#therefore they're all 'mixed'

[warning-heckboop]

Oh to be able to make the complex lore comic that lives in my head about the concept of fairies, anti-fairies, and pixies once being a civilization of one single species of fae that splintered both metaphorically and literally due to internal conflict

[hoodieimp]

Nothing grinds my gears more than people who insist that all cats are Smug Assholes just because they don't behave like dogs

(Spoiler alert: it's because they aren't dogs)

[fxrheisenn]

Andrus Laansalu talked about making Disco Elysium at EKA (Estonian Academy of Arts)

"Initially, the church wasn't a focal point. There were certain characters that needed to visit this location, and I asked, "Seriously, what do we have in our church?" The others replied, "Nothing at all. Our church is completely bare—just a wheel, really. It's quite basic."

That's when I decided to unleash my creativity in the design. For example, they chose to install a glass structure at the top of the church to create a reflective surface. It was like placing an optical clock up there. Therefore, one of the most crucial aspects of designing the church was ensuring the lighting was just right to create the desired atmosphere."

"Let me show you an example of Baroque architecture, which is rich in detail. We're also designing the interior of the church based on large cathedrals. However, the foundation you use might not yield the expected results, because the church itself doesn't require such intricate details. Sometimes, it's about simplifying the design."

"I used Articy for the initial scriptwriting of Disco Elysium. The image only represents a tiny fraction of the text and choice variables involved. This system was also the reason I eventually abandoned the project after a year of outlining the script and shifted my focus to becoming a sound designer. My mind struggled to keep up with the dynamic graphic rules, but fortunately, a more talented writer took over afterward."

"In terms of sound design, it's essential to develop different layers to bring out the charm of the church as a cohesive space. Although this represents only a small portion of the overall design, each layer actually requires a significant amount of time to compose the whole....... Whenever there's a shift or a change due to the dialogue itself, you need to adjust the background sounds. Each time you modify the details in the dialogue, I have to refine the background audio, ensuring that these elements build upon each other like an intricate layer of work."

"It's funny how many scenes involve characters getting smacked in the face. My job was to recreate those, so I locked myself in the bathroom with a recorder and hit my forehead until it turned red.

As a sound designer, I really dig those unsettling, drill-like sounds. So, I mixed in creepy lectures, metal scraping, moans, and cries of pain—because I just love that stuff! (laughs)

Players will be moving through all kinds of areas, so it's super important to make the sound transitions feel natural, trying to create a more immersive vibe in certain spaces.

With all the scenes featuring big cranes, you can hear them from far away, and I wanted to capture that eerie ringing in your ears. That's going to be a thing throughout most of the game. I've found ways to really mess with players while they're playing!"

"I've come across a lot of old objects (like phones and radios) that I needed to perfectly replicate the sounds. I started to become a bit of a hoarder, buying up different models of old phones whenever I found one to add to my collection. The sound effects I can simulate from them are really impressive."

"Some of the devices don't actually exist in real life—just a mix of architecture and tech. When I need to create sound effects, I first look for something similar that exists in our world, then I try to simulate what the sound and appearance of that thing might have been like a century ago.

Towards the end of the game, there's a character carrying a fuel canister. We needed the sound of the canister, so we dug one up from our garage—it had been sitting there since it was five! I realized this would make the sound perfect. So, it had been there for 50 years, and after 40 years, it finally found its purpose.

In some places, I needed unique sound waves, and recreating them was a real headache until one day I happened to walk by a swimming pool and stumbled upon an old wartime torpedo. You can rotate the torpedo's probe, and it slowly rises up, like a proud zombie head. The sounds it made were exactly what I needed!"

🙋How did you manage to get funding?

"Well, since we're in Estonia, you just need to know a wealthy person. You don't need five people—just two who can network, hang out together, and convince them to keep investing! (laughs) Back then, we constantly ran out of money and would tell them, 'Oops, looks like we spent it all! Can you invest a bit more?' That's how we made it through!"

🙋How did you all come together to make the game?

"Luck. It usually doesn't happen this way, and that's the key difference. It has to be. If not, you couldn't create a game of this scale - well, I mean in terms of budget. But creatively, Estonia definitely has writers and artists who can pull it off. With such a small population, there are a lot of quirky folks who are good friends. We were really lucky, though - lots of fortunate circumstances came together. It brought the right people together, allowing those talented fools to collaborate with us. They had experience but hadn't tackled projects of this magnitude before. So yeah, luck is pretty important!"

Lecture experience shared by 白兔YIYANG SUN on ���红书, reposted & translated by me with her permission.

[v4nnyzzz]

Hi yes- permission to draw Habit and ur self insert together? Cuz man am i on the same fucking boat as you are dude I LOVE HIM- [ If yes send a picture of ur sona pls :> ]

OF COURSE!!!! Anybody is welcome to draw art for me i love it LOL IM FLATTERED U WANT TO DRAW MY OC AND HABIT!'!! IT MEANS A LOT! I will put her images under a readmore 👍👍👍✨

IT RLLY MEANS A LOT TO ME THAT U WANT TO DRAW ART OF THEM AND HABIT!! ITS RLLY SWEET OF YOU AOUEGH 💜💜💜

I don't have a proper updated ref of Syn but here are some images of her i bashed together on a canvas because my laptop is in my office 😧👎👎 cringefail moment of me sadly

And attached below is a fullbody of her done by lukushi.ii if you need her colours! She wears anything, so don't feel restricted to just the outfits shown so far.

If it helps, she's very feral and animalistic. She's a little puppy-like sometimes, and motifs associated with her are jade objects, opium pipes, paws, pink, and spikes and collars and dog biscuits and toooooons of other things.

Hope I've made it detailed and to the point enough! If you need any more details, just poke me and i'll do my best to get back asap - i have tumblr notifs off for personal reasons so it maaay take a bit. XD

[mr-ribbit]

gonna rant again bc im seeing a lot of trans women on my dash having to carry the heavy lifting to argue for their basic respect and a lot of other queer people who want to ??? get mad about that apparently. for the record as usual: im tme, im not speaking for anyone besides myself and my perspectives, but I am trying to reach out to fellow tme people to level with y'all from inside the house.

i thought we all got past the 'calling people gendered terms when theyve asked you to stop' thing in like. 2012. i swear we were allllll on board with not calling women dude anymore, nerfing sir and ma'am, neutralizing collective terms for groups, and all of that was like, during the onceler era. that's how we got off-putting shit like folx into the mix - remember???? why are we here again.

to those who I've seen claiming that they REALLY genuinely don't want to offend anyone, and that theyre trying to understand the dude thing, and they don't want to be seen as transmisogynistic when they aren't: ok. let's talk about it. step one, stop sending that really loaded anon to a trans woman you don't know, and close that in-group hatepost with 100 replies from people name-dropping trans bloggers they don't like. try to open your mind and assume for the duration of this post that I am not cynically trying manipulate thousands of tumblr users into making Bro the next big swear word, but a fellow queer human being who thinks you're all being pretty intentionally obtuse about an upsetting trend in our community

to be clear: this post is about the issue of trans women being called bro, dude, man, etc., particularly in recent tumblr discourse about transmisogyny, and the backlash they face if they get upset about it. this is also maybe moreso about the shitty ass excuses I see tme people make for why they supposedly can't stop doing this.

so let's go through some of the things I've been seeing people say they don't understand, supposedly in earnest, about this issue

"I DIDNT USE DUDE AS A MASCULINE TERM. I CALL EVERYONE BRO. MAN IS A GENDER NEUTRAL TERM"

I'm not actually going to exhaust my list of reasons why dude/bro/man are not strictly neutral, but you should be pretty aware that all words have context. Dude might be seen as neutral in many contexts, sure, but 'woman who is frequently called a man by others' is a situation where the context adds extra meaning to your words, just like calling someone "sweetie" might be neutral in some cases, but if you've got the context of knowing that's your coworker who's half your age, it's a bit less neutral. If you're not capable of reading that context and being tasteful about when you say dude, then you need to at least be ready to respond gracefully when someone asks you to stop. This is the part I'd rather focus on.

"BUT I DIDNT MEAN IT THAT WAY. IM NOT TRANSPHOBIC"

I think you should consider broadening your perspective *beyond* your intention behind the word. people may already understand that you meant the word neutrally and therefore didn't have transmisogynistic intent, but that's not really the entire scope of what people are saying. if that's your only concern, you're just trying to clear your record, not actually listen to what they're saying.

there are lots of words people don't enjoy being called, and in most cases, when they say 'pls don't call me that', people respect that and move on. even if the word isn't a slur, if it hurts someone's feelings, we all as a society have agreed that it's pretty shitty to keep calling them that. if your friend asked you not to call them 'buddy' anymore because their dead grandparent called them that, or something equivalently personal, you'd probably respect that instead of telling them 'but I call everyone buddy!!' right? even if you didn't really understand why it bothered them so much?

there is a prominent tendency for trans women to be denied this privilege, and when they ask not to be called dude or bro, people don't seem to respect this request as much as they would in other situations. when I accidentally use a gendered word and someone tells me they don't like it, I try to respond with something like "my bad, I didn't mean it as misgendering but I can see you were still bothered by it, so I'll try not to keep saying it. sorry!" and most people are willing to accept that. when trans women ask people this favor, a lot of people get VERY defensive, and treat the request as inane or unfair, instead of just apologizing and moving on. this is why people are upset when this happens, and it's why people are calling your actions transmisogynistic

also like you might not be doing this, but a lot of people DO use dude and bro in an intentionally gendered way to make trans women uncomfortable. it's a power play bigots use to talk down to them or otherwise maliciously harass them. do you know what arguments they use to defend that behavior when called out on it? 'oh I call everyone that' 'dude is gender neutral calm down' 'dont overreact its just a word'. by acting like this, youre all just giving credence to those same arguments.

"WELL THEY SHOULDNT GET SO MAD AT ME WHEN I DIDNT MEAN ANY HARM"

they can get as mad as they want!! also, are you sure they're 'mad'? or are they just expressing their feelings about a negative topic to you, and it makes you feel bad, so you have to make them out to be unreasonably emotional? how do you think they should have phrased 'dont call me that' to better spare *your* feelings?

also like, in most cases, these women do not knowww you. if your main response to someone saying you disrespected them is to say "I didnt mean it that way, I meant it in a friendly neutral way", well that's NOT YOUR FRIEND! she has no idea what your opinions are or what you think of her!!! she has no reason to assume you only upset her in a friendly way and not a bad unfriendly way! but she did get upset, and she did the one thing she can do which is *tell you what upset her* and your response is to say "well actually you shouldn't be upset at all"??????

and another thing:

it's not just the issue of using the word 'dude', it's because you're coming off extremely dismissive of women who have asked you to stop doing something that harms them, and because your argument is basically that they just shouldn't be so bothered by it. or that they're stupid, irrational, or otherwise crazy for telling you that it bothered them at all, just because you Technically used a gender neutral word according to Your Rules. be honest, does that seem fair? If people were calling you something that bothered you enough to ask them to stop, and they responded like this, how would it make you feel?

focusing solely on your intent and what the words mean when you use them is the same thing as saying "just get over it". no woman should need to Prove to you that 'dude' is gendered for you to care about what she's saying. the fact that you're asking people to do that sucks and makes you look bad, which is why people are arguing with you and calling you a misogynist.

especially those of you who are only doing this with trans women who are actively arguing with. you're wielding misgendering as a cudgel and we can all see it, grow up please.

[headspace-hotel]

Researching herbicide resistance in weeds.

A decade ago, everyone said rotating applications of different herbicides was key to stopping herbicide resistance.

Then, around 2015, evidence from a large study emerged saying that this actually causes weeds to be MORE resistant, so the best thing to do is to spray a combination of multiple herbicides mixed together at once.

Now that is being called into question too. Whoda thunk it...

Herbicide resistance among weeds is only getting stronger. Recently, scientists found an annual bluegrass (Poa annua) on a golf course that was resistant to seven herbicide modes of action at once. Seven. SEVEN. Amaranth plants been found with resistance to six herbicide modes of action at once. Twenty years ago, the narrative was that resistance to glyphosate (Roundup) was unlikely to become widespread; today it's the second-most common type of resistance.

What's more, plants are developing types of herbicide resistance that are effective against multiple herbicides at once and harder to detect. Instead of changing the chemical processes within them that are affected by the herbicides so the herbicides don't work as well, they're changing the way they absorb chemicals in the first place. Resistant plants are producing enzymes that detoxify the herbicides before they even enter the plants' cells.

It took Monsanto ten years to develop crop varieties resistant to Dicamba (after weeds made 'Roundup Ready' crops pointless). Palmer amaranth evolved Dicamba resistance in five years.

So I asked, "Why are all the proposed solutions dependent on using more herbicides, when we know damn well that this is going to do nothing but make the weeds evolve faster?"

The answer is that chemical companies have the world in a death grip. They can't make money off non-chemical solutions, so chemical solutions get all the funding, research, and outreach to farmers.

But why do chemical companies have so much power?

One of the biggest reasons is the U.S. military.

In the Vietnam war, all of Vietnam was sprayed with toxic herbicides like Agent Orange, which was incredibly toxic to humans and affected the Vietnamese population with horrible illnesses and birth defects. Monsanto, the company that made the herbicides, knew that it did this, but didn't tell anyone. The US government didn't admit that they'd poisoned humans on a mass scale until Vietnam veterans started dying and coming down with horrible illnesses, and even then, it took them 40 years. (My Papaw died at 60 because of that stuff.) And the soldiers weren't there for very long. As for the Vietnamese people, the soil and water where they live is contaminated.

Similarly, during the "war on drugs," the US military sprayed Roundup and other chemicals on fields to destroy coca plants and other plants used in the manufacturing of drugs. This killed a lot of crops that farmers needed to live, and caused major health problems in places such as Columbia. The US government said that people getting sick were lying and that Roundup was just as safe as table salt. (A statement that did not age well.)

So chemical companies make money off arming the USA military. The American lawn care industry, and the agricultural system, therefore originates in more than one way from the United States's war-mongering.

The other major way is described in this article (which I highly recommend), which describes how after WW2, chemical plants used for manufacturing explosives were changed into fertilizer producing plants, but chemical companies couldn't market all that fertilizer to farmers, so they invented the lawn care industry. No exaggeration, that's literally what happened.

This really changes my perspective on all the writings about fixing the agricultural system. The resources are biased towards the use of chemicals in agriculture because the companies are so powerful as to make outreach and research for non-chemical methods of agriculture really hard to fund. All the funding is in finding new ways to spray chemicals or spraying slightly different chemicals, because that's what you can actually get ahold of money to look into. It is like the research has to negotiate a truce with the chemical companies, suggesting only solutions that won't cause lower profits.

Meanwhile my respect for Amaranth is skyrocketing.

Who would win: The USA military-industrial complex or one leafy boi

[egophiliac]

This is a very random thing, but years ago I played a game where all the fae had Scottish accents, and I’ve never been able to imagine fae without Scottish accents since.

Therefore, I think that every fae in TWST has a Scottish accent. More specifically I’m convinced that Sebek has a Doric accent, and also that Silver actually has a Cockney accent.

I’ve been needing to share this with you for a while now, and I’m curious on your thoughts here.

ooh, that's a fun idea! I do see some Scottish inspiration in some of the little aspects we get to see of the fae culture (like the Day/Night courts, although they aren't quite as. extreme. as the Seelie/Unseelie :'). so it tracks!

I do like the idea of everyone having different accents in general! not in, like, a cartoonish or stereotypical way, but like...they're from all over the world, so I think it makes sense that that they wouldn't all speak with the equivalent of, like, a transatlantic accent. (...although that would actually be amazing in its own way, hold on --)

(there is something uniquely wonderful about the idea of Silver with a Cockney accent, thank you for bringing this into the world. his whole weird mix of formalities becomes that much better if you imagine he's never said an h in his life.)

[mostlysignssomeportents]

Doublethink sump linkdump

On OCTOBER 23 at 7PM, I'll be in DECATUR, presenting my novel THE BEZZLE at EAGLE EYE BOOKS.

Trigger warning for #eikositriophobia: this is my 23d linkdump (Hail Discordia!), an erratic Saturday purge of the open tabs I haven't managed to blog this week; here's the previous 22:

https://pluralistic.net/tag/linkdump/

When I was a kid, I idolized Harlan Ellison. I loved his prose styling, his stage presence, the way he blended activism and fiction, and the way he mixed critical nonfiction with fiction. As a 17 year old, I attended a writing workshop that Ann Crispin was giving at a local science fiction convention and she told me that I had the makings of a great writer, just as soon as I stopped trying to be Harlan Ellison.

But Harlan was a complicated figure. I attended the Clarion Workshop in 1992 specifically because he was our instructor, and came away bitterly disillusioned after he targeted one of my fellow students for relentless, cruel bullying, a performance that was so ugly that the board fired the director and permanently barred him from teaching the workshop.

Later on, Harlan became the kind of copyright maximalist who called for arbitrary internet surveillance and censorship in the name of shutting down ebook piracy. During a panel about this at a sf convention, he called one of the other panelists a "motherfucker" and threatened to punch him in the face. He took to badmouthing me in interviews, painting my position – whose nuances he certainly understood – in crude caricature.

But Harlan and I had many friends in common, people I really liked, and they were adamant that Harlan's flaws were not the whole story: if Harlan liked you, he would do anything to stand up for you, no matter the cost to himself. Famously, when Harlan taught Octavia Butler's Clarion, he demanded to know why she wasn't writing full time, and she replied that there was the inconvenient matter of making rent and groceries. He replied, "If that's all that's stopping you, come live in my guest house for as long as it takes, eat my groceries, and write." Which she did.

Which is great, but also: one of my own Clarion students told me about when his then-teenaged mother met Harlan at a sf convention and told him that she dreamed of becoming a writer, and he propositioned her. She was so turned off that she stopped writing forever (her son, my student, is now an accomplished writer).

So Harlan was a mixed bag. He did very, very good things. He did very, very bad things. When Harlan died, in 2018, I wrote an obit where I grappled with these two facts:

https://memex.craphound.com/2018/06/28/rip-harlan-ellison/

In it, I proposed a way of thinking about people that tried to make sense of both Harlans – and of all the people in our lives. There's an unfortunate tendency to think of the people that matter to us as having their deeds recorded in a ledger, with good deeds in one column and wicked deeds down the other.

In this formulation, we add up the good deeds and the bad deeds and subtract the bad from the good. If the result is a positive number, we say the good outweighs the bad, and therefore the person is, on balance, good. On the other hand, if the bad outweighs the good, then the person is bad, and the good deeds are irrelevant.

This gets us into no end of trouble. It means that when someone we admire slips up, we give them a pass, because "they've earned it." And when someone who's hurt us does something selfless and kind and brave, we treat that as though it doesn't matter, because they're an asshole.

But the truth is, no amount of good deeds can wipe away the bad. If you hurt someone, the fact that you've helped someone else doesn't make that hurt any easier to bear. And the kindnesses you do for other people make their lives better, no matter what bad things you've done to others.

Rather than calculating the balance of our goodness or badness, I think we should just, you know, sit with our sins and virtues. Let all the harm and joy exist in a state of superposition. Don't cancel out the harm. Don't wave away the good. They both exist, neither cancels the other, and we should strive to help more, and to do less harm. We should do everything we can to help those we harm. No one owes us a pass because of the good we've done.

That's the lesson Harlan taught me, and he taught it to me by absolutely failing to live his life this way – a fact that exists alongside all of the good he did, including the great art he made, which I love, and which inspired me.

Not long after Harlan's death, I got a phone call from J Michael Straczynski, Harlan's literary executor. As part of his care for Harlan's literary legacy, Joe was editing a new anthology of short stories, The Last Dangerous Visions, and did I want to contribute a story?

https://www.rollingstone.com/culture/culture-features/harlan-ellison-last-dangerous-vision-1235117069/

Of course I did. Harlan edited Dangerous Visions in 1967: a groundbreaking anthology of uncomfortable science fiction that featured everyone from Philip K Dick to Samuel Delany. The followup, 1972's Again, Dangerous Visions, was, if anything, even more influential, including Le Guin's The Word For World IS Forest, as well as work by Joanna Russ, Kurt Vonnegut, David Gerrold, and James Tiptree, Jr.

Though some of the stories in these books haven't aged well, together, they completely changed my view of what science fiction was and what it could be. But The Last Dangerous Visions was a different (ahem) story. For complicated reasons (which all cashed out to "Harlan being very difficult to work with, sometimes for damned good reasons, other times for completely petty ones), TLDV was, at the time of Harlan's death, fifty years behind schedule. It was "science fiction's most famous unpublished book." Harlan had bought early work from writers who had gone on to have major careers – like Bruce Sterling – and had sat on them for half a century.

Then Joe called me to tell me that he was starting over with TLDV and did I want to contribute a story – and of course I did. I wrote a story for him with the title "Jeffty Is Five," part of my series of stories with the same titles as famous works of sf:

https://locusmag.com/2012/05/cory-doctorow-a-prose-by-any-other-name/

Joe liked the story, but not the title. He thought Harlan wouldn't have approved of this kind of appropriation, and he wanted to do right by the memory of his old friend. My first reaction was very Harlan-like: this is supposed to make you mad, it's my art, and if it offends you, that's your problem.

But I remembered the most important lesson I learned from Harlan, about good deeds and bad ones, and I thought about Joe, a writer I admired and liked, who was grappling with his grief and his commitment to Harlan's legacy, and I changed my mind and told him of course I'd change the title. I changed the title because Harlan would never have done so, and that's rather the point of the story.The story is (now)) called "The Weight of a Heart, the Weight of a Feather" (a very Harlanish title), and it's about the legacy of complicated people, whose lives are full of noble selflessness *and careless or deliberate cruelty. It's about throwing away the ledger and just letting all those facts sit together, about lives that are neither washed of sin by virtue, nor washed of virtue by sin.

It's a good story, I think, and I'm proud of it, and I'm interested in what the rest of you think now that the book is out:

https://www.blackstonepublishing.com/products/book-fyhm

Harlan was the writer who made me want to get good at reading my stories aloud. I was a charter member of the Harlan Ellison Record Club, as you can see for yourself from the time Harlan (accidentally) doxed me:

http://harlanellison.com/text/paladin.txt

After nearly 20 years of podcasting, I'm actually pretty good at this stuff. I'm going to be podcasting a reading of this story – eventually. I am nearly done "de-googling" my podcast feed, ripping it out of Feedburner, a service that I started using nearly two decades ago to convert a WordPress RSS feed to a podcast feed. In the intervening years, WordPress has come to support this natively and Feedburner has become a division of Google, so I've been methodically removing Feedburner's hooks from my feed, which is now proudly available here, without any surveillance or analytics:

https://craphound.com/feeds/doctorow_podcast

I'll be writing up the process eventually. In the meantime, I'm about to embark on another podcast fiction project, serializing my novella Spill, a "Little Brother" story that Tor's Reactor just published:

https://reactormag.com/spill-cory-doctorow/

The first part of "Spill" will go out tomorrow or Monday. Reactor also just published another "Little Brother" story, "Vigilant," which I read in last week's podcast:

https://craphound.com/littlebrother/2024/09/29/vigilant-a-little-brother-story/

One of my long-running beefs with Harlan was his insistence that the answer of copyright infringement online was to create an obligation on intermediaries – like ISPs – to censor their users' communications on demand from anyone claiming to have been wronged by a post or upload.

This would be bad for free expression under any circumstances, but it's an especially dangerous vision for ISPs, who are among the worst-run, most venal businesses in modern society ("We don't care, we don't have to, we're the phone company" -L Tomlin).

It's hard to overstate just how terrible ISPs are, but even in a field that includes Charter and Comcast, there's one company that rises above the pack when it comes to being grotesquely, imaginatively awful: Cox Communications.

Here's the latest from Cox: they sell "unlimited" gigabit data plans that cost $100 for the base plan and $50 to add the "unlimited" data. But – as Jon Brodkin writes for Ars Technica – Cox uniquely defines "unlimited" as severely limited:

https://arstechnica.com/tech-policy/2020/06/cox-slows-internet-speeds-in-entire-neighborhoods-to-punish-any-heavy-users/

Now, you're probably thinking, ho-hum, another company that offered unlimited service and then acted like dicks when a customer treated it as unlimited, ::laughs in American Airlines::

https://www.forbes.com/sites/jamesasquith/2019/11/13/unlimited-first-class-flights-for-lifehow-american-airlines-made-the-most-expensive-mistake-in-aviation-history/

But that's not the Cox story! Cox doesn't just throttle "unlimited" customers' internet to 2006-vintage DSL speeds – they slow down the entire neighborhood around the unlimited customer to those speeds.

As Brodkin writes, every Cox customer in the same neighborhood as an "unlimited" customer named "Mike" had their upload speeds reduced by more than two thirds, from 35mbps to 10mbps, to punish Mike. And they're not the only ones!

https://www.reddit.com/r/GNV/comments/gkicjg/comment/fr670cx/

Cox confirmed they were doing this, saying "performance can be improved for all customers in the neighborhood by temporarily increasing or maintaining download speeds and changing upload speeds for some of our service tiers."

Cox has been on a roll lately, really going for the shitty-telecoms-company gold. Back in August, 404 Media published a leaked pitch deck in which Cox promised advertisers that they were secretly listening to their customers' smart devices, transcribing their private conversations, and using them to target ads:

https://www.404media.co/heres-the-pitch-deck-for-active-listening-ad-targeting/

This isn't just appalling, it's also almost certainly fraudulent. As terrible as "smart" devices are (and oh God are they terrible), the vast majority of them don't do this. That's something a lot of security researchers have investigated, doing things like hooking up a protocol analyzer to a LAN with a smart device on it and looking for data transmissions that correspond to ambient speech in earshot of the gadget's mic.

My guess is that Cox has done a deal with a couple of the bottom-feedingest "smart TV" companies (as a cable operator, Cox will have relationships with a lot of these companies) to engage in this conduct. Smart TVs have emerged as one of the worst categories of consumer technology, on every axis: performance, privacy, repairability. The field has raced to the bottom, hit it, and then started digging to find new lows to sink to. This is just my hunch here, but I think it's highly likely that if there's a class of devices that are bugging your living room and selling the data to Cox, it's gonna be a smart TV (top tip: buy a computer monitor instead, and use your phone or laptop to stream to it).

Ask a certain kind of very smooth-brained, Samuelson-pilled economist about the enshittification of smart TVs and they'll tell you that this is a "revealed preference":

https://en.wikipedia.org/wiki/Revealed_preference

As in, sure, you may say that you don't want your TV to secretly record your private conversations and sell them to Cox, but actually you quite like it, because you have a TV.

While this is a facially very stupid argument, it's routinely made by people who think they're very smart, a point famously made by Matt Bors's "Mr Gotcha":

https://thenib.com/mister-gotcha/

Comics turn out to be a very good medium for stringing up the revealed preferences crowd on their own petards. This week, Juan Santapau's "The Secret Knots" added to the Mr Gotcha canon with an equally brilliant webcomic, albeit one with a very different vibe, entitled "Remind Me Later":

https://thesecretknots.com/comic/remind-me-later/

Santapau really catches the zeitgeist with this one, which is more of a slow burn than a zinger, and which shows how online "revealed preferences" nonsense grooms us for the same bullshit in every corner of our lives, even our psychotherapist's office. Highly recommended – an instant classic.

"Revealed preferences" comes from the Chicago School of Economics, a field that decided that a) economics should be a discipline grounded in mathematical models; and b) it was impossible to factor power relationships into these models; so c) power doesn't matter.

Once you understand this fact, everything else snaps into focus – like, why the Chicago School loves monopolies. If you model an economy dominated by monopolists without factoring the power that monopolists wield, then you can very easily assume that any monopoly you discover is the result of a lot of people voluntarily choosing to spend all their money with the company they love best.

The fact that we all hate the monopolists we have to deal with is dismissed by these economists as a mirage: "sure, you say you hate them, but you do business with them, therefore, your 'revealed preference' shows that you actually love them."

Which is how we end up with absolutely outrageous rackets like the scholarly publishing cartel. Scholarly journals acquire academics' work for free; get other academics to edit the work for free; acquire lifetime copyright to those finished works; and charge the institutions that paid those "volunteer" academics salaries millions of dollars to access their publications:

https://pluralistic.net/2024/08/16/the-public-sphere/#not-the-elsevier

These companies don't just lock up knowledge and tie an anchor around the scientists' and scholars' ankles, dragging them down. Their market power means that they can hurt their customers and users in every way, including through rampant privacy violations.

A new study from SPARC investigates the privacy practices of Springerlink, and finds them to be a cesspit of invasive, abusive conduct that would make even a Cox executive blush:

https://zenodo.org/records/13886473

Yes, on the one hand, this isn't surprising. If a company can screw you on pricing, why wouldn't they scruple to give you the shaft on privacy as well? But The fact that a company as terrible as Springer can be the dominant firm in the sector is still shocking, somehow.

But that's terminal-stage capitalism for you. It's not just that bad companies companies thrive – it's that being a bad company is a predictor of sky-high valuations and fawning coverage from the finance press.

Take Openai, a company that the press treats as a heptillion-dollar money-printer whose valuation will eventually exceed the rest of the known universe. Openai has a lot of problems – a mass exodus of key personnel, a product that doesn't work for nearly all the things it's claimed as a solution to – but the biggest one is that it's a bad business.

That's the theme of a fantastic, characteristically scathing-but-deep Ed Zitron article called (what else?) "Openai is a bad business":

https://www.wheresyoured.at/oai-business/

Zitron does something that no one else in the business press does: takes Openai's claims about its business fundamentals – its costs, its prices, its competitors, and even its capabilities – at face value, and then asks, "Even if this is all true, will Openai ever turn a profit?"

The answer is a pretty convincing "no." Zitron calls it a "subprime AI crisis" in a nod to Tim Hwang's must-read 2020 book about the ad-tech bezzle, Subprime Attention Crisis:

https://pluralistic.net/2020/12/06/surveillance-tulip-bulbs/#adtech-bubble

The fascinating thing about both Zitron and Hwang's analysis isn't that there are big companies that suck – it's that they are able to suck up so much money and credulous excitement, despite how badly they suck.

That's where power – the thing that neoliberal economists say doesn't matter – comes in. Monopoly power is a self-accelerating flywheel, as Amazon's famous investor pitch explains:

https://vimeo.com/739486256/00a0a7379a

Once a monopolist or a cartel wields market power, they can continue to dominate a sector, even though they're very bad – and even if they use their power to rip off both their customers and very powerful suppliers.

That's the lesson of Michael Jordan's lawsuit against NASCAR, as Matt Stoller explains in his latest BIG newsletter:

https://www.thebignewsletter.com/p/michael-jordan-anti-monopolist

Jordan is one of the most famous basketball players, but after retiring from the game, he became a NASCAR owner, and as such, has been embroiled in a monopoly whose abuses are both eerily familiar to anyone who pays attention to, say the pharmacy benefit manager racket:

https://pluralistic.net/2024/09/23/shield-of-boringness/#some-men-rob-you-with-a-fountain-pen

But on the other hand, the fact this is all happening to race-cars and not pharmacies makes it very weird indeed. As with, say, PBMs, NASCAR's monopoly isn't just victimizing the individuals who watch racing, but also the racecar teams. These teams are owned by rich, powerful people (like Jordan), but are "almost always on the verge of bankruptcy."

Why is that? NASCAR rips them off. For example, teams have to buy all their parts from NASCAR, at huge markups, and the purchase contract prohibits them from racing at any rival event. There are a million petty schemes like this, and NASCAR carefully titrates its bleed-off to leave its victims almost at death's door, but still (barely) solvent enough to keep racing.

NASCAR also bought out all the rival leagues, and most of the tracks, and then locked the remaining tracks to exclusivity deals. Then the teams all had to sign noncompetes as a condition of competing in NASCAR, the only game in town – forever.

Hence Michael Jordan, a person who steadfastly refused to involve himself in politics during his basketball career, becoming a firebreathing trustbuster. Stoller cites Jordan's transformation as reason to believe that the anti-monopoly agenda will survive even in the event that Harris wins but bows to corporate donors who insist on purging the Biden administration's trustbusters.

That's a hopeful note, and I'd add my own to it: the fact that the NASCAR scam is so similar to the pharma swindles, academic publishing swindles, and all the other monopoly rip-offs means that there is a potential class alliance between university professors, NASCAR owners, and people with chronic health conditions and big pharmaceutical bills.

That high note brings me to the end of this week's linkdump! And here's a little dessert in case you've got room for one more little link: Kitowares "Medieval Mules", a forthcoming clog styled as trompe l'oeil plate armor:

https://www.kitowares.la/

Pair with old favorites like lycra armor leggings:

https://loricaclothing.com/collections/leggings-1/products/the-augsburg-legging

And a DIY crotcheted knight's helmet:

https://www.etsy.com/listing/590854477/knights-helmet-w-detachable-visor

Tor Books as just published two new, free LITTLE BROTHER s tories: VIGILANT, about creepy surveillance in distance education; a nd SPILL, about oil pipelines and indigenous landback.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/10/05/farrago/#jeffty-is-five

[jesncin]

Hello, I had a question. When it comes to who is the "true Kal El" some pieces of media lean towards Clark being his true self, while others lean more towards Superman being his true self. I was wondering what your preferred version of Kal's "true self" is. Personally, I prefer a mix, where both are true, but both involve a little pretending too (depending on who he's around).

Generally I think convos that focus on "Is Clark Kent or Kal-El the truer self" are trying to fit Superman into a Batman mold where that simply isn't the case for Superman's themes. Since Superman is an allegorical immigrant, I see the Kal-El name (therefore original personhood) as his cultural name and the Clark Kent name (therefore adopted cultural personhood) as the assimilated-into-America name. Let's focus in on the meaning of names to talk about "true self". If we compare this to the diaspora experience, we'd recognize that having multiple names is more complicated than just "which one is the real me".

Clark grew up with the name "Clark Kent" for most of his life, it's a name given to him by people who love him and had no clue where he really came from. Kal-El is a name given by his birth parents, but he barely remembers them from being sent away as a baby. It makes sense that even though he grew up with "Clark Kent" as his name, that he'd feel attachment to "Kal-El". It's all that's left of a nearly extinct culture. So much like how you'll meet migrants with multiple names, they can have complicated feelings about both names. Maybe they'll only use one of their names around family, maybe only some trusted few get to learn about it, maybe some are embarrassed by their given names.

In terms of persohood, perhaps there's a level of code-switching involved where you feel more comfortable presenting a side of yourself to people of your community. I notice J'onn tends to call Clark "Kal-El" most of the time. It's that alien solidarity.

When asking "which is the truer self, Clark or Kal" it's like asking which of Superman's parents are his "true" parents. His birth parents or his adopted ones? They're both important to him, so they're both true.

[felassan]

Some things in BioWare's transcript of the August 30th dev Discord Q&A are a lil different to what was actually said in the Q&A. not only editing to tidy up and be concise etc; some of it seems to actually be new/additional (or updated?) information. this post is just a quick summary of the new or different things I noticed when comparing the BioWare transcript to a word-for-word transcript (or at least the ones that stood out to me anyways). DA:TV spoilers under cut.

This post is a mix of new snippets and rephrased answers to things that were rephrased in a way that stuck out to me or interested me. nb, it doesn't highlight changes if the change was something not being included in the BioWare transcript (there was some of that too).

John Epler: "I don't know if any of [the Evanuris] consider [tea] a favorite beverage"

[re: hugging Assan] Assan "always appreciates the attention. He's got a sharp beak and he'd let you know if he didn't."

Variation of the WEWH question answer:

"There's always going to be politics to some degree - there are a number of different groups with different priorities, and not all of them are going to be immediately disposed towards trusting you. But while the Inquisitor had an organization and an army (and even Hawke and the Hero of Ferelden spent more time moving in political circles), Rook's situation is a little more desperate and immediate. Their approach is therefore a little more direct, and so while they may occasionally find themselves in the political sphere, they're not trying to assemble an army or build consensus amongst nation states."

[on companions' ages] The part of this where they described the companions' age range has been changed from where it said "early-mid twenties" to just say "mid twenties". Also, Taash was said to be "early twenties"; she is now simply "the youngest".

New sentence on the ages: "We don't usually nail down a specific age, unless it's something that comes up in their content, but we want to have an idea as to their general age range as we're writing them."

If no side characters stand out as a good candidate for a 'light' romance, this is never something they want to force

Griffons as half-bird half-lion - it now reads half-eagle half-lion

"Thedas has always been filled with extraordinary people, and in DATV you're trying to save the world. It stands to reason that the people you're bringing on board are going to be people with extraordinary circumstances of their own."

On the Veil not being in great shape and having been deteriorating in recent times/the intervening period between games, a more specific figure is given: "things in general have been slowly getting worse over the past decade and a half"

Lucanis and Bellara find out they have a lot in common and develop a "really fun" friendship, even though "it's hard to think of two companions who feel more different on the surface"

Neve and Bellara's friendship "kind of evolved organically as we were writing them, and finding out all the opportunities we could to throw little tastes of it into dialogue was a blast"

when enemies are slowed due to Slow Time, Rook stays moving at full speed

Rook's weapons and companions' gear can also be transmogged in addition to Rook's armor gear and casualwear

New sentence: "I've built Harding as a Support Character one run, and a DPS the next run. If you want to use Davrin as a DPS, you can do that."

"But each Companion has a gift that you can purchase from vendors in the world, and then give it to them." - it sounds like there is only one unique gift that you can give to the companions each?

"In general, something like a short story anthology is a volunteer thing - we ask people what they want to write and, generally, people tend to gravitate towards character ideas and concepts they already had in mind for a companion."

"So it's rare that we write a character that isn't intended to be a companion and then think 'oh wow this character would be a great fit', but it's not unheard of either."

"Ultimately we wanted to be sure that The Veilguard could be a good entry point to Dragon Age for new players and people who know almost nothing about the universe. But if you're the kind of player who wants to catch the most references, I'd suggest reading The Missing (most recent comic series) and Tevinter Nights. The former is a direct narrative setup for the beginning of the game" while Tevinter Nights is "less of a direct narrative tie", though it introduces "characters, concepts and story elements" that show up in the game

New sentence and info: [John Epler] "The Archon's Palace floating was something we came up with midway through writing Tevinter Nights and I had to furiously rewrite a few things." - the Floating Building is the Archon's Palace?

"Mae is a character that means a lot to so many DA fans" (<3)

Crow politics are now described as "complex" as well as deadly

"Some romances allow you to express interest without 'committing'" - so it sounds like not all of them allow this? - "but all romances eventually end up being exclusive"

"With each specialization we wanted to explore, both visually and through gameplay, what a specific class member of that faction might look like. Spellblade, for example, is our answer to the question 'what does a mage assassin look like'."

Our ability to save PCs so we don't have to start from scratch in CC each time was very important to the devs

"the feeling we want to evoke over the course of the game is one of growth, both in yourself as Rook and in your companions as they overcome their own problems with your help. These problems are often external in nature, but they are always tied, at their core, to the conflict that the character carries within them. And they are, also, always uniquely Dragon Age problems on the surface, but still relatable."

The difference in the answer to the is Lucanis possessed question interested me.

Original for the sake of comparison:

"So, again, spoilers, everyone has been warned, fairly warned. So Lucanis Dellamorte is also known as The Demon of Vyrantium. And, he has spent a lot of time killing Venatori, who are mages, and who do know a lot about demons, so. Yeah, somebody decided that it might be a good idea to make that nickname stick."

New:

"There's definitely something going on with Lucanis - and before you hired him, he was known as the Demon of Vyrantium. Might be that someone took offense to that nickname, especially since he earned it by killing Venatori."

New sentence in the answer to the is Thedas a southern continent question:

"Of course, nothing says that distance to the sun is the only factor impacting weather."

.. [probably reading too much into this don't look at me ik many factors influence weather irl hhh] magic? the Veil? the deteriorating Veil? the risen Gods? the Blight? Thedas is experiencing global warming? :D

"As part of our attempt to make the companions feel like they have their own lives outside of just Rook, we asked ourselves what pairings made the most narrative sense and then talked about how they might actually unfold in the game. And even before companions get together, you can see that interest starts to develop. Which is, I think, one of my favorite things about the companions. They don't just fall in love with each other, they become friends, confidents, and even rivals at times"

It takes Davrin a while to trust others. He can be a little standoffish, but eventually he warms up to anyone who shows that they have his back

As a monster hunter a lot of Davrin's hobbies revolve around that

"a lot of elves go around shoeless, and that's in part because they believe it brings them closer to nature. What better way to understand what the world and ground are saying than to walk directly on it? but not every Dalish follows this custom" [...] "The Veil Jumpers, in general, are a little more likely to wear boots and shoes, as they're far more likely to end up in dangerous places and fighting unsettling creatures than the average Dalish"

On Bellara's boots: "you never know when you're going to find a broken artifact with a lot of sharp edges."

Bellara is a big fan of pan-frying anything she can (re: food)

Lucanis has the refined palate of an Antivan Crow

Getting the beards to work with all the armor variations that they have was especially challenging with dwarves because they "tend to be" shorter

Those beards that were designed with dwarves in mind can alsobe used for humans and qunari (I wonder then if elves cannot have beards in CC? Like I know they usually don't have them or have it in CC and that lore says they don't but there are a also a few lorebreaking instances of it and I wasn't sure which way this one would go given how 'free choice/options for all' the CC in this game has sounded like it has been designed to be)

"You'll see more on this as we showcase character creator in our runup to launch"

For this question "Since you can choose to be a part of the same faction for most of the companions, will that give you an advantage when trying to befriend them?", the answer now reads that in addition to the unique dialogue same-background Rooks have with the companion of that background, it can also "change the timbre of your relationship a little bit"

John Epler: "one of my favorite things about this group of companions is how much time they spend with each other"

[on the companions] "They're a family, and like a family, they don't always get along"

"A lot of Solas' relationship with the player is personal. He sees a lot of himself in Rook - both the good and the bad - and largely talks only to you, as you're the one he has a connection with."

"Not to mention at least a couple of followers who would likely love to ask an ancient Elven god some questions."

"a common complaint we've heard in past games is that many players disliked always feeling like they needed a Rogue to be able to lockpick, so fortunately Rook finds a method to use these exploration abilities even when the associated Companion is not in your party"

An example of a companion's unique exploration ability is that Emmrich has an ability to briefly reanimate skeletons to open gates

Qunari not wearing helmets and only vitaar allows more flexibility when it comes to horns customization in CC

"yes - there will be some pretty obvious Act breaks. Not all content fits neatly into these buckets, as it's more a way of breaking up the critical path (companion and other side content follows a different cadence), but there are some pretty obvious Acts built into our game. A lot of the missions, though, we want to make sure players have the freedom to decide what they do and when they do it, so while they may have internal acts (follower missions form their own arcs), they don't conform to the overall main quest arcs"

The difference in the answer to the is Assan the only griffon question confirms that Assan was specifically one of the baby griffons that hatched at the end of Last Flight. (as opposed to another clutch that was laid in the last decade)

Old:

"So, again, just to be clear, spoilers, but yeah, Assan has brothers and sisters, so Assan is not the only griffon that shows up in Dragon Age The Veilguard."

New:

"If you read Last Flight, you'll know that Assan isn't the only griffon from that clutch of eggs, so he's got brothers and sisters. And if one griffon is good, a whole family of them is better, right?"

"We briefly experimented with other options for last names but it became unwieldy as we do refer to your Rook by their last name on several occasions, and accounting for 6 potential last names is already a lot of complexity."

Variation of the 'what goes into bringing back old characters' question answer:

"We always - both for Morrigan and any other characters we bring back - think about what they would've been up to since the last time anyone saw them. These characters should feel like real people, and the last thing we want to imply is that their stories stalled out while they weren't directly in the player's adventuring party. So we look at their arc before the time skip, and then think about where that arc would've taken them. In the case of Morrigan, she's coming to terms with a lot of truths about herself and about her mother. There are elements of her past that she's come to terms with, which is why she wears a version of Flemeth's crown. Ultimately you want the world to feel like it's real. And no one's the same person today that they were 10 years ago. That's stagnation, and it's bad in fictional characters as it is in real people."

The orb part of orb and dagger is called an Elemental Orb

Variation on the Dalish Elf vs City Elf question answer:

"While I think 'city elf' vs 'Dalish elf' is a useful distinction in the South, there's a lot more nuance in the North. Rivain, for example, has Dalish settlements intertwined with other cities. There's just not the same separation, so each of the factions has a unique approach to your lineage. You can define some of that further with choices you make in conversations - we really wanted to leave a lot of that open to players to RP."

[localization question answer variation] "Games are so complex and have so many moving pieces that you need to be in regular communication or things get missed. And a lot of that is because ultimately localization is more than just a straightforward translation. Jokes, metaphors, sayings - even specific lore terms - aren't just a matter of finding the equivalent word in another language. Every writer has a story about a time they had to explain the specifics of an off-color joke they wrote so that localization could properly capture the intent."

So mostly variations (as in rephrasing) and things, but some of the new info that particularly stood out to me was things like the description of Emmrich's exploration ability, the mention that the Floating Building is the Archon's Palace (iirc this was speculated before but not confirmed?), the new lil details or insights on Assan and Davrin, the bit about Assan being from the Last Flight eggs, etc.

[gumbootillustrations]

UGH I FUCKING FINALLY FINISHED THIS

so yeah, have the divine warriors of the second war of the magi!!

more deets n closeups under the cut :3

aph!! i like to think that although the incarnations of the divine warriors r generally pretty similar, they do have some minor differences. for example, whereas the matron of the first war of the magi (irene) had one of the sets of wings on her head covering her eyes, the matron of the second war (mcd!aphmau) has both of them held back. this is bc whereas irene had lost her humanity (and therefore the ability to connect with mortals), aph hasn't - and, therefore, her eyes are open to the struggles of humanity. additionally, i took a lot of inspiration from honkai impact 3rd for these designs - in aph's case, i was inspired by elysia's herrscher of human: ego battlesuit and how it looks like a wedding dress (which a lot of folks have interpreted as an expression of her love for humanity, which is smth i want to convey w aph).

i think my favourite part of aaron's destroyer form is his seal (the thingy behind his head like a halo). i wanted to rlly play into the whole destroyer/devourer aspect of his abilities and domains, and i thought a black hole would fit perfectly! it also sort of (unintentionally) plays into how i see the dynamic between the matron and the destroyer and how they're both mirrors of each other; whereas the destroyer, well, destroys (and his black hole devours everything in sight), the matron creates and nurtures (seen in how aph's seal is almost like a white hole). i also wanted his armour to look a lot like the armour that shadow knights wear, albeit without all the spikes and spines and whatnot given that he isn't a shadow knight himself (shad's destroyer form from the first war probably looks a lot more similar to traditional shadow knight armour).

i'm lowkey suuper proud of how travis's keeper form turned out (even if i had to go back right at the end n fix it bc i forgot to add his tail 😭). i wanted this form to sort of be a mix between a high mage and a rogue: whereas the keeper embodies knowledge and magick, travis himself is a prankster who relies on cunning and trickery to gain the upper hand on his opponents. as a result, he's the only one who doesn't automatically manifest a weapon when he shifts into this form - instead, i feel like he chooses to rely more on magicks and witchcraft during combat.

katelyn's design was lowkey the hardest to pin down. originally, i wanted to go for something that was suuuper inspired by roman armour and had a copper and teal/turquoise colour scheme, but it wound up feeling too magical girl-ish and i scrapped it. i've retained the roman inspirations, but i headcanon that her flames are so hot they burn blue, so i settled on a blue-and-white colour scheme w some purple elements. i think my favourite part is her gauntlets! i feel like she uses them as an extension of herself/another pair of hands to punch with. the blue elements also lean into menphia's association with the moon - in ashes, ashes, tu'la is based on the roman empire and, as a result, is where werewolves originate from, and with werewolves having such close ties to the moon.... yeah. i'll probably do a post on tu'la later on at some point.

my blorbo

garroth's design is probably the one that's changed the least, but i'll still need to update his ref sheet anyway. i don't know if i conveyed it very well but the sort-of wing-things on his back are slabs of earth that can be shaped into a shield - originally i had him holding a shield but i wanted him to look a bit more divine warrior-ish so i retooled his design.

the boy! i was tossing up between having vylad or dante fill the role of the wanderer, but i settled on dante as i feel like vylad fits better as a sort of weird guide sort of figure within the narrative. plus, i have a real soft spot for dante and wanted him to remain in the limelight a little bit - i love his dynamic with garroth and laurance and i wanted to explore that further. i sort of wanted to play into his whole red-and-blue colour scheme that we see in canon diaries, but bc kul'zak is a nature deity (specifically of the wilderness), i wanted to incorporate some greenery into his design. i hope i've done an okay-ish job here - overall i'm pretty happy tho, but i can't promise that there won't be any tweaks in the future.

this is a redhead laurance propaganda spreading blog and i Refuse to apologise for it. i'd like to think that laurance's original colour scheme is similar to his justiciar form - lots of beautiful reds and golds and oranges to match the flames of his father's forge - but after he comes back from the nether with a Severe fear of fire he switches to the greens and browns that he's known for in canon. eventually he slowly begins to reclaim his fire and returns to the golds and oranges that he's introduced with (haha colour symbolism go brrrrrr).

but yeah. the special interest is special interesting. let me know if u have any questions!

[batfambrainrotbeloved]

what do the rouges think of cardinal?

OHHHHH What a lovely question <33

Since i've yet to write in Cardinal in a scene beyond his desk work- these might change.

Cardinal acts well- like a cryptic?? It's a complete coin toss how he will behave, if he will turn the creepy to 100% and speak in tounge's (its a mix of latin and greek) But when he DOES respond its through a heavy voice modulater.

However if you want specifics?? (also some extra lore of some rouges no longer active- both due to. Cardinals interference and BECAUSE I SAID SO)

Joker- They are a menace, never once humors his schemes- he knows the moment Cardinal gets involved his fun is ruined. Therefore he hates their guts. (Cardinal is reported 10x more brutal when faced with the Joker)

Scarecrow- Self proclaimed "Arch enemy" of Cardinal since hes never once sucseeded in drugging them, and he longs to know what would make the little bird sing. (Cardinal is said to have an entire pocket dedicated to backup rebreathers, usually lets the bats take over)

Riddler- LOVES Cardinal so so much- they are like best friends (no no they are not) Cardinal seems to enjoy his puzzles and he's able to pull out ones even the Batman would struggle with. Sometimes an informant for a good game. (Cardinal will admit, out of all the rouges? He doesn't mind Riddler- just with less hostages)

Harley- Thinks they are strange, even more strange than the bats. But more than anything concerning- their behaviors raise a ton of red flags but she doubts she can convince them to therapy, though it is her goal. (Cardinal is... unsure about Harley, she's changed- but memories are hard)

Ivy- Theres a mutual respect- Though out of all the vigilantes Cardinal seems to fear her the most, the last time being hit by her pollen they freaked out enough Harley made her give over the antidote. They definently fight, but she does try and hold back some of her more underhanded stuff. (Cardinals suit got several more layers after that incident)

Mr.Freeze- Reformed villain now, as a result of Cardinal. Aka when he first did his villain monologue to them- they had spoke (for the first time to ANY rouge) and asked to see his blue prints. A few years later his suit was fortified to help him live a somewhat normal life, and his wife had been cured. They got their life back. Leaving Gotham soon after, but he still checks in on ocassion (Cardinal never responds though, but they're happy with the updates- that he was able to help)

Catwoman- Annoying, but interesting for sure. It seems no matter how elaborate her scheme they always seem to pop in and just stare or even wave. The most interesting thing though? They never stop her. Certian locations she robs they will return the item (usually museums) but have never once tried to actually take her in. If anything shes half convinced they throw the bats off her trail, its interesting. (She never steals from anyone who cant afford to replace it, and honestly her stuff goes to a good cause-)

Clayface- Never became a villain- After his accident, Dagget had been shut down long before so Matt Hageb he had no accsess to the cream. With the help of his coworker (and future husband) Teddy Lupus he got the help he needed. Drake Industries came out with an amazing prosthesis program that helped construct a whole new face. Now Mr & Mr Lupus live in upper west side of Gotham where they now raise two daughters going to Gotham Academy.

Blackmask- Hates their fucking guts. People think Cardinal comes down on the Joker hard? They're practically suffocating Black Mask movements- buisness is failing and at this rate he's trying to put out a hit on the fucker. (The hates their guts is mutual)

Two face- Instead of going to the Manori trial- Harvey had an emergency call from a very panicky Bruce who suddenly had CPS knocking at his door about Dick. The delay finding a new attorney meant Manori was found with the acid and held for attempted assault while Harvey was scot free. He owns his own law firm now and has continued to be a close confident to Bruce and "Uncle" to the kids. (Cardinal cried when he first found out about Harvey, that he was okay- he thought it had been too late.)

Penguin- Cardinal is a pain in their ass, not as much as Black mask but still just enough that he doesnt hold back when attacking. The ONLY saving grace from absolute hatred is Cardinal outright refuses to fight any of his birds, and will even go as far as to save some of them when the bats are too careless to notice a penguin slipping off a roof. (Cardinal wishes Penguin would stop dragging actual penguins into his shit- even with guns they're just too cute)

[nu1lst4rs]

doodled human designs for nightmares gang!

click for better quality

ggrahhb. i love them. will draw individual refs soon. promise. cross has jumped between nightmares gang and star sanses, and therefore is considered a neutral outcode in our au. so ill draw him later.

horror fws the trans community

Star sanses, neutral aus (p1), neutral aus (p2), extras

some headcanons under cut 3_^

warning there is alot of text

> nightmare (they/it)

DESI NIGHTMARE!!!! (this is blatant self projection.)

short. but they always manipulate their height when they're outside of their gang because they hate being short.

chubby because its ass is not used to actual food, and they have a really slow metabolism when it isnt negativity. and now that horrors "forcing" it to eat, they gain weight. fast.

intersex. not sure why i think this but they don't really have a sex, so. erm.

^ adding onto that their fluid in their expression. sometimes masc, sometimes fem, sometimes andro.

has those stupid ass hair curlers and uses leftovers for their tentacles

MATCHING NECKLACES WITH MY OTP AT THE CURRENT MOMENT. usually errormare or bsp. sometimes fluffynight. killermare if nihira is fronting.

also sugar daddy nightmare. its either rich as fuck or have no money at all. (this is kindve a crack hc)

> Dust (he/they)

leaning korean and thai mix for him. because i need to see more mixed characters.

wears pjs whenever he can. gets the most fucking stupid pj pants too. like hello kitty. comfort > style.

always dusty. mostly because he doesn't shower and smells like ASS, but also because they gotta live up to their name somehow.

TRANS MASC. dont care if you say its wrong. EVERYONE IS TRANS. (excluding horror and blue. allies!)

aroace spec 100%. most sanses are, but him in particular. would rather die than do any of the sappy bs. but wouldd love to have a partner. or maybe 3. wink wink.

"2 shorter than killer but gaslights killer into thinking he's taller

doesn't wear papyrus' scarf, but keeps it in his sleeve.

> Horror (he/him)

wanna hc him as native american. but i haven't exactly thought much about what in particular.

tall and bulky. after a lonnggg famine, horror developed an ED. where they stress eat until he's physically ill, or feeling less stressed.

doesn't need the bandages on his face, bur keeps them there because he hates the scar

little big bottom teeth. its something he developed due to the food conditions in HT snowdin.

as much as it happens, horror HATES having blood on him, so he wears an apron underneath his clothes and does the laundry often.

PROSTHETIC LEG!!!! it got stuck in a bear trap when he was in his old au, and alphys didnt really know what else to do. its not the best thing, but its reliable. killer likes to put stickers on it.

has a cleaver named maxine, and an axe called rex.

ace because i dont really think. yeah. gross. ew. intimacy.

> killer (he/they/it)

arabic. its almost canon at this point.

has a selection of knifes in his thigh thing if his magic backfires on them. favourite is its butterfly knife.

is legally blind. his ass CANNOT see. refuses to admit this.

acespec because like look at me. he can barely feel. i just think he'd love the idea of being in a relationship, and desperately want one. but know he cant be in one.

scars galore holy shit. is always somehow simultaneously sloppy and precise with his knifework. him and nightmare have a small rivalry to see who can get the most.

needs to have textures on his clothes. something to ground themself. like "oh shit we're dissociating." rubs pants aggressively. works for us.

transb... transverse...

also DID but this is hinted at in canon

HUh. okay wow that was alot. cres shut up about utmv for 5 seconds (IMPOSSIBLE) (I DIED AFTER 1 SECOND). anyways THANK YOU!!! i will post and draw stars and neutrals tomorrow maybe. just after some sleep because it is 2am. bye everyone 3.<

[writingquestionsanswered]

Hello!!

I have an OC who speaks several languages. Her native tongue is Arabic, the setting she normally is in speaks Japanese, and the language I'm writing in is English. She speaks more, but these three are the important ones.

I occasionally write a scene in the story from her POV, where she speaks Arabic at home with her grandfather, and Japanese with her friends and strangers. There are also other scenes where she may speak with a friend in Arabic and Japanese (a mix of sorts), and another friend in all three of Arabic English and Japanese, and other scenes where she talks to herself in Arabic in the presence of other characters. As a result I've a number of closely related questions:

How do I indicate that she's changing languages when writing from her point of view?

Is it necessary to? If so, when?

How do I do so organically without having to explicitly "tell" it?

Where does transliteration become necessary?

Arabic is a very God-centric language, where God is often mentioned in the most mundane (though not vain!!!) contexts. English is not so much. How could I "translate" that into the writing when the language POV is Arabic, considering that I'm writing in English?

I appreciate your blog and your answers. Thank you in advance. I hope you have an amazing day :)

Multilingual Character Issues

How do I indicate that she's changing languages when writing from her point of view? Is it necessary to? If so, when? How do I do so organically without having to explicitly "tell" it?

This is one of those situations where it's absolutely fine to "tell" the reader the language that they're speaking. For example...

Grandfather was sitting on a bench enjoying the afternoon breeze. "How are you doing today, Grandfather?" I asked in Arabic.

If you have multiple scenes that have cultural and character cues that will let the reader know where the character is, and therefore what language they'd be speaking, you can potentially highlight those cues and use language cues to "show" the language without a direct tell. Using Spanish as an example, something like this:

My abuela was working in her garden, probably picking fresh ingredients for tonight's pozole. ¡Hola, mi chiquita! she said, looking up with a smile. "I hope you've brought a big appetite for supper."

You can still pepper in the occasional reminder that they are, in fact, speaking Spanish. Again, it's okay to tell when you think it's necessary.

Where does transliteration become necessary?

If you're using mostly English to convey the other language, relying on telling and contextual clues to illustrate that it is the other language, I'm not sure when transliteration would be necessary. But, using my Spanish example above... I do not think it would be necessary to either transliterate or translate "pozole" or "chiquita." The general meaning of both are relatively clear via context. If she's gathering fresh ingredients for tonight's pozole, and later asks her granddaughter if she brought her appetite, it's pretty clear that pozole is a food. If you wanted to add more context for exactly the type of food, you could have the character muse about other preparations she's likely to have already made for other ingredients, or imagine tasting the hominy and meat-based stew. Transliteration... conveying how a word is pronounced... isn't necessary, especially when you have a story that's potentially going to contain a lot of words in other languages. Transliterating all or even some of them would bog down the story.

Arabic is a very God-centric language, where God is often mentioned in the most mundane (though not vain!!!) contexts. English is not so much. How could I "translate" that into the writing when the language POV is Arabic, considering that I'm writing in English?

Well, first of all, I don't think that's true about English at all. English-speakers often weave God into everyday/mundane language in much the same way as Arabic speakers, and not in vain. Some examples:

-- God willing, we'll have good weather for the game tomorrow. -- Praise God, the line is finally moving! -- As God as my witness, I will ground you if you're a second late. -- Oh, thank God my paycheck came in a little early this week! -- God bless, she is just the sweetest creature alive!

And, at the end of the day, even if you're using English to write what is supposed to be spoken Arabic, the context isn't English. So, when it makes sense, just be direct. But sometimes it doesn't make sense to be direct... using Spanish as an example again, someone might say, "Hoy voy a echar la flojera en casa," which basically means "I'm going to be lazy at home today," but the literal translation is, "today I am going to throw laziness at home." This is one of those cases where it just wouldn't make sense to be literal. It would be better to just have the character say, "I'm going to be lazy at home today," because as writers, our ultimate goal is clarity. We never want to sacrifice clarity for ambience or anything else.

I hope this makes sense, and please keep an eye on the comments in case any Arabic or Spanish speakers have anything they want to add, or in case I got something wrong.

Happy writing!

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[yarmiko-art]

Your child is melting lmao

Gooey is pretty much kind of a shapeshifter and solidity of his from heavily depends on his mental state. Any extreme emotion can make him loose his grip on the body, so he kinda starts melting over. Most common nominators for that are negative emotions: fear, grief, shock. Being especially specific - something BAD happening to Kirby (pic 1)

Tho it also can be excitement or exhaustion. The extent of the body melting is fully up to intensity of the emotion

....And in a very rare cases, it can be anger

I rumble a bit abt DM biology under the cut

All Dark Matter are shapeshiters outside of the hosts. They're capable of changing their form since it's not solid from the beginning, but it can't happen purely by the power of will. Dark Matter's appearance very heavily depends on it's way of preciving itself.

Due to their nature being part of the hive mind, DM unit doesn't have an individuality in normal conditions - thus rarely any different traits. They might have some, but those mostly caused by environment and adaption to it.

When unit is separated from the hive, they start to accumulate more and more individualistic traits, gaining sense of self. It's a mix of "what I want to be" and "what I see in the mirror". If that makes any sense. More humanoid form, number of limbs and much more trivial traits like height are born exactly from that mix.

Gooey, growing up in Dreamland for most of his life, just tried to copy Kirby at everything, therefore perceiving himself as a child, growing along with Kirby. It isn't far from truth, cuz even as a DM unit they were pretty young. Haven't even figured out how to morph fingers yet (opposite thumbs are pretty usefull evolutional trait)

[transmutationisms]

Genuine question here, how can we increase patient autonomy and handle psychiatric medication for people who are disabled to a point where communication and understanding medication schedules would be difficult? I think a lot of people in my circles have gotten to a point of understanding, yes, anti-psychs can be more detrimental to patients with no positives when talking about a person with psychosis in their 20s who is somewhat able to manage themselves, but have difficulty parsing what would be best in the case of an older person with a neurodigenerative disease, and as someone who is at risk for developing Alzheimer's, I'm not sure what patient autonomy would look like for myself at that stage of life.

alright so, the question of how to increase patient autonomy for those who are mentally incapacitated in various ways is a legitimate one -- this has been a problem in paediatric and geriatric medicine for reasons both social and biological, and also affects disabled/injured/sick people of any age.

the assumption you've attached, though, is that 'antipsychotics' (neuroleptics) are actually in a patient's best interest, and that therefore it might be justified to administer them without consent in cases where it cannot be obtained. this is just incorrect and tells me you didn't read any of the links in my other posts about neuroleptics. these are not drugs that 'cure' 'psychosis' -- they are drugs that used to be marketed as 'chemical lobotomies' for a reason! they are unsafe in the long and short term, and are administered because they make patients compliant (incapacitated, numbed out, chemically dependent). the question of consent is just moot here imo.

to touch on the general question: usually with patients who are unable to consent, what is supposed to happen involves a mix of designated legal representatives, loved ones who are present, professional patient advocates, and the patient's own advance directives. my opinion (& this is common among disability advocates) is that doctors are often overeager to decide patients cannot consent, and will talk over/about them rather than taking the time to try communicating with them in ways they can understand. a person's own legal representation or the hospital's patient advocates sometimes help bridge this gap, but many times these people are also nakedly ableist, and fundamentally it's ableism that is exacerbating this tension.

obviously there will also always be some cases where it's simply impossible to get consent from the patient themself (for example, my uncle had a pituitary tumour that made him suddenly and irreversibly experience a total break from reality, resolved only after his wife consented to surgery on his behalf) -- in those cases, yeah, medicine sometimes means intervening without a direct yes from the patient. but the reality is that many people who are currently considered unable to communicate, choose, or advocate for themselves are in fact capable of a trying to do those things -- they're simply not being granted that right in current social/economic conditions. this often includes people dealing with neurodegenerative conditions btw -- these are incredibly difficult conditions, i won't pretend otherwise, but it is a myth that they completely and instantly rob a person of all ability to formulate preferences about medical treatment or quality of life, or to express those preferences.