#the narrative said sometimes people want to go so they go!!!!

[ahappydnp]

so sorry but ive seen two different things about this now and im very lost, why did people think they were breaking up/broke up in 2012??? pls help me understand, wise keeper of the lore. thank u so much

response under the cut for general 2012 discussion/too long

basically 2012/2013 used to get (and sometimes still is) generalized as this dark and awful time period where dnp "hated" each other and us, when in actuality it was two very young very scared closeted queer people who were in the process of several major life changes at once while also dealing with a new exploding fan base

there's a few big things from that "era" that people talk about:

deleting old posts- around this era dnp deleted a ton of old tweets/formsprings/dailybooths that could read as them being in a relationship. they were blowing up online and had more eyes on them than ever before, not to mention had just starting working with the BBC (where being queer would have greatly affected their careers). also keep in mind dan was still in the closet to EVERYONE, and now he's got tons of fans going through his accounts and sending shit to HIS LITTLE BROTHER on tumblr asking if dan's gay. anyway people decided them deleting early tweets meant they had broken up

dan's customerservice tumblr blog- in the middle of them blowing up and people finding all these old posts, dan in an effort to control the narrative, makes a new blog for people to anonymously ask him questions (: which went about as well as you can imagine for an extremely defensive closeted 20 year old with undiagnosed depression. basically he said some unfortunately things out of fear

the video leaked again- won't get too much into that because of the subject matter, but the yeah the video leaked for the second time except this time way more people saw it/shared it and dnp actually had to respond to it this time. which is. just fucking awful and heartbreaking all around.

phil persona- basically this was the birth of the amazingphil persona that'd follow phil to the quiff era. he became more sanitized and less personable than original phil fans were used to (which got romanticized into uwu he's sad because he and dan broke up and now he's shutting down)

"no homo"- pretty self explanatory...people asked if they were gay (every single day constantly on every platform) and they would say no because what else are they going to say. this one particular vyou where dan's actually trying to make people think kills me (x) god he was so young. but they'd also started doing the "omg i don't want to see you naked/ew people want us to kiss" and the infamous "you need a girlfriend" "my future wife" etc etc.

the breakup rumors mostly stemmed from and became popular/ treated as fact by younger fans who kind of saw them as these fictionalized characters (which i mean not to blame them because they were literal children and youtubers were still so new that people did treat them like tv show characters you could be friends with). it also got turned into more sinister theories like the "dan is abusing phil" ones and "phil is actually gay but dan isn't and just used phil for attention and fame in 2009"

there was also factors like them moving to london in 2012 (and people were CONVINCED they'd stop being friends in london??), people thinking them getting popular would mean they'd get girlfriends like other popular youtubers (shoutout danrific shippers), and most importantly just them sharing less about their personal lives with their audience. like of course they're not going to live tweet their day/location anymore when people are showing up at their house and trying to find their families.

basically, dnp were putting boundaries between themselves and their fans, but the fans interpreted it as putting distance between each other. in actuality the 2012/2013 era was full of some really amazing memories and content and things people loved (literally the photobooth challenge is from 2013!! sleeping phil saying i hate you is from 2012!!!)

in conclusion, imagine building a forever home with your ex lmao

[ivyblossom]

Lessons in Story: Artificial Intelligence

Artificial intelligence is not an element of story, and yet here we are.

I'm aware that AI is bad for the environment. So's tumblr. That's all true. I'm also aware that AI scrapes copyrighted material like google does. I'm aware of how it steals art for its knowledge base without compensating artists and uses is as a model and replacement for skills. That's bad. I'm not going to address any of that here.

I have been observing how people talk about using AI in various parts of their writing process at the same time as I'm been trying to understand my own process and the obstacles I'm facing, and these two topics have oddly collided.

As I've said previously, my background is in some kind of woo woo where narrative comes out in one whole piece. So the fact that writing is many different and iterative pieces is something I had to figure out in my own bizarre way, but at the moment I now understand the basic process to be in these four general stages:

dreaming/planning (coming up with characters, ideas, goals, worlds, etc.)

outlining (not to say that this isn't many sub-stages, all of these steps are big catagories)

writing (actually putting words into sentences so your story exists)

Editing (revising, restructuring, polishing, etc.)

Are there more steps that I'm not accounting for? Those are the stages as I understand them. You can move back and forth through these stages throughout the process, so it's not necessarily linear, though it could be. For me, the key has been embracing the fact these are all radically different activities that require a completely different headspace, different skills, sometimes different tools, and a different perspective on narrative. That has been freeing revelation, because I was trying to do most of it at the same time.

But here's what else I've learned:

Dreaming/planning: this is a zero consistency space when it comes to how close or how far away you are from your protagonist. Are you feeling what they feel, or are you 30,000 feet up looking at the task they have in front of them and the path they're going to take? Or are you somewhere in between? Kind of all of the above at different points.

Outlining: in my experience, this can and should include emotional through lines, but outlining usually focuses on the 30,000 foot view. I have personally never written an outline that didn't miss critical details because of the 30,000 foot gap between me and the protagonist when I outline.

Writing: this seems like the very closest and most intimate you get with your story and your protagonist, right? This is where you live through it with them in extreme detail. There is no distance between you and them, you have to use a telescope to see 30,000 feet up. I find I have to revise my outline in small ways because I often underestimate or overestimate what something's going to feel like on the ground. This is like a micro-discovery phase: not plot discovery, emotional and intimate detail discovery.

Editing: I'm not an expert at this, but so far I feel like it goes back to being extremely inconsistent. It's either very close in a different way, or 30,000 feet up, or various in-between levels, depending on the type of editing or revision. And sometimes it's none of those, it's completely outside looking at how many times you use the word "feel" or whether your verbs and nouns agree.

Right. So people try to insert AI to do the graft for one or more of these stages.

AI in stage 1: I've seen some folks talk about using AI to get ideas for stories. I don't understand that, ideas are the easiest part of this process, as far as I can tell. Life's a rich pageant, maybe that's not universally true. Now, having AI to help you refine an idea, I can see that. Especially if you ask it to point out tropes and cliches as you go. Is that bad? Is that cheating? I dunno.

AI in stage 2: I've never seen anyone say they do this. If you have an amazing and complete story idea and you want to shaped into a 3 or 5 act structure, or a hero's journey, etc. I'm sure AI could do that, but that's mainly just typing. That's like AI as workbook. Is that cheating? I dunno. Does an AI generated outline help you? Or do you just skip the thinking that would have created the details of your story? Hard to say.

AI in stage 3: The wildest version of using AI in the creation of fiction, and there are whole subreddits for it. This is the people who are constructing novels scene by scene by telling AI to write it for them to their specifications and then "heavily editing" the result. So they are ostensibly doing stage 1, 2, and 4 themselves, and are outsourcing stage 3, the hard graft. Though I'd be very surprised if they aren't also using AI for stage 4, but let's assume they aren't.

Stage 3 is the only part of writing process that is protected by copyright, so it's a weird one to outsource. It's also the stage, in my experience, where you do micro-discovery, the in-the-moment scene details and the actual, living emotional experience of your story that you can't completely capture in outline. So if you just animate your outline without living through the story with your characters, it's always going to feel emotionally 30,000 feet in the air, I think. Right? If you feed AI an outline, that's what you'd get. i think doing this is just avoiding doing the most intimate and immediate discovery process of creating a story, and I don't think that serves the story or the writer (or "writer").

I'm intrigued that people think you can do this and it makes sense. You'd have to believe that the writing process is simply describing the contents of your outline, but I don't think that's true. It's like trying to get from the twelfth floor to the first floor by skipping the stairs, the elevator or the escalator and just leaping into the air assuming you'll land just fine because those intermediary systems are just time-wasters anyway.

I've read some arguments that using AI for stage 3 is something people with disabilities need to get their stories out into the world. As a neurodivergent person, I think that's short-sighted and is a disservice to those stories. I'm pretty sure it's just skipping the work of living through the emotional through line of the story and just not making all the little decisions and constructing the tiny details that go into the telling of a story. That's a heck of a missing staircase. Outlines aren't stories. Skipping the writing part means you're missing 2/3rds of the discovery, and therefore 2/3rds of the richness and depth of the story. How does that serve disabled voices? I don't buy it.

AI in stage 4: the one that looks innocuous but is actually dangerous. Dumping your work into AI and having it fix everything for you. This is a bad idea. Dump your work in there if you want to, but have it tell you what it's finding that needs adjustment so you can make decisions about it yourself. Copying and pasting out of an AI engine means you aren't making decisions about it, you're deferring decisions to a machine. That's the fastest way possible to erase your own voice. I can see getting it to flag things it has questions about, but taking AI advice on your writing is way too trusting.

I think this is especially dangerous for writers who don't have confidence in their own voice. AI's voice may seem like a better chose to them, and that's really sad.

I have more to say about AI, but this is more than enough for now.

[lottiesnotebook]

Happy DADWC day!

Ok so this is weirdly specific, but feel free to be open in the interpretation. So I want more Cara, because of course I do 😅 and I saw this prompt in one of your lists : your OC’s description of their game’s events.

But I'd like to alter that slightly... So you said she was born after an ill-advised post deep roads encounter (I forget your exact words) so... Therefore she saw a lot of the DA2 narrative... As a kid... So I would like to see her interpretation of any of the DA2 events 😝

Ask for more Cara Hawke-Laidir and you shall receive! I don't know if this counts as exactly what you asked for, but the end of Dragon Age 2 is possibly the most formative moment in her whole life (pre-Veilguard, at least) so this is what you get! Apologies in advance, this turned out WAY longer than I expected...

Cara 'Rook' Hawke-Laidir & Orana, Cara 'Rook' Hawke-Laidir & Anders, Cara 'Rook' Hawke-Laidir & Rhiannon Hawke, Justice/Rhiannon Hawke/Anders (mentioned), angst, tragedy, canonical terrorism

@teine-mallaichte | @dadrunkwriting

when hell bares its teeth

Cara was curled up in her favourite window-seat when the world ended. She felt the explosion rather than heard it - a low reverberation that shook the house to its foundations and cracked the panes of the window she was snuggled against. She flinched away from it in shock and rolled onto her knees, peering out through the broken panes, her book cradled against her chest. The street outside was empty, peaceful, even - but as she glanced up, she could see the climbing column of smoke cutting the bright blue sky in two.

"Orana?" she called out, her voice trembling. There was no immediate reply. She forced herself to her feet. Orana was the grown-up, and on days when her parents were busy, she was in charge, but Orana got scared, sometimes, when people shouted or magic flared, and then Cara was meant to leave her alone or make sure she was safe and comfortable.

She took the stairs down to the kitchen two at a time, where she found more broken glass and embers knocked from the fireplace scattering the stone floor.

"Orana!" she tried again, fingers beginning to flicker in the familiar pattern of a seeking spell. A soft, sobbing sound crept from under the table. Orana was down there, curled into a ball and shaking, shaking, shaking, like her father after a bad dream.

Cara tried to make her voice low and calm and commanding, like Mama's: "Orana, don't be scared. Are you hurt?"

She didn't know what to do if a grown-up was hurt, though she knew where the elfroot potions and the bandages were stored in case of emergencies. She'd figure it out. Daddy always explained what he was doing when he patched up her cuts and bruises, and she wasn't a baby to burst into tears at the sight of blood.

She felt a little like crying when Orana looked up at her, pale and glassy-eyed, but they couldn't both sit here and cry. Well, they could - they had three years ago, when the Qunari revolted, but they had kind Master Bodahn then to take care of them: he'd hurried them into the cellar and told them all stories to keep them quiet, and Cara had tried to make rabbits out of light for Sandal until Orana flinched away from them. She'd only been six, then, though. She was nine now, and practically a grownup.

"Miss- Mistress Cara!" she said, which wasn't right - Orana wasn't supposed to call anyone Master or Mistress any more, but sometimes she got scared and forgot. "I'm sorry, I'll clean up the mess-"

"We can clean it up later," she managed to say, though there was a wobble in her voice she didn't like. "Something is wrong. We should go somewhere safe."

That was the first rule when things got scary, Master Bodahn had told her - find a safe place, or safe people, and stay with them as long as you can. Safe people would be Mama and Daddy and Justice, or maybe her uncles and aunts, but none of them were here, so she and Orana would have to find a safe place, and be safe people for each other.

She took Orana's hand and slowly pulled her out from under the table. They were almost the same height now, but when she was stood up, Orana blinked and came back to herself, and squeezed Cara's hands.

"Very sensible, Carissima," she said, smiling, and Cara relaxed a little, just for a second. Then there was an urgent banging on the front door, and they both flinched.

"Cellar?" Cara suggested, and Orana nodded.

"Cellar indeed."

She leaned into the fireplace and grabbed something from the far side of the hearth, and chivvied Cara down the stairs as the sound of splintering wood shattered the air behind them.

Cara felt a chill go through her as she remembered her father's warnings: If you hear the Templars coming, you run, Cara-hase. You don't look back, and you don't stop. Who else would dare to knock down her mother's door, but the monsters that still haunted her father's dreams?

"Orana," she whispered, into the dark. "Did I ever teach you the Rabbit Game?"

The Rabbit Game was one of Daddy's inventions. They'd played it ever since she could remember, ever since she was small enough to toddle after him, clutching the hem of his robes. The rules were simple - you had to make it through the passage from the cellar to the clinic, as quick as you could, making no noise, leaving no footprints. When she'd been very small, he'd given her a handful of veilfire to light the way, but grownup girls and clever little rabbits had to play the game in the dark. Foxes and wolves could smell smoke or magic on the wind, and if they caught you, they would eat you all up.

When she was a baby, being eaten all up wasn't scary. It was being scooped up in her father's arms and tickled and kissed and fussed over until she squealed. But then she got older, and realised he wasn't trying to teach her to hide from foxes and wolves, and that there were worse things that could happen to a girl than to be eaten.

Still, as she crept along the narrow passage between cellars, Orana's hand gripped tight in hers, she pretended she was playing the Rabbit Game again, that the footsteps she could hear distantly were her father's, that the worst that would happen if they were caught was that she wouldn't be taken out to the market for sweets. Panicking wasn't how you won the Rabbit Game. If you froze, or you made too much noise, they'd catch you easy as anything.

Run, Cara-hase. She ran, as light on her feet as they'd practiced, making cushions of air beneath the soles of their shoes to catch them before they could clatter. She heard, distantly, a shout that sounded a little less muffled, and felt Orana squeeze her hand and try to muffle a sob. She tightened her grip, and kept running until she felt her outstretched hands catch on the false panel that led to the clinic. She closed her eyes, remembered her father's voice in her ear: Just above your head, there are three nails to press on. The second, then the third, then the first, got that, little rabbit?

She was taller now - they were on a level with her breastbone - and she pressed down on them until she heard the reassuring click of the door opening. She pulled Orana through and closed it softly, collapsing against it. The passage continued round a corner, and hopefully the- whoever was chasing them would follow it rather than them. She'd done it. She'd won the Rabbit Game, and they were in the clinic, and Daddy would be here and tell her everything was alright-

Orana was staring at her, and she realised she'd said her names three times, and she hadn't heard. Why hadn't she heard? She was meant to be listening, meant to be calm and grown up, but she felt suddenly small and shivery and scared.

"Cara," Orana said, crouching to take hold of her shoulders, as if she was a very little girl. "Do you know where your father is? He seems to have- stepped out, for a moment."

That didn't make sense. Mama had gone to the Gallows, she said, to make sure the mages were safe, but Daddy had said he'd be at the clinic. He was supposed to be at the clinic-

Cara's breath was quickening in her throat, and now she really wanted to cry, which was stupid, because nothing bad had actually happened, and at any minute her father would be back and would explain everything. Nothing was actually wrong. Nothing was actually wrong, because if something was actually wrong-

She could hear the sound of people rushing around outside, of crying and screams, of wood cracking, and she knew in her bones that something was Actually Wrong, which made no sense. If something were that badly wrong, Daddy would be at the clinic, making sure people had a safe place to go, that anyone who was hurt was taken care of. And yet, the clinic was empty, holding nothing but a silence more horrible than the noise outside when it should have held warmth, comfort, safety.

"I don't-" She swallowed, tried to make her voice less shaky, because she had to be brave, because Orana was probably more frightened, "I don't know where he is. I- he'll be back soon."

It didn't feel like he'd be back soon. The surgery was too tidy. Daddy's desk was usually piled high with papers she wasn't supposed to look at or (when she was too little to understand) draw on. Now it was swept clean, his healer's kit sat neatly on the chair, as if waiting for him to return with far more patience than Cara. It felt wrong in a way she would not have the words for for years. It felt like he was already gone, and fear sank into the hollow between her ribs and made her heart flutter like a caged bird.

"I- I'm sure he will," Orana echoed her, and squeezed her shoulder. Cara wished she hadn't. Orana was not a very good liar.

A fist slammed into the door to Darktown, and they both flinched at the sound. Orana shoved her down under the desk, so hard and so sudden she slammed her head against it and cried out.

"Ow, Orana-!"

The rapping came again, more urgent this time. Orana's hand clapped down over her mouth, her grip on her shoulder painfully tight.

"Please!" A rough voice called from outside, "For pity's sake, if we ever needed a healer, it's now!"

Cara was not a healer, was barely even a mage, but when the banging came again, she knew what her parents would have done. She wrenched herself from Orana's grip and ran to the door, yanking it open. Outside there was a small crowd of people, pressed tight against the clinic's wall to hide from the chaos outside.

She looked up at them, feeling suddenly very young and very out of place in her pretty embroidered dress with its fine ruffled petticoats. Even of the smallest of the children looked older and more tired than she'd ever felt. She swallowed, looked up at the nearest grown-up (a man, heavily scarred, bleeding from a deep cut on his scalp, and said: "He isn't here, but- I can help you, or try."

He stared down at her through his one remaining eye, and she felt a little sick. "You're just a kid," he said, with something like disgust, and she almost wanted to cry. Then she felt Orana's hand on her shoulder again, and realised that if she could be brave for Cara, when she was so much more scared of so many things, Cara would have to keep being brave for everyone else. She wondered if her mother had ever felt like this - too small and too frightened and having to do the brave thing anyway, because there was nobody else to do it. She hoped not. Being a hero shouldn't feel like this.

She swallowed down the sick she could taste at the back of her throat. "Maybe, but- I'm all there is right now."

He made a scoffing noise, moved to wheel away, but another man, shorter, face badly bruised, caught his shoulder and gave him a glare. "D'you know anything about healing?" he demanded, and she wanted to say No, she wanted to say Go away, she wanted to say I tried to be nice and you're being rude, because nobody had ever spoken harshly to her before, but that isn't what a hero would do. That isn't what her parents would do.

So she put her hands on her hips and said, in her mother's voice: "I know everything my father taught me, and Orana knows some too. And- and if I can't help you, you can wait here until he comes back."

He would come back. He always came back. It was the promise he made every time he had to leave unexpectedly, and couldn't tell her when he'd be home. He'd kiss her forehead and say: I'll be back soon, Cara-hase, and I'll bring your mama with me. He hadn't said it this morning, but then, they'd argued this morning. He'd been in one of his black moods where only Mama could reach him, and she'd pestered him for attention rather than leaving well alone. Maybe that was why she couldn't find him now.

She shook that thought off and stood aside, letting the people flood in. Some of them were limping, supported by friends or family, or favouring arms that were clearly broken. Cuts and scrapes she'd seen plenty of - she knew from memory how to clean a wound out with elfroot, and Orana, steeling herself, could close up the longer or deeper ones with neat, careful stitches. She'd never seen bruises so dark or so big, but she spread spindleweed balm across them nonetheless and said calming things like There, all better, and It'll be fine if you're careful, even if she wasn't sure it was true.

"The tunnels keep collapsing," the man with the bruised face told her while she smeared gooey spindleweed across it, as his husband swore loudly through Orana's stitching. "Whatever happened up in Hightown, it's shaken the foundations, and the Templars… they're looking for- someone."

He cut himself off as he seemed to focus on her face for the first time. "You said your daddy would be back soon?"

She nodded. "He always comes back."

He sighed, looked past and through her. "They always do, kid. Until they don't."

She shook her head, tried to remind herself that he didn't know her parents, that they always came back to her. That they were heroes, and that meant they always came home. She told herself that over and over again as the hours passed, as more people flooded through the door - some she could help, most she couldn't, even as she rationed and diluted the few elfroot potions kept aside for emergencies, and she didn't feel like a hero at all. She felt like she was a little girl again, and school had finished, and nobody had come to collect her - the cold, uncomfortable feeling of being forgotten, mingled with the fear of something Very Wrong having kept her parents away. At least now she was busy - now she was helping people, if only a little. Then she'd had to sit in the Chantry while the sisters did evening prayers, the stench of incense making her feel sick and sleepy and even more forgotten than she felt now.

Like the last time, when her mother finally came, she burst into angry, relieved tears like a baby, and flung herself into her arms. She'd been trying to be a hero, or at least a grown-up, for far too long, and suddenly she was hot and tired and hungry and scared but her mother was here and those were no longer her problem to fix.

"Where's the healer?" someone demanded over her head, and she relaxed, waiting for the reassuring answer.

Instead, her mother said: "Gone," and that was when she realised that this was nothing like the Qunari attack, that her life would never be the same again. That the world could be cut into two neat halves by a single syllable.

[imissthembutitwasntadisaster]

I say this as someone who stopped watching after Capaldi so I can't say anything about after that but the reason why I prefer the RTD seasons to the Moffat seasons btw is that Moffat is incapable of writing a main companion who wasn't special - everyone had to have something particular or unusual about them, Amy was the girl who waited for the Doctor, Rory was the closest we got to this but he was literally plastic, don't get me started on River Song, and Clara was the impossible girl from the start. I've seen people (beloved mutuals but I can't quite remember which ones so if you're reading this ily I'm not vagueposting on purpose) say that Moffat valued mundanity more than RTD but his companion backstories refute that. Whereas Rose, Martha (Martha especially my darling Martha she didn't get any magic or space science she was just so incredibly brave and clever and kind, Martha who was mistreated by the writers and yet still is this stunning representation of look this is what ordinary people can do! This is how good they can be!), Donna, they're extraordinary in their ordinariness, and that's really emphasised and I like it so much more. I prefer how Moffat handled the doctor himself (but to a large part that might be I prefer how 12 was handled overall), but in terms of companions the first four seasons were the best to me because they really dug into how companions aren't special, they're people like you.

[tmae3114]

NOTHING makes me feel as much like I might somehow be living in a different reality than everybody else than seeing the way some people talk about A Certain Specific Animated Webseries That I Like

"it has so many female characters and yet hates women" "it's terribly written" "it's a shambling corpse of what it once was" "how does it keep getting made" "nothing in it makes sense!" "it's completely shallow and exists only to service shipping"

I have NO EARTHLY CLUE how they are getting these things out of the incredibly well made science-fantasy epic I've been watching for the past decade

[dbssh]

my take on starscream and windblade is i genuinely think their dynamic by the end of the series rocks. when starscream is incredibly fond of her and respexts her and sees her as not only an incredibly capable leader but a fundementally good and better person. and windblade is like 😬 starscream? well shes dead now so we never ever have to unpack all that. so uh. lets move on.

[makingqueerhistory]

":')))))))) you realise that gen AI is available to everyone though right??? Queer creators can use it just as much as anyone else??? I just don't understand this post... It really feels like a cheap way to get on the 'AI Bad's bandwagon, and coming from such a thoughtful and insightful creator that's incredibly disappointing... It's okay to not comment on subjects you're not an expert in y'know...?"

Y'all know the drill, I am replying to this publicly but that is not an invitation to send any negative messages to the person I am replying to.

Anyways, let me start by saying that the original context of the post you're replying to is discussing an event where a queer org used generative AI to steal an interview with Keri Hulme. So let's start there. To be clear I don't even know if the original interviewer was queer so let's put the identities of stealer and stolen from to the side. I want to explain the harm done in this example specifically and I hope this is illustrative of what harm generative AI can (and does) do.

The original place I saw generative AI was a queer org that explicitly says they are using generative AI "for good", and as a way to bring more queer history to light. So let's take them at their word, and assume they are not out to cause harm. This is the best example of generative AI that I can imagine, so I hope that makes it clear that I am not coming at this issue from bad faith in any way.

Here is the harm they are causing:

Decontextualizing and rephrasing an interview: I am not going to pretend that I am an expert in academic best practices, but I do believe one thing, if a person is speaking on their own identity and lived experience, it is always much better to directly quote than it is to rephrase. As I read this source, I initially didn't know that it was AI, and I was already upset. An interview that is widely available on the internet with no pay wall, was poorly sourced and made more vague than it was in the initial text. By creating one degree of seperation between the original words of A WRITER (whose literal job was largely based in choosing the right words to describe experiences they had) harm is already done. It makes vague what was once clear, and removes Keri Hulme's voice from her own narrative.

The original interviewer is not paid, or given proper recognition: I get it, sometimes just copy pasting an interview doesn't feel transformative enough, but something that one would learn if they worked in the queer history field and weren't a literal robot rehashing what has already been said, is that not everything needs to be transformed. In those cases, we give credit to the person who said the original words (in this case Keri Hulme), and the interviewer who facillitated the conversation (in this case Shelley Bridgeman). This case (again a best case scenario), takes the attention and byline away from the original interviewer and gives it to an AI.

The original publisher of this story is deinsentivised from paying interviewers in the future: The original publisher of this interview has ads on their website. As a person who also has ads on their website, taking an article like this and rephrasing it for no good reason (the orginal word count was not prohibitive and the rephrasing did not make it more readable), takes money from the publisher. It's pennies, but it's also removing numbers could have been used to justify further interviews with asexual people and archiving of asexual stories. The org that stole from this publication does not interview people themselves so the money and numbers that could have gone to continue to preserve asexual stories goes to stealing them instead.

These are just the active harms that I saw in this specific case. As you said, I am not an expert in generative AI, and will not be speaking as if I am. But I will say that asking me not to speak out on active harm that is being caused in queer history spaces, is disrespectful to my many years in this field.

To illustrate this even clearer: if you were a patron, you would know I recently took down an old article. I have been rereading and editing our backlist of articles, and I found one that no longer fit my standards of sourcing. My standards had recently raised due to a video made by HBomberguy about someone in the queer history space who was stealing from other creators. I watched this video not as a work project, but because I watch most of HBomberguys videos, and this one made me think more critically about sourcing. An AI can't do that. All an AI has is what has been inputted, and it is right now impossible to input every available peice of information about ethics into an AI and get a coherent ethical basis on which it will function.

It is a distinctly human trait to absorb information and change in that way. AI can rephrase information that already exists, steal it, recontextualize it even, but it cannot create something altogether new.

Do I believe that there one day might be an ethical use for Generative AI? Maybe. Do I believe that coming into a queer history space, stealing the words of a Maori asexual author, rephrasing them, and giving the original interviewer and publication no form of compensation for their work, is accomplishing that? No.

On a more personal note: I am coming at this issue with a bias. As a queer history creator, I do not want AI in my space, because it is literally damaging to my financial prospects. It has been like pulling teeth to try and get patrons in the current state of the global economy. I don't blame anyone from that, but I feel very disrespected that I am being asked to compete with a machine now. Not only that, but I am being asked to shut up and be fine with it? No, absolutely not. I cannot and will not stay quiet as space that I have fought tooth and nail to create in mainstream discussions is taken and given to AI.

AI was not supporting me when I was sent gore to try and scare me off of discussing queer history. A person did that. AI was not there to tell me I had written too many sad stories, and I needed some happy endings to remind myself of the good in the world. A person did that. AI was not there when I was being harrassed for supporting and including asexual stories on my website. A person did that.

And after all that, I am being asked to lie down and take it when my ability to pay the people who supported me in those ways, is being threatened. Nope. Not going to happen.

An AI doesn't have to make rent. An AI doesn't understand what it feels like to have to stop holding their wife's hand in public. An AI didn't get calls from people needing comfort in reaction to the election. Pay me for my work, and get this AI nonsense out of my face.

[sammydem0n64]

The whole plot of Crumbled! (at least the main plot since several characters aren’t. Involved in that. Funny side plots and characters baby!) is how organized crime affects people, inside of it and out. It’s how members of the mob don’t have anything else they can do in life aside from the life of crime, it’s how the general public are harmed by organized crime even if they aren’t being targeted personally, it’s how being a member of this lifestyle can destroy or build your relationships, it’s how no one is pure evil or pure good, it’s the complexity of people while also being about The Horrors.

No one here faces “traditional consequences” to their actions, aside from a few. Hershey doesn’t go to jail, Donna doesn’t die, etc etc. This is a story that doesn’t need those consequences. From day 1 you know these characters are doing horrible things, and at the same time these characters learn and fully comprehend they’re doing bad things. The most they get as “traditional retribution” is how some of their personal relationships are affected. Aside from that, these fuckers dont NEED what the masses would deem a traditional consequence because the entire fucking plot is them going through the horrors because of their actions! Being in the mafia and seeing and doing horrible things while having to just live with it is a pretty damn good “consequence” to me! Melphis doesn’t need to go to jail because “he needs to suffer the consequences of his actions” when every single damn day he suffers‼️

Even if Cheon’s family isn’t destroyed, even if the Oreona family doesn’t ostracize it’s members that are criminals, even if the extremes aren’t reached in these “consequences” there’s still a damn effect!!! But at the end of the day like I said these guys suffer the consequences of their actions constantly so they don’t need jail time or death or anything like that oh my god. And if you think that’s wrong and makes me romanticize, endorse or fucking glorify the mafia because Melphis doesn’t get locked up and only two members of the Oreo Gang die in the end then OHHHHHH GROW UP‼️ GROW UP‼️‼️

[byoldervine]

Writing Tips - Character Tone VS Narrative Tone

Sometimes characters will do things that they believe are good or bad, but the narrative tone tells you otherwise. It can be hard for some people to separate the character’s feelings and actions with what the writer is personally agrees with, so let’s look into how we can make that happen - which also works as a media literacy guide of what to look for when theorising - and only theorising - if a writer does or doesn’t agree with a character;

1. Tonal dissonance. If a character’s mood doesn’t pass the scene’s vibe check, chances are that the character is about to do something the narrative isn’t framing as a good thing. Say Character A is telling Character B a secret they learned from Character C. B’s response might be to be confused or concerned about the situation and ask why A would tell them. Mixing in other bad vibes, such as the weather or setting or lighting of the scene, can additionally make the audience question whether the action was right - and bonus points if they also have the offending character acting poorly in other ways or getting called out for previous wrongdoings in the same scene

2. Karma’s a writer. Actions have consequences both in and out of your story, and using them to reward or punish choices your characters make can indicate whether or not they were the right thing to do. Expand on that through character interactions if you want more nuance

3. Hide away. A character hiding their actions for whatever reason can indicate that, even subconsciously, they’re aware that it wasn’t something others would approve of. Make them sweat, have them struggle to keep it secret. Let it lead to more wrong moves in future to cover up for the original issue, such as one lie covering for another lie. Let it become more trouble than it’s worth until they have to accept that they messed up, even if a bit of stress was the only karma they get for it in the end

4. Pick a theme. Between overarching themes and individual character themes, you can potentially come up with some pretty good long term lessons; if the character acts against the themes and the lesson they’re going to amount to, punish them for straying in a way that’s appropriate and proportional to the act, then work it into some sort of lesson for the character to learn. For example, if the theme is nature vs nurture and you want the lesson to be being true to yourself rather than what others make you into, a character acting on nurtured traits rather than natural traits might be punished through pressures to conform and the act getting amped up as further conflicts between the two sides of themselves present

5. Recruit a mouthpiece. Which character would be the most likely to call out the offending party’s BS? See if you can come to a scenario where they’d do so - albeit making sure it all stays natural and in-character. Maybe they go about it in a way that doesn’t even hit the mark, but at least it’s been said so your audience has had it addressed. Remember; don’t just insert X random character and have them be uncharacteristically analytical, have it be someone who would already do that and word it in a way that fits their character voice. Above all the interaction needs to feel natural rather than forced

[fuckyeahisawthat]

There are so many places in the Villeneuve Dune adaptations where he just...takes all the narrative pieces that Frank Herbert laid out and subtly rearranges them into something that tells the story better--that creates dramatic tension where you need it, communicates the themes and message of the book more clearly, or corrects something in the text that contradicts or undermines what Herbert said he was trying to say.

The fedaykin are probably my favorite example of this. I just re-read a little part of the book and got smacked in the face with how different they are.

(under the cut for book spoilers and length)

The fedaykin in the book are Paul's personal followers, sort of his personal guard. They show up after his legend has already started growing (the word doesn't appear in the book until chapter 40) and they are people who have specifically dedicated themselves to fighting for him, and right from the moment they're introduced there is a kind of implied fanaticism to their militancy that's a bit uncomfortable to read. They're the most ardent believers in Paul's messianic status and willing to die for him. (They are also, as far as you can tell from the text, all men.)

In the book, as far as I can remember (I could be forgetting some small detail but I don't think so) there is no mention of armed resistance to colonialism on Arrakis before Paul shows up. As far as we know, he created it. ETA: Okay I actually went back and checked on this and while we hear about the Fremen being "a thorn in the side" of the Harkonnens and we know that they are good fighters, we don't see anything other than possibly one bit of industrial sabotage. The book is very clear that the organized military force we see in the second half was armed and trained by Paul. This is exacerbated by the two-year time jump in the book, which means we never see how Paul goes from being a newly deposed ex-colonial overlord running for his life to someone who has his own private militia of people ready to give their lives for him.

The movie completely flips all these dynamics on their head in ways that add up to a radical change in meaning.

The fedaykin in the movie are an already-existing guerrilla resistance movement on Arrakis that formed long before Paul showed up. Literally the first thing we learn about the Fremen, less that two minutes into the first movie, is that they are fighting back against the colonization and exploitation of their home and have been for decades.

The movie fedaykin also start out being the most skeptical of the prophecy about Paul, which is a great choice from both a political and a character standpoint. Of course they're skeptical. If you're part of a small guerrilla force repeatedly going up against a much bigger and stronger imperial army...you have to believe in your own agency. You have to believe that it is possible to win, and that this tiny little chip in the armor of a giant terrifying military machine that you are making right now will make a difference in the end. These are the people who are directly on the front lines of resisting oppression. They are doing it with their own sweat, blood and ingenuity, and they are not about to wait around for some messiah who may never come.

From a character standpoint, this is really the best possible environment you could put Paul Atreides in if you want to keep him humble. He doesn't get any automatic respect handed to him due to title or birthright or religious belief. He has to prove himself--not as any kind of savior but as a good fighter and a reliable member of a collective political project. And he does. This is an environment that really draws out his best qualities. He's a skilled fighter; he's brave (sometimes recklessly so); he's intensely loyal to and protective of people he cares about. He is not too proud to learn from others and work hard in an egalitarian environment where he gets no special treatment or extra glory. The longer he spends with the fedaykin the more his allegiance shifts from Atreides to Fremen, and the more skeptical he himself becomes about the prophecy. This sets up the conflict with Jessica, which comes to a head before she leaves for the south. And his political sincerity--that he genuinely comes to believe that these people deserve liberation from all colonial forces and his only role should be to help where he can--is what makes the tragedy work. Because in the end we know he will betray all these values and become the exact thing he said he didn't want to be.

There's another layer of meaning to all this that I don't know if the filmmakers were even aware of. ETA: rescinding my doubt cause based on some of Villeneuve's other projects I'm pretty sure he could work it out. Given the time period (1960s) and Herbert's propensity for using Arabic or Arabic-inspired words for aspects of Fremen culture, it seems very likely that the made-up word fedaykin was taken from fedayeen, a real Arabic word that was frequently used untranslated in American news media at the time, usually to refer to Palestinian armed resistance groups.

Fedayeen is usually translated into English as fighter, guerrilla, militant or something similar. The translation of fedaykin that Herbert provides in Dune is "death commando"...which is a whole bucket of yikes in my opinion, but it's not entirely absurd if we're assuming that this fake word and the real word fedayeen function in the same way. A more literal translation of fedayeen is "self-sacrificer," as in willing, intentional self-sacrifice for a political cause, up to and including sacrificing your life.

If you apply this logic to Dune, it means that Villeneuve has actually shifted the meaning of this word in-universe, from fighters who are willing to sacrifice themselves for Paul to fighters who are willing to sacrifice themselves for their people. And the fedaykin are no longer a group created for Paul but a group that Paul counts himself as part of, one member among equals. Which is just WILDLY different from what's in the book. And so much better in my opinion.

[isakvaltersnake]

things from the 2001 television programme band of brothers that haunt me to this day:

- we’re paratroopers lieutenant, we’re supposed to be surrounded. not to be your 60 year old military obsessed uncle about it but that line goes hard

- nix’s little giggle he does sometimes

- I’ll never forgive them for leaving gene’s medic training out of their training montage. in fact you know what? go back in time, film a parallel sequel of the other 9 eps from gene’s pov

- popeye’s “they called you guys too?” and the way his accent specifically scratches my brain

- they gave me moose heyliger and his massachusetts accent for like 20 minutes then the narrative snatched him away from me and i still miss him

- the way meehan looks at winters after he tells him to close the flap, in fact let’s talk about how every single one of winters’ commanders are obsessed with him in one way or another he truly is the it girl

- the chaos and fear that precedes gene and the calm and comfort that follows him

- I know everyone thinks “we’ll go to chicago, I’ll take you there” is the insane line but the one that actually makes me lose sleep is “what, and give up all this?” THAT MAN SAID I WOULD RATHER LIVE THROUGH THE HORRORS OF WAR THAN HAVE LIVED MY LIFE WITHOUT YOU

- alley is So Beautiful and I don’t think we collectively talk about it enough

- babe being some rando replacement in episode three and whilst his other replacement friends are being absolutely roasted he is immediately adopted by bill and then gets gene fucking roe of all people to connect to him?? he’s too powerful I need to study him

- speirs being this ghoulish terrifying boogeyman until lip is anywhere near him then he’s suddenly dimples and kicking his feet and giggling

- speaking of lip and speirs their little sarcastic in jokes, lip finishing speirs’ sentences fml it’s giving married

- you been working out? IN FRONT OF EVERYONE?? LIEB YOU SLUT?? THEN YOURE GONNA LAY IN HIS BED WAITING FOR HIM??? insane behaviour

- the unexplored but high potential friendships and the way I wanted like 16 more episodes for shifty and lip, nix and luz, nix and web, sisk and perconte, winters and gene, grant and tab, lieb and alley, speirs and harry, etc

- the more haggard and bitchy nix gets the hotter he gets. he also must be studied.

- “you should pack up those ears and go home” ok sobel kinda ate with that one ngl

- speaking of sobel the little confused/bewildered/piss-pants faces he makes david schwimmer the actor you are

- the silly little wide stance pennywise ass run hall does before he gets murked RIP king

- klepto speirs ilysm

- joe toye and his brass knuckles are v sexy

- sink letting nix give winters his oak leaves was very shipper girl of him

- lip harry nix speirs winters in the eagle’s nest dream blunt rotation

- the unsustainable amount of cunt served by nix, frank, babe, and luz at all times is truly a marvel

- tab really checked lip’s dick and balls mid battle and honestly that’s friendship

- bit parts for simon pegg, tom hardy, andrew scott, james mcavoy, michael fassbender, jimmy fallon ?? bob casting director you will always be famous

- peacock is so fine if he was even a little good at his job I’d be obsessed with him (special shout out to the scene of him getting sent home on furlough)

- I could list out every one of their meaningful little moments together but really it’s babe and gene just tethering and grounding each other and how they seem to gravitate to each other out of blind instinct? that’s some Brontë whatever our souls are made of bullshit I’m afraid

- ok I know I said I wasn’t talking about little meaningful moments but gene staring across the convent at where babe is sitting, lost in the peace

-bull in replacements getting imprinted on by a bunch of baby ducks and being SO PLEASED ABOUT IT he’s not the stepfather, he’s the father that stepped up

- speaking of, the underutilization of bull in the back half is such an out of character bad call

- you are officers, you are grown ups, you oughta know. HE’S RIGHT AND HE SHOULD SAY IT AND THAT’S ON GENE BEING THE ONLY ONE ALLOWED TO TELL OFF WINTERS

- I know nix and winters are married and whatever but the real married couple behaviour is luz constantly pissing off joe and joe immediately letting it go

- lip and speirs and their mutual competency kink

- I’M REAL SORRY FRANK skinny ilysm

[zeta-in-de-walls]

A quick timeline of Tommy and Dream's friendship.

Dream and Tommy streamed together and they had a good time so Dream invited him to his server. Tommy streamed on the DSMP server and there's where he and the server both started to really blow up. Tommy and Tubbo were 16 and Dream was 21. (Tommy was on around 250k on youtube when he joined the server and Dream was at like 4 mil).

Dream gave Tommy a bunch of youtube advice around this time as well and they got into lots of long night calls as they were both pretty hardworking and interested in making it big on youtube.

When Tommy and Dream streamed together their streams were very popular. Their comedy seemed to mesh really well but there was some underlying friction. Tommy is hugely sarcastic and plays minecraft very ironically. He would at times like to misinterpret what people said and then remind them that he's a minor. Some of these jokes were funny. A few were more grating for me personally (Eg I never liked the 'what's the worst word you know' jokes). But yeah this was purely comedy and Tommy loves to take the mick out of his friends. Also sometimes Dream and his friends did make the odd inappropriate joke.

Eventually the server and the fanbase got really big and people got super invested into the minecraft roleplay. Tommy and Dream's exile arc where Dream played a cruel villain and Tommy his victim was particularly notable creating a huge narrative around their characters' dynamic.

Then Tommy started to get burnt out on the server. Everyone was a bit. Dream was also rarely ever online not to mention other things going on. Whatever the case, the DSMP was coming to an end.

There had been plenty of drama amongst the CCs and Dream had been through plenty. The most famous was the speedrunning cheating scandal. There was also the manatreed thing. But allegations started coming out that Dream could not ignore. He'd apparently been sexting a minor. A few other stories came out too. And fans began distancing themselves from Dream. There was pressure on the CCs too.

However, Dream had convinced the server of a new vision: Dream SMP season 2!! Reset the server and do it all over again. End all the current plots as best you can and get ready for more!!! So they made a terrible ending of them blowing up the server.

And then a lot of CCs spoke out and said they didn't want to do DSMP season 2. It didn't feel right. Maybe because of the allegations, maybe because the plot sounded bad.

So Dream pulled the plug on the idea. Tommy was probably not best pleased that season 2 tanked so soon after the dark ending.

But Dream came up with a new idea. THE USMP. It would be an international server with live translation or something. All we know is that he had gotten Tommy on board and Tommy was excited by this. Tommy wanted to do another server with Dream still.

But yeah, the allegations hadn't gone away and a new drama surfaced. Quackity had plans for his own new SMP he was passionate about and Dream was threatened as it sounded so similar to his own plan. (They happened to have come up with the ideas independently.)

This erupted into drama as Quackity left Dream on read and didn't engage with him.

And Dream's server.... didn't happen. Again the server he'd promised Tommy didn't seem any closer to being realised. Just like in the DSMP, Dream wasn't shown to being much good at organising anything. The ending of the DSMP was badly managed because communication was so bad.

So as USMP wasn't happening, Tommy had been seeing what was happening, seeing both sides and wrote a skit. If youtubers were honest which made fun of Dream's response to Quackity given everything. Tommy was likely mad at the USMP's failure to manifest and also the internet was really turning against Dream. CCs in general didn't want to associate with him. Partially the allegations, but also he is a difficult CC to work with and Tommy was likely very aware having organised big videos and vlogs himself.

Dream was shocked by this video. He felt betrayed at Tommy and thought Tommy was being two-faced. Being sweet in private but milking him for views in public. So he became antagonistic towards Tommy.

At this point, Dream sent a DM to Tommy's mother complaining about him. Yeah.

Seeing Dream's crazy responses and also facing more wake-up calls about his teenage years with hindsight and the Wilbur situation, yeah Tommy was very happy to cut ties with Dream.

He didn't make a huge deal about it but he stopped making content with him and he and his friends would sometimes joke about him negatively, sometimes on his podcast, sometimes just jabs here and there. He and his community were both anti-Dream though he'd never made any public statements about it, or what happened. The history was fairly private.

Until now, Dream saw Tommy making fun of xQc and decided to lash out at him and his fanbase and air out every issue he's had over the last few years. Tommy responded, and made it very clear he's blocked Dream and they're done.

[rafry]

Euclydia, Cults and Need for Control

Disclaimer: this analysis raises sensitive topics. if you are/were a victim of a cult and the topic triggers you, please refrain from reading further(/seek help). Additionally, I am not a specialist on said topic, nor am I a clinician. But I am a survivor, so part of the narrative may or may not be just me projecting the trauma on a silly yellow triangle. That said, reader discretion is advised! :)

The take: Euclydia is likely to be a cult-like society and the reason Bill, after years of abuse, grows up to be as he is: a power-hungry monster. Let's analyze!

For the starters, The Start. Each state has its own anthem. How lucky that we were kindly provided with the Euclidian hymn (hidden under the code "FORGETTHEPAST")! Lets take a look:

"Two dimensions to and from, You always know which way to go If you're lost, don't be afraid, In Euclydia you've got it made! Run too far too right of frame, You'll appear on left again! Jump too high, don't fry or fret, You'll pop up from the ground, I bet! In this place there is no fear, Roles and rules, always clear, Euclydia, we hold you dear…"

That tells us way more than we could've asked for, really. The most important: Euclydia is a state of Clear Rules™. Everything works perfectly thanks to The Rules and The Roles, and the state is loved by it's citizens. It's might be a caricature 2D utopia, but how it reacts when the rules are questioned?

"Eye doctor of a different kind, who wants to make his patient blind The doctor says: 'three sips a day will make the visions go away' Fussy eater, baby Billy Wouldn't drink unless it's silly..."

If there's anything about cults and the way they make people behave, is that the "wrong" ones in the community are usually ostracized and/or heavily medicated to not cause any troubles. Those people are sometimes called 'heretics', but may as well just be called crazy or insane by their peers. Oh look completely unrelated picture:

"Cipher, Cipher, he's insane Starting fires with his brain"

Honestly, the other time it would be it. Euclydia, if not Is, then sure does Act like a cult in some way. I could've finished here, easily, but there's something missing, isn't?

"The hell do you mean by 'The Need to Control', OP?"

I mean that the BILLVILLE is important.

There's the thing about trauma survivors: some of us, after living a life with no control over ones societal position (ostracization/isolation), body (forcibly medicated) or even mind (feeling of inadequacy), crave for some form of control to be regained.

It can turn toxic very quickly when the only form of control one has ever seen in their life is being The Leader (cult leader/shitty parent/armageddon overlord/you get the idea, it's about becoming an authority figure).

And so, Bill becomes a cult leader! Very possibly covering up the need for control and admiration with what I call "The most inefficient way to build an Interdimentional Portal ever", since, well, he's got to lie to himself every now and then, that's his thing (trauma response).

As for the details:

He uses the dead mans body — the body that wouldn't cause any resistance, thus being perfect for taking under control.

He sees the position of the interviewer as more authoritative than the position of the interviewee — and he swaps the roles. That wasn't enough though, so he demands (politely) to be called "My Lord And Master" for a good measure.

He very possibly recreates some of Euclydia-like order in his own "Town" in terms of expressing individuality. They might've been pretty decent in following scripts, I think.

So, I don't think Euclydia has ever been religious in any way, since that would left some other scars on Bills psyche for sure. But highly authoritative, ignorant, strict in its rules to the point of self-damnation? That checks. That's the place that has formed Bill, after all.

That's the place that he wishes to rebuild.

Maybe not consciously, maybe distorted by his illness and broken memory of a loving-paradise-home that has never actually been that way, but he seeks the comfort of familiarity — most of us do. Familiar stings are better than an uncontrollable too-bright future, isn't?

I hope he does well on therapy.

[truelovepolinator]

Why I'm So Sure It's Luke

I've been pretty quiet here for a while. Much of that is because of the state of the world. I had a bit of a deep spiral last weekend about things happening in my country.

And I confess that the FB comment and funeral hubbub sent me into a corresponding (though temporary) Lukola spiral to which I was doubtless more vulnerable due to my already depressed state. Did I really have to lose my daily dopamine drip (aka, Lukola) just when I needed it most?

Short answer: Absolutely not.

I had already started to pull myself out of my Lukola spiral by Monday (the other spiral is still very deep), and video and photos of Nic that emerged on Tuesday and Wednesday shored me up until I was back to effing rock solid.

I often see things I don't agree with, even on the blogs of folks with whom I usually agree, and I simply move on most of the time. I don't comment. I feel no need to argue with people in their own blogs. In friendly spaces, I'll sometimes share counter opinions because I believe respectful dialogue and debate are important — and have all but disappeared in this era of instant blocks. And we all want to share information and opinions that help us fine tune our perspectives.

But if they're clearly dug into an opinion that I view as wildly wrong, there's little value for me in arguing with them. Let them think what they want. It's not my job to change anyone's mind.

The jakola takes are the easiest to ignore for obvious reasons. I've written extensively about JD's role in Nicola's life and there's no need to do so here. (Feel free to read my other posts if you need clarity around N & J's non-romantic relationship.)

Instead, the takes I find the most frustrating are from the Lukolas who have lost hope, the so-called "realistic" ones who think that we "just have to accept that they're not together," and maybe even that "Luke is with Ant."

To this, I respectfully say, we absolutely do not have to accept any such thing because the evidence is fully on our side.

Truth be told, I suspect I'm most vexed by these posts because I used to be one of those "realists." In late summer/early autumn, I had fallen victim to the fake narratives created by the paparazzi shots of both Nic and Luke, all designed to imply a certain narrative without either of them actually saying those things were true. I always believed NicLuke belonged together. However, I reluctantly accepted that "I guess Luke is probably seeing her" and "not sure about that guy, but the photos of Nic and him do look cozy."

I understand the impulse to surrender. It's so hard to have faith, to keep believing in something when there's an apparent narrative being constructed in the public eye that tells you you're wrong. It's painful (and feels delulu) to keep believing when you've been let down repeatedly by pap photos you assume are true.

It's very easy to accept a false narrative if you don't have the energy to dig in and really pay attention to all the signs and information available when you look for it. (This is true on the world stage as well, and we should all think very critically about the stories we're being told, but I digress.)

I wrote extensively and in gory detail about how and why I'm so sure about Lukola in my blog post "Nicola and Luke Are Absolutely Together...," which I'll link here for anyone who wants persuasion or reassurance. I won't rehash all of that here, but I do want to touch on a handful of milestones & crumbs, many of which are recent, that make me quite sure about Luke being the man in Nicola's life.

One of the recent assertions I saw was that we need to let go of the significance of the Claddagh ring. (I'm not putting anyone on blast. I can't even remember who said this, and I think it was someone I like, so no offense.) But I could not disagree with this more.

Claddagh rings are worn to represent relationship status more than anything. Yes, they can be given in friendship, but the orientation of the ring on the wearer's finger is fundamental to understanding the ring. Only someone with no connection whatsoever to its heritage or meaning would throw it on willy nilly in any direction they pleased.

Not everyone follows the rules closely. I wore mine for years, on my left ring finger, heart down when I was free, heart up when I was taken. I only stopped wearing it when I replaced it with my engagement ring. (Obviously, I was not following the traditional 4 steps.)

Some wear it just on a single hand, whichever they choose. Some might wear it just while single (even engaged), then replace it when married. Some use it to indicate engagement and marriage when that time comes, others focus solely on taken or not. Admittedly, not everyone follows every step closely.

However, Nicola is from Galway where the ring originated. She is deeply proud of her Irish heritage. There is no chance she would put that ring on any finger with the heart pointing toward her heart unless her heart was taken.

Now, let's remember that she picked that ring up while she was in Galway during the World Tour. She modeled that ring in Chupi photographs, with the heart pointing up (heart taken) wearing the same outfit she wore to the screening. The same screening where she hugged her mother to within an inch of her life, then introduced her mom to Luke. That was the most tearful, emotional intro I've ever seen between a guy and his platonic co-worker's mom, huh?

Hypothetically, could her heart have been taken by someone else at that stage? Well, do you really think a secret significant other — who was important enough to warrant a "heart taken" ring orientation — would be okay with Nicola not only getting the ring while she's physically with Luke (and flirting heavily), but also making that showy, deeply emotional introduction between her mother and Luke? If you were her secret, non-Luke SO, would you be okay with it?

There is literally no chance.

Chupi told us that ring was to commemorate Season 3 of Bridgerton. Again, would a secret, non-Luke SO be fine with her wearing a ring that symbolizes her Polin season with Luke as a symbol of this secret, non-Luke SO's love?

I won't even bother digging into the symbolism of the rings on the hands, but say it were true that she just wanted it to commemorate a special season. If her heart weren't taken, that ring on her finger would have pointed down. She told us the moment those photos were snapped that her heart was taken, and logic tells us that, at that moment in time, it could only have belonged to Luke.

Since then, lots of things have happened. There were pap photos galore, all telling a very different story, right? Again, it's very easy to accept a false narrative when it's spoon fed to you. But gosh, wouldn't those pap photos also provide excellent cover for two people in love, possibly nesting together, who also wanted to keep their love very, very private?

I talk a lot more about this in the above linked blog (and others) and I'm not going to tackle it here. If you don't want to believe it, that's your prerogative, but if you're curious about whether it could possibly be true, I encourage you to have a read.

So set aside the adjacents for now and focus exclusively on our girl Nic. What we know is that she wore that ring consistently through the summer and early fall, on her right hand, heart pointing up (heart taken). Then, in October, she switched it to her left hand.

Again, not everyone follows every traditional Claddagh step, but Nicola is a Galway Girl. If she's been wearing it consistently on the right, then suddenly switches it to the left where she continues to keep it consistently, she's not oblivious to the meaning of that switch. That switch is deeply significant.

Remember, the left hand is traditionally the hand where it's worn to indicate engagement (heart down) and marriage (heart up). And when she switched, she kept the heart pointing up.

Does that absolutely mean she's married? No. As always, we don't know any of them personally, so we can't say for sure. But simple, not-a-reach logic tells us that the way she's worn that ring is significant.

With that ring, Nicola has told us in no uncertain terms that she is in a significant, committed relationship (possibly engaged or married since October). And she's been in that relationship (or at least committed in her heart to that relationship) consistently since at least June (really, late April/early May when she commissioned it).

Will we ever know exactly what happened last summer while she and Luke were apart (Sorrento, Spain, Malta, etc.)? No, we won't — and frankly it’s none of our business (as curious as we may be).

But we know that Nicola's heart was taken by the same person throughout. Because logically, would she really have been so into Luke in June when all of the above happened (commission, putting it on, meeting mom)... then break it off... then, by October, find a new person to be so committed to switch her ring to the left hand? The math just doesn't math on that one.

It was Luke in June and it was Luke in October. And she's still wearing that ring in the same direction as of Wednesday night. So yes, it's still Luke.

But I promised you more recent hints and crumbs to support my certainty. Honestly, @frantastical has this stuff so magnificently catalogued that you really should check out that incredibly comprehensive "Multitude of Morsels" if you haven't already.

Still, here's a small handful of (by no means comprehensive) things I've seen with my own eyes in just the last month that have told me I'm sitting in exactly the right restaurant on exactly the right ship:

New Pink News story posted with an old quote (that would have been approved by Nic's team) where Nicola says, "That's all I want, is the girls and the gays. And Luke."

Both Ryan Wheeler and Shondaland openly shipping Lukola ("get married for real")

Nic's year-end photo dump threaded through with Luke, both directly and indirectly

Luke's year-end photo dump threaded through with Nic

Even one of Nic’s Doctor Who photos, which isn't associated with Bridgerton at all, managed to nod at Luke

Video clip re-emerges of the Featherington women giggling when Bessie teases, "Well, two people fell in looove, I gueeessss," then they all giggle and agree that they can't say who

Both of them unaccounted for over Christmas and New Year's (days that are usually spent with significant others) while the adjacents were both accounted for on both holidays

Old story somehow emerges in which Nicola says Luke makes everything better, and Luke says about the "friends to lovers" story that "that's what happened to us when we met." (I'm probably slightly paraphrasing, but close enough.)

Nicola turns up with a tan

Luke turns up with a tan

Luke comes online very briefly, just long enough to congratulate Nic on her SAG nomination, cheering on his queen, and then he's gone

Nicola posts a birthday photo that appears to be a cozy dinner for two with several hints of Luke, most notably the red and yellow flowers (red is for love; most people focused on yellow being for friendship, and I think that's true, but I also very much think it's for Polin. And either way, "friends to lovers" or "love and Polin," those flowers say Luke.)

Luke likes a Jack Rooke post about Big Boys. Bearing in mind that JR is one of Nicola's longstanding, closest friends, this clearly suggests Luke is getting to know him

Nicola swoops in to distract from last weekend's mess with a new, obviously staged pap drop (based on weather, likely from a while in the past and kept on hand for when it was needed), once again protecting Luke and his family

And then there are a handful of crumbs and hints that point to something else that I've been reluctant to talk about. I still won't get into it here, but I will say that there are definitely recent things that are suggesting to me a very specific, very happy story. These include:

ETA: Photo of Nic with two Dunkin drinks & two straws (drinking for two?)

"Shit Stirrer" tee-shirt, holding shirt just so with photo cropped very particularly (who exactly is the shit stirrer in that photo?)

"May your 2025 be as happy as this potato made me" (which potato?)

Video with the hot water bottle

Big Boys (clearly wearing the ring)

And that is literally all I will say about that. But let's just remember that all of this has taken place while Nicola continues to wear that Claddagh ring on her left hand, pointed toward her heart. Even in those silly pap photos with Jake from Monday.

The only times we've seen her without it were when she wore special, fancy jewelry for events (showy hand jewelry that she could prominently display by placing her hands in front of her stomach instead of on her waist or hips). Every other time, it's either there or her hands are (perhaps intentionally) hidden.

Doubtless some "realistic Lukolas" will read this and say, "But you're ignoring all the photos of Jake and obvious proof of how close they are."

To which I reply, "Yes, I am." Because I've written loads about that relationship, what it is, why it is so heavily documented, and what they each get out of it (other than friendship). Again, if you want to know more, feel free to read my blog. But those photos mean nothing to me because I understand the truth that lies beneath them. I have absolutely nothing against Jake. I think he's been a good friend to Nic, but that's all he is.

Meanwhile, we've seen nary a peep from Luke except to cheer on his girl, and going back a bit further, that very happy looking S4 selfie with Nic. Has anyone ever noticed how much more he smiles with Nicola than anyone else? His actual smile ratio with Nic compared to literally anyone else is off the charts.

So, yeah, it's Luke all the way. I don't know for sure when it started (might tackle that in a different blog), and I'm not sure how many times they've pressed the on/off button before locking in, but I absolutely believe they are fully locked in now. The evidence is everywhere.

As always, I say these two things. First, we know nothing for sure until Nic or Luke or both of them together make it absolutely, incontrovertibly clear to us. So could I be wrong? Yes, it's certainly possible. If I'm wrong, I'll admit it, and I admit right now that I will be heartbroken. I'm not going to front about this. But I don't think I'm wrong.

Second, you are very free to draw different conclusions. However, if you wish to do so, I invite you to consider the evidence as presented first. Especially if you've given up the ship because you're afraid to believe.

Have no fear, Lukolas. The evidence is on your side.

[egophiliac]

Okay so I've been wanting to tell you that you're literally my favourite twst artist 😭🩷

So my question is, how do you manage to come up with these funny comics? CUZ I LOVE THEM SO MUCH

(P.s: Lovin' the art style ✨)

oh geeze, thanks! 💚💚💚 I'm really glad people enjoy my stupid sense of humor; mostly I just draw things to make myself laugh, and if it makes other people laugh too, then bonus points! usually it's just one joke or mental image that gets stuck in my head (every time I saw Fellow spin his cane, all I could think about was him go-go-gadgeting away on it...) and in my quest to justify it, it picks up other jokes and bits along the way and usually doesn't even end up as the main focus anymore. entire narrative arcs have spun out just so I could use a single bad pun in a throwaway line. this is a terrible way to explain it but I'm not sure how else to put it into words!

and sometimes it's just "weird things my sister has said that I make fun of her for"

[yanmuffins]

I've been thinking and I've come to the conclusion that it wouldn't make much sense for Bruce to neglect one of his children.

Think about it, in canon, most of the mistakes he made that ended up harming his family were either because he was completely buried in work, or because he was slightly manipulated, both by the narrative and by third parties.

In addition, he also cannot fully communicate with others, both because of his early trauma, the loss of his parents, and all the loneliness caused by the grief he went through growing up. Not to mention the years of self-discipline and training he went through to become Batman. From everything he's seen and experienced, and all the scars he has, I can't imagine how much that grief and and especially a sense of justice, survived.

so I don't think he would simply neglect one of his children

What I propose is; accidental negligence. Think about it, if he is busy all the time with both Batman and his other persona, Brucie Wayne, and then the justice league, investigations, meetings of Wayne Enterprise, galas, charities, other rich people, the usual rogues gallery of Gotham, etc, etc, I don't think he has much time to spend with anyone.

He is able to spend more time with his other children because they are all vigilantes, like him, and are usually just as busy as he is. Having a civilian child in the middle of this mess wouldn't do much good, especially if that child doesn't know what they do most of the time, like, y'know, vigilantlism.

Imagine everyone's absolute horror when they realize, after the p&f reader is unfortunately busted, that they paid so little attention to that child that she managed to do all these crazy things right under their noses for the whole summer. And who's to say she hadn't been doing this before this summer? How many things have they inevitably missed in her life?

What I mean is that to counter the p&f reader's luck, everyone in the batfam is unlucky enough not to be able to spend time with her. And they are aware of it.

Their guilt would be immense and the angst would be delicious.

(And it would explain how Damian hás time to spend with p&f reader, since he's a kid and his only obligations are school, socialization and being Robin, so he would technically have more time??? If that even makes sense???)

context &. context.

YOU!! YOU GET IT!!

i wholeheartedly agree!

not that "accidental" neglect is any better, it's neglect all the same and has negative consequences in so many levels. but when we're talking about Bruce Emotionally Constipated And Terrible At Communication and Could Sometimes Make Better Choices Regarding His Kids Wayne, it could absolutely happen.

i'm not one to make character analysis because i have very shallow knowledge of Batman lore, but...

like you said, all of Bruce's children participate in vigilantism. they're all extraordinary, most have horrible trauma, and have relied on him for guidance. they are all Robin, and more relatable to him, in a way. that means he's consequently more involved in their lives, more physically there engaging with them, forming an emotional bond, acting as a mentor and father figure. on top of that, like you said, he has a whole life as Bruce Wayne and Batman going on.

which brings us to neglected! Reader, more specifically mine: P&F! Reader and Vampire! Reader.

on a... financial, material level, I believe they wouldn't want for anything. Alfred is the one managing their bank account and making sure they're well-provided for and though it's fun for angst purposes, i don't think they would have a tiny little bedroom isolated from everyone in the manor, mostly because it's our favorite butler who would select which bedroom Bruce's child would be staying at in this gigantic mansion with plenty unocuppied rooms. Alfred would NOT put you in the broom closet. it would be a bedroom that's at least as big as Damian's in Son of Batman, for example.

(i more than understand suspension of disbelief and playing around with all sorts of interesting concepts and characters, so I'm not criticizing anyone!)

in fact, i think it's kinda worse that, say, you have a bedroom that's a wall across from Tim's and he still kinda forgets you exist.

also, i believe Bruce's kid would absolutely have access to a more than generous amount of money. not broke at all.

so the only type of neglect going on here is of the emotional kind. your father and your siblings have created tight-knit bonds amongst themselves based on their shared experiences and the proximity brought by them all working as vigilantes, and you're just not a part of the club.

timing is also relevant.

P&F! Reader arrives at the manor some time after Damian, which means that not only have all relationships been formed over the years, Bruce has also experienced having kids, as well as having a biological child suddenly enter his life. they're a fish out of the water, and their dad is kinda awkward about this (apparently) normal child that showed up at his doorstep. while Damian is still kind of adapting, running around at night trying to bypass Bruce's security system and solve dangerous cases by himself, P&F! Reader is in their bedroom having a virtual sleepover with their Metropolis friends, streaming movies and eating caramelized popcorn.

fun fact: Damian and P&F! Reader are neighbors. he was not happy about Alfred placing his half-sibling on the room right beside his for the longest time. P&F! Reader has definetly caught him sneaking out, but they're no snitch. and you're right, he does have more free time, and he's also on summer break so no school and no homework to worry about. He's got free time to be his sibling's keeper.

and as we all know, the impression that P&F! Reader is just a normal regular kid that totally doesn't build ridiculous thingamabobs in their spare time, it's kinda easy to forget they're there amidst the Wayne family mayhem(s). Bruce is also kinda doesn't really know what to do with this kid or how to connect with them, but they don't really demand immediate attention and seem to be doing fine – so he probably shouldn't worry too much, right?

you could also argue that he's kinda awkward (emotionally constipated) with this kid and is very bad at consoling and accomodating them after the trauma that made them have to move in with him. he doesn't straight up forget they exist, although he starts paying more attention to them after Damian gets more involved in ther bio sibling's antics. and when it comes to siblings, it's just easier for their relationship to never evolve past more superficial interactions (with the exception of Damian who decides to mind P&F! Reader's business earlier on, more or less). P&F! Reader doesn't know about the vigilantism for a long time, so it's natural that they're excluded from any and all matters regarding that. and because everyone else is so busy with their own lives and P&F! Reader seems to be doing fine, so easy to overlook, has plenty of friends in and out of their new school and the Batfam is already a formed unit... Well, you get the picture.

there's also the matter of Damian. he is the kid that "needs more attention" because of his background. he's been through a lot. nevermind the possibility that you might also have gone throguh your own fair share of trauma, at the end of the day you're the easier kid. the "okay" kid with regular problems. which is sad and unfair, but that's what we're here for, isn't it? and Dick is the biggest offender when it comes to that.

not that P&F! Reader is bothered by any of that! They have an amazing summer ahead of them. 😎 It's definetly Batfam being unlucky that prevents them from spending time with P&F! Reader, but that allowed them to mostly enjoy summer without being smothered by their family. the guilt would be unmatched, that is for sure.

"And who's to say she hadn't been doing this before this summer?"

hehe :)

vampire! Reader (she was not mentioned but I'm talking about her anyway, spoilers for the fic because i want to rant) is a different story. again, timing. she arrived at the manor sometime between Dick leaving for Bludhaven and Jason being brought in, so she didn't really get a chance to develop a deeper emotional connection with Dick. that also means Bruce was a lot younger when he is faced with a biological child being thrown at his door, not to mention the less-than-ideal-circumstances in which she came to be in his custody.

and after trying to make her his newest sidekick didn't work, in the coming years he would dedicate most of his time to fighting crime as Batman and taking care of/mentoring Jason who had a rough past and is now his new sidekick. connecting and relating to Jason was easier than connecting with Vampire! Reader, but he always made sure to check on her and make sure she was okay (and the answer was always yes, because of course it was).

during this time Jason and Vampire! Reader were actually pretty close, but then he, uh. kinda died horrifically. so not only was Vampire! Reader dealing with the loss of her brother, her father was now full-on neglecting her, self-absorbed in his grief, so she felt the proper thing to do would be repress her emotions to accomodate her father and try to be his emotional support. not that it worked, but she was there! so we have the emotional neglect and we have Vampire! Reader starting to take a parental role for her own father because he's not being a parent for her. she was also completely alone in that huge manor with the exception of Alfred because none of the other kids were in the picture yet, and Dick had long since moved out. as you can see, not very nice :)

from then on she just kinda blends into the background. financially she's provided for. she is her father's daughter, so communication and expressing emotion are not her forté, but she tries her best to connect with the incoming batkids. it does not work. i have said this before, but she is the mature child, the (again) normal one who puts other people's needs before her, so she doesn't complain when Bruce makes time for literally every other kid who becomes Robin except her. but don't be mistaken: Bruce is definetly more controlling and aware of Vampire! Reader in comparison to P&F! Reader due to reasons (guess you can say early yandere signs?). Jason too is... Sort of complicated. the situation here is definetly darker and resonates with tone of the story better. and when Bruce realizes how terrible he was? oh, boy.

so I guess you can play around a lot with the neglectful! Reader trope, and that's what makes it so entertaining. yeah. that's all I have to say for today, I guess??