent you here. If your editor doesn't realize that news like this must be broken in the heat of the moment, believe me, their business will burn out faster than a short match.”

Rocky tried to get anything else out of them, at least a little bit, to look in the kitchen of the eatery, to slip upstairs to Mau’s and Augusto's apartment, but the policemen were adamant. On unsteady legs he made it to the nearest bench and collapsed on it, staring blankly into the dark November sky. He could have screamed, could have destroyed everything around him on a single painful impulse, but the emptiness that engulfed him was far more frightening.

His silence was more frightening.

Years would pass. Would flow, as before, from night to night. The world won’t notice his loss. The world won't notice any loss at all. In the place of his beloved swallow house, other birds will build a nest. Freckle and Ivy will eventually stop opening that wound with their questions. And one day, perhaps, he will stop gazing into the crowd, hoping to find among the unfamiliar faces the features dear to his heart, and stop flinching when he hears someone say amore mio. He knows how it happens — it was not the first time. All he has to do is smile and everything will work out. It'll wear off, getting back to the way it was. One day.

But the bouquet of chrysanths will still remain rotting on the cold ground.

[miraculouslbcnreactions]

Sorry if this seems confrontational, but for the life of me I can’t get into your “Chloe has no growth” point when the show itself retracts growth from everyone and is inconsistent with everyone. You saying “The show just lays down basic character traits in Chloe” doesn’t make sense when her basic character traits are supposed to be her being selfish and spoiled.

S2 built off of that and despite what you say, had Chloe doing things that in S1 she wouldn’t have done. She apologized multiple times to the people she wronged, she willingly put herself in harm’s way to help the people she cares about and she was openly vulnerable to Ladybug in “Malidiktaor”. Something S1 Chloe wouldn’t have done. If there’s a distinct difference between a Chloe back in S1 and a Chloe in S2, then growth HAS taken place. But it doesn’t stay because of the formula (and the writers just don’t want her to keep that growth)

So what I’m asking is…what do you mean “Chloe doesn’t have growth”?

I can understand the “No arc” argument because an unfinished arc feels like there’s no arc at all (even though they are fundamentally not the same)

I wouldn't say that the show retracts growth from everyone. It's more that no one is ever supposed to grow. Every episode resets the cast. That's just how pure formula shows work and Miraculous is being sold as a pure formula show. The characters are meant to be static (one of the writers literally compared Miraculous to Dora the Explorer).

That static nature is why pure formula shows normally avoid giving their good-guy characters major flaws. It's the wrong medium for that type of thing specifically because the characters cannot change in meaningful ways throughout the show. They can learn little lessons that don't really change them and maybe have big change between seasons via a special or movie, but that's about it. Thus things like the season four conflict working so poorly. It's just a terrible choice for a formula show! The conflict is literally not allowed to develop properly because of the chosen format.

But sure, let's talk about Chloe and why I will die on the hill that she never demonstrated meaningful improvement even with the issue of the inconstant writing. In fact, seasons-one-to-three Chloe is one of the most consistent characters in the show. For this discussion to work, we need to start off by discussing character development and the two main forms it can take: character establishment and character growth.

Character Establishment

When the audience meets a character, they know nothing about said character. It's up to the writer to guide the introduction process. To choose when to reveal already existing elements of the character's personality, skills, and backstory. This is called character establishment. It is the writing telling you who the character is on a baseline level. Those reveals don't need to happen at the start of the story, though. They can be - and often are - held back for when the time is right.

When these reveals are delayed, it's important to remember that these elements were always part of the character. The reveal isn't changing who the character actually is. It's just changing how the audience views the character.

For example, we spend a good chunk of season one uncertain why Gabriel is doing what he does. Then, in Origins, we learn that it's all for Emilie. This is new information that adds depth to Gabriel's character, but it doesn't change him in any way. This is who he always was. We just know him better now and can recontextualize past events with our new understanding of his motivation.

Character Growth

Character growth is when writers take a character's personality or world view or even just their skills from point A to point B, allowing the audience to watch the character change and become a new better - or lesser - version of themself. This is usually part of a larger character arc where all the moments of growth add up, but it can take the form of small moments of growth that don't fit into a bigger picture, too. I'd probably still call that an arc, but we'll use the word "growth" a lot in this post, so let's just call it growth to be consistent.

Miraculous doesn't really have either arcs or growth because - once again - formula shows don't allow characters to meaningfully change, so I'm going to have to make up an example here. I'll use one that illustrates how character establishment and character growth can and do intertwine as that's an important thing to acknowledge to help guide this discussion.

Let's say that we have a character who lost their family at a young age. We'll call this character Mary. Mary's loss guides her character throughout the entire story, but the other characters and the audience are never told that this is what's going on. We just know that Mary acts in seemingly illogical ways at times and that she trusts no one.

Throughout the story, Mary learns to trust her costars, leading to a big, dramatic scene where she finally tells them - and the audience - about her past. This big dramatic scene is both the culmination of a character arc and a piece of baseline character establishment that allows us to understand Mary's character better no matter what part of the story we're reading.

Because these combo growth and establishment moments are so common in stories, it can feel like character growth when we learn new things about a character in a dramatic moment, but that's not always what's happening. Sometimes dramatic moments are just there to reveal what was always there by forcing a character to act differently than they usually do through the power of extenuating circumstances. These extenuating-circumstances moments are not character growth because, once the moment is over, the character resets to their normal self. The moment wasn't there to let them grow. It was there for the sake of the plot.

This is actually a really important thing that writers need to know how to do. Figuring out what circumstances will make a character say or do a thing they generally wouldn't say or do is part of how stories work. I have started stories with characters acting wildly "out of character" because I put them in the a situation where the behavior suddenly was in character!

Oh, you don't want to talk to this total stranger because you're an introvert with social anxiety who has yet to learn how to love yourself and open up to others? That's nice. Your leg is broken now and you're stuck in the middle of nowhere. What you gonna do sucker? Lie there in the dirt or talk to the nice lady who wants to help you? Your choice! (Spoiler: he talked to the nice lady. He even let her physically support him when he'd usually never let a stranger touch him!)

As soon as that scene was over, the character reverted because it wasn't growth. He didn't become a more open person. He just did something he normally wouldn't do because the situation demanded it. It was extenuating circumstances so that the freaking plot could start.

This is what happened with Chloe in season two. Everything that people call growth is really just extenuating circumstances that reset by the end of the episode or even by the end of the scene.

Let's Talk About Chloe

Chloe does not have a character arc, aborted or otherwise. She is never taken on a journey where we watch her change. All we get is delayed character establishment via extenuating circumstances, but it's given in ways that make some people feel like she was being given an arc. Let's talk about why that is.

Season one Chloe is a one dimensional mean girl. She has almost no depth. She's just here to be petty and cause akumas. She is not a fully realized character.

Season two takes those traits and keeps them, but also gives Chloe a lot more depth to round her out and make her feel like a real character. She's just as petty and mean as she always was, but we're finally allowed to see her in some moments that make her feel like a well of potential to become something more, which the writers basically had to do if they wanted to let her be a hero. The audience needed to feel like Chloe could be good in the right situation.

The feelings evoked by her newly discovered depth are why people go "oh, she had a character arc! My feelings about her changed in a big way!" But she didn't have an arc. You just got to know her better by seeing her in moments where she was forced to be vulnerable. That's not growth. Growth is meaningful, lasting change, not situational change. Everyone changes based on the situation! It's why the "True Selves" stuff is such nonsense. It implies that there's one set way that we're supposed to act in order to be authentic and anything else is some kind of lie which just isn't how the world works.

Let's look at some examples to drive home what I mean.

Season one established that Chloe idolized Ladybug. It's why we get things like this moment from Evil Illustrator:

Ladybug: Fine! You stay! Later! Cat Noir: What do you mean later? Ladybug: I mean, you're the one who wants to protect her, so you don't need me. So, later! (swings away) Chloé:(looks over balcony) Ahhh! Ladybug! Text me! OK!

And this confession from Antibug:

Ladybug: [Chloe] pretended she was me?! How often does that happen? Armand: She idolizes you.

So Chloe adores Ladybug and wants to impress her/be her best friend. Cool. Got it. That never goes anywhere in season one because season one doesn't see Chloe and Ladybug interact much. The most we get is Ladybug saving Chloe from akumas, which doesn't allow for deep conversations. I don't think that they're ever alone in a moment where they can actually talk.

That changes in season two. In season two, they get to interact a lot and it's often in moments where there's a big threat and no one else is around, letting us see a new side to Chloe. But that's not Chloe changing. It's just the writers revealing that Chloe has more to her than the mean girl stuff because of course she does! Pure mean girls don't exist. Everyone has depth. We simply never saw that depth before because Chloe was never put in a situation where she needed to be open. We can't say that season one Chloe wouldn't confess things to Ladybug or chose to sacrifice herself to let Ladybug win because she never had the chance to do those things!

In fact, I'd go so far as to argue that season one Chloe probably would have done the same things as season two Chloe because season two Chloe doesn't really contradict season one Chloe. Antibug showed us that Chloe was pretty desperate to be loved and welcomed the way that Ladybug is loved and welcomed:

Chloé: Jagged Stone! Jagged: (thinking she's the actual Ladybug) Ladybug! What are you doing here? Chloé: Um… when I find out you were here, I knew you'd wanna see me! I had to come say hello. (Sabrina waves at Jagged)

and Chloe has always been a stubborn girl who stands up for what she wants even if what she wants is something bad. Antibug also showed us that Chloe can be genuinely nice to the people she cares about. Her and Sabrina's relationship is shown to be complex with them often having a lot of fun together.

Similarly, Origins sees Chloe showing her father genuine affection after she's saved from Stoneheart:

[Image description: Chloe and Andre hugging and looking very happy to be together]

Origins is the baseline episode that tells us who the characters are on day one, so I never once doubted that Chloe loved Andre, but Andre didn't get akumatized because of Chloe's actions in season one. He didn't even get akumatized for something that Chloe had nothing to do with! His first akumatization is in season two, so it's not shocking that we don't get a Malidiktaor type scene until Malidiktaor.

Chloe was vulnerable with her personal hero when her beloved parent was in danger, but not before? Shocking! Who would have guessed?

Me. I would have guessed. I didn't even realize that people were reading it as some sort of character growth because it clearly wasn't. Malidiktaor didn't feel like something new for Chloe's character. It just felt like the writers were leaning into things that we'd always known about Chloe and using them to better establish her character as someone who genuinely cares about select people. She just doesn't show most of the time.

The same thing goes for Chloe's sacrifice and apology in Zombizou. Chloe only sacrifices herself when there's no one left but her and Ladybug. When the choice is to let the terrorist win or take the hit and let you personal hero save the day. Brave? Sure, but also not growth. Chloe is team Ladybug for all of seasons one, two, and three! She wants Ladybug to like her! Plus even a petty brat can have moments of goodness where they pick a hero over a literal terrorist.

This honestly would have been a damming moment if Chloe didn't sacrifice herself. She functionally had no other choice here. The entire episode builds itself to the self-sacrifice moment so that Chloe is forced to make that choice even though she's been her petty bratty self throughout the whole attack. It's genuinely solid writing.

Then, in the heightened emotions directly after the Zombizou win, we get this:

Miss Bustier: But I hurt a lot of people... Chloé: No... I did... I forgot your birthday, once again. And when I saw everyone had prepared a gift for you, I totally lost it. Because I, too, would've liked to offer you something. I'm sorry, Miss Bustier. Miss Bustier: Thank you, Chloé. Those words are the best possible gift you could ever give me. (hugs Chloé) (Chloé hugs her back, forgetting herself for a moment.) Chloé: Huh?... Uh, yeah. Okay then, we're all good.

A brief moment of vulnerability that quickly ends and does not stick around because Chloe's change was situational, not true growth. The next scene of that episode starts with Chloe being her usual self:

Chloé: Me? You want me to apologize to the entire class? Ridiculous! They should be thanking me for saving everybody.

And ends with the reveal of Chloe's gift to Miss Bustier, which was given in private via a note.

Once again, nothing new for Chloe's character. She acts as she always has, being mean to everyone while having moments of vulnerability when things get tense. Remember that hug between her and her father that we talked about earlier? Same concept. She had just almost died from an akuma attack and so she needed some emotional support, leading her to act more openly loving than she usually does when he's around. Once the moment is over, she reverts to the petty mean girl default.

Giving gifts to placate people is also something that we've seen before. A pretty similar thing happens at the end of Evil Illustrator, it's just played less sympathetic towards Chloe because the writers weren't giving her depth back then:

Sabrina: Too late. Chloé and I are doing the project together. Marinette: You mean, you're doing the project? Sabrina: Well, of course! After all she's been through... Marinette: Ughhh.... Nice new beret, by the way. Sabrina: I know, right! Chloé lent it to me. She really is my BFF! Chloé! Your geography homework's ready!

For any of this to be character growth, we need to see Chloe act differently over time. For her to be put in similar situations and get different outcomes, but we don't see that in part because Chloe didn't change and in part because season one didn't do much to develop Chloe's deeper side. We rarely see her alone or in moments of extreme vulnerability, but you need those moments to show her depth. That's why Despair Bear had Chloe crying alone after Adrien threatened to end her friendship and not before. Chloe is very reluctant to openly show depth. You have to force it out of her, which perfectly fits the character we met in season one.

Even her standing up to Hawkmoth and rejecting the akuma isn't character growth in my opinion. Chloe has always stood up to authority and demanded whatever she wants. She has wanted to be Ladybug's friend and be seen as a hero since season one, so it's not shocking that her extremely strong will would allow her to defy a terrorist. If there is anyone in this show who can stand up to a terrorist on shear "no!" power alone, it's little miss I-always-get-what-I-want. I could see a variation of this happening at any point in the show, just change Chloe's reason for defying Gabriel to match the situation. Rework these lines to be about a party that she wanted to go to and I'd still totally buy it:

Chloé: No, Hawk Moth! I am a superheroine! I am Queen Bee! Ladybug will come and get me when she needs me! I WILL NEVER JOIN YOU! (throws her photo onto the ground as the akuma exits it... and pants)

Chloe acted like a hero here because she wants all the perks of being a hero and can't believe that Ladybug would actually bench her. That's impossible! Ladybug wouldn't do that!

As soon as Chloe accepts that she won't be a hero again, Chloe stops acting heroic because acting heroic wasn't growth. It was her playing a part the same way she played a part in Despair Bear. She was doing what she needed to do to be Queen Bee again and not because it's the right thing to do. This would only be real growth if she rejected the akuma after accepting that she wouldn't be Queen Bee again, but that's not what happens. As soon as she accepts that she's out, she no longer has any reason to play nice. She never grew into a character who did what's right for the sake of doing the right thing. It's always been about getting what she wants or being seen how she wants to be seen. Until that changes, she hasn't changed.

So no, Chloe didn't have an aborted arc. They didn't start to redeem her and then change their minds. All they did was make Chloe one of the most complex characters in the show only to then not do anything with the character they wasted our time establishing, ignoring the complexity they gave her while also cranking her mean dial up to the point of absurdity where she's not even fun in her original role anymore.

I get why it feels like she had an aborted arc. The fact that the character establishment was delayed makes it feel like something shiny and new about Chloe. There's also the fact that the character establishment we get in season two is the kind of character establishment that you'd do if you were setting up for a redemption arc, but that doesn't change the fact that it was all establishment work. None of it was a true arc where we watched Chloe grow. We just saw her put in situations that revealed hidden depths.

Her showing depth is not her growing because when in the world does she show off this supposed growth? She only acts differently in the type of scenes that we've never seen her in before or around characters that we've never seen her truly interact with before. When she's around the established teen characters or in her usual scenes, then she acts the same way that she always has. We never see her be genuinely nice to Marinette or something like that. She's only nice to Ladybug and she's still rude to Chat Noir. That's not character growth! That's character establishment that can then be used to guide character growth!

Same thing goes for the stuff in Despair Bear. We learn that Adrien can push Chloe to be better, but he never does it again and she reverts as soon as he lets her off the hook, so it wasn't character growth! It was just Chloe establishing that she can play nice when she needs to. This means that she could grow if the story chose to take her down that path because we've established that she knows what being nice looks like. Fake it til you make it plot go, go, go! But the plot never went, went, went so meh?

Add in the fact that season one was a bit of a test season with lots of elements that got dropped and the fact that characterization in this show has always been wildly inconsistent from episode to episode and I'm really not seeing a strong argument for Chloe having an intentional arc that somehow got aborted. People just saw the potential for her to have one and argue that potential is the same as an aborted arc when it really, really isn't.

To give an analogy, Chloe's story is like walking into the kitchen and seeing grandma laying out the ingredients for her famous chocolate chip cookies. We get excited because, hey, cookies! Then we come back an hour later and there are no cookies. Nor is there some other sweet that uses the same ingredients. There's just ingredients, sitting unused in their original packaging, making us wonder what the heck grandma was up to. At the same time, she never really started making cookies. She just set out ingredients. They're still there, totally unused, waiting to be made into something, so we can't call them a failed cookie attempt. That implies a level of commitment that was never there. She didn't even say that she was making cookies! We just assumed she was because we, understandably, wanted cookies and wanted to believe that grandma had a purpose to her actions.

[pocketgalaxies]

imogen saying "delilah does give you power in return for power. but if you give her too much, what if she takes over?" and laudna saying "maybe that's necessary?" and ashton saying "don't throw yourself away, but we might have to make sacrifices" and fearne saying "nobody is sacrificing themselves" and orym saying "i'm willing to sacrifice myself" and imogen ignoring all of that and looking straight at laudna and saying "i want you."

[milkweedman]

Went to the bank to get some cash, bringing my sock knitting in of course, and the guy who helped me also knits, showed me a picture of his socks he's working on, we talked about knitting for like 20 minutes entirely forgetting i was there for bank reasons, anyway he gave me his number and we are hopefully going to try a little knitting group of just us

[angelsdean]

the average deancrit post: completely misinterpreting something that happened in canon, ignoring important framing context for the situation, and / or just making something up that didn’t even happen or falling back on fanon characterizations

deangirls: simply pointing out the missing context and / or debunking the misinterpretation

the average “cascrit” or “samcrit” post: literally just people discussing canon plot points and things that happened with the nuanced context that is once again often overlooked in favor of watered down fanon that woobifies and flattens their fave

bitter casgirls and samgirls: is this an ATTACK?!?! 🤨

Like sorry we literally just like talking abt the actual show and the things that happen in it in the context that they happen lol

[lucreziaces]

thinking about the disconnect between cesare and lucrezia in “the prince” after cesare’s failed at murdering alfonso and lucrezia has to clean up his mess, and she asks “is that all i am now, brother, borgia?” with such disgust and he just doesn’t even hear her because he’s too focused on her mixing the poison and realizing that by being with her he won’t be corrupting her because she’s already a “professional” like him, like the assassin he was ready to send in to finish the job to keep her hands free of blood. meanwhile lucrezia is ALREADY making up her mind that she wants a love outside of HIS love for her because the way he loves her is selfishly and all consuming and overly possessive and makes her feel sick because some part of her still feels like god is in the room with them when he’s near, but now i think she understands that not to be true. and he was right to ask “god or the devil?” ACTUALLY maybe the disconnect begins before this….when he’s just run alfonso through with his sword and lucrezia comes rushing down the stairs to find the aftermath and cesare thinks he’s going to convince her it was an “accident” or perhaps it begins when lucrezia tells him “i am tired of my husband, of life, the only thing that never tires me is you”. yep this is when it begins i think!! right there. because of this he underestimates how much guilt lucrezia will feel if something happens to alfonso by cesare’s hand. how much she will come to resent being born a borgia, being loved by HIM.

[apotelesmaa]

> looking for a tenma siblings relationship study

> ask the op if the study is actually about the tenmas or just treating saki like an accessory to tsukasa

> they don’t understand

> pull out an illustrated diagram explaining the difference

> they laugh and say “it’s a good relationship study sir”

> click the post

> it’s treating saki like an accessory to tsukasa

[s-lycopersicum]

The last four additions to my Anime To Watch list have been all yuri. Considering how bad I am at actually shrinking down this list, I'm not sure if I count this as winning or losing.

[shaadowmilkcookie]

Also, I’m sorry for taking five bajillion years to respond to things sent in to my inbox!!!! I overthink and stress out over replying a lot, and it always gets me to put off actually answering them…;;; i’ll get to it some day!!! I prommy!!! ..😭😭 ahhh

And if I fail, I give you all permission to put me in a woodchipper 😌🙏 accountability!

[laufire]

robin (1993) #126

i'm gonna start a crowdfounding to get dc to write steph kicking bruce in the balls with a titanium bat. for at least ten entire pages.

[bi-writes]

ok i've done some light research. if you want a software engineer/fic writer's inital take on lore.fm, i'll keep it short and sweet.

my general understanding of lore.fm functionality:

they use OpenAI's public API. they take in the text from the URL provided and use it to spit out your AI-read fic. their API uses HTTP requests, meaning a connection is made to an OpenAI server over HTTP to do as lore.fm asks and then give back the audio. my concern is that i wasn't able to find out what exactly that means. does OpenAI just parse the data and spit out a response? is that data then stored somewhere to better their model (probably yes)? does OpenAI do anything to ensure that the data is being used the way it was intended (we know this probably isn't true because lore.fm exists)?

lore.fm stores the generated audio (i am almost certain of this because of the features described in this reddit post). meaning that someone's fic is sitting in a lore.fm database. what are they doing with that data? what can they do with it? how is it being stored? what is being stored, the text and the audio, or just the audio?

i find transparency a very difficult thing to ask for in tech. people are concerned with technological trade secrets and stifling innovation (hilarious when i think about lore.fm, because it doesn't take a genius to feed text into AI and display the response somewhere, sorry to say). and while i find the idea of AI being used to help further accessibility on apps that don't yet provide it promising, i find the method that lore.fm (and OpenAI) chooses to do this to be dangerous and pave a path for a harmful integration of AI (and also fanfiction in general -- we write to interact, and lore.fm removes that aspect of it entirely).

we already know that AI companies have been paying to scrape data from different sources for the purposes of bettering their models, and we already know that they've only started asking for permission to do this because users found out (and not from the goodness of their hearts, because more data means better models, and asking for permission adds overhead). but this way of using it allows AI to backdoor-scrape data that the original sources of the data didn't give consent to. maybe the author declined to have their fic scraped by AI on the site they posted it onto (if the site asked at all), but they didn't know a third-party app like lore.fm would feed it into an AI model anyways.

what's the point of writing fics if i have no control over my own content?

[armandcock]

& btw my kid armand pov feelings will be further explored in the hypothetical third chapter of paterfamilias