#there are people like this existing in the world

[sweemmy]

⋆｡ﾟIn their love, they bloom like a dark rose, its thorns only striking those who try to escape. ﾟ｡⋆

— Vi, Caitlyn, Sevika, and Jinx.

VI.

Vi would do anything to protect you, but her obsession consumes her, driving her to see threats in every corner, even where none exist. In her mind, danger lurks in the shadows, always watching, and you are the only one who can escape this threat... even if it isn’t real.

Her irritable nature compels her to act impulsively, before her mind has the chance to halt the torrent of emotions. She doesn’t hesitate to confront anyone, even if they are just a stranger who has approached you out of curiosity, convincing herself that anyone who crosses your path is a danger, no matter how harmless they seem.

Vi clings to her justification, arguing that her control is merely an expression of love, that everything she does is for your own good. But beneath those words lies a dark echo, as if she cannot fathom a world where you don’t need her, where her influence is not vital to your survival.

Her gestures of affection, far from being tender, are invasive and violent. Her hugs, excessive and tight, feel as if she could crush you. The words she whispers in your ear, filled with intensity, steal the air between you, with a fervor bordering on obsession, as if she’s marking you, immortalizing you in her world, only for herself.

Though her exterior is one of hardness, beneath that mask beats a deep fear: the fear of losing you. She knows that without you, her world would crumble, empty, incomplete. “If you don’t want me near, just tell me… but don’t expect me to stand idly by while someone tries to take away the only thing that gives my life meaning.”

CAITLYN.

Caitlyn becomes ensnared in her own whirlwind of thoughts, convinced that her obsessive love is the only thing capable of offering you the care you deserve. She sees herself as the only one who can truly understand and protect you, regardless of the boundaries she must cross to keep you by her side.

With a sharp, calculating mind, Caitlyn weaves invisible threads around your life, orchestrating every detail so subtly that you're barely aware of her control. From the people you allow into your circle to the places you step foot in, everything is meticulously designed to keep you under her sway.

Using her charm, Caitlyn spins a web of carefully chosen words, manipulating your perception with a smile that conceals the darkness lurking inside her. She has no qualms about distorting the truth, lying, and creating parallel realities, all to ensure you remain bound to her, oblivious to the trap you've fallen into.

Her control over you goes beyond the physical; Caitlyn becomes an emotional necessity, feeding your dependency with gestures that seem loving but are, in reality, invisible chains. She makes you feel as though you cannot breathe without her presence, turning herself into an irreplaceable part of your life, a constant shadow you cannot escape.

Anyone who dares to get close is seen as an immediate threat, and Caitlyn doesn’t need to resort to open violence. Her deadliest weapon is her influence, capable of destroying slowly, without anyone suspecting a thing. "Why waste time with them, darling? I’ll handle everything. It’s much better if you follow my suggestions; I promise everything will be fine."

SEVIKA.

Sevika sees you as hers—like a treasure no one else deserves to touch. Her obsession is a dangerous blend of control and overbearing protection. Should anyone dare to put you in harm's way, she will become the shadow that eliminates any threat, without remorse and with brutal precision.

Any intruder who gets too close will be stopped by her mere presence. The intensity of her gaze and the unyielding strength of her stance instill terror in even the bravest hearts. She needs no words: her silence is a warning, and her actions, the verdict.

Believing the world is a deadly trap for you, she begins to build a cage of isolation. Every argument she makes is wrapped in false sweetness: "It’s for your own good, trust me," while the chains of her obsession tighten a little more with each passing day.

Flowers and sweet words are not her style, but her actions speak louder than anything. The moment she senses you’re in danger, she will unleash an inhuman fury, showing just how far she’s willing to go to protect you.

Her emotions are a storm hidden beneath a mask of cold serenity. Every action is calculated, every decision made with precision. "I don’t need to shout to show you how much I love you. You see it in what I do, don't you?" she murmurs, her voice calm yet carrying a weight that leaves no doubt about the intensity of her devotion.

JINX.

Jinx would always watch you with eyes filled with obsession, as if you were her precious toy, meant only for her. Her love is no simple feeling: it’s a wild, unpredictable whirlwind, packed with emotional explosions and flashes of madness. She cannot stand anyone else getting your attention, and her “jokes” toward those who dare to come close often end in a macabre, lethal spectacle of destruction.

Within her chaos lies a desperate search for stability, and you are her anchor, but always on her terms. Trying to pull away or challenge her twisted world only triggers a collapse in her mind and a violent need to reaffirm her control over you.

Her love manifests in disturbingly creative forms: bombs adorned with hearts, explosive devices bearing your name, or "trophies" taken from those she deems rivals. Each one is a sickening declaration of how deep and dangerous her affection runs.

Her greatest fear is abandonment, trapped in the loneliness that haunts her. If she senses even the slightest hint that you might leave, she’ll do the unthinkable to make sure you stay by her side. It doesn’t matter if she has to chain you—literally or figuratively; in her mind, the end always justifies the means.

Jinx won’t hesitate to destroy—even herself—to keep you close. Her desperation drives her to dark extremes, hurting others or putting her own body at risk. “Do you see this? I did it for you. Now you can’t deny how much I care. You’re not going anywhere, are you?”

[probablybadrpgideas]

What's special about Humans in this setting? (1d12)

They're the ugly ones that nothing finds attractive. All half-anythings in this setting assume goblins as the baseline, as there is no such thing as a half human.

They don't exist. Sometimes a hideous child will be born tall, chunky, with round ears, no fangs, no claws, non-refractive eyes, and hair only in stupid places that make no sense. The word for such children (hoomun) is ancient draconic for "ugly and unloved." Half-anythings are just kinda ugly by their race's standards.

They decended from the various ugly weaklings with no powers who arrived in this realm after being killed by monsters called "buses" in their home realm. First generation humans are ugly and stupid, completely unaware of anything at all. The third generation at least learn to smile and nod.

Halfings with giantism, prone to dying by heart-related complications after 30-40 years.

Goblins with giantism, prone to dying by heart-related complications after 30-30 years.

Ogres with dwarfism. Sure explains their looks, don't it?

Technically decended from the First People, the common ancesters of all peoples. Unfortunately, they are the direct lineage from the First People who were obsessed with "racial purity" and became modern, ugly, and stupid Humans, who famously have no powers or abilities and suck at everything.

They were made by mindflayers to create a helpless race of dumb idiots who still think and observe enough that they have something like a flavor, like a big mac for brain eaters.

They were the gods second OCs, created after their various demons and dragons and monsters were called Mary Sues. In response, they over-corrected by making a series of bland, boring losers with no powers and no personality traits that are still somehow the chosen ones in every prophecy.

They are the gods personal Blorbos, echoes taken from inspiring individuals across a million universes, stripped of everything that made the originals interesting and placed in the world as the gods pathetic wet meow-meows to gush over, despite the lack of anything appealing about them.

If any other race eats too much vanilla while pregnant, the resulting children morph into underwhelming and hideous monsters- humans.

Humans have mastered the evolutionary niche in fantasy society that no other race would dare touch, as Humans are the gods perfect interns.

[thatonebirdwrites]

Gosh, I can relate to this.

I think about what fandom is a lot since I sort of lurk in a lot of spaces (until I feel brave enough to speak or share).

First off, the point of this addition isn't to guilt trip anyone, but to get people thinking about what community means. What inclusion means, and what engagement means. And how those are interconnected.

One of the crucial pillars of fandom, and the reason fandom exists at all is because of community.

Writing fanfiction and sharing it for free is about building community with one another. It's people who loved a show/movie/book enough that they wanted to play in the world longer, so they play together in that world with other people who love it too. That's what fanworks are -- it's people playing together in community because of a love toward a specific series/media.

But community requires communication. It requires building connections. It requries engaging one another.

I write long fics. In fact, adding up the word counts of my fics in AO3? It's well over a million words in two different fandoms. These are free novels written because the community had been welcoming at first and it had encouraged me to keep going.

But I made a mistake. Two of these projects (in two separate fandoms) I made into a series. Because of how each part in a series means the sequel gets less engagement, it feels like I'm watching a community dissolve, and that's painful. I don't get paid for this. It's all free, and part of the reason I went to fanfic writing was because of community.

Lack of engagement gives, often unintentionally, the author the message that they aren't really part of the fandom's community. At least not anymore (if they ever were).

Some say, "Well, don't write for your readers!"

Well, no, I don't write for my readers, but the act of sharing for free is me giving to the community and building up community.

But part of building up community requires people to give back in turn. Oherwise the community will fracture and fall apart.

The reason fandom exists at all is because of community.

It's the community part of fandom that has helped me to heal enough to write again, but when that community dries up or no longer engages with me, then what am I to do? I've lost that community, and if I continue to engage with it and get very little (if not nothing) in return, then at that point, I'm throwing my energy into a void in hopes for a scrap of community.

It ceases to fulfill the need. It leaves me feeling lost and alone. And finding out later how much people loved a fic I wrote but that fic received very little engagement? It tells me that I'm not loved as a person within the community.

I have watched and listen to people talk about how much it hurts when the work they put in so much effort in for the community gets little to no engagement. It often pushes them to engage less, to stop writing, and watching that happen? It hurts to see.

Community requires communication. Do not treat an fanfic author like a kiosk, where you grab the story and run. Treat them like they are part of your community. By doing so, by including them, you bolster their sense of belonging and are more likely to get stories in return.

Community needs to be reciprocal. And I fear fandoms are losing that understanding of what community is. They expect and sometimes demand more, but what are they doing to support that fanfic writer or artist? Are they engaging them and uplifting them within the community? Or are they not engaging them?

If you read an author's work and love it, include them in that community by sharing your thoughts in a comment. You don't necessarily have to comment on every chapter of a longer work (Though it is so lovely some do), but to at least offer up comments here and there to be inclusive of that author.

Engagement bolsters the community bond.

The lack of engagement breaks the community bond.

And that's a sort of grief. Us writers came for community and to share our love of the fandom with others. When we fail to be included in that community, it will hurt. It's a type of rejection that people may not even realize they are doing.

Community requires communication, and for fandoms, part of that communication is comments, kudos, (and gosh, even tumblr asks).

I hope that helps give people another perspective to consider.

Think it over. Think about what you'd like to give back to the creators in your community.

And please understand, if you can only give back one or so comments? That's okay and valid, and that too builds up community.

Even little actions matter.

Never think your small action doesn't matter or that your comment or kudos doesn't matter. It does. It helps build community too.

Thanks for reading. Be safe.

A writer friend told me something that broke my heart a little bit today; they're going to quit publishing their fanfic.

My instant thought was that they had been trolled or attacked or that something terrible had happened in their life because this person is so passionate about their writing. It wasn't any of that. Engagement with their works has been going down, as it has for many of us. Comments are like gold dust a lot of the time, and just looking through the historical comment counts on old fics on ao3 demonstrates this trend very clearly. It was not simply the comments dropping off which caused them to decide to stop posting, however.

My friend came across a discord server for their fandom (I should point out here that their fandom interest and mine diverged a couple of years ago, we stay in touch but don't currently read each other's posts because I'm not into their fandom and they would rather gouge their eyes out with a wooden spoon than read anything Star Wars) and specifically to share fic in that fandom. They joined, because we all love a good fic rec, only to discover that their latest multichapter fic, which has almost no comments and very few kudos, is being hotly discussed in this server as one of the best stories ever. Not one of these people has bothered to say this to them on the fic. When they asked, none of participants could see the point in telling the author of the fic they apparently loved so much that they love it.

This discovery has absolutely destroyed my friend's love of sharing fic. They share because they love seeing other people's enjoyment, and fic writers do that through comments and kudos/reblogs/likes because we don't get paid. There is no literary critic writing a blog post/article about how amazing the story is for us to copy and keep/frame. There is no money from royalties. All we have are the words of the people reading our works.

Those people on that server could have taken five minutes of the time they spent gushing about how amazing my friend's story was to other people and used it to tell the one person guaranteed to want to hear that praise how much they loved it. They could have taken a moment to express their opinion to the person who spent hours upon hours plotting, writing, editing, and posting those chapters. Instead, they deprived my friend of thing that keeps them sharing their writing, and in the process have killed their love of it. My friend now feels used and unmotivated.

I won't be sharing a link to their fic, they said I could share their experience but not their identity. I know they plan to post one final chapter. I know they intend to express their hurt at being excluded from the praise for the thing they created, and I know they intend to announce that as a consequence they will not be posting for a long while, if at all.

So please, I beg you, don't hide your love of a story from the writer. It's just about the only thing we have.

[swoleas]

Since Veilguard was released, there is this genre of Dragon Age fans popping up who are explaining Dragon Age lore, who have been talking a lot about Qunari lore. Disappointingly, they've just been taking Bioware's qunari lore at face value for every single game, no matter how much the Qunari lore for each game retcons the lore from game before it.

And I feel like, it needs to be understood that, Qunari were designed to be "Militant Islamic Borg" -- the intent behind them is to be this oriental technologically advanced people who are violent and expansionist savages and made specifically to contrast the rest of Thedas, meant to be White and European. They are routinely called barbarians and savages, real world slurs used against people from the SWANA region, by characters the players are meant to see as sympathetic and intelligent, like Solas. The lore starts and ends with this. And even with Gaider not working on the game, each bit of new Qunari lore introduced is built on 2 things: Racism and Vibes.

Trying to explain Qunari lore without even examining the deeply racist framework within which Qunari lore exists is inadvertently reinforcing the racism and the orientalism and xenophobia in the writing. You cannot separate them.

I have been seeing people calling Qunari society "inherently violent" or "teaching violence" and that this is why they are written as having had the Antaam branch away and go to the South and join the ancient Gods. And No. That is not correct in any sense. But if you rewrite the lore of the Qunari in every single game, of course that would be your takeaway. The real reason they are written this way is so you can have a faceless orcish brute enemy archetype that you can kill in Dragon Age: The Veilguard without any guilt. It's literally not deeper than that.

Why is it that Bioware is so resistant to having us go to Seheron or go to Par Vollen and walk amongst Qunari society and view them in a context where they are just living their lives? Is it possibly because it will draw attention to how alien and inhuman they are intended to be? Is it so they are not humanized in a way that makes every previous inclusion of Qunari seem jarring and uncomfortable to see?

In Origins, we meet Sten, and though he exists to expound on this group of people who exist in Thedas, the Qunari, and introduce us to this bit of world building which isn't directly relevant to the main story, but fleshes out the world beyond Ferelden. The writing was still racist (after all "militant Islamic Borg" refers to their Origins iteration), but you got so little information that you could infer that there may be some nuance there, especially given the way Sten is written in a way that humanizes the Qunari. Later lore shows him as being someone who cares deeply about the world around him and, as Arishok, about diplomacy. And all this not conflicting with his belief in the tenets of the Qun.

And in Dragon Age 2, the game pivots into making them one of the major causes of conflict in the story. This is the first introduction of Qunari as faceless brute enemy archetypes which you can kill without guilt, without explanation of why you can kill them without guilt--at least not immediately. You do not walk into DA2 knowing who Tal-Vashoth are and why they are attacking you--only that they're violent and they yell things in a foreign language at you.

The Arishok in Dragon Age 2 is stubborn, dogmatic, and violent when opposed or crossed. He shows up, sets up a military compound, and stays there for years. Your only representation here is a military leader and his subordinates, contrasted with equally violent mercenaries who the game promises are of a completely different ideology. All shirtless muscular men, who speak in a growling menacing dialect.

Then Bioware turns around and goes. Just kidding! Those weren't the real Qunari; they're a violent offshoot! We promise they are nuanced, you just haven't met those ones yet. They give us Tallis in Mark of the Assassin, but she's an elf, and one who had to pick between slavery and the Qun, and picks the lesser of two evils. Sure, she's sympathetic, but you get the impression that Hawke feels betrayed to find out that she's Qunari, and interrogates her on this--which, is partly, I guess, you, the player, clicking the dialogue options to learn more, but Tallis is on the defensive, trying to convince you Qunari are people, just like you and me.

Inquisition introduces another Ben-Hassrath, like Tallis, in the Iron Bull. And on the surface, his inclusion is quite a lot like Sten in Origins. They both showed up because there was an unknown threat in the South that they were ordered to investigate. Unlike Sten, though, you are given the option to convert him away from the Qun. Not only that, but the game drills into you how there is no free will under the Qun. But then contradicts itself with Bull telling you that under the Qun you DO have the choice to change your role under the Qun and that there is even a word for it, Aqun Athlok, which means transgender, but, in a society where gender is directly related to the role you perform in society, that implies less rigidity and more open-mindedness than every other character wants you to believe.

However, beyond dialogue with Krem and the Iron Bull about gender (and later Taash in the Veilguard), Bioware is not interested in exploring the implications of the existence and acceptance of Aqun Athlok in Qunari culture.

And in the end, if Bull becomes Tal-Vashoth, that's framed as the outcome that is overall most positive--the outcome where he can keep his romantic relationships (whether that's with the Inquisitor or with Dorian), his friendships with the Inquisition and the Chargers, and his individuality. It's reinforced in banter with his companions and dialogue with the Inquisitor. And it all sounds a little too close to how white savior types talk about Muslims who leave SWANA and leave Islam to come to the more enlightened and liberating West.

By the Veilguard, the Qunari lore is already so wishy washy that sure I guess now we have to believe that the Antaam (literally just the Qunari military) broke away from the other Qunari because the other Qunari weren't expansionist and violent enough. I guess that's what we are going with. And that's the reason why, as a gameplay mechanic, we see the return of the Qunari as a faceless brute enemy archetype. And this time, instead of them clearly speaking in normal pitch but in a foreign language (like in DA2), they communicate in inhumanly deep, animal-like grunts and growls. Even when they're not being hostile to you, and you pass them by in Treviso just hanging out? They are still hollering and growling in monstrous deep voices, without a trace of a thought out and well-enunciated language. And how racist do you have to be for you to be more racist than the DA2 Qunari?

I don't even want to get into whatever scraps you get through Taash and their personal quest because it's so irrelevant and detached from everything it feels like putting a bandaid over a stab wound. Nevermind Taash introducing us to a brand new and innovative genre of Qunari who can sniff things out like hunting dogs. Thanks for that one Bioware -- "but nooooo, Nairuz, they're part dragon it makes sense in the lore" -- the ancient Elves can also turn into wolves and dragons and even monsters, but you don't see them growling and sniffing and prowling like animals.

All this to say. Stop trying to make sense of Qunari lore in a way that validates and justify the decisions Bioware made, when they made those decisions out of Islamophobia and racism and orientalism. I am tired of seeing this lore be uncritically parroted by Dragon Age lore accounts.

[genderqueerdykes]

its extremely important, i would say even vital to learn about queer history. do not use what i'm about to say as an excuse to ignore our history, however i feel like i need to point something out, because i get a lot and i mean a LOT of questions asking if there are books written on every single queer identity and i have to point out that while it's extremely important to try to look to the past for validation in the present, it's also extremely important to realize that not every single queer experience has to have a long well documented history in order for it to be seen as "valid"

in many places in the world, even writing about being queer can be grounds for being jailed or killed. it's not always safe or practical to publish books, zines, or other written works when it comes to various queer identities. even in places where it is safe, not every single identity is going to be covered and written about. not every queer person feels the desire to write about their experience and not every queer person wants to be immortalized for being queer. this is extremely important to consider

also, queerness is based in identity. identity does not need empirical evidence in order to be legitimate. it may not be easy to find books on certain identities, but that doesn't mean they're not real. as important as it is to refer to books and the writings by other queers, it's also extremely important to not leverage literacy and the ability to publish books and/or zines against certain people and identities. just because there aren't books or comics or poems written about certain identities doesn't mean you can't view them as legitimate.

queerness is not like a scientific theory. it does not need to be proven. it does not need evidence. you do not have to prove that other queer people of the same identity exist in order for your identity to be valid. do NOT use this as an excuse to refuse to learn about queer history, but also do not look down on queer people whose identities don't have books written about them, either. remember that queerness is illegal in many, many places in the world. not every experienced can be published and written about. that's okay.

basically what i'm trying to say is don't use a lack of written records to dismiss certain queer identities or even misgender people. that person's anecdotes, that person's stories are still worth listening to. it doesn't matter that you personally haven't heard of other people identifying that way. don't use books and literature against individual queers. don't weaponize the lack of published work against people with complex or niche identities. having books and sources to refer to is an incredible resource, but that's not why they're there. they're not there so you can refer to them and go "a-hah, this is irrefutable proof that x group of queer people don't exist!" they're there so you can learn about some of the beautiful experiences humanity has to offer.

queer literature and history is important, but just because we don't have proof of something being reflected in the past doesn't mean it's not legitimate in the present. there were periods in time before these books and records that we refer to were published. it doesn't mean the people who came before these works weren't queer, and that their identities weren't legitimate. there have always been queer people as long as humans have existed and it's honestly very shitty to spit in the faces of everyone who came before the common sources we have to refer to today. they were still queer even if they had no books to refer to. queerness is not a science. it's okay to accept someone even if they can't provide you with piles and piles and piles of proof that their identity should be allowed to exist.

you don't necessarily need a "source" to prove that queer identities exist. the "source" is humanity. the "source" is lived experience. don't ever stop learning about our history, but don't use a lack of written records against other queer people. it helps no one. thanks. hope that made sense.

[psychotrenny]

The thing is that I do genuinely like a lot of art and I'm glad that it exists. So much of it enriches my life greatly and I'm glad to have it around, and even the stuff I don't like is often in some way connected to the stuff I do so whatever. But like, it's hardly the most important thing in the world. I wouldn't want to live without art (however you want to define it), but I very much still could. The world's a big place, and there's a lot that can be seen and done within it

Like so many artists have an incredibly inflated sense of self-importance which is pretty fucking obnoxious to listen to. It sounds so fucking stupid someone goes on about how art is what "makes us human" and other people treat that as something profound and meaningful, especially when half the time those people have a very narrow and elitist idea of what art even is. Like keep sharing that Hogfather quote about how people need fantasy ("Where the falling angel meets the rising ape") and this is gonna be me:

[threeacttragedy]

Entry 12: The One Where We Start Laying the Yellow Brick Road to Italy

I realized the other day that, even though I like to bounce around from place to place in the Lukola timeline, I probably needed to start tightening things up on the ship if I ever wanted to get to the end of the story. And, yes, dammit, this story better have a finale at some point because there’s nothing more annoying than an open-ended ending, particularly in the romance genre.

Today we’re going to take a quick jaunt over to Italy because –

NO! Not because Luke is allegedly filming there. If you’re into real-time stalking, you’re in the wrong blog. But, I’m sure there’s a Discord for that.

It’s because I’ve had several people ask for my opinion about the change in behavior between Luke and Nicola during their Day 1 interviews there. Wait – people are interested in my thoughts? Wow, that’s actually kind of nice. Thank you! Okay, back to what I was saying –

Was there a change in behavior when Luke and Nicola reached Italy? Yeah, actually, there kind of was.

By May 9, we had been gifted with a slew of material from Luke, Nicola, and the Bridgerton cast and, I must admit, those early interviews are some of the most entertaining of the tour. In the very beginning, Nicola appeared as the utmost professional – charming, intelligent, and witty at the right moments – and Luke played her likeable counterpart to “Book Colin” perfection – bouncing between being awkwardly boyish and wickedly roguish, all while looking at Nicola like she had just served him homemade peanut butter crumble.

The two of them together, playing off each other, in my opinion, was better than Bridgerton Season 3 (you cannot beat the World Tour being 99% Luke and Nicola, with only a few random side characters taking up screentime). There was some major “Electric Love” radiating from those two throughout the tour, but it seemed very much heightened in the beginning (probably because they hadn’t yet answered the same question 67 times). By the way, if you haven’t heard that song by Børns, go have a listen. It will, at the very least – hopefully – put you in an upbeat mood for the day.

Now, where was I? Oh, yes – was there a change in behavior between Luke and Nicola when they reached Italy?

Absolutely.

Do I know why?

Absolutely not.

Perhaps Luke was bent because someone spilled his coffee, or Nicola was upset because her stylist made her to wear that little silver bow in her hair. In my opinion, the most intriguing part of Day 1 of the Italy press junket was that Luke and Nicola struggled with answering the question, “What is love?” I swear they both babbled on like two kids in debate class who hadn’t bothered to read the material given to them before taking their respective podiums. They finally seemed to settle on Luke’s “Maybe it’s, like, connection.” Well, they seemed to be missing the “connection” that day.

Honestly, no one can explain their “don’t stand so close to me” vibe during those first day interviews except Luke and Nicola. But, we can at least have some fun and speculate about it with a bird’s eye view. At this point, you should know that I love spreading the puzzle pieces out and seeing how they might all connect. Most people – when putting a puzzle together – start with the side pieces, right? You’ll get my joke in a moment (I hope).

In March 2024 – I don’t know the specific date because my timeline is rather murky going back that far (I was unaware Lukola even existed!) – Luke traveled to Los Angeles for a photo spread with InStyle magazine. I’ve heard two versions of this story. The first being that Luke traveled to Los Angeles with Antonia alone; the second being that he traveled to Los Angeles with his friend group, which included Antonia. I couldn’t tell you which is true, and it really doesn’t matter because it doesn’t necessarily add or take away from today’s story.

Before I get started, I wanted to give a “hurrah” to The-One-Whose-Group-Chat-Fills-in-Lots-of-Missing-Bits-for-Me-Including-the-Part-Where-Video-Footage-of-Antonia-in-Los-Angeles-Seemed-to-Indicate-a-Celebrity-Was-Not-the-Videographer-and-There-Were-So-Many-British-Accents-in-the-Background-One-Would-Fancy-a-Guess-She-was-Traveling-with-a-Group.

Moving along…

On April 7, 2024, Antonia posted a series of photographs and clips to her Instagram grid indicating she had been in Los Angeles, including one where she was laying on a blanket in front of the Griffith Observatory and one where she was sitting at a table marked with the number “95.” On April 14, she posted a second set of photographs, tagging her location as Beverly Hills, California and using “End of Beginning” as her audio (yes, I side-eyed this choice of music so don’t feel bad if you did as well). The second photo dump included her lounging on a rooftop.

I’m not going to delve into posts made by Luke and Nicola during that timeframe. I mean, I’m sure Nicola’s comment, “’Friends’…sure Jan,” on Luke’s April 11 reshared post about Bridgerton Season 3 was only meant to be applicable to Polin. And, if Luke wanted to use yellow and black hearts to represent the colors Nicola and he were wearing in his April 12 post, that’s cool, too. And, I am definitely not going to speculate on Nicola’s April 15 post (for Big Mood) that Luke liked, and she captioned, “I will bite off anything that dangles.”

By April 21, Luke and Nicola were in Australia at the World Premiere of Bridgerton. I am only going to provide a quick overview of Australia instead of a full-fledged recital because, at some point, I will almost certainly dedicate an entry to this country. Let’s start with Luke pulling off the hottest walk-up in Netflix human history (I mean, have you watched it in slow motion?). Then, we had the hard launch of the handholding business (because why again?). And, we had Luke tripping over his words, “We’re very, like, giving…I’m not talking about those scenes…” Oh, and Nicola telling an interviewer that, “[y]ou can’t keep a good girl down,” and, in response, Luke’s lips curling into a wicked-ass Cheshire cat's. We had them in the garden, with Nicola bending down to hug Luke after she had scratched/hit/petted his head. Perhaps I should not mention the possibility of a man’s shirt being visible on a bed behind Nicola (I said possibility not that it was). And, Nicola telling Luke, “You’re the funnier one,” when he was concerned that perhaps Benedict was funnier than Colin. Then we had the “Nicola-in-the-green-dress” day where, as they were going down the steps, Luke seemed to instinctively reach for Nicola’s hand, but she played it cool and took his arm instead. Oh, and that entire “green dress” day in general (I mean, there was so much shit going on that day). And, best we do not forget Nicola saying, “the best foundation for love is friendship,” which mirrored the bracelet “someone…in Australia” gave Luke that read, “Do you believe the best foundation for love is friendship?” Because that’s not suspicious at all. Alright, let’s get the fuck out of Australia – but not before I mention Nicola commenting on Luke’s April 27 Instagram post with “Ready for the next?” and Luke replying, “Absolutely.” Yeah, yeah, yeah, their shenanigans in Australia expanded the USS Lukola tenfold.

Oh, also, let me throw this in here because, if you are a “ring truther,” this fact plays a significant role in the Lukola timeline. If you do not know what a “ring truther” is, that’s perfectly fine. You can catch up by reading Entry 6 (The One Where I Explained the Claddagh Ring to My Dad) of my blog. I mentioned in Entry 6 that some Lukola sleuths have stated the metadata they pulled from the sketches of the Claddagh ring uploaded by Chupi indicate they were done as early as April 26. In other words, it means the Claddagh was likely commissioned between Australia and Italy. In fact, if we are to believe Chupi when it said it took four weeks to make the ring, then it had to have been commissioned by May 9, 2024, at the latest. Oh, lookie there, that’s Day 1 of the Italy interviews.

But, before we get to May 9, let’s pause on April 29. That was the day Luke’s InStyle spread was published – yes, the one I mentioned earlier. Luke has pictures from this photoshoot still on his Instagram grid – in fact, Nicola commented, “Yess dude!!” on them – but those aren’t the pictures I want to talk about. No, I want to talk about the pictures InStyle posted on its Instagram grid that day. These photographs came directly from Luke, which was confirmed by the InStyle article when it said, “…the actor delighted the InStyle team by delivering the polaroid photos he’d taken for this story tucked oh-so-carefully in a little brown bag for safekeeping.” The pictures Luke provided, among others, included one where he was laying on a blanket in front of the Griffith Observatory in Los Angeles; one where he was sitting at a table marked with the number “95;” and one where he is sitting in a lounge chair on a rooftop. If you want to see the pictures, InStyle still has them available – you just need to go through hundreds of posts to find them. Luke did not like this InStyle post, which was kind of odd because he was tagged in it, and they were reportedly his pictures.

Why did these InStyle polaroids seem so familiar?

Oh, that’s right, because they were.

Remember that April 7 post of Antonia’s I mentioned a bit ago? Yeah, the one where Antonia posted a bunch of random pictures from Los Angeles and – only after InStyle posted Luke’s polaroids – fans realized Antonia had preemptively posted her version of some of Luke’s polaroids.

I am not going to speculate too much about these pictures or their implications in this blog post, but these pictures may resurface in future posts because I find myself side-eyeing the fact they even exist. And, we should probably accept that Luke was aware of them before his pictures came out on April 29 because he threw a like on Antonia’s April 7 post. Could it have been a “blind” like? Sure, I guess, but the logical side of my brain says he probably looked through them at the time she posted. Let’s not worry too much about it right now, though.

After trying to write out my “general” opinion about the pictures several times, I finally decided that the best way I could articulate my thoughts was through the conversation I had with my father. Yes, Dear Dad returns again for another insightful Q&A.

I started by showing Luke and Antonia’s three “matchy” pictures to my dad and then asked him to compare them. To be clear, the pictures were their respective Griffith Observatory, Table 95, and Rooftop Lounging pictures.

Me: “So what do you think?”

Dad: “About what?”

Me: “Ugh! Why did Antonia take those pictures?”

Dad: “Well, to show she’s part of the ‘in’ crowd. The only reason I can see them being taken is if she was going to put them on the Internet.”

Me: “Uhh, as a matter of fact, she did put them on the Internet! Approximately three weeks before Luke’s were published.”

Dad: “See! I’m not as dumb as you think.”

Me: “Whatever. So, you really believe that? She took them to show people that she was, like, there?”

Dad: “Yeah. Why else would she take them? They’re not the kind of photos you’d take normally. What’s she going to do, put them in an album and show her friends in five years and say, ‘Look, I sat in Luke’s chair?’ Who does that? Nobody. Plus, Luke’s pictures look like they were taken with a polaroid camera and Antonia took hers with, I guess, a phone. Why use two different cameras? Again, it doesn’t make sense. Seems to me like she knew what pictures he was taking, and she was trying to copy them so she could put them on the Internet.”

Thanks, Dad.

You do not have to accept my father’s thoughts on the photographs. Everyone is entitled to their own opinion. However, I think we can meet in the middle and opine that, at a minimum, Antonia’s pictures caused the weak Lukolas to jump overboard; at most, they gave some people stalker vibes; and somewhere in between, they introduced Antonia's negative influence over the fandom and what some may consider trolling behavior (even if it wasn’t recognized then).

Now, before we land in Italy on May 9, let’s summarize what has happened during the preceding two months.

First, we had Luke traveling to Los Angeles in March with Antonia, either alone or as part of a friend group. Luke had pictures of himself taken while there.

Second, we had Antonia posting pictures in early April that would be linked directly to Luke’s pictures by the end of the month.

Third, throughout the month of April, we had Luke and Nicola traveling together for the World Tour. We have all seen these interviews, and we have all formed independent opinions about them.

Fourth, based on Chupi’s own words, we know the Claddagh ring must have been commissioned no later than May 9.

Okay, now we’ve reached May 9, Day 1 of the Italy press junket.

Besides the press interviews, what happened on that day?

Well, Antonia reposted Luke singing Coldplay’s “Yellow” to her TikTok account.

Uhh… Huh. Interesting.

I mean, it’s possible that this was just a coincidence and she just liked Luke’s version of it. Or, it’s possible Antonia knew that “Yellow” was the Polin wedding song and she anticipated trolling Nicola and/or the fandom with it. But, if we believe she knew “Yellow” was the Polin wedding song, that means either Luke told her, or someone with that knowledge told her (i.e., someone from Luke’s team or family/friend group). We also know that Luke mentioned this song in the May 16, 2022 Netflix Tudum article when Nicola and he were asked about their song choices for Season 3. Luke stated his frontrunner was “Yellow” by Coldplay “because of Penelope’s dresses.” Regardless of why Antonia posted the song, I find it hard to imagine Netflix, Bridgerton, Shondaland, Nicola, or Luke were too impressed by Antonia resharing it on TikTok. I mean, at this point, Netflix & Co. would surely have been aware that Antonia’s “copycat post” went over with the fandom like a wet blanket in December in Canada. I imagine some questions were being asked and Luke may very well have received a hand slap from Corporate – and maybe even from Nicola.

But, that’s not the only thing that happened on May 9.

Luke posted his Homme magazine spread to his Instagram grid on that day, too. He captioned the post, “Chatting through all things S3 with @hommeplusmag [o]ut next week x.” Nicola commented, “Yessss,” and Luke tagged his post with the location of Hackney, London. That last part – about Luke tagging the location in Hackney – apparently sent the fandom into a deep-dive of…Nicola’s backyard. Why? Because Nicola lives in Hackney (Nicola herself confirmed she lived in Hackney in a March 18, 2024 interview with Derry Now), and rumors started to circulate that Luke’s pictures were taken at her home.

Hmm, I didn’t realize May 9 was such a busy day, did you?

So, which came first – the chicken or the egg? Did Antonia repost “Yellow” to her TikTok before Luke posted his Homme in Hackney images to Instagram, or vice versa? I’m sure someone out there has this information. The answer might help shine some light as to why Luke and Nicola seemed “off” in the early part of their Day 1 Italy interviews. But, then again, does the order really matter? Regardless of who posted first, it would seem to me that “Yellow” was a very possible culprit for the different energy on set that day.

That, or Luke really was peeved over someone spilling his coffee.

[mollysunder]

I think when Arcane shifted the story to focus one of those world-ending threats somehow made the world smaller. The relationships became less intimate and more rote to the plot. When we do get strong character moments, the way their actions should reverberate across their network is cut off.

For example, when Jinx chose to set fire to The Last Drop it was a really striking moment for Jinx as she reached rock bottom, but the show fails to grapple with the fact this was also the place Sevika was living and working in. Act 2 of Jinx Fixes Everything revealed that Sevika had been sleeping and working in Silco's office ever since he died, dealing with her own grief that way.

Sevika probably has a home to return to but that isn't the point, the point is Jinx destroyed a place that wasn't just significant to her and members of the main cast, but the larger community that is Zaun. How does Sevika react? How does she still choose to work with Jinx after this moment? What about the other members of Silco's gang that followed Sevika into battle? The Last Drop was a part of a lot of people's lives, and Sevika is emblematic of that deep attachment, but we can't see her grieve it's destruction because there's no space for it in the show.

[v-arbellanaris]

hrmrmrm idk that i am actually all that impressed by this incredibly simplistic explanation im getting in veilguard of the archdemons basically just being regular dragons enthralled by the evanuris. like. sorry but isnt that literally what corypheus did with his dragon. im sorry okay, i just...

okay. let me try and explain my issue with it. solas says, in trespasser, the first of my people do not die so easily. and sure, i suppose a dragon is not exactly an easy kill except for the way there's literally dragon hunters in thedas. as the warden, i killed at least three dragons including urthemiel. hawke kills at least one high dragon. as the inquisitor i kill like. eleven. so its a difficult task. but clearly not impossible? and as we see with corypheus - kill the dragon, and the main body becomes completely vulnerable and mortal again. the pride demon in the opening was harder to kill than corypheus was after his dragon died. h*cruxing the dragon is so simple j/kr could've thought of this, and i feel cheated of the like... scale of the magic and power that the evanuris commanded before the veil came up? i dont want to see magic we already thought of, i want to see how a world without the veil allows them to command magic in a completely unimaginable, unfathomable way to the way we currently can conceptualise magic at all in thedas.

i guess you could argue that it's either solas' hubris or the evanuris' pride that they thought no one else would ever figure out the secret to effective immortality but there's apparently at least 200 shards of mythal swimming around out here possessing people and shit. you cant throw a fucking rock in thedas without hitting 3 mythals. that is what i would consider not dying easily. and, if they go down the route i suspect of confirming that the ancient elves are spirits made flesh, i wish there was some kind of reference to the fade forever reflecting the desires and beliefs and dreams of people in the waking world - which is to say that, for example, simply still believing that mythal or elgar'nan or ghilan'nain still exists is enough to bring the shards of their spirit back together again - just like solas' wisdom spirit friend in dai.

my private working theory is that if the evanuris are spirits made flesh, then somehow, the creation of the veil effectively... made them tranquil, in a way. separated their mortal bodies - trapped, as mindless archdemons, slumbering in the deep roads, in the mortal coil - from their spirit selves, locked in the black city behind the veil. this would explain why he needs to move them in the first place, to a more secure prison - corypheus fucking up the veil in 9:41 reconnected the physical bodies of the evanuris to the spiritual selves trapped in the fade. idk i just feel a bit like. not to say caught out, but i feel like a lot of the lore drops are just like "whats popular fanon theory about this. lets just confirm that" and i wish there was just... something more. some attempt at surprising me or aweing me with the lore drops. like it is what you think but there is something else here you didn't think of, or it's more complicated than that - to leave some kind of mystery behind, still. but idk.

[annasellheim]

We're sitting at the table I'm glaring at them. These heroes ("The Big Three" as they are known in the industry) are questioning me? ME? They're questioning ME???

These motherfuckers made me come to the Cape Crusaders big, tacky mansion to justify my actions to them?

The thing that pisses me off the most about their reservations is the fact that what I do SO MUCH MORE IMPORTANT WORK than them. These idiots just punch bad guys in the face and send them to prison, just so they can escape and start the cycle over from scratch.

I've already saved so many more lives than they ever will. I've made more of a positive impact on this planet than anyone will ever know.

Because my power is to stop disasters, and the most effective way to do that is to prevent them.

No one knows how many wars I've stopped before they began, how many diseases I found vaccines for before they became epidemics, how many cities and countries I've helped create infrastructure for so they could avoid being over run by natural disasters.

And my job is made even more difficult than it sounds because no one can truly fathom how bad things would be if I don't use my powers. I have to fight ppl tooth and nail to get it anything to happen because they don't know how bad it'll be if it's not acted on.

No one sees what I see. They don't feel what I feel. They'll never know the particular ache in my chest that somehow has has an entire narrative wrapped in it whenever a potential disaster hits me. An ache that is so powerful that it's made my knees buckle multiple times.

And the feeling doesn't dissipate until the disaster is fully prevented. It means that when I know something needs to be done, I have to make sure it's dealt with, or-

It's destroying me in a way. Doing so much, all the time, with no compensation or recognition.

The heroes at least knew about my powers and know that I have nipped a bunch of really bad shit in the bud.

The villains thing has come up before and it's irritating. For years I thought it was because they were lazy and just were angling for help over shit that I didn't have time for, and in the big picture, didn't matter. Asking for even more help than I already provide.

I'm at my limit already.

But looking at these three at this table in this enormous, extravagant kitchen, it hits me how wrong I am.

These heroes don't have my powers. They can't foresee and stop disasters. For all they know, these clowns that rob banks and occasionally attack and murder people, can cause major disasters down the line. I'm not perfect, I can't stop all disasters. I have to sleep and eat and work a fucking day job.

I still feel residual aches from time to time for every disaster I've failed to stop.

They aren't trying to get more free work out of me, they're trying their best to figure out what villains can do major damage in the future.

They're scared.

"So, the way my powers work," I say while leaning back in my chair, "is that at some point, I know something will go from being an issue to a problem to a disaster. I can only intervene when I know it'll be disastrous, otherwise I can't use my powers, it's like they don't exist. Until something goes over the thresh hold of becoming a potential disaster, it's like I have no powers at all."

"How do you know when a disaster is going to happen? Is it like a vision?"

"It's more internal than that- it's like a feeling I guess...I'm not sure how to articulate it."

Huh, no one has ever bothered to ask me anything specific about my powers or the work I do. I don't have a lot of answers if they keep prodding.

"So, yeah, it's not that I'm neutral to villains, it's just all of the ones you guys been dealing with don't-" I yawned "- don't give me that feeling. I'll let you know if it changes."

I put my head in my hands. Fuck, I'm so tired. It's not like I can stop being a hero, I see the alternate world where I don't intervene, I feel it. But I'm so, so tired.

"Go take a nap."

My head shoots up, "What?"

The Masked Crusader (dumb ass name btw, just like his dumbass mansion) says it again, "Go take a nap. I'll make us all dinner. Go use my guest room and pass out for a bit.

Damn it, did I say I was tired out loud? Or was mind reading one of his superpowers? I can't remember, things have been so overwhelming recently, my memory is shot.

"No, the Masked Crusader can't read minds, that's me" Brainiac says.

Oh. Shit. Right.

"We just, we see you burning out, let us support you for once," chimed in the Singing Banshee.

This was not how I was expecting this conversation to go AT ALL.

Banshee continues, "You've got a lot of walls up, probably from years of running yourself into the ground saving thousands of people without any help. So, we're now going to help you."

"That's not a request by the way," the Masked Crusader says as he slides me a glass of water. "We're doing it whether you like it or not."

Shit, I hadn't even realized I was thirsty. Have I drank any water all today?

And then *BOOM* I get hit with it- the feeling of an impending but preventable disaster. But it's different than any other disasters I "felt" before.

It's me... It's me, in the near future, collapsing and being unable to do anything about, well anything. I wouldn't be able to stop future disasters, hell, I won't be able to function. And the only way to prevent it was to lean on these people.

This was a lot.

I chugged the rest of the water and wiped my mouth.

"Ok, thanks..." I whispered.

This was too much to think about right now. It was too much to feel right now. I'm not used to, I don't know, being taken care of. I don't know how to be supported.

I'll figure out a way to properly navigate this later. Right now I needed to lay the hell down.

You're a superhero who specializes exclusively in stopping disasters. The other heroes just don't understand why you need to remain neutral to the villains…

[nadianova]

welcome to surprise nadia nova how to make a visual novel tutorial

you want to 100% use ren'py i dont make the rules

its straightforward enough that simply downloading, installing and hitting the "create new project" and spamming through the menu and then opening script.rpy to see the code which will tell you like 70% of what you need to make your first vn. there no need to be afraid just because the word 'code' was mentioned. ren'py's own language is just copy pasting stuff back and forth and inserting your own names and pictures. its nothing like C# or java or whatever languages exist cause i know jackshit about any of that and dont know how to do programming

anyway, inside the main script file, script.rpy, are commented instructions on how to name a character, place a sprite, place a background, and put in text and you can basically make a vn with these things. i can not stress it enough KEEP IT SIMPLE, especially if you're starting out. making things complicated or planning massive projects is just shooting yourself in the foot. better to make 2 minute game than get stuck trying to make a epic masterpiece

writing a story is its own thing. however anyone can write and its better to write a shit story than no story. that way you have something to build on and get more comfy with your own art process. its what me and everyone else who makes vns and any other art or skill or hobby have done too.

if you like what some other vn/manga/anime/story does copy it and smash these inspirations together to make your own thing. save pictures and lines you see that get you inspired if you need inspiration and references for your own story. everything in this world is inspired by other things someone else has made. its not stealing unless you get absurd and download someone elses game and take out half the assets and put them in your own game and pretend you didnt

if you have interest do yourself a favour and make a vn. as far as game development goes its one of the most accessible options out there . ren'py is an amazing engine having all the vn necessities already in place since that allows you to just focus on the story and not have to worry about setting things up yourself and scrambling with advanced code unless you really want to

i know the jam is just ending in the following weeks and depending on when you see this post this might be outdated as hell but my yurijam server is still going and will be going until people simmer out and something new shiny takes their attention. still, its a server an people post gay shit there occasionally even outside of jams so me and many others are helpful and like answering questions to help otehrs make stuff. so i think the best way is to join the server rn and just ask questions in the help channel. better to ask stupid questions than no questions

now go make a visual novel im holding a whip and making those scary crack sounds and aiming just close enough to your feet that youre almost convinced it hit you despite your jumping and dancing and DANCE NOW DANCE MAKE A VISUAL NOVEL DANCE GET TO IT MAKE A VISUAL NOVEL DO IT NOW OR ILL GET YOUR FACE NEXT MAKE A VISUAL NOV-

anyway but for real if you really are interested make a vn cause im holding a whip and making thOSE SCARY CR-

[that-thoughtful-waffle]

What you do is read all the charts that aren't yours as if they were. It is imperative that you pretend that they are yours or it probably won't work as well. I say this because if astrology is objectively true, as you claim it to be, the experiment then needs to be objective, completely separate from your own feelings on the matter. If you try not to find anything, then you probably won't. But I need you to try to find something (the same way you ask us to do with our own charts; the same way you look at your own chart).

Then you'll find that the vast majority, if not all of them, will resonate with you on some level. If astrology worked, then your chart would be the one that resonated with you the most when looking objectively. And it would be by a significant margin. And while statistically, there are probably some people for whom this is true (outliers will exist in any sufficiently large dataset), it will not be true for the vast majority of people who look.

Astrology is made to be general. It paints broad strokes that could apply to almost anyone.

I have more, I want to say, but I don't feel like it right now, so I'll just give the headlines:

- Spirituality is a wonderfully useful, useless thing.

- Philosophy is bullshit, but it's helpful bullshit.

- The sunk cost fallacy is real, and it affects you too.

- Nothing means anything when your head is in the clouds.

- Love is a beautiful choice

And finally:

The world is a blank canvas with ink spilled all over it.

it does still make me insane specifically how many queer people lovingly embrace astrology. I went to a poetry workshop yesterday that was genuinely quite good but also included an option to disclose astrology designations during introductions and so many people broke out some variation of "I'm a [x] sum but I have a [y] placement and it SHOWS" girl no it doesn't. that's meaningless correlation you completely invented the causation

[centrally-unplanned]

There are two big "AI Art Discourse" events of note recently, which I thought were interesting: ACX's "AI Art Turing Test" and the new paper on "AI Poetry Beating Human Poetry". Both of these I think reveal the shape of "what is AI art for", and also say a lot about how these results were utilized in discourse.

To take the latter first, some academics quizzed people on some poetry and had these results:

We found that AI-generated poems were rated more favorably in qualities such as rhythm and beauty, and that this contributed to their mistaken identification as human-authored. Our findings suggest that participants employed shared yet flawed heuristics to differentiate AI from human poetry: the simplicity of AI-generated poems may be easier for non-experts to understand, leading them to prefer AI-generated poetry and misinterpret the complexity of human poems as incoherence generated by AI.

More human than human poems! This certainly seems impressive - and it is. You couldn't have gotten these results ~5 years ago. But that maybe doesn't mean as much as you might think? Because here is the opening half of the winning "Walt Whitman AI" Poem:

I hear the call of nature, the rustling of the trees, The whisper of the river, the buzzing of the bees, The chirping of the songbirds, and the howling of the wind, All woven into a symphony, that never seems to end. I feel the pulse of life, the beating of my heart, The rhythm of my breathing, the soul's eternal art, The passion of my being, that burns with fervent fire, The urge to live, to love, to strive, to reach up higher. I see the beauty all around, the glory of the earth, The majesty of mountains, the miracles of birth, The wonder of the cosmos, the mysteries of the stars, The poetry of existence, that echoes near and far

This fucking sucks. Straight up 2/10 poem. Did this bitch seriously establish the world's most predictable rhyme scheme only to try to rhyme wind with end? You had one job that you chose for yourself, and you screwed it up! This poem has been written a million times before, and says nothing - the Miley Cyrus lyrics of verse.

The reason this won is, yes, because AI tools have advanced heavily in the past few years. But it is also because it is being tested on a dead art. No one cares about poetry - certainly not the survey respondents:

We asked participants several questions to gauge their experience with poetry, including how much they like poetry, how frequently they read poetry, and their level of familiarity with their assigned poet. Overall, our participants reported a low level of experience with poetry: 90.4% of participants reported that they read poetry a few times per year or less, 55.8% described themselves as “not very familiar with poetry”, and 66.8% describe themselves as “not familiar at all” with their assigned poet. 

"Or less" is doing a LOT of work there; "yeah I read a few nonfiction books a year" oh sure, totally. 90% of these respondents haven't read a poem that wasn't displayed in the end credits of Minecraft since high school. No one does, poetry as a medium is essentially a relic. That isn't an insult to poets, by the way! There is no shame in being a niche. Not everyone can have the reach of hentai doujin artists; the community is small but they get a ton out of it. But you can't take the art of the community and expect that art to hit outside of it.

This survey didn't ask people to evaluate art; it asked people to evaluate their stereotypical impression of an art they don't care about. It was ~600 people hired off a website, they banged it out ASAP and moved on. This is not to invalidate the results; I am not actually claiming that "real" poets would have scored much better? Maybe, I don't know - that just isn't very relevant.

Let's swing to the AI Art Turing Test results to get more into why. Again, AI art is absolutely "art" in the sense that it is able to pass the test handily. You have to be head-in-the-sand at this point to think that AI can't make an impressionist painting a la the "most liked" art in this contest:

I have seen the "well real paintings have physicality this is a jpeg" discourse points and the cope couldn't be more real - 99% of art consumption in the modern world is digital or at least prints, let's get you back to bed grandma. But I did find it pretty funny that Scott noted this AI piece as one he particularly liked:

Because it is nonsensical, right? All that "faded paint", how was it originally painted - just bucket splashes of red and blue? What are those random doors, the random stairs going nowhere on the sides, the vague-nothings engravings? Scott just didn't care about that - he liked the vibe, right? Ancient ruins, epic scale. It isn't a coincidence that the Impressionist art did the best - current AI tools are always impressionist, they have an idea of the vibe and invent the details in between. In Impressionism that is the whole point.

Now the trap is to go "REAL artists can tell because of this or that" because idk, the tools might get better, they might fill in more and more details. The real revelation here is that you don't need the tools to get better - visual art isn't so different from poetry. Most people don't pay attention to it all that much. You see thousands, thousands of pieces of art a week; you probably don't even realize how many. Do you really care if the fading paint makes coherent sense on a billboard ad or a doctor's office wall painting? So much art that is made is "industrial" in this sense - it has no need to be good. Only good enough to fulfill its utilitarian role. In these fields AI absolutely is going to Take Your Jobs in some form, and already is (though imo not a ton of them). And it won't really bother most people. This can go pretty deep - I promise you people are "utilizing" AI porn right now. They are ~appreciating the details~ way more than is typical, the product is working.

All this works until it doesn't, though. When it is an art book by a favourite artist whose vision you want to pour over, learning that all the individual details were just made by AI completely defeats the purpose, right? Imagine reading a book of these poems. Outside of the novelty, "AI is the point" factor you would rather watch infomercials on repeat, I can't imagine a more pointless use of my time. "Reading arbitrary poems" is never fun, regardless of the quality of the poems. Most people don't care about poetry! The reason you care is that you care about the poet, and what they want to say. You read poetry with context, it being inserted with intent into the pages of a manga, at the end of a video game, because you like the artist and follow them on twitter. The quality of the prose isn't more important than that.

Which is a harsh limit for all of these kinds of tests. They essentially aren't testing art, right? You do not ever get paid twenty bucks to sit down and read a dozen poems and score them. That has no bearing on how you would actually ever learn to care about a poem. Which doesn't make AI art useless or anything, more that these tests will very quickly run into their limits of what they can meaningfully tell you. The actual bar is "creating something someone cares about". From that lens, I fully believe hybrid methods that privilege artistic intent are currently working and will improve. But I think for "solo" AI art getting that to work is going to be complicated.

[paddockbunny]

I’m selling some of my old designer pieces and the AUDACITY some people have. Jacquemus bag, used once for a wedding, RRP £500+, this dumb fuck offers…..£65! £65!!!! It’s on for an incredibly fair price at £350 and they offer £65?!

THEN insult me, the bag and the fact I said no by telling me I’m out of order for not selling it to them for £65! So I block and report but then go on to their own page where, what I found can only be described as an abomination. Random shit from sweatshops and dodgy market stalls for £45!! Most of it doesn’t look remotely real and what I would call “Turkey specials” (aka fakes)

Then as if it doesn’t get worse she has the sheer gall to be listing a pair of what I can only describe as “trash worthy” (they’re so damaged and wrecked) Dolce & Gabbana (like, love, they were cancelled years ago…they’re vile people) heels for £199.99!!!! The only place these shoes should be going is in the bin. They’ve been thoroughly worn and trashed. The leather (if it’s even leather) has come away from the heel, the soles are completely filthy and should have been replaced, you can see the toe marks heavily ingrained into the bed of the shoe as they’ve clearly been worn to death.

One of the reasons she claimed by Jacquemus bag was only worth £65 was because it’s 5 years old and literally said “it’s pre-pandemic” (wtf does covid-19 have to do with a handbag in the first place????) Like, honey, babes, these manky D&G heels can’t even be found online they’re THAT old, they have zero authenticity, no dust bag (which all designer shoes come with dust bags), no receipts, no nothing and are TRASHED and you’re still trying to sell them for £200 in the same breath as you claim that my bag which has been worn once, pristine, comes with dust bag, box and tags, bought from Selfridges on Oxford Street with a receipt to prove it, kept on a shelf in my closet out of sunlight etc. is worth £65?! HAVE A DAY OFF!

[fearandhatred]

the genocide is fucking crazy bc at the end of the day it's so extremely xenophobic. like it is genuinely unthinkable for this to happen to a western or white-passing country. it would be shut down so quick

[chaosmagetwin]

For me, I would push the button as much as I possibly could. And some of this i because of how I was raised, some of this is a lack of self worth (which I will explain), and some of this is a true desire to improve the world.

But this is all correct. Some people really do see the world as a competition. I think, for some, they can't envision a world where everyone else gets better, except for them. There has to be loss somewhere. There has to be winners, and losers, because "That's the way the world works". There is no neutral option, because those don't exist in their mind.

And some people see it as collaborative, and some of them think "If their lives improve, mine will too", and they're right. But also, some of them think similarly to the first group. That there are winners, and losers... and they're okay with being a loser.

CW: The Bad Brain, Clinical Depression ++

I was one of them, for a long time. Sometimes, I still slip back into these patterns of thoughts. The button wasn't some hypothetical, the button was real. The button was suicide.

I thought of the world in the terms of resources; people lived, and breathed, and ate food, and our poor little Earth couldn't really sustain us. I was a sad little child who didn't know she was trans, and thought "Well, I'll never have kids, I have no skills (I was 11 btw), and I have no interests outside of writing, I truly believe I will die at 22 years old, and ergo will serve no purpose. Also, no one loves me, and although they care about and miss me, I think they'll get over it. The only ethical decision is to die. It will make everyone happier, reduce the strain on resources (only slightly paraphrased), and I will be forgotten. Best case scenario."

In my 11 year old head, I'd convinced myself that pushing that button was possible. I'm certain there are people who would agree that I should have done it, but even at 11 I knew that anyone who agreed was a bad person.

I don't really know my point here. One read is "Maybe be wary of buttons like that". One is "Maybe the button isn't what you think it is, ELEVEN YEAR OLD CHILD." One is "Maybe such buttons do exist, but they really are neutral". Maybe it's "Everyone has a different view of what The Button is. Maybe we shouldn't judge folk for how or why they push the button. You don't know what it means to them."

I genuinely believe that some people could encounter a button that says “if you push this button everyone in the world has the opportunity to live a better life and your life remains exactly the same” and they would not push it.

They’d be like “well that button’s not fair to me, though,” even though there’s literally no other buttons around and nothing newly bad would happen to them if the button was pushed.