#their efforts are essentially interchangeable

[explorersaremadeofhope]

love how the GO radio drama is just totally unequivocal on the "funny if i did the good thing and you did the bad one" question by having war be like haha i can't wait to see the look on that sucker's face when he realises all the horrible shit his sword caused 😂

i love two phenomenally incompetent supernatural entities

[creatingblackcharacters]

“That One Hairstyle? RETIRE IT!” Black Hair is an Art (pt.1)

(This is part one of two lessons, with this one focusing on how our hair itself! The next lesson will encompass how to incorporate its existence into your writing. It'd be a massively long post otherwise.)

So! Black hair. Black hair is a CENTRAL, ESSENTIAL part of our culture and identity. Writing and drawing it means understanding the vulnerability and trust that comes with access to it, and yes, it is racist to suggest that ‘it’s just hair’ when our hair serves such an important role in our history and art. I already wrote a mini-lesson and ask on the topic, but being aware of what our hair looks like, and what means to us, will help you to understand why we care that you put in the effort to get it right.

Hair Textures

We are not a genetic monolith! However, for the sake of this series, we are focusing on 3C-4C, because 1) it's most likely to be seen in life and 2) least likely to be seen in popular art! When you are creating your characters, consider the style and care for THESE textures. I will get more into this next lesson.

Let's get into SOME of the hairstyles!

Afros (36 Afro Hairstyles)

“So, what’s the phenomenon behind the Afro? Well, it’s our hair in its most natural form, but that’s only part of the phenomenon. It’s a way to fight the status quo without saying a word.”

-Ebony Magazine, The History of the Afro

When nonBlack society hears ‘afro’, they think completely picked out, Black power imagery, political statement. And it was, and is! But in actuality, afros are just the natural hair growing out of a Black person's head. The same way your hair grows out of your head. Our texture. Even my hair is not allowed to be ‘hair’, it has to ‘assign’ my Blackness; my distance from whiteness. Imagine, the hair growing out of your head being automatically associated with how you should be perceived. Just by existing, it is making a statement in a Eurocentric society.

Braids (31 Braid Styles)

There are SO MANY TYPES of braids and ways to wear them. If you can imagine a design, I bet there's a Black braider that can do it!

CORNROWS ARE NOT AUTOMATICALLY BRAIDS! Internalize this! They may be used in the same style, but they are NOT INTERCHANGEABLE TERMS!

Braids are considered a protective style; that is, a hairstyle designed to let our hair 'rest' and grow without having to manipulate it. If you have a Black character that's constantly on the go and/or doesn't have time to focus on their hair, and you want an accurate, more true-to-life experience for them, braids can be a crucial part of character design.

Locs

(Yes, while that link has plenty of examples, it was also self-indulgent. Locs are gorgeous, Black men with locs are gorgeous!)

"Locs vs Dreads": As someone in the loc community, there’s been a push to refer to the style as ‘locs’, rather than ‘dreadlocks’. Some people with the style will not care, but others take it very seriously, so it’s something to keep in mind. There’s a societal stigma behind having locs, that they’re ‘dirty’ or ‘unkempt’ or ‘lazy’ and that is NOT true. Locs are beautiful, and they take far more effort than people seem to want to believe lmao.

Locs, though there is currently a positive revival, are still highly discriminated against. Kids have been expelled from school and even have had their hair forcibly cut off to be allowed to participate in sports. Many places won't hire you if they think your hair is 'unprofessional' or 'dirty', especially if you're a Black woman. To consider yet another example of the hair that grows out of my head 'dirty' is extremely racist.

LOCS ARE NOT BRAIDS!!!!

Locs are also a protective style, albeit a much more permanent one, and one that comes with a long history and culture behind it. Many Black people consider the biblical story of Samson to be a man with locs, and that our locs hold power within them. That not just anyone should be allowed to touch your locs. So, if you're interested in mythology and powers, that might be an intriguing way to go, that would be possible if you had a Black character with locs!

In Professional Media

The lack of awareness and concern about our hair isn't just a fan or amateur creator experience. It is ubiquitous in the professional media world. Black actors, actresses, and models have discussed having to do their own hair when working, because no one would properly care for it on set if it wasn't familiarly white. It’s admittedly grown better- however! After decades of not having options other than ‘stereotypical afro’, ‘box cut’, and ‘white people hair’, it is LONG PAST TIME to stop settling for the bare minimum in Black character design. We can tell when "one of us" (with some sense, at least) wasn't in the room to make decisions in popular media.

If you were curious about the lesson title, here's a current example of what I'm talking about in video games. Tell me if you see a pattern:

This style? The Killmonger? We seent it!!!! It has become the “hairstyle to show I understand the exaggerated swagger of a young Black teen” option, the "I know the Black people!" go-to, and frankly, we are all tired of it. Okay it was cute on Ekko. The Black Delegation DEMANDS the professional video game industry pick something else! We have SO MANY DIFFERENT HAIRSTYLES!

I'll give you an example on the other end (not trying at all; refer to Lesson 1) from one of my favorite games, Hades:

This is my blorbo. My favoritest guy. I’ll fight for Patroclus being Black til the day I die. While I begrudgingly settled in my excitement, I can tell you no one Black with any voting power was in the room at Supergiant when they approved this design. Why? His texture! Locs were such an easy option if they wanted long hair! Locs existed BEFORE Ancient Greece! The man did not have a flat iron while fighting in a war! A good Black designer would have considered that!

To give him a more accurate design, some artists (myself included) lean into giving him locs (one of my favorites is @karshmallow 's Pat; a phenomenal example in caring about your Black characters). It’s something Black fans find themselves doing- redesigning Black characters. That's not something we should have to do at all, especially in media we pay for!

But if you REALLY want your Black character to have straight hair, that leads into the last style of this lesson:

Straight Hair

We do have straight hair. But it’s not straight because it grew out that way! It will still look and be thicker! It might be a wig or a sew-in (human or synthetic), it might be flat-ironed (while relaxed? While natural?) It takes effort to get and maintain straight hair.

'I think it looks better good this way!'

If you catch yourself thinking this, this is a racist statement. Whether you’re aware of it our not, there is a bias towards Eurocentric/white features in our society, and that includes in our media. When you think “I only drew [this Eurocentric hair texture and style] because I think it looks good on them!” I want you to PAUSE and think about the WHY. WHY do you think that this Black person’s natural features are unattractive in comparison to the white hair texture you gave them? And how hurt might a Black peer of yours would feel hearing that you find their natural features not worth drawing because they’re “not attractive”. It requires approaching your own internal biases, recognizing them, and then working to unlearn them. And that means practice! Using references to draw our hair and styles, and growing used to using OUR features on US!

Doing it in Art

Me personally, I think if you think drawing thinner hair textures is easy, thicker hair textures should be a BREEZE. I was curious, so I challenged myself and-

(it took me about thirteen minutes total to do ol boy's hair and it's still not right. I'm sick fr y'all don't even know 🤢)

@ackee has a really good art lesson on the how-tos of drawing Black hairstyles. I highly recommend checking it out, as well as following and supporting a fellow Black artist (who is far better than I!)

Hair Brushes

Finally, an option you can use for painting is downloading Black hair brushes! Vegalia has an amazing array of brushes with different types of curls, locs, and braids at her Etsy store! You can also follow her on social media to see how she applies them, and support yet another amazing Black creative!

I know this was a long one, but you made it! Just keep going. Remember, it's the thought that counts, but the action that delivers!

[thevoidstaredback]

Phantom's Coffee

Enough Caffeine to Kill an Elephant Side Story

There is a lot that comes with being a ghost. Most of that is really cool superpowers. The unfortunate side effect with the whole being dead thing is that he doesn't have need for human functions or sustenance.

It had been a horrible thing to discover, really. The lack of constant need for sleep and food and drink was sometimes useful, but that came with the realization that nothing affected him.

At first, Danny and his team thought it was because he was dead. No blood flow, no working organs, no metabolism. This lead to a lot of experimentation. Drugs and alcohol had no effect, neither did poisons. He didn't get sick anymore, no matter what he did!

And then he realized that coffee didn't work.

Naturally distraught, Danny went straight to Frostbite to figure out what was going on. It's finals season, damnit! Coffee was gonna be the one thing to pull him through his studies!

"From what I can tell," the yeti explained, "your human functions have stopped. Quite the opposite, really."

Danny blinked. "But, I'm dead. Ghosts don't have working organs or stuff like that."

"Indeed, but you're only half dead."

"What difference does that make?"

Why did Frostbite now have charts, and where did they come from? "I can only guess, but when you died and brought back, the electricity jump started everything in your body. It essentially supercharged you. I can only assume that it'll die down in time to the point of non-function, but we can't know for sure."

"Wait," Danny's voice was nervous, "What does that mean?"

Frostbite took a minute to think over his words, looking for how to phrase what he wanted to say. "When you are alive, your heart beats slower than it did before your death, yes?"

"Yeah."

"That would be the effects of the ectoplasm that reanimated you. Your heart rate is slower, breathing takes a more conscious effort, your blood flow is slower, your organs are all working at half of what they used to." He took another moment of pause. "When you are dead, your heart beats faster than it did, breathing is faster, blood flow is faster, your organs are working at twice capacity."

Danny's breathing, now that he was very aware of it, picked up. "What- But that- What?!"

"With a high enough voltage, electricity kills. With a high enough concentration, ectoplasm reanimates."

"Reani- but I'm alive!"

"Indeed."

"But that doesn't make sense!"

"Doesn't it?"

"No!"

"Perhaps I should try a different phrasing." Frostbite said. "When you are Danny Fenton, you are more dead than alive in the sense that your body has been killed and not fully revived. When you are Danny Phantom, you are more alive than dead in the sense that your body was revived and not fully killed."

Danny was quiet for a moment. "Reanimated and revived aren't interchangeable, Frostbite."

"In some contexts', no. In others, they are."

"Are they here?"

A beat. "Yes."

Danny knew he was lying, but he didn't call him out on it. That was a crisis for another day, thank you very much.

So, higher metabolism for Danny Phantom, lower one for Danny Fenton. Great.

All crises pushed aside to freak out about never later, Danny's ew mission was to find out exactly how much caffeine would be required to give him the buzz of wakefulness that he was searching for.

Normally, the course of action would to be to measure how much e weighs and look up the maximum caffeine intake his body could handle. It was the first thing he tried, and it failed.

By the tried and true method of 'Fuck It, We Ball', Danny learned that he needs to have 35,000 milligrams of caffeine in a single sitting before any effect takes hold when he's drinking as Phantom.

The calculations running at a 5:1 ratio, caffeine milligrams to weight pounds, the lowest end on the scale of average weight of a small female elephant (3,175 kilos), multiplied by five gives him the 15,875 milligrams that would be enough to give him a low buzz and keep him awake for a few hours. That's enough to kill the elephants on the low end of the scale.

(Jazz vetoed any kind of caffeine that wasn't naturally occuring in chocolate when he's Danny Fenton. She said that he's already died once and that he doesn't need heart problems to kill him.)

(Danny calls bull, but he isn't willing to risk his sister's ire.)

Because he can't let finals get the best of him, Danny decided to take it a step further.

The highest end of the scale for the average weight of female elephants is 4,050 kilos, multiplied by the same five, gives 20,250 milligrams of caffeine.

Essentially, the lower end of the scale would give him the same effect as 99 (and a bit) 473 milliliter cans of Rockstar Energy Drinks in one sitting. The higher end of the scale would be 126 (and a bit) 473 milliliter cans of Rockstar Energy Drinks in one sitting.

All that was left to do, now that he has the maths for the desired effect figured out, was to mix that in his favorite drink: A Red Eye.

Truly an abomination for the ages.

After way too much brain power, Phantom's completed coffee order looks like this:

A large Red Eye with 20,250 mg of caffeine

2 tablespoons of cinnamon

1 tablespoon of honey

1/8 cup of chocolate syrup

and 3 mint leaves or 1 teaspoon of mint extract

(he added 4 shots of vodka when he turned 21)

Danny is gonna kick his finals' ass, and be hyped up on caffeine while doing it!

Storyboard

[evilwizard]

what's the difference between witches, wizards, and warlocks? i've tried looking it up, but all it only says that wizards and warlocks are male witches, which i disagree with, as i believe the magic style, vibe, and aesthetics are different, and i'm curious what your opinion is?

The real answer is that all of these words are basically synonyms, with different connotations due to various root words with various historical contexts. (“Warlock” for example being rooted in a late Middle Ages Scots term for magical practitioners suspected to be in league with the devil—from Old English wær, literally “covenant,” and leoga, literally “liar.” Essentially, those who broke their “covenant” with God and dealt in dark magic.)

But words change context based on our understanding of them, which is why in modern times you may have heard that warlocks are those who gain their power from a contract with some ethereal arcane force—a version popularized by D&D. In truth, the connotative differences between these words in most people’s minds are so slight, and they’ve been used interchangeably so much, that you can pretty much just reinvent their meaning for any given piece of fiction you use them in.

There has been a recent effort to needlessly gender these words, to be sure. We can thank J. K. Rowling for that. It’s remarkably unfortunate that such an uncreative—and, to be frank—noxious person occupies such a place of power in modern fantasy.

My personal headcanon for these words is this: witches tend to work magic with the natural order, wizards work against it, and warlocks are magical practitioners that deal with arcane contracts. (I actually rather like the D&D version, especially how it relates to the word’s etymology.)

Of course, you can use these terms however you like—which is a great thing, because fantasy is a genre with limitless potential!

[lookingthroughmirrors]

Opinion on how annabeth punches and pushes percy, the judo flip and percy being reduced to a himbo malewife in hoo (can't make his way out of a paper bag without annabeth).

(Please note most of knowledge comes from PJO and HOO as I have not read much of the later series, but I do know the main points and events that happened and have read certain pages *cough* judo flip *cough*

I’ll start with the first part, Annabeth punching Percy (which happens the first time long before HOO) and the infamous Judo flip, which is for some reason very controversial.

Most of the arguments I see are one of these few things.

1. Annabeth was worried and did it out love

2. They were raised as demigods (child soldiers) so it’s not the same/ they are used to violence therefore it excuses her actions

3. There is nothing wrong with her hitting because it wasn’t like

First off, all of these arguments and any other ones I’ve seen when it comes to this topic and defending Annabeth are bullshit. Why? Because there is no excuse to hitting a partner. Slapping someone’s shoulder while joking or something in a similar context is miles different to what was happening here. Annabeth hit Percy hard, and she did it with the intention of making it hurt. There is no excuse for that. Sure, they were raised as Demigods and violence has always been a large part of their lives, but then shouldn’t Percy also lash out and hit Annabeth if that’s the case? And shouldn’t that be fine too? You don’t hit someone out of worry or concern either, not hard enough for an army to believe you to be a threat. Annabeth has never been nice to Percy, she canonically say in TLT that she doesn’t care if he dies, only that she can go on the quest. And ok, maybe that could be written off as an immature twelve year old, if her actions in later books didn’t continually prove that she hadn’t changed or developed. I think another fundamental issue in her relationship with Percy is that she can never be wrong, Luke being the biggest example of this.

Percy, even with his history and past friendship with Luke, was able to look at things objectively to an extent. He says multiple times that Luke had a point. I honestly think if it had’ve just been Luke, if titans hadn’t of been involved, that Percy would’ve joined Luke. But that’s a whole other thing. I only bring it up because I think Luke particularly is the best example of Percy having far better judgement than Annabeth, who refuses to be wrong. Something that again is addressed within BOTL, when she challenges the Sphynx because of her pride, and is an asshole to Rachel because she doesn’t want to rely on another person and is jealous. She likes being the leader, she wants to be the person people rely on, but that has always comes naturally to Percy despite how much he himself hates it.

I personally would’ve far preferred Perachel to be canon than Percab*th. Percy is always stressed about Annabeth, about doing the wrong thing where with Rachel feels like he can be himself, not like he has to live up to some invisible standard he can’t ever hope to meet.

I also, as I’ve written about before when discussing Percab*th is that Annabeth is not an essential character to HOO, and that she could’ve easily been interchanged for someone more interesting and dynamically different. I think Percy was sidelined to try and give Annabeth more purpose in the story. I also think Percy is consistently put down, berated and underestimated. He literally has people thinking he’s a god when he first meets them, that isn’t someone who lacks power. I also think Annabeth has always been a little bit scared of Percy to certain degree. Or at least acutely aware that she would not be able to put a fight if Percy turned on her and he put in a tiny bit of effort.

I also Percy is never given enough or really any recognition of everything he did. That he took the prophecy so it wouldn’t go to Nico. That he turned down immortality, not for Annabeth, but because of a promise he made to Luke and his years long stance that nothing is worth living forever for. I think the nuance of Percy as a character, and his ability to connect with and understand characters like Like and Ethan is severely underdeveloped. He has never been blind to the gods faults, he didn’t do what he did in the name of the gods. He did it for the campers, for the demigods who’d carry out their parents burdens simply because they had the audacity to be born. Demigods doomed to die from the moment they’re born because of their parents, like him. I particularly think Percy is too far often used as a scapegoat for Nico’s issues and often either villainised or dumbed down into a himbo.

It’s ridiculous, since Percy has repeatedly shown himself to have both better judgment and better strategising skills than Annabeth. Percy is better than Annabeth, and he has far more power than she ever will.

Percy is such an amazing and nuanced character with so much room to explore different characteristics he’s shown at different times and he is too often sidelined to boost another character (most often Annabeth and Nico)

Overall I don’t really like Annabeth, and I’ve yet to hear a viable reason as to why what she did should be ok. And I truly believe HOO did a disservice to Percy by dumbing him down, and making him reliant on Annabeth.

I hope you like my answer! Thank you so much for asking I absolutely love getting questions and I also love a chat so please feel free to keep it coming!

[yamayuandadu]

The fabrication of a storm god: Susanoo, Taishakuten (Indra) and their histories

When I found this ask in my inbox recently, I initially admittedly wanted to only give a short, dismissive response. After all, the similarity between these two is completely superficial. And, truth to be told, it’s more a vague similarity between how they are presented as “storm gods” by questionable online sources than between their actual roles. However, I quickly realized that would not accomplish much. The best way to counter misconceptions is to show reality is more interesting - and in the case of complex figures with long histories, this requires time and effort. The response, like the recent Tamamo no Mae one, kept growing as a result, and evolved into a fully blown unplanned post. Under the cut, you will find a brief examination of the origin of the erroneous notion that Susanoo was ever understood a “storm god”, as well as a summary of his character  character, the main deities linked to him in the Japanese “middle ages”, and finally his fate after the Meiji restoration. In the second half, I deal with the Japanese reception of Indra. While not actually related to Susanoo, he is nonetheless a complex deity worth exploring, even though it feels like he’s not particularly appreciated by hobbyists and his central role in medieval cosmology hardly gets acknowledged.

Victorian confabulations and Meiji mirages: the fabrication of a storm god

Susanoo vanquishing Yamata no Orochi, as depicted by Yoshitoshi Tsukioka (wikimedia commons)

Contrary to what you might have seen in numerous online sources of dubious quality, Susanoo is not a “storm god” (let alone a “thunder god” more specifically). Nothing to that effect shows up in standard points of reference like Encyclopedia of Shinto, and even Wikipedia despite arbitrarily putting him in the weather god category only musters a single 2000 paper which I’ve never seen cited in subsequent Susanoo research as “evidence” of a weather connection. 

The most recent in depth treatments of Susanoo in English are a section of Bernard Faure’s monograph Rage and Ravage and David Weiss’ The God Susanoo and Korea in Japan’s Cultural Memory: Ancient Myths and Modern Empire. The former at no point makes any claims pertaining to the weather while discussing him. The latter notes the view that Susanoo was a “storm god” enjoyed some popularity in the late nineteenth century because of the influence of the now long abandoned school of “nature mythology”, in which deities are only ever representations of natural phenomena. This theory was originally formulated by Edward Burnett Tylor, who basically admitted no actual Japanese sources ever present him as a “storm god”, but that this character is nonetheless evident in his vibes (obviously not how he phrased it, but his study deserves no more dignified summary). Tylor’s nonsense was subsequently taken up by a certain Edmund Buckle, who randomly connected his forerunner’s oc with Indra because I guess all weather gods are basically interchangeable (there’s an interesting point to be made about how they’re the one group of male deities who are often treated in poor quality scholarship the way goddesses usually are). By 1899, the theory reached Japan, where it caused a prolonged academic debacle. However, it seems supporters of this view, much like in the west, were the followers of the long since abandoned notion of “nature mythology”. Among the theory’s opponents were researchers such as Masaharu Anesaki. As far as I can tell, it’s essentially irrelevant today.

The oldest available information about Susanoo’s actual character comes from the Kojiki and the Nihon Shoki. I don’t think that needs to be discussed here in detail. Even though I often overestimate other people’s familiarity with mythology I think it’s fair to say everyone with just a passing interest in Japan knows at least the basics of the myths about his conflict with his sister Amaterasu, his banishment, and subsequent victory over the serpent Yamata no Orochi. It will suffice to say the oldest recorded mythical image of him is that of an ambivalent deity, a heroic monster slayer on one hand, a transgressor and exile on the other. This polarity remains a core part of him for the rest of his history. The other early sources dealing with Susanoo are various fudoki, regional records. They indicate that in the eighth century he already was connected with diseases. Later on in the Heian period, he also came to be associated with purification. Or to be more precise - he came to be viewed as the archetypal target of purification, in a way. His misdeeds from classical mythology became examples of deeds requiring such ceremonies, performed variously by courtly ritual specialists like the Nakatomi clan, Buddhist clergy, or onmyōdō masters. He also functioned as a jinushi, a “landholder deity” of often ambivalent character tied to a specific location, and an araburugami, a “raging god” defined by causing havoc out of hubris (as opposed to malice).

Gozu Tennō and others: the network of medieval Susanoo Susanoo’s character developed through the Japanese “middle ages” in no small part through associations with other deities, typically caused by his incorporation into Buddhism.

A composite Susanoo-Gozu Tennō, as depicted by Sadahide Utagawa (Östasiatiska Museet, Stockholm)

The single most important figure he came to be linked with was by far Gozu Tennō, the “Bull-Headed Heavenly King”. While religious and literary texts present him as a deity from India, the guardian of the Jetavana monastery, and he was even furnished with an artificial Sanskrit name, Gomagriva Devaraja, his origin is actually uncertain. It’s possible he was inspired by a misreading of a passage from the travelog of the Chinese monk Faxian (c. 337-442). He visited Jetavana in the early fifth century, and reported that there was a statue of a bull next to the monastery’s door, before moving on to describing the supposed first image of the Buddha, which according to him was made from legendary “ox-head sandalwood” and impervious to fire. Confusion between these two passages might have led to the creation of an ox-headed deity. Other proposals are present in scholarship too, but ultimately the matter remains unclear. What is evident is that Susanoo and Gozu Tennō shared many similarities: the latter also was an archetypal “raging deity”, and he too was linked with pestilence. An argument can be made that he was the disease spirit par excellence in medieval Japan, in fact. When properly worshiped, he was supposed to protect the faithful from illnesses, as expected from a deity of this variety. They also shared an association with foreign lands: Gozu Tennō primarily with India, but also with China and Korea, while Susanoo just with Korea, due to a Nihon Shoki episode where he travels to the kingdom of Silla. Yet another point of connection is that both were simultaneously recognized as manifestations of Yakushi (the “medicine Buddha”). Therefore, it comes as no surprise that at the Gion shrine in Kyoto, and in many other locations across Japan, the two were identified fully.

However, the link was at times conceptualized differently than as interchangeability between the two. For instance, Kaneyoshi Ichijō’s treatise Kuji Kongen (公事根源; “Roots of Court Administration and Ceremonies”) Gozu Tennō is merely an “acolyte” (warawabe, 童部) of Susanoo. Granted, this author eventually came to view them as identical himself, which shows how fluid medieval theology could be.

A humorous depiction of Susanoo and Kushinadahime serving pieces of Yamata no Orochi prepared like grilled eel (Ōta Memorial Museum of Art; reproduced here for educational purposes only)

The identification between Susanoo and Gozu Tennō also extended to their wives, respectively Kushinadahime and Harisaijo (波梨采女), as evident for example in the Shaku Nihongi. The latter was regarded as a daughter of the dragon king Sāgara. Things are made slightly awkward by the Nihon Shoki Sanso, where she is a manifestation of Yamata no Orochi (one of the multiple cases of putting a positive spin on the snake). Susanoo in the guise of Gozu Tennō thus effectively marries his nemesis. The marriage itself is a subject of a number of myths. According to Hoki Naiden (簠簋内伝), an onmyōdō manual, the “heavenly emperor” (Taishakuten, one would presume, based on information I’ll discuss later) de facto played the role of a matchmaker between Harisaijo and Gozu Tennō. When the latter was lamenting that due to his monstrous, yaksha-like form - he had the head of a bull - he will never find love, a bird sent by the celestial ruler informed him that it would be appropriate for him and Sāgara’s daughter to get married. This suggestion then evidently works out just fine, and the couple subsequently have eight children, the Hachiōji (八王子, “eight princes”) over the course of thirty seven years.

Hyōbi (wikimedia commons)

There are multiple slightly divergent traditions about the identities of the children. The most notable variable is that a goddess named Jadokkeshin (蛇毒気神; also read Dadokuke no kami; “deity of poisonous snake breath”) sometimes appears among them, sometimes is treated as an independent deity serving Gozu Tennō, and sometimes takes the role of his spouse (in at least one case with Harisaijo quite literally relegated to the role of his ex). She is also identified with the astral deity Hyōbi (豹尾, “leopard tail”) and by extension with Ketu.

Another figure who was closely linked with Susanoo in the middle ages was Matarajin. This tradition was associated with Gakuen-ji. In a local legend, Susanoo started to be called Matarajin after being buried underneath it. I won’t dwell much on Matarajin here since I already wrote a lot about him, and will write even more in the near future, so it will suffice to say the two share a connection to diseases. In Matarajin’s case it is the most pronounced in the “ox festival” still held in modern times at Kōryū-ji.

Shinra Myōjin (wikimedia commons)

Connections between Susanoo and Matarajin’s fellow Tendai old man disease-related deities Sekizan Myōjin and Shinra Myōjin are documented too. Bernard Faure argues that in fact it was Shinra Myōjin who first developed such an association, and it was only transferred to Matarajin as well because of the numerous analogies between them. 

A distinct tradition regarding Susanoo developed in the theology of Ise (“Ryōbu shintō”), which as expected was Amaterasu-centric (but also Dainichi-centric!). He came to be linked with Mara and Devadatta as a representation of “fundamental ignorance”, with the conflict between him and Amaterasy gaining an additional Buddhist dimension. At the same time, in the noh play Dairokuten (第六天), which deals with Jōkei’s pilgrimage to Ise, Susanoo appears to protect this monk from Mara. Evidently, in this context Susanoo and Amaterasu are hardly opposed to each other, seeing as the former de facto intervenes on behalf of the latter. 

While the notion of rivalry between the siblings obviously did not vanish in the middle ages, and in fact new myths about it started to circulate (in one Matarajin assists Susanoo), it can be argued that it was ultimately the new conflict between Amaterasu and Mara that was central to many medieval theologies. While she and Susanoo could be portrayed as antagonistic, there is a case to be made that there were more similarities between medieval ideas about them than there were differences. That was not meant to last, though.

Later developments

The tradition of associating Susanoo with assorted medieval deities first came under criticism in the eighteenth century. Sadakage Amano, an early proponent of kokugaku ("national learning", an early Japanese nationalist ideology) ideas, wrote a treatise dealing with this matter, Gozu Tennō Ben (牛頭天王辨, “Clarification on Gozu Tennō”). Its core premise is that monks and shrine priests alike are deceptively trying to present “foreign” deities as identical with “native” ones. This point was further developed in the nineteenth century by another kokugaku big name, Atsutane Hirata. 

Hirata's self portrait (wikimedia commons)

He reaffirmed that presenting Susanoo and Gozu Tennō as related deities was a nefarious plot, and blamed Kibi no Makibi for starting it. He argued that Makibi spent too much time in China and as a result forsake a pristinely Japanese way of thinking (whatever that wouldn't entail). As a result, when he heard the legend of ox-head sandalwood, which was believed to grow on the mythical continent Uttarakuru and cure diseases, he turned it into a deity, who he subsequently brought to Japan. Then he identified him with Susanoo to increase his prestige.

Was that the historical truth? Kibi no Makibi was an envoy to China and spent around 20 years on the mainland, that much is undeniable. However, the only connection between him and Gozu Tennō I was able to track down is a local legend pertaining to Mount Hiromine in which he meets this deity in a dream, though.

Ultimately like most of Hirata’s writing, his theory consists virtually entirely of confabulations, mostly motivated by extreme levels of xenophobia. Rather ironic for a movement which originally largely developed among the most hardcore neo-Confucian thinkers in Japan. Granted, that’s hardly the only baffling thing about them. The best way to understand what was going on in the heads of kokugaku proponents is to recall how contemporary marble bust profile pic “the west has fallen” trads or Bible literalist creationists function, and adjust that image for the specifics of the Edo period. 

Still, kokugaku theories, nonsensical as they were, kept developing, and finally gained government support after the Meiji revolution. In 1868, the Council of State proclaimed that shrines can no longer use “inappropriate” names to refer to their deities. Gozu Tennō was the only example brought up directly, in part possibly because with the reestablishment of the power of the emperor and the rise of the imperial cult it was viewed as suspicious that a deity unrelated to the imperial court had the moniker of tennō (written with different signs, though). The edict also contains a blanket ban on any name with the element gongen. As a result of the new policies numerous locations had to be renamed, and for the most part the history of Gozu Tennō came to an end. He and his peers eventually came back into the spotlight in the second half of the twentieth century as subjects of scholarly inquiries, and the field of study of medieval and early modern Japanese religions is now booming, with entire monographs and articles published in multiple languages each year, but that’s another story.

The history of Susanoo obviously did not end in the 1860s, though. What followed was probably the single darkest page in it, an era of intense efforts to make him identical with Dangun, the legendary founder of Korea. The goal was explicitly to justify Japanese colonial control over Korea through faux-spiritual means. Since Japanese colonial domination of Korea is a relatively recent and deeply serious historical issue compared to what I cover most of the time, I feel it would be inappropriate to deal with it in the same article as medieval literature which ultimately lacks much of a tangible impact on the modern world, so I hope you won’t mind I don’t go deeper into the detail here. 

With the matter of Susanoo now settled, let’s move on to Indra. The two were never associated with each other, but the latter developed an equally vibrant network of roles and associated deities around him as Susanoo after being transmitted to Japan.

From Indra to Taishakuten

A typical Hindu depiction of thousand-eyed Indra (wikimedia commons)

Indra has a long and complex history, so long he is in fact attested a handful of times in bronze age cuneiform already as one of the notoriously mysterious non-Hurrian Mitanni deities (sic), invoked as personal deities of the royal house in a lengthy treaty oath. This makes him one of the very few “bridges” between my two major normally disconnected interests (the “cuneiform world” on one hand, and East Asian religions and art on the other).

The biggest early text corpus dealing with Indra are the Vedas, where he is the single most frequently mentioned deity, with quite literally hundreds of hymns praising him. Naturally, he remained a part of the history of Hinduism later on, and today he is still well known thanks to his role in popular epics like Ramayana. His relevance is not limited to this system of beliefs alone, though. He has a small (negative) role in the Avesta (see here), and he was embraced by various schools of Buddhism across much of Asia. 

In early Buddhism, the prestige of Indra was not particularly great. This obviously reflects the fact that the formative years of Buddhism were also a period of Indra’s relative decline as an actively worshiped god back at home at the expense of deities central in contemporary Hinduism like Vishnu and Shiva. However, he surprisingly regained some of his original prestige thanks to developments which occurred outside of India. This is well documented in East Asia in particular. I’ll only cover his Japanese reception here - therefore, through most of the rest of the article I will use his Japanese name, Taishakuten (帝釈天), accordingly. Buddhism emphasizes not Indra’s warlike side and his battles with asuras, let alone a connection with the weather, but rather his role as a heavenly ruler. He keeps epithets related to his 1000 eyes, but to the best of my knowledge this is not really reflected in Buddhist art, especially not in Japan. Another role retained by him in Buddhism is that of a directional deity, the protector of the east.

Something that’s worth highlighting is that asuras in general just aren’t that big of a deal in Japanese Buddhism. Outside of enumerations of non-human sentient beings, only Rahu and Ketu have a substantial role, and that’s more because they’re astral deities rather than because they’re asuras. Otherwise the entire category is about as opaque as mahoragas (when you look up “mahoraga” online 99% results are a Jujutsu Kaisen character, as it turns out, which speaks volumes about their general obscurity) and the like. Hard to make opposition to them the focus of a major deity when even gandharvas have a bigger role to play.

I can only think of a handful of major references to battles between Taishakuten and asuras in Japanese literature: an offhand comment in Heike Monogatari (courtesy of Kenreimon-in), a passage from the Taiheiki where Jōkei (who you already met earlier in this article) has the privilege to watch the parties involved reenact the conflict for his benefit, and a myth cited by Annen with no source provided, possibly invented by him. The innovation is that Marici (Marishiten) is a major combatant on the side of the devas, something with no parallel in any other source, whether Buddhist or Hindu. Rahu is singled out among the asuras as an enemy of Taishakuten, but that’s hardly unparalleled.

The conventional image of Taishakuten

A conventional depiction of Taishakuten (wikimedia commons)

For the average Japanese person through much of the country’s history, the most frequent exposure to Taishakuten were standardized oath formulas (kishōmon). These followed a strict hierarchy of deities: Taishakuten, Bonten (Brahma) and the four heavenly kings first, then king Enma, Godo Daishin (Wudao Dashen), Taizan Fukun and other underworld officials (sometimes assisted by astral figures), then kami and representations of Buddhas tied to specific localities (for example the great Buddha of Tōdai-ji), and sometimes various religiously significant historical figures like prince Shotoku or Buddhist patriarchs. Obviously, Taishakuten’s elevated position reflects his role as a heavenly ruler - the “heavenly emperor”, tentei (天帝).

The residence of Taishakuten is the heaven of the thirty three devas (忉利天, Tōriten, a calque from Sanskrit Trāyastriṃśa). It is located on Mount Sumeru, the center of the world according to Buddhist cosmology. Sources from the Heian period indicate the existence of a belief Taishakuten’s heaven is unique in that women could be reborn in it after death without first reincarnating as men. This distinction was otherwise only attributed to the pure land of Maitreya. Note it was not Taishakuten himself who was responsible for guaranteeing that, though, but rather the bodhisattva Fugen, who was particularly popular among Heian court ladies.

Karai Tenjin (wikimedia commons)

Taishakuiten’s major position in the Buddhist-influenced cosmos is also evident in literary compositions focused on other deities. For example, in the Dōken Shōnin Meidoki (道賢上人冥途記, “Record of Dōken Shōnin’s Experience of the Other World”), a version of the legend of Michizane, his revenge is supported by Taishakuten, who gives him a new name, Nihon Dajō Itoku Ten (日本太政威徳天). This is meant to show his banishment was a religious transgression, and we also learn that the emperor responsible for it, Daigo, fell into hell as a result. However, esoteric Buddhism is  also credited with calming Michizane down - as he explains himself, “bodhisattvas (...) were there, and they enthusiastically propagated the esoteric teachings. Because I liked these teachings very much, one-tenth of my deeply seated enmity from my past was reduced.” This obviously goes against the more common legend where being enshrined pacifies Michizabe entirely. In the Dōken version he announces that the enshrined deity, who he calls Karai Taiki Dokuō (火雷大気毒王; “King of Fire-Thunder and Poisonous Air”), is merely his messenger #3 (#1 and #2 are not mentioned).

The closest thing I can think of to Taishakuten being associated with the weather in Japanese sources occurs in a version of the Michizane legend, too: in another variant, Michizane states it was Taishakuten alone who permitted him to enact his vengeance and entrusted him with commanding 105000 thunder gods (in the Dōken Shōnin Meidoki there are 168000 attendants instead, “poisonous dragons, evil demons, deities of water and fire, thunder and lightning, the director of the wind, the master of the rain, and other poisonous, harmful, and evil deities”) and causing disasters. 

From emperor to heaven to controller of fate

Due to his prominent cosmological role Taishakuten is also described in many sources as a  controller of fate responsible for determining the lifespans of living beings. Sometimes, in this capacity he basically overlaps with king Enma - for example, Shishi Yaloan, a Buddhist encyclopedia from the eleventh century, states that he also possesses a mirror in which he can check on his subjects. A local tradition from Tateyama states that he lives on the Taishaku Peak of Mt. Tate, simultaneously regarded as an entrance to Buddhist hell. However, while Enma and the other kings of hell generally stay there, Taishakuten takes a more proactive role, seeking information about the good and bad deeds of the living. Initially, it was believed that a survey of the whole world was conducted on his behalf by the four heavenly kings, but by the tenth century, a belief that he performs it himself every four months himself developed.

The famously unconventional depiction of Taishakuten from Shibamata Taishakuten, still distributed today in the form of ofuda (wikimedia commons)

In the Edo period, Taishakuten as a controller of fate developed a connection with deities associated with the tradition of kōshin nights. In this context he became the deity the three worms living in every person’s body report their good and bad deeds to. Temples associated with him, like Shibamata Taishakuten (famous among other things for its unconventional images of the eponymous deity), were historically a popular destination for pilgrimages tied to kōshin celebrations.

While the fate connection ultimately came to the forefront in Japan, it would be unfair to say it entirely superseded the original heavenly role. As a matter of fact, it was the fact that Taishakuten was a “heavenly emperor” (tentei) that made him such a good fit for kōshin.

The elusive "emissary of Taishaku" As early as in the Muromachi period, yet another deity came to be viewed as responsible for Taishakuten's survey of the world in a variant tradition: one of the so-called “ambulatory deities” (遊行神, yugyōjin; “ambulatory” as in “wandering”, not in the medical sense) , Ten’ichi(jin) (天一神; also read Nakagami), literally “the first deity of heaven”. He was regarded as a “vassal” of Taishakuten and the commander of the Twelve Heavenly Generals. Each of his cyclical surveys of the world lasted 44 days (four times five days for each of the main directions and then four times six for the intermediate ones). That was followed by sixteen days during which he reported the vices and virtues he recorded to Taishakuten in heaven, with his own underling Nichiyū(jin) (日遊神; “playing sun deity”) descending to earth instead. During Tenichi’s absence, which started with a day referred to as Ten’ichi tenjō (天一天上), directional taboos pertaining to various astral deities, which normally had to be countered with a practice known as “changing directions” (方違え, katatagae), did not apply.

Taishaku Shisha (top right) and his peers accompanying Dakiniten (wikimedia commons)

Another interesting thing about Ten’ichi is that he was identified with an elusive deity known simply as Taishaku Shisha (帝釈使者), literally “emissary of Taishaku”. At first glance this doesn’t really sound interesting - after all, Taishaku Shisha’s name sounds exactly like what Ten’ichi does - but completely unexpectedly, the former actually belongs to the entourage of Dakiniten. His attributes make him resemble officials of the underworld, though he is never portrayed as menacing, always as benign, and his duty is to report the good and bad deeds to his superiors, much like Ten’ichi does. He additionally functions as a god of wisdom, which according to Bernard Faure might reflect Dakiniten’s link to the bodhisattva Monju, famous due to an association with this concept.

Curiously, while Taishaku Shisha is at least nominally a member of a group of four “acolytes” of Dakiniten alongside Tennyoshi (天女子; “heavenly maiden”; holds a bow), Shakunyoshi (赤女子; “red maiden”; holds a halberd and a “seduction jewel”, aikei-gyoku, 愛敬玉) and Kokunyoshi (黒女子; “black maiden”; holds a sword and a black jewel), he is sometimes described as de facto separate from them. Perhaps the fact his very name links him with another deity has something to do with that. Also, he is absent from the origin myth of the three maidens, who according to Hoki Naiden flew to Japan from India. According to Bernard Faure, it is possible his roles overlapped in part with Dakiniten’s own emissaries, the tengu Tonyūgyō (頓遊行; brings happiness) and Suyochisō (須臾馳走; brings longevity).

Dakiniten, “demon kings” and Amaterasu: the network of Taishakuten

Dakiniten (wikimedia commons)

Taishakuten’s connection with Dakiniten goes beyond the figure of Taishaku Shisa. The Mizōukyo (未曽有經) contains a myth according to which a fox once tricked Indra into accepting the animal as his master is recorded. It serves as an explanation for the notably fox-like Dakiniten’s elevated role in the royal ascension rite devised by Shingon priests (it was still performed in the 19th century, emperor Meiji was the first to abstain from it). In folk beliefs Taishakuten was also sometimes assigned the role of the “master of the foxes”, which normally belonged to her instead.

The link to these animals according to Bernard Faure might have reflected a more ambivalent perception of Taishakuten than usually expected. The other possible piece of evidence in favor of this interpretation is a poem which proclaims that he and Tsuno Daishi, the demonic manifestation of Ryōgen, look “like brothers”. The latter is a complex figure, but it will suffice to say here that historically he was sometimes perceived as a “demon king” (魔王, maō). On the other hand, the original holder of this title, the “Demon King of the Sixth Heaven” (in other words, Mara) was said to offer his blood to Taishakuten on “blood-shunning days” (地幅, chi-imbi). In practical terms, this meant a religious prohibition on the drawing of blood, acupuncture and moxibustion on a specific day, different each month. I need to stress here that even though figures such as Dakiniten and the “demon kings” obviously originated in the realm of demonology - respectively as a flesh-eating, vital essence-stealing demon and as the tempter of the Buddha - they eventually developed much more complex and nuanced characters. Therefore, it is not unexpected major deities appear in association with them. In the middle ages, even Amaterasu was frequently linked with them. Funnily enough, in contrast with Susanoo Amaterasu does have a connection to Taishakuten as well. Tenshō Daijin Kuketsu (天照大神口決; “Oral Transmission.Pertaining to the Great Goddess Amaterasu”) from 1328 states that she corresponds to him - but also to Bonten, Shōten (Ganesha), the kushōjin (倶生神; these would take a bit to explain), king Enma and Godō Daijin. Granted, another roughly contemporary treatise, Reikiki, instead proclaims Taishakuten, the “heavenly emperor” (tentei; just like in the later kōshin tradition) the “kami-body” of Toyouke, the outer shrine Ise deity. However, these matters ultimately go beyond the scope of this response. Stay tuned for my article about medieval Amaterasu to find out more!

Bibliography

Ryūichi Abe, Women and the “Heike Nōkyō”: the Dragon Princess, the Jewel and the Buddha

Bernard Faure, The Fluid Pantheon (Gods of Medieval Japan vol. 1)

Idem, Protectors and Predators  (Gods of Medieval Japan vol. 2)

Idem, Rage and Ravage (Gods of Medieval Japan vol. 3)

Gerald Gromer, A Year in Seventeenth-Century Kyoto. Edo-Period Writings on Annual Ceremonies, Festivals, and Customs

Takuya Hino, The Daoist Facet of Kinpusen and Sugawara no Michizane Worship in the Dōken Shōnin Meidoki: A Translation of the Dōken Shōnin Meidoki

Nobumi Iyanaga, Medieval Shintō as a Form of 'Japanese Hinduism': An Attempt at Understanding Early Medieval Shintō

William Lindsey, Religion and the Good Life: Motivation, Myth, and Metaphor in a Tokugawa Female Lifestyle Guide

Fabio Rambelli, Before the First Buddha: Medieval Japanese Cosmogony and the Quest for the Primeval Kami

Hiroo Satō, Wrathful Deities and Saving Deities in: Fabio Rambelli and Mark Teeuwen (eds.), Buddhas and Kami in Japan. Honji Suijaku as a Combinatory Paradigm

Idem, The Emergence of Shinkoku (Land of the Gods) Ideology in Japan in: Henk Blezer and Mark Teeuwen (eds.), Challenging Paradigms. Buddhism and Nativism: Framing Identity Discourse in Buddhist Environments

David Weiss, The God Susanoo and Korea in Japan’s Cultural Memory: Ancient Myths and Modern Empire.

[texanmarcusdavenport]

Mighty Med Headcanons

Gus

Gus is secretly a Perry. They have a lot in common: weird side character that shows up at the most (in)opportune moments, has an unrealistic variety of skills and resources, a past that's WAY too storied to be true yet somehow it is??, and obsessive behavior over their romantic interests (Perry with Douglas & Gus with Jordan). If they're not related, they'd 100% get along like a house on fire if they did meet.

Gus and Oliver are childhood friends of the "our parents forced us to hang out" variety. Oliver is GOBSMACKED that both his parents like Gus better than Kaz. Like. How??

Jordan

Jordan!! I <3 her. There’s a post going around on here that says she should've been in Elite Force instead of AJ & I 100% agree. She does seem like the type that'd be a surprisingly good hacker... and honestly I just really miss her :(

Her & Daniel(le) would get along. I have no proof I just know it. Troublemakers Inc(TM)

Kaz(imieras)

Pansexual & polyamorous. As long as everyone's having fun he's down for whatever

Transfem genderfluid, he/she/it. Starts by calling itself a woman/girl casually until Oliver's like. Kaz is there anything you want to tell me. & Kaz is like pfffft what no that's ridiculous ha ha Oliver I think I'd know if I was transgender. Then Kaz thinks about it & it's like. Damn it.

It/its pronouns also happen via jokes, she's just like. I'm like if a girl were a bug :) or perhaps a small mammal. Until someone calls her 'it' and she's like. Hm. Kinda slaps.

Doesn't even realize she has dysphoria, just starts acting & dressing more feminine when it suits her & 2 years later she's like. Huh. I haven't been avoiding mirrors lately. Wonder what that's about?

Combined-type ADHD

Dyslexic & dysgraphic. Only got through English by the Grace of God (Oliver). But I headcanon that other than spelling & syntax errors he's actually a great writer when he puts the effort in. He'd kill in public speaking but he'd never do that lol.

If she had a Normo job, it'd be firefighter

Oliver

Trans guy, he/him. He & Kaz are transmasc/transfem solidarity. His mom is more supportive than his dad.

OCD, anxiety, autistic. Gets all 3 from his parents which is part of the reason it took so long to get a diagnosis (both of them just thought getting crippling bouts of anxiety was normal).

Aroallo, specifically cupioromantic bisexual... this is so important to me you don't understand. Oliver is a very codependent character and I think learning to live on his own & not be jealous of his friends would be a great character arc for him.

He & Kaz r so fucking queerplatonic don't even get me started. Do Not Seperate Them.

Skylar Storm

Ace lesbian

She's an alien so I don't think she prescribes to human gender roles like. At all. So she's not really "trans" or "cis", but she does use she/xhe pronouns & mostly describe herself as a woman.

Futch Skylar... futch Skylar supremacy!! Has a sort of complicated relationship with presentation and whatnot, human femininity is sort of the norm for Skylarkind as a fashion trend. Xhe and Experion actually were both ostracized for their presentation (butch/trans Experion my beloved <3). I think xhe prefers more masculine dress but in fun styles and colors because, in her words, "practicality doesn't have to be boring".

Skylar Storm is essentially just a stage name, it started as anickname based on a very loose translation of xyr actual name.

Alan Diaz

Trans guy, any pronouns. Mostly because they're confused by language as a concept.

You know how its a running gag in MM that Horace never taught him how to count past eighty? That, but with language. Horace speaks Arabic, Old Castilian, & Mexican Spanish interchangeably so Alan grew up thinking that's just how people talk. Mix that with random alien languages &, well, they're incomprehensible on the best of days.

Doesn't know they're trans. Like they're trans obviously but if you told her that she wouldn't really understand.

Oliver: so you were, uh, born a girl but you're a boy now?

Alan: no, I'm a boy.

Oliver: yeah, obviously, but like, physically--

Alan: What Normo nonsense are you on about.

And it continues like that.

Polysexual, and if xe were married xe'd be a Wife Guy (positive).

[aidiscoursebingo]

the bingo card template ^^

(breakdown of each box under the cut)

IP brain: several arguments against AI art hinge on IP and copyright law: e.g., accusations of plagiarism or copyright infringement, navel-gazing wrt "ownership" of art, etc. this means nothing to anyone who doesn't believe in the virtue of copyright lol

all art is hobbyism: anti-AI types frequently pretend that all art is something done solely for fun and/or personally meaningful to the artist and/or not labour

the hands/teeth!!!!: a common argument against AI art is that the hands or teeth look uncanny or unrealistic (even though that's one of the coolest things about AI art lmao)

we NEED overworked animators. To Save Human Artists: many argue against the use of AI to automate more menial aspects of creative labour (e.g., background art in animation), even when the work in question is famously backbreaking. (animation is only an example, and this box can apply to other art-related jobs)

art requires intentionality: a bizarre and common argument--"AI art isn't art because real art is 'intentional'." ignores (a) that there are intentional aspects of AI art (even setting aside the formation of prompts, the decision to choose a generated result and share it publicly is an undeniably intentional one) and (b) that several other art forms (photography, documentary, collage, etc) also preclude artists from having that flavour of foundational "every-brush-stroke" control over the piece

art requires a financial transaction: "it's only real art if someone got paid for it" (in other words, the opposite of the all art is hobbyism argumetn. thank god for the consistency of the anti-AI movement o7)

hyper-conventional conception of what makes "good" art: the manner in which opponents of AI target perceived flaws in AI art (blurriness, spatial abnormality, "count the fingers!", etc) tends to betray deeply reactionary values wrt "good" art as art that pursues representational realism.

"techbros": "-bro" is a commonly used, ill-defined pejorative that generally means "any person the speaker doesn't like." opponents of AI tend to cast what they call "AI advocates" as "techbros" interchangeable with NFT shills. besides being implicitly gendering, it's also hilarious--which side in this debate is closer to saying "i own this image so you can't right click it"?

"soul"/"humanity": there are frequent pseudo-spiritual appeals to art (even corporate art, apparently!) as having an essential "soul", "humanity", or even "godliness" that AI art lacks. this is of course meaningless to people who don't see any value in spiritualism

motte & bailey/strawman: opponents of AI frequently switch gears whenever they get cornered--when they realize that "we need stronger copyright law" is an indefensible position, they say "well REAL art requires effort!!", and when they're defeated on THAT front too they switch to "well AI is making artists lose their jobs!" and they keep doing this ad nauseam instead of acknowledging the flaws in their arguments. really it's less motte & bailey and more bailey & bailey & bailey & bailey &

ableism: people critiquing AI frequently choose to be ableist for some reason. the most common trick is inspiration porn (i.e., "so-and-so disabled person learned to paint with their teeth, what's your excuse?!")

"stolen"/"theft": two of the three favourite words of the anti-AI crowd. even if you accept the fundamental IP-brain premise (which, to be clear, you shouldn't), a baseline knowledge of how training datasets work should still make claims of theft fall flat.

reactionary BS (free space): arguments against AI tend to rely on several foundationally reactionary concepts, be they luddism, copyright, or the ~essence of humanity~

(in)directly insults collage/readymades/photography/etc: a massive portion of diatribes against AI include arguments that also lock several other mediums (the above plus music sampling/covers, choreography, film direction, etc) out of "counting" as art. frankly, a massive portion of them are indistinguishable from the reactionary outrage against duchamp's fountain

"you know it's not even ACTUALLY AI right??": people love to point out that "AI" is a buzzword and that computer programs are not actually sentient, and then pretend they've done something

AI artists are immoral/lazy/etc: several pejoratives tend to come out. see also: stupid, talentless, heartless, abusive, etc

"collage": the third favourite word. to be clear, AI image generators are NOT "collage machines", and if they were, that would be a good thing

classism: another thing that jumps out frequently. right-wing ideas about labour and poverty abound

art requires effort: another bizarre idea--the implication that more effort = better art. surely by this logic the amount of labour hours behind Avengers 16 must make it the ultimate opus

"just commission an artist": an annoying adage

stealing jobs from artists: same argument as self-checkouts

childish insults directed at AI: lots of people love making juvenile jabs at the AI. there's no sweeter irony than seeing someone write a diatribe about how AI is Not Really A Person then act as if they've just humiliated it

petty bourgeois artists = underdog: a lot of commission fanartists are convinced that aligning themselves with (petty-)bourgeois interests is going to help them in the long run

acting like AI operates independently: everyone seems to think that no humans are even involved in the process and that AI generators just sit in a dark room operating themselves, spitting images into the void

no understanding of how machine learning works: self-explanatory. opponents of AI don't seem to even know the bare minimum about the subject they argue about

(also yes i do consider diagonals to be a bingo, i dont care if it's not proper lmao)

[forest0f-light]

thinking about my lore interpretation, and how it is actually not as standard as I thought it was when I came up w it.

essentially I think the megabird is a spiritual decomposer, for lack of a better term. she arrives on recently dead planets and sends down "spores" (us) to collect the things that culture had, eveything from clothes and building styles, to movement and sound, to beliefs and stories, and stores them somehow, before moving onto the next planet.

it's why I don't have any skid ocs. in my mind, the skids are relatively simple creatures, and completely interchangeable. due to the way the game works like. any skid can be transformed into any other with limited effort, from their voice to their hair to their height. everything else is clothes and adornments that we've taken from the spirits

[adityakumar05]

Why Employees Need Both Recognition and Appreciation

Imagine a garden where each flower represents an employee's efforts. Without proper care and attention, these flowers may wither away, no matter how strong their roots are. Similarly, employees need recognition and appreciation to thrive. These elements act like sunlight and water, nurturing their growth and inspiring them to bloom to their full potential.

Quantum Workplace research shows a gap between what employees want and what they get regarding recognition. Only 35% of employees receive recognition monthly or weekly, and 1 in 2 employees would like more recognition for their work. Employees who receive less frequent recognition want more—especially those who get it less than monthly. All employees crave more recognition, even managers!

Importance of Recognition

When you reward employees for their contributions, they feel ownership and pride—and are willing to work just as hard on their next project. Recognition connects them to the organization, elevates performance, and increases the likelihood they’ll stay. Recognition is about giving positive feedback based on results or performance. This can be formal, like an award or a promotion, or informal, like a verbal thank you or a handwritten note. All methods can be meaningful, especially if they’re done in a timely and genuine way. They’re also motivating and exciting—everyone wants their good work to be applauded.

As a CEO, it's crucial to understand the power of recognition. Acknowledging your employees' efforts not only boosts their morale but also fosters a positive work environment. Employees who feel valued are more likely to be engaged, productive, and loyal to the company.

Recognition vs. Appreciation

Recognition and appreciation are often used interchangeably, but they have different meanings. Recognition is about acknowledging someone's achievements and performance. Appreciation, on the other hand, is about valuing someone’s inherent worth as a person. While recognition is performance-based, appreciation is more holistic and personal. Both are essential for creating a supportive and motivating workplace.

Tips to Keep Employees Motivated

At Think Your Media, we ensure our employees feel recognized and appreciated through various strategies:

●     Regularly acknowledging their efforts in team meetings.

●     Providing personalized feedback and handwritten notes.

●     Celebrating milestones and achievements with small rewards.

●     Offering opportunities for professional growth and development.

●     Creating a positive and inclusive work culture where everyone feels valued.

Conclusion

A survey shows, that 53% of people said feeling more appreciation from their boss would help them stay longer at their company—even though 68% said their boss already shows them enough appreciation. This highlights the importance of continuously fostering a culture of recognition and appreciation. By doing so, you not only retain your talent but also build a thriving, motivated team.

[darkmaga-retard]

Bear with me; I am trying to identify the most effective way of conveying this important material. Please share. Consensus on this document will be sought at the UN in 8 days!

Meryl Nass

Sep 15, 2024

In 10 points, what does the Pact for the Future tell us?

Meryl Nass, MD. September 15, 2024

1.  Global governance is to be transformed and strengthened

"We will transform global governance" which will lead "to a brighter future for all of humanity."  But this will require greater international cooperation and compliance with international law. [paragraphs 3-5, and Action 41]

"We will strengthen the UN system" [Action 48]

2.  Assuring compliance

"Where mandated intergovernmental processes exist, we will use them to advance this agenda." [paragraph 17]

"We will strengthen international cooperation for the environment and the implementation of and compliance with our multilateral environmental agreements to deliver on our ambition to protect our planet." [Action 58] 

"Deepen United Nations’ engagement with national parliaments in United Nations intergovernmental bodies and processes, in accordance with national legislation, including through building on the efforts of the United Nations and Inter-Parliamentary Union to engage parliamentarians to maintain support for the implementation of relevant UN agreements and resolutions." [Action 59] 

3.  Dictatorial authority sought for the UN Secretary-General, echoing the plan for the WHO's Director-General in the Pandemic Treaty and proposed IHR amendments

Echoing the WHO's pandemic aspirations, the Pact seeks to give the UN Secretary-General the sole authority to operationalize an "Emergency Platform," for any type of emergency he designates, to decide which emergencies warrant this declaration, to decide when to trigger this authority, and to determine how to manage the emergency. [Action 57]

4.  Sustainable Development to be at the center of multilateralism (i.e., global governance) and at the center of a new global financial architecture

While "development" was one of the original 3 pillars of the UN, sometimes listed as 4 pillars, the Pact now claims that "Sustainable Development" is one of the essential 3 pillars of the UN. [paragraph 9] This is a gross misrepresentation, because the term "sustainable development" is used interchangeably with the Agenda for Sustainable Development, Agenda 2030 and the 17 Sustainable Development Goals, none of which existed when the UN was founded, and they have an entirely different meaning than the general term "development."

The Pact claims that sustainable development is "a central objective of multilateralism" [paragraph 10] and furthermore, "we will accelerate reform of the international financial architecture to address the challenges of today and tomorrow... the reform of the international financial architecture should place the 2030 agenda at its center" [Action 50].  But the world's citizens never voted to make Agenda 2030 the centerpiece of multilateralism, nor have they asked for the creation of a wholly new financial architecture, for which the UN lacks expertise and probably also lacks authority.

[worldstore]

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[reality-detective]

GESARA👉 Unleashing Global Prosperity - AMG News

Let’s start with the Global Economic Security and Reformation Act or GESARA. This revolutionary reform movement aims to rectify economic disparities, restore financial stability, and promote global peace and prosperity. It’s not merely about changing the rules of the game; it’s about changing the game itself.

From forgiving debt to abolishing income tax and creating flat-rate non-essential taxes, GESARA promises a world where financial stress and economic inequality become relics of a bygone era. A world where everyone shares in the global prosperity.

##4. QFS: The Dawn of Financial Transparency

Now, let’s turn our attention to the Quantum Financial System, QFS. This cutting-edge technological marvel offers an incorruptible, transparent, and secure financial network. It uses quantum computing technology to make financial transactions faster, safer, and more efficient. This isn’t just an upgrade to our existing financial infrastructure; it’s a complete reinvention.

##5. GCR/RV: A Reset Towards Equality

Then we have the Global Currency Reset/Revaluation (GCR/RV). This significant reset of the world’s currency system is not just a number game but an effort to level the financial playing field.

##6. ISO 20022 and Basel III: Setting New Standards

Moreover, standards like ISO 20022, an international standard for electronic data interchange between financial institutions, and Basel III, a global voluntary regulatory framework addressing bank capital adequacy, stress testing, and market liquidity risk, are creating a safer, more transparent financial world.

##7. The Promise of Protocol QFS 20 and DINAR

And finally, we have the newest protocols like QFS 20 and the revaluation of the Iraqi Dinar (DINAR), which represent the drive for a more unified global financial system.

##8. From Dark to Light: A Journey of Love and Unity

At the heart of this profound shift from the old financial system to the new lies a fundamental principle – love. Love for each other, for our shared Earth, and for the limitless potential that lies within us. This shift isn’t merely about money or wealth; it’s about unity, prosperity, and love. 🤔

Source: AMG News

[lisettepaulson]

Lisette Paulson - Defining Advertising and Marketing Methods

People regularly use the terms “advertising and marketing method” and “advertising and marketing plan” interchangeably, but, in fact, they're different processes.

An advertising and marketing plan describes the concrete movements and advertising and marketing procedures undertaken to finish an advertising and marketing campaign. My personal opinion is, the advertising, and marketing method, outlines the massive image of an advertising and marketing effort, including the commercial enterprise`s audience and their product`s price proposition for clients.

As an end result, it's not unusual place to consult a present advertising and marketing method while growing an advertising and marketing plan. Lisette Paulson mentions, while the method describes what the advertising and marketing goals are, the plan describes how the goals are going to be achieved. Without a well-thought-out advertising and marketing method, advertising and marketing plans are the threat of lacking the mark.

An exceptional method can cause an exceptional plan.

Types of advertising and marketing method

There are many exclusive processes to advertising and marketing – including social media advertising and marketing or content material advertising and marketing – however, the maximum essential techniques for marketplace boom are observed in Ansoff's matrix. These 4 techniques are:

Market penetration

Product improvement

Market improvement

Diversification

You will see that the specific manner that a marketer defines the 4 Ps for his or her advertising and marketing efforts will depend upon the boom method they're the usage of and the political and monetary outlook in their marketplace.

Market penetration method

The market penetration method is a booming method that entails promoting present merchandise to present markets. It is taken into consideration as the least volatile of all of the techniques. The method is usually taken into consideration as maximum usefulness if the marketplace is both developing or the marketer alters its promotional efforts via present advertising and marketing channels.

Product improvement method

A product improvement method entails the improvement of a brand-new product for an already present marketplace. Typically, it's miles taken into consideration riskier than a marketplace penetration method as it calls for the advent of a very new product. In order to be successful, product improvement techniques usually require innovation and similar studies in the present marketplace, consisting of the profiles and wishes of the audience.

Market improvement method

A marketplace improvement method takes a present product into new markets. Much like a product improvement method, a marketplace improvement method is taken into consideration as riskier than a marketplace penetration method as it entails introducing an acquainted product into a surprising marketplace. While the product stays the same, the brand-new vicinity of its miles bought calls for probably new pricing and promotional efforts.

Diversification method

A diversification method entails the improvement of a brand-new product for a brand-new market. The novelty required of a diversification method approach is that it's also the riskiest of the Ansoff matrix`s 4 techniques. Diversification techniques require a complete interest in all the 4 Ps – product, price, place, and promotion—however, the most important dangers also can result in the most important rewards.

If you need to know more about such methods to ensure better advertising or marketing with your products or company, you can choose to contact me now! Choose to follow me on Linkedin.

[iceiceparis]

Assigning Star Rail cast the songs they would sing in Yakuza/Like a Dragon karaoke along with the cinamatics.

1. Tail - Bakamitai

He's the most unfamiliar with emotional attachment so he def the type to rather just sit in a room and drink helio-whiskey instead of showing any real affection as a green ball floating above a stool.

Of course the pictures being replaces with his moments with Huohuo in his mind cuz hes basically her family now 😭😭😭

Also its funny cuz Huohuo would be too scared to sing but the gang somehow got him to sing so she has to akwardly stand off the stage nearby so he has his wifi connection.

2. Caelus and/or Stelle Judgement -Shinpan-

Its all about breaking za law and they always say that "Rules are meant to be broken." They would be into that cheesy image of cool.

March (or even the other Trailblazer) would be in Nishiki's spot with Dan Heng or Welt as the keyboard player as they rock out.

3. Caelus - 24 Hour Cinderella

Of course both TBlazers can be interchange able but I like to think they have their own slight personality differences.

In their mind this would have a March theming in colors and outfits and who ever they first think up as the background dancers. He did this to out-idol and out-cute March, somehow gets a higher rating from the machine at the end.

4. Stelle - Machine Gun Kiss

Much like Caelus, this is her way of out-cooling Welt even though he sung a completely different genre of song. Also gets a higher rating but just barely. She especially would really ham it up especially on the end with the "aaaRRUUHHGGG!!!" like Adachi.

5. Clara and Svarog - OtoMetal MY LIFE

The name alone should be enough. Small child with a red and white color scheme with a menacing seemingly emotionless legendary guardian with a deep voice? Heck yeah it works.

First, she asked for him to participate in karaoke,

Then she asked he do the actual back up vocals instead of replaying the built in cheers. After a few songs, Svarog began to understand the energy he had to put into the vocals.

6. Sushang - The Future I Dreamed of

Both Ichiban and Sushang dream to be a hero who does good and with friends even if they have more heart than brains.

Basically are both shonen protags who hit things with metal objects with a big smile on their face and never back down even at impossible odds (unless its ghosts).

It wouldnt even matter if she could hit the notes either because she rarely sings due to her training, Sushang would put in alot of effort in her singing and that alone is enough.

7. Bronye and Seele - Like a Butterfly

Seele and butterflies, what else is there to say.

Bronya singing the softer vocals with Seele complimenting it with more "aggressive" back up matches their dynamic pretty well, also its funny imagining her going all out on a song and going "Oh yeahhhh."

8. Guinaifen - Spring Breeze

"All the pictures that I could take,

All the gigs these videos make,

None of it replaces the you that I know.

But they'll be there after you go."

I mean cmon, this is easily her singing to her SQUAD outside of her streaming stuff. 'Blazer, Sushang, Huohuo, they would all be in her imaginary MV as she sung. Would be one of the better singers in raw quality.

9. March - All Idol songs + 3x SHINE

I am certain she would be a bonafide idol if she had the opportunity. All the interjections are basically any of the Star Rail passangers minus Pom Pom unless she convinced him its an essential for the sake of the ride.

Even someone like Dan Heng would be going off with their interjections she just has that latent power.

[digvijay00]

Unveiling the Ultimate Handbook for Aspiring Full Stack Developers

In the ever-evolving realm of technology, the role of a full-stack developer has undeniably gained prominence. Full-stack developers epitomize versatility and are an indispensable asset to any enterprise or endeavor. They wield a comprehensive array of competencies that empower them to navigate the intricate landscape of both front-end and back-end web development. In this exhaustive compendium, we shall delve into the intricacies of transforming into a proficient full-stack developer, dissecting the requisite skills, indispensable tools, and strategies for excellence in this domain.

Deciphering the Full Stack Developer Persona

A full-stack developer stands as a connoisseur of both front-end and back-end web development. Their mastery extends across the entire spectrum of web development, rendering them highly coveted entities within the tech sector. The front end of a website is the facet accessible to users, while the back end operates stealthily behind the scenes, handling the intricacies of databases and server management. You can learn it from Uncodemy which is the Best Full stack Developer Institute in Delhi.

The Requisite Competencies

To embark on a successful journey as a full-stack developer, one must amass a diverse skill set. These proficiencies can be broadly categorized into front-end and back-end development, coupled with other quintessential talents:

Front-End Development

Markup Linguistics and Style Sheets: Cultivating an in-depth grasp of markup linguistics and style sheets like HTML and CSS is fundamental to crafting visually captivating and responsive user interfaces.

JavaScript Mastery: JavaScript constitutes the linchpin of front-end development. Proficiency in this language is the linchpin for crafting dynamic web applications.

Frameworks and Libraries: Familiarization with popular front-end frameworks and libraries such as React, Angular, and Vue.js is indispensable as they streamline the development process and elevate the user experience.

Back-End Development

Server-Side Linguistics: Proficiency in server-side languages like Node.js, Python, Ruby, or Java is imperative as these languages fuel the back-end functionalities of websites.

Database Dexterity: Acquiring proficiency in the manipulation of databases, including SQL and NoSQL variants like MySQL, PostgreSQL, and MongoDB, is paramount.

API Expertise: Comprehending the creation and consumption of APIs is essential, serving as the conduit for data interchange between the front-end and back-end facets.

Supplementary Competencies

Version Control Proficiency: Mastery in version control systems such as Git assumes monumental significance for collaborative code management.

Embracing DevOps: Familiarity with DevOps practices is instrumental in automating and streamlining the development and deployment processes.

Problem-Solving Prowess: Full-stack developers necessitate robust problem-solving acumen to diagnose issues and optimize code for enhanced efficiency.

The Instruments of the Craft

Full-stack developers wield an arsenal of tools and technologies to conceive, validate, and deploy web applications. The following are indispensable tools that merit assimilation:

Integrated Development Environments (IDEs)

Visual Studio Code: This open-source code editor, hailed for its customizability, enjoys widespread adoption within the development fraternity.

Sublime Text: A lightweight and efficient code editor replete with an extensive repository of extensions.

Version Control

Git: As the preeminent version control system, Git is indispensable for tracking code modifications and facilitating collaborative efforts.

GitHub: A web-based platform dedicated to hosting Git repositories and fostering collaboration among developers.

Front-End Frameworks

React A potent JavaScript library for crafting user interfaces with finesse.

Angular: A comprehensive front-end framework catering to the construction of dynamic web applications.

Back-End Technologies

Node.js: A favored server-side runtime that facilitates the development of scalable, high-performance applications.

Express.js: A web application framework tailor-made for Node.js, simplifying back-end development endeavors.

Databases

MongoDB: A NoSQL database perfectly suited for managing copious amounts of unstructured data.

PostgreSQL: A potent open-source relational database management system.

Elevating Your Proficiency as a Full-Stack Developer

True excellence as a full-stack developer transcends mere technical acumen. Here are some strategies to help you distinguish yourself in this competitive sphere:

Continual Learning: Given the rapid evolution of technology, it's imperative to remain abreast of the latest trends and tools.

Embark on Personal Projects: Forge your path by creating bespoke web applications to showcase your skills and amass a portfolio.

Collaboration and Networking: Participation in developer communities, attendance at conferences, and collaborative ventures with fellow professionals are key to growth.

A Problem-Solving Mindset: Cultivate a robust ability to navigate complex challenges and optimize code for enhanced efficiency.

Embracing Soft Skills: Effective communication, collaborative teamwork, and adaptability are indispensable in a professional milieu.

In Closing

Becoming a full-stack developer is a gratifying odyssey that demands unwavering dedication and a resolute commitment to perpetual learning. Armed with the right skill set, tools, and mindset, one can truly shine in this dynamic domain. Full-stack developers are in high demand, and as you embark on this voyage, you'll discover a plethora of opportunities beckoning you.

So, if you aspire to join the echelons of full-stack developers and etch your name in the annals of the tech world, commence your journey by honing your skills and laying a robust foundation in both front-end and back-end development. Your odyssey to becoming an adept full-stack developer commences now.